Nobody will ever gain the respect.Attitude.Style that Elvis Prestley had.He is one of the biggest pop stars in the world that's right for all you haters the world!He had timeless hits like "HoundDog" or "Don't Be Cruel" he will forever remain as the The King Of Rock n Roll!

Some people call Snoop a Actor,Muscian,Father,Coach well to me he is a inspiration to rap and most of the rap scene.Snoop Dogg started rapping in the mid eighties and became one of the well known rappers of the nineties he went by th name of Snoop Doggy Dogg and then in 1998 changed his name to snoop dogg.Most of the cd's he put out are amazing because he puts his emoion and gangsta'ness into it!He set the record in 93' with his album called doggystyle in wich h worked with Dr.Dre on most of the album.And also following Doggfather,Paid tha Cost to Be da Bo$$.His most best done rcord i think he made R&G Rhythm & Gangsta: The Masterpiece.Overall his laid back personality and cool effect is what makes him a Hip-Hop Legend.

Everybody knows Dillinger from his world hit "Cocaine In My Brain". A track which made fun in both word and sound of the cocaine driven culture of American Soul Music. Too bad that many think the tune was representative of Dillinger's Work. Island Records released it on a Dillinger Album called CB200. A great album, taking away every thought that this track was an actual representation of Dillinger's work. And so it was not for nothing that the album wasn't called after the world hit. And so it is not for nothing that this album is called after it's title track. A track of which the title has some resemblance with that parody on American Coke music. Marijuana In My Brain is everything but a parody. It's the title track of an album which can be considered a good representation of Dillinger's work as a Reggae DJ. The ten (yes, ten, not nine) tracks on the album are some of the hardest riddims from the vaults of Bunny Lee. Sly and Robbie on the drum and bass, playing it tight in the Channel One Studio. Vocal snippets from Johnny Clarke and others dropping in and out accompanied by echo's. Heavy, heavy Roots Rockers! And on top of this all Dillinger's voice, chanting it up in true Roots Rockers DJ style. All tracks are based around a conscious subject. Not a thing to raise any eyebrows about, though. Marijuana In My Brain was recorded in a time that Jamaican Music was dominated by Rastafarians and other conscious people. Before Babylon came and started to corrupt Reggae Music with cocaine and guns. Before, in a way, "Cocaine In My Brain" became a dancehall anthem rather then a satire on Babylon's propaganda music. And that's why it makes me happy that CB200 isn't available anymore, but Marijuana In My Brain surely is! Let's hope that it symbolizes the up and coming new wave of consciousness that shines on the horizon.

All hail the return of novelty music's reigning king! Straight Outta Lynwood easily bests 2003's Poodle Hat and shows that Yankovic does know what he does best. Part of the secret to Weird Al's success is that he's never been very weird at all, and very rarely are his satires in any way "biting"--or even satires, really. The 11-minute parody of R. Kelly's "Trapped in the Closet" is funny at least for the first listen, but it's hard to ridicule something so largely ridiculous in the first place (plus Jimmy Kimmel totally got the jump on him). The best thing Mr. Yankovic has always done is to take some decent pop tune, change a word or phrase, invent an entirely new premise for the tune, and make an inspired video to go along with it. He does that several times here; Green Day's "American Idiot" becomes the hockey-obsessed Canadian Idiot, and "White & Nerdy" is a truly inspired take on Chamillionaire's "Ridin'." That song (and video, included here on the dual-disc CD/DVD) is breakneck-paced and so funny it's a disservice to quote from it at all. "Polkarama!" is a return to W.A.'s novelty roots: a handful of mildly dated hit songs (50 Cent to Modest Mouse!) delivered in straight-ahead, sped-up polka style. It's toe-tapping and sweet. Hopefully we'll not have to wait three years for another Weird Al record

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny.