Having seen that controversial Facebook app of "The 100 Most Influential Albums," I set out to capitalize and create the correct list upon which men could measure their manhood and women could be reassured that it's a man's man's man's white man's world out there. Magazines and websites have been doing this kind of thing forever with the exact same results and my entire existence depends upon making these meaningless lists. So humor me.

First thing I did was get rid of that awful "Influential" word and go for the less controversial "essential," where no one has to be influenced by anything. Unfortunately, upon doing the preliminary work, I ended up wasting four hours compiling a list of albums that turned into the 125 Most Essential Albums of 1964-1980. I wasn't putting down the albums I liked best but the ones that seemed like other people thought were pretty important, since they show up on other lists. I would've started the post-1980 list but things gets so esoteric it's impossible to determine which subgenres things need be divided into.

[Photo by KMazur/WireImage]With Super Bowl XLVII (47) upon us and a performance from Beyonce and Destiny's Child pending, it's time to go to the videotape and determine with scientific accuracy who was very good and who was very bad. For the record, Tom Petty and the Heartbreakers were 'Very Bland' and The Who were 'Very Old.'

And here's where I suggested who should play the Super Bowl after viewing the Who's olden performance…so far, the Super Bowl Honchos have taken up my idea for the Black Eyed Peas, but that still leaves nine more!

Ten Performers Who Could Play The Super Bowl

We don't count performances before the modern era, which began with 1991's nod to New Kids On the Block. Previous to their performance, the Super Bowl halftime show featured a lot of marching bands and performances from Up With People!, who may have done a wonderful job in 1982 with their "Salute to the 1960s and Motown" or in 1986 with their "Beat of the Future" but I don't want to encourage those kinds of choices in the future. Especially when many legends are still potentially semi-living. We need David Bowie, not Up With People's "Tribute to Sexually Ambiguous Rockers of the 1970s."

Let's all be grateful that there won't be any more tributes to the Big Band Era, now that its fans are either dead or in places where they're not in control of the TV remote. Laugh all you want, but it comes to us all.

Public Enemy in 1988 [Photo by Michael Ochs Archives/Getty Images]I'm not a purist (rock 'n' roll is a hybrid) and I don't care about who's in the Rock and Roll Hall of Fame. But I have a blog that's allegedly about music and it's now "timely" to write about the one hip-hop group that every white, male rock writer hailed as the second coming back in 1988 and then jumped ship when their records got ignored. (Turns out we missed a few good ones in between the dumb ones.)

Considering one-hit-wonders are as important to Rock 'n' Roll as artists who release the same album for twenty years, a group like Public Enemy, who made two bonafide classic LPs (one more than GnR and the Sex Pistols!) at a time when they were inventing their music, surely deserve immediate induction. Charges of "not-rock" are silly. Of all the hip-hop groups to share the times and college radio airwaves with the likes of the sleepy R.E.M. and contemporary Christian strains of U2, PE had the closest ties to rock 'n' roll, both in Chuck D's steely baritone and the Bomb Squad's uncompromising beats. And that was before they teamed with Anthrax. (Their use of Slayer was smarter, tho.)

Here are 25 reasons Public Enemy belong in the Hall and, more importantly, deserve your attention.