PIMP C`S - Ozone Magazine

OZONE MAGAZINE
YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE
HURRICANE
CHRIS
PIMP C’s
LAST
WORDS
TRILL N*GGAS DON’T DIE
BUN B, TOO $HORT,
SCARFACE, BIG GIPP
DAVID BANNER
& LIL WAYNE
REMEMBER
THEIR
FRIEND
MR.COLLIPARK
LIL BOOSIE
TRAPSTARZ
THREE DEEP
YOUNG CASH
& MIDGET MAC
SOULJA
BOY +
ozone west
JANUARY 2008
THE BOY BOY YOUNG MESS
ICE CUBE | MITCHY SLICK
HOT ROD
50 CENT’s PROTEGE
OZONE MAG // YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE
SOULJA
BOY
CRANKIN’ IT
ALL THE WAY
TO THE BANK WITH
MR.COLLIPARK
LIL BOOSIE’S
JEWELRY
FASCINATION
TRAPSTARZ
THREE DEEP
YOUNG CASH
& MIDGET MAC
PIMP C’s
LAST WORDS
BUN B
TOO $HORT
SCARFACE
BIG GIPP
DAVID BANNER
LIL WAYNE
FONSWORTH
BENTLEY
CORY MO
8BALL &
MORE
SHARE
THEIR
FAVORITE
MEMORIES
OF THE
SOUTH’S
FINEST
HURRICANE
CHRIS
+ozone west
THE BOY BOY YOUNG MESS
ICE CUBE | MITCHY SLICK
HOT ROD
28 // OZONE WEST
50 CENT’s PROTEGE
// OZONE MAG
OZONE MAG // // OZONE MAG
OZONE MAG // // OZONE MAG
OZONE MAG // // OZONE MAG
OZONE MAG // 10 // OZONE MAG
OZONE MAG // 11
PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly
CHIEF OPERATIONS OFFICER // N. Ali Early
MUSIC EDITOR // Randy Roper
FEATURES EDITOR // Eric Perrin
ART DIRECTOR // Tene Gooden
ADVERTISING SALES // Che’ Johnson
PROMOTIONS DIRECTOR // Malik Abdul
MARKETING DIRECTOR // David Muhammad Sr.
LEGAL CONSULTANT // Kyle P. King, P.A.
SUBSCRIPTIONS MANAGER // Adero Dawson
ADMINISTRATIVE // Cordice Gardner, Kisha
Smith
CONTRIBUTORS // Bogan, Charlamagne the
God, Chuck T, Cierra Middlebrooks, Destine
Cajuste, E-Feezy, Edward Hall, Felita Knight,
Jacinta Howard, Jaro Vacek, Jessica Koslow,
J Lash, Jason Cordes, Jo Jo, Johnny Louis,
Kamikaze, Keadron Smith, Keith Kennedy,
K.G. Mosley, King Yella, Luis Santana, Luxury
Mindz, Marcus DeWayne, Matt Sonzala, Maurice G. Garland, Mercedes (Strictly Streets),
Ms. Rivercity, Natalia Gomez, Ray Tamarra,
Rico Da Crook, Robert Gabriel, Rohit Loomba,
Shannon McCollum, Spiff, Stan Johnson,
Swift, Thaddeus McAdams, Wally Sparks,
Wendy Day
STREET REPS // Al-My-T, B-Lord, Big Teach
(Big Mouth), Bigg C, Bigg V, Black, Brian
Franklin, Buggah D. Govanah (On Point),
Bull, C Rola, Cedric Walker, Chill, Chilly C,
Chuck T, Controller, DJ Dap, Delight, Derrick
the Franchise, Dolla Bill, Dwayne Barnum,
Dr. Doom, Ed the World Famous, Episode,
General, Gorilla Promo, Haziq Ali, H-Vidal,
Hollywood, J Fresh, Jammin’ Jay, Janky,
Joe Anthony, Judah, Kamikaze, KC, Kenneth
Clark, Klarc Shepard, Kuzzo, Kydd Joe, Lex,
Lil D, Lump, Marco Mall, Music & More, Nick@
Nite, Nikki Kancey, Pat Pat, PhattLipp, Pimp
G, Quest, Rio G, Rippy, Rob-Lo, Stax, TJ’s
DJ’s, TJ Bless, Tim Brown, Tre Dubb, Trina
Edwards, Vicious, Victor Walker, Voodoo, Wild
Billo, Young Harlem
DISTRIBUTION // Curtis Circulation, LLC
SUBSCRIPTIONS // To subscribe, send check
or money order for $11 to:
Ozone Magazine, Inc.
Attn: Subscriptions Dept
644 Antone St. Suite 6
Atlanta, GA 30318
Phone: 404-350-3887
Fax: 404-350-2497
Website: www.ozonemag.com
COVER CREDITS // Lil Wayne photos (cover
and this page) by Julia Beverly; Flo-Rida and
Brisco photos by Ray Tamarra; Ray J photo by
Daniel Gonzales.
DISCLAIMER // OZONE Magazine is published
11 times per year by OZONE Magazine, Inc.
OZONE does not take responsibility for unsolicited materials, misinformation, typographical errors, or misprints. The views contained
herein do not necessarily reflect those of the
publisher or its advertisers. Ads appearing
in this magazine are not an endorsement or
validation by OZONE Magazine for products or
services offered. All photos and illustrations
are copyrighted by their respective artists.
All other content is copyright 2007 OZONE
Magazine, all rights reserved. No portion of
this magazine may be reproduced in any way
without the written consent of the publisher.
Printed in the USA.
12 // OZONE MAG
features
54-59
76-79
22-23
74
YEAR END AWARDS
REMEMBERING PIMP C
RAPPERS’ NEW YEARS RESOLUTIONS
DIRTY THIRTY: PIMP C’S GREATEST HITS
monthly sections
38
15
87
42-50
25-47
30
34
82
83
26
32
15
86
28
84
14
40
18-20
90
THE CHRONICLES OF PIMP C
10 THINGS I’M HATIN’ ON
CAFFEINE SUBSTITUTES
PATIENTLY WAITING
PHOTO GALLERIES
SIDEKICK HACKIN’
CHAIN REACTION
BOARD GAMES
INDUSTRY 101
MATHEMATICS
DOLLAR MENU
JB’S 2 CENTS
CD REVIEWS
CHIN CHECK
DJ PROFILE
FEEDBACK
TATTED UP
RAPQUEST
END ZONE
interviews
60
MR. COLLIPARK
72-73 BRYAN LEACH
36
MIDGET MAC
64-66
pg
Y
O
SOULJA B
pg 68-70
S
I
R
H
URRICANE C
H
OZONE MAG // 13
Send your comments to [email protected]
or hit us up at www.myspace.com/ozonemagazine
I never send anything to the feedback section, but after reading Roxy Reynolds’ sex issue interview I had to show some love. I read her article on How
to Give Head when I was on the plane coming back to Denver. I’m not usually
into porn, but she gave me the best visual ever. I got off the plane, woke my
wife up, and made her read the article.
– DJ K-Tone, [email protected] (Denver, CO)
zine! When I found out that this was the vision of a woman, I was instantly
amazed. I attend college in Columbia, SC, so every month I try to get an
issue from DJ B-Lord or Rob Lo. You have definitely become one of my
favorite women. You are one person who has inspired many young women,
as myself, to strive for the best! Thanks!
– Miss Jay Trenae (Columbia, SC)
You get love in Sweden! I’m a big fan of the magazine because you interview
almost every artist I’ve worked with, or am trying to work with. I’m C-Bo and
Young Buck’s in-house producer; we’ve done a lot of stuff for the artists that
you interview in your magazine, especially in the OZONE West section. Thank
you for being the magazine that supports artists who deserve a shot. Fuck
XXL and The Source. OZONE is the future.
– David Hanna (Sweden)
The sex issue was excellent! I have no idea how y’all are gonna top this one.
– DJ Scorpio (Atlanta, GA)
Keep doing your thing with the mag. I’m gonna mess with y’all on a West
Coast ad for my kids’ project. Y’all are knocking Murder Dog out of the water.
– Kontac, [email protected] (Bay Area, California)
Being an avid reader of your magazine, I know that OZONE always provided a
Pimp C a lane to express himself freely without holding back, and that’s what
a lot of people respect about Pimp C. When I heard the news [of his death]
I thought about his family, Bun B, and you at OZONE Magazine. While Pimp C
was in jail, Bun B kept his name alive and made sure he was not forgotten,
so I know he’ll continue to represent for Pimp C and make sure his legacy is
not forgotten. Bun B is the true definition of a brother and friend, and my
prayers go out to him and his family. And I know that although he’s gone,
you’ll continue to remember and make sure that Pimp C’s name is never
forgotten. Thank you for all the great moments and articles that you gave
us through your magazine – allowing us to get to know Chad “Pimp C” Butler.
– Rinarys Matos, [email protected]
The OZONE Orlando Rapquest was a good write up. We appreciate you more
than you know! You’re my favorite white girl! Just for future reference, I’m
not on Slip N Slide Streets, just plain ‘ol Slip N Slide Records.
– Wes Fif, [email protected] (Orlando, FL)
Julia, you are truly an inspiration. I was recently reading OZONE and was
inspired by your passion for the Hip Hop music industry. I’ve never once in
my life ever picked up a magazine and read it from the cover to finish, but
you have such a way about your words and the types of questions that you
ask our artists of today. Your magazine is like my mini Hip Hop Bible. I love
it! You keep your readers wanting more and more. The reason I decided to
email you tonight is because of the article on my soon-to-be-husband Lil
Wayne in your December 2007 sex issue. I’m so jealous! You asked him every
question that I’ve been wanting to know for years. Your interview made my
life complete. Dwayne Carter is one of the greatest things that has come to
the industry in a very long time and I wish I could have the opportunity to
meet him so that he could fall in love with me on sight!
– Kim, myspace.com/hellokittydotcom1 (Richmond, CA)
The December 2007 issue of OZONE with Lil Wayne on the cover was my first
time ever hearing about and reading the magazine! I started reading it in
the grocery store and couldn’t put it down. I ended up buying it. I loved it!
It’s so entertaining and more unique than most magazines. Keep doing your
thing. You have definitely gained another loyal reader!
– Annick, [email protected] (Miami, FL)
What you do for us Southern entertainers is next to impossible. I’ve enjoyed
both annual OZONE Awards and one day I want to be a part of it. The South
is starting to look real good and many people are following us now.
– Rob Dee (Nashville, TN)
I’m one of the many readers of OZONE. I also adore Lil Wayne. I think your
interview was great and it gave us a chance to indulge. Did he seem serious
about marriage? I think he and I could connect on so many different levels.
I think he’s still looking because we haven’t had the opportunity to meet. I
just wanted to ask that you keep the good interviews coming.
– Jasmine Smith, [email protected]
I read the November 2007 issue of OZONE but Milwaukee, Wisconsin was left
out of the Rapquest section. I’m a local rap artist who also does journalism on the side. We have two major developments that need to be touched
on. One, Baby Drew from Milwaukee got signed to a major label deal, and
OZONE’s role by featuring him in Patiently Waiting should be acknowledged.
Two, Lyfe Jennings had signed a young lady from Milwaukee by the name of
La La Brown, who was shot and killed in a studio this past Friday.
- Track Lacer, myspace.com/tracklacer (Milwaukee, WI)
JB, thanks for being such an inspiration! When I first gained an interest in the
entertainment business, I wanted to know who was behind OZONE Maga-
Correction: The photo in the galleries last month that read “HK, Streez, &
guest” should have read “HK, Young Deuces & Black Fred.”
14 // OZONE MAG
jb’s 2cents
10 Things
I’M Hatin’ On
O
ne of my favorite New Years memories was bringing in 2006
with the undisputed King of Houston, J Prince, in the VIP lounge
of a downtown Houston nightclub. Pimp C had been released
from jail the day before, the Houston movement was in full swing,
and you could feel the anticipation building up in the city as All Star
weekend approached. I’ve noticed two things about J Prince and
other people of his status: they don’t carry around much cash, and
they don’t talk much. Rich people don’t wave money around, and
powerful people don’t tell you how wise they are. They just listen,
leaving you to fill the silence with your own words, and whatever you choose
to talk about reveals more than any question they could ever ask.
by Maurice G. Garland
4. Michael Jordan
The new Jordans cost $185. Me myself, have
never purchased a pair of J’s in my life, I refused
to give dude my money like that (plus, I was
always a ‘Nique fan). This nigga don’t even play
anymore and his shoes cost the most? Anyone
that’s hooped in Jordans before knows they are
uncomfortable as hell. Fuck Jordan! He never
used his money or influence to do anything in the
community other than boost the crime rate.
5. Drive-Thru Liquor Stores
I remember one being down the street from my
school when I was growing up, but now, I’m
starting to see these things pop up on the regular. Isn’t drinking-and-driving illegal? When I go
to McDonald’s I end up eating all the fries by the
time I get home. You don’t think people will do
the same with a Heineken or a fifth of vodka?
6. Po-Po
Why do the police need to call for back up when
all they’re pulling you over for is an expired tag?
ANTHONY CUTUJAR
Me and Soulja Boy in New York
8. Hotel Room Service
Speaking of which, they charge you a room
service fee of $10, an extra service charge of $10,
and an automatic tip of 30%, gotdamn! By the
you realize you’d paid $45 for a glass of orange
juice it’s too late.
9. Walgreens
Fuck what these trap boy rappers are talking
about. Walgreens has got the streets sowed up.
They slang their drugs on every corner, open
early and close late and the cops don’t even think
about running up in their spots. And to top it all
off, they’ve got snacks for your munchies too.
10. New Years Resolutions
New Years Resolutions are complete bullshit. You
probably broke yours by the time we compiled
this list.
Me and Fonsworth Bentley @
TJ’s DJ’s in Tallahassee
A few months ago I wrote about how fake the industry is; how no one gives a
shit about each other unless there’s money involved. But there are exceptions
to the rule. Being in the music business is a lonely career. It’s hard to trust
anyone, so you’re constantly paranoid, constantly on the road away from
home, without friendly faces to rely on. It’s those rare occasions when you
connect with somebody to the point where you really give a fuck about them
and not just their music that keep you in this shit. Well, I gave a fuck about
Pimp C. I first met him when he was locked up and I interviewed him for an
OZONE cover story. For some reason we just trusted each other, on that other
level beyond this rap shit, and by the time he came out we’d become friends.
Me, Plies, & Suga D @ FAMU
Homecoming in Tallahassee
Often when people pass away, everyone writes glamorous, glossy descriptions
of them, eliminating their flaws – well, I’m not cosigning the “Atlanta is not
the South” controversies or the rumored beef between him and you-knowwho – but I do know that he always looked out for me. They say that people
never remember what you said, but how you made them feel, and Pimp C
always made me feel good when I saw him. I’ll miss his charisma and intelligence. I’ll miss his random, always-entertaining 4 AM phone calls. And, of
course, I’ll miss his music.
J LASH
7. Bootleg DVDs
The bootleg man has gone up on his prices more
than premium gasoline. With these prices it’d be
cheaper to just to go to the movie theatre and
bring your family. A bootleg DVD nowadays cost
more than hotel room service.
For the next few weeks, it felt like I lived in Houston. I was like a permanent
fixture in the Sonzala guest room. That’s how I found myself giving up shotgun in Pimp C’s silver Bentley to T.I., retreating to the backseat to eat lunch
while the two rap legends reunited, rolling down the Houston freeway where
we’d been filming the video for “Front, Back, Side to Side” on an unreasonably
windy January afternoon. Behind us was Rasaq driving his brother Chamillionaire’s red drop top which he eventually gave Pimp as a gift (“Chamillion
gave me the bitch, she was already a star / Now all these n*ggas wanna fuck
my car”) and in front, a police officer who pulled us over to congratulate Pimp
on his release and then escorted us through traffic with his sirens blazing so
we could reach our destination quickly. I don’t remember the specifics of Pimp
C and T.I.’s conversation (it was one of those moments where I knew I was
supposed to be just a female companion, not an eavesdropping reporter) but
the gist of it was clear. I’d never heard T.I. so humble, the admiration in his
voice noticeable as he told Pimp, in his own way, how much of an influence
he’d been. Even then it felt like a historic moment, and I kinda wondered if
I deserved to be there; surely there’s other diehard Southern rap fans who
would’ve killed to be present for such a private, honest conversation.
They say Pimp C died yesterday morning in a Hollywood hotel room, but
I don’t believe it yet. I’m still fully expecting to get a text back from his
iPhone saying it’s all good, that it was just a bad rumor like the last one (it’ll
say: “Naw I’m good!! Tell them internet gangstaz keep talkin’ dat bullshit!!!
Chuuch!!”). It’s crazy that less than two years ago I witnessed a touching moment between Southern rap legends who’ll never meet again in this life; not
to mention that T.I.’s currently on house arrest looking at significant jail time.
ERIC PERRIN
3. Hardee’s
Have ya’ll seen these heart-clogging ass hamburgers they’ve been selling lately? If you’re eating and enjoying those things, the doctor should
slap your ass when you end up in the ER.
Best. Picture. Ever.
TERRENCE TYSON
2. Crazy Ass Texans
Did y’all hear about this dude who killed his girlfriend and then boiled her body parts? Last year
some teenaged Texans gave toddlers weed on
camera, and then before that we saw a woman
high off who knows what hit a man with her car,
drive home, park in the garage…with the man
STILL ON HER WINDSHIELD! They say everything is
bigger in Texas, everybody is crazier too.
KING YELLA
1. Black Folks Who Don’t Want to Vote For Obama
Just Because He’s Black
Forgive me if I sound naïve, but isn’t that the
fucking point? We did all this complaining about
wanting a Black president, now that the possibility is presented, some us wanna act like we can’t
vote for him off GP. Its not like he’s preaching
poison. Get off that bullshit man. If you think he’s
inexperienced, just look at with the folks with
experience have been doing. Scary.
UGK’s performance at the 1st
OZONE Awards was a classic
moment; me & Pimp C backstage
I hear that Pimp C recorded hundreds of unreleased songs in the past two
years since his release, so fortunately for rap fans, his music won’t be dying
out anytime soon. But I’ll still miss my friend.
- Julia Beverly, [email protected]
DJ Drama f/ Outkast “Art of Storytelling Pt. 4”
Shawty Lo f/ Young Jeezy, Ludacris, Plies, & Lil Wayne “Dey Know (remix)”
Rocko f/ T.I., Young Jeezy, & Rick Ross “Umma Do Me (remix)”
Lil Wayne & Juelz Santana “Always Strapped”
Cunninlynguists f/ Devin the Dude “Wonderful”
Jay Electronica “A Prayer For Michael Vick And T.I.”
Alicia Keys f/ John Mayer “Lesson Learned”
Playaz Circle f/ Phonte “Paper Chaser”
RE’Splaylist
[email protected]
Snoop Dogg “Sexual Eruption”
Ill Tactics “Nikita 6”
Lupe Fiasco “The Coolest”
Lil Keke f/ Birdman “I’m A G”
OZONE MAG // 15
16 // OZONE MAG
OZONE MAG // 17
T
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P
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G.COM
’ , HIT US UP at JB@OZONEMA
N
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DETROIT, MI:
SEE WOHR ANOTT’SREPRESENTED AT ALL
O
T
The Ultimate Black Party went down at the Detroit Lions’
S
T
E
E
R
,
ED
Ford Field. Cupid performed for a crowd of about 3,000.
S THE ST
EPRESENT
Young Dro and Detroit’s own Deelishis hosted a party at
OZONFEEEHL TIHTAT YOUR CITY IS MISR
Club Evolution that banged out. T Woods is still the most
IF YOU
ALBUQUERQUE, NM
AUSTIN, TX:
Stevie and Bamboozle shot three videos in one
weekend! Homie Marco left his position as P.D.
at Hot 97.3 so the position is up for grabs. The
Takeover Tour Concert was a smash, minus T.I.
Naughty by Nature tore it down. Cooley Sha and
David Wade continue to shine locally. Samuel
Jackson and Eva Mendez were in town shooting a
new movie called The Spirit. Club Fantasia is now
the spot for upcoming local rap artists to perform
and battle. Soulja Boy’s “Crank Dat” is the # 1
song on the air right now.
- Beno ([email protected])
Trae came to town for an in store appearance and autograph signing at Music Mania
for his album Life Goes On. DJ Rapid Ric
headed back overseas to India with Chamillionaire for the VH1 Hip Hop Hustle concert
series. Soon after, Koopa, Famous, and the
Chamillitary Camp came back to Austin to
host the ‘07 Hot 93.3 Fantasy Fest party
at Paradox. DJ Grip hooked up with Eddie
Deville, Trae, and Drojo to drop the 3-disc
Screw State Heavyweights. Tosin of TheScrewShop.com and J-Kapone got together
for the All In Yo’ Deck mixtape mixed by DJ
Dinkie D.
- O.G. of Luxury Mindz
([email protected])
BAY ST. LOUIS, MS:
consistent promoter in the city. Two of his recent successes
were at Evolution and Confidential, which was attended
by Allen Iverson, Carmelo Anthony, and Keyon Martin. Hot
102.7’s annual Shoes for Shorties went down at Northland
Mall and was attended by Gorilla Zoe, Hurricane Chris, and
Twista. Home-grown artist Tone Tone shut it down when he
performed his local hit “What Up Doe.”
- Big Gryph ([email protected])
BALTIMORE, MD:
Stay Gettin Productions, known for bangers on albums by
Cam’ron and Freeway, have gotten their artist Heavy Gold
signed to Epic Records. Even with no radio play, he and his
team have made a lot of noise in Harm City. Although the ink on
the deal is still wet, look out for Heavy Gold’s major label debut
real soon. Hometown favorite DJ Spontaneous has signed on to
be Atlantic Recording artist Trey Songz’ DJ on Trey’s new tour.
If you’ve never heard of Spontaneous, be sure to cop one of his
Spontaneous Combustion mixtapes.
- Darkroom Productions ([email protected])
The Miami Heat along with the New Orleans Hornets came to play a preseason game at the Biloxi Coast Coliseum. Some of the players stopped by Nell’s Sports
Bar & Lounge and kicked it. Plies came to da Sipp and rocked it. The ladies couldn’t keep their hands off him. It was almost a strip fest. It was a good look for
poetry as Huggy Bear the Poet appeared on the Tom Joyner morning show. Mississippi is getting ready for the
Bayou Classic, where the Feds will be taking pictures. - DJ Deliyte ([email protected])
louisville, KY
JACKSONVILLE, FL:
LOUISVILLE, KY
BrickLayer Entertainment reappeared with Shut Down Sundays
featuring Gucci Mane at Villa Fontana. SOLO (above) opened up
and showed his swagg to the public. H.O. Holla held down Hottest
in the Ville for 5 days and A.R. is following the same pattern. Griff
Jr. hosted Fresh Kicks Friday, a party by Famous Entertainment.
Wild Wayne has been out of control lately performing in every
venue the city has. Nova has a hot ass mixtape out called LouBreeze hosted by DJ Khaled. Lets Get It Entertainment brought
through the I Can’t Feel My Face Tour featuring Lil Wayne, Juelz
Santana, Fabolous, and Louisville’s own Mac-D.
- Divine Da Instagata ([email protected])
CLEVELAND, OH:
The crime rate in Jacksonville sours as four murders occurred on the eve of the
Florida-Georgia football game. One man was stabbed to death at Café Bolero’s and
two others were injured. On a more positive note, Young Cash releases the video
for his single “X” on Youtube.com. The song is also receiving some rotation on 92.7
the Beat. Synsha Models held a fashion show downtown at the Crowne Plaza. Local
artist Dez Nado continues to make moves in J-Ville. If you’re in the area, stop by
Groove City Music in the Town & Country Shopping Center.
- Ms. Rivercity ([email protected])
The Mayor’s office continues to struggle as a teen stabbing and school shooting have
been tagged to Frank Jackson’s resume. The female assailant was coached by mom
and grandmother during the assault. Sam Sylk returns to ENZ. After stints in Chicago
and Philly, the Sylk man returns to his familiar 2:00-6:00 slot. Local producer/engineer EQ, who achieved national fame, passed away recently. The local Hip Hop
community mourns this pioneer. The Hot-Spot lists Gucci Mane and Lil Wayne as top
CD sellers, The Alpo Story and BET’s American Gangster as top DVDs, and G-Spot’s You
Can’t Feel Me as top mixtape.
- “X” Allah ([email protected])
NASHVILLE, TN:
NEW ORLEANS, LA:
DJ Hollaback is on fire in the clubs right now. The Foxx album release party
thrown by Here We Go Entertainment was classic and the 504 dimes were
in the building. Wild Wayne does it real big with Wild Wayne TV. Flame has a
new single called “Look Back at It” and it’s gaining momentum. The Street
Team got back together after a brief falling out. Everyone is still waiting on
Lil Wayne to come out of his bubble and drop the official Carter 3.
- Derrick Tha Franchise (www.Myspace.com/DerrickThaFranchise)
CINCINNATI, OH:
The Mixin’ Vixen, a.k.a. DJ Dimepiece, from WIZF 101.1 is reppin’ Cincinnati everywhere. Somebody is always hitting me up from Cali, Vegas,
or Miami telling me they saw Dimepiece and she is bad! Contact [email protected] for more info. Kenny P. has been on the grind
a long time and his song “Party Like My Birthday” is buzzing in the
streets, in the clubs, on radio and mixtapes. It’s your turn Kenny P. The
Cincinnati Bengals didn’t get off to a good start, but the city is very
optimistic about their future with Coach Marvin Lewis.
- Judy Jones ([email protected])
TSU kicked off their Homecoming with a hot ass Lil Wayne, Yung Joc and Lloyd concert followed by an insane after party at 615. Eight years and stillgoing, PhatKaps has breathed new air into Nashville by raising the bar with a new and improved superstore. Get yo gear up! Speaking of new stores, Elite Men’s Boutique
has just opened. AllStar and Paper battled it out (literally) to prove who was #1 and 92Q’s Community Day was a huge success, especially for the winner of a
brand new car. Stevie Wonder tickets are now officially on sale.
- Janiro ([email protected])
18 // OZONE MAG
columbus, ga
COLUMBUS, GA:
After surviving a summer where the murder rate doubled within a
month and a half, people have been partying and nightlife has picked
up. DJ O3 from Foxie 105 teamed up with Incognito from 98.3 The
Beat for Sunday nights at End Zone. Folks have actually been acting
like they have some sense…I mean there was that one incident, but
a broken bottle never hurt anyone. Chester’s Barbeque won the Steve
Harvey Hoodie Award for Best in America. Since there was no drivethru in this East Columbus liquor store, some guy parked his Cadillac
inside (at right).
- Slick Seville ([email protected])
COLUMBUS, OH:
STREETBUZZ DVD magazine and the High Five
Bar have the city on smash by exposing local
artists. Q Nemis is also putting the city on the
map down in Atlanta along with Blackbox Ent.
Yellow Tape Gang will be in a hood near you too.
Major Woody’s nightclub is always stacked to
capacity. Even in the hood, hole-in-the-wall bars
go down.
- Jorden Martin ([email protected])
DOTHAN, AL
In the early morning hours, club manager/promoter DJ Rob Base was shot and killed in front
of his home. He was returning home from work
at the nightclub Grand Central Station when he
was shot several times in the back. An investigation is still going on and no arrests have been
made. Grand Central Station has hired DJ Marcus
Kage as the new house DJ. DJ Pain will release
his new mixtape entitled Pain Is Pleasure by
December. The focus of the project is a new artist
named Deuce.
- DJ Akil ([email protected])
DALLAS/FT. WORTH, TX:
BC and Southern Fried Marketing is your promo
outlet in the city. Hawatha and Shelly have the
official after hours spot at Club One. Club Blue
has re-opened its doors as Club Cirque. Aleesa is
keeping Def Jam in the streets. Pegasus News is
exposing Rapquest every month and model Nia
Lynae is on come up. Young Maboda and Cutta
C are building a buzz. The NAACP and UTA set up
and bashed the local music scene with no warning. Veda Loca conquered the evening slot on
97.9 The Beat. Renzo from Big Wheel Records is on
lockdown. Stay strong.
- Edward “Pookie” Hall (www.urbansouth.us@
gmail.com)
Ft. Myers, fl
FORT MYERS/NAPLES, FL:
Birthday Bash 2007 was ridiculous. Groupies put on their shortest skirts to get backstage. The Big O (Omar),
105.5 The Beat’s MD, put together a lineup that included Ja Rule, Flo-Rida, Swizz Beats, Jagged Edge, DJ
Khaled, Rick Ross, Kat De Luna, and Playaz Circle. The bartender couldn’t handle all the smoke in the air
backstage; he actually went outside and threw up. Speaking of smoke, a record 7 grow-houses were busted in
Lehigh Acres in one day, so it’s going to be dry for a while. (Above: 105.5’s Jae Rae, Scrappy, & DJ Sway-Z)
- Jae Rae ([email protected])
JACKSON, MS:
Jackson, MS
HOUSTON, TX:
It’s round two of the New South takeover.
Chamillionaire and Trae are back. Coughee
Brothaz are putting that good fire in the air.
Upclose Entertainment is resurrecting Hip Hop
with Uppa Dek, Dre Steel, and Krystal. The
Grit Boys are holding down the hood. Jak Da
Rippa, Upfront Records and Fatman are making things happen all over Galveston. Come
hit up Baby O’s where all the hoods’ favorites
go to perform. - Jamar “J Gamble” Irby (My.
[email protected])
MACON, GA
It was a big month in the Mac thanks to the
Fort Valley Homecoming game. Plies and
Shawty Lo blessed us with their presence at
the major party courtesy of the Legion of
Doom DJs. DJs Ric Flare (YBMFDJ) and Supa
Dave held down the 1s and 2s. Young R
opened up for Yola and his Mixtape 101 hits
the streets soon.
- Ali Roc ([email protected])
MEMPHIS, TN:
Lil Wayne, Lil Boosie, 3 Deep, and Yo Gotti all hit the city this month with slammin’ performances. DJ Khaled
and DJ Q45 took over the city at various clubs during Jackson State University’s Homecoming weekend.
Project Pat gave some lucky listeners of Hot 97 a private dinner (Project Pat shown at left with Hot 97 crew).
Peso the Don and the PCF (Paper Chasin’ Family) movement have taken the streets of Jackson by storm.
Mississippi’s own Boo the Boss Playa has new music with Young Jeezy on the CTE Shield mixtape.
- Tambra Cherie ([email protected]) & Stax ([email protected])
MONTGOMERY, AL:
Lil Chappy pulled another hit out of his hat. “I Made It” got the blocks jumping harder than when he
dissed Gucci Mane. But it’s neck and neck with Dem Dirty Boyz. The album The First Supper is beating
down the street. The first single “Tryna Get It” features Lil Boosie and of course you know
The Big Station had to be the first to bust it out, but now it’s playing on all
stations. “Badunka Walk” featuring The Black Paris Hilton got tricks
in the club trying to make up their own dance. Tyte Wurk
is about to get it with Sound Load.
DUMAS, AR:
- Hot Girl Maximum
Everybody is getting ready for the Southern
(HotGirl.Maximum@
Entertainment Awards going down in Tunica,
gmail.com)
MS. UAPB’s Homecoming was major. Criminal
Manne from Memphis got the streets on fire.
The local rap scene is ready to explode with
shows hosted by Countyside Productions. Club
Elevations is the number one spot for clubbing in Little Rock. The parties in Monticello
have been off the chain. A female rapper
named Memory is one of the tightest in the
state. The club scene has been jumping in Pine
Bluff along with The Cedar Cabin and PJs.
- DJ Hiley ([email protected])
Kia Shine is wrapping up his second video shoot of the
year. He and all his fans met up on historic Beale Street
to shoot the video for his latest single “WOW.” Some
special guests included UFC champ Rampage, Rudy Gay
from the Grizzlies, and Euro basketball star Scooter McFadden. Blink is putting together the second Memphis
or Die DVD and promises to feature the hottest folks in
Memphis, plus a touch of some American Gangster. Hot
new artists Too Deep and Yung Flow are gaining local
attention with their latest single “Feel Like a Mill.” DJ
007 is holding it down for our local artists.
- Deanna Brown ([email protected])
INDIANAPOLIS, IN:
Vika, the R&B/Pop Queen of the city, shot her video
this passed month and her single “Fantasize” is
making some noise. Ophilia has graced the covers of
Smooth Magazine and The Leak Magazine. She also
has a photo spread in King Mag. Willie Hawkins, a.k.a.
Dope Fiend Willie, is on the road with Mike Epps and
also has a new comedy CD out. We must also mention
Otis Brown (R.I.P.) whose life was taken by senseless
violence. His barbershop The New Doo was a true
cornerstone to find out what is going on locally and
nationally. He will truly be missed.
- Lucky The Promo King ([email protected])
MILWAUKEE, WI:
This pertains to all hoods across the map, stop
the violence! (right) It’s getting so senseless.
Milwaukee is hurting right now in so many ways
statistically. The last thing we need to be doing
is killing each other. R.I.P. to Yolanda “La La”
Brown who had a popular hit song with Lyfe
Jennings and her boyfriend/producer JeTannue
“Kool-Aid” Clayborn. Both were murdered recently. Our whole city is affected. People need to
stop and think. Let’s spread some unity via the
music and media too. Guns down Mil-Town!
- Gorilla Promo ([email protected])
milwaukee, wi
OZONE MAG // 19
RAPQUEST
OKLAHOMA CITY, OK:
TALLAHASSEE, FL:
Your favorite HoneySiccle models, as well as Honey herself, are
headed to Dallas, TX to perform at a video/DVD release party. They
are also headed to Kansas to make major moves at club spots.
Presidential Trap House is doing big things. They headed to Tallahassee, FL for the TJs DJs Conference and made an appearance at
the Billboard Awards.
- PL ([email protected])
It was a star studded FAMU Homecoming. Ja Rule had an in depth
interview on Blazin 102.3 (shown at left with Jay Blaze) about
his career and 50 Cent. Now the streets of Tallahassee are buzzin’
and liking Ja Rule. Other guest celebrities included comedian
Mike Epps, Fonzworth Bentley, Doug Banks and Dee Dee McGuire,
Midget Mac (I Love New York II), Lisa Raye, Malik Yoba, and more.
The highlight of the weekend was the sold out FAMU Homecoming Concert with Lil Wayne, T-Pain, Lil Boosie, Lil Webbie, Musiq
Soulchild, and Plies. The song heard all weekend long was FloRida’s “Low” featuring T-Pain.
- DJ Dap ([email protected])
ORLANDO, FL:
Haitian Fresh set Tabu on fire with his performance at his signing
party in Orlando. Sho Boy causes more controversy with his new
song “Orange County Truth” which addresses Orlando’s music
scene. Pure Cash Entertainment debuts their latest project, Pure
Cash Magazine. Producer Phil 4 Real leaves Mo Muzik Entertainment. Edgewater’s own Darius Washington is the newest member
of the San Antonio Spurs.
- Destine Cajuste ([email protected])
tallahassee, fl
Mad Linx came through to visit Tony Montana (bottom right) and
the Shut It Down Squad family during the WMNF 88.5fm community radio marathon. The crew donated their time as they do
every Saturday night to keep true Hip Hop flowing through our
airwaves. BayBizness.com is doing their thing by giving the Bay
area another flavor of Hip Hop in cyberspace. According to TampaHipHop.com and DJ Ekin, Tommy Gunz puts the word out that he
is the hottest dude in town and he doesn’t battle unless there is
real beef…any takers?
- Mz T-Rock ([email protected])
PENSACOLA, FL
We are approaching the Second Annual Get ‘Em Magazine awards.
Greg Gates will be hosting a conference during that same weekend.
Microphone Monday goes on every week at The Blue Bar. It’s
designed for artists to promote themselves and network. It also
gives artists the opportunity to perform and throw album release
parties all under one roof. Choke ‘Em Out brought Wil-lo Week into
effect in October. People are looking over Pensacola now, but in a
minute we will be undeniable.
- King Pen ([email protected])
tulsa, ok
SAN ANTONIO, TX:
98.5 The Beat debuted the smash single “Whip Game” from San
Antonio hard-hitters Tha Coalition. Now the song is being played
everywhere and talks of their mixtape The Laws of Power (right)
are circling. Ja Rule unexpectedly came to town and threw a concert at Club Rio. With both radio stations (98.5 the Beat and Power
106.7) in competition for who could throw the livest Halloween
party, The Beat was clearly the winner. They brought an onslaught
of signed and unsigned artists to perform at The WAMU Boo Bash.
Artists performing and making appearances included Gorilla Zoe,
Trapstars, Gemini, and Tha Coalition.
- Bishop Maxx ([email protected])
TULSA, OK:
Soulja Boy dropped into Tulsa for a show and stopped by 106.9
KHITS for an interview. Local artist P.D.A. is currently on the Critical Bill tour and gaining more exposure since opening up for Akon
at the 2007 Spring Bash. Young Ruccus released his new album Da
Gutta Boy Family Block Music. Club Exclusive had its annual Rock
the Mic Battle this month and MTV was in attendance. Ludacris
and T-Pain will perform at a confirmed sold out show at the Expo
Square Pavilion. I released my latest mixtape Certified Street
Invasion Vol. 1. (left)
- DJ Civil Rightz ([email protected])
VIRGINIA BEACH, VA:
SAVANNAH, GA:
Frozen Paradise celebrated the SSU Homecoming this weekend
with a packed house. Asia Black Entertainment kicks off Freak Em
Dress Fridays at Frozen Paradise. Ladies in the hottest freak ‘em
dresses get in free until midnight. 94.1 The Beat’s
Nite Ryda Radio continues its search for the next
Lady Nite Ryda. You can hear the show every Monday thru Thursday night from 7:00-10:00pm. Gucci
Mane shut down the Black-Out Party and Gorilla Zoe
did it big at Club 170.
- Lucky ([email protected])
TAMPA, FL:
san
Norfolk State University welcomed Lil Wayne and Lil Boosie to
town for their Homecoming. Lil Wayne ripped the house down
and Lil Boosie had everyone wiping themselves down. Gorilla
Zoe stopped through Hampton and showed love. Old Dominion
University and WODU are welcoming Bobby Valentino to town for
their Homecoming. You can catch local super stars courtside at an
ODU basketball game. Saturday nights are still on lock at Tribecca
antonio, tx
in Newport News with the baddest chicks in Hampton
Roads representing every week.
- Derrick Tha Franchise
(www.Myspace.com/DerrickThaFranchise)
washington, dc
WASHINGTON, DC:
Northwest collective The G.O.V. (left) is trying to
move up in the D.C. music stratosphere. They’ve
utilized a shameless grassroots promotions blitz of
online blasts and local shows to push themselves
beyond their fan base and into the pages of the
Washington City Paper and Streetzmag.com. The
trio, which consists of The Mayor, Jay the Gov-na,
and Intrigue, recently released their new album
Dollartic$ and their album-titled single has been
getting some recent burn on WPGC. The G.O.V. also
recently aired their new Hip Hop roundtable show
The G.O.V. Report on Comcast.
- Pharoh Talib ([email protected]) //
SHREVEPORT, LA:
KMJJ just received notification from the Governor
of Louisiana that it’s being named the 2007 Station
of the Year by Radio & Records Magazine. J Holiday
came through Shreveport and ripped the roof off of
Gi-Gi’s Martini Room. In attendance were Carl Payne,
Matthew Broderick, Sanaa Lathan, and Michael Williams
from HBO’s The Wire. The National Black Rodeo Finals
featured performances by Unk and Cupid.
- C-Mac ([email protected])
ST LOUIS, MO
Mr. Marcus Mixtape interviewed Julia Beverly on 89.5fm.
Former Fyre Gyrl KK has been holding it down at Phat
Tuesdays on the landing every first of the month. Ms.
Kendra dipped to ATL and is now a Tigger Kitten. BGyrl has been holding the STL down for years at www.
stlhiphop.com. Ms. Mary keeps dropping hot issue after hot issue
of her Disclosure Newszine. Hot R&B duo Az One is killing the
streets. Teenage trio SOSy (right) is making a lot of noise as well.
Downtown Music, Culture Vibe, and Vintage Vinyl are the hot mom
and pop shops in town.
- Jesse James ([email protected])
20 // OZONE MAG
st. louis, mo
tampa, fl
The Laws Of Power For Urban Artists
mathematics
New Years Resolutions
by Wendy Day of the Rap Coalition www.wendyday.com
2008
LIL WAYNE:
TALIB HAQQ
This Year: “Just to see ‘08; that’s it. I don’t make resolutions—I had
made one, I think I told Julia what it was, but I forgot it so I wasn’t too
dedicated to it. I don’t do the resolution thing because I’m gon’ forget
that bitch. I did make it—oh, I remember that shit, it’s to make $50 million.
Make $50 million in 2008, I swear to God that’s what it is. I’m gon’ try my
hardest to make $50 million in 2008.
David Banner:
Diamond of Crime Mob:
Last Year: “This year is gonna be the happiest year of my life. I’m on
some positive, successful shit.”
This Year: “To have longevity in the game. Make more money, more
money, and more money, and buy an even bigger house. Last but not
least, get closer to God!”
JULIA BEVERLY
Last Year: “To acquire $6.7 million dollars in a three-month span
between movies, production, and shows, and to write Mississippi: The
Movie.”
This Year: “In 2007 I set my plan into motion, and although I didn’t
reach it, I’m very proud of my progress. My 2008 New Year’s Resolution
is to do a better job of seeing my family. My dad and grandmother both
died this year. God bless Kanye.”
Mike Jones:
Last Year: “To work harder on my American Dream album than the last
one.”
This Year: “I did pretty good last year. My 2008 New Year’s Resolution is to
shine harder in ’08 than I did in ’05.”
DJ Khaled:
Last Year: “For my new album We The Best to be the #1 album in the
country, and to have good health!”
This Year: “I did great on my ’07 New Year’s Resolution! I got the #1
independent album in the country, and I’m in good health! My 2008 New
Year’s Resolution is to have another #1 album, to have good health, and
launch my record company: We The Best Music!”
Mistah FAB:
Last Year: “Stop letting white girls be my weakness.”
This Year: “Man, my New Year’s Resolution only got worse. The white girls
got the best of me in ’07. In 2008 my mission is to work 10 times harder
than the top cats in the game, stay focused, and keep gettin’ money the
legal way.”
DJ Drama:
Last Year: “To move the culture forward by any means necessary.”
This Year: “I did great on my 2007 New Year’s Resolution! They tried to
attack Hip Hop by stepping on my back, and I didn’t let them stop the
movement. I pledge allegiance to feed the streets for the rest of my life!
In 2008, I’m gonna make the world pay even
closer attention!”
Pimp C (R.I.P.):
Last Year: “No more fuckin’ with negative people, no matter how much I
care about ‘em.”
This Year: “I did great in ’07, stayed busta free! This year I’m gonna stand
on these fake d-boy pussy ass rap niggas’ and internet gangsta hoes’
Gangsta Boo:
Last Year: “Stay away from broke men and
take more overseas trips.”
This Year: “I did good. I stayed away from
the broke men. In 2008, I’m gonna work out
more and get a flat stomach!”
Gorilla Zoe:
This Year: “My 2008 New Year’s Resolution is
to be better than I was last year, as a whole.
To be a better person.”
22 // OZONE MAG
Last Year: “To finish my fucking album!”
This Year: “My album is almost done. In 2008
I’m gonna stop making everybody else get as
drunk as I do. Sometimes they can’t take it.”
JULIA BEVERLY
JULIA BEVERLY
Lil Jon:
2008
08
KING YELLA
necks until they beg me to stop! If you call Pimp C a snitch, you’re a bitch for
life! Don’t get mad at me cause the math don’t match. Tennessee is 23-a-key,
bitch! ATL 20 to 27! Eat my dick if you don’t like that and say my name when
you diss me! Preach! Chuurch!
Webbie:
Pitbull:
Last Year: “[My partner] Mayne’s resolution is to eat healthier’
mine is to hit the gym every day.”
This Year: “We did great with our resolutions last year. We wanted
to make more hits than last year, and we succeeded. We did two
singles for Young Jeezy and gave DJ Khaled a Top 20 record on
teh Hot 100. To wrap the year up we provided Rick Ross with his
new single “Speedin’” featuring R Kelly. This year we want to blow
up our artist Bali because he speaks what he lives. We have major
[joint venture] offers from every record label. We also want to
break into pop music. We’re working with Janet Jackson and many
more!
Last Year: “Continue to grind the only way I know how.”
This Year: “I’m still grinding, so I did good in ’07, and as far as the game, this
is the year I start to take over. It’s a three year process.”
Rich Boy:
Last Year: “To let that dumb shit go and get this money!”
This Year: “I did great on my last New Year’s Resolution! This year, my resolution is to be great at what I do, the way I envision myself, and also to give
the underground mixtapes they’ll never forget!”
Slim Thug:
Last Year: “My New Year’s Resolution is to do a song a day.”
This Year: “I didn’t do so good on my last year’s resolution. This year my
resolution is to work out and get in shape, and try to be more organized.”
Southstar of Smilez & Southstar:
Last Year: “Hit the gym and get on a healthier diet, and cut back on my drinking.”
This Year: “I started off good with my 2007 New Year’s Resolution, but didn’t
stick with it. This year I definitely wanna hit the gym up and get in shape and
grind harder than ever! It’s now or never!”
Last Year: “To get business right and take over in 2007.”
This Year: “To stop smoking cigarettes like Boosie did last year.”
DRU BRETT OF The Runners:
Trina:
Last Year: “To stay humble and continue to become successful.”
This Year: “I think I did a good job on my last New Year’s Resolution; I remained humble and focused, and my success has grown
in many ways, so I’m proud of myself. My 2008 New Year’s Resolution is to continue to better myself and continue to work hard and
become more successful in ’08 then I was the year before.” //
Too $hort:
Last Year: “Teach young people how to get money in the music business. Hip
Hop has to be passed on as both art and a source of income.”
This Year: “That’s been my main mission for ‘07 and next year too. I’m making a lot of progress with The Pack and the kids at the youth center [Youth
UpRising] but I have a long way to go, cause I want to see more of them get
[record] deals and get money.”
Trae:
Last Year: “Make the whole world become an Asshole By Nature, and get rid of
fake industry niggas.”
This Year: “I did good on my last year’s resolution because I’ve got a lot of
niggas tryin’ to be street and I’m still alive. My New Year’s Resolution this
year is to bring the world the truth and make an impact in the hood for ’08,
and to work harder to bring Dinkie home.”
Trick Daddy:
Last Year: “In 2006 I ain’t do shit but get money, so by 2007 I’ll be putting out
my own niggas.”
This Year: “My New Year’s Resolution is Dunk Ryde or Die! I’m finally famous,
finally free!
OZONE MAG // 23
24 // OZONE MAG
(above L-R): Shawn Jay of Field Mob & Midget Mac on the set of Young Cash’s “X” video shoot in Jacksonville, FL (Photo: Terrence Tyson); DJ Khaled & DJ Drama on the set of DJ
Drama’s “5000 Ones” in Atlanta, GA (Photo: Julia Beverly); LL Cool J gets some love @ The Last Damn Show in Tampa, FL (Luis Santana)
01 // Trey Songz & DJ Kut on the set of Jus Bleezy’s “Like Me” (St Louis, MO) 02 // Teddy T, Haitian Fresh & his mascot @ Chef Creole for World AIDS Day concert (Miami, FL) 03 //
Wickett Crickett, DJ Chill, & Slim Thug @ Party 104.9 (Houston, TX) 04 // Guest, Attitude, Countri Boi, & guest @ the Dirty Awards (Atlanta, GA) 05 // Chubby Baby, Jim Jones, Freekey
Zekey, & Juelz Santana on the set of DJ Drama’s “5000 Ones” (Atlanta, GA) 06 // Big Gipp, DJ Q45, & Kia Shine @ The Globe for DJ Q45’s birthday bash (Jacksonville, FL) 07 // DJ Nasty
& Christina Milian @ Mansion for DJ Khaled’s birthday party (Miami, FL) 08 // Slimm Calhoun & Fonsworth Bentley @ the Dirty Awards (Atlanta, GA) 09 // Pleasure P & Jas Prince @
White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL) 10 // B5 @ Kwanzaa Fest (Dallas, TX) 11 // Slim of Loose Cannon & Laurence Maroney of the New England Patriots
get ready to make it rain @ Society (St Louis, MO) 12 // JR Get Money & Anne Williams @ BET College Tour (Houston, TX) 13 // Roccett & Terrence Tyson @ Sobe Live for Bigga Rankin’s
party (Miami, FL) 14 // Webbie & crew @ Hush (Houston, TX) 15 // Studio & G Mack @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 16 // DJ Montay & Unk @ The Globe for DJ
Q45’s birthday party (Jacksonville, FL) 17 // BloodRaw & Slick Pulla @ the Dirty Awards (Atlanta, GA) 18 // Rich Boy & Big L @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 19
// DJ Drama & Willie the Kid @ SF2 (Houston, TX)
Photo Credits: Carl Lewis (02,16); Intl K (03,12,14,19); Julia Beverly (04,05,08,09,17); King Yella (01,11); Malik Abdul (06); Ms Rivercity (13,15); Terrence Tyson (07,18); Tre Dubb (10)
OZONEMAG
MAG////25
25
OZONE
mathematics The Laws Of Power For Urban Artists
by Wendy Day of the Rap Coalition www.wendyday.com
Law 1: Never Question or Outshine The Person With Control
m
Law 6: Keep People Dependent On You
If you are signed to a label owned by an established artist or producer,
or an indie regional label, be careful you don’t outshine or overrule the
person putting up the funding for your career. If they hold the money or
the access to the industry, it is key that you never embarrass, outshine, or
piss them off. It will be just as easy for them to shift focus to another artist, and the truth is they do not care about backing the most talented or
the most gifted artist (presumably you). They care about backing the one
that will listen to them and follow their lead. To have attained success
as an artist (if they are a rapper or producer) or to control the finances
(meaning they made the money they are putting up to fund your career),
they have earned a degree of power and influence—to question that, or
to try to take that from them, is a guarantee that you will be replaced
by someone who doesn’t try to make them feel inferior or question their
authority. People, in general, are hugely insecure, and if you make your
“leader” feel insecure in the slightest way, you will be replaced by someone who doesn’t.
If they don’t need you, they will discard you. Labels have been controlling
their artists through money (advances) since the inception of the music
business. Artists do what they are supposed to do because they need to
get that next check before they go broke.
Law 2: Protect Your Reputation With Your Life
Law 9: Know Who You Are Dealing With—Do NOT Piss Off The Wrong
This is a “who you know” industry. That means to make any positive
moves forward at all, you need to have strong relationships. Without a
good reputation for being fair and honest, you will get blocked at higher
levels without ever knowing why. This industry seems big, but it is very
small. It is common knowledge who all of the scumbags are, and those
people are either avoided or used to do dirty work (without them even
realizing they are being used). In order to succeed at a level you will want
to achieve, your name has to ring with a good positive connotation. Once
people begin to gossip about what a scumbag you are, or your past misgivings, your career will begin to hit the skids. Guaranteed. The same goes
for the folks who represent you. If a member of your team is shady or
inept, then you are shady or inept. Choose carefully. They represent YOU.
Law 3: Seek Attention At All Cost
Stand out from the din. Attract attention by appearing larger than life.
It doesn’t matter what people are saying about you, only that they are
saying something about you. All publicity is good publicity. Make sure
that whatever you are doing is being discussed publicly. Hire a publicist to
promote you. Self-promote at every turn. If you have not learned how to
control the media yet, get media training so you can speak in soundbites.
Build relationships with public figures and the media. Opportunities come
to those who are in the forefront of people’s minds. Be that person.
Law 4: Use Absence To Increase Respect And Honor
If you are everywhere, you burn yourself out. When you appear on
everyone’s remix or are the producer of every other song on the radio, the
initial perception is that you are hot. But this opinion rapidly changes as
fans grow tired of hearing you on everything. You become commonplace
and oversaturated, driving down your value in the marketplace. This is
also true for label executives and owners who can’t stay out of the limelight. I even noticed this with my appearing on panels—at first, wherever
I showed up to speak people thought it was the place to be because I
was there to speak. Then, after folks realized I was everywhere, I was no
longer special and no longer brought an aspect of “special” to the conference. Now people even talk through my panels so they can approach me
at the end to hand me a demo (even though I just got done saying that
handing anyone a demo is never a way to get on in this industry).
Law 5: Avoid Negativity
If there is something negative going on that attracts media attention,
there is no upside to getting involved. The short burst of fame from being
seen everywhere will not overpower the fact that fans see you in a negative light now. Your image is everything. Those who want to see an artist
take a stand don’t buy CDs. If you want to make a difference, stop trying
to sell CDs or entertain and become an activist.
26 // OZONE MAG
Law 7: When You Need Help, Appeal To Other’s Self-Interest Or Greed
No one is stupid enough (except maybe me) to want to help someone
without getting anything in return. Rather than asking for help based on
a freebie, why not show the person you are asking for help from, how
they can benefit themselves by doing the right thing and helping you.
Always show them what’s in it for them.
Law 8: Be Unpredictable
If people don’t know what you will do next, they can’t block your moves.
Your seemingly odd and unpredictable behavior will keep people guessing
and talking about you (see Law 3).
Person
It is important not to piss off people who have power or who are next to
the people with power. There are folks in this industry who can make a
phone call and stop something from moving forward for you, and you will
never even know what hit you—your deal or opportunity will just quietly
dry up and go away. The real power players are not stupid enough to
let you know it was their doing to fuck up your shit. They will just take
pleasure in doing so.
Law 10: Do Not Isolate Yourself, Build Bonds With Others
People who have no movement, or no support, are easy targets. Make sure
you have a team or enough powerful friends to help move your career
forward. Aside from needing the help to build success, you also need
powerful friends to cut for you in case you hit a rough spot.
Law 11: Always Be The “Good Guy;” Let Your Manager Be The Bad Guy
Artists must be loved by the label’s staff at all cost. If the people in power
and the everyday staff don’t love and respect you, they will NOT go hard
for you to build your career. This industry is NOT about talent. It’s about
lazy people doing whatever’s easiest to collect a paycheck. If they like
you and respect you, they will want to help you succeed. If you yell at
them, insult them, or in any way disappoint or piss them off, you have
already lost the battle.
Law 12: Make It All Seem Effortless
If people know you struggled to complete a task, you don’t look like as
much of a genius if it all seemed easy. Never let your fans or co-workers
see you sweat. It’s a sign of weakness. Most opportunists prey on weakness.
Law 13: Acts Of Kindness and Helping People Will Not Be Rewarded
When you help a fellow artist or a team member, you will eventually be
shit on for doing so. No one likes to admit they needed help, so in order
to keep their self esteem intact, they will either shit on you or grow away
from you so they can avoid the constant reminder that you were there
for them when they needed you. If you put someone on in this industry,
they will step on you as they try to grow bigger themselves (even though
when they needed you they promised they’d never forget you and swore
their allegiance to you for life), and they will never reach back to help
you. In fact, if they can screw you out of paying you for your services,
they will. No good deed ever goes unpunished.
Depressing, but true. //
(With a grateful nod to Robert Greene for writing the hugely
important book 48 Laws of Power, from which this article
is wholly based.)
m
(above L-R): Scarface practicing his golf swing @ his listening party in Houston, TX (Photo: Intl K); Gil Green & Plies on the set of Plies’ “Hypnotized” in Miami, FL (Photo: J Lash);
Rasheeda & Nelly on the set of DJ Drama’s “5000 Ones” in Atlanta, GA (Photo: Julia Beverly)
01 // Guest & Young Jeezy @ Mansion for DJ Khaled’s birthday party (Miami, FL) 02 // Rick Ross, Tony Neal, TJ Chapman, & DJ Dr Doom @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 03 // Mario & Brandii @ The Globe for DJ Q45’s birthday bash (Jacksonville, FL) 04 // Lil Keke & T Farris @ BET College Tour (Houston, TX) 05 // DJ Nasty & J-Dawg @
Firestone during Florida Classic weekend (Orlando, FL) 06 // Hurricane Chris, Soulja Boy, Mr Collipark & crew @ the Dirty Awards (Atlanta, GA) 07 // James Prince Jr & Scarface on the
set of Scarface’s video shoot (Houston, TX) 08 // The Runners, Bali, DJ Q45, & M-Geezy @ The Globe for DJ Q45’s birthday party (Jacksonville, FL) 09 // Slim Thug, Chamillionaire, &
Killa Kyleon @ Mike Jones’ American Dream movie premiere (Houston, TX) 10 // TMI Boyz, Stephanie, & Wendy Day @ The Moon for TJ’s DJ’s (Tallahassee, FL) 11 // Creep Boyz @ Club
Lagoon (Winter Haven, FL) 12 // DJ Green & Showtime @ White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL) 13 // Grand Hussle, Mannie Fresh, DJ Wop, & Chunch @ Lil
Wayne’s Bayou Classic jam (New Orleans, LA) 14 // Bigga Rankin & Rick Ross @ the Dirty Awards (Atlanta, GA) 15 // DJ Demp & Lil Boosie @ Firestone for Florida Classic block party
(Orlando, FL) 16 // Trey Songz & Ashlei on the set of Scarface’s video shoot (Houston, TX) 17 // RukaPuff & Beauty @ Onyx for OZONE talent search (St Louis, MO) 18 // Prince Markie
Dee & guest @ Industry Secrets seminar (Miami, FL) 19 // Young Dro, DJ Khaled, Pimpin Ken, & Paperchase @ the Dirty Awards (Atlanta, GA)
Photo Credits: Carl Lewis (08,18); Julia Beverly (01,12,14,19); Intl K (04,07,09,16); King Yella (17); Malik AbdUl (03,15); Marcus DeWayne (13); Ravi Angard (05); Street Grindaz (11); Terrence Tyson (02,10); Thaddaeus McAdams (06)
OZONEMAG
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c
CHINCHECK
by Charlamagne Tha God
I
am the type of person who wants this wicked
system of things to come to an end. I would love
for Allah to tell me to start building an ark and
have me go out and spread the word that God is
fed up with everybody! Black people, white people,
Latinos, Mexicans, Native Americans (if they still
exist); we all are not in God’s good graces right now.
I have been slipping spiritually lately, I can’t lie. I find myself waking up some mornings and I am so focused on what I have to do in
this world that I forget to thank Allah for waking me up! The other
day at like 10:30 PM I realized that I hadn’t said a prayer all day!
Now, that’s crazy to me, because all my life I have been into religion. My grandmother was a church-going, Bible-thumping Baptist.
I was never allowed to go to church with her because my mother is
a Jehovah’s Witness and for whatever reason Jehovah’s Witnesses
will not step foot in a church or any place of worship if it doesn’t
have something to do with their religion. They won’t even go in a
church for funerals and weddings! One of the things I regret to this
day, especially now that my grandmother has passed, is not going
to church with her one of those Sundays because of some bullshit
rule that the Jehovah’s Witnesses have.
As I got older and could make my own decisions about how I
wanted to worship I was feeling like all organized religion is
garbage and the different practices that each religion followed had
nothing to do with your individual spirituality. It doesn’t matter if
you knock on doors every Saturday as a Jehovah’s Witness or walk
around in a Kufi as a Muslim, as long as you believe in God! Anybody that is in tune with the Creator and knows they are connected
to something far greater than their mind, body, and ego has truly
found their purpose in life.
Now I said all of that to say that it was sort of an epiphany to
realize that I hadn’t said a prayer all day, because my whole life
has been rooted in spirituality! I don’t call myself the God because
I’m some conceited, arrogant, big headed prick. I call myself the
God because Genesis chapter 1 verse 26 said God created man in
his image according to his likeness, which means that when I look
in the mirror I see the image and likeness of God. We get caught up
in this worldly way of doing things so much that we forget we are
not human beings trying to live a spiritual existence, but we are
spiritual beings living a human existence.
The ways of this world, and especially this industry, should not take
precedence over God. We give this world and this industry the glory
when we should be giving that energy to our creator.
I find myself treating God like a woman I know is going to be there,
like I can just do whatever I want. I can stay out all night, smoke,
drink, party, bullshit, and fuck with other women because I feel I
can get away with it.
You think to yourself: God isn’t going anywhere because he or she
loves me. That’s the wrong mentality to have. You can’t constantly
do the wrong things because you think God is going to forgive you.
If God created us in his image, think about this: It is against our
nature to let someone constantly shit on us! If you’re an employer
28 // OZONE MAG
[email protected]
c
and one of your employees was not following the rules they may
get a couple of warnings, but after that you have to fire that ass.
God is the same way! Don’t act like you don’t remember how he
destroyed Sodom and Gomorrah, or the aforementioned flood in the
days of Noah.
When God is fed up, God is fed up. I’m not trying to preach, I’m just
relaying to you my personal struggle. When I do pray lately it isn’t
heartfelt, it’s more of a routine and I’m not fooling anyone but
myself because God knows. I find myself praying when something
is wrong, like, “God, please make it right,” but when something is
going good I’m giving myself the praise, like, “Yeah, I bust Stupid
Dope Moves.” I have to stop and ask myself, who is giving me the
power to bust Stupid Dope Moves? Not the world, the radio, the
television, the mixtapes, or the record labels. Nah, brothers and
sisters, it’s God himself!
I had to get that off my chest and “Chin Check” my damn self just
to get everything back in order. Now, the moral of the story is this:
All my hood figures, d-boys, trap stars, rappers, athletes, radio
personalities, DJs, lawyers, engineers, employees at Rainbow, fry
cooks at Burger King, skrippers (that’s not a typo I spell it how
I say it), college students, and regular everyday ordinary people
living this thing called life, in 2008, no matter what you do or how
you do it, be a host to God. That means always see your authentic
connection to your Source. Know that it is impossible to ever be
disconnected from the Source from which you came and please
don’t allow the ways of this world or this matrix we call the industry to break your divine bond with the most high.
Peace Almighty.....
Charlamagne Tha God
(above L-R): Yo Gotti showing off a Trae bobblehead in Houston, TX (Photo: Intl K); Nelly, DJ Drama, & Greg Street on the set of DJ Drama’s “5000 Ones” in
Atlanta, GA (Photo: Eric Perrin); Young Chris & Freeway @ Compound for Def Jam’s pre-BET Hip Hop Awards party in Atlanta, GA (Photo: Julia Beverly)
01 // Lil Hen & Ms Asia @ Plush (Jacksonville, FL) 02 // Julia Beverly, KK, & RukaPuff @ Onyx for OZONE talent search (St Louis, MO) 03 // TJ Chapman & Khia @ Central Florida Fairgrounds for DME’s annual Florida Classic car show (Orlando, FL) 04 // Kid Capri & K-Foxx @ Mansion for DJ Khaled’s birthday party (Miami, FL) 05 // Chris Johnson, Webbie, & Dreadlocks @ Hush for OZONE’s Webbie concert (Houston, TX) 06 // C-Ride & Hurricane Chris @ Vibe & McDonald’s Yardfest on FAMU campus (Tallahassee, FL) 07 // T-Pain & Ja Rule on the
Rickey Smiley morning show on 97.9 The Beat (Dallas, TX) 08 // Trae & Bun B @ KBXX’s car show (Houston, TX) 09 // Young Cash & Shawn Jay @ The Globe for DJ Q45’s birthday bash
(Jacksonville, FL) 10 // Lloyd & Willie Joe @ the Dirty Awards (Atlanta, GA) 11 // LeToya’s grandmother Ms. Williams, Slim Thug, & Brandi Garcia @ LeToya Luckett’s party (Houston, TX)
12 // J Holiday & Dr Teeth on the set of Fat Joe & J Holiday’s video shoot (Miami, FL) 13 // Guest, J Lash, & Ted Lucas on the set of Rick Ross’ “Speedin’” video shoot (Miami, FL) 14 //
Wickett Crickett & Polk @ Roxy (Houston, TX) 15 // Santana & Bigga Rankin on the set of Young Cash’s “X” video shoot (Jacksonville, FL) 16 // Pat Nix & Ja Rule @ The Roxy (Orlando,
FL) 17 // Kiotti & Webbie @ KBXX’s car show (Houston, TX) 18 // DJ Walgee & DJ Nasty @ The Roxy (Orlando, FL) 19 // Trae, Lil Jared, Lil Duval, Chamillionaire, Famous, & Playaz Circle
@ KBXX’s car show (Houston, TX)
Photo Credits: Bogan (12); BRE (07); Carl Lewis (13); Intl K (05,08,11,14,17,19); Julia Beverly (03,06,10); King Yella (02); Malik Abdul (09); Terrence Tyson (01,04,15,16,18)
OZONEMAG
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dj khaled and diamond
DJ Khaled: YO DIAMOND, THIS IS IMPORTANT, LISTEEEEEEENNNN!!!!!
Diamond: Who’s this?
DJ Khaled: THIS IS THE DON DADA!!!!! THE BIG DAWG PITBULL! TERROR SQUADIAN A.K.A THE BEAT NOVOCANE A.K.A. I MAKE HIT RECORDS A.K.A. THIS WHAT
I DO A.K.A. WE TAKIN’ OVER A.K.A. I’M SO HOOD A.K.A. GOD LOVES ME!!!!! I
REPRESENT DIAMONNNND!!!!!
Diamond: Who?
DJ Khaled: DJ KHALED!!!!! WE THE BEST!!!!!
Diamond: Ooooooooh, what’s up Khaled?
DJ Khaled: YO’ I’VE BEEN FOLLOWING YOUR WORK!!!!! AND I THINK YOU DA
BEST AND I THINK WE CAN MAKE THIS A MOVIE TOGETHER!!!!!
Diamond: Hell nah, nigga. I’m not making no movie with yo ass!
OZONE EXCLUSIVE
Diamond: I’ve been thinking about that too. But I’ve been with them my
whole career.
Textin’ is no longer safe now that OZONE’s
dangerous minds have hacked the system.
DJ Khaled: BUT U THE BEST!!! U CAN BE BIGGER THAN TRINA!!!!! U CAN BE BIGGER THAN EVE!!!!! U CAN BE BIGGER THAN BEYONCE!!!!! U CAN BE BIGGER THAN
OPRAH!!!!! U!!! U NIGGA!!! U THE BEST!!!
Diamond: U r right. Have you been talking to Lil Scrappy? That’s the same
thing he said.
DJ Khaled: LISTEEEENNNN!!! I REPRESENT UNITY!!!!! I REPRESENT THE
HOOD!!!!! I REPRESENT THE GHETTO!!!!! I REPRESENT U! BUT NOT CRIME
MOB!!!!! HATED ON MOSTLY, THAT’S NOT A CLASSIC ALBUM! BUT WE THE BEST,
THAT’S A CLASSIC ALBUM!!!!!
Diamond: I do got 32 flavors of that bootylicious bubblegum, I probably
should go solo. I do think I’m best!
Khaled: NO!!! WE!!!!
Diamond: Who?
Khaled: WE, NIGGA!!!!! WE DA BEST!!! AND THAT’S WHY I THINK YOU SHOULD BE
ON MY NEXT ALBUM. IT’S CALLED….IT’S CALLED….I DON’T EVEN KNOWING WHAT
IT’S FUCKING CALLED YET!!!!! BUT IT’S GONNA BE DA BEST!!!!!
Diamond: Ummm. Ok. Can Scrappy be on it too?
Khaled: NO! HE’S NOT THE BEST!!!!! WE DA BEST!!!!! GOD LOVES ME!!!!!
- From the Minds of Eric Perrin and Randy Roper
30
30 //
// OZONE
OZONE MAG
MAG
*This is just a joke. No, we didn’t really hack into anyone’s sidekick.
DJ Khaled: NOOOOOO!!!!! NOT THAT KINDA MOVIE!!!!! YOU KNOW, A MOVIE,
BABY!!! LISTEEEENNNNNN!!! I KNOW YOU’RE WIT’ CRIME MOB BUT I THINK YOU
SHOULD GO SOLO!!!
(above L-R): T-Pain & his mother @ the Dirty Awards in Atlanta, GA (Photo: Julia Beverly); LeToya Luckett with her grandmother and mother in Houston, TX (Photo: Intl K); Lil Scrappy &
his mother @ the Dirty Awards in Atlanta, GA (Photo: Julia Beverly)
01 // C Murder & his cousin Gordon & Lil Gordon (New Orleans, LA) 02 // Young Cash, Malik Abdul, Julia Beverly, TJ Chapman, Midget Mac, & Bigga Rankin @ Onyx for OZONE talent
search (St Louis, MO) 03 // Tony Neal & G-Mack @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 04 // CO, Trina, & Money Mark @ Mansion for DJ Khaled’s birthday party (Miami,
FL) 05 // Pretty Todd & Paul Wall (Houston, TX) 06 // Young Dro & DJ Toomp @ the Dirty Awards (Atlanta, GA) 07 // Yo Gotti & Rich Boy @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 08 // Young Yo & Lil Wayne @ House of Blues for Cash Money Millionaires’ 10 Year Anniversary (New Orleans, LA) 09 // Trey Songz & DJ Drama @ Velvet Room for DJ Drama’s
album release party (Atlanta, GA) 10 // Eric & Casey @ Primetime (Atlanta, GA) 11 // Z-Ro & Young B @ Mike Jones’ American Dream movie premiere (Houston, TX) 12 // Valarie &
Freda @ Club 300 (New Orleans, LA) 13 // TJ Chapman & Keith Kennedy @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 14 // Pleasure P & Tarvoria @ White Diamonds for Trina
& Pleasure P’s birthday party (Miami, FL) 15 // Rapid Ric & Mohawk @ BET College Tour (Houston, TX) 16 // BloodRaw & DJ Demp on the set of “26 Inches” (Atlanta, GA) 17 // BF & Unk
@ the Dirty Awards (Atlanta, GA) 18 // Papa Duck & Red Dogg @ Roxy for Frontline’s Florida Classic weekend (Orlando, FL) 19 // Slim & Mack Maine @ House of Blues for Cash Money
Millionaires’ 10 Year Anniversary (New Orleans, LA) 20 // David Banner’s Heal the Hood Christmas Eve toy giveaway (Jackson, MS)
Photo Credits: Eric Perrin (09,10); Intl K (05,11,15); Julia Beverly (04,06,14,16,17,20); King Yella (02); Marcus DeWayne (01,08,12,19); Terrence Tyson (03,07,13,18)
OZONEMAG
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OZONE
Amileyon
Words by Eric Perrin
T
his is the story of Amileyon—a massage therapy
student at the Academy of Healing Arts whose
current customers wish they could be the ones
touching her. 20-year-old Amileyon was once hampered
with bills and student loan payments so she decided to
take on another major, the art of the pole at Strokers
University.
“I love pole tricks,” she says. “When I was 17 one of my
cousins danced and I used to go in with her after work
and learn how to do pole tricks and everything. I would
lift myself up and all that other mess. I was in training
at 17 but I never thought I would become a dancer.”
But growing up in Atlanta, its not too surprising that
Amileyon would look to the pole for employment. There
are more strips clubs in ATL than Church’s Chicken and
Popeye’s Restaurants combined, and they serve up more
tasty breasts and thighs as well. “Strip clubs in Atlanta
are just part of the culture,” admits Amileyon. “But ever
since I was a little girl I’ve knew [that] the best strip
clubs in Atlanta were Strokers and Magic City.”
The perfect Puerto Rican and Creole creation chose Stokers, and before her first night on the job she received
her stage name from the other girls. “One of the girl
came up to me and said, ‘You look like your name should
be Amileyon, like Christina Milian.’ I just ran with it,” she
says.
But one obvious difference between Amileyon and the
singer she was named after is, although Christina is
cute, she lacks one obvious asset that Amileyon proudly
possesses. “I’m most proud of my ass, I must admit,” she
confesses. “To be so small up top and to as skinny as I
am from the front, I have a big ass on me, and I’m proud
of that.”
Despite the fact that she displays her unclothed culo
every night at the club, Amileyon highly values her body
and rejects any request from customers that involves
more than just a lap dance.
“I’ve been offered $5,000 to go home with somebody. I
looked at him and started laughing,” she explains. “He
was serious. But I just continued to give him dances
until he got tired of me ignoring him. I feel like my body
is worth way more than that.”
www.myspace.com/amilleyon
Website: www.strokersclub.com 770-270-0350
Photographer: Sean Cokes 404-622-7733
Make-Up Artist: Mike Mike 678-732-5285
Hairstylist: Baby Boy 404-396-2739
32 // OZONE MAG
(above L-R): C.O. & Trick Daddy’s wife Joy @ White Diamonds for Trina & Pleasure P’s birthday party in Miami, FL (Photo: Julia Beverly); Bun B with his stepdaughter Breneshia and wife
Queen @ Breneshia’s birthday party in Houston, TX (Photo: Intl K); Buckeey & her brother @ the Dirty Awards in Atlanta, GA (Photo: Julia Beverly)
01 // Lil Duval, DJ Q45, & T-Roy @ Central Florida Fairgrounds for DME’s annual Florida Classic car show (Orlando, FL) 02 // Yung Berg, Pleasure P, & Keith Sweat, KD, & Jas Prince @
White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL) 03 // WyldBoyz @ Onyx for OZONE talent search (St Louis, MO) 04 // Midget Mac, Beauty, & Young Cash @ Onyx for
OZONE talent search (St Louis, MO) 05 // Young Jeezy & Young Buck @ Velvet Room for DJ Drama’s album release party (Atlanta, GA) 06 // Bigga Rankin & Wes Fif @ Plush for Ghetto
Diamond Awards (Jacksonville, FL) 07 // Willie the Kid & Yung Joc @ Velvet Room for DJ Drama’s album release party (Atlanta, GA) 08 // Wild Wayne & Lil Boosie @ Battle of the Bands
(New Orleans, LA) 09 // Z-Ro remembers DJ Screw @ Mike Jones’ American Dream movie premiere (Houston, TX) 10 // D Glover & D Ward @ Hush for OZONE’s Webbie concert (Houston,
TX) 11 // Willie Fisher & Carl Bosse @ Central Florida Fairgrounds for DME’s annual Florida Classic car show (Orlando, FL) 12 // The Show, Mannie Fresh, & Carl Thomas @ the Kool
Experience (New Orleans, LA) 13 // Rex & KD @ White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL) 14 // Rovella Williams & JR Get Money @ the Dirty Awards (Atlanta,
GA) 15 // Stephanie & Hoetester @ Plush (Jacksonville, FL) 16 // Derrick & the Glam Squad of Savage Promotions @ Elite (Baton Rouge, LA) 17 // Traffik, Garfield, Krazy Yogi, & Disco
@ Firestone for Florida Classic block party (Orlando, FL) 18 // Slim Thug, Matthew Knowles, & Madd Hatta @ Music World Entertainment’s Hoops for Hunger (Houston, TX) 19 // Trae &
Crisco Kidd @ Party 93.3’s Toy Drive (Houston, TX)
Photo Credits: Eric Perrin (05,07); Intl K (09,10,19); Julia Beverly (01,02,11,13,14); King Yella (03,04,16); Lamont DeSal (18); Malik Abdul (17); Marcus DeWayne (08,12); Terrence Tyson
(06,15)
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33
OZONE
She Liked my NECKLACE and started relaxin’, that’s what the fuck I call a…
m fascinated with this jewelry shit. You know I like to
shine. When people see me and see all this shit, they be
like, “You made it, nigga!”
The “B” stands for “Boosie,” that’s why I got my name
with diamonds and the crown on top of it, which stands for the King of the
Ghetto. I’m the King of the Ghetto. If any ghettoes get onto Boosie, I’m the
King of it.
Holding my piece up is a 144-carat diamond chain; all diamonds. Just the
chain by itself is $35,000. And my piece is like $30,000, so that’s about a
$70,000 piece all together. My ice is designed by Emmett out of Houston. He
designs all my jewelry; I stick to one jeweler. You can find him outside the
34 // OZONE MAG
WIPE ME DOWN
Galleria on Westheimer [in Houston].
“
“
I’
lil boosie
The I-10 piece, I paid $40,000 for that. It represents how I used to make
money before I started rappin’. All these other diamond chains, these are like
$10k, $20k, $10k, $15k, you know, my bracelet is $40k cause it’s $20k times
two. I got one added onto it.
My watch is $40k. I’ve gone one of the biggest bezels in the game. I’ve got
the four-row bezel. Plus, several rings, and I’ve got the Bentley chain to
match with my Bentley car. //
Words by Malik Abdul
Photo by Terrence Tyson
(above L-R): Yung Joc & T-Pain @ the Dirty Awards in Atlanta, GA; Young Dro & Too $hort @ the Dirty Awards in Atlanta, GA; Trina & Pleasure @ White Diamonds for their birthday party
in Miami, FL (Photos; Julia Beverly)
01 // DJ Q45 & E-Class @ Hush for OZONE’s Webbie concert (Houston, TX) 02 // Disco & Chef @ Firestone for Florida Classic block party (Orlando, FL) 03 // Spiff, Kaye Dunaway, &
DJ Nasty @ The Roxy (Orlando, FL) 04 // King Ron & Shot Out @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 05 // Freeway, Young Sav, & guests @ Compound for Def Jam’s
pre-BET Hip Hop Awards party (Atlanta, GA) 06 // Lloyd & DJ Drama @ the Dirty Awards (Atlanta, GA) 07 // Alesha Renee & Chamillionaire @ BET College Tour (Houston, TX) 08 //
Famous & Rapid Ric @ Mike Jones’ American Dream movie premiere (Houston, TX) 09 // G Dash & Paul Wall’s son Will Wall (Houston, TX) 10 // K-Foxx, KRS-One, & Jacki-O on the set
of DJ Khaled’s “I’m So Hood” remix (Atlanta, GA) 11 // EZ & Birdman (Houston, TX) 12 // Chise & Bun B @ Bun B’s step daughter Breneshia’s birthday party (Houston, TX) 13 // A Dub
& Playaz Circle @ KBXX’s car show (Houston, TX) 14 // Beauty & TJ Chapman @ Onyx for OZONE talent search (St Louis, MO) 15 // E-Class, Rick Ross, & DJ Khaled @ the Dirty Awards
(Atlanta, GA) 16 // Black & Webbie @ The Globe for DJ Q45’s birthday bash (Jacksonville, FL) 17 // DJ Demp & Mob Boss @ Plush (Jacksonville, FL) 18 // Cool & Gil Green on the set of
Fat Joe’s video shoot (Miami, FL) 19 // Malik Abdul, Young Cash, & Lil Hen @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 20 // DJ Star & C-Ride @ Vibe & McDonald’s Yardfest
on FAMU campus (Tallahassee, FL)
Photo Credits: Eric Perrin (10); Intl K (01,07,08,09,11,12,13); Julia Beverly (05,06,15,20); King Yella (14); Leon Lloyd (18); Malik Abdul (02,16); Ms Rivercity (04); Terrence Tyson (03,17,19)
OZONEMAG
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OZONE
young cash & midget mac
Although you might recognize Midget Mac as the shit-talking “small person”
vying for New York’s love on the hit VH1 show I Love New York 2, he is no
stranger to Jacksonville, FL (Duuuuuuval!!!) natives. As the hype man for SRC/
Universal signee / local celebrity Young Cash, Midget Mac is already a permanent fixture in the Florida music scene and has appeared in music videos
(including T-Pain’s “Sprung” and Young Cash’s “Freeze” and “X”). Thanks to
the hype generated by his memorable appearance on VH1, he can barely walk
through the mall without attracting a flock of squealing female fans.
Did you get down and dirty with New York?
Nah, we didn’t get down and dirty, but she tongued me down. They ain’t show
all the extra stuff. You have to go to VH1.com to see it. When we were all
eating dinner we went to take a smoke break, me, her, and The Entertainer.
He rushed over there with her and I played it like a G. Two minutes into the
conversation New York told him she wanted to spend some time with Midget
Mac and sent his ass right back to the dinner table. Next thing I know, she
attacked me. Swear to God.
What’s your career goal?
I always wanted to be on TV cause I knew I had the talent. I’m different than
everybody else. I’m a midget, but I’m a fly-ass midget. I always wanted to
be on TV, I just had to be in the right place at the right time. When they were
doing the casting for the show [I Love New York 2] I flew out to California nad
did a one-on-one audition with the casting dude. I knew once the muthafuckin’ world saw me it’d be all good.
Were you offended by New York’s mom’s reaction to you?
Nah. That bitch was acting. You’re fifty years old and you ain’t never seen no
midget? And you look like Grace Jones, so why are you scared of me? Bitch,
you look like black Godzilla, with a wig on. I should’ve been scared of you!
But I had to keep it G cause I was there for her daughter. But on the reunion
show I let her ugly ass have it.
Was there anybody in the house you got along with better than the others?
I got along with It. That’s my dawg, the crazy ass muthafucker. Buddha’s my
nigga; he saved me when I was about to drown. Pretty and Punk are straight.
The Entertainer, we had got into it, but he hit me about twenty times on
Myspace dick-ridin’. I didn’t get along with 20 Pack because he hated on me
on a date and he got sent home the same night, but he hit me on Myspace
and apologized, so really I ain’t got a problem with nobody.
Going into the competition, did you feel that you were at a disadvantage
being a midget?
Nah, I just went in with straight attitude. Man Man was like, “I thought you
would be a straight dickhead because when you first came in the house you
had your arms crossed, mean muggin’.” I was like, “I ain’t know y’all fuck
niggas.” But a couple days later they knew what time it was cause they
started bowing down, dick-ridin’.
Do you normally date regular-sized women?
I ain’t ever dated no midget. I’ve met midgets, but on some real shit, I have
never seen a midget in person that fit my standards. I know I don’t look funny looking. I’ve seen a lot of midgets but they be looking funny, for real. How
is that gonna look if two short muthafuckers walk in the mall? Everybody’s
gonna be lookin’ at us. But nah, I fuck with girls that are like 5’ 2” and up.
Are your parents midgets?
Nah, they’re regular size. I’ve got three brothers too that are regular-sized.
I guess somebody back in the day was short in my family. I’ve got two girls.
One is regular sized and one is short like me. The doctor said that basically
every time I have a kid, it’s a 50/50 chance [of them being born short]. It’s
like rolling dice. My older daughter is regular-sized and my other daughter,
she’s short.
36 // OZONE MAG
I see you have a lot of female fans now.
They all say the same shit. Corny lines. “If New York don’t want you, I’ll take
you.” “Who won?” “Is you Midget Mac?” Naw, bitch, what the fuck do you
think? And, “Did you fuck New York?” I love all my fans cause I’m a humble
nigga, but for real, the niggas be acting worse than the hoes.
What else are you working on?
I’m doing a lot of hosting from state to state, $5k bare minimum. But you
could shoot me four and owe me a stack. But there’s a lot of rumors going
around VH1. People say I made the show and I’m getting my own show, but I
don’t believe it til it’s on paper. People all across the world told me the same
thing: “You funny. You dressed head to toe.” Wipe me down. That’s just me
24/7. I act like that anyway. I just kept it G and everybody loves me for that.
If you get your own show, is it going to be like Flavor Flav’s?
It’s just been rumors, but VH1 made history by putting Midget Mac on.
If you had 20 women competing for you, what kind of challenges would you
put them through?
Bend over and touch your toes. (laughs) Naw, just playin’. I probably would
have them do some crazy shit. I might be 50,000 feet in the air and have them
climb up butt naked on a ladder to rescue me. Midget Mac don’t discriminate.
I like ‘em white, black, Chinese, Japanese, whatever, as long as they got a
pretty face, a slim waist, and a moon pie. I ain’t really a titty man. You could
have A’s or D’s; as long as you’ve got that drop top, Mac’s down, straight
up. You’ve gotta be fire though and you’ve gotta have a good attitude, and
they’ve gotta have that mizzle [money]. I could do bad by my damn self,
that’s fo’ sure. I just keep it real; that’s what the bitches like. And I’ll cuss
they ass out, too, when I got to. Bitch, you ain’t ‘bout to walk all over me. //
Words by Julia Beverly // Photo by Terrence TYson
(above L-R): BloodRaw & Mannie Fresh @ Patchwerk in Atlanta, GA (Photo: Julia Beverly); Chingy, Ludacris, & Gorilla Zoe @ Club Society in St Louis, MO (Photo: King Yella); David
Banner’s Heal the Hood Christmas Eve toy giveaway in Jackson, MS (Photo: Julia Beverly)
01 // DJ Khaled, DJ Nasty, & DJ Demp @ Mansion for DJ Khaled’s birthday party (Miami, FL) 02 // DJ Secret, Spade, Lisa Walker, & C-Rena @ The Drink for DJ Secret’s birthday bash
(Lakeland, FL) 03 // Guest, David Banner, Alfamega, Gorilla Zoe, Big Kuntry, Stix Malone, DJ Sense, Damien Lemon & friends on the set of DJ Drama’s “5000 Ones” (Atlanta, GA) 04 //
Jha Jha, & DJ 151 @ MonEG’s video shoot (Jacksonville, FL) 05 // Maddog, Midget Mac, & Mr Wyze @ Sobe Live for Bigga Rankin’s party (Miami, FL) 06 // David Banner & DJ Drama on
the set of DJ Drama’s “5000 Ones” (Atlanta, GA) 07 // Kyjuan & Murphy Lee reppin’ the Greedy Genius shoe @ Lucky’s (St Louis, MO) 08 // Carol City Cartel & R Kelly on the set of Rick
Ross’ “Speedin’” video shoot (Miami, FL) 09 // Wendy Day & Jacki-O @ Jack da Juice music conference (Atlanta, GA) 10 // B-Rich, BOB, & TJ Chapman @ Plush for Ghetto Diamond
Awards (Jacksonville, FL) 11 // Ashanti & Headkrack @ 97.9 The Beat (Dallas, TX) 12 // Benji Brown & DJ Irie @ Mansion for DJ Khaled’s birthday party (Miami, FL) 13 // Ivory & ladies
@ The Globe for DJ Q45’s birthday bash (Jacksonville, FL) 14 // Big Amp, Big Cee Jay, Charles Wakeley, & J Holla @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 15 // Bigga
Rankin & Kaspa the Don @ Body Tap (Atlanta, GA) 16 // DJ Element & DJ Q45 @ Sobe Live (Miami, FL) 17 // Dawgman & Khia @ Central Florida Fairgrounds for DME’s annual Florida
Classic car show (Orlando, FL) 18 // DJ Blak & Pleasure P @ Stankonia Studios (Atlanta, GA) 19 // King Yella & Malik Abdul @ Onyx for OZONE talent search (St Louis, MO)
Photo Credits: BRE (11); Carl Lewis (08); DJ Who (09); Julia Beverly (01,03,06,12,17,18); King Yella (07,19); Malik Abdul (13); Ms Rivercity (04,05,10); Street Grindaz (02); Terrence Tyson
(14,15,16)
OZONEMAG
MAG////37
37
OZONE
Disclaimer: These are my opinions and my statements. They do not
reflect on Bun B or UGK as a group.
Editor’s Note: This is the last column Pimp C did for OZONE
before he passed away (R.I.P.).
This is a dangerous industry. It’s foul. With as many devils and vultures and
hogs and wicked people that are involved in [the rap game], I think every
[artist] ought to have a license to carry guns – felons or no felons. So off
top, if [the police] pull a rap nigga over and he’s got a gun, shit, he’s probably got a gun because he’s scared somebody else with a gun is gonna try
to do something [to him]. Most likely, he’s not gonna take his gun and go
do something to somebody. It’s very probable that somewhere around every
rapper, there’s going to be some weapons, especially if you’re in a position
where your homeboy was murdered right in front of you. So it’s unfortunate
that [T.I.] got caught up. He wasn’t the first one and he ain’t gonna be the
last one, either.
The only details we’ve heard so far [about T.I.’s case] were from the media.
We haven’t really heard the tape [recordings]. Even the affidavit, man, if
you read nigga’s affidavits, that shit says anything. Muthafuckers will write
anything in that shit. I don’t believe that shit until a muthafucker proves it
to me. Play [T.I.’s] voice. Let me hear his voice asking a muthafucker for a
“silencer” and then I’d ask him, “What do you need a silencer for, nigga?” I
know at this stage in the game, with as much paper as this man’s got and as
many other business ventures he’s got, he ain’t on no mission to go trying to
snipe niggas.
Do you really think T.I. is a hit man? The shit don’t make sense. So for us to
be able to judge [his] situation and get down to the bottom of it, we’ll have
to wait and see how this comes out. It’s unfortunate that at this point in his
career, some shit like this would have to go down. And he ain’t gonna be
the last one. A lot of niggas are getting twisted up with these gun charges
and shit. I read shit about a lot of people – I mean, I just flip through these
magazines – but I don’t believe nothing they say. Muthafuckers be lying all
the time.
All the time I was [in prison], nobody ever wrote the way my case went down
the right way. So I know the rest of these nigga’s cases ain’t being written
out right either. Didn’t [Lil] Wayne just get a gun charge in New York? [The
Feds] like fuckin’ with us. We’re public enemy #1, the rappers are. Bunch of
niggas, bunch of money, nice cars, we rap about shit they don’t like, we wear
a lot of jewels – hey, mayne, you’re a target. If you’re shining, you’re the
nigga they love to hate. And what’s so cold about it is that the executives
making all the money [off us] just sit back and let it go down because they’ll
have a new [rap] nigga next year.
We shouldn’t condemn or support anything until we know all the facts about
the T.I. case. Do we know that T.I. asked [his bodyguard] for all that shit?
During the recordings, did they actually use the street terms or did they use
undercover terms? I ain’t finna take no phone call from a muthafucker talking
about “silencers.” I’ma hang the phone up. Were they talking straight up or
were they talking in undercover terms? If a muthafucker calls me saying, “I
got some shit,” he could be sayin’ anything. I don’t know; I wasn’t there and
I didn’t hear that shit and I don’t know what they’re charging him with. But
in my mind and in my heart, I know that young nigga [T.I.] ain’t that dumb. I
know he ain’t went out there to do no dumb shit like that, and if he did, why
would he want to do that? At this stage in the game, why would he want to
do that? He ain’t no hit man. He’s a rapper. That ain’t in him no more.
[The details of my case] don’t matter no more. What matters is that I’m home
now with my family, and that shit is over. I did four years of an eight year
sentence and I’m on parole. I’ve done two years of my parole. The facts of
my case never really came out, so if the facts of what I would consider to
38 // OZONE MAG
be a small case, a bullshit case, never came out and I was able to get as
much time as I got, think about how they’re gonna blow this [T.I.] shit out
of proportion. It’s already being blown out of proportion, shit. Man, fuck all
that. Did T.I. actually get on the phone and call a muthafucker and ask him for
some gotdamn guns and silencers? If you can’t prove that to me, throw that
case out.
They said they went to his residence and found guns at his house, and found
guns on him, right? He’s gotta deal with that – with having weapons on him,
and whatever was at his house – but I mean, shit. A lot of rappers have been
caught with weapons on them. If you ask me my opinion, if you’re a rapper in
this game, you oughta have a license to be able to carry a weapon. If every
other muthafucker in the street is trying to do something to you because they
feel like you’ve got money and you’re a target, shit.
If you’ve gotta tell on your own people to get yourself out of trouble, you’re
a snitch. The only reason a person would ever want to spill the beans on
somebody else is to (a) destroy them, or (b) get themselves out of trouble
and put somebody else in hot water. The only reason a person would snitch
is to save their own ass. Sounds to me like [T.I.’s] bodyguard was caught
already, so [the Feds] needed a bigger fish to fry. So he fried T.I. I haven’t
read all the police reports and all that ol’ kind of shit. I’m in the studio. I ain’t
with that hoe-ass shit. But from what I’ve heard, it sounds like a snitchin’
situation. If you’re a nigga and you get caught doing a whole bunch of wrong
shit and you’re going to jail and the Feds got you, if you go and start telling
on your whole city and get a whole bunch of people’s dads and uncles and
brothers and shit locked up so you can get a two year sentence and come
home quick, you’re a snitch-ass nigga.
That’s like when a bitch-ass muthafucker comes at me for some time for a
funky-ass bitch case that ain’t really hold no merit and talked about it like
it had a bunch of merit, but when you really read the paperwork, it ain’t got
no merit. And a muthafucker says, “We don’t want you, Chad Butler. We really
want James Prince. Just tell us something about James Prince and we’ll let
you go.” Yeah, okay. Fuck you. Do whatever it is you say you’re gonna do to
me, and I’ll come home one day. I’m gonna take my time and come home,
because you’re trying to make me out to be a bitch or a snitch. That’s what
“snitching” is, to me.
Whatever a muthafucker is doing next door doesn’t have anything to do with
me unless it involves me and my family or endangers me and my family. If my
next-door neighbor is making bombs that can blow the whole neighborhood
up, yeah, somebody needs to tell somebody about his muthafuckin’ ass or
he’s gonna blow us all up together. But just dry snitching for no reason? Shit,
I don’t see too much of that. I didn’t read [T.I.’s] police report but the shit
ain’t adding up in my mind that he would be buying the type of shit they said
he was buying. I’m sure when this shit is over with and it all comes to a head,
we’ll see the truth. The truth will come out and everybody will understand
what this shit is really about. If this shit is really about one muthafucker
getting caught up and getting his own people caught up because he couldn’t
handle his own case, that’s some snitch-ass shit.
I’m supporting T.I.; that’s all I’m saying. He’s innocent until proven guilty,
and we should take it that way. We shouldn’t go with what the media or what
these muthafuckers are trying to say about him until we know exactly what’s
going on. It sounds like some ol’ snitching shit went on, so let’s support the
man and don’t condemn him until we find out what’s really happening with
his case. // Photo by Julia Beverly
(above L-R): Diamond & Rasheeda @ the Dirty Awards in Atlanta, GA (Photo: Julia Beverly); Z-Ro & Trae @ their photo shoot in Houston, TX (Photo: Intl K); Christina Milian & Dre on the
set of Fat Joe & J Holiday’s video shoot in Miami, FL (Photo: Bogan)
01 // Block, Rico, Greg Street, & Yung Joc @ Russell Simmons’ Financial Empowerment Hip Hop Summit (Atlanta, GA) 02 // DJ Trauma & BloodRaw @ the Dirty Awards (Atlanta, GA) 03
// Lil Scrappy, Willie the Kid, & DJ Drama @ Mansion for DJ Khaled’s birthday party (Miami, FL) 04 // Big Du & 8Ball @ the Dirty Awards (Atlanta, GA) 05 // School Boyz Entertainment @
FAMU Homecoming concert (Tallahassee, FL) 06 // Keri Hilson & Polow da Don @ the Dirty Awards (Atlanta, GA) 07 // Erik Parker, Killer Mike, Princess, David Banner, & Diamond @ MTV
Jams taping (Atlanta, GA) 08 // J Prince & Mike Jones giving out Thanksgiving Turkeys @ Prince Gym (Houston, TX) 09 // Lil Boosie & Mouse @ Plush (Jacksonville, FL) 10 // Young
Cash, Mob Boss, & M-Geezy on the set of Young Cash’s “X” video shoot (Jacksonville, FL) 11 // DJ Aaries & Tony Neal @ Powerball Mansion party (Atlanta, GA) 12 // 3 AM @ Central
Florida Fairgrounds for DME’s annual Florida Classic car show (Orlando, FL) 13 // B Star, Jas Prince, & guest @ the Houston premiere of This Christmas (Houston, TX) 14 // E-Class,
Wyclef, & D’Lyte @ 97.9 The Beat (Dallas, TX) 15 // Ja Rule & J-Deezy @ The Roxy (Orlando, FL) 16 // Foxx & Mone @ Phat Phat & All That for Foxx’s in-store (New Orleans, LA) 17 //
Disco, Howard Ringer, & DJ Demp @ Firestone for Florida Classic block party (Orlando, FL) 18 // K Foxx & E Class on the set of Fat Joe & J Holiday’s video shoot (Miami, FL) 19 // Bigg
D & Trina @ White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL)
Photo Credits: Bogan (18); DJ Who (11); D’Lyte (14); Intl K (08,13); Julia Beverly (03,04,05,06,07,12,19); Malik Abdul (17); Marcus DeWayne (16); Terrence Tyson (09,10,15); Thaddaeus
McAdams (01,02)
OZONEMAG
MAG////39
39
OZONE
40 // OZONE MAG
up
terrence tyson
terrence tyson
terrence tyson
terrence tyson
terrence tyson
tatted
D-RAY
terrence tyson
terrence tyson
Edward Hall
(above L-R): Seventeen & Pimp C (R.I.P.) @ Belle Noche in Baton Rouge, LA (Photo: King Yella); T-Pain & DJ Khaled @ Mansion for DJ Khaled’s birthday party in Miami, FL (Photo: Julia
Beverly); Willie D & Trey Songz on the set of Scarface’s video shoot in Houston, TX (Photo: Intl K)
01 // G-Mack, DJ Q45, & guest @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 02 // Hustle House Records & Rich Boy @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 03
// Guest, Pitbull, & Sheek Louch on the set of Fat Joe & J Holiday’s video shoot (Miami, FL) 04 // Russell Simmons & Jermaine Dupri @ Russell Simmons’ Financial Empowerment Hip
Hop Summit (Atlanta, GA) 05 // Young Jeezy & Block on the set of DJ Drama’s “5000 Ones” (Atlanta, GA) 06 // Gucci Man & Yo Gotti @ KBXX’s car show (Houston, TX) 07 // BloodRaw
& his son on the set of “26 Inches” (Atlanta, GA) 08 // Diamond & Lil Scrappy @ the Dirty Awards (Atlanta, GA) 09 // Pimp C & Raw LT @ KBXX’s car show (Houston, TX) 10 // Kim
Ellis, Erica Bowen, Asha Blu, & Jade Abercrombie on the set of BloodRaw’s “26 Inches” (Atlanta, GA) 11 // Beat Boy, DJ Q45, guest, & Swordz @ Plush for Ghetto Diamond Awards
(Jacksonville, FL) 12 // Keith Kennedy & Grand Prix @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 13 // KJ Hines, Latin Prince, & Wu Chang (Houston, TX) 14 // Steve Bellamy,
Pimp G, & Papa Duck @ Upstart Record Pool (Jacksonville, FL) 15 // Foxx & Lady Nell @ Club 300 (New Orleans, LA) 16 // Jerry Clark & Big Oomp @ the Dirty Awards (Atlanta, GA) 17 //
8Ball, Young Bleed, & Pookie from Urban South (Dallas, TX) 18 // Lil Duval & Stix Malone @ Velvet Room for DJ Drama’s album release party (Atlanta, GA) 19 // Lil Ru & Foxx @ Vibe &
McDonald’s Yardfest on FAMU campus (Tallahassee, FL)
Photo Credits: Bogan (03); Edward Hall (17); Eric Perrin (18); Intl K (06,09,13); Julia Beverly (05,07,10,16,19); Marcus DeWayne (15); Ms Rivercity (01,11,12); Terrence Tyson (02,14); Thaddaeus McAdams (04,08)
OZONEMAG
MAG////41
41
OZONE
AITING
W
Y
L
T
N
E
I
PAT
e
k
a
Dr
C
e to mind
and Melyssa Ford all com
old weather, ice hockey
fan
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e
rag
ave
the
. But
when Canada is mentioned original members of the Wu
e
nin
all
e
nam
ly
could probab
per
ld name one Canadian rap
Tang Clan before they cou
year-old
21if
But
e.
gam
rap
the
act on
that’s had a significant imp
g to do with it,
ake” Graham has anythin
Toronto emcee Aubrey “Dr
nt.
things will soon be differe
, and that’s the
lacking an icon right now
“Canada is a place that’s
ins. “Canada just
beg
ke
Dra
fill as an artist,”
door. I guess
void I’m really trying to
the
ugh
to get their foot thro
really needs that person
Toronto, CANADA
t dude.”
I’m going to try and be tha
star in his own
ions, Drake is already a
Despite his rap star aspirat wn as an actor. He has played seven
kno
right. To many, he’s better
Brooks, on the
disabled character, Jimmy
seasons as a physically
Next GeneraThe
si:
ras
vision series Deg
n, much like
Canadian teen drama tele
ssio
pre
ther form of self-ex
tion. “I love acting. It’s ano
music,” he says.
tent and hopes
cess, Drake is far from con
que reception
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-es
non
le avoiding a Nick Can
to be taken seriously whi
“I believe in my
ry.
ust
ind
sic
mu
the
from
says. “One thing
talent in a major way,” he
that my music is
t
fac
the
is
I’m confident in
ple doubting me.
peo
to
great. I look forward
cessful transfer
suc
a
de
ma
lly
rea
has
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na be the
wan
just
I
sic.
mu
to
from acting
.”
und
aro
allit
s
first dude that doe
e (his father wrote
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yed bass for
pla
le
unc
and
en
for Al Gre
en the necestak
tly
nes
ear
Prince), he has
ustry’s undivided
sary strides to get the ind
mixtape, Room For
attention. His first major
DJ Smallz, caught
by
ted
hos
,
ent
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fans and insiders.
us
ero
num
the attention of
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ent
cem
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’s 106th & Park,
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on
d
ute
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gz
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Trey
igned Canadian
making Drake the first uns
t.
fea
t
tha
h
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artist to accom
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ngthened his
stre
and
z
buz
his
d
accelerate
ently ranks as
sist
con
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ng.
internet followi
st on Myspace.
arti
an
adi
the #1 unsigned Can
independent album
an
ase
rele
to
ns
pla
With
gs Fresh imprint,
in 2008 through his All Thin
st to become
que
his
in
ted
Drake is undaun
t of the
fron
in
from
the best to ever step
.
mic
the
ind
beh
to
era
cam
says confidently.
“Just keep an eye out,” he
hard or listen
too
k
loo
“You won’t have to
definitely patiently
I’m
re.
the
be
I’ll
d.
har
too
ut to come to
waiting but the wait is abo
is going to be a
8
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for music and
und
aro
phenomenal year alla fan of Drake, let
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y
bod
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.
eer
car
my
//
them know, I’m coming.”
rake
www.myspace.com/thisisd
Words by Randy Roper
42 // OZONE MAG
(above L-R): Polow da Don & Mike Jones @ the Dirty Awards in Atlanta, GA (Photo: Julia Beverly); Lil Wayne & Mannie Fresh @ Lil Wayne’s Bayou Classic jam in New Orleans, LA (Photo:
Marcus DeWayne); R Kelly & Rick Ross on the set of Rick Ross’ “Speedin’” video shoot in Miami, FL (Photo: Carl Lewis)
01 // Gorilla Zoe, Big Teach, Derek Jurand, Tony Neal, & Emmanuel @ Emmanuel’s “Swagga” video shoot (Miami, FL) 02 // DJ Quinn, Laurence Maroney, & DJ Sir Thurl @ Society (St
Louis, MO) 03 // Lil Wayne & DJ Raj Smoove @ House of Blues for Cash Money Millionaires’ 10 Year Anniversary (New Orleans, LA) 04 // Malik Abdul & Alju @ Roxy for Frontline’s
Florida Classic weekend (Orlando, FL) 05 // DJ Khaled, Gorilla Zoe, & Leo G @ Mansion for DJ Khaled’s birthday party (Miami, FL) 06 // Bun B & Block @ KBXX’s car show (Houston,
TX) 07 // Freda, Lil Boosie, & Cupid @ Battle of the Bands (New Orleans, LA) 08 // DJ Chino, DJ Drama, Wililek the Kid, Spiff, & DJ Nasty @ Firestone during Florida Classic weekend
(Orlando, FL) 09 // DJ Q45 & Project Pat on the set of DJ Drama’s “5000 Ones” (Atlanta, GA) 10 // The Morton Sisters @ Plush for Young Cash’s “X” video shoot (Jacksonville, FL) 11 //
Dr Teeth & Gil Green on the set of Fat Joe & J Holiday’s video shoot (Miami, FL) 12 // Raekwon, Don Cannon, LA, DJ Drama, Willie the Kid, DJ Sense, Rick Ross, & the Carol City Cartel on
the set of DJ Drama’s “5000 Ones” (Atlanta, GA) 13 // Big Red & Michael Watts @ BET College Tour (Houston, TX) 14 // Brittany, Mike Frost, DJ Chill, & Teresa (Houston, TX) 15 // Elora
Mason, Jullian Boothe, & Tarvoria @ White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL) 16 // Lex & Big Teach @ Vibe & McDonald’s Yardfest on FAMU campus (Tallahassee, FL) 17 // Birdman, guest, & Horseman (Houston, TX) 18 // Midget Mac, Maddog, & DJ Demp @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 19 // Hollywood Chuck & Kisha
Smith @ Primetime (Atlanta, GA)
Photo Credits: Bogan (11); Intl K (06,13,14,17); Julia Beverly (05,09,12,15,16,19); King Yella (02); Malik Abdul (01,10); Marcus DeWayne (03,07); Ravi Angard (08); Terrence Tyson (04,18)
OZONEMAG
MAG////43
43
OZONE
WAITING
Y
L
T
N
E
I
T
PA
e
r
T
y
o
b
Play
Atlanta, GA
M
their music
sts who are serious about
ost patiently waiting arti
for Atlanta
but
ft,
cra
ir
the
at
ng
ghi
lau
for. In
wouldn’t want listeners
gs
lon
he
e
ons
resp
er is the
much
,
rapper Playboy Tre, laught
Hop
Hip
in
s
e of the most comical skit
fact, as the voice of som
his ability to make
from
e
com
has
ry
ust
ind
of Tre’s success in the rap
people laugh.
pay attention to my
s, and that makes them
people to listen,
“Some people hear my skit
get
to
me
for
way
a
is
edy
day needs to
music,” says Tre. “So if com
ry
Eve
gh.
lau
to
ts
rybody wan
that’s good, because eve
laugh,” he adds.
in rap to mimic the
ds is for his own career
But what Playboy Tre nee
Jon, E-40, and Lil
(Lil
d
nte
me
aug
skits have
artists whose albums his
you shouldn’t cont
tha
s
sse
And while he stre
Scrappy, to name a few).
ability of rapping
substance, Tre has a unique
real life issues
fuse his humor for lack of
ing
mix
r,
nne
ma
ry
icto
contrad
about serious topics in a
with humor.
humor in it at the
serious song, but also find
“I’m able to write a real
gon’ get bad times,
you
es,
tim
d
goo
get
’
u gon
line that they
same time,” says Tre. “Yo
one
said
I
like
ling
k away fee
day, I’m doing
but as long as people wal
the
ugh
thro
helped them get
could relate to, and maybe
my job.”
teen-year rap vet
quite a while now. The thir
ing CDs out of the
Rap has been Tre’s job for
sell
s:
per
rap
like many other
way, the Stone
began his career in music
this
ts
r selling over 3,000 uni
of Jim Crow and
trunk of his car. Soon afte
me
(ho
w
Cre
c
Atti
The
h
up wit
Mountain resident linked
Bohagon. Together,
r befriended BME rapper
The YoungBloodz), and late
decided to start a
Tre
and
‘Hagon
ir own—Georgia
the
of
movement
our own
Durt. “We decided to make
Georgia
movement, so we started
foundaDurt. And that’s been the
r since
eve
g
ldin
bui
n
bee
tion we’ve
then,” says Tre.
g to
Tre has also been helpin
combuild the career of up and
st B.O.B.
ing Atlantic Records’ arti
eting
Three years ago, after me
ich at
B-R
er
nag
ma
cos
.B.’
B.O
Tre
a Playstation tournament,
at of a
began serving as somewh
per from
mentor to the young rap
mature
.B.
B.O
ing
tch
“Wa
r.
atu
Dec
of my
one
n
bee
has
as a rapper
being in
best experiences as far a
lares Tre.
the music industry,” dec
and God
nt
tale
ble
edi
incr
has
“He
Just to
sic.
mu
his
ugh
speaks thro
influence
know that I’ve had a big
ment of
on him is a real proud mo
e.”
min
Playboy
Another proud moment for
career
Tre will be when his own
it’s desgets to the point he feels
na enwan
just
“I
ch.
rea
tined to
“Music is
tertain,” he emphasizes.
of what
definitely the foundation
na act,
wan
also
I
but
do,
to
t
I wan
tever
wha
sue
pur
and
,
vies
write mo
for
up
n
ope
y
ma
other doors God
me.”
also
For now, the rapper who
er” will
claims to be a “drunk lon
e of
continue to make his typ
ience. “I
music, for his type of aud
who gets
e
dud
t
tha
for
sic
make mu
n
dow
les
sett
just
off work and
ughts
with a beer to get his tho
hard
together and reflect his
I’m able
ce
ien
aud
the
at’s
day—th
to reach.” //
Words by Eric Perrin
44
44////OZONE
OZONEMAG
MAG
(above): Lil Wayne @ Hot Beats Studio in Atlanta, GA (Photos by Eric Perrin)
01 // T-Pain @ Mansion for DJ Khaled’s birthday party (Miami, FL) 02 // Trina @ Mansion for DJ Khaled’s birthday party (Miami, FL) 03 // Tyra B @ Party 93.3’s Toy Drive (Houston,
TX) 04 // Wendy Day @ The Moon for TJ’s DJ’s (Tallahassee, FL) 05 // Slim Thug on the set of Fat Joe’s video shoot (Miami, FL) 06 // Trey Songz @ Velvet Room for DJ Drama’s album
release party (Atlanta, GA) 07 // Young Cash @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 08 // Trae & Tre Dubb @ Block Ent. Show (Dallas, TX) 09 // Yo Gotti @ FAMU’s
homecoming concert (Tallahassee, FL) 10 // Tum Tum @ Kwanzaa Fest (Dallas, TX) 11 // Pimp G @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 12 // Rovella & Randy Roper
@ The Moon for TJ’s DJ’s (Tallahassee, FL) 13 // Smilez on the set of Fat Joe’s video shoot (Miami, FL) 14 // Rich Boy @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 15 //
Malik Abdul & Keyona @ The Globe for DJ Q45’s birthday bash (Jacksonville, FL) 16 // Ms Dynasty & T-Roy @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 17 // Roccett & Rick
Edwards @ the Lyric Theatre (Jacksonville, FL) 18 // Lil Duval @ Velvet Room for DJ Drama’s album release party (Atlanta, GA) 19 // Jesse James & County Brown @ Club Society (St
Louis, MO) 20 // Star & Slim @ House of Blues for Cash Money Millionaires’ 10 Year Anniversary (New Orleans, LA) 21 // Pastor Troy @ Velvet Room for DJ Drama’s album release party
(Atlanta, GA) 22 // Madd Hatta, Scooby, Buddha, & Gu @ KBXX’s car show (Houston, TX) 23 // Matt & Big De @ The Globe for DJ Q45’s birthday bash (Jacksonville, FL) 24 // Mami Chula
@ Primetime (Atlanta, GA) 25 // Tity Boy & Lil Wayne @ Hot Beats Studio (Atlanta, GA) 26 // Tony C @ Dragon Room (Orlando, FL) 27 // Eclipse & Mississippi Fatz @ Club Nashville
(Hattiesburg, MS) 28 // Flo Rida @ Venecian (Houston, TX) 29 // J-Kwon @ Intercontinental airport (Houston, TX) 30 // Lil Boosie & Q Dog @ Firestone for Florida Classic block party
(Orlando, FL) 31 // Julia Beverly, Keith Kennedy & Dior George @ The Moon for TJ’s DJ’s (Tallahassee, FL) 32 // Papa Duck @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 33 //
Kelley Williams @ Club Crossroads (Chicago, IL) 34 // Kaye Dunaway, TJ Chapman, & guest @ Club Whispers for record pool meeting (Orlando, FL) 35 // K-Foxx & Jacki-O on the set of
DJ Drama’s “5000 Ones” (Atlanta, GA)
Photo Credits: Eric Perrin (04,06,09,12,18,21,24,25,31,33); Intl K (03,22,28,29); Julia Beverly (27,35); Malik Abdul (15,23,26,30,34); Marcus DeWayne (20); Ms Rivercity (14,32); Tammie
White (19); Terrence Tyson (01,02,05,07,11,13,16,17); Tre Dubb (08,10)
OZONEMAG
MAG////45
45
OZONE
AITING
W
Y
L
T
N
E
I
PAT
q
a
l
B
y
t
Dir
HOPE, AR
F
pses into the hoods of Arkansas
or a lot of people, the first glim
In
mous documentary “Bangin’
infa
now
the
d
came when HBO aire
es to the urban
stat
49
the
of
rest
the
sed
Little Rock,” which expo
it, it’s been
try. But let Tecero Muldrew tell
underbelly of Razorback coun
like that from the jump.
es that are
world down here. You got plac
“It’s really like a whole other
ains.
expl
he
,”
time
e
sam
the
at
er
beautiful but they’re still gutt
to
ent is quite possibly what lead
Being a product of this environm l struggle, which has taken him to
utifu
bea
’s,
Muldrew, a.k.a. Dirty Blac
to make a
position as one of the favorites
the proverbial “next to blow”
e coming
scen
Hop
Hip
l
ona
nati
dent in the
out of the AK.
that shine is
“The reason Arkansas ain’t got
. Everybody
here
n
dow
y
unit
no
t
because ain’
they
and
on
get
to
one
wanna be the first
’re trying
ain’t even got deals yet but they
and step on
to stop the next man’s blessing
.
says
he
each other,”
iously the
Not an elected official but obv
poised to be
is
Blac
e,
tativ
esen
repr
e’s
stat
his region with
the first to give that shine to
ind, which
term
Mas
m
albu
the release of his
uary of 2008
is slated to be released in Febr
an album
on Keep It Pushin Records. With
he calls
h
whic
d
soun
e
atur
sign
full of his
the multi“rangin’” (rappin’ and sangin’),
self to bring
faceted artist is positioning him
ng that he
ethi
som
e,
gam
the
to
ness
a new
t now.
righ
ds
nee
ely
erat
desp
ic
feels mus
clarifies.
“It ain’t like T-Pain do it,” he
something
for
ng
ami
scre
n
bee
e
hav
s
“Fan
a whole
ging
brin
I’m
y.
corn
not
new that’s
y’all
of
rest
the
for
e
styl
different kind of
‘em to jock. Evto mimic. Something new for
The way I spit,
erywhere I go, they accept it.
something
it’s
,
sing
I
way
the
r,
my swagge
totally new.”
l sales of
Not worried about the potentia
it, “they
puts
he
as
use,
beca
ind
Masterm
is more
Blac
Dirty
”,
way
gon’ bootleg it any
a project
concerned with putting together
the formulaic
that is a refreshing break from
to.
used
me
beco
e
hav
y
man
tunes that
It’s new music.
“This album is not like others.
m and one
albu
an
get
you
how
w
kno
You
? This ain’t
rest
the
of
all
like
ds
song soun
they’ve got
like
feel
to
ple
that. I want peo
hear this.
their money’s worth when they
n done in a
bee
’t
hasn
It
bar.
the
ing
rais
I’m
//
it.”
do
to
ut
abo
I’m
while, but
Words by Anthony Roberts
46
46////OZONE
OZONEMAG
MAG
(above L-R): Lloyd @ Velvet Room for DJ Drama’s album release party in Atlanta, GA (Photo: Eric Perrin); Plies @ Plush in Jacksonville, FL (Photo: Terrence Tyson); Andre 3000 @
Stankonia Studios for Outkast’s Christmas party in Atlanta, GA (Photo: Eric Perrin)
01 // Deelishis @ White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL) 02 // Cubo @ Mansion for DJ Khaled’s birthday party (Miami, FL) 03 // C-Ride & Joe Hound @
Mansion for DJ Khaled’s birthday party (Miami, FL) 04 // Huey @ Club Society (St Louis, MO) 05 // G-Mack @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 06 // Chamillionaire
@ Music World Entertainment’s Hoops for Hunger (Houston, TX) 07 // Jas Prince @ White Diamonds for Trina & Pleasure P’s birthday party (Miami, FL) 08 // 4-Ize @ The Moon for
TJ’s DJ’s (Tallahassee, FL) 09 // 3 AM @ Club Whispers for record pool meeting (Orlando, FL) 10 // D-Lyte, Young Jeezy & Ebony @ The Beat (Dallas, TX) 11 // Charlie Chan & DJ OK @
AJ’s Martini Mondays (St Louis, MO) 12 // Dreamer @ Stankonia Studios for Outkast’s Christmas party (Atlanta, GA) 13 // Doug E Fresh @ Q 93.3 (New Orleans, LA) 14 // Cee-Lo @ the
Dirty Awards (Atlanta, GA) 15 // DJ D-Tec & Lucky Leon @ Stankonia Studios for Outkast’s Christmas party (Atlanta, GA) 16 // DJ Ro, Sonny, & Foxx @ Club 300 (New Orleans, LA) 17 //
DJ Black N Mild & Foxx @ Phat Phat & All That for Foxx’s in-store (New Orleans, LA) 18 // Bibi Guns @ Velvet Room for DJ Drama’s album release party (Atlanta, GA) 19 // DJ J-Hustle
@ Club Cirque (Dallas, TX) 20 // Eclipse & DJ Marcus D @ Club Nashville for OZONE party (Hattiesburg, MS) 21 // BloodRaw, Slick Pulla, & Wild Billo @ Club Miami (Mobile, AL) 22 //
DJ Drama & Alex Gidewon @ Velvet Room for Drama’s album release party (Atlanta, GA) 23 // Haitian Fresh & his mascot @ MonEG’s video shoot (Jacksonville, FL) 24 // Bay Bay @
Kwanzaa Fest (Dallas, TX) 25 // Benisour @ The Moon for TJ’s DJ’s (Tallahassee, FL) 26 // 8Ball (Dallas, TX) 27 // Black & Currensy @ Club 300 (New Orleans, LA) 28 // Big Gipp & Khujo
Goodie @ Stankonia Studios for Outkast’s Christmas party (Atlanta, GA) 29 // J Xavier @ Music World Entertainment’s Hoops for Hunger (Houston, TX) 30 // DJ Chino & Ricky P @
Dragon Room (Orlando, FL) 31 // DJ Khaled & Dee Sonoram on the set of DJ Drama’s “5000 Ones” (Atlanta, GA) 32 // Big Koon & Hollywood @ Plush for Ghetto Diamond Awards (Jacksonville, FL) 33 // DC & Sean Mac @ Club Crossroads (Chicago, IL) 34 // DJ Trauma @ the Dirty Awards (Atlanta, GA) 35 // Jazze Pha & Gangsta Boo @ Stankonia Studios for Outkast’s
Christmas party (Atlanta, GA)
Photo Credits: D’Lyte (10); Edward Hall (19,26); Eric Perrin (08,12,15,18,22,25,28,33,35); Julia Beverly (01,07,14,20,31,34); King Yella (04,11); Lamont DeSal (06,29); Malik Abdul (09,30);
Marcus DeWayne (13,16,17,27); Ms Rivercity (23); Terrence Tyson (02,03,05,32); Tre Dubb (24); Wild Billo (21)
OZONEMAG
MAG////47
47
OZONE
AITING
W
Y
L
T
N
E
I
PAT
z
r
a
t
s
p
a
r
T
R
dallas, tx
what
inhibited about expressing ’s
appers have never been
m Biggie
Fro
lly.
sica
phy
st
lea
at
they want in a woman,
That,”
Cream” to Webbie’s “Like
“Dreams” to Raekwon’s “Ice
t.
wan
y
the
t
about listing wha
Hip Hop artist aren’t shy
las-based
added to that list. The Dal
up affiliates
Now The Trapstarz can be
gro
th
(wi
Y.T.
and
h
ers J. Hig
g noise
kin
group comprised of memb
ma
n
bee
has
B, and Bingz)
Pacman, T.E., Big B, Double
The single, describing a
h.”
Bitc
It
t
“Ge
le
sing
locally with their new
ead from the Daland an ass like Trina, spr
girl with a face like Mya
l with Universal,
dea
a
up
gro
earned the
las airwaves so quickly it
more to come.
ch
mu
re’s
ir fans that the
and the group assures the
gonna hear
ng soon,” says Y.T. “You’re
“The album will be droppi
with just our
um
alb
up
gro
a
be
gonna
nothing but street hits. It’s na make the album have a different
is gon
style. Being from Dallas
up, our style,
, our swag, how we grew
sound in general. Our talk
it’s all on the album.”
48 // OZONE MAG
ne the Dallas
album will help them defi
The Trapstarz believe this
rn,” they say.
the
Sou
w,
kno
you
,
ntry
y cou
of people
sound. “Our sound is ver
lot
a
t
wha
n
the
nt
lf is differe
“Just our grammar by itse
are use to hearing.”
ng with other
album will help them, alo
The group also expects this shine the spotlight on their Texas
, to
Dallas artists like Tum Tum
city.
n doing this for
sts in Dallas have just bee
sic but we
“Up until now a lot of arti
mu
the
g
kin
ma
d
“We just like
sts like Tum
fun,” says The Trapstarz.
arti
an
see
you
pushing it. Then
weren’t really out there
k that we might as
thin
to
rted
sta
we
so
it,
Tum come out and do
see someone
something for fun and you
gonna work
well do it too. If you try
’re
you
l,
sfu
ces
suc
e
becom
is about.
else do the same thing and
ent
vem
mo
this
t
sful. That’s wha
harder to become succes
in Dallas.” //
e
her
out
st
arti
d
nte
There are a lot of tale
s // Photo
Words By DeVaughn Dougla
by Jeremy Cowart
OZONE MAG // 49
WAITING
Y
L
T
N
E
I
T
PA
p
e
e
D
3
BATON ROUGE, la
W
le mark
ne Katrina left an indelib
hile the tragedy of Hurrica
Gulf Coast, one
the
on
s
ilie
fam
ss
ntle
on the lives of cou
he was
e out of such a catastrop
positive aspect that cam
a name
g
kin
ma
n
bee
e
hav
who
the forming of the group
Deep.
ee
Thr
as
ape
thern Hip Hop landsc
for themselves on the Sou
ll, one-third of
She
ive
nat
ans
Orle
New
ne,
Displaced by the hurrica
partner in rhyme
up with his Baton Rouge
the group, would later link
history. Since
is
,
say
y
the
as
and, the rest
in work as the
Fat and producer Mouse
put
tly
gen
d, the trio has dili
securing their musical bon
if you’re expectBut
sts.
arti
of
ily
fam
l
Tril
newest additions to the
bigger names,
sion of some of the label’s
ing to hear a recycled ver
coming.
you’ve got another thing
one group,” exswaggers put together in
but then Mouse
“We’re like three different
rd,
hea
ya
day
all
club
in that
Fat will take
plains Shell. “We’ll do ya
and
me
and
shit
a
of that gangst
will come up with some
ya down that alley too.”
produced breakout
er Mouse (the man who
Having in-house produc
n,” and Webbie’s
Dow
Me
pe
,” Foxx’s “Wi
hits like Lil Boosie’s “Zoom
king their mark
ma
of
s
t the group’s chance
“Bad Bitch”) doesn’t hur
The three plan on
er.
eith
ne
sce
Hop
Hip
of November
on the crowded Southern
First Six Months at the end
serving up the mixtape The
50 // OZONE MAG
from the group
fans hungry for material
to act as an appetizer to
lves. And while they
she
hits
s
Day
365
ut
deb
until their February 2008
over industry beats
ed route of just spitting
could’ve taken the overus
a step in the
n
bee
e
hav
ld
ls that wou
for their mixtape, Shell fee
wrong direction.
the hottest prory tracks when we’ve got
“Why would we use indust
always cooking
is
se
Mou
up?
gro
ady in our
says, recalling
ducer in the industry alre
he
re,”
the
t
Mannie Fresh righ
Boys.
up something. That’s our
Hot
the
up to a 2008 version of
people comparing the gro
but it does gotta
just jiggin’ and bouncin’,
“Our sound is more than
’t know,” Shell
don
k…I
trun
’t beat in that
Pimp C (R.I.P.)
beat in that trunk. If it don
sh,
Fre
ts from the real Mannie
continues. With guest spo
365 Days will
t
tha
ing
hop
is
up
gro
the
and the entire Trill Family,
stardom.
jumpstart their journey to
that we’re just
l. We got so much music
“We’re that new shit at Tril
We just showin’
.
now
t
righ
on
tati
sen
pre
trying to put together the
ing.” //
com
We
ut.
abo
e is gon’ be
everybody what the gam
Words By Anthony Roberts
Photo by King Yella
OZONE MAG // 51
52 // OZONE MAG
OZONE MAG // 53
Compiled by:
Randy Roper | Eric Perrin | Matt Sonzala
54 // OZONE MAG
2007
will be remembered for some of the worst moments in Hip Hop history. From the RIAA raid of The Aphilliates’ office to the Feds arresting T.I. on his way to the
BET Hip Hop Awards to Pimp C’s untimely passing, it’s been a very tragic year, to say the least.
However, there were some highlights of the year in which we saw album sales hit an all time low and ringtone songs prevail. For instance, Lil Wayne was
somehow able to solidify his “best rapper alive” claim even without releasing an album. Kanye West and 50 Cent’s 9/11 showdown produced one of the most
anticipated rap moments in years, and Andre 3000 returned with a vengeance.
The Love & Basketball Award
< Lil Romeo
What could make Romeo put his career in
music and movies on pause to play ball at
USC? Pussy. He’s obviously in love just like Q
from Love & Basketball and we’re not hating
on him; it’s a beautiful thing. Just don’t leave
school early to play in NBA and break your
knee, ‘cause your career as a rapper was
never a long-term option.
D-RAY
R. Kelly Award
< Akon
We’re not giving Akon this year’s “R. Kelly
Award” for his onstage antics with a fourteen
year-old Trinidadian girl; of course not. Don’t
believe us? We don’t either. Sorry Akon, blame
it on us.
Dick in the Booty Award
< Ne-Yo
Pimp C had the world questioning NeYo’s sexuality in the August 2007 issue of
OZONE where he poetically referred to the
singer/songwriter as “dick-in-the-booty ass
Ne-Yo” in addition to taking shots at Russell
Simmons and the whole city of ATL. He also
pointed out that the singer wears enough
lip-gloss to put Lil’ Mama to shame. We’re not
saying Ne-Yo is gay, but the Pimp C appointed
nickname is just too funny to leave alone. Get
ya finga out ya bootyhole, dawg!
Deuce Bigelow Male Gigolo
Award
< Ray J
Ray J stressed that he made far more money
in 2007 than he made his throughout his
entire career. But aside from fucking Kim Kardashian on film, what did he do? No music, no
books, no (non x-rated) movies—nothing. He
received a reported $1 million for his sex tape
with Kim K., but unless he earned less than
that for all that singing and acting he’d done
in the past, Brandy’s lil’ brother obviously
made a killing fucking old hoes like Whitney
Houston—what else could have earned him
the kind of money he claimed to have made?
Either way, he gets the Deuce Bigelow Male
Gigolo Award for that proving men can be
prostitutes also.
PullYour Fucking Pants Up
Award
< Kia Shine
Every time you see Kia Shine he has his pants
sagging so far down that his entire ass is
exposed. Not a good look. He recently moved
to Atlanta, which is probably the sole reason
the city deemed “sagging pants” illegal.
Shawty is Da Shit Award
< Alicia Keys
Runner-up: Robyn Thicke’s wife
Alicia Keys got thick as hell this year, and add
one of the best soul R&B albums since…her
last album, and she easily wins the “Shawty
is the Shit Award.” This category was pretty
easy to decide however, there weren’t very
influential female singers, emcees, or anything else for that matter in ’07.
Get On My Level Award
< Soulja Boy
Say what you want about Soulja Boy, but
he probably sold more than three of your
favorite rappers this year. Not to mention
he influenced the culture more than anyone
else in Hip Hop with his simple song and
dance—and he’s only 17.
Worst TV Show:
Tie: BET’s Take the Cake/Hot
Ghetto Mess
BET should have never got rid of Uncut,
especially if they plan on continuing to
replace it with programming that does more
to demoralize the black race than Uncut ever
did. Hot Ghetto Mess (the title was changed
to We Gotta Do Better in a weak attempt at
make it appear more positive) was not even
entertaining, and Take The Cake somehow
managed to be even worse. BET has got to
do better.
ERIC PERRIN
JULIA BEVERLY
RONNIE WRIGHT
JULIA BEVERLY
A Video [almost] Resurrected
My Career award
< Ja Rule
Ja Rule was fed up with failing at every
other attempt, so he decided to go the “sex
sells” route and load his “Body” video with
a plethora of fine-ass, half naked women.
The only problem was, Ja Rule was also in
the video, and we all know Ja can no longer
sell shit. The song wasn’t that bad, but it still
wasn’t enough.
ANTHONY CUTUJAR
Welcome to our 3rd Annual Year End Awards. Crank that Soulja Boy, party like a rock star, and wipe yourself down one more time, ‘cause 2007 is officially over,
and we’re poppin’ champagne like we just won a championship game.
Video Hoe of theYear
< Angel aka Lola Luv
She look guud…But she’s a hoe! Yep. We’ve
seen her following around numerous rappers
and R&B artists this year, so we can only
imagine how busy Angel’s drawers have been.
OZONE MAG // 55
and tell him to blow his nose. Advice to Gucci:
leave the X alone for a day and try poppin’
some cold pills or some nasal decongestion
spray. Yeaaaa! Gucci Mane is also nominated
for Best Beer Gut Award and, since he’s still
not speaking to us because of last year’s
“Year End Awards,” he is also an honorary
recipient of the Most Sensitive Rapper Award.
Damn, Nigga, Make A New Song
Award
< D.G.Yola
Not only did Yola perform “Ain’t Gon Let Up”
at the first OZONE Awards in 2006, but he
rushed the stage and stole the mic to perform “Ain’t Gon Let Up” at the second OZONE
Awards a year later. Damn, nigga, make a
new fucking song.
Face for Radio Award
< The Dream
JULIA BEVERLY
ALLWYN CRICHLOW
JULIA BEVERLY
He Don’t Be in the Streets
Award
OZONE Music Editor Randy Roper
Certain Corporate Thugs don’t feel that Randy
Roper (not pictured for his own protection) has sufficient street cred. Upset about
their OZONE album review, Jeezy and CTE
complained, “He don’t be in the streets,”
and reportedly found a picture of Randy in
one of OZONE’s photo galleries. Now they
have placed a bounty on his head and Randy
chooses to spend most of his Friday and
Saturday nights at home or in the office.
Oprah Winfrey Honorary
Achievement Award
< Karrine “Superhead” Steffans
Karrine managed to overcome last year’s
“14:59 Award” by writing another book,
publicizing her relationship with this year’s
Hip Hop MVP Lil Wayne, and sleeping with
Bill Maher and Eddie Winslow from Family
Matters. Superhead wins the Oprah Winfrey
Honorary Achievement Award for being such
an inspiration and positive role model to
young black women all across the world.
RAY KAY
JEREMY COWART
JULIA BEVERLY
I Feel Like Slappin’ My Boss
Today Award
< Killer Mike
During the first annual “ATL Day” rapper Killer
Mike apparently got into a slight scuffle with
his former labelhead Big Boi. Varying reports
emerged from both sides, but according to
those in Mike’s camp, Killa Kill from the Ville
gave Big an Idlewild-style slap to the face.
We can’t confirm any details, however.
Runner-up: T-Pain, Sean Kingston
Won the Battle But Lost the
War Award
Cam’ron
Yeah, Cam had everyone on the net mocking
50 Cent by yelling “Currtissss,” but for the
rest of the year the only place we saw Cam
was on 60 Minutes. Good move, Cam, now get
my fuckin’ pool in the back.
56 // OZONE MAG
JULIA BEVERLY
God Loves Me Award
< DJ Khaled
With the worst ad-libs since Jazze Pha, the
only explanation for Khaled’s success is the
man upstairs. At least Khaled knows it and
screams it out every chance he gets.
Dammit,This Fuckin’ Cold
Won’t Go Away! Award
< Gucci Mane
Is it just us, or does Gucci Mane always sound
like his nose is stopped up? Every time you
see him you just wanna hand him a Kleenex
Once upon a time, R&B singers had to have
sex appeal. But lately it seems to be the opposite. With The Dream, Sean Kingston, and TPain all topping the charts this year, it looks
like the new demand in R&B is for brothers
that are fat and ugly as ever.
One Hit Wonder Award
< The Shop Boyz
Was that not the fastest 15 minutes ever?!?
The next time you see the Shop Boyz they’ll
be asking if you want fries with that, and
offering you a 35-cent upgrade to a larger
size. They weren’t even around long enough
to earn an audition for a future has-been
show on VH1. (Should have returned our
calls/emails for interviews and show bookings when you still had the chance)
I Can’t Feel My Face AWARD
< Chaka Zulu
Chaka was a corporate thug for standing up
to T.I.P and telling him that he wasn’t shit,
but as a result his bold statements got him
socked in the mug. Now he can’t feel his face.
Ouch! Sorry, Chaka.
Facebook Fiend AWARD
< Lil Jon
COURTESY OF LIL JIZZEL’S FACEBOOK PROFILE
KING YELLA
I Shoulda Signed With Koch
Award
< Foxx
Adding insult to injury (his hit song “Wipe Me
Down” was virtually stolen by his labelmates)
he only sold 5,000 units first week. With those
kind of numbers he would have done better
signing a ringtone deal with Koch.
Runner up: Julia Beverly
If you’re still wondering what happened to
that long-awaited Lil Jon Crunk Rock album,
don’t place all the blame on Steve Gottlieb.
Just check out Lil Jon’s (a.k.a. Lil Jizzel’s)
lengthy Facebook profile and you’ll see
where he’s been spending most of his time
lately. When he’s not drinking actual shots
of Patron, he’s sending his online-socialnetworking friends “Booze Mail.” And when
he’s not multi-tasking between multiple AOL
Instant Messenger conversations, he’s adding
silly Facebook applications like “Drunkometer,” “Addicted to Chappelle’s Show,” “Will
Ferrell Quotes,” and “Puff Puff Pass,” or
taking quizzes like “How Romantic Are You?”
(OZONE editor Julia Beverly, now also a semiFacebook addict, adds: “The only reason I
signed up for this shit is because Lil Jon sent
me a email invitation.”)
Best Dude in Rap AWARD
< Bun B
There’s no one in this game who has taken
the time and the effort to help young rap
artists progress in the past 20 years that Bun
B has. Bun is not only the greatest lyricist
and performer in rap, he’s a mentor to many
of your favorite artists and a man who stands
behind his words 100%. This is hard to find
in the rap game where so many people are
out to get each other. While everyone else
fights, Bun teaches the youth and entertains
his fans and keeps kosher with all aspects
of this Hip Hop shit. He is definitely the most
complete and real dude in this game hands
down and should be respected as such. The
man needs to teach a class.
Realest Rhymers AWARD
Tie: < Grit Boys & Killer Mike
In the immortal words of astronaut Jack
Swigert, “Houston, we’ve had a problem.”
Atlanta has too. This entire generation seems
to as well. “Hip Hop, we’ve had a problem.”
But like the nether regions of our universe,
there’s still plenty of shining stars to marvel
at, they’re just not always visible as often
things obscure their radiant light. Killer Mike
and the Grit Boys are Hip Hop’s shining stars
at the moment. While most of Atlanta is trying
to figure out new dance moves and the bulk
of Houston is still obsessed with their cars
and sizzurp, Killer Mike and the Grit Boys are
taking time out to speak to the people about
what’s really going on in the world, from a
perspective that young kids in the street can
grab a hold of and understand. Problem is,
the powers that be keep them off the radio
and out of the video shows and all the youth
really knows about these days is Soulja Boy
and a bunch of lame R&B. These two real rap
stars are receiving this award this year for
holding down the underground and keeping
the hungry masses of real Hip Hop fans,
people who appreciate great art, satiated
until the next big renaissance hits. Hopefully
it’ll happen before the oceans swallow us up.
Passport Pimpin’ Award
Chamillionaire
Five years ago I was sitting at my kitchen
table with Chamillionaire and his then-partner Paul Wall talking to them about how no
southern rap artists ever go to Europe and
never exploit any territories outside of their
native regions. I told them that they had
the potential to hit all over the world, but
the only way to make that impact was going
to tour those places and touch the fans. I
remember my analogy, I said, “You guys have
gone and done free shows and tons of promo
in places like Birmingham, Alabama and look
at you now. You can go there and do shows
for $5,000 and sell a ton of mix CD’s to boot.
You’re gonna have to go do some promo runs
to places like Birmingham, England and do
the same things you did in Alabama to make
that world wide impact. Chamillionaire obviously listened as he has performed all over
INTL K
Europe and Canada and recently even went to
do three shows in India. What other rappers
are doing shows in India? Chamillionaire’s
Victory might not be as Ultimate as he had
hoped, but he’s still winning this game on so
many levels. Big respect.
JULIA BEVERLY
TALIB HAQQ
Activist Rapper Who Should
Respect His Elders But Has A
Point AWARD
< David Banner
Although it’s silly that Congress is taking time
to discuss rap lyrics at a time when our nation is ass deep in a war that means nothing
but woe to anyone who doesn’t have stake
in an oil company, it’s equally silly for David
Banner to direct so much energy to attacking
Al Sharpton and Oprah Winfrey. We all know
that Banner has a point (they aren’t in the
community and don’t do all that much to help
the situation so they really shouldn’t speak
on it) but Banner’s energy could be put to
better use attacking much greater problems.
Al Sharpton saying that rap music is vile and
obscene means almost nothing to anyone,
so there’s really no need to call for his head.
And although we might not see these rich
TV-activists doing all that much right now,
people like Sharpton and Jesse Jackson
were on the front lines way before any of us
were born and should be respected for the
progress they did bring. You wanna attack
someone, fine. Stay focused bro, you’re too
smart for this shit.
Most Anticipated Texan
< Killa Kyleon
Come on, man, even your Boss Hogg Outlaw
partner J-Dogg has a hit now. We’ve heard
countless freestyles and flows that blow the
pants off of just about every one of your
contemporaries, but I can’t remember a
real, genuine, Killa Kyleon official solo song.
Is there one? Does it exist? The man spits
straight fire and genuine reality on the mic
every time he hits the booth, but it needs
to stop being over other people’s beats. We
need an album, man. Killa Kyleon is a soldier
in the fight to save Hip Hop, but real talk,
he ain’t gonna save shit without an album.
We love you a lot Slim Thug, but it’s time to
change your lane for a minute and get your
boy the hell out there. Time is now.
< The Pimp C Fanga In The
Bootyhole Award
Tie: Viacom and The Recording Industry as a Whole
We know that most of y’all calling the shots
in the music game are extremely out-oftouch evil white men who don’t know shit
about music or art and only care about the
bottom line. We know. We know that kids buy
CD singles and ringtones and we know that
as a business you have to do something to
keep your ship afloat. All that being said,
there’s still great art out there that needs
to be heard and legions of people who want
to hear it. If you keep stifling genuine art, if
you keep spitting on the streets, if you keep
portraying black men as nothing but coke
dealers who can barely complete a sentence,
then we’re gonna come to your offices, rip
the fangaz out yo’ bootyholes and replace
them with bombs. For real. Muthafucker, we
gon’ rip your suit up and stick a bomb up
your ass if you don’t get it straight. Bitch!
Editor’s Note: This is the opinion of one
freelance journalist and we here at OZONE
Magazine love the Viacom-owned MTV Jams.
Look out for OZONE’s Rapquest airing soon as
well as reruns of the first and second annual
OZONE Awards. :)
City Under Siege Award
< Houston, TX
Two, three years ago it was the “it” city for
Hip Hop. The whole world seemed to become
obsessed with Houston’s “culture” of putting
diamonds in your mouth and buying a big,
gas guzzling car. The cartoonish imagery
provided a lot of attention for a short period
of time and as soon as the masses began to
tire of said “culture,” magazines, newspapers,
gossipy bitch radio hosts and corny, lowquality DVD makers began announcing that
Houston was over. Houston is not over, we’re
just back to where we were before the media
came down here for lap dances at butt nekkid
clubs and sex with “publicists.” Houston is
an independent city and its Hip Hop scene is
incredibly dynamic when you look past the
surface and really dig in. Real will always
recognize real and the cream will always rise
to the top. It might not go triple platinum
again for a while, but who is? Instead of hollering about how Houston has fallen off (XXL)
OZONE MAG // 57
just shut the fuck up and go back about your
business. You don’t have to like it, but you
gotta respect it.
like Usher is like winning the lottery.
Usher could have chosen any woman in the
world, but he chose her (we’re still puzzled
too). Congratulations, Tameka, you won.
Bitch Better Have My Money
Award
< Remy Ma
After a close friend allegedly stole $2,000
from Remy’s purse, the former Terror Squadian
was accused of putting two bullets in her
companion. I guess the saying is true, money
over bitches.
Worst Trend In Rap
The “Rockstar” Phenomena
We don’t care how you dress, the tight shirts
and jeans and shiny belts, all good, whatever.
But please don’t pretend to know anything
about real rock and roll. Some artists might,
but not the ones who made “Party Like A
Rockstar” and all their followers. First of all,
glam rock died quick. It had a vibrant, but
fairly quick run. Played out licks and lackluster chops looped on a computer will see the
same fate. Maybe some of you will score a
VH1 reality dating special 15 years from now,
but 15 minutes from now your fake ass sound
will be dead and your career will be relegated
to the frat boy bars who still book people like
Vanilla Ice and bill them as “nostalgia acts.”
Do your homework you lazy asses, this is art,
not Wal-Mart.
JULIA BEVERLY
COURTESY OF SAIGON’S MYSPACE PAGE
JULIA BEVERLY
JULIA BEVERLY
Lamest Thing About The
Ozone Awards
Litter
Have some respect for your city, someone
else’s city, wherever you may be when attending an event you plan to promote at.
It ain’t your home so you have no right to
throw your posters, flyers, stickers, promo
pens, hats, t-shirts, and whatever else into
the streets as if someone else should clean
it up. The destruction of the earth IS your
problem, dudes. Have some respect when
you step into someone else’s home or work.
The good folks at OZONE spent a long time
and a lot of money to produce an event that
for all intents and purposes should catapult
this culture to a whole ‘nother level. But no,
that doesn’t matter to you. As long as people
saw your six hundred 6-foot tall posters, all
of which ended up on the ground in a big
mess, then I guess you have succeeded. But
real talk, I haven’t heard shit from any of the
artists I saw posters for all over every inch of
that area since I left Miami. I guess you haters
lost, again.
Weedcarrier of theYear
Award
< Gorilla Zoe
Zoe began his career carrying weed for
Block and Yung Joc, but things changed
for this hood nigga in ’07. One hit record
and solo album later, Z-O-E has his own
weedcarriers. Their names are Jody, Gee
and Duke.
Worst Hip Hop Flick Award
< Who’s Your Caddy
Who’s Your Caddy wasn’t just one of the worst
Hip Hop films of the year, it was one of the
worst films, period. Big Boi starred in this
Caddyshack knock off that grossed nearly $3
million in its first box office week, but it would
have been better off going straight to DVD.
And The Winner Is… Award
Tameka Foster
Getting impregnated and wed to a pop icon
58 // OZONE MAG
Internet Gangsta Award
< Saigon
No other artist has utilized the internet
this year like the Yardfather. Saigiddy used
his Myspace blog to bicker back and forth
with his album’s producer, Just Blaze, tell
his side of the Mobb Deep scuffle story and
release a retirement statement. And he still
hasn’t released his highly anticipated debut
album. Even as this article is written, Sai’s
Myspace page reads “Online Now!” And we
have no explanation for his profile picture.
Hate I That LoveYou Award
Limewire
As much as illegal downloading is taking
a toll on the music industry, most of us
can’t stop using Limewire downloading
softwares. As much as it hurts to download
songs and albums, why would someone pay
$17.99 for an album with one good single
when Limewire has all the songs available
for free?
You Should Kiss Weezy Award
< Playaz Circle
It took most rap fans a few months to
realize “Duffle Bag Boys” wasn’t a Lil Wayne
single. Because of Wayne’s hook, Dolla Boy
and Tity Boi didn’t have to rhyme on the
track and it still would have been a smash
hit. For giving PC the jumpstart their careers needed, these two should kiss Weezy
just like his daddy.
Umma Do Jeezy Award
< Rocko
We know the song is called “Umma Do Me”
but from listening to his song, minus a few
adlibs, it sounds more like Rocko Da Don is
doing the Da Snowman.
ERIC JOHNSON
Best Hip Hop Flick Award
< American Gangster
Hip Hop superstars T.I. and Common starred
alongside Denzel Washington in the story of
drug kingpin Frank Lucas. The movie captivated Hip Hop culture and single-handedly
inspired Jay-Z to release an album.
The UPS Is Hiring Award
Grand Hustle
With T.I.’s impending trial and the possibility that the Grand Hustle meal ticket could
face a very long time behind bars, Jason
Geter and company may need to get their
resumes together, just in case. Like Big said,
“don’t be mad, UPS is hiring.”
Website of theYear Award
Youtube.com
Last year’s runner up for Website of the Year
had to be the most visited, viewed, shared,
linked and uploaded site of 2007. If you
missed anything in pop culture, chances
are you can find it on youtube. Want to see
the new DJ Khaled video? It’s on youtube.
Want to see people make complete fool of
themselves? It’s on youtube. Soulja Boy became a household name through it and any
average Joe or chick with a nice rack and a
camera can use it to do the same. //
OZONE MAG // 59
Mr. Collipark
Hate It or Love It
Words: Randy Roper // Photo: Eric Perrin
60 // OZONE MAG
H
e discovered two of 2007’s biggest successes (Soulja Boy and
Hurricane Chris), yet Mr. Collipark (better known as DJ Smurf
to some) has felt more hate than
love this past year. Still, the former Ying
Yang Twins producer hasn’t let the critics stop his plans to turn his Collipark
Music imprint into the next LaFace. And
with Soulja Boy riding high on the charts,
Collipark is crankin’ dat Supaman all the
way to the bank. For anyone resenting the
music he cosigns, be careful, this ATL impresario may take offense to that.
You helped build the Atlanta Hip Hop scene to what it is today. How do you
feel about the game when you first started, to where it is right now?
It’s good to see it’s the focal point of the industry right now. I just think
we’re the heartbeat of not even just Hip Hop, like music right now, it’s coming
from here. You’ve got a lot of R&B writers and producers coming out of here
now too. I never thought it would be where it is now. I think back to my high
school days, listening to Luke and all those cats from out top, you just never
would have thought we would have the opportunities that we have now in
the game.
You were also very instrumental in the snap and whisper music a couple years
ago. What were your thoughts at the time you were making that music?
Just trying to do something new, man, and get out that whole crunk movement that we never really considered ourselves apart of. Even when I started
with the Ying Yang [Twins], the stuff that I did with them wasn’t really popular at the time. The music down here was going a little more street. That’s
when Pastor Troy and that whole Master P movement was real big. And we
just came with something different. It wasn’t popular to have a booty shake
record like that. Fast forward seven years and now you gotta have a strip club
record on your album. I think we were very instrumental in putting that in
the game, cause I come from bass music. But to take it from that and make it
a part of Hip Hop, it’s everywhere now. Everybody from the East to the West,
even gangsta, street cats from down here gotta have that strip club record.
Let’s talking about your label, Collipark Music. You’re doing it real big right
now with Hurricane Chris and Soulja Boy –
Actually, I found Hurricane and he was like a gift to my man, Bryan Leach,
over at Polo Grounds. I executive produced his project. But Bryan had left TVT,
he did my deal over at TVT with Ying Yang, and he left and started his imprint
over at J [Records]. I told him, “I’ma give you your first artist.” He actually
wanted to do something with P. Stones, who was my first Interscope signing,
but he wasn’t settled in at J yet. So I found Hurricane and it was like a perfect
jump off situation for him over there.
You saw the “A Bay Bay” record from the beginning, so –
A hit record is a no-brainer to me. Some people hear the records that I’m
affiliated with and they frown on them. My thing is, I make records for the
people. I never was into myself. As a DJ, you have to service other people
and I think that’s what separates me from a lot of people that consider
themselves Hip Hop heads. That’s self-serving almost, you feel me? I grew
up listening to everything, but when I hear hit records it’s a no-brainer. It’s
almost like I’m missing out if I don’t be a part of it. When I heard “A Bay Bay,”
even before I knew I was gonna have anything to do with it, I was like, “That
shit’s outta here.” And the same thing with Soulja Boy, I didn’t hear in his
song what I heard in Chris’ song but I saw it on his Myspace. When I saw it, I
was like, “Oh my God! This is it!” Cause he was serving the masses. Those kids,
they were loving him. Whether I liked it or not, he had already generated this
whole following. I saw those little girls holding up “I Love Soulja Boy” signs
and painting it on their chests and all that, I was like, “There is no way. I
have never heard of this kid.” And no adult I asked knew about him, but every
kid, every kid, one hundred percent, here in Atlanta knew him and they knew
about four, five of his songs.
You said, “whether you liked it or not.” So does that mean you didn’t like
Soulja’s music when you first heard it?
Nah, I ain’t gon’ lie, man. “Bapes,” that was the first record I heard. And I
think it was moreso for the quality than anything. I couldn’t get over it. It
was like a bad demo. I didn’t get it. I was like, “I don’t care who likes this, I
can’t do nothing wit’ this.” But when I saw it, it made me go back and listen
to it with a different ear. And I said, ain’t nothing wrong with it, it’s just poor
quality.
So how do you feel about Soulja Boy as an artist now?
He’s the best. He out-hustles these cats. He out-thinks these cats. He’s outperforming these cats. And he’s so young. He was 16 when I found him. He
don’t even have the vocabulary to be competing with these cats. At a time
when the game is so messed up, there are very few success stories in rap music right now and he’s one of them. And he’s winning big. So you gotta give
credit to that. I don’t care if you hate every song you hear from him. In the
climate of what’s going on, you cannot front, it’s hard to sell a record right
now. And he’s going up. He did his numbers, then he took his drop and he’s
going back up right now. This is wit’ no tour. It’s beyond a ringtone thing, its
people buying into him. Hurricane, it’s a lot to him, talent wise. He’s more of
a talent than Soulja Boy. Soulja Boy is a movement.
A lot of critics –
Julia Beverly came to me and she said, “How do you feel about people calling
Soulja Boy’s album whack?” I said, “I don’t care about nobody who called
Soulja Boy’s album whack. If they’re over 17 years old, I could care less.” I
said something about the numbers, he did like 117,000 the first week and then
she asked me again, like, “What do you think about people saying the album
is whack, though?” “I said, “I don’t care!” I didn’t expect Soulja Boy to appeal
to anybody of out high school when I signed him and the fact that it’s this
big is phenomenal to me, cause I didn’t get it. But I knew that Soulja Boy had
the potential.
Is he an artist that has longevity, as he gets older and his fans get older?
He learns so quick. He asks a lot and he observes a lot. He’s crazy about
50 Cent, not just his music, but how 50 took the game over. So he watched
everything that he did. That’s the aspect about him that lets me know he’s
gonna [have longevity]. Because he actually looks at what’s going on around
him. He looks at Kanye. And when those kinds of cats meet him, they see it.
They see that it’s bigger than “Crank Dat” the dance when they meet him. He’s
a student of music. Anytime you got an artist that produces himself, that does
his own beats and puts songs together like that, it’s something special about
him. And he’s able to go in and make records. There’s a lot of artists that
can’t make records. He’s a young Kanye in his world. If you look at the variety
of subject matters, the lifestyle records that he put together, they’re very
primitive but it’s a lifestyle thing that he’s done with the “Bapes,” the “Yahh,”
the “Crank Dat,” the “Shoot Out,” the “Just Got My Report Card.” It’s a bunch
of different themes that appeal to those kids. So as he grows and the things
that he sees expands, he’ll be making records about that stuff.
Do you do the “Crank Dat Soulja Boy” dance?
I said if we go platinum I’m doing the dance. I ain’t seriously cranked the
dance. But I’m waiting on the record to go platinum.
Do you have any last words for the Soulja Boy haters?
I get real defensive when I talk about Soulja Boy, cause I’m passionate about
it. If I don’t like something but I see someone who does like it, I take it as
just that. I say, “I don’t get it but I see why it’s working.” The thing with
Soulja Boy is, the people that don’t like him, they don’t like him passionately
and I catch a lot of that because I found him. So a lot of times I lash out. He’s
gonna easily get a gold album. You tell me the last new artist that got a gold
album, period. Joc might be the last one. And he’s three million ringtones, so
he’s got that too. And three million digital singles, so that’s six million digital
downloads. So that success story is humongous. For Hip Hop heads, if you like
“real Hip Hop,” I’ll use somebody like Talib Kweli [as an example]. People can
say he’s dope but he doesn’t sell cause the so-called “real Hip Hop community” doesn’t support him. So what good does it do him to be dope for y’all?
For y’all who are out here criticizing, you don’t even support him. He ain’t
even sold 200,000 records. You gotta look at the game for what it is. This is
how I eat, that’s how [my son] goes to school. It gets emotional to me in the
sense that this is what I do for a living. And for somebody to sit back-somebody who doesn’t contribute in a positive way-and just sit back, critique and
run their mouth, I have a problem with that. Yeah, I have a serious problem
with that. //
OZONE MAG // 61
62 // OZONE MAG
OZONE MAG // 63
64 // OZONE MAG
soulja Boy
Words by Julia Beverly // Photos by Anthony Cutujar
Clown Soulja Boy all you want, but he’s making more money than you. Among
the millions of aspiring rappers, producers, singers, and models flooding the
internet with their novice creations, Soulja Boy went the gangsta route and
launched his song “Crank Dat (Supaman)” into cyberspace with filenames like
“50 Cent - In Da Club” that eventually led thousands of curious fans back to
his website. Thanks to Google, Mr. Collipark, and Interscope Records, 17-yearold DeAndre Way’s catchy tune launched him into stardom virtually overnight.
Now, faced with critics labeling him a “ringtone rapper” and a “one-hit
wonder,” Soulja Boy faces the challenge of growing with his primarily young
audience and turning his massive hit into a career with longevity.
Have you graduated from high school yet?
Yeah, I already graduated. We did a back to school special with BET and I
went back to my high school and all my teachers and the principal were
tellin’ ‘em my situation, letting all my fans out there know how it all went
down with my education. So I’m good on that tip.
Are you the hometown hero now?
Yeah, I guess you could say that. I went back to my ‘hood and everybody was
like, “Souja Boy! Soulja Boy!” Once you make it out the hood you’re the person
everybody looks up to. They’re just glad somebody came and did it, and
everybody was showing love because they already knew what I was about
before I made it and blew big. I’m just holding it down like I always have. I’ve
always been rapping, so back in school everybody knew me as Soulja Boy.
I always had songs out and I had a couple local hits or whatever, so I was
signing autographs and stuff back before I signed my record deal when I was
just in high school. So it’s mainly all the same to me; just more money.
When you started out, did you really think you’d end up having the #1 song in
the country or were you just playing around with rap for fun?
It was just something I was doing. It wasn’t just to have fame or whatever.
I just wanted to have everybody jumpin’ in the party. When I hit a party, I’d
be putting my CD in and everybody would go ahead and “Crank It Up.” That’s
what it was about. But as far as the point I’m at now, I ain’t know it was ever
gonna get to this point. I thought I was gonna get big, but I ain’t know it was
gonna be this big. I’m on a whole ‘nother level.
Sometimes when people become famous at such a young age it’s hard for
them to stay grounded and they end up getting a big head. How do you stay
humble and keep that same hunger that you had for it in the beginning?
I’m good. I always look at it like, this is just something else I want to do. This
ain’t really nothin’, you know? It’s just having a goal or an accomplishment or
something that you want to do. I wanted to have the #1 song in the country
and now I’ve done that. I want to have a platinum-selling album and I’m still
working on that. I still wanna have my own cartoon and I’m trying to do that.
I wanna be in a movie so I’ma go do that. It’s just something else to do, so
there’s no reason to get big-headed from it because it could be gone tomorrow. Plus, whoever’s hot, you’re not gonna stay hot forever. You’re not gonna
be able to do this forever. When you’re hot you’re hot and when you’re not
you’re not; all this could be gone tomorrow.
What is your cartoon gonna be about?
The cartoon is called Bad Lil Homies. It’s really just based on my life, with a
twist to it. I’m gonna have superpowers. It’s funny though, it’s not too kiddy
and it’s not too grown. It’s for everybody. I created the cartoon and I’ve got
my homeboy Arab doing the illustrations, so once that cartoon releases it’s
gonna be crazy. That’s just something else I want to do with my career as
far as promotion, doing TV. It’s gonna be airing on a network but we haven’t
chosen an official one yet.
Of course the story goes that you got your main fanbase through the internet,
but there’s millions of people trying to rap and promote on Myspace and
YouTube and all that. What do you think you did that was different enough to
make your music stand out from everybody else’s?
I know a lot of people who log onto the internet and just spam people and
post their link everywhere, like, “Listen to my music!” and nine times out of
ten, that’s not gonna work. That ain’t gonna get you nowhere. I never really
did that cause I knew nobody was tryin’ to hear that. When I started recording
songs I wasn’t getting no love from the radio stations or DJs. I was a nobody.
So when I recorded “Crank Dat (Supaman)” I’d take whatever was the #1 song
in the country at the time or the song everybody was listening to that was on
BET – like 50 Cent’s “In Da Club,” for example, that was a huge record. Everybody was downloading music for free off the internet and there’s websites
where everybody goes to get new music. So when I recorded “Crank Dat (Supaman),” I’d rename it “50 Cent – In Da Club” and I’d upload it to [websites]
where people could download it for free. Then I’d copy it and rename it as a
Justin Timberlake song, a Master P song, a Jay-Z song; every big artist you
could think of. So every time you got on that site and tried to download a 50
Cent song or a Jay-Z song, you’d get the “Crank Dat” record. Everybody was
like, “Who is this dude right here?”
Did you plug your Myspace page or something in there? Or how did they know
how to look you up?
Nah, my name wasn’t on there nowhere. It was just the song, I guess. That’s
“I know a lot of people who log onto
the internet and just spam people
and post their link everywhere, like,
‘Listen to my music!’That ain’t
gonna get you nowhere. ”
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where the buzz came from, because everybody was Google-searching “Supaman” and “Crank Dat” and “Soulja Boy” or whatever, and as soon as you typed
that in [Google], my Myspace page would come up. I had SouljaBoy.com and
that’s when all the hits started coming in. To capitalize on it, I did the “Crank
Dat” dance and put it on YouTube. It had 15 million total views before I signed
my deal, and the MySpace page had 20 million total plays before I signed
my deal. I was doing shows every weekend and getting $10k a show before I
signed my deal. Then when I signed my deal and started doing promo shows,
I was like, man, why am I doing shows for free now that I’m signed if I was
getting ten stacks before I was signed? It was a change, but it was cool
though, travelling across the country and selling out shows.
Was Mr Collipark the first person that reached out to you about getting a
major label deal or was there a lot of labels reaching out to you?
I had lost like three deals. [The labels] would reach out to me like they wanted to sign me, we’d be in contact or whatever, and then I guess they weren’t
interested anymore. I guess they thought it was a joke. Now, all those people
[that tried to sign me] are like, damn. They’re mad now. (laughs) But as far
as the situation with Collipark, he hit me on my Sidekick [SouljaBoyTellEm@
tmail.com] and gave me a number to call. I hit him up and I signed with him
that same week. He signed me in my house, in my living room. Then I went to
L.A. and I signed with Interscope.
Did he help you put your album together, musically, or was it basically done
at that point? How did he help you take it to the next level aside from signing
the deal?
He’d already seen my fan base and my following. It was strong. I was on a
Bow Wow level before I was signed. He told me, “Do everything how you’ve
been doing it, and I’m gonna just sit back and let you do you. I’ma let you go
in the studio and do you, and when you’re finished, turn in your album.” He
told me, “You’ve proven yourself. If it’s not broke, don’t fix it. You’ve already
proven that this is what the people want to hear, so do what you’ve been doing and we’re just gonna master it and I’m gonna come in at the end and tell
you what’s up.” So I did my whole album, turned it in, and Interscope loved
it. He told me we needed to do the “Soulja Girl” record. He made the beat and
we put it out. I had full creative [control] over everything but he gave me a
lot of good advice, and I thank him for that. He steered me the right way and
gave me full control and it just made a monster.
The girl from the “Soulja Girl” video was introduced to me as your real-life
girlfriend. Is that true?
Nah, nah, that’s not my girlfriend. “Soulja Girl” is a song for my female fans.
How do you respond to the critics that say your music is a gimmick or people
that don’t take you seriously?
I really don’t care what people think. That’s where most rappers mess up:
Caring about what people think. Who cares, you know? I had the #1 song in
the country seven weeks straight and sold over 3 million ringtones. I’ve had
critics all my life. When I first started doing my shades, in high school, I had
written “Soulja Boy” on them in white out and everybody was talkin’ about
me like, “Man, that’s stupid.” Today, I’m selling a hundred pair of ‘em a day
on SouljaBoyTellEm.com. So when I just sit back and think about it, man, I
don’t really care what nobody says. Once you get that in your head – do what
you do – you’re gonna be straight, feel me? I’ve got that mindframe where I
can make a song about anything I want to make a song about. I ain’t got no
limits and if it’s a couple people who think that, who cares? So? I don’t care.
Who are you supposed to be anyway? So if I put out my album and I don’t get
the reviews that I wanna get, who cares? I don’t care about reviews, I care
about sales. As long as my album sells more than that other rapper, it’s all
good. As long as my fans are happy, I’m straight. I don’t make music to make
the critics happy cause they’re not gonna be happy anyway. I make music
to please my fanbase who’s been down with me before the deal. Everything
that’s happened after the deal is people who don’t really care about me. Everybody who’s been riding with me since before the deal and has gotten me
to where I’m at is the people who I’m making this music for. Everybody who’s
been rockin’ the white out on their shades or the rubber band necklace and
knew about who I was before this deal, that’s who I’m making music for. And
for the down raters that are haters, who cares. Once you start trying to please
people, that’s where you mess up at. I don’t care about what nobody says.
Do you plan on using the same formula for your second album, or working
with some different producers and adding features to change it up a little?
After a while, once you do hear a lot of criticism, it does get to you. Going
into my second album, I might come with a couple tracks where I’m just
gonna step it up a notch. I might just give ‘em that one track and be like,
BAM! And then the rest of my album might be on that same vibe as the first
album. I might just do a whole mixtape and the critics hearing that would be
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like, “Oh my God, Soulja Boy’s a beast!” But that’s not my style, you know?
I’ve got talent and I’ve got the ability to do what a lot of people don’t think I
can do lyrically. They think I’m just a snap artist or whatever, but that’s what
I do. I don’t come on a track trying to sound hard or be like Nas or Jay-Z. I
mean, I can do that if I wanted to, but that’s just not what I intend to do. I
might just drop a mixtape or whatever and kill all the talkin’ on that level and
still do my album the same way I did the first one, cause that’s what my fans
want to hear. Whatever they say they want, that’s what they’re gonna get.
I overheard some DJs in Las Vegas talking about you after you’d done a radio
interview, and they felt kind of insulted by one of the comments you made.
How important do you think DJs are to your career?
Well I’m not too familiar with that situation, but I understand that the DJs are
just as important as the emcees because without the DJs, people wouldn’t
get to hear your record. DJs are very, very important, and if they feel like that
[about me], I don’t know why. I feel that DJs are a big part of Hip Hop. Shouts
out to all the DJs. Y’all need to keep spinning my record for real (laughs).
Y’all don’t need to be talking like that, man! (laughs) All the DJs out there,
Soulja Boy is with you!
Why do you go by the name Soulja Boy Tell Em? I heard that somebody
already had the name Soldier Boy trademarked?
The reason I call myself Soulja Boy Tell Em is because every time I did a song,
my hook would come on and then before I’d do my verse, I’d holla out “Soulja
Boy tell ‘em!” That was my trademark, and my fans started saying it so much I
just used that as my name.
We did a rapper survey last month for the sex issue and we asked rappers
what “supersoak that hoe” means. What does it mean to you?
Supersoakin’ that hoe, man, that’s a dance. It’s not sayin’ “supersoak that
hoe” as in, a female. It’s just like if you’re playin’ basketball, you could say,
“Slam dunk that hoe!” It’s just a dance. However they took it, it isn’t intended
to be meant that way.
Since you’re representing the youngest generation of music lovers, where do
you see music headed from here on out? Do you think snap music and dance
music is where it’s at?
Nah, I don’t think snap music and all that is gonna take over. I feel like it’s
just gonna be some stuff that I can’t even predict. I think there’s gonna be
new music coming out every day, not just snap music or whatever. I know
there’s gonna be a lot of Frooty Loop beats comin’ out. But I think everything’s gonna go digital; I don’t think there’s gonna be anymore albums being sold. You know how they had the 8-Track and then that went away? Then
they had the cassette tape, and then that went away and they had CDs. I think
CDs are finna die out too and they’re gonna just have iTunes. Everything’s
gonna go digital; ain’t nobody gonna buy albums no more.
In the beginning, you made use of digital technology to benefit your career,
but as you become a bigger artist, does it concern you that people can get
your music online for free?
The only thing you can do about that is capitalize on it. Ain’t no way you can
fight that; you can try, but it isn’t gonna work. The main thing I wanna get
across is that everyobdy’s talking about “ringtone rapper,” but I think you
should try to capitalize on the digital market by selling ringtones and digital
downloads. I know it’s good to sell albums, but you can see that ain’t nobody
selling albums no more.
What would you rather do – sell 3 million ringtones and no albums, or no
albums and no ringtones?
See what I’m sayin’? So instead of trying to fight it you’ve gotta capitalize on
it and get some money. Instead of selling 50,000 [albums] your first week and
no ringtones, if you sell 50,000 your first week and 4 million ringtones you’re
straight. So capitalize on the digital market. Don’t fight against it or you ain’t
gonna have no money.
You mentioned your cartoon; are there any other projects coming up that your
fans should look out for?
The album is in stores right now. I’ve been out to L.A. and I met with Nickelodeon, Disney, Paramount Pictures, and a lot of casting directors to do
auditions. So y’all might see Soulja Boy Tell Em on the big screen in 2008. I
want everybody to look out for that SOD Money Game mixtape in the streets,
hosted by DJ Scream, that’s gonna be hard. Y’all look out for Arab coming in
2008 on Stacks On Deck Entertainment, that’s my label. Any unsigned artists
reading this right now, y’all can hit me up at www.SouljaBoyTellEm.com or
[email protected]. We’re looking for new artists so if you’re trying
to get your shine on, come holla at me. Stacks On Deck: it’s no discrimination,
we’re just looking for talent. //
OZONE MAG // 67
68 // OZONE MAG
Hurricane
Season
H
Words by Randy Roper
urricane Chris isn’t exactly the easiest interview subject. You
would think that questions about meeting Alicia Keys, groupie
love and addressing haters would lead to interesting commentary, but the 18-year-old rapper from Shreveport, Louisiana seems disinterested in such juvenile debates. Instead,
the artist discovered by A-Town impresario Mr. Collipark and
signed to Bryan Leach’s J Records subsidiary, Polo Grounds
Music, has other things on is mind. His “A Bay Bay” single shot
up the charts and sold millions of ringtones but critics were
quick to write him off as another song-and-dance Southern
Hip Hop act. So Hurricane has something to prove, which probably explains
the reason the teenaged rhymer barely ever cracks a smile. With his debut
album 51/50 Ratchet in stores and the Shreveport ratchet music movement
thrown upon his young shoulders, Chris is focused on running the game.
Whoever feels differently can holla at Hurricane.
You’re from Shreveport, Louisiana, which is the home of “ratchet music.” Can
you explain what ratchet music is and the music scene in your city?
I’m from Ratchet City, you know what I’m sayin’? Come to Shreveport, Louisiana and go to Club Cocoa Pevis. We got a movement behind it. We dance
ratchet. Everything we do is ratchet. Ratchet is our culture, ya heard me?
What exactly is ratchet?
The ratchet movement is the movement I got coming out of Louisiana. It’s a
lot of people that are a part of the ratchet movement. I’m putting it to the
forefront. Ratchet is our culture, how we dance. Atlanta got crunk. The bay
area got hyphy. We got ratchet.
Your single “A Bay Bay” took off this year. What’s been your biggest adjustment to the success and fame?
I ain’t had no big changes. I’m financially better. But for the most part I’m
still the same dude.
Can you explain the whole concept of “A Bay Bay?”
The “A Bay Bay” ratchet movement comes from Shreveport, Louisiana. My
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dawg, Hollywood Bay Bay, they used to holla his name in the club every time
he wrecked it. It became so popular I made it a hit.
I heard DJ Hollywood Bay Bay was going through some legal issues with rape
charges.
Nah, nah, nah. That ain’t true. I heard people were thinking that but ain’t
none of that true.
Are you sure he doesn’t have any rape charges? So where did that come from?
I don’t know. I seen it on the internet though. He was in Cali last night, he’s
on the road, we’re doing shows. He’s on his way to Atlanta right now.
So what exactly does the phrase “A Bay Bay” mean?
It’s positive vibe. Whatever you’re rockin’ wit’, you holla “a bay bay.” Like you,
hittin’ the club tonight, “a bay bay.” It’s just another word for “fa’ sho’.”
You’ve taken a lot of heat for “A Bay Bay.” A lot of people say it’s a simple,
bubble gum song. 50 Cent even took shots at you and the song. How have you
taken all of the criticism?
Man, whoever said “A Bay Bay” ain’t what it do, can kill themselves. (laughs)
I’ve seen you freestyle and you really do have skills. How important do you
think it is to show people those skills?
Come get on the microphone wit’ me. I’m a beast over here, ya heard me. It’s
real important to show your skills. That’s what it’s about at the end of the
day. You gotta make the club bangers and the dance songs to keep the clubs
going and keep them dancing. But at the end of the day, you gotta have it in
ya. You gotta be reckless and be able to go tit for tat.
What are you going to do to prevent yourself from being a one-hit wonder?
Since “A Bay Bay,” we done hit ‘em wit’ the remix, the “Hand Clap,” we done
hit ‘em wit’’ the “Hand Clap” video, the remix video, we put Game, Baby, E-40,
Boosie, Jadakiss on it. The album just dropped October 23rd and we’ve got my
new single blazing the streets, “Playaz Rock.”
On the “A Bay Bay” remix, you have a line on there where you said, “Ever
since I dropped ‘A Bay Bay’ I’ve been running the game.” Do you actually feel
like you’ve been running things? Do you think you’ll be the next King of the
South?
I don’t dib and dab in all the king and queen [talk], I was through playing
like that when I was in preschool, ya heard. It is what is. Ever since I dropped
that “A Bay Bay” I’ve been running the game and whoever feels different can
holla at Hurricane.
You had a lot of big names on the remix. Were you nervous at all doing a song
with cats like The Game, Lil Boosie, Jadakiss and the rest of them?
Nah, nah, I wasn’t nervous. It’s what we do. We’re all big musicians, we’re all
big fans of music and we all grind real hard. We was all on the same level wit’
it. It wasn’t hard to get them to work. They came to the video shoot. They
worked wit’ us. They created a good vibe, so we rolled wit’ it.
Your album is entited 51/50 Ratchet. What is 51/50?
51/50 is 101 percent real. Add it up, 101 percent real.
What can you tell me about your album?
The album is off the meat rack. It’s all the way versatile. I got club bangers,
something for the females to listen to, something for the white folks, gangsters and the thugs, ya heard me.
Tell me about the “Hand Clap” single.
We started clapping our hands on the “A Bay Bay” video. That’s why we came
back with the single, that’s where it comes from. We shot the video in L.A. The
video is off the chain. We rode around in a drop top, made the whole Hollywood go crazy, ya feel me. That’s the single we’re pushing now. It’s hot in
the streets, got the clubs banging.
You have a new single with your labelmate Boxie, right?
I got a new single called “Playaz Rock.” The Earth, Wind and Fire [sample]. It’s
slowed down for the grown and sexy, but we’re using words so the youngsters will be able to feel like they’re involved too.
Who’s the kid in the beginning of the “A Bay Bay” video?
Baby Three. He’s with Go Live Entertainment. Wherever you see me, you see
him. That’s my artist. Four-years-old, in the game.
Can you tell me about your label?
I got an independent record label called Go Live Entertainment. That’s really
one of the only record labels that helped me get on. That was the only resource I had in the beginning, my own label, Go Live Entertainment. Hopping
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in our own vehicles, hitting the road, just making it happen the best way
possible. Now I’ve got an artist coming out by the name of Big Red and a lot
more artists that’s coming out of Ratchet City. You gon’ see Go Live Entertainment all over in the future.
The game has changed a lot over the past few years. Things seem to be more
about ringtone sales.
I mean, it’s crazy. Ringtones are selling, albums [sales] are decreasing. We
gotta start getting back out here and selling albums. That’s why I dropped my
album October 23rd, 51/50 to show ‘em that people still buy albums. That’s
why I want people to go out and support who they’re jammin’. If you’re jammin’ them, go buy their album.
What do you have to say to people that think you’re just a “ringtone rapper?”
Kill yourself.
Can you explain your relationship with Polo Grounds CEO Bryan Leach?
I met Bryan Leach through Smurf [Mr. Collipark] when I was getting radio
play in Atlanta. We basically got our relationship off of him coming to my
hometown and seeing the movement and him believing in the movement. He
signed me to Polo Grounds, the Hip Hop department at J Records. And me and
him have been making it happen ever seen then. Got a real good vibe over
there, ya know what I’m saying. We both know what we want.
What have you been able to learn from him?
He’s a real good dude. I’ve been able to learn a lot from him. Just being around him and seeing how he handles certain situations. Being with J
Records is a whole different level, period. Since I’ve met him, I done met Clive
Davis and a lot of other people, just off knowing him, so it’s all good.
Let’s talk about your relationship with Mr. Collipark. How did you meet him?
I met Smurf because I was pushing myself through my independent record label. I was getting record play in Atlanta through King Arthur; he was spinning
us real, real, real hard. Smurf heard it on the radio and he caught a plane,
came to my city and saw the movement and believed in it. Me and him been
rocking ever seen then. That’s who took me to Bryan Leach.
Another artist that Smurf brought in was Soulja Boy. What’s your relationship
like with him?
I know him from being around the Collipark scene. We got signed at two different times. We do two different types of music. We have two different crafts.
But we’re still affiliated with the same person. Smurf found me, Smurf found
him.
What do you think it is Smurf saw in you that made him want to sign you?
From what Smurf said, he saw the whole package. From being able to spit
to being able to drop a club banger to being able to battle. Just the whole
package.
Let’s talk about battle rapping. I heard you were big in battling in Shreveport.
Yeah, that’s how I started out. When I first started getting my name up, I
was in battle rap competitions. So that’s how I got my name out there, from
battling. That’s how I got the name “Hurricane” cause I used to leave my opponents silent and after a storm it’s silent.
Battle rapping isn’t big in the South. Why don’t you think a lot of rappers
aren’t down for battle rapping here?
I don’t know. There used to be this spot called Crystal Palace, it was a skating
ring but they put a stage in there and we used to do our thing on the stage.
It was like the only spot you can come showcase your talent. It wasn’t so
much as we were on battle rapping, but you already know, you get a bunch of
rappers and you put them all on a microphone on a stage, somebody’s gonna
spit something in somebody’s direction. So you know it’s gon’ be a battle.
Every time I see you, you look dead serious. What are you so serious about?
I don’t know, people say that because I guess I don’t have no facial expressions. I don’t know. (smiles)
So what do you having going on right now?
I’m on the Chris Brown tour. Soulja Boy’s on there. Sean Kingston’s on there.
Lil Mama’s on there. It’s supposed to be a lot more acts added on. It’s supposed to be real hot.
Things seemed like they’re moving real fast for you, from your album dropping to be on the Chris Brown tour. How do you feel about the industry as a
whole and how fast things are moving for you?
It’s a blessing, ya know what I’m sayin’? We’ve been grinding for a real long
time. We’re taking it all one step at a time. We love the fans. We give the fans
the same energy they give. We gon’ ride it ‘til the wheels fall off. //
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the “ratchet” movement now; do you think ratchet is the “new crunk”?
I think the argument that crunk is dead is a stupid argument. If crunk was
dead, you wouldn’t be able to have a ratchet movement.
Did you sign Hurricane Chris with the idea in mind of having him lead the
“ratchet” movement in the same way that Lil Jon led the “crunk” movement?
I primarily signed Hurricane Chris because I believed in Hurricane Chris as an
artist; same reason I signed Lil Jon, Pitbull, and the Ying Yang Twins. They
weren’t popular signings when I signed them. Anybody who really knew,
and was there, including yourself, knows that at that time in 2001 it wasn’t a
popular signing. You knew Pitbull before I signed him, and it wasn’t a popular
signing. It wasn’t like I was competing against labels or there was a bidding
war. It wasn’t like people were patting me on my back when they heard that I
signed him and were like, “Yo, you did a great signing.” They weren’t popular
signings. Neither was Hurricane Chris. I don’t consider myself an arrogant
person, but it’s crazy to me that people doubt my consistency. I’m one of the
most consistent A&Rs in the game. Hurricane Chris was penalized because he
had such a huge record that people weren’t really able to look at who he was
as an artist. Maybe they still haven’t decided whether they like him or not for
the long run, but I signed Hurricane Chris because I thought he was a tight
artist. The thing that made me really invest in the project was because he had
a hit record. I felt he was part of a movement that Hip Hop music was missing. But without crunk music there would be no ratchet music.
Did you leave TVT more because of a desire to start your own thing or because of differences you had with Steve Gottlieb?
It came to a point where I made Gottlieb a lot of money and I didn’t feel
like he paid me what I was worth. I decided to make a move so that I could
control my own destiny and make money. Steve Gottlieb, real talk, is a fucking
genius and a very innovative person. He’s an asshole, and I mean that with
affection. Gottlieb is an asshole but half of what I know, I learned from working with him, and vice versa when it comes to urban music. You know, there’s
people that say Julia Beverly is an asshole. The decisions you need to make to
build your brand aren’t always popular decisions.
bryan Leach
T
he average clubgoer might not recognize Bryan Leach’s face, but
chances are he played a key role in many of the hit records they’ve
grown to love every night on the dance floor. Lil Jon & the Eastside
Boyz, the Ying Yang Twins, and Pitbull are just a few of the artists who have
Bryan to thank for helping to develop and bring their trademark sounds to
the masses. He recently departed his longtime post at TVT Records to form
his own label, Polo Grounds Music, which is distributed by J Records. With a
promising lineup and decades of experience in the music business under his
belt, in 2008 Bryan plans to show the world that Hurricane Chris (of “Ay Bay
Bay” fame) is much more than a ringtone artist and unleash several new acts.
What was your role at TVT Records?
I created the Urban department. I’m the reason why people know who the
fuck TVT is. I mean, it sounds arrogant, but it’s the truth. When I got to the
label in ’95, TVT was a rock label. They had Nine Inch Nails, Sevendust, industrial rock music and soundtracks like Mortal Kombat. Hip Hop was a hobby.
They had a bunch of bullshit [Hip Hop] acts. Irv Gotti worked there for a year
and I watched as [TVT owner] Steve Gottlieb passed on [signing] DMX, passed
on DJ Clue, passed on Jay-Z and Roc-A-Fella. Irv went on to Def Jam, but I
stuck with the shit and took five years of catching bricks before I signed Lil
Jon and Naughty by Nature in 2001 and then went on to sign the Ying Yang
Twins, Pitbull, and Jacki-O, and started to create an identity. For six years in
a row, we were the #1 independent Hip Hop label on the Billboard charts. We
built the company together, me and Steve Gottlieb.
Through your work with Lil Jon and the Ying Yang Twins, etc., is it fair to say
that you were one of the main catalysts in the whole “crunk movement”?
I was one of the main catalysts in commercializing crunk music.
So what’s your thoughts on the people who say crunk is dead? You’re pushing
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Being an “asshole” in terms of paying artists? Lil Jon was pretty vocal about
the issues he had –
I’m talking in terms of how he built his company. Those are separate issues;
those stories are very real, and they’re sub-stories so to speak. But in terms
of what he built his company on – I’m sure you’ll learn that when Lil Jon built
[his label] BME, he borrowed from his experiences with TVT, and there are
definitely things I borrowed from TVT [when starting my label Polo Grounds].
For instance, the way we’ve got to operate nowadays in the business, these
so-called 360 deals where you sign an artist and you participate in the publishing, merchandising, touring, and management in addition to the record
side – Gottlieb was doing that back in 2001. The industry is more conscious
now in terms of how they market and promoter records and how they spend
money investing in projects so that they can project their profits so that
there’s a better chance of making money, and that’s how Steve has operated
since 2001. When I left TVT and went to J Records, a major label, they were
kind of new to this business model but it was something I was already used
to because that’s how Gottlieb had been operating since 2000. He’s a smart
guy. He’s not a great people person or a pro-artist person, but he is a good
businessman. I’m a pro-artist person and Gottlieb is not. But anybody who
was a part of that period from 2000 to 2005 knows that me and Gottlieb made
a great team because we balanced each other out.
Why did you choose the name Polo Grounds Music?
Polo Grounds is named after the housing projects I grew up in. When I decided
to make a move and do my own thing, I just wanted it to be something that
was personable so I just decided to name it after the place where I grew up.
How did you initially come across Hurricane Chris?
Smurf. Short and sweet. I wouldn’t have known about Hurricane Chris if it
wasn’t for Mr. Collipark [a.k.a. DJ Smurf]. I was in L.A. having drinks at a Beverly Hills hotel and I got a call at 1 AM Los Angeles time which was 3 in the
morning in Shreveport from Smurf, saying, “I found your first artist for Polo
Grounds.” So it was a gift hand-delivered and packaged by Smurf. I flew out
to Shreveport on Smurf’s word, saw it for my own eyes, and signed him up.
Who else have you signed to Polo Grounds?
C-Ride came to us through Cool & Dre out of Miami, and he has an ability to
make big records. Nina Sky is my urban pop act; they came to us through
Cipha Sounds in New York. Boxi is an 18-year-old singer/songwriter/musician
and a ball of energy. Ratchet City is another extension of the whole ratchet
movement. We manage Diamond from Crime Mob and Avery Storm, who is
signed to Nelly’s Derrty Entertainment through Universal. We manage Phunk
Dawg, who produced “Ay Bay Bay” and “Hand Clap.” We manage Los Vegas,
who produced “Soulja Girl” for Soulja Boy. We have a publishing division
where we handle the publishing for all those people. Our business model at
Polo Grounds is exactly what the major labels are trying to figure out: management, touring, merchandising, publishing, and the label side. So we’ve got
a pretty good spread. And I’m still a consultant; I’m a co-executive producer
on the Lil Jon project on TVT Records.
What do you look for in the people that you hire for Polo Grounds?
I look for people who put in as much work and passion as I put into the company. I look for people who do what you and I did when we were building our
companies. I look for people who are doing what you did when I met you in
2001 and what I was doing in 2001; the passion and the hunger and the grind
that I had and that you had. That’s what the fuck I look for. If somebody ain’t
got it, then it ain’t worth fucking with them. Nowadays it’s so hard to make
money in this business that if you ain’t ready to hustle, you might as well just
not fuck around with it.
What about when you sign artists, aside from the obvious?
I need artists who are humble, but confident. Artists that are talented and
have the ability to synergize with all kinds of industries, whether it’s film, TV,
music, or the corporate world. Kids just want to buy music from the artists
they love. It’s not really about songs. They’ll buy the songs, but in terms of
the artist that they really want to be a part of, they’ve gotta have all those
things. I think I was a little spoiled by being involved with some of the artists
that I was involved with. Pitbull is one of the hardest working artists I’ve ever
worked with. If I could take one artist from TVT, I would take Pit. [Lil] Jon is
one of the smartest artists, and one of the most creative and diverse people
I’ve ever worked with. Smurf is really underrated. He’s a hard-working,
humble executive. So now that I’m looking at all kinds of other artists, it’s
hard to find somebody who can measure up to that shit. You look for artists
who could either do [what Pitbull and Lil Jon do] or get as close to hitting
that mark as possible, but there ain’t too many of them left.
You mentioned that back when you signed Lil Jon and Pitbull they weren’t
popular signings, but these days, as soon as a Southern artists gets a slight
hit record the major label start bidding wars. Do you think the fact that the
major labels are on the South so hard right now actually works against us
and decreases the quality of the music because artists don’t have to work as
hard to get a fanbase and get deals?
I think all of those arguments are suck-ass arguments. People start crying
about how the labels only sign artists who have a sales base and radio play
and a story, well, yes, you do need to have all that, because the artists have
raised the bar. It’d be different if the labels got smart and had something
to do with it, but the labels didn’t have nothing to do with it. David Banner,
Bonecrusher, T.I., Ludacris, Three 6 Mafia, all these artists learned the indie
game and decided to be entrepreneurs. They decided that. Labels ain’t have
shit to do with that shit. We just play catch up. So when people started crying and saying, “Oh, all you do is sign artists that have got a story,” well,
you’re muthafuckin’ right. We didn’t have nothin’ to do with it but we’re smart
enough to follow the artists’ lead. When people criticize ringtone artists, to
me, that’s just another form of hating. They act like it’s easy to sell 3 million
ringtones. Selling 3 million ringtones is a sign of popularity. People put the
stigma on Southern artists, and they put the stigma on ringtone artists. Stop
hating. Stop crying because you can’t do it. Hurricane Chris’s album sold
30,000 units the first week. So people ask me, “What makes you continue
to pump money into a project like that? You believe in the artist?” You can
believe in the artist all day, but that’s not enough. The fact that he sold 3
million combined ringtones and digital downloads allows you, financially,
to continue to invest in that artist you believe in. So now that he’s passed
the first week of sales and that pressure is gone, and he has another record
[“Playaz Rock”] that’s potentially a big record, that allows us to continue to
make sure he never goes away. We can invest in this artist that we believe
in and break him on the second record, which is no different in terms of the
artist development process then how we did it a few years ago.
So you felt like Hurricane Chris’s lead single “Ay Bay Bay” kinda overpowered
him as an artist?
People are surprised when they hear his album. They’re like, “Dude can rap.”
We’re already working on a second album. With Polo Grounds I’m coming from
an indie background, so this whole grind mode, I’m used to it. We’re dropping
another album in June with remixes from the first album. We’re going to remix
the album and put it out with new artwork. He’s on Mike Jones’ first single
that Smurf produced, the cover of OZONE Magazine, the cover of the Source
Magazine, he’s on the Chris Brown tour, so he’ll never leave the market. He’s
got a whole lifestyle campaign that’s about to kick in to make sure that he
never goes away. That’s how you develop an artist. So stop hating. Stop talking shit because homie sold 3 and a half million downloads and ringtones.
T-Pain sold 5 million ringtones off “I’m In Luv (Wit’ A Stripper)” and people
were saying all types of criticisms with dude on his first album, like he was
done. Now all of a sudden everybody is riding his dick and they want him on
every fucking single. How many times have we seen this happen? I saw it with
Lil Jon. I saw it with the Ying Yang Twins. People said, “Them niggas are half
retarded.” All of a sudden we put them in suits and give them a hit record and
Lil X directs the video and now you want them on your red carpet. Pitbull?
Oh, “His pants are too tight,” blah blah blah. But he was part of all these big
records like “Shake” that influenced music. It’s just hate. Call it what it is: It’s
hate because you can’t do it. Do I want a fucking Pitbull, or do a want a fucking Saigon? No disrespect to Saigon, but you do what you do, and let them
do what they do. Stop trying to be the judge and jury about who’s hot and
who belongs. It’s hate. That’s the way I look at it. It’s like Source and XXL and
King and Vibe telling you that you don’t belong because you’re OZONE, when
you’ve got a better relationship with all these artists and tastemakers and
executives than all of those other magazines combined. You can walk into
studios, walk into places with the artists and you ain’t gotta go through the
publicists, the marketing people, none of that shit. Artists want you involved
with their career. It’s all hate and bullshit and I just thank God that I come
from an independent background so I don’t get caught up in that bullshit.
Do you see Hurricane Chris being at the point T-Pain is at in a couple years?
I’m gonna make sure this nigga never goes away. And if niggas don’t believe
me, they need to do their homework. My history and my muthafuckin’ consistency rate is solid.
You’ve had a lot of success with Southern artists even though you’re from
New York. Do you see the Southern movement continuing for a long time or
are you looking into other parts of the country?
Louisiana is poppin’. Atlanta’s always poppin’ not just because of the artists
but because of the producers, the songwriters, the music, the energy, the
lifestyle. Do your homework; don’t be ignorant and think that the South
ain’t been around. If you do your history you’ll know about Stax Records [in
Memphis] and Motown and the origins of this music. It didn’t all start from
New York. In the South there are places that could stand to have a rebirth;
new energy. New York can stand to have new energy. L.A. can stand to have
new energy. The Midwest needs something that just kinda ties everything
together. There are places that do it and do it well, and people just need to
follow up and educate themselves on why they’re able to do it and just stop
hating. Hate is a fucking disease and if you buy into that shit you’re going to
end up broke and irrelevant.
Do you think the album format will eventually go away and music will only be
sold by ringtones and digital downloads?
I have no idea, but usually in any industry there’s a minority group of people
who are responsible for actually being the first to make those changes and
pave the way. I may not know where the next change is, but I am smart
enough to know what my limitations are. I’m 38 years old, but here in this
studio I can point out five kids that are 19 or under, and I’m smart enough to
follow their lead about certain things. Smurf is smart enough to follow the
youth. We don’t need a think tank and all that other research to figure this
shit out. I’ve got a 20-year-old daughter, another 13-year-old daughter, and
a 7-year-old son, and honestly, I’ll listen to him before I’ll listen to one of
these suits. We’ve got a challenge and a responsibility to be kind of unbiased
about what we report and really try to make sure that we get people who
are hot and put it out there. That’s all nigga’s tryin’ to do. Hurricane Chris’s
album got 90% good reviews and 10% bad reviews, and everything he’s done
has created a reaction. He had a hit record out of the box that a lot of artists
struggle their whole career to have. Most artists may not have a hit record
like that til their second or third album, and this kid is still only 18 years old.
Will C-Ride be the next artist dropping on Polo Grounds?
C-Ride is a huge priority for us. He has a lot of the things that he needs and
he’s missing a lot of the things that he needs, but those other things are
going to come. We’re going to go back to artist development. A lot of the reasons you liked SWV and Xscape and some other artists is because they grew
up right in front of your eyes with all their abilities and inabilities. You saw
Bow Wow grow up from being a kid to what he is right now. This is an experience; music is an emotional experience. I believe in him as an artist.
What’s up with Lil Jon’s album?
Working on Lil Jon’s Crunk Rock album is exciting. A lot of people are wondering what this dude is coming with, and it kinda makes me laugh. If there’s
anybody that counts this dude out and questions whether or not he can bring
it, to me, that’s personal. I started my career with Lil Jon and he started his
career with me. We were both influential in each other’s careers. I still get
paid by TVT [as a consultant], but I would do it if I wasn’t getting paid. I’m
still involved with Lil Jon’s album and with BME, Rob and Vince and everybody
else over there. That’s where the creativity and the direction came from and
that’s what it is. //
Words by Julia Beverly
OZONE MAG // 73
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30 CLA
Compiled by Maurice G. Garland, Eric Perrin, Randy Roper & Wally Sparks
Photo by Julia Beverly
R
ide dirty is exactly what Pimp C did on
every track he made, rapped or sang on.
When was released from prison we sang
“I’m Free” right along with him. But now that
he’s gone, we can’t seem to get his verse from
“I Miss My Homies” out of our heads. Here are
thirty of his most memorable recorded moments, in chronological order.
UGK:“Something Good”
One of the standout cuts on UGK’s national debut album Hard To Swallow. With
a syrupy Rufus & Chaka Khan sample providing the musical backdrop, this
record showcased two fresh voices in Hip Hop unlike any other. It also showed
that Pimp C as a producer was as on point as his peers in regards to sampling
old soul records and making them sound new.
UGK:“Use Me Up”
Another gem from Hard To Swallow, with Bill Wither’s song of the same name
serving as the foundation for some the most influential Southern Hip Hop ever
made. This was also one of the few commercial singles from the UGK catalog.
Straight pimp game is being laid out here. Lames, pay attention.
UGK:“Pocket Full of Stones”
This was the first UGK song that many diehard Pimp and Bun fans ever heard.
“Pocket Full of Stones” was the third single on 1992’s Too Hard to Swallow album and its placement on the Menace II Society soundtrack introduced them
to more ears across the nation. It foreshadowed the career to come for UGK; it
was vintage, real, and loved to this day by all fans of the Texas movement.
UGK:“It’s Supposed To Bubble”
The lead single and video from 1994’s Super Tight. Long before rappers were
drinking Cristal, Pimp and Bun, along with a bottle of DomPerignon, showed
the world how the boys P.A. boys popped bottles, had a good time and still
kicked street knowledge.
UGK:“Front, Back and Side to Side”
An ode to candy cars never sounded so good. Those organs, snapping-ass
drums and wonderful use of the Eazy-E voice sample equaled musical greatness. Easily one of the world’s favorite UGK records, T.I. paid homage to the
original Kingz by remaking the record with Pimp and Bun for his King album.
74 // OZONE MAG
UGK:“I Left It Wet For Ya”
This is the pinnacle of shit-talking. It’s one thing to say you’ve got somebody’s chick, but it’s another thing to tell ‘em that you left it wet for them.
Sonically, this is one of Pimp’s most hypnotic beats. OZONE is raw, but, the
lyrics here might be too explicit for even us to reprint.
Big Mike f/ Pimp C:“Havin’ Thangs”
By producing this track, Pimp laid down the epitome of what Southern Hip
Hop is supposed to sound like. Boom-bap drums blended with gospel organs
and wah-wah guitar riffs made for a syrupy instant favorite. This 1994 classic
was remade in 2006 for C’s Pimpalation album with both Pimp and Mike (who
were both recently released from prison) trading bars.
UGK, Master P & Silkk the Shocker:
“Playas Down South”
With this song, the South was given a phrase and self-identifier wherever
they set foot: “Playas down south stack Geeeeeee’s.”
Master P f/ UGK:“Break ‘Em Off Something”
If you ever owned a car with some beat in the trunk, then you already know
the deal about this one. Recorded and released in 1996 when UGK was on top
of the underground world, Pimp gave an entire region something to either
smoke, ride or bounce too, often all at the same time. Of course P’s verse is
the one that everybody remembers, but this song wouldn’t be the classic that
is without UGK’s verses or Pimp’s production.
UGK:“One Day”
This track originally belonged to Mr. 3-2 but wound up on Ridin’ Dirty. The
last lines of Pimp’s verse, as usual, speak for themselves: “I asked God why
he let these killas live and take my homeboy’s son away / Man, if you got
kids show ‘em you love ‘em cuz God jus might call em home / Cuz one day you
here but baby the next day you gone.”
UGK:“Murder”
Everybody remembers Bun B’s verse on this blood-curdling classic, but it
was Pimp who really set the song by off opening with “I’m still Pimp C, bitch!
So what the fuck is up?” In interviews, Pimp always said that he emulated
Run from Run-DMC, and he shows it throughout what is perhaps the most
energetic verse he’s ever recorded. Before he said “no record ‘til whitey pay
me” on “Big Pimpin’,” he warned you here that “I ain’t rapping shit until my
money in my hand!”
UGK:“Diamonds and Wood”
Classic beat. Let’s let some of the lyrics speak for themselves: “…I got a baby
but it’s momma act like he ain’t mine / Wicked women using children to live
on / When I hurt and try to hate ‘cause she knows the thrill is gone…” “...Niggas talk a lot of shit in a safe place, I know cause he can’t look me eye-toeye when he in my face…” “…Niggas frown when you up and smile when you
down / And when you make a change for the better shife fools stop coming
‘round…” “…Got to the point where I could not decipher day from night / She
say she love me but all we do now is fuckin’ fight / My conscience fuck with
me so much I can’t eat or sleep / The other side of sellin’ dope and out there
runnin’ the streets…”
UGK:“Bumper and Grill”
This became instant vintage the minute it dropped. All of the usual Pimp C
production suspects are here: sweaty drums, light cymbals, jook joint guitars
and church organs. He knew it was tight, and if you weren’t convinced he
demanded that you “tell your bitch ass brother he can’t fuck with my beats /
so if you wanna be bangin’ nigga the good shit don’t come cheap.” He also
reminded you that “down in Texas nigga, we got our stars, we got the baddest bitches and we ride the freshest cars.” The beat reappeared as “Simply
Beautiful” on Sleepy Theme’s The Vinyl Room.
C-Murder f/UGK:“Akickdoe”
Co-produced by Beats By the Pound, this is another example of Pimp’s
penchant for working guitars into Hip Hop production. His opening verse is
also another example of his unique braggadocio, setting the tone for rest of
the song. The hook, also courtesy of Pimp, came from his verse on Master P’s
“Break ‘Em Off.”
UGK:“Hiside”
One of Pimp’s more jazz influenced productions sounds like it could have been
conceptualized during the Super Tight era, but it actually appeared on Sic
Wit It Records’ 1997 compilation Southwest Riders. One of UGK’s many songs
when they call a bitch a bitch, but the song’s most poignant moment comes
when Pimp says, “The preacher got the clothes and the hoes with his dick on
swoll / Trickin’ off my peoples’ bank roll / I peep that shit, I read my Bible at
home / ‘Cause I ain’t payin for that nigga’s brough’m.”
PSK-13 f/UGK:“Like Yesterday”
One of the highlights of Pimp’s production career, this song (and others he
did with Adamshame, Critical Condition and X-Mob) is a testament to his
Underground King status, showing that Pimp and Bun were truly dedicated to
the streets and independents. Pimp’s trademark drum sounds and live guitars
make this song an equally dope rap track and instrumental.
UGK:“Take It Off”
When he got the chance, C would justify the meaning of the “Pimp” in his
moniker and on this track that originally appeared on The Corruptor
soundtrack, he had strip clubs buzzing. “Take it off chick, bend over, let
me see it / If you lookin’ for a trill-type figure, let me be it.” Even though
the video was a bit comical (UGK pimping in Chinatown?), Pimp’s charisma
coupled with his straightforward lyrics made “Take It Off” a standout.
Pimp C:“Top Notch Hoes”
This song first popped up on the infamous 1999 Dirty Money bootleg and later
appeared on Trill Azz Mixes. Bluesy guitars and synths served as a smooth
bed for Pimp C’s voice as spoke on everything from BET not playing Southern
Hip Hop artist videos to serving a slight diss to The Roots in response to their
“What They Do” video. This verse also appeared on his collabo with Meen
Green “Deep In the Game.” Save for the hook and last verse, the song didn’t
really say much about hoes at all.
UGK:“Piece and Chain”
This song has Pimp C coining the phrase “country rap tunes” for the first time
on record, asking people to “separate us from the rest.” An unfinished version
of the song first appeared on the Dirty Money bootleg while the final one was
placed on The Wood soundtrack.
UGK:“Woodwheel”
Appearing on Rap-A-Lot’s 1999 compilation Realest Niggas Down South,
“Woodwheel” helped UGK fans through the drought between Ridin’ Dirty and
Dirty Money. “Hoe niggas scream and talk, trill niggas bust and leave / How
the fuck you gonna go to war when you bitch ass niggas ain’t go no cheese?!”
will go down as one of Pimp’s trillest lines ever.
Crooked Lettaz f/Pimp C:“Get Crunk”
One of the highlights on Crooked Lettaz’ (David Banner and Kamakaze) criminally slept-on Grey Skies album. Another example of Pimp’s ability to make a
beat, write a verse and sing a hook on one song. Banner’s line: “Pimp done
told me, ‘Vell, these niggas ain’t nothing but hoes / You make most of your
cheese off production and shows,” shows the impact Pimp had on his peers.
UGK f/Jay-Z:“Big Pimpin’”
This was a song Pimp C was very hesitant about doing. Bun told MTV, “He
didn’t want to do [the Jay-Z collaboration] ‘Big Pimpin’,’ but he rolled
with me on that.” The song rolled all the way to the number 3 spot on the
Billboard Hot 100, and number 1 on the Rap/R&B chart. It was the biggest
track of UGK’s career and in the June 2007 issue of OZONE, it was declared
that UGK’s outshining of Jay-Z was one of the 25 most important moments
in southern rap history. Pimp and Bun upstaged Jigga on his own track long
before Em’ proved who the real “Renegade” was.
Three Six Mafia f/UGK:“Sippin’ On Some Syrup”
“Take that monkey shit off, you embarrassing us.” Enough said. Hopefully the
right ears will take heed to that suggestion.
UGK:“Let Me See It”
In 2001 when Dirty Money was released, UGK was witnessing a growing fan
base beyond the South, but for some reason this album didn’t translate into
the commercial success that was due. “Let Me See It” debuted with little fanfare but still became a classic UGK record. It was a strip club anthem before
strip club anthems were standard on rap albums.
UGK f/ Devin the Dude:“Ain’t That A Bitch”
The highlight of the long-awaited but slightly disappointing Dirty Money album. Sampling B.B. King’s “Chains & Things” for the beat, Pimp dropped some
life game on what happens when you think with the head in your pants. Only
thing wrong with this instant vintage was Jive’s bonehead decision to alter
the song’s flow and blur out the curse words.
Bun B f/Pimp C,Young Jeezy, Z-Ro & Jay-Z:
“Get Throwed”
After serving nearly four years in prison, Pimp C was reunited with his UGK
counterpart on this single from Bun B’s solo debut album Trill. The song was
the first time Pimp C worked with Young Jeezy and his first time working with
Jay-Z since “Big Pimpin’.” Hearing him start off the track “Pimp C P.A. trill
nigga / Polo fuck that Hilfiger / Made myself a ghetto star / On the slab, sippin barre,” seemed to breathe life into the South.
Pimp C f/P.O.P. & Lil Keke:“Knockin’ Doorz Down”
Pimp C was never one to hold his tongue. On this single from Pimpalation,
Pimp speaks out on the state of rap music in Houston, urging Lil’ Flip and T.I.,
Paul Wall and Chamillonaire, Z-Ro and Slim Thug to end their feuds and make
their money together for the betterment of the rap industry in H-Town. Many
rappers took heed to his words, proving the influence and respect that Pimp C
had amongst his peers.
UGK:“Swishas & Dosha”
Underground Kingz could not have had a more appropriate opening track.
Lines like “I remember when a rapper was a go getta, now all these rappers
are some hoe niggas / Hide behind the guards at the show nigga, don’t want
no pussy, homosexual on the low nigga” and “I’ma tell you pussy niggas once
again, ain’t had no friends since I left the pen / It’s some niggas I respect in
the rap game and it’s some niggas I bet’ not hear saying my fucking name”
let you know that the original Trill Ass Nigga was back in rare form.
UGK:“Quit Hating the South”
When critics started taking shots at Southern rap, UGK spoke up to defend the
South’s movement. A boisterous Pimp C spoke up for country rap tunes and
the South’s place at the top of Hip Hop charts, screaming, “Fuck how you feel,
country rap tunes NIGGA! Let’s put all y’all records on one side of the store
and put all the country rap music on the other side of the store, and see who
sell out first!”
UGK f/Outkast:“International Player’s Anthem”
This single, produced by Three 6 Mafia and featuring Outkast, was a sample
of the 1970’s hit “I Choose You” by Willie Hutch. It was the last official UGK
single of Pimp C’s life, and fittingly the most commercially successful song
to ever appear on a UGK album. The video, with cameos by Bishop Don Magic
Juan, Pimpin Ken, DJ Paul, Juicy J, Chamillionaire, David Banner, T-Pain, Big
Gipp, and Fonsworth Bentley, among others, became an instant hit. At the
2007 BET Hip Hop Awards, Kanye West refused to accept his Best Video Award
for “Stronger,” instead offering the honor to UGK for “International Player’s
Anthem.” This bold statement from the notoriously award-hungry Kanye is
even further proof of the lasting influence Pimp C left behind for both fans
and peers for many years to come. //
OZONE MAG // 75
Chad “Pimp C” Butler
12/29/73 - 12/04/07
This
issue was supposed to be out a month ago. I’ve been
stalling, partly because it’s hard to get anything done in
December while everybody’s gone for the holidays. But mostly, when Pimp C
passed right before this issue was supposed to go on press, I knew I’d have
to add a Pimp C tribute, and I couldn’t do it. Because doing a tribute makes it
real. Nobody involved with Southern rap wants this to be real because he was
one of our most vocal proponents. So I put it off as long as possible.
Of course, it was easy to type in “Pimp C” on the search window of my computer and find hundreds of pictures. It was (somewhat) easy to email a few of
his friends asking for quotes and call a few others and record them reminiscing about their favorite memories of Chad…except when their voices started
cracking. There’s nothing easy about hearing a grown man cry.
So I sat and stared at this “Pimp C Tribute” folder on my computer and the
blank pages in the layout and did nothing. I really tried to psych myself up
for it, knowing that he wouldn’t want us to stop hustlin’ on his behalf. He’d
want us to take it as a reminder that life is indeed too short and use it as
motivation to work that much harder and enjoy it that much more. But I still
couldn’t make myself do it.
76 // OZONE MAG
Back when Pimp C was in prison I started sending him copies of OZONE
religiously. After he got out he always wanted to see the new issue, especially when it had one of his interviews or articles in it, and would text me
impatiently until they arrived. I’d feel bad if they weren’t ready yet and would
personally send a Priority Mail package as soon as they came off the press.
It’s a lot of work to put together a magazine. It’s like any other artistic
endeavor; the finished product is what makes all the sweat and tears worth
it. The appreciation of others–especially coming from a legend in the game,
someone you look up to–is priceless. As OZONE has grown over the years,
the main thing that’s kept me going is the feedback from our readers, and it
always amazes me to find out that artists like Pimp C appreciate my art form
as much as I appreciate theirs.
With everything he contributed to the culture and to OZONE both directly and
indirectly, the least I can do is finish a feature commemorating his life and
the memories he left behind with some of his closest friends and collaborators. So here it is. Hopefully he’ll be able to find a copy up top. //
- Julia Beverly
I
people don’t know that
show in Houston. A lot of
n’t even know
did
He
w.
[KBXX The Box annual] car
sho
car
the
to
Pimp into going
was the one that talked
ng to the car show?”
, I was like, “Pimp, you goi
n so much he didn’t
about it. The night before
tow
of
car show?” He goes out
there, Slim [Thug],
He was like, “Man, what
be
na
gon
y’s
bod
ery
like, “Ev
w your face.” He was
even know about it. I was
sho
ta
got
’ve
you
everybody,
I said, “Cmon’, man,
.”
Chamillionaire, Paul [Wall],
shit
t
tha
to
show, I ain’t going
t he really needed
tha
like, “Man, fuck that car
him
I was really stressing to
or nothing, I was
you owe that to the city.”
form
per
to
him
tell
n’t
did
face. I
y see you.” So he
the
to be there and show his
if
out
trip
will
face. Everybody
He saw Bun
ge.
sta
just like, “Go show your
on
get
to
was begging him
n, let’s get
ma
it,
showed up and everybody
“Sh
,
was comin’. Pimp was like
y did in Houston
the
there; Bun didn’t know he
w
sho
last
the
was
t
ing.” Tha
on stage. Let’s do someth
Houston is concerned, and
ching moment as far as
together; that was a tou
UGK as a whole.
Shit.
getting choked up again.
Damn, I can’t believe I’m
n, forget Pimp C. I lost
most. Put the music dow
I lost a friend, first and fore
ch me a lot. We’d sit
tea
a brother. He used to
Chad Butler as a friend and
d show me things and
he’
and
rd
boa
key
the
and
down at the mixing board
of people. He’d tell me
t he didn’t really tell a lot
, and he’d tell me when
teach me little secrets tha
ass
my
on
s me out and get
me to do bigger and
when I was wrong and cus
ted
the back. So that motiva
ont, [right near] Port
I was right and pat me on
um
Bea
in
ege
d.
coll
use
to
foc
go
re
to
I
be mo
My brother Mike Mo used
rs before I knew [Pimp].
better things and really
l with Pimp and Bun yea
nager too
dio. I had a little
stu
Arthur, so he was real coo
the
to
p
Pim
g
brin
brother was his road ma
all the time to
ged
[of] that dude, man. My
beg
I
out
thing. I
y.
any
shit
ged
n
the
rag
tha
s
l
used to beg my brother
ily
rea
mis
I
fam
was
re
it
rd in the garage;
Pimp than I was. It’s mo
den,
to
sud
er
a
clos
of
torch
n
all
the
eve
ht,
ry
nig
was
car
studio in my mom’s backya
he
one
and
so
have to hold his head
about a year straight and
Bun because he’s gonna
nitely not gonna
studio and did a song
for
him to bring Pimp by for
defi
l
the
fee
I’m
in
.
e
die
cam
er
nev
and
na
ala
gon
gold Imp
t shit ain’t
ks are
Pimp pulled up in a little
mories I have of him. It
now. It’s UGK for life. Tha
t’s what the history boo
of the first and fondest me
or name die. I guess if tha
t to jail.
acy
wen
leg
he
UGK
ore
with me. That’s really one
bef
the
let
’99,
in
r Money.” That was
ody do shit about it.
was a song called “Get You
supposed to say, can’t nob
the
did
just
y
the
n
whe
mories I have of Pimp was
One of the recent good me
CORY MO
LIL WAYNE
My favorite Pimp C mome
nt was when he called me
personally and
told me that I’m killing the
se
these niggas out here. And niggas out here, and to keep killin’
he
how I’m doin’ all these mix [also] told me to watch out [with]
tapes out here because I
could be makin’
money off that shit, and
I could also be makin’ bet
ter songs then the
ones I put out on my alb
um if I put the songs from
my mixtape on
my album. And I what I
tried to explain to him was
that
nothing, so it just be how
I feel, and that just be how I don’t write
[particular] song. But I told
I felt on that
him, I was like, “9 times
out of 10 I’m on
the original song anyway
,” so when he heard that
he laughed with
me, and that was a cool
moment. Ya dig?! Ain’t no
nigga in the game
real like Pimp C, and eve
ry nigga in the game will
tell you that. Reality-that’s what we gon’
miss the most about Pim
p C. Reality.
PIMPIN’ KEN
in Milwaukee for my
Pimp C was when he was
The best time I had with
to make it and I said,
ng
goi
n’t
was
he
t
me tha
party. He called and told
the people that love
all
and
,
ing
com
you’re not
or my girl JB down.
“okay, I’ll just tell OZONE
you
let
’t
can
was like, “Man, I
ht cost him $1,100
flig
you the same thing.” He
the
et;
He bought his own tick
he was if he
I’ll be there in 2 hours.”
son
. That’s just the type of per
Pimpology: The
k
because it was last minute
boo
my
t
tha
me
told
r time, he
had love for you. Anothe
’s [book]. I said, “Man,
better than Iceberg Slim
48 Laws of the Game was
YouTube.” The next day
on
feel like that, put it
you’re just BSing me. If you
the top of his MySpace
on
me
put
had
p
Pim
said
r for all he has done
Paperchase called me and
the
bro
t
tha
e
lov
I
.
said to me
page saying what he had
C.
be another Pimp
for me. There will never
8BALL
I have so many memories of Pimp C. We kicked it a lot when I used to live in
H-Town. He has always been brutally honest, love him or hate him. Rest in
Peace Pimp! You will be missed!
DIAMOND
I’m really fortunate to have known him personally, and as a fan of UGK.
Working with him in the studio was phenomenal, and anybody who knew
him would know that he was always trying to give others knowledge about
the game and life itself. It’s always a hard thing to accept when our fallen
soldiers leave. God bless and may he Rest in Peace!
OZONE MAG // 77
nels. Everybody’s playing his music now. I remember when they wouldn’t play
[UGK records] and now they’re gonna do it when he’s dead? Why can’t we see
[the success] while we’re alive?
Pimp C had just called me right before he came to L.A. and I was asking him if
he needed me to come pick him up from the airport. That’s the kind of relationship we got. “Dude, if you need me to come pick you up from the airport,
I got you, homie.” And regardless, I’m still a fan. In the back of my head I’m
like, “Damn, C is my homie?!?” Yeah, I am David Banner, but I’m still a fan of
the music. So to have that kind of relationship and be able to call him – you
know, Snoop and Pimp C really talked me through a lot of the bad shit I was
going through. I remember when I really thought everything was over for me.
I thought my career was done. Pimp C called me up and he was like, “Banner,
you ain’t did nothing wrong. You made a few mistakes, but if you go back
to doing the David Banner [music] that everybody loved, people will forgive
you.” That’s how I got focused. Pimp C said, “Dawg, I know you wanna change
music, but niggas don’t wanna hear that shit. Go back to the niggas that
[loved] ‘Like A Pimp.’”
He had just told me, “I want you and Three 6 Mafia and a couple other producers to really help me out on my album.” He wanted me to be a big part of
his solo album. Pimp would call me and talk about politics. When I got into it
with Al Sharpton, Pimp C was like, “Whatever you want me to do; if you want
me to jump on the ‘So Special’ song, dawg, whatever you want to do on the
political side, I’m here. I’m ready. Just call me. I got you, Banner.” You know?
Pimp would call me and talk about his children. It was really crazy, but I
would see Pimp C act ways around me that he wouldn’t act around nobody
else except his family or Bun.
The conversations we had were never really about rap; it was more about life
and the shit he was going through. That’s really what I want people to see
out of Pimp. He was “Pimp C,” that part was real, but there was a whole lot
more to the man. It’s sort of like when ‘Pac died. ‘Pac had a whole ‘nother
vision of what he wanted to do for black people. Honestly, Pimp had that
too, but Pimp knew that he had to take care of his UGK fans, the people that
always supported him for all his life before he branched out and did anything
else. He had to make sure that the core UGK fans were happy, and [not doing]
that was a mistake I made in my career and Pimp saw that. He’d tell me, “You
gotta take care of your fans, the ones that were down with you before ‘Play’
and before the lights and the glamour. That’s the people you’ve gotta take
care of. Once you know they’re good, then you can do some other shit.”
That’s what I remember from Pimp C. The joking, the laughing, the warnings
and the shit to watch out for in the music industry, the big brother that had
a lot of respect for his lil’ brother. Pimp wasn’t afraid to show me that he
respected me too. It was a mutual respect and kinsmanship.
DAVID BANNER
Instead of a specific moment, I think my best memory was when me and Pimp
C started forming a friendship. It was crazy for me to see the joking Pimp C,
the laughing Pimp C; to get to know the political Pimp C.
The voice of Pimp C changed my career. [The hook of my breakthrough single]
“make them girls get down on the flo’,” you know, that was his voice. Pimp
told me I was one of the few people that looked out for him and wrote to him
while he was in jail. When he was in jail, I really didn’t know him like that.
The reason I wrote him while he was in prison was because his voice changed
my life. Well, the beat [to “Like A Pimp”] was jammin’ too; I gotta give myself
some credit (laughs) but you know, that sample from his voice changed my
career and changed my life. Most people are not blessed with the opportunity
to become friends with a person that helped change your life.
UGK and Pastor Troy were really strong influences on the way David Banner
represents the South. When Pimp C said, “We don’t do Hip Hop music, we do
country rap tunes,” and when Pastor Troy said he ain’t worried about the rest
of the world because as long as he’s got GA, he’s cool; that kind of mentality really changed the way that I do music. I had always felt that way in my
heart; but when Pimp C and Pastor Troy said it [it made sense]. And the reason
I’m mentioning Pastor Troy is because I want to give him his props before he
dies. Everybody wants to give praise and buy records and play songs and play
videos [after an artist dies]. Pimp C is finally now getting what he deserves.
He’s nominated for a Grammy. Everybody’s playing his videos on all the chan-
78 // OZONE MAG
Look at what happened to Kanye [with his mother dying]. I just lost my
daddy and my grandma. Look at Spice 1. Look at all the shit that’s happening
with Lil Wayne and T.I.’s [arrests]. We’re getting blatant signs every day that
there’s something else we’re supposed to be doing with this time that we’ve
got here on earth. Pimp C’s passing is a sign to me to keep my health up and
keep myself out of bullshit and unnecessary drama. You just don’t know how
long you’ve got. I just finished talking to Pimp C. And he [died] in L.A. He was
close to me. We were in the same fuckin’ city. In my head I’m thinkin’, maybe
if I had tried to get him close to me or somethin’, maybe that shit wouldn’t
have gone down the way it went. You tell somebody, “Aight, we gonna get
together as soon as I finish doing this,” well, you don’t know if you’ve got
that time to call somebody back or get right with somebody.
Pimp was a good dude. Pimp had a certain way of sayin’ shit, but you’ve
gotta take the emotion out of it when you’re listening to Pimp C. The dude really had some shit to say. There was a bigger man there than what the world
had the opportunity to see. I hope that people can dig just a little bit deeper
and see what I saw.
I want people to know that it was more than the jewelry and the mink coat.
The nigga was smart. But he didn’t try to act like he was above nobody, he’d
put it to your ass exactly the way he felt it. It was more than the pimpin’. It
was so much bigger than pimpin’ and hoes. It was so much bigger than that,
and that’s the tragedy to me. Just like ‘Pac. Our people get taken away from
us before they’re able to blossom into what they actually are or what they
have the capacity to become. //
As told to Julia Beverly
Photo by Marcus DeWayne
things they say about being a good leader is that in order to be a good leader, you have to be an excellent listener. He didn’t have any ego. I would call
him and say, “I don’t know, this is what’s going on with the label, what do
you think?” and he would give me advice. He would call me sometimes- I remember when he first did [“The Chronicles of Pimp C”] in your magazine, and I
was like, “Pimp, you need to have a freakin’ radio show, because I’ve got your
radio interview [on Atlanta’s Hot 107.9, responding to the controversy caused
by the magazine article] on my iPod and I listen to it almost every day just
to get me in a certain mood.” People still talk about that radio interview. He
did several interviews around that time, but that one specifically in Atlanta,
literally, anybody you talk to can give you at least three quotes out of that.
That’s the type of guy he was. I said, “Man, you need a radio show.” He said
to me, “Y’know, Bent, one more of my people just said that, and I’m thinkin’
you right. I’m ‘bout to start workin’ on it, man, this makes sense.” I was like,
“Man, you ain’t gotta overthink it. If you need any assistance, I’ll help. I don’t
want no money. I just wanna hear you on the radio. I want to listen, to be
completely honest and tell you the bold truth.” (laughs)
FONSWORTH BENTLEY
My fondest memory of Pimp C was the first time I actually got an opportunity
to see him produce a record. UGK is definitely known for being classic emcees
and their quality music has inspired so many artists, but I don’t think a lot of
artists really knew what a producer he was and how much producing he actually did. I’ll never forget this; I was in L.A. and he was like, “Come up to the
studio,” and when I walked in it was like watching a chef.
I worked in a fine dining restaurant in New York for almost three years.
When you see a real chef–there’s line cooks, maybe somebody on the fish,
somebody on the meat, somebody working on the different sauces, somebody
making the appetizers–the executive chef just walks around and he’s working
on different things for the salads and stuff that you’ll get before the entre
comes. That’s how he was producing. He had several musicians, probably
about six musicians. The gentleman on keys, he was keeping him in pocket
and telling him the way he wanted him to play. The gentlemen that was on
bass, he was like, “Naw, that ain’t the funk I want,” and he told him how he
wanted it.
Sean Paul [of The YoungBloodz] was in the other room; it was several emcees
there. I came by because if Pimp is cooking, you wanna be around. He’s cooking for somebody because the session is booked, but let me tell you, ain’t
nothin’ like Pimp C leftovers.
These were legendary musicians, and he had all these gentlemen in pocket.
And when he jumped on the organ it was amazing, cause the man can play!
Like, he can for real play! He had horns and when he got on that organ and
started going on the organ, he just went off into a vibe and completely went
off on a tangent. I know that’s exactly what instrument he’s playing upstairs
in heaven right now. I know he’s on that organ. He’s probably got the angel
Gabriel with a trumpet and he’s like, “C’mon now, I need that trumpet to
blare a lil’ more like this,” y’know? Our Father’s up there and I know Pimp is
up there right now on that organ directing right now with all of our other
fallen soldiers. People are thinking he’s up there with just the Hip Hop artists,
but he’s probably up there with Marvin Gaye and Miles Davis on trumpet too.
He had a real love for music. His musical catalog and the vast knowledge of
music that he knew was so impressive.
Obviously I’m a rookie in the [music] game but I’ve worked in other forms of
media so I have some knowledge, and he would holla at me about some of
the other things. It’s just a really sudden, ill calm for the South. We all know he
had so much more to offer. I feel very blessed to have known him and been a
part of the classic video [for UGK’s “International Player’s Anthem”] which was
nominated for a Grammy two days after his unfortunate “transition,” as I like to
call it. I don’t say “Rest In Peace.” I say he’s Resting in Paradise.
I want people to really understand that life is too short. As much as he was
a real dude, like even when he’d say, “We can pop it out, we can stab it out,”
and all that, at the end, he’d always say, “We can talk it out.” Anybody that
knows him, the very fabric of who he was, that’s really what he wanted. He
was very much about the proliferation of the Hip Hop culture and wanted
to see it continue to flourish. He wanted people to continue to do different
things, and he really thrived off it. Life is too short, and these little things
that people sometimes get so frustrated over, sometimes you’ve just gotta
calm yourself down and say, “It’s a good morning, and I’m thankful I’m here.”
Everybody who loves Hip Hop music needs to own the [UGK] album Ridin’
Dirty and they need to understand that the song “Murder” is one of the top
five hardest songs in the history of Hip Hop, period. I’ve been saying that for
the longest, and that’s how we became friends. [Pimp] had just got out [of
prison]. I had never met him, never spoke to him, and I asked my man Cory
Mo [with the studio where] he did a lot of his recording, “Could you please
put me on the line with him. I am a fanatic fan.” Cory put me on the phone
[with Pimp C] and I spit his entire 16 bars from “Murder.” I ain’t even say
“hello” first, you know? He was like, “Y’know what, Bent’, I knew you was a
real dude. When I was in [prison] I was holding you down and I didn’t even
know you. I saw you on Access Hollywood with all the fashions for men and
fashions for women and you were representing for Hip Hop. I told them fools,
‘That’s grade A pimpin’ goin’ on.’” So he was one of those few people that
saw some of the things I saw, and he didn’t even know me.
God bless his family. I just feel fortunate that he’s on the title track of my
album. We were literally about to shoot [the video for “C.O.L.O.U.R.S.”]. He was
like, “I’m gonna fly in all my different color cars, and I’ma fly in all my different color minks and all the color furs. We gonna do it big, Bent’, ‘cause we got
something with this one, boy, I’ma tell ya.” So somehow, I definitely wanna
do a tribute with him because it’s the title track on my album. I told Kanye a
long time ago, “The second verse on my album, period, is going to be Pimp
C.” I’m fortunate and blessed to have worked with a legend. //
As told to Julia Beverly
Photo by Julia Beverly
[Our relationship] was like an interesting type of mentorship. One of the
SCARFACE
ay. We lost a Marvin Gaye.
We lost a Donnie Hathaw
to
ker, man. Chad marched
fuc
tha
mu
bad
Chad was a
say, “Tell
ays
alw
d
he’
like
m,
dru
the beat of his own
rching to the beat of my
them muthafuckers I’m ma
first
, I remember when Chad
own drum,” y’know? Shit
for
ot
sho
eo
vid
e to the
got out of jail and he cam
Music.” He had on a mutha
[Ray Cash’s] “Bumpin’ My
in’ like
am
gle
,
tley
Ben
a
ing
fuckin’ mink and was driv
was
n, that was my boy. That
a muthafucker. Chad, ma
e.
hom
e
when he had just cam
g
was when me and him san
I think the greatest shit
and swangin’
ins
cha
and
es
“Ho
e.
tim
for the first
that Big Mike song, yeah,
thangs,” that was Chad on
g “Look Me In My Eye,”
san
he sang that shit. He also
.
k, on the Scarface album
that was him on the hoo
I love him, man.
re.
the
t
righ
ler
But
d
That was Cha
e,
a real close friend of min
That was my homie. I lost
//
ds.
wor
the
dawg. I don’t even know
As told to Julia Beverly //
Photo by Richard Flood
OZONE MAG // 79
BIG GIPP
We met Bun and Pimp right after “Pocket Full Of Stones” had started really
blowing up, just by us being in contact with Rico [Wade] from the Dungeon.
We really didn’t know them, we were just fans of theirs because [their] single
was on the Menace to Society soundtrack. We were recording Outkast’s album
at the time and they just showed up at The Dungeon [Studios] one day. That
was the beginning of me and Pimp’s relationship.
Me and Pimp were together for all of the first album, when their stuff was
blowing up and our stuff was blowing up. In the early 90s we did all our tours
together; UGK and Goodie Mob, all through Louisiana, Texas. I developed a
real brotherly relationship with him and Bun. Pimp was always wild. He was
always wildin’ and he always loved us for doing what we did.
It’s really hard to talk about it, man. I was the last person to talk to him
[before he died.
Me and Bun always were together the whole time Pimp was locked up. When
Pimp went through all the wars with Master P; when he moved out to Atlanta
he was with me for like five years. He had the mansion out in Alpharetta.
That was the first time I met Lil Boosie, when he was like 14 years old, I think
it was his first time coming to Atlanta. We were at Pimp’s house and he was
talking about Trill Entertainment. This was right before [Pimp] went to jail, so
it was a real bad time, man.
When they dropped “Sippin’ On Syrup” that shit blew up. I remember when
Bun called me one night like, “Yo, man, Jay-Z wants us to rap on his album.”
He had flown to New York but Pimp was like, “Fuck that.” Bun told me, “This
is crazy, Gipp. You gotta call him and let him know how important it is for
him to rap on this record.” I called Pimp and we talked about it. He was like,
“Gipp, I just want people to respect us for what we do, dawg. I don’t wanna
feel like we’ve gotta go and do records with everybody for people to respect
how we do it.” He was always on that shit, and I really felt him. In the early
days, it was hard to still be putting time and energy and everything into the
album and not get the results or the certification or the industry recognizing
what you did.
that music, man, Pimp was the nucleus of that shit. He was like Dr. Dre. That’s
like Dr. Dre dying. Can’t nobody ever make the music that he created again
because he was the nucleus of that shit. Niggas can only copy that shit and
come up from that shit. Niggas are getting rich off the shit he created. He
watched niggas around here eat off him and never say his name. There was a
lot of things he wanted to say to the niggas that got rich off him, but he had
to be cool about it and be like, “This is a new era, Gipp.”
In the 90s we wouldn’t allow people biting our style. We’d step to ‘em. That’s
what he was saying about these niggas hiding behind bodyguards. He said
the whole game right now is on some show shit. That’s what he’d say. He had
so much to say about everybody. He’d say, “I remember all you guys when
y’all was in second grade with this shit. I was in Atlanta.” He watched the
whole Atlanta scene and ould tell you what they were doing in the 90s before
they reached the world. It was a whole lot of faking going on.
He was like ‘Pac because he always told the truth, whether it hurt your feelings or you didn’t agree with it, he’d still say something in there that touched
your nerve. There ain’t too many people out there that can do that. Most of
these niggas are see-through. You take the paper away and the people that’s
kissing their ass away, and what are they standing on? Nothing.
We’re dying for nothing all over again. All the things the first generation put
in work for, all the money and attention [Southern rap] is getting now, there
ain’t no worth to it no more. That’s why people are dissing us and saying we
ain’t shit no more. They’re like, “Aw, man, fuck them niggas from the South.”
They’re starting to say that all over again because we ain’t saying nothing [in
our music]. It’s just like ‘Pac. Nobody will be like him. They won’t tell the truth
about the game.
The way the game is set up now, it’s all about the person with the most
money. To me, it’s like, damn, we lost another one that’s gonna tell the truth
in this music. These other niggas are just gonna keep doing what they feel
like is gonna bring them the most money, and that’s what’s making us [look
like] clowns again.
As soon as he came home he called me. I don’t know where I was; I just
jumped on a plane and went there [to Texas] to meet him. We jumped in the
car and he was all fresh. He was fuckin’ with J [Prince]. We went to the jewelry store and shit. The song we did on the Kinfolk album was the first verse
he laid after he got out of jail. It was so important to me, because it was like
I had something for him to do when he came home.
I don’t do music for the money, man. I do music for what it means and what
it stands for. These other niggas came in [the game] during the era of music
being a hustle, and that’s what [Pimp C] understood: Music ain’t no hustle.
This is not a hustle. See, music and hustling are two different things. And
that’s why the game is so fucked up; it’s more fans in this shit than it is artists. //
It’s hard, man. There ain’t never gonna be nothin’ like him. What UGK did with
As told to Julia Beverly // Photo by Julia Beverly
80 // OZONE MAG
BUN B
There are surreal aspects to [Pimp C’s death]. I’ve
likened it to trying to hold onto a bowling ball
with silk gloves on, it’s the only way I can explain
the process of how I’m trying to wrap my head
around this. It doesn’t process in the normal sense
that things logically process. It’s an entirely different grieving process as opposed to every other
time that I’ve ever had to grieve anyone’s passing.
My father passed recently. I took it pretty hard but
this is still a little bit different. I’m not saying that
I hurt more for him than my dad, it’s just different. I’m stronger than I think I am but I’m not as
strong as I would like to be... [Because] I’m doing
a lot of [interviews], or talking to The Box [KBXX
97.9 FM in Houston], the assumption is, “Wow, this
guy is really strong for him to be able to do this
right now.” But the true reality is that I’m weak,
and that’s why I’m doing it. Because I need to
talk about it, I need to think about him amongst
people that loved him. Not just by myself and with
family, but his fans loved him unconditionally.
His family loved him unconditionally. Even all the
artists that have called into local radio, and XM
and Sirius, we’re aware of all of that. The tribute
that you guys made [on Damage Control Radio],
I got calls from London, Canada, Amsterdam,
Nigeria, and when I was at The Box this morning a guy emailed in from The Virgin Islands. It’s
just incredible, not just the extent that the music
reached, but the extent of the acceptance and the
admiration and honor and the respect and love
that transcended as well. I’m in awe.
We were just starting to understand the full range
to which we had been accepted. It took a long
time to realize that internally in just this country
that people in North Carolina could love you as
much as people in Texas. People in Washington
state and Nebraska can love you as much as the
people in Louisiana and Mississippi. We really
didn’t get to see it like that, we didn’t get to feel it
like that. But you go out to these shows and sing
a song from 1997, you sing a song from 1995 and
even “Pocket Full of Stones” from 1992, and they
knew it all. We were just starting to understand
the acceptance. Now I’m just starting to see the
extent of the admiration and love and how close
people felt themselves connected to UGK internationally. When Pimp was locked up, I really began
to understand what we meant to people. The way
people reached out then in that respect. But to
really just start to see it internationally with the
different places that we have been to and just the
interaction with Germany and shit like that.
We were really lucky
to have [people like]
Scarface, Willie D, Too
$hort, and J. Prince to
really pull us to the side
in parts of our lives, not
only in our musical lives
but in our everyday lives,
and just give us different
game on different things.
And some of the shit was
really life altering and
career altering. It made
such an impact that we
felt it was only right to
give whatever we had
learned to others. We
were never selfish about
that. Anything I could
talk to a cat about lyrically, I would try to talk
to them about that. Pimp
C mentored a very large percent of the people
who are doing it and making a lot of noise right
now. Not just producers, but lyricists as well. We
wanted everybody from here to win, and that
was something that was really instilled in us by
J. Prince. He instilled that in us a long time ago.
He said, “No matter what you do or where you
go or how far you get, you remember where you
came from.” And for us, it was the South. Don’t let
anybody make you feel that you can’t be who you
are. We took that shit to heart, man, Pimp more
than anybody. And we were determined to make
it on our terms and we wanted other cats to understand that and we wanted them to make it on
their terms so they wouldn’t owe anybody. So they
could really be able to take pride in their success
or feel comfortable in their failures. Pimp was very
gracious in that respect, a lot more than people
would ever know. You have to think like, people
like Crazy C, he gave Pimp C his organ sounds. So
whenever someone would ask Pimp where he got
his organ sound from, Pimp would give it to them
because he had gotten it from somebody. How
could he claim the right to that when somebody
gave it to him? Different little things like that.
He’d show people different little ways to program,
different ways to sequence, just different things.
It’s still too early to speculate on how he died. To
be honest, we don’t know yet. We haven’t gotten
results back from toxicology, we haven’t gotten
the autopsy results yet. Everything is based on the
condition he was found in and the condition of
the room. Pimp was never one to bite his tongue
about things. Sometimes in life it’s not what you
say, it’s how you say it. I think that the way Pimp
phrased things was a little more off putting than
what he was saying. It was just his blunt honesty
about things. Pimp didn’t really have a filter, he
wasn’t really good at sugar coating things for
people or being PC about things. If it was something he felt strongly about, he had to say it. He
just could not hold it back. Keep in mind he had
a lot of positive things to say too, like “Knockin’
Doors Down.” I would hate to try and even guess
what his mental state was in that sense. You know
he had been in the studio with Paul, he had been
on stage with Paul, when we know for sure we will
let it be known. These things are public record.
Why lie on someone who wouldn’t lie on himself?
One thing that people respect about UGK is that
we were always so honest with them. We let them
know about our ups as well as our downs. And we
tried to let people know that no matter how big
we seem, we’re human. Pimp C did a crime, he had
to go to prison, like everybody else. We’re human.
When he did his interviews while in prison, he said
I did this, it was my mistake, it wasn’t anybody’s
fault and I’m paying for it. He stood up as a man,
he did his time in general population and he came
home to respect, love and admiration. We were together last at the Jeezy concert here in Houston at
Bar Rio, you know, we went there, jammed Jeezy.
He wanted to go there and let it be seen that he
had nothing against Jeezy and that he enjoyed
Jeezy’s music, which he did. And he wanted Jeezy
to see that as well. People think that a lot of that
was personal, but it wasn’t. I talked to Jeezy at
the Dirty Awards and he wasn’t trippin’, and Pimp
wasn’t trippin’ and I don’t want anybody to think
that he passed away with any issues with anyone.
Anyone he had a problem with he had already
rectified all those issues.
Even if I don’t say it out loud, I ask myself, “What
happens now?” I remember going to Dallas,
actually it was in Arlington, with DJ Whoadie
and doing some of the first shows prior to Pimp
being locked up and how hard it was to get on
that stage and do a dedication. “This gonna be
for Pimp, y’all gonna rep with me for Pimp.” That
was hard enough and I knew that was temporary.
I just can’t even say what this holds. I know I
have to carry on this tradition. I know that I have
to get back up on that stage, I gotta get in and
finish this album, I gotta get out and promote this
album, I gotta get out and honor his memory and
lift him up and maintain the legacy of this group
as well as Pimp C the individual. It’s just, I can’t
even see that far right now. You know like I know
we were mid stream on that thing, hell, he was
midstream on his solo album and we had another
album we had to do and turn in this year. We were
trying to get it back together, he was getting his
equipment together and we were trying to figure
out what we were gonna do respectively on each
others’ albums, but before I can be a strong artist
again, I have to be a strong man. I’m not gonna
put myself under any pressure to feel like I gotta
go in [the studio], but eventually I got to get back
on it. I’m gonna give myself some time to heal.
We still haven’t buried Pimp C yet and I’m not sure
what the after effects of actually seeing that will
be. I can’t tell you how I’m gonna be until that
happens. At this point it’s still somewhat surreal. I
can honestly say that it still hasn’t really washed
over me.
You would be surprised at the outreaching that
has occurred [since his death]. Like, I’d never
expect to get a text from the RZA, only because
you would assume that our worlds are so far apart
and that we’re so on different tangents as far
as artists. But as men, as brothers, he’s already
been where I’m at. ODB wasn’t just a member of
his group, he was his cousin. When you’re poor
and cousins, y’all use the same spoon and shit
for cereal. These are people that probably started
building things at the same time in their lives. I
had people like that reach out to me, just to say
they care. And for him to see my pain, you never
know who cares. But so many different people
are calling in, telling their Pimp C stories. Because
you know anytime you met Pimp C there was a
story. If you met him three times, you had three
stories to tell. Literally, that’s no joke. That’s just
how hard he was on people’s minds. He was just
un-fuckin’-deniable. You was gonna know he was
in the room. That’s my motherfuckin’ brother. You
was gonna know he was in the house, man. Square
business. //
As told to Matt Sonzala
Photo by Julia Beverly
OZONE MAG // 81
Boardgame
pmp
E
Words by Jared Anderson
very now and then something new comes along that changes the way
companies or people do things. It’s been said that great businesses
provide a simple solution to a complicated problem, and the founders of
PMPWorldWide.com are proving just that.
Anthony Merchante, the CEO of PMP (Production MarketPlace), had his first
vision of things to come in 1998 not long after he and good friend Ainsley
“AZ” Nicholas started looking into the success of internet communities that
provided networking and socializing.
After studying how the web communities functioned and generated money,
they started a blog site and online record pool. Several comments were left
on the message boards of their websites addressing a need for a virtual marketplace where producers and artists could showcase, buy or sell their music
directly to record labels.
to do.” PMP is providing that arena.
Unlike Taxi or Digiwaxx, the Production Marketplace is a hyper competitive
market that is not for the faint of heart. There is no one to critique your
work or anyone to provide production advice, it’s just your songs competing
against other high caliber peers. “Competition is a valuable tool to let you
know where you stand,” Merchante says. “PMP puts their quality above their
name. You come to PMP because you feel you’re ready to compete.”
Presentation is important too. Each producer is given a profile, which includes
a picture, a bio, and your music. The PMP administrators stress the importance
of keeping your profile fresh and updated. “You can be talented but your
presentation is critical to your success, give your music a chance to be heard,”
advises Dimanche.
Once the groundwork for PMP was completed AZ reached out to a former high
school classmate, Conrad Dimanche, who is the Senior Director Of A&R at Bad
Boy Entertainment, to structure a system that would benefit A&Rs or label
representatives interested in purchasing music. Merchante, AZ and Dimanche
began to pool their resources to bring A-list producers and A&Rs to the site
and establish an instant quality to their marketplace.
Each song submitted for a “track dump” is screened for quality assurance and
to make sure each song matches the track description given before going to
an artist or label representative. Once a producer has demonstrated a “stand
out” ability to create good music consistently PMP will feature them on their
site putting their own personal stamp of approval on the producer. Another
way to stand out is to send in a video, a producer or artist can send a video in
of their production process as long as they credit PMP on the video.
PMP has grown to over 500 subscribed users without much fanfare or advertisement. Merchante credits PMP’s user expansion to the idea that “People
who have the right resources will be in the right arena to do what they need
PMPWorldWide.com is setting itself apart from any competition and is growing
rapidly. Upgrades and new features will be added within the coming year to
go deeper in the many different needs that go into making an album. //
82 // OZONE MAG
industry 101:
Robert “Kaspa” Smith
Words by Eric Perrin
R
obert “Kaspa” Smith has been influential in the Atlanta music scene
for a quite a while. Nearly ten years ago, the Los Angeles native
began interning at ATL’s Hot 97.5 radio station on the exact same
day as MTV’s LaLa, Coco Brother, marketing executive Marsha Meadows, and
a man who used to be known as Cris Luva Luva. Since then, Kaspa has gone
on to become one of the most instrumental industry execs in Atlanta. He cofounded the highly successful Hittmenn DJs collective (which reaches an audience of over 50 million), formed promotional strategies for countless label
heads, and has become a notable community servant, annually donating time
and toys to children in need. But now the man who prides himself as being “a
pioneer in all facets of the Atlanta music industry,” is goin’ back to Cali. Not
literally, but he does have Hollywood aspirations. “I was born in Hollywood,
CA, so it’s expected for me to do movies,” says Kaspa. And as he juggles his
many industry jobs while attempting to create the first and definitive Atlanta
street movie, Robert Smith is focused, because to him, the industry may be
rewarding, but he knows that it’s NADAGAME!
You seem to pop up at every event in Atlanta. What exactly do you do?
Basically, I’m a pioneer in all facets of the Atlanta music industry, ever since
the first Hip Hop artist ever popped off in Atlanta. I’m influential in terms of
the music industry tastemakers around Atlanta. I have a lot of different titles,
so I just try to break all my tasks down so I can try to take care off all my
business throughout the day. I’m the President and Founder of Hittmenn DJs;
we’re a national DJ organization that was founded here in Atlanta by me, Greg
Street, and Bigga Rankin. I’m also the VP of Marketing for Zone 4, which is
Polow Da Don’s label on Interscope. And I have my own label, a joint venture
with a guy named Yung Sean. Recently I’ve started writing, directing, and
producing movies.
If you had to compare your role in the Atlanta music scene to a human organ,
what would that be?
The heart—definitely. I’m where it all starts. When a person comes up with an
idea and they wanna start a label and they wanna go in the studio and cut a
record, I’m the one that actually forms the whole marketing and concept of
how the music should be implemented in the market once that record is done.
I’m like the heart, and the DJs are like my branches. I have a staff of 6 people,
but with so much work, sometimes it feels like only two. But we get it done.
I’m the get-it-done guy.
How important are the Hittmenn DJs to an artist’s success in the industry?
People overlook relationships. Relationships are immensely important to an
artist’s success, and The Hittmenn DJs have incredible industry ties. We have
like 80 DJs across the country, 38 markets, and we reach an audience of 50
million. We consist of radio DJs, on-air personalities, mixers and mixtape DJs,
and also club DJs. I see a lot of DJ Crews, but this particular DJ crew is differ-
ent. It’s not just about being part of a group. We’re more family oriented. We
do a lot of stuff in the community, and we try to give back.
Do you ever beef with other DJ crews?
No, I think it’s just plain competition, and that’s healthy. It’s just like a football team or baseball team. Off the field everybody is cool, but on the field
you’re gunnin’ and runnin’. It’s not war, it’s just competition.
How do you gauge success as a DJ crew? How would you win?
As far as DJ crews, being successful is just being noted. For instance, when
the 50 Cent’s “I Get Money” video was out, we were noted. The Hittmenn DJs
were listed right after they showed Shadyville. So, I won that one. But when
Tony [Neal] came into our city for the BET Hip Hop Awards and got nominated
and we didn’t, he won that one. It’s just competition in different lanes.
Speaking of 50 Cent’s “I Get Money” video, it was a good look how they
spotlighted many of the DJ crews. It seems like more artists are giving shine
to the DJ’s, would you consider that a true statement?
Definitely, I think that throughout the past three years, DJs have gained more
respect. I think the DJs have taken it to the next level. The labels are realizing
that even if you have a good relationship with a [radio station’s] program
director, and you have a hit that’s played 200 times a day, that doesn’t ensure
good sales. Artists and labels realize that mixtape DJs or club DJs can have
just as much, if not more, power than a radio DJ. Take Bigga Rankin, for
example. He’s not on the radio, but he’s the biggest DJ in Jacksonville. I think
people now see the importance of DJs. You have to have the DJs on your side
in order to sell. It’s not gon’ happen without the DJ—period.
Let’s change topics a little. What’s going on with your movie?
I’ve actually written three movies. One of the movies I wrote in only two
days. My movies are a lot of reality dialogue, but I’m really trying to build
and show-off my writing skills. We’ve been doing a lot of filming, and our
website is getting around a million and a half hits a month, so I’m really
trying to take it to the next level. Being that I work so in in-depth with music,
I’m always aware that rappers and R&B artists, or just artists in general, are
always looking for a new lane to get their music heard. I feel like this is a
time now where we have to change the game, and give the artists more visuals with the songs that they’re writing. Movies can give the music a lot more
than a music video being played for five minutes on 106 and Park, because
movies can create a household name with a story along with it. Atlanta has
yet to have a street movie, a movie that’s just all about the streets of Atlanta,
so [my first movie Off Da Hook] will serve that purpose, but it’s also dealing
with the Delta in Mississippi. This movie is giving the entire South a great
look. I’m really trying to take it to the next level. //
www.hittmenndjslive.com
OZONE MAG // 83
P
lease don’t ask US Virgin Island native Benny Demus what part
of Jamaica he’s from. That question is his pet peeve. “A lot of
times people hear the accent, and the first thing they identify
with is Jamaica because Jamaica has been on the scene for a
very long time, so you can’t take nothing away from them. But I’m from the
Virgin Islands, and I’m here to really make a name for us,” says Benny. And
since moving from V.I. to ATL in 2001, the St. Thomas-born Benny D. has done
just that. As the personal DJ for R&B superstar Akon, Benny has traveled the
world displaying his unique and immensely entertaining DJ skills. Aside from
his distinctive appearance (he rocks a Mohawk and a kilt onstage) he has
equally intriguing onstage antics, which has led to his title of “The World’s
Most Entertaining DJ.” But Benny wants it to be known that he is much more
than just a DJ. He is an all-out entertainer that can do it all.
You’re a pretty unique DJ.
I’m so much more than just a DJ. I’m a full-fledged entertainer: I DJ, produce,
rhyme, write, act, and pretty much everything else that goes along with the
music industry. I’m always trying to look for something new to bring out and
to give people their money’s worth plus more. I want to make sure that they
want to come back the next time after seeing me on stage.
How did you get started in the game?
My brother was a DJ before me, and he decided to start teaching me how
to spin on the one’s and two’s back when I was in the 4th grade. At that
same time I started playing saxophone, and he saw the potential in me at
that time. He knew I wanted to do music. I was very musically inclined so he
decided to start showing me how to work on my techniques and everything
just started moving from there.
What is your trademark as a DJ?
My trademark is really my persona, what you see. I wear a Mohawk, which
is pretty much like a half Mohawk ‘cause it’s just on top of my head, and of
course when I get up on stage I don’t look like the type of person you might
see walking through a mall. I wear a uniform, and my uniform is a kilt. I
rock the kilt on stage and then my antics on stage is what really gets people
going. I’m not just behind the turntables. I jump out in front of the tables,
I jump on top of the table, I may jump off the table. I go down and do a
couple of things with Akon. I get on top of the speakers, I dance on top of the
speakers, jump off the speakers. I spray fire onstage, I do break-dance moves
on stage. I stand on my head; I do all types of different things. Like I said, I’m
an entertainer. That’s why I got the name now as being the “World’s Most Entertaining DJ.” I’m out there, and I’m not afraid to do extra stuff. A lot of the
big name DJ’s out there give me so much props. They tell me, “You’re doin’
things I wish I could do.” But they’ve got their own lanes, and I’ve got my
own lane. I’m just always looking to entertain myself as well as the people
who come to see me perform.
I imagine your energy and persona is what attracted Akon to solicit your
services, but how did you two link up?
I moved to Atlanta from the Virgin Islands back in 2001, and I was a member
of the Virgin Island super-group Rock City. We had already put out three
albums in the Virgin Islands, and we decided, we’re so big here [in V.I.], why
don’t we take it to America and see if we’re really cut out to be in the music
industry? So decided to move to Atlanta, and we came and just started going
to all open mics we could find. Every open mic from 2001 to 2003, we were
just killing ‘em. Everybody started talkin’ about these three island guys, two
guys on the mic and then this crazy DJ. This was right around the time Akon
was getting looked at by different labels for his music, and he was saying
to himself, “Man, I really need a DJ for what I’m gonna be doing.” So once
Akon heard about this crazy DJ from islands he decided to come to one of our
shows. One of my guys introduced us, and I was like, “Hey, Akon, nice to meet
you.” Akon told me, “Yo, be easy. I’m here for you. Do your show, come back,
and we’ll talk.” I did my show, and after that he told me needed a DJ, and
that he wanted me to DJ for him.
thedjbooth
benny d
Words by Eric Perrin // Photo by Sophia Jones
84 // OZONE MAG
What’s next for the “World’s Most Entertaining DJ?”
I want to get into a lot more production. I did tracks on both Akon’s Trouble
album and the Konvicted album. I’m one of the main producers for the Rock
City, the super group out of the Virgin Islands. I’ve produced for Fishscales
from the Nappy Roots, Sonny Valentine, and Willie Joe; all of them are tentative with their albums coming out. Also, I’m trying to get into the acting. I can
definitely see myself on the silver screen, because my personality is so there,
and I’m outgoing, and I’m daring, and I’m ready for any challenge. I get a lot
of encouragement from my industry friends like Busta Rhymes, Doug E. Fresh,
and Fatman Scoop. All these people are telling me I’ve gotta do it. //
www.myspace.com/supervillainbeats
OZONE MAG // 85
J.R. Writer/Writer’s Block 5
Diplomat/Babygrande Records
Pitbull/Boatlift/TVT Records
Pitbull returns with the follow-up to his gold-certified debut album M.I.A.M.I. with
The Boatlift, offering 18 tracks in which Pitbull gives fans a mix of club tracks,
storytelling, and introspective tracks, displaying his ability to take on various
roles as an emcee. The album starts off with an intro that leads into the club
favorite “Go Girl” featuring Trina. Deeper into the album, Pitbull enlists Twista on
one of the highlights, “Candyman”, where the two boast about their masculinity
over an Echo-produced track. Lil Jon also makes a production appearance with
“Sticky Icky” featuring Jim Jones. R&B crooner Lloyd lends his vocals for “Secret
Admirer” which is making a successful climb at radio, and Pitbull wraps the album
up with an English remix to his Spanish radio hit “Tell Me” which features Frankie
J and Ken-Y. While Pitbull shows his unquestionable versatility on Boatlift, a fair
scattering of mediocre tracks keeps the album from really taking off. — Rohit
Loomba
Freeway/Free At Last
Island Def Jam/Roc-A-Fella
First Jay and Dame break up, then Freeway wakes up and finds himself caught
in the middle of one of Hip Hop’s biggest splits, leading the Philly MC to take a
hiatus from the game. Now, over four years since his debut album Philadelphia
Freeway was released, Freeway finally returns with his sophomore LP, Free At
Last. Still down with the Roc, Free and Jay-Z go toe-to-toe to show listeners how
big spenders operate on the Dame Grease-produced “Roc-A-Fella Billionaires.”
Another standout cut features Freeway going for radio play with a ladies jam
featuring Curtis and his patented sing-along serenade on the “Take It To The Top”
produced by JR Rotem. Scarface, Rick Ross, Jadakiss and Busta Rhymes all make
appearances but Free still shines for dolo on “Still Got Love,” “Reppin’ The Streets”
and “I Cry.” This follow-up album was worth the wait.
Cassidy/B.A.R.S. The Barry Adrian Reese Story
J Records/Full Surface
A car crash and an involuntary manslaughter conviction after Da Hustla, Cassidy
comes with B.A.R.S. Cass pits his “Barry Adrian Reese” persona versus his “Hustla”
persona on the boxing match-esque battle intro, with “B.A.R.S.” predictably claiming victory. “Drink N’ My 2 Step” has already made an impact on the club scene. A
few tracks later, Cass brings the obligatory anti-snitching track, “Will Never Tell,”
which deserves nothing short of the skip button. Cass share his side of the story
about his legal troubles on “Innocent,” snug over a constantly changing, no-loop
Swizz Beatz effort. One of the strongest tracks is “Cash Rulez,” which showcases
the entire Full Surface family sharing their more rapid flows. Other standout
tracks include “Damn I Miss the Game” and “I Get My Paper”. B.A.R.S. proves to
be a strong effort but, at the most, gets a split decision and leaves hope for a
knockout the next time around. — Rohit Loomba
Grit Boys/Ghetto Reality
Mobetta Musik/TVT Records
On Ghetto Reality, the slept-on Texas trio mixes introspection and real life struggles with the codeine and candy painted ways of the streets of H-Town. Whether
they’re trading lanes and switching verses with Paul Wall and Killa Kyleon (“Now
N’ Later”), doing what ballers do along with Trey Songz and Lil Keke (“In The
Mix”), or keeping it trill with B.G. and Yung Redd (“Still Trill”), the Grit Boys’ album
is filled with banger after banger. During a year when Texas hasn’t garnered much
mainstream attention, the Grit Boys have crafted one of the better albums of
the year as their ghetto realities can relate to hoods from Houston to the A and
Chicago to the Bay. — Randy Roper
86 // OZONE MAG
With Cam’ron, Duke the God, and Jim
Jones all releasing mixtapes the same
month as Writer’s Block 5, fellow Dipset
emcee J.R. Writer has been relatively overshadowed. Though J.R.
debuts the 5th installation of his popular Writer’s Block series
with little fanfare, WB5 is still a solid offering. At times throughout the CD, fans who
are not diehard Dip heads may get somewhat bored with J.R.’s New York heavy flow.
Outside of Slim from 112, Writer does it dolo, but despite the lack of guest appearances, WB5 does display the trademarked true lyricism Writer is known and revered
for. Overall, the 14 track disc does good by those anticipating Writer’s Block, but
probably won’t garner too many new fans. — Eric Perrin
Sham Pain/7 Figga Pimpin
On 7 Figga Pimpin, UK emcee Sham Pain
tells the tales of a true pimp on songs
like “Thick Chickz,” where Sham shows
his admiration for voluptuous women
and “Let’s Roll,” where Sham testifies to loving women of any
and every color. 7 Figga Pimpin is a double disc, although with
just 18-tracks the reasoning behind two discs is elusive. The
album isn’t all about macking hoes, though. He takes a page of out Chamillionaire’s
book and addresses the rap task force on “Hip Hop Cops.” Sham Pain isn’t the best
rapper but this album lets listeners know pimping ain’t dead, it just went international. — Randy Roper
USDA & DJ Folk/The Shield Gang:
All Eyez On Us
There used to be a time where artists
had to show and prove themselves
through mixtapes, trying new things
on the mic to persuade people that they weren’t the average
emcee and that they deserved to have their album bought. For
Young Jeezy and the rest of the USDA roster this doesn’t seem
to be what was on their mind when they hooked up with DJ Folk for All Eyes On Us.
Old flaunts of money and the street life placed over mostly recycled beats prove
nothing but the complacency that USDA feels with the style Jeezy has developed.
Recent USDA arrivals Roccett, 211, and Boo show face on this album but don’t do
much to build themselves up other than a few respectable attempts by Boo. USDA
seems happy with mediocrity and leaves the lyricism far behind to deliver yet
another mixtape just good to ride through the trap with the bass turned up. — Rohit
Loomba
Chopper Young City & DJ Obscene
Money Over Everything
After going through label issues and
legal problems, Young City proves to
be resilient on this DJ Obscene mixtape
Money Over Everything. Through 29 tracks, Chopper’s flow is
impressive as he doesn’t back away from his controversial past
on tracks like “Money Over Everything” and “How You Like Me
Now.” The majority of the mixtape consists of freestyles over tracks like Playaz
Circle’s “Duffle Bag Boy” and Kanye’s “Can’t Tell Me Nothing” and may have been
better with more original tracks. But City’s hunger throughout is enough to shake
his days of walking to Brooklyn for Diddy’s cheesecake and be taken seriously as a
MC. — Randy Roper
DJ Smallz & Wes Fif
Dead Presidents
Don’t get it twisted: Orlando, FL isn’t all
about Disneyworld and Sea World. And
on Dead Presidents O-Town newcomer
Wes Fif hooks up with DJ Smallz to put sweet notions of the
O to rest. Tracks like “G-Code,” “Freaky,” and the bubbling
Southern banger, “Haterz Everywhere” with ATL rookie B.O.B. is
evidence enough why Fif received a Patiently Waiting Florida nomination at the 2007
OZONE Awards and recently inked a deal with Slip-N-Slide Records. The mixtape
could have gone without some of Fif’s freestyles, like remakes of the Shop Boyz
“Party Like a Rockstar” and T-Pain’s “Buy U A Drank,” but judging from the overall
quality of this project, Fif will be stacking plenty of dead presidents in the near
future. — Randy Roper
Super & Fame
Return of the 601 Kings
David Banner made it out of the 601
but if Jackson, MS duo Super & Fame,
want to know why Banner hasn’t put
anyone else from Jackson on, their mixtape is a good indication
why. Neither artist is extremely talented but there is a noticeable difference in skill level between the two. Super outshines
his counterpart, Rob Fame, track after track. Jacking for beats is a common trend
but this mixtapes doesn’t have one original song and if it does, I can’t tell. Nevertheless, Fame does have content within his lines. Couple that with Super’s flow
and Return of the 601 Kings mixtape is something to ride to in the whip-if there’s
nothing else in arm’s reach to pop in the deck. — Randy Roper
1. DJ Sean Mac “Sold Out 9” | www.myspace.com/djseanmac
2. Will Hustle & DJ Knowledge “Hustlemania” Hosted by Trae | www.willhustle.com
3. DJ Frosty and Charlamagne Tha God “Trap Boys Love Us Vol. 3” Hosted by T.I.P. | www.myspac
e.com/djfrostydotcom | www.myspace.com/cthagod
4. DJ Chuck T “Down South Slangin’ Vol. 46” |www.myspace.com/djchuckt
5. DJ 1Mic, DJ DVS-1 & DJ 2Mello “American Gangster” | www.myspace.com/dj1mic
6. DJ 2 Dope Dave “Getting Krunk On Tha Border” Hosted by Lucky Luciano | www.myspace.com/dj2dopedave
7. Funk Boi DJs “Funk For Ya Trunk” | www.myspace.com/funkboidjs
8. DJ Bobby Black “Down & Dirty 28” Hosted by Chamillionaire | www.myspace.com/theofficialbobbyblack | 678-851-0479
9. Makell Bird “ATL Classx Vol. 1” | www.myspace.com/angelicdestroyer
10. DJ Rondevu “Dirty Business Vol. 3” www.myspace.com/djrondevu
11. DJ BNasty “King of Blends 12” | [email protected] | 317-490-7664
12. DJ Frogie “Club Sexxy” | www.myspace.com/djfrogie | 888-318-7918
13. Pace the Kid “Southern Swagga” Hosted by Durty Boyz | www.myspace.com/southernswaggamusic
14. Mr. King T “Southern Smothered & Covered Pt. 11” Hosted by Magno & Sparkdawg | www.myspace.com/djmrking
15. Evil Empire “Be South 18” www.myspace.com/evilempiremixtapes
DJ Scream & DJ Drama
“Heavy In The Streets 12:
The Thanksgiving Edition”
Two of the South’s biggest mixtape DJs hook
up to feed the streets with more exclusives
just in time for Thanksgiving. This edition
of Scream’s “Heavy In The Streets” series is
packed with new music and world premieres
from Shawty Lo (“Dey Know Remix” featuring
Lil Wayne and Plies), Jay-Z and Swizz Beats
(“Baby”) and Soulja Boy (“Go Ham On ‘Em). With
Hoodrich setting the table for Drama’s Gangsta
Grillz album, Mr. Thanksgiving is in a position
to win.
DJs, send your mix CDs (with a cover) for
consideration to:
Ozone Magazine
644 Antone St. Suite 6
Atlanta, GA 30318
16. Supastar J. Kwik “No Pad No Pencil” | www.myspace.com/supastarjkwik
17. DJ Drama & Katt Williams “All Hail The King” | www.myspace.com/djdrama
18. DJ Cool Breeze “K-Ville Vol. 1”
19. DJ Big Mike & DJ Thoro “Soundtrack To The Streets Pt. 7” | www.myspace.com/djbigmikeofficia
l | www.myspace.com/djthoro1
20. DJ LRM “The Roc Boys” | www.myspace.com/superdjlrm
OZONE MAG // 87
88 // OZONE MAG
OZONE MAG // 89
endzone
Pimp C
Venue: Belle Noche
City: Baton Rouge, LA
Date: October 20th, 2007
Photo: King Yella
90 // OZONE MAG