Rick Rubin is the Buddha of American music.

Rubin, with his Moses beard and predilection for going barefoot, might be as responsible as anyone else for shaping the music industry in the last 25 years. For better or for worse.

And because he doesn't actually work the boards — Rubin has no technical music training — he really is like a guru, giving advice and opinions through the music-making process.

Now, word from the New York Post is that he'll be leaving Columbia Records, where he signed on as co-chairman/guru in 2007 to save the label — and the industry, if he'd be so kind.

But looking back on Rubin's career, expecting him to be a savior in content as well as form might be a little much. His past work taken in sum shows a producer as flawed as he is visionary.

Rubin's career began when he was a student at New York University working out of his dorm room. His first hit, L L Cool J's "I Need a Beat," was also his first collaboration with Russell Simmons and the inaugural effort from Rubin's label Def Jam.

Following Cool J, Rubin helped popularize hip-hop with his production on the Beastie Boys' "Licensed to Ill," which topped the charts, and Public Enemy's seminal "It Takes a Nation of Millions to Hold Us Back." Hank Shocklee and Chuck D deserve the credit for PE's sound; Rubin served as an advisor.

Rubin's reach grew exponentially when he paired rappers Run D.M.C. with hair-rockers Aerosmith for "Walk This Way." The song, though wildly successful, also exemplifies how badly some of Rubin's work holds up over time.

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In the history of white rappers, there are two eras: Before Eminem and After Eminem.

We are firmly in A.E. now, and though you could make an argument for the Beastie Boys as equally significant to music, the Beastie Boys were not the top-selling artist of the last decade, like Eminem was. He also had the #1 album of 2010.

Now, with Mac Miller's innovative social media marketing poised to move 180,000 copies or more of his debut album "Blue Slide Park"— making it the first independently distributed #1 album since 1995 — it's worth looking at the world of white rappers in 2011.

THE FOREFATHERS: While the Beastie Boys weren't the first white kids to try and rap, they remain to this day some of the best, and their irreverent sample collages had an influence beyond just hip-hop.

Hand in hand with the Beasties, Rick Rubin started Def Jam and, though he never rapped himself, played an integral role in popularizing hip-hop.

Then there's Eminem. Marshall Mathers came up out of Detroit as a battle-rapper and rewrote the book on what hip-hop could be. He'll be 40 next year, and he's still going strong.

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The Rock and Roll Hall of Fame named its 2012 inductees Wednesday.

On the list? The bands you blared in high school:

Red Hot Chili Peppers, Beastie Boys, and Guns N' Roses.

The announcement follows rumors that a potential Guns N' Roses reunion may be in the works.

Also part of the Class of 2012 are pop singer Lauren Nyro, British group The Small Faces, and singer-songwriter Donovan, CNN reports.

The ceremony is scheduled to take place on April 14 in Cleveland, airing on HBO in May.

Other nominees who were in the running included The Cure, Joan Jett and Rufus with Chaka Khan.

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Beastie Boys rapper MCA, whose real name is Adam Yauch, has died at age 47.

In 2009, Yauch announced he was being treated for a cancerous parotid gland and lymph node.

GlobalGrind first reported the death and TMZ is now confirming, stating they have "spoken to people independently connected to the rapper who also say he is dead."

In January, Yauch posted this message to fans on his website after he was unable to attend the 2012 Rock and Roll Hall of Fame induction ceremony:

"Hello My Friends, While I’m grateful for all the positive energy people are sending my way, reports of my being totally cancer free are exaggerated. I’m continuing treatment, staying optimistic and hoping to be cancer free in the near future."

In recent years, Yauch had become a vegan at the recommendation of his Tibetan doctors.

Yauch, who co-founded Beastie Boys in 1979, is survived by his wife and daughter.

Watch his cancer announcement here:

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Right after Adam Yauch came out to the public about his cancer diagnosis, The Beastie Boys sat down with The Stool Pigeon to discuss their future album "Hot Sauce Committee Part 1" and Yauch's illness.

The Beastie Boy's singer passed away yesterday at the age of 47. While the cause of death has still not been confirmed, Yauch was being treated in 2009 for a cancerous parotid gland and lymph node.

The Stool Pigeon decided to put the interview piece online today showcasing an inside look into his early treatments and canceled album from 2009.

1. He put the fans first.

In 2009, the Beastie Boys recorded a video to share the news of Adams Yauch's cancer diagnosis. Due to this, the group had to cancel a bunch of upcoming tour dates. The group's priority was apologizing to fans who purchased tickets referring to the cancellation as, "a pain in the ass."

He then reassured fans the cancer would both be easily treatable and wouldn't affect his singing voice. 

2. Comments were disabled on the YouTube video due to fans criticizing about the severity of Yauch's cancer.

One commenter attacked Yauch for claiming his cancer was easily treatable. 

4. He was facing back-to-back cancer treatments.

The following makes us wonder if he masked the severity of his illness.

“No sooner am I on the mend from this first torture than they are lining up the next one,” he said in a statement. “I do think that all of the well wishes have contributed to the fact that my treatment and recovery are going well.”

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The Beastie Boys defined an era by writing the handbook on cool, but all that's over now. 

Friday's news of the untimely death of Adam Yauch (aka MCA), 47, brought the unlikely, riotous and always visionary quest of the Beastie Boys to a close. 

There's no way the Beasties can go on without Yauch, much in the way Nirvana couldn't continue without Kurt Cobain.

The Brooklyn-bred group was the sum of its parts, and though Yauch was often labeled its conscience, there was no leader. The Beasties were founded and sustained on friendship, which clearly came through in their music. 

Rather than let their early days as smart-aleck punks define who they were, the Beasties, and Yauch in particular, found a way to transcend the inflatable onstage penises and lyrics like "Girls: to do the dishes/Girls: to clean up my room/Girls: to do the laundry/Girls:and in the bathroom."  

Whether that meant turning hip hop into supersonic bliss on "Paul's Boutique," curating cool-as-shit finds in Grand Royal magazine, or taking music videos to a whole other level under the pseudo-name Nathiel Hornblower, Yauch and the Beasties had no shame in their game, just plenty of heart. 

A lot of rock journos will say the heart of the trio was Yauch—Mike Diamond was the aesthete and shrewd businessman, while Adam Horowitz was the snot-nosed punk—but I disagree. Together, all three members confronted their past and gleefully worked to make art out of magic. They did it for most of my life. 

What always impressed me about the B-Boys was that they never forgot where they came from. Everything about them screamed New York, from those nasal accents and bravado to the clever way they cursed. The city pulsed in their veins, oozed out in their lyrics. Say what you will about "To The Five Boros," but few rappers today could deliver such a message with that much clarity, depth and precision. 

It remains to be seen what Yauch's legacy will be, but aside from being living proof that you can confront and move past your mistakes, as an entertainer Yauch taught his fans what it means to be true to yourself, and nothing more than yourself. 

When MCA took the mic on "Sure Shot," telling "the sisters and the wives and friends" that he wanted "to offer my love and respect till the end," he faced his past and made peace with it. When he launched the groundbreaking Tibetan Freedom Festivals, settled down and had a daughter, the kid from Brooklyn who used drop acid on the ski slopes could finally say what he stood for. 

And while we were bopping our heads, getting into some trouble, all the cool kids began to take notice. We'll never forget him, or the Beastie Boys' sound.  

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Well that didn't take long.

Just days after revealing that late Beastie Boys rapper Adam Yauch's will forbid use of his music in any advertisements, the Beastie Boys are suing Monster Energy Drink for just that

Monster used the Beastie Boys' music and images without permission in a web ad for their "Ruckus in the Rockies" event which occurred on May 5. Yauch died of Cancer on May 4.

The suit, which was filed in U.S. District Court in New York on Tuesday, says:

Monster caused a link to a downloadable audio recording (the "MP3") embodying a 23-minute medley of excerpts from the Beastie Boys Sound Recordings, the Beastie Boys Musical Compositions and the sound recordings and musical compositions comprising the additional Beastie Boys MP3 Copyrights … in conjunction with the Video, together with an offer that the MP3 was available for free download.

The songs in the "medley" included"Pass the Mic" and "So Whatcha Want."

The suit says that Yauch's estate, as well as remaining Boys Mike Diamond and Adam Horovitz, are suing for copyright infringement and violation of the Latham act—which protects trademark and endorsement, seeking a preliminary and permanent injunction. 

They are also seeking damages of $150,000 for each individual infringement, which could end up being very costly since Monster allegedly sampled a mix tape. 

SEE ALSO: Yauch's will forbids use of his music and image in ads > 

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• The Beastie Boys are writing a memoir for 2015 that promises to be a "multidimensional experience." The folks behindJay-Z's memoir/lyric collection "Decoded" say it is a "kaleidoscopic frame of reference, and it asks a reader to keep up." 
• "Rocky" the musical is heading to Broadway. “I couldn’t be more proud or more excited about this production and how my original story of Rocky Balboa has been brought to spectacular life onstage,” said Sylvester Stallone, who wrote the screenplay of the 1976 feature that spawned four sequels.
• The Rolling Stonessurprised an L.A. audiences with a small show Saturday night to kick off their North American stadium tour.
• The secret Stones show brought out many Hollywood celebs, including Johnny Depp and Amber Heard who were spotted publicly holding hands for the first time.
• Chris Brown's dad told the press: "I personally really didn’t want him and Rihanna back together. You have to have someone who is spontaneous and whimsical but you also have to have someone who is grounded and logical." 
• Miley Cyrusassures us she's still engaged to Liam Hemsworth: "We have a house together and dogs. It just seems right to be wearing this ring and to be committed.” “But,” she adds, ”we keep our relationship low-key and don’t talk about it any more.”
• "Jersey Shore" star Ronnie Ortiz is being treated for kidney stones in a Florida hospital. "He's in a lot of pain and is expected to remain there for several days," but luckily his co-star/girlfriend Sammi "Sweetheart" Giancola is on her way to his bedside. 

SEE ALSO: Kevin Spacey Opened The White House Correspondents' Dinner With A 'House Of Cards' Spoof >

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NEW YORK CITY — No sleep till... Centre Street?

Beastie Boy Adam "Ad-Rock" Horovitz is putting his full support behind Daniel Squadron in his bid to be the city's next Public Advocate. The artist will be the special guest speaker at an official event Monday night for the current state senator, according to an email sent to Squadron’s supporters.

Squadron, who is serving his third term representing Downtown Brooklyn and Lower Manhattan, has already gotten other endorsements, including from his former employer, Sen. Chuck Schumer.

Ad-Rock has gotten political off the stage in the past, including in his advocacy for Tibetan independance and for Ralph Nader's 2000 presidential campaign.

The Monday night campaign event for Squadron will take place on Aug. 5 at Bowery Station, with tickets are selling from $50 to $500.

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By the time the Beastie Boys' Adam Yauch passed away last year, the man better known as MCA had earned a reputation as an elder statesman of hip-hop, defined as much by his contributions to the feminism and the Tibetan independence movement as his sharp lyrics and signature gravelly voice.

But last week, a viral advertisement made by the start-up GoldieBlox reminded the internet that the Beastie Boys were once the very epitome of the brand of immature male entitlement they would later decry.

And lawyers for the Beastie Boys want it stopped, according to a suit filed in a California federal court.

In the video, GoldieBlox promoted its line of girl-focused building toys with an eviscerating parody of the 1987 Beasties song "Girls" by changing the song's lyrics from an ode to female domesticity ("Girls ... to do the dishes / Girls ... to clean up my room") to one that trumpeted a new brand of female empowerment ("Girls ... to build the spaceship / Girls ... to code the new app").

There was a time when the Beastie Boys — now in middle age —  were a group of (nearly) intolerable punks who performed onstage beside women in cages and yes, a giant inflatable penis.

In a lawsuit filed Thursday in California, GoldieBlox alleges that the Beasties Boys and their record label, Island Def Jam, accused the company of copyright infringement for the video, which has now been viewed more than 8 million times on YouTube. GoldieBlox is seeking an injunction against the Beasties on their copyright claims.

"GoldieBlox created its parody video with specific goals to make fun of the Beastie Boys song, and to further the company’s goal to break down gender stereotypes and to encourage young girls to engage in activities that challenge their intellect...," GoldieBlox said in its complaint. "In response, the Beastie Boys and their label have lashed out and accused GoldieBlox of copyright infringement."

In the suit, GoldieBlox disputes whether any part of the song infringes the Beastie Boys' copyrights, saying that the song was re-recorded by new singers and featured new lyrics.

The company also claims its video is protected by the "fair use" doctrine, a legal standard that allows intellectual property to be used if it is reproduced as a parody or part of a new work that transforms the original into something entirely different.

We've reached out to GoldieBlox and the corporate parent of the Beastie Boys' record label and are awaiting a response. Here's the video:

UPDATE: The Beastie Boys have fired back in an open letter published by The New York Times. According to the letter, the Beasties did not threaten a lawsuit, but simply asked how and why "Girls" had been used without their permission. The letter points out that despite its social mission, the GoldieBlox video is still an advertisement for a product, and the group has long refused to allow its music to be used in product ads.

Here's the full text:

"Like many of the millions of people who have seen your toy commercial “GoldieBlox, Rube Goldberg & the Beastie Boys,” we were very impressed by the creativity and the message behind your ad.

We strongly support empowering young girls, breaking down gender stereotypes and igniting a passion for technology and engineering.

As creative as it is, make no mistake, your video is an advertisement that is designed to sell a product, and long ago, we made a conscious decision not to permit our music and/or name to be used in product ads.

When we tried to simply ask how and why our song “Girls” had been used in your ad without our permission, YOU sued US."

SEE ALSO: A Stanford Engineer Figured Out A Real Reason Fewer Women Code, And A Video She Created About It Has Gone Viral

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The start-up GoldieBlox will take its parody of the Beastie Boys song "Girls" out of an ad for its line of girl-focused building toys and ask the group for a truce in their copyright fight, GoldieBlox said in post Wednesday on its company blog.

The decision comes a little less than a week after GoldieBlox filed a lawsuit against the surviving members of the hip-hop trio that claimed the group's attorneys threatened a copyright suit over the GoldieBlox video ad, which parodied the original Beasties Boys ode to female domesticity with new lyrics promoting female empowerment.

The video had amassed more than 8 million YouTube views by Monday, but has since been pulled from the site.

Here's the letter GoldieBlox wrote to Beasties Boys members Adam "Ad-Rock" Horovitz and Mike "Mike D" Diamond on its blog:

"Dear Adam and Mike,

We don’t want to fight with you. We love you and we are actually huge fans.

When we made our parody version of your song, ‘Girls’, we did it with the best of intentions. We wanted to take a song we weren’t too proud of, and transform it into a powerful anthem for girls. Over the past week, parents have sent us pictures and videos of their kids singing the new lyrics with pride, building their own Rube Goldberg machines in their living rooms and declaring an interest in engineering. It’s been incredible to watch.

Our hearts sank last week when your lawyers called us with threats that we took very seriously. As a small company, we had no choice but to stand up for ourselves. We did so sincerely hoping we could come to a peaceful settlement with you.

We want you to know that when we posted the video, we were completely unaware that the late, great Adam Yauch had requested in his will that the Beastie Boys songs never be used in advertising. Although we believe our parody video falls under fair use, we would like to respect his wishes and yours.

Since actions speak louder than words, we have already removed the song from our video. In addition, we are ready to stop the lawsuit as long as this means we will no longer be under threat from your legal team.

We don’t want to spend our time fighting legal battles. We want to inspire the next generation. We want to be good role models. And we want to be your friends.

Sincerely,

Debbie + Team GoldieBlox"

GoldieBlox's video won praise across the internet for promoting new opportunities for young girls, who could "build a spaceship" or "code the new app" instead of the cleaning tasks the Beastie Boy originally sang about in 1987.

Then, this past weekend, news broke that GoldieBlox filed a lawsuit against the Beasties asking a California judge to rule it didn't infringe the Beastie Boys' copyright and alleging that the Beasties had threatened a lawsuit.

The Beastie Boys fired back soon after with an open letter in The New York Times, saying that they did not threaten a lawsuit, but were merely asking why the song was used without their permission.

Others pointed out that the group has been staunchly opposed to its music being used in product ads, and that the will of Adam "MCA" Yauch, a group member who died of cancer in May, explicitly prohibits his music being used in commercials.

If nothing else, the entire saga is something of a media coup for both sides of the spat. The small start-up GoldieBlox permeated the public consciousness with a huge viral ad and major news story, and the Beastie Boys had an old song introduced to a new generation while they stayed true to their old fans with a compassionate, yet anti-corporate stance.

Here's the new video, without the Beastie Boys parody:

SEE ALSO: A Small Girls' Toy Company Claims The Beastie Boys Want To Ban This Video

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The Beastie Boys have countersued the toy startup GoldieBlox for copyright infringement and are demanding profits gained from the company's recent campaign, reviving a legal battle over a GoldieBlox ad that featured a parody of the Beastie Boys song "Girls."

GoldieBlox began as the Kickstarter project of Stanford engineer Debbie Sterling in late 2012. The girls' "engineering toys" are like a cross between K'Nex and Polly Pocket, and became a hit last month after a self-produced ad went viral.

The commercial, since pulled from YouTube, featured a parody of the Beastie Boys' song "Girls," changing its tongue-in-cheek lyrics denigrating women into lyrics about girls' empowerment. Here's an upload still floating around: 

The video got over eight million views before GoldieBlox, under pressure from the Beastie Boys' lawyers, removed it from their YouTube account. The toy company sued for an injunction against the Beasties, claiming that the group had threatened a lawsuit, and asked a California judge to rule that the ad did not infringe on the Beastie Boys' copyright.

The surviving members of the Beastie Boys countered with an open letter in the New York Times, claiming that the group did not threaten a lawsuit when its lawyers reached out to GoldieBlox to ask why and how the song was used without permission.

Less than a week after filing its lawsuit, GoldieBlox published a blog post asking for a truce: 

"Since actions speak louder than words, we have already removed the song from our video," GoldieBlox said in its blogpost. "In addition, we are ready to stop the lawsuit as long as this means we will no longer be under threat from your legal team."

Adam Yauch, better known as MCA, was an original member of the Beastie Boys who passed away in May 2012. In his will, he stated that the Beasties' music was never to be used in advertising. GoldieBlox claimed ignorance and said they were willing to respect his wishes.

But the Beastie Boys decided on Tuesday that GoldieBlox was acting with "oppression, fraud, and malice," and that they deserved profits from the toy line that came as a result of the viral video. GoldieBlox claims that its sales saw a "massive increase" due to the campaign (despite some poor reviews).

The Beasties claim that they only learned of the GoldieBlox video when an ad agency that was submitting the video into a contest asked Universal Music if the toy company had the rights to "Girls." In their version of the story, that was the same day GoldieBlox sued them through a high profile Silicon Valley firm.

SEE ALSO: Pantene Produces An Overtly Feminist Ad — But It Won't Be Seen In The US

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NEW YORK (AP) — The maker of the Monster Energy drink must pay $668,000 of the Beastie Boys' legal fees after the rappers chose to win at all costs in their copyright violation trial, a decision that resulted in a $1.7 million jury verdict in their favor, a judge says.

U.S. District Judge Paul Engelmayer wrote in a ruling Monday that his review of the band's legal bills suggests that the "Beastie Boys opted to pay for, and received, the 'Cadillac Escalade,' not the 'Honda Civic'" of legal representation.

He said his attorney fee award fell well short of the $2.4 million in legal fees that was sought from the Corona, California-based Monster Energy Co., but it was still sizeable enough that the band will come out ahead by more than $532,000 above its reasonable costs.

Last June, the Beastie Boys — known in part for the anthem "(You Gotta) Fight for Your Right (To Party!)" off their 1986 debut album — won their verdict from a federal jury weighing the value of five songs used by Monster without authorization in a video.

Engelmayer wrote that the lawsuit brought by two surviving Beastie Boys and the wife of deceased band member and gravelly voiced rapper Adam "MCA" Yauch resulted in a hard-fought legal match.

"Presiding over trial and hearing the surviving Beastie Boys' testimony, it was apparent to the court that this case had great personal significance to them," he said. "Monster's commercial exploitation of the band's music and songs, and what the Beastie Boys perceived as Monster's crass misappropriation of the name of the recently deceased Yauch in its video promoting its energy drinks, appeared to have deeply offended plaintiffs."

Yauch died of cancer in May 2012 at age 47.

The judge said Beastie Boys' band members Adam "Ad-Rock" Horovitz and Michael "Mike D" Diamond approached the case "with special zeal," testifying that as a matter of principle they have not licensed their music for product advertisements and would have turned down Monster if it had asked for permission.

Lawyers for Monster and the Beastie Boys did not immediately return messages seeking comment Tuesday.

The Beastie Boys, inducted into the Rock and Roll Hall of Fame in 2012, have turned out four No. 1 albums and sold more than 40 million records as they helped bring hip-hop to the mainstream over the last three decades.

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Hip-hop icon Michael Diamond, aka Beastie Boy Mike D, has gotten a lot of attention for his impeccably designed Brooklyn home. 

Back in 2013, news that Diamond and his wife, filmmaker Tamra Davis, had acquired the townhouse on a beautiful tree-lined Cobble Hill block and given it a creative and modern — yet totally livable — redesign led to a spate of articles showcasing the cool and quirky pad, including a New York Times house tour aptly titled “Licensed to Grill.”

All the attention likely led to Diamond’s recent side project helping his architect friends design a new-construction townhouse in nearby Boerum Hill that recently sold for just under $5 million.

Now the original Cobble Hill Beastie house at 148 Baltic Street is on the market for $5.65 million, funky custom toile wallpaper and all.

The four story, five-bedroom townhouse epitomizes the carefully-considered contemporary-meets-historic aesthetic.

In the Times interview, the couple explain how Diamond got over his disdain for the outer borough (he grew up on the Upper West Side) and some of the choices that were involved in renovating the 3,200 square-foot four-story Italianate brick home, built in around 1853.

The renovation enhanced the home’s many original details like the marble mantel and wood-burning fireplace in the living room, crown molding and wide plank wood floors. 

Juxtapositions like the “bug” cabinet from Studio Job alongside these historic details illustrate how easy it is to add new life to what came before—though we’ll assume the cool designer furnishings won’t be included in the sale.

The sleek, modern wood-and-white-Carrara-marble kitchen opens to a large deck, perfect for the aforementioned grilling.

Stairs lead to a verdant backyard with a patio and plenty of room for kids to play. In the kitchen, hanging glass shelves were custom created by a local metalworks shop, ESP Metal Crafts in Bushwick.

The full-floor master suite, which includes an enormous master bath, was moved to the top floor for privacy; the ceiling was opened up to create a loft-like space and bring in light.

Luxurious additions include a spacious dressing room and a freestanding tub, a steam shower and a skylight in the bath.

The children’s bedrooms (the couple have two school-age sons) combine eco-chic with fun design like chalkboard paint on the bathroom walls to encourage creativity.

There’s also a home office and a study den on this floor.

On the ground floor is a cozy screening/media room which has functioned as command central for creative projects as well as a family gathering spot.

Super-trendy Brooklyn wallpaper company Flavor Paper collaborated with Diamond and Vincent Ficarra of Revolver New York on the award-winning Brooklyn Toile wallpaper, which you can now buy.

In a small auxiliary kitchen, durable, down-to-earth details like reclaimed wood cabinets and subway tile add warmth.

Tall glass doors bring in light and open onto the patio. The cellar holds a washer/dryer with plenty of room left for storage.

The house boasts modern upgrades like new mechanicals and central air.

Though it is currently used as a single-family home, it’s officially a two-family dwelling; the second full kitchen and bath on the ground floor make it ready to collect rental income.

No word on what’s next for Diamond, but we’re sure he’ll get respect. Check out the gallery below for more eye-catching design details.

[Listing: 148 Baltic Street by Amy Katcher, Leslie Marshall and James Cornell of The Corcoran Group]

SEE ALSO: Robert De Niro's son nabs record-breaking, $120 million NYC listing

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The Insider Picks team writes about stuff we think you'll like. Business Insider has affiliate partnerships so we may get a share of the revenue from your purchase.

While some holler at the top of their lungs that the music industry is dying in the age of Spotify and iTunes, one form of music sales has been steadily on the rise: vinyl. LP sales have gone up consistently for years now; in 2014 13 million physical records were sold, and thus far in 2015, the number has already surpassed 9 million. It’s the most LPs that have been sold since the year Taylor Swift was born.

The act of collecting records is an extremely personal one, but there are some records that belong in every collection, regardless of your preferences as an audiophile, and we’ve done our best to gather them here. Some are classics that never get old, others are records to throw on at a party, and others still are for letting spin as you stare at the ceiling thinking about what a funny thing life can be.

If you are new to the vinyl world or you are looking to buy something for the turntable owner in your life, this collection is a good place to start.

Classic Rock

"The Rise and Fall of Ziggy Stardust" by David Bowie

(Added 2/18/16)

Embarrassingly, the first time we ran this article, the man, myth, and legend Sir David Bowie was absent. I take full responsibility for the mistake. Ziggy Stardust served as my first introduction to Bowie's work, and "Five Years" will forever be close to my heart. But Bowie's work spans far and wide, and I would be remiss if I didn't mention some of his other works here as well: "Young Americans" possibly got more people dancing in the seventies than any other record at the time, while "Blackstar" offers a look into the last musical moments of the Star Man, and was released just days before his death. It became his first album to go number one.

Rest in peace Bowie. Thanks for everything. 

Buy it:$19.84

"Abbey Road" by The Beatles

What it is: The eleventh studio album released by The Beatles and a strong contender for the title of “Greatest Album of All Time”.

Why you should own it on vinyl: Simply put, your collection is incomplete without it. Side two is arguably the greatest 22 minutes of music ever recorded, though I’ll acknowledge that claim comes with a healthy dose of personal bias. But regardless of my taste you should own it to serve as a reminder of what an amazing band The Beatles were, and so one day your kid can listen to it on vinyl.

Buy it:$21.84.

"Pet Sounds" by The Beach Boys

What it is: The second greatest album of all time, according to Rolling Stone.

Why you should own it on vinyl: Full disclosure, before sitting down to write this I hadn’t heard "Pet Sounds" front to back in close to a decade, and even then I probably listened to it only once or twice. But while writing this I’ve listened to it three times straight, and, oh man, you should own it on vinyl. There are so many sounds on this record, and I’m not even trying to make a joke there. Just little noises that hit your ears in weird ways that you can tell Brian Wilson spent eternities perfecting. Super fun.

Buy it:$18.98.

"Songs in the Key of Life" by Stevie Wonder

What it is: Album of the Year in 1977

Why you should own it on vinyl:From Chris Jones’ 2008 review for BBC: "If you don't own it, buy it tomorrow. Life, literally, isn't complete without it."

Buy it:$14.90.

"Dark Side of the Moon" by Pink Floyd

What it is: The source of the most ubiquitous album cover art of all time.

Why you should own it on vinyl: So you’re ready when your son discovers Pink Floyd is the greatest band of all time.

Buy it:$27.76.

"Greetings from Asbury Park" by Bruce Springsteen

What it is: Springsteen’s first album and a release of just about every emotion he had felt up until that point in his life.

Why you should own it on vinyl: It’s a complete album that does everything from celebrating life to questioning the unfairness of death come too soon. "Greetings" has songs to dance to, songs to make out to, and songs to cry to, which is pretty impressive seeing as there are only nine tracks on the record.

Buy it:$22.99.

"Darkness on the Edge of Town" by Bruce Springsteen

What it is: Springsteen’s fourth album and the 151st greatest album of all time, according to Rolling Stone.

Why you should own it on vinyl: First, because there should just always be room for another Bruce record in your collection. More specifically, "Darkness" is a step back from the collective wall of sound of "Born to Run" which preceded it, allowing for each member of the E Street Band to shine. “Adam Raised a Cain” is Bruce at his Bruciest, and “Prove It All Night” is a triumph for the whole band.

Buy it:$24.69.

"Rumours" by Fleetwood Mac

What it is: Album of the Year in 1978

Why you should own it on vinyl: "Rumours" features some of the best vocal harmonies ever recorded. I’ve long argued that this record should continue to win Album of the Year every year until something takes its spot. By my count, it’s still undefeated.

Buy it:$21.43.

"Aja" by Steely Dan

What it is: Steely Dan’s sixth album and their first to go platinum.

Why you should own it on vinyl: It’s probably your dad’s favorite record.

Buy it:$30.

"Graceland" by Paul Simon

What it is: The combined result of Paul Simon dealing with depression and being inspired by South African music; Album of the Year in 1987.

Why you should own it on vinyl: This might be the prettiest album on this list. The South African influence on Simon’s music provide a ton of fun sounds ears weren’t used to hearing at the time and still might be new to you: tinny yet bright guitars, a healthy dose of accordion, and smartly syncopated percussion, all combined with Simon’s talent for organizing harmonies and lyricism. It’s a wall of sound like few that came before it. 

Buy it:$20.10.

"Purple Rain" by Prince

What it is: Prince being Prince.

Why you should own it on vinyl: With how large a character Prince exists as within culture, it’s sometimes easy to forget that he’s one of the greatest guitar players of all time. The solo on "Purple Rain" is an easy reminder. Additionally, “Let’s Go Crazy” is one of the best album openers of all time, literally inviting his audience into the pseudo-religious party Prince is about to throw.

Buy it:$21.98.

"Revolver" by The Beatles

What it is: The third greatest album of all time, according to Rolling Stone.

Why you should own it on vinyl: It’s the Beatles; don’t overthink it.

Buy it:$20.30.

"Thriller" by Michael Jackson

What it is: The King of Pop’s masterpiece.

Why you should own it on vinyl: Every Halloween party you throw from now on will be exponentially more entertaining.

Buy it:$20.49.

"What’s Going On?" by Marvin Gaye

What it is: Marvin Gaye's most important album.

Why you should own it on vinyl: It had been a while since I listened to this record, and before I had refreshed my ears to it I had already written a bit here about how you should buy this record to have something you and your significant other can get freaky to. But then I listened again, and I remembered that this is not "Let's Get It On" Marvin Gaye, even if it sounds like him. This is politically conscious Marvin Gaye. His tones are just as beautiful and the record is phenomenal, but he's singing about some heavy ideas that it's probably best to stay clothed to.

Buy it:$19.98.

"London Calling" by The Clash

What it is: The third album by The Clash and the 8th greatest album of all time, according to Rolling Stone.

Why you should own it on vinyl: Physically, it’s another great piece of iconic album artwork; who doesn’t want to be smashing a guitar in rock-fueled rage? Musically, critic Mark Kidel has referred to it as the first “post-punk double album” which seems as fitting a title as any.

Buy it:$26.99.

Essential Hip Hop

"Straight Outta Compton" by NWA

What it is: America’s introduction to Eazy-E, Dr. Dre, and Ice Cube.

Why you should own it on vinyl: Everyone needs to witness the strength of street knowledge. "Straight Outta Compton" laid the groundwork for what would become West Coast hip hop, and is at least partially responsible for the advent of gangsta rap. Having this record in your collection shows that you knew Ice Cube before he was an actor and Dr. Dre before he became the producer/godfather of hip hop figure that he exists as today. If you ever need to rage against the machine, N.W.A has your back.

Buy it:$22.98.

"Illmatic" by Nas

What it is: The first album Nas blessed us with, released when he was just 20 years old.

Why you should own it on vinyl: Nas is one of the top three lyricists ever to aim words at a microphone and an East Coast rap first-ballot hall of fame member. The beats from DJ Premiere, Pete Rock, and Q-Tip are so good the album could almost work as an instrumental, but it doesn’t. "Illmatic" leans closer to poetry than rap, with Nas continuously showing off his talent for rhythm, internal rhyme, and cadence. Nas drops enough one-liners in his songs that a new one will catch you every listen. Also, "N.Y. State of Mind" will forever be better than "Empire State of Mind".

Buy it:$12.98.

"The Chronic" by Dr. Dre

What it is: Dr. Dre’s solo debut after breaking from N.W.A

Why you should own it on vinyl: "The Chronic" is a clinic in diss rap, with real shots taken at Eazy-E and Ruthless Records. The album was also the world’s introduction to Snoop Dogg, and listening to young Snoop and subsequently thinking about his verse on “California Gurls” is a tad funny, but also legitimately shows the range Snoop has developed over the years. Be forewarned though: These lyrics are not for the faint of heart.

Buy it:$17.99.

"The Great Adventures of Slick Rick" by Slick Rick

What it is: The first solo record of hip hop’s greatest storyteller.

Why you should own it on vinyl: In terms of tone and cadence, there are few rappers more fun to listen to. His songs tell swerving narratives and his beats are Rick Rubin approved. Add this record to your collection because there’s no rapper more fun to introduce to people who don’t know him. Plus, songs like “Children’s Story” teach listeners valuable life lessons.

Buy it:$26.24.

"The Blueprint" by Jay-Z

What it is: One of Jay-Z’s top albums and the record that established Kanye West as a top-tier hip hop producer.

Why you should own it on vinyl: This is Jay-Z before he married Beyoncé and dropped the hyphen. Legend has it that the only rapper to rewrite history without a pen recorded this entire album in just two weeks and wrote all of his lyrics in just two days. If you’re going to have Nas in your collection, you have to have at least one Jay-Z record as well, otherwise you’re picking sides.

Buy it:$29.99.

"Midnight Marauders" by A Tribe Called Quest

What it is: The third record from Phife Dog, Ali Shaheed Muhammed, Q-Tip, and Jarobi.

Why you should own it on vinyl: The cover art is some of the most iconic in hip hop history; a rap version of the “Who’s Who?” game introduced by the cover of Sgt. Peppers. Also, "Midnight Marauders" is just an awesome record; I think you'll find it precise, bass heavy, and just right.

Buy it:$16.99.

"Paul’s Boutique" by Beastie Boys

What it is: The sophomore record from Ad-Rock, MCA, and Mike D.

Why you should own it on vinyl: After the commercial success of their debut "Licensed to Ill", Beastie Boys were labeled by some as “frat hip hop” due to their comical lyrics and simplistic samples. "Paul’s Boutique" is, in a way, a response to that designation as Beastie takes their act to another level. With dense samples (some songs utilizing sounds from as many as 11 other tracks) and more complex lyricism still delivered in their call and response style, this isn’t the Beastie Boys record with the most hits on it, but it is definitely the one to own.

Buy it:$38.79.

"good kid, m.A.A.d. city" by Kendrick Lamar

What it is: A collection of Kendrick’s reflections on his hometown, Compton.

Why you should own it on vinyl: Kendrick Lamar is the best lyricist hip hop has right now, and it’s going to take something pretty substantial to dethrone him. "GKMC" is a clinic in storytelling with beats and melodies reminiscent of OutKast’s breakthrough records "ATLiens" and "Aquemini". Singles “Swimming Pools (Drank)” and “Bitch Don’t Kill My Vibe” are standouts, but this album is best when enjoyed front to back.

Buy it:$19.99.

Stuff I Own And Love And Think You Will, Too

"Is This It?" by The Strokes

What it is: The debut album of the greatest American rock band of the 20th century.

Why you should own it on vinyl: If you are ever hosting a party and get nervous about its musical setting, you can put this album on and buy yourself another 40 minutes. No one disapproves of The Strokes, and if they do, they are wrong. This is probably my favorite non-Kanye album on this list.

Buy it: $22.99.

"Come On! Feel the Illinois!" by Sufjan Stevens

What it is: The second album of Sufjan’s ill-fated quest to write an album for all 50 states, and the first album I ever listened to obsessively.

Why you should own it on vinyl: This record is a full orchestral experience, one that deserves to be blared through high-quality speakers so you can catch every nuance. Sufjan is a great American storyteller, intertwining Midwestern points of reference with extremely human ideas: running away from your problems, coping with loss, and questioning what comes next. I don’t think there is a more interesting album on this list in terms of the complexity of different musical and lyrical ideas that "Illinois" deals with.

Buy it:$19.59.

"In the Airplane Over the Sea" by Neutral Milk Hotel

What it is: Jeff Magnum and company’s second record and the chief reason Arcade Fire signed to Merge Records, according to Win Butler.

Why you should own it on vinyl: This is the record I stare at the ceiling to. Every person should have a record like that, where they sit and think (or don’t think) as music pours over them, only moving to flip to side two. This is that album for me, and could be for you, too.

Buy it: $17.99.

"Fate" by Dr. Dog

What it is: My favorite record by Philadelphia’s golden sons of indie rock.

Why you should own it on vinyl: This is another one where my bias shows, but just because my recommendation is biased doesn’t make it wrong. This album makes me happy in all the right ways and sad in a lot of the right ways, too. Dr. Dog has some of the best harmonies in indie rock. Few songs are more fun to jump to than “The Rabbit, the Bat, and the Reindeer”. If you buy "Fate" I bet you really enjoy it.

Buy it:$16.74.

"Random Access Memories" by Daft Punk

What it is: Daft Punk’s most recent attempt to control the world through music.

Why you should own it on vinyl: Daft Punk had a simply stated, yet difficult to execute goal heading into this album. "We wanted to do what we used to do with machines and samplers, but with people," they said in an interview with Rolling Stone. In that sense, "RAM" is an enormous success. With real musicians taking the place of computers, humanity shines through the album, with the mix still as precise as anything you would expect from Daft Punk. You probably remember “Get Lucky” and sure that song is fun, but this album is so much more than that.

Buy it:$24.99.

"For Emma, Forever Ago" by Bon Iver

What it is: The self-released debut album from Bon Iver.

Why you should own it on vinyl: I am a firm believer that you should have a few albums in your collection that will keep you company when you are sad. After two breakups, one with his girlfriend, one with his band, Justin Vernon set off for a secluded cabin in Wisconsin to spend three months in solitude. After his hibernation, he returned to the world with "For Emma, Forever Ago". Get this record because Bon Iver is there to sonically hold you in your darkest moments. 

Buy it: $14.98.

"Funeral" by Arcade Fire

What it is: The debut album from Arcade Fire.

Why you should own it on vinyl: Own it on vinyl because it’s important to listen to this one front to back. If the goal of art is to make your audience feel something, "Funeral" is one of the more successful albums of the past 20 years. Win Butler’s words hit you in the heart and force you to feel all the feelings. There are very few songs better suited for rage-dancing away your frustrations than “Neighborhood #3 (Power Out)”.

Buy it: $17.99.

"The College Dropout" by Kanye West

What it is: The album that introduced the world to Kanye West.

Why you should own it on vinyl: There is something for every type of hip hop fan on this record. Conscious rap, juvenile rap, even a dash of real throwback R&B with a little help from Jamie Foxx. Personally, this is the record that made me fall in love with Kanye for both his production and wordplay. Get it on vinyl now so when Kanye gets elected president in 2020 you have something for him to sign at the inauguration.

Buy it: $38.39.

"My Beautiful Dark Twisted Fantasy" by Kanye West

What it is: The greatest hip hop album ever made.

Why you should own it on vinyl: See above.

Buy it:$153.98.

Records On My Wishlist

"1989" by Taylor Swift

What it is: Arguably the most important pop record of the decade from arguably the biggest star on the planet.

Why you should own it on vinyl: Almost every song on this record is a hit. There are those out that there that are still going to hate, hate, hate on Taylor Swift but they just have poor taste. These tracks are fantastically constructed pop songs, a fact proven by Ryan Adams covering the entire record and giving it a new, still fantastic voice. If these songs weren’t good, Adams’ experiment wouldn’t have worked. Plus, it’s good to add a little brightness to your vinyl collection; it’s tough to be sad when T-Swift is belting her heart out for you.

Buy it:$20.50.

"AM" by Arctic Monkeys

What it is: The most recent release from Britain’s biggest rock band.

Why you should own it on vinyl: Arctic Monkeys have been a must-watch band since their debut "Whatever People Say I Am, That’s What I’m Not". Through their discography they’ve shown a pretty wide variance in the style of music they produce, and "AM" is where they put it all together. Alex Turner’s lyrics are as biting as always, with beats that take you from the club to the drunken walks through the night and eventually to the hangover.

Buy it: $23.51.

"Guardians of the Galaxy Awesome Mix Vol. 1" by Various Artists

What it is: Soundtrack to the 2014 film "Guardians of the Galaxy".

Why you should own it on vinyl: Front to back the songs are great. Where else are you going to find “Hooked on a Feeling”, “Spirit in the Sky”, and “Ain’t No Mountain High Enough” on the same vinyl pressing?

Buy it:$30.43.

"Yankee Hotel Foxtrot" by Wilco

What it is: Wilco’s best-selling album and the finished product of the recording sessions documented in the film "I Am Trying to Break Your Heart".

Why you should own it on vinyl: Brent S. Sirito, who reviewed the record for Pitchfork, giving it a perfect 10, says it best: "Complex and dangerously catchy, lyrically sophisticated and provocative, noisy and somehow serene, Wilco's aging new album is simply a masterpiece; it is equally magnificent in headphones, cars and parties. And as anyone who's seen the mixed-bag crowd at Wilco shows knows, it will find a home in the collections of hippies, frat boys, acid-eating prep schoolers, and the record store apparatchiks of the indiocracy. No one is too good for this album; it is better than all of us."

Buy it:$23.74.

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John Berry, a founding member of the Beastie Boys, died on Thursday at the age of 52. Berry's father, John Berry III, confirmed the news to Rolling Stone, adding that his son had been suffering from frontal lobe dementia. Berry died at approximately 7:30 a.m. at a Danvers, Massachusetts hospice.

Berry met Mike Diamond (Mike D) when the two attended the Walden School in New York together, ultimately forming the initial incarnation of the Beastie Boys in 1981 with Adam Yauch (MCA) and Kate Schellenbach. Berry played guitar on the 1982 EP Polly Wog Stew and is credited with coming up with the legendary group's name, though he would exit the group shortly after the EP's release on Rat Cage Records.

Adam Horovitz (Ad-Rock) read a speech penned by MCA (who died of cancer in 2012) during the Beastie Boys' Rock and Roll Hall of Fame induction in 2012 that recalled the band's early years spent blasting Berry's parents with their unique take on hardcore punk. The band thanked Berry and his "loft on 100th Street and Broadway where John's dad would come busting in during our first performances screaming, 'Will you turn that f---ing shit off already?'"

Longtime fans of the group took to social media shortly after the news of Berry's passing hit, recalling his contribution to the group's legacy and sharing memories of the early years:

Rest in power, John Berry.

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NOW WATCH: There is a secret US government airline that flies out of commercial airports

Rick Rubin is the Buddha of American music.

Rubin, with his Moses beard and predilection for going barefoot, might be as responsible as anyone else for shaping the music industry in the last 25 years. For better or for worse.

And because he doesn't actually work the boards — Rubin has no technical music training — he really is like a guru, giving advice and opinions through the music-making process.

Now, word from the New York Post is that he'll be leaving Columbia Records, where he signed on as co-chairman/guru in 2007 to save the label — and the industry, if he'd be so kind.

But looking back on Rubin's career, expecting him to be a savior in content as well as form might be a little much. His past work taken in sum shows a producer as flawed as he is visionary.

Rubin's career began when he was a student at New York University working out of his dorm room. His first hit, L L Cool J's "I Need a Beat," was also his first collaboration with Russell Simmons and the inaugural effort from Rubin's label Def Jam.

Following Cool J, Rubin helped popularize hip-hop with his production on the Beastie Boys' "Licensed to Ill," which topped the charts, and Public Enemy's seminal "It Takes a Nation of Millions to Hold Us Back." Hank Shocklee and Chuck D deserve the credit for PE's sound; Rubin served as an advisor.

Rubin's reach grew exponentially when he paired rappers Run D.M.C. with hair-rockers Aerosmith for "Walk This Way." The song, though wildly successful, also exemplifies how badly some of Rubin's work holds up over time.

Soon after these records, Rubin left Def Jam in 1988. With his new venture Def American, he began producing metal, including bands like Slayer and Danzig, and even made a comedy album for the modern troglodyte Andrew Dice Clay.

Before he began working with them, the Red Hot Chili Peppers thought of themselves as rap with a funk edge. Rubin turned the band into a more flexible outfit, capable of both ballads and bangers, and he played a particularly large role in making the druggy 1992 single "Under the Bridge."

The Chili Peppers' "Blood Sugar Sex Magik," as well as plenty of other albums, were recorded at Rubin's spectacular studio in Laurel Canyon.

Rubin continued to work in hip-hop, though the horrocore Geto Boys marked a significant, downward departure from the Beasties and Public Enemy. The Geto Boys' necrophiliac and misogynistic lyrics caused a rift between Rubin and his distributor David Geffen.

(Source: The New York Times)

As Rubin's sound became more a part of the mainstream, "Def" made its way into the dictionary, and Rubin responded by giving the word a literal funeral in 1993. The label's name changed to "American Recordings."

(Source: Entertainment Weekly)

American Recordings' efforts began in earnest. Rubin partnered with the legendary folk hero Johnny Cash for the first of many collaborations, six of which formed the "American" series.

After Cash, Rubin went back to delivering metal in pop packaging, making it palatable for a larger audience. In the late '90s and early 2000s, he worked with indulgent rockers the Mars Volta and speed-metal flag-bearers System of a Down and Slipknot.

From Cash to Slipknot and back to hip-hop, Rubin worked with Jay-Z in 2003 on "The Black Album." Rubin features in the video for "99 Problems."

Reaching into the nu-metal depths, Rubin worked with Linkin Park on two albums. Meanwhile, Def Jam turned over in its grave.

And here we arrive at the perfect representation of his career: just before Rubin's Linkin Park record came out, he and Timbaland worked together to produce Justin Timberlake's game-changing "Future Sex/Love Sounds," one of the best pop albums of the decade.

Since joining Columbia, Rubin has only made one zeitgeist-defining album: Adele's "21." However, part of his departure from Columbia reportedly has to do with disagreements over how involved he actually was with the record; he's credited as a producer on a few songs.

(Source: The New York Post)

Maybe Rubin should get in touch with this guy

Click here to see how Drake conquered the music industry >

In the history of white rappers, there are two eras: Before Eminem and After Eminem.

We are firmly in A.E. now, and though you could make an argument for the Beastie Boys as equally significant to music, the Beastie Boys were not the top-selling artist of the last decade, like Eminem was. He also had the #1 album of 2010.

Now, with Mac Miller's innovative social media marketing poised to move 180,000 copies or more of his debut album "Blue Slide Park" — making it the first independently distributed #1 album since 1995 — it's worth looking at the world of white rappers in 2011.

THE FOREFATHERS: While the Beastie Boys weren't the first white kids to try and rap, they remain to this day some of the best, and their irreverent sample collages had an influence beyond just hip-hop.

Hand in hand with the Beasties, Rick Rubin started Def Jam and, though he never rapped himself, played an integral role in popularizing hip-hop.

Then there's Eminem. Marshall Mathers came up out of Detroit as a battle-rapper and rewrote the book on what hip-hop could be. He'll be 40 next year, and he's still going strong.

THE VIRTUOSOS: A bunch of white rappers make their bones by being technically irreproachable. The hottest of these right now is Alabama MC Yelawolf, an Eminem understudy who's as talented as any up-and-comer. His debut LP, "Radioactive," comes out November 21.

Another new guy, Queens' Action Bronson, released one of the best albums of the year, "Dr. Lecter"— a masterfully written album of food jokes and pristine vocal samples.

Father of New York City label Def Jux, El-P's rhymes are unbelievably knotted and assonant. And he's as accomplished a producer as he is rapper.

Also a Def Jux guy before it went under, Aesop Rock has a similar list of accomplishments as El-P, though his style is different: same interwoven rhyme schemes, but more esoteric, impressionistic lyrics.

Of course, compared to the anticon. guys, Aesop Rock is easy music. Led by Doseone, Sole and Yoni Wolf of Why?, anticon.'s an Oakland collective that makes blippy intellectual rap. Also, Doseone famously dueled Eminem at battle-rap extravaganza Scribble Jam in 1997.

THE FRAT-RAPPERS: Frat-rap is a new term used to describe musicians who would look like they belong at a campus kegger. The sub-genre probably began with Asher Roth and his laconic ode to university life, "I Love College."

The new frat-rap champion is Pittsburgh's Mac Miller, whose debut album "Blue Slide Park" is about to make Donald Trump money.

Hoodie Allen: I don't know.

Rich Hil, the son of fashion designer Tommy Hilfiger, picked up some serious buzz earlier this year when he got signed to Warner Bros. Records. Even with tattoos covering his skin and his scorched-earth flow, he's still mostly a reminder of Connecticut prep schools.

THE OTHER GUYS: These MCs don't fit into a broader category, starting with Slug from Atmosphere, who's got elements of the virtuoso when he isn't bringing to mind a '90s alt-rocker.

Machine Gun Kelly, a native of Cleveland, has traces of frat-rap but affects a far more street-oriented style. With a recent signing to Diddy's Bad Boy Records, his star is on the rise.

It doesn't get more "other" than the Insane Clown Posse, who reached a saturation point this summer when every publication in existence sent a reporter to their "Gathering of the Juggalos" festival. Aside from Eminem, ICP might have the most devoted fans of any musician on this list.

Cage fit in with the Def Jux guys for a while, but the horrorcore MC has since gone a different route. A founder of the Weathermen, with El-P and Aesop Rock, Cage has never shown quite the level of consistency those two guys have. Shia Labeouf filmed his most recent video and wants to make a biopic about him.

Time for a British guy! The Streets, aka Mike Skinner, has developed a strong following for his wry everyman stories, particularly 2004's "A Grand Don't Come For Free."

Hasidic rap-reggae fusion artist Matisyahu comes and goes, but his 2005 single "King Without a Crown" earned him a solid fanbase that still exists today.

And then there's Kreayshawn. Part of the White Girl Mob, an Oakland-based group of, well, white girls rapping, Kreayshawn netted a million-dollar deal on the strength of one song, "Gucci Gucci," and has generated massive controversy.

But can they act?

Click here to see the best rappers turned actors >

The Rock and Roll Hall of Fame named its 2012 inductees Wednesday.

On the list? The bands you blared in high school:

Red Hot Chili Peppers, Beastie Boys, and Guns N' Roses.

The announcement follows rumors that a potential Guns N' Roses reunion may be in the works.

Also part of the Class of 2012 are pop singer Lauren Nyro, British group The Small Faces, and singer-songwriter Donovan, CNN reports.

The ceremony is scheduled to take place on April 14 in Cleveland, airing on HBO in May.

Other nominees who were in the running included The Cure, Joan Jett and Rufus with Chaka Khan.

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Beastie Boys rapper MCA, whose real name is Adam Yauch, has died at age 47.

In 2009, Yauch announced he was being treated for a cancerous parotid gland and lymph node.

GlobalGrind first reported the death and TMZ is now confirming, stating they have "spoken to people independently connected to the rapper who also say he is dead."

In January, Yauch posted this message to fans on his website after he was unable to attend the 2012 Rock and Roll Hall of Fame induction ceremony:

"Hello My Friends, While I’m grateful for all the positive energy people are sending my way, reports of my being totally cancer free are exaggerated. I’m continuing treatment, staying optimistic and hoping to be cancer free in the near future."

In recent years, Yauch had become a vegan at the recommendation of his Tibetan doctors.

Yauch, who co-founded Beastie Boys in 1979, is survived by his wife and daughter.

Watch his cancer announcement here:

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