YUNG JOC - Ozone Magazine

Transcription

Y 2
BO of
D 2
BA VER
CO
FIRST ANNUAL OZONE AWARDS: NOMINEES INSIDE!
YUNG
JOC
8BALL & MJG
PURE AMERICAN PIMPS
UNCLE LUKE’S
FREAKY TALES
BIG HAWK
R.I.P. by TRAE
DA BACKWUDZ
SLICK PULLA
RASHEEDA
RAY CASH
LA CHAT
DRE
J-SHIN
G-MACK
DIRTBAG
BIG CHIEF
DJ KHALED
DALLAS, TX
HOUSTON’S
NORTHERN
NEIGHBOR
GOT NEXT
K-FOXX &
SUPA CINDY
THE LADIES
OF MIAMI’S
99 JAMZ
FIRST ANNUAL OZONE AWARDS: NOMINEES INSIDE!
J-SHIN
8BALL & MJG
PURE AMERICAN PIMPS
UNCLE LUKE’S
FREAKY TALES
BIG HAWK
R.I.P. by TRAE
DA BACKWUDZ
SLICK PULLA
RASHEEDA
YUNG JOC
RAY CASH
LA CHAT
DRE
J-SHIN
G-MACK
DIRTBAG
BIG CHIEF
DJ KHALED
DALLAS, TX
HOUSTON’S NORTHERN
NEIGHBOR GOT NEXT
K-FOXX &
SUPA CINDY
THE LADIES OF
MIAMI’S 99 JAMZ
jul06contents
PUBLISHER/EDITOR:
Julia Beverly
MUSIC EDITOR:
Maurice G. Garland
ASSOCIATE EDITOR:
Matt Sonzala
COPY EDITOR:
Carlton Wade
ADVERTISING SALES:
Che’ Johnson (Gotta Boogie)
Gary LaRochelle
LEGAL AFFAIRS:
Kyle P. King, P.A. (King Law Firm)
MARKETING & PROMOTIONS:
Malik “Copafeel” Abdul
SUBSCRIPTIONS MANAGER:
Destine Cajuste
MEDIA RELATIONS:
Cynthia Coutard
ADMINISTRATIVE:
Cordice Gardner
Nikki Kancey
CONTRIBUTORS:
ADG, Amanda Diva, Bogan, Charlamagne
the God, Charles Parsons, Chuck T,
E-Feezy, Edward Hall, Felita Knight, Iisha
Hillmon, Jaro Vacek, Jessica Koslow, J
Lash, Jason Cordes, Jo Jo, Johnny Louis,
Kamikaze, Keadron Smith, Keith Kennedy,
K.G. Mosley, Killer Mike, King Yella, Lamar
Lawshe, Lisa Coleman, Marcus DeWayne,
Mercedes (Strictly Streets), Natalia Gomez,
Noel Malcolm, Ray Tamarra, Rico Da
Crook, Robert Gabriel, Rohit Loomba,
Shannon McCollum, Spiff, Swift, 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, David Muhammad,
Delight, Derrick the Franchise, Dolla Bill,
Dwayne Barnum, Dr. Doom, Ed the World
Famous, Episode, General, Haziq Ali,
H-Vidal, Hollywood, J Fresh, Jammin’ Jay,
Janky, Joe Anthony, Judah, Kamikaze, KC,
Klarc Shepard, Kuzzo, Kydd Joe, Lex, Lil D,
Lump, Marco Mall, Miguel, Mr. Lee, Music
& More, Nick@Nite, Nikki Kancey, Pat Pat,
PhattLipp, Pimp G, Quest, Raj Smoove,
Rippy, Rob-Lo, Stax, TJ’s DJ’s, TJ Bless,
Trina Edwards, Vicious, Victor Walker,
Voodoo, Wild Billo, Young Harlem
DISTRIBUTION:
Curtis Circulation, LLC
To subscribe, send check or money order
for $11 to our NEW ADDRESS:
Ozone Magazine, Inc.
1310 W. Colonial Dr. Suite 10
Orlando, FL 32804
Phone: 407-447-6063
Fax: 407-447-6064
Web: www.ozonemag.com
Cover credits: 8Ball & MJG photo by Barry
Underhill; Yung Joc photo by Earl Randolph;
J-Shin photo by Julia Beverly; OZONE
Magazine is published monthly 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 2006 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.
MONTHLY SECTIONS
Mixtape Reviews pg 104-105
Photo Galleries pg 19-41
The Elements pg 110
DVD Reviews pg 108
Roland Powell pg 17
Mathematics pg 20
Feedback pg 12-14
CD Reviews pg 102
Industry 101 pg 24
JB’s 2 Cents pg 17
Chin Check pg 22
DJ Profile pg 26
COVER STORIES
8Ball & MJG pg 84-86
Yung Joc pg 94-95
J-Shin pg 98-99
PATIENTLY WAITING
Willie the Kid pg 56
Grind Family pg 52
Slick Pulla pg 48
Code Red pg 58
Big Chief pg 50
N.G.O.K. pg 54
FEATURES
OZONE Awards Nominees pg 73-81
R.I.P Hawk - by Trae pg 18
Dallas, TX pg 68-71
INTERVIEWS
Dre pg 30
Dirtbag pg 38
La Chat pg 34
G-Mack pg 36
Ray Cash pg 44
K-Foxx pg 62-64
Rasheeda pg 40
DJ Khaled pg 42
Supa Cindy pg 60
Da BackWudz pg 32
Uncle Luke pg 88-91
OZONE
11
feedback
Y’all magazine is vicious, but why can’t D.C. get no love? Even
*though
we aren’t Down South, we Up South, so we still South. We
got niggas out here carrying shit. Y’all should give D.C. some rhythm
because your magazine is well-respected on these streets.
– Kingpin Slim, [email protected] (Washington, DC)
*
You have an unfortunate misspelling in your May issue. In Pimp
C’s interview on page 73, in response to the question about if he’s going to run for governor, you have him quoted as saying “payphones
in the Texas penile system.” I was almost sure that you meant to type
“penal” system, but you know, I heard that stuff goes down in maximum security prisons.
– Nick Liao, [email protected] (Houston, TX)
*
*
Big ups to OZONE Mag! Thanks for putting it down for the South
and providing us with a magazine we can call our own. Muthafuck’ The
Source and all that Zino bullshit, too! I got you on that note.
– A.C.E., [email protected] (Tuscaloosa, AL)
*
I can’t tell you how much of an impact OZONE is making on my
career. I especially liked the March issue with the DJ section. I felt like
it was huge marketing and promotional tool, but I was upset that I
wasn’t aware of it before it was printed. Anyways, you guys are making
a huge impact on the hip-hop scene, especially here in Tampa (God
knows it needs as much help as it can get). Keep it up!
– DJ Hazed, [email protected] (Tampa, FL)
got a new Aussie fan! OZONE is doing it right! We don’t
*get You’ve
too many rap mags in my part of Australia so I was hyped to see
it at the local shops. I just finished reading the Juve cover and it was
on point. I liked what B.G. has to say about Wayne. Fuck Birdman
Jr., and fuck Birdman Sr. for that matter. B.G. keeps it way real while
half the rappers around dribble shit out of their mouth (i.e. Benzino).
Kepe doing what you’re doing and fuck the haters. Oh yeah, I think it’s
about time you gave the kings of buck Three 6 Mafia the cover and
an interview!
- Big Al, [email protected] (Australia)
*
I just wanted to let you know how very much I (and the other four
people in our office who rip this mag off from me when I’m half-finished
with it) enjoy OZONE. By giving artists what feels like an unrestricted,
uncensored forum to air out their beefs, their interests, their politics
and their creative interests, you’ve created a great salon for a community of musicians. Seems like way too many folks in the press feel that
the only choice is to either treat hip-hop like mindless bullshit or get
nervously sensitive about he grandiose sensibilities of folks that clearly
are just looking to get paid. OZONE manages to stay real, honest,
and still treat the music and the musicians with respect without either
apologizing or playing the “artiste” card. Along with Harpers, OZONE
has become some essential reading in my house. Y’all do nice work.
And more Devin, please! Let’s get a six page interview with that cat.
He’s an overlooked genius.
– John Seroff, [email protected] (NYC)
*
I don’t think people are understanding what it is that you are doing,
JB. Girl, you are a beast! I have to first congratulate you and your staff
on four years of knocking down the competition, standing strong and
showing the industry and all the non-believers that you mean business. You are truly an inspiration to anyone, male and female, that is
trying to make it in any profession. The 4 Year Anniversary issue was a
classic! I was thrilled to see T.I.P. on the cover. The interview with Pimp
C made you feel as though you were sitting right in the room listening
to them talk. In short, I am proud of you! Keep giving them hell!
– Tuesday Donaldson, [email protected] (Tallahassee, FL)
Alabama we see ya grinding and we respect your grind. Being
*an InAlabama
artist, we have no choice but to grind and take respect
because the industry cats overlook us like we ain’t hip-hop. I see you
having one of the most dominant magazines in the game in a year or
less, so stay focused and remember only God can judge you.
– Country Boi, [email protected] (Alabama)
12
OZONE
JB, after looking at your 4-year photo spread, I can see that you
are an artist. It was very educational and revealing to watch your progression through your photos. Seeing this through your eyes helps
me look at the South in a whole different light. Being a DJ, I can understand why some people don’t see what you do as an artform.
– DJ E-Z Cutt, [email protected] (California)
*
Yo, I read your article on the Bay Area hyphy movement and I really enjoyed reading the articles on the rappers, who happen to be all
friends of mine. The main thing about the article is that y’all missed
out on a very important piece of the Bay and the whole hyphy movement that’s going on. There was no review or article on Krushadelic
and Underground Rebellion, one of the true pioneers of hyphy and 16
year vets of the Bay Area rap game. Before there was hyphy it was the
highly energetic Underground Rebellion out of West Oakland. With
nine videos and over twenty projects of what they now call hyphy
music, the Rebellion was the spearheads. There’s also documented
footage and performances from BET’s Teen Sumimt and Comicview
with the slang terms “fa sheezy,” “fa shizzle in the hizzle scrizzle”
back in 1995. This is nationwide documented footage of the movement and some of the founding fathers.
– Krushadelic, [email protected] (Oakland, CA)
*
How can we get some of the Dallas local artists featured in your
magazine? We have a lot of talent out here waiting to break out. Keep
doing a good job on your magazine and please keep bringing us the
hottest talents from the South. We deserve the props we are getting,
it’s been a long time coming.
– Armonda Miller, [email protected] (Dallas, TX)
First of all, I love your mag. I’ve been reading it for about three
*months
now. That whole Benzino/Source vs. OZONE beef is funny
to me. mi heard the voicemail and was cracking up. I had to play it
twice: “Ugly bush pig slutmonkey whore!” But I do think you should
make one thing clear for the readers: you don’t have beef with The
Source. Just some of the former heads. I been reading articles and
listening to interviews saying “beef,” but I give much respect. Keep
doing ya thing!
– Chris Taylor, [email protected]
*
I work for JUICE Magazine (not affiliated with JUICE in Atlanta).
It’s Europe’s biggest and most popular rap magazine, published in
Germany, Switzerland and Austria. A few weeks ago I had OZONE the
first time in my hands while I spent some days in Miami. I love it!
– Arthur Fischer, [email protected] (Germany)
your interview with Bun B and I want to tell him a few things:
*DearI saw
Bun, I hope you don’t take this the wrong way. First off, I’ve been
your biggest fan for a long, long time. Up here in Cleveland, we were
bumpin’ UGK when most of the country outside of the South didn’t
know who y’all were. And no one spoke more highly of you than me.
When Ridin’ Dirty came out, I was in high school and I felt that album
was the final frontier. I felt then, and still feel now, that it was the greatest hip-hop album I had ever heard in my life. In high school, I used to
frequently get into heated debates with classmates who doubted you.
I told them that given the chance you could out-rhyme the best emcees in the game. You proved me right years later when you made “Big
Pimpin’” with Jigga. I think even Jay-Z knew you outdid him because
he added another verse to the video and radio versions that were not
on the album. For years, I hoped that you would one day make a solo
album, and then one day my prayers were answered. For two years
feedback
I waited for your album Trill to come out and it finally did. I snatched a
copy the first day it came out. Finally, the wait was over. That’s when
I became disappointed. One thing I always admired about UGK was
your authenticity. I never felt like you intentionally made songs for the
mainstream. You just made music from the heart. But you clearly went
away from that principle by making song with Trey Songz and the
Ying Yang Twins. No disrespect to them, but all collabos aren’t good
collabos. And that brings me to my second point. I wanted to hear an
album from Bun B, not a compilation album. I wanted to hear you in
your own zone, but I couldn’t because there were just too many damn
features. I understand showing love, but you showed a little too much.
My third complaint is that you had too many producers. Back in the
day, each click had a producer or a certain sound. Nowadays, dudes
be havin’ a different producer for every song. in my opinion, this is why
a lot of albums today aren’t any good. They lack consistency and the
entire project doesn’t flow or have rhythm. I’ll give you a pass on this
one because your brother Pimp C (welcome back) was locked down.
But my final criticism hurts me the most to say. I feel that you slacked
off in the lyrical department. What happened? This is not the same
rapper that wrote such lyrical gems as “so clever shine / like diamond
grapes on leather vines” or “We fuck your game up like Larry Brown”
or the infamous line that Jay-Z jacked you for. You know the one I’m
talking about. When you said “Your men of war turned into pussies
and men-o-pause” it took me a few listens to catch it. But it seems the
emcee has disappeared. What happened to the master of wordplay
from “Murder,” “P.A. Nigga,” “Wood Wheel,” “Ball and Bun,” “They
Down With Us,” “Hi-Life,” and “Every Single Day”? What happened
to the legendary storyteller from “Diamonds and Wood,” “It’s Alright,”
and “Feds In Town”? Once, there was an emcee who I felt would make
a timeless hip-hop classic. With Pimp finally home to provide you wit
the proper musical backdrop, I just hope the emcee is still there and
ready to show the world his genius.
– One Black, [email protected] (Cleveland, OH)
*
Charlamagne the God is a great addition to the mag. His column
is sheer craziness. I also agreed with y’all’s greatest Southern albums
list, especially ATLiens, which is definitely my favorite Outkast album
– although Aquemini ain’t too far behind. I remember witnessing Eightball & MJG getting booed at The Warehouse in 1993 during Jack the
Rapper. Nobody in the club at the time was trying to hear them and to
see the frustration on MJG’s face is a classic moment that I’ll never forget. It’s interesting how two years later, everything changed. Another
interesting moment was when Mystikal was still an unknown (at least
in Atlanta, anyway). In 1995 there was a Jive Records concert featuring
damn near everyone on the label (Too $hort, Souls of Mischief, Tribe
Called Quest, and KRS-One was the headliner). The majority of the
“East coast” crowd was already booing Mystikal but they really booed
the shit out of him when he went into his “bad like Michael” segment. A
year or so later “Here I Go” was the record that you just had to play.
– Jaycee, [email protected] (Atlanta, GA)
Hey Julia, I noticed that in your latest 2 Cents where you talked
*about
starting a mag, you seemed a little leery about “giving up the
goods.” Trust me when I say that you have nothing to worry about!
But somehow, I have a feeling you already know that. I have to laugh
every time I see a new mag/paper/rag/website com out and I can instantly tell it’s some moron that got ahold of a PC and thought it was
gonna be easy. Sure enough, within a few issues, poof! Gone! I also
like these local pubs from places like Tampa/Jax/wherever that think
they’re going to “expand their market” and invade Orlando. Do these
fuckbrains ever stop for a nano-second to think about how they’re
going to cover the scene, distribute or pick up advertisers outside of
their home base? Again, within a few issues, poof! Gone! This doesn’t
include a national or regional pub, but you get the point. As for your
haters, fuck them! They shouldn’t hate what they’ll never have the
balls to be (for lack of a better term - not sure what the female equivalent of “balls” is). In one of your early Pitbull interviews, Pit hit the nail
on the head by saying, “If you don’t have haters, you ain’t doin’ something right.” That reminds me: I also like Roland Powell’s little column
“10 Things I’m Hatin’ On.” Keep up the good work!
- David Himes, [email protected] (Orlando, FL)
wanted you to know that I’m standing in a Tower Records
*justJust
outside of Boston, MA, and they’re proudly displaying the latest
issue of OZONE with Trick Dddy on the cover. Congrats on national
distribution!
- Lyall Storandt, [email protected]
is one of the most resourceful entertainment magazines
*I’veOZONE
ever read, and believe me, I am a bookworm. I like the networking
aspect (emails and phone numbers are very important in this business). Keep up the good work!
- NJ Gilbert, [email protected] (Opa-Locka, FL)
I recently picked up the new issue of OZONE at Borders here in
*Cincinnati,
OH. I was truly blown away. For one, your interviews have
*
substance. You can tell this magazine is about indie artists and major
artists and not just bombarding us with half naked women. Don’t get
me wrong, I love women, but I don’t think that should be the focus
of a rap magazine. Everything has its place. I’m really feeling the interview with Trick Daddy and how he’s teaching his crew the Dunk
Ryders how to grind. No advances, just hard work. With the right
magazine, I feel indie artists can truly get their grind on. OZONE is
striclty for the music. XXL Mag is picking up where the Source left off,
and if you ask me I think Interscope is paying them good. Every issue
is an Interscope artist but hey, hate the game not the player. Should
I hate those controlling the game? Nah, we just switch it up and pray
for the best.
- Paul “Grizz” Reese, [email protected] (Cincinnati, OH)
*
I just read your June 2006 issue. I liked the idea of having the
20 Essential Southern Albums, and I especially like the fact that you
included DJ Screw’s 3 N The Mornin’. But when I read Matt Sonzala’s
description at the end it says, “Sadly, DJ Screw passed away in November of 1996.” What the hell is that? He died on November 16th,
2000! Do your damn job and at least get that right. You are trying to
give homage to the man and you don’t even get the year of his death
right? Pretty disrespectful; what a joke! I hope I’m not the only one
who notices and comments on that. R.I.P. Screw, Fat Pat, Hawk, big
Mello, and Big Steve.
- [email protected]
JB, I just read your article about how to start your own magazine.
Good piece. I wish every artist could read that so they could have a
better understanding of how the magazine business works. It’s very
humble of you not to have a know-it-all attitude, which I have to admit
that I have heard you have. I did not get that impression from you at all
after readying your article. I know there are three sides to every story.
I see that you have managed to keep the magazine going for a while
now, and I have to commend you on that. Looks like you have a come
a long way and are continuing to grow. Congratulations to you, and
your success with OZONE.
– Kiara, [email protected]
JB, I just finished reading the March ’06 issue (first time buying a
copy) and I was very impressed, but I got to admit I was not familiar
with you until “that dude from Boston” called you out. The last thing
in the magazine I read was your editorial and I really felt your honesty
and point of view. By you being a white female that publishes a hiphop magazine (on the verge of greatness) I’m sure you had/have your
doubters, but apparently you have proven them all wrong. I am definitely one of the 95% that you alluded to in your editorial that has never
had a conversation with you, but the fact that ATLiens is one of your
favorite albums (and mine too) is all I needed to know before I ordered
a subscription (the check/money order is in the mail). Your editorial
brought something out of me. Because of your “600 little words,” I do
14
feel like I know you a little more. Keep up the good work and don’t
worry about that one piece of hate mail. I guess nowadays “that dude
from Boston” has too much time on his hands.
- K. Arnold, [email protected] (Birmingham, AL)
OZONE
*
Editor responds: You’re right; thanks for pointing out the typo. We
apologize for the incorrect information.
Correction: In the May issue, photo #2 on page 35 and photo #3 on
page 27 should have been credited to Hurricane.
Hate it? Love it?
Send your comments to [email protected]
OZONE reserves the right to edit comments for clarity or length.
jb’s2cents
Flyidcg in Jacksonville, a faithful reader of JB’s 2 Cents, hit
me up one night from the hospital and told me I need to tell
people to stop killing each other. I sort of laughed to myself,
and responded that I don’t have that kind of power. Then
I thought about it. Fuck it, maybe I do have a little bit of
power, and a responsibility to say something. So…
10 Things I’m Hatin’ On
PLEASE STOP KILLING EACH OTHER.
By Roland “Lil Duval” Powell
Need I say more? Proof? Hawk? I’m not supposed to be
constantly searching through photo archives for obituaries
– I’m supposed to be searching them for album covers, and
flyers, and other productive items. I’m tired of hitting up rappers to
ask for quotes for an R.I.P. And those concerns are petty compared
what their friends and families are going through. We all need to
just take a step back and breathe once in a while. Is anything that
serious that it can’t be solved any other way?
Disclaimer: This is really what everybody else is sayin’. I know I’m dead wrong, but I’m hating anyway.
1. Niggas Taking Pictures With Their
Chain
Do not – I repeat – do NOT hold up your
chain in a picture if it ain’t as big as your
hand, or if it’s fake.
2. American Idol’s Randy Jackson
This nigga is the lamest nigga I’ve
ever seen in my life. I hate when this
nigga tries to act like he’s so cool and
uses lame-ass sayings like, “You rock,
dawg!”
3. Last Month’s Groupie Confession in
OZONE
Man, ain’t nobody want to hear about
Phife’s groupies. Whoever she was, she
had to be damn near forty, cause that
nigga ain’t had a hit song since 1997.
4. Big Women Wearing Bathing Suits
Who is encouraging you big bitches to
make you think that shit looks good?
Nobody wants to see that shit in public.
Y’all are all out on the beach lookin’ like
a busted can of biscuits.
5. BET Uncut
Do you niggas on there really think
you’re gonna make it?
6. Old Niggas in the Club
If you go to a club and your daughter’s
friends are in the same club, it’s time to
stop clubbin’. And if you’re keeping a
bunch of change in your pocket, nigga,
you old.
Gotti and I @ Club
Suite
Uncle Luke, me, and
Jacki-O on South Beach
Shawn Prez and I @
Springfest
7. Public Service Announcement for
Women:
If you’ve never seen the nigga you fuckin’
in the day time, you’re just some cut up.
8. Niggas Who Just Got Out of Jail
If you were locked up and been in there
for a long time, make sure you find out
what’s in style when you get out, cause
you can damn sure believe them Paco
Jeans and Cross Colours ain’t what’s
hot.
9. Gas Prices (again)
Man, these crackers done crept that shit
back up. How the fuck can one gallon of
gas cost more than a combo meal?
10. Myspace.com (again)
Some of y’all women need to reevaluate your life. There was this one bitch
on there saying, “Good men are hard to
find.” But in her profile picture, she was
butt ass naked. Hmm, I wonder why?
Young Cash f/ 2Face “I Love It”
DJ Khaled, Rick Ross, Pitbull, Trick Daddy “Born & Raised”
8Ball & MJG f/ Pimp C “Grown Man”
Triggastate Trendsetters “I’m From Florida”
J-Shin f/ T-Pain “Send Me An Email”
Field Mob f/ Ciara “So What”
Lil Keke “Chunk Up The Deuce”
Trae f/ Fat Pat & Hawk “Swang (remix)” R.I.P.
jb’splaylist
Lil Wayne “Hustler Musik”
Plies “Know Sum’n”
Pitbull “Bojangles”
Grind Family “Fuck That”
OZONE
17
r.i.p.big hawk
by Trae
Houston rapper Big Hawk of the Screwed Up Click was shot and killed on May
1st, 2006. As of press time, no suspects have been arrested. Fellow Screwed
Up Click rapper Trae weighs in on his partna’s death:
H
awk is my O.G. You know, he’s one of the originators of the Screwed Up Click.
I was one of the youngest ones out of the camp, me and Chris Ward, so Hawk
was like the O.G. of the camp, him and DJ Screw. I was up under they wings
a lot. As time went by we became very close, like brothers.
He didn’t deserve that. Hawk never had no enemies. If you even check the background, he never even had plex with music. It wasn’t no problems at all. If anything,
he helped a lot of people. He’s featured on a lot of people’s songs. Lil niggas from
the hood would reach out and he’d do the features. He never had no problems.
That bullet wasn’t meant for him; that’s all I can really tell you. He wasn’t one of the
people that would make you even think that. You wouldn’t think that my homie would
get murdered like that. That wasn’t for him. He was a family man.
Man, it’s time for us to man up and understand when you’re wrong. People are
wrong about a lot of shit. It’s time for people to be on some grown man shit. A lot
of us rappers have kids, so shit, niggas need to get they grown man on and think
before they act. For example, look at what happened to me. I lost a lot of people
coming up so I had to mature a lot faster. I had to make my own decisions; some of
them were right, but some of them were wrong. I was out robbin’ people and fucked
around and caught a case that could’ve fucked me up for the rest of my life. That was
me being stupid, but it was also the fact that I was brought into these streets at an
earlier time than I should’ve been. If I had been older and had guidance I probably
would’ve been better, but when kids lose their parents, they don’t have that guidance. Everybody needs a father figure in their life. If they don’t have it, they tend to
make the wrong decisions. Some people weather the storm, but some people don’t.
I weathered the storm, but I fucked up too. I wasn’t out there robbing just to rob; I
was robbing to take stress off my mother’s back so I wouldn’t have to see her struggling. She had already lost one son to the penitentiary so I was robbing really trying
to feed me and my brother so she wouldn’t be stressed out. But that’s something
I had to learn. If any rapper is out here acting crazy thinking it ain’t gonna hurt the
kids, that’s a lie. A lot of rappers grew up without their parents and that’s why they
got caught up in these streets real fast.
Even I had it fucked up. I had to sit back and think with certain situations. I had to sit
back and tell myself, Trae, you cannot react how you do in the streets all the time.
You gotta slow down cause you’re older now and you have a family. So I understand
that and respect that and a lot of other niggas need to do the same. That shit don’t
feel good when you’re losing someone close to you. It don’t feel good to kids to lose
their fathers. People need to understand, stop trying to prove yourself in the streets.
These streets are so crossed right now you don’t know the definition of real and fake.
People got the definitions crossed.
I’m only 25 and I’ve lost so many people – from [DJ] Screw to [Fat] Pat to Hawk to
Mafio to my brother Dickie doing three life sentences to his girlfriend to his baby
mama. I’ve lost so many people it don’t make no sense. But it don’t do nothing but
make me a stronger man than what I was before. Even though pain ain’t good to
deal with, that’s what I’m used to. I know that God has me down here for a reason.
I’m the one who stays strong and keeps everybody’s head straight in the situation.
Our camp the Screwed Up Click as a whole, we’ve bonded and become real close
recently. Now we’re really closer than ever because Hawk was the leader. When
Screw passed he became the leader and now we’ve lost another leader. So we’ve
really gotta bring it home for him. Especially when I turn in my album, right now I’m
really pumpin’ it to make sure everybody’s able to see him on BET. People need to
see him and hear him.
My album is wrapped up but I’m tryin’ to get them to push it back right now [to add
a Hawk tribute]. All of us have lost someone, so all of us have a lot to say. My main
thing right now is to be here and be strong for his family, his wife and his kids and
his sisters and just the whole camp. I’m focused. I’m having a terrible month but I’m
gonna bounce back. I’m a grown man and I’m gonna take care of this situation.
I’m in these streets 24/7 and the streets talk. If the police don’t find out [who killed
Hawk], I’m gonna find out. One way or the other, I won’t rest until they find out who
took my homie. Until we get that solved, it’s hard for me to focus on music cause
that’s always on my mind. Everything’s gonna fall into place, I know it is, as long as
you’ve got God in your life.
I’ma finish it off by sayin’ what Big Hawk would say: On behalf of the Screwed Up
Click and ABN, ghetto dreams will be fulfilled. R.I.P. Big Hawk, Fat Pat, R.I.P. DJ
Screw, R.I.P. Mafio, R.I.P. Gator, and free Dinkie!
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Trae’s tattoo, in memory of Big Hawk;
inset: Trae and Big Hawk at a video
shoot earlier this year
(Photos: Matt Sonzala)
01: DJ Drama, Paul
Wall, and Lil Keith @
Drama’s birthday party
(Houston, TX)
02: Full Impact All-Stars
(Orlando, FL)
03: Chris Brown, Juelz Santana, and Gotti @ Springfest
(Miami, FL)
04: Bobby Creekwater
and crew @ Greg Street’s
sneaker show (Atlanta, GA)
05: Barnard, Jock
Smoove, and Young Jeezy
@ Plush (Jacksonville, FL)
06: Akon, Slim Thug,
and T-Pain @ Springfest
(Miami, FL)
07: Small Soldier, DSR,
Big Bink, and DJ Princess
Cut (Dallas, TX)
08: Tony Neal and Uncle
Luke on South Beach
(Miami, FL)
09: Jim Jones @ the
premiere of Mission Impossible 3 (NYC)
10: Bu and Mike Blumstein
@ Springfest (Miami, FL)
11: DJ GT and Tye Dash
@ Mansion (Miami, FL)
12: Baby and Malik Abdul
@ Blue Room for Treal &
Smilez & Southstar’s video
wrap party (Orlando, FL)
13: Mami Chula and DJ
Nabs @ Springfest (Miami,
FL)
14: Bun B and the Mddlfngz @ Springfest (Miami,
FL)
15: Greg G, Trevor, Sytonnia, and J-Deezy @ Blue
Room (Orlando, FL)
16: Gotti, Mami Chula, and
Youngface @ Suite (Miami,
FL)
17: Monoply Records @
Kentucky Derby (Louisville,
KY
18: Soon Boy, Miss T,
Crystal, and friends reppin’
OZONE (College Station,
TX)
19: Bigga Rankin and
Haitian Fresh @ Plush
(Jacksonville, FL)
20: DJ Mars and Big Cac
@ Greg Street’s sneaker
show (Atlanta, GA)
Photos: Edward Hall (07);
General (09); Jesse Jazz (02);
Julia Beverly (03,06,08,10,11,
13,14,16); Keadron Smith (01);
Malik Abdul (05,12,15,17,19);
Maurice Garland (04,20); Nikki
Kancey (18)
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19
mathematics
by Wendy Day
How To Get A Record Deal
This is the question I am asked most frequently
by people who don’t know me. Those who do
know me ask how they can sell more records
on their own, not how can they get into a slave
contract and become a sharecropper. But for
those who don’t want to do for self, I will attempt to break it down from my vantage point.
Let me preface this by saying that I AM talking about a rap record
deal with a reputable record label that has a track record and that has
experienced some success in the rap music industry through selling
records. I’m NOT talking about the bogus labels that spring up daily
all over the country with a business card printed last night at Kinko’s
that says they are a record label. Real legitimate record labels have a
staff. They have proper financing to market and promote their releases
after they record them, and they have experience and connections in
the music industry with radio, retail, and promoters. The bogus labels
should be avoided at all cost until they have a proven track record, as
most of them can’t even do as much for an artist as the artist can do
for him or herself.
I see three ways to get a record deal (that you’d want to have):
1. Get put on by an established artist (but bear in mind that you may
only be as successful as that artist. It’s rare that someone puts you on
and you blow up larger than they are). With any luck, the artist who
puts you on is fair and doesn’t do to you what was done to him when
he was coming up.
2. Create a buzz. In a perfect world, you want everyone in the industry
and on the streets talking about you before you get signed. Young
Buck was a perfect example of an underground artist who had a very
strong buzz. The trick is to keep it going until you get signed and then
turn it up a notch until you’re going to drop. 50 Cent is a great example
of someone who kept up the buzz.
3. Sell units. This is, of course, my favorite method because it proves
to the labels you can sell, which reduces their risk and gives you negotiating leverage. Therefore, you have more control over the “fairness”
of your deal and often a choice of labels with whom to sign. In a perfect
world, you want to be with a label that not only believes in you but has
an experienced, hard-working staff in every department that can really
make your project happen. And a nice bidding war never hurts…
The average record deal for a new artist starts around $125,000 and 12
or 13 points (which really means 12 to 13 percent of the retail selling
price after you pay back all the expenses) for an independent label or
a subsidiary label, and $300,000 and 16 points at a major label. There
are far more indie labels and sub-labels than there are major labels, so
it is obviously more difficult to get signed directly to a major label. The
plus of being directly with a major label is that there is no middleman.
Dr Dre’s label Aftermath is directly with Interscope, which is a major
label. Eminem’s Shady Records is signed to Aftermath which is signed
to Interscope. 50 Cent is signed to Shady via Aftermath at Interscope.
That’s a lot of hands for money to pass through, even figuratively.
Most money spent to sign and promote an artist is recoupable. “Recoup” means paying back most of the expenses before you receive
any back end payments (points are back end payments). I can count
on one hand the number of rappers I know who’ve ever even seen a
back end payment such as a royalty check. Most rappers make money by getting advances prior to working on the next release, always in
an unrecouped position of owing money to their label.
The way to increase the figures in any deal in favor of an artist is for the
label to realize that their risk is reduced. A label takes a risk when signing any new artist. This risk means that the label could dump hundreds
of thousands or even millions of dollars into an artist’s career and the
artist might only sell 10,000 records. In this case, the label loses a lot
of money, but anything that can reduce that risk is rewarded.
This even applies to established artists. For example, when Snoop
Dogg was shopping for his new deal after Priority five years ago, he
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was able to say he had Dr Dre producing for him again. He was expanding his awareness into mainstream America by appearing in a
full-length motion picture in 2001, and he had an autobiography out
at the time in bookstores called Tha Doggfather, which got great reviews. That’s the way to maximize opportunity. A more recent example
would be T.I., who dropped a new CD and starred in a new movie that
released in the same week.
A newer artist might reduce the perceived risk for a label by having
access to well-known, successful producers or by bringing a hit single
with a superstar producer. This affiliation is one that the label would
see as reducing their risk at radio. Radio is overcrowded and expensive these days, so having a Jazze Pha or Cool & Dre track goes a
long way for recognition with radio. Labels like this.
These are all proven ways to get the little “extras” in a record deal.
Those extras could include more upfront money, more points on the
back end, a better “stat rate,” less stuff to recoup, etc. Upfront money
is a double edge sword because upfront money is recoupable, therefore it is just more debt. You want to get upfront money for several reasons. One, you can invest in something that will bring in more money
(a studio or real estate). Also, if you’re in debt wtih the label, it will
force them to make you a priority and work harder on your project to
get their money back.
If you have a deal with a reputable label and you are confident that you
are a priority, you may want to reduce the front end advance in favor
of a larger split on the back end. With Trick-Trick’s deal at Motown, he
took less money upfront in order to get 40% to 50% on the back end.
Trick had a slam dunk single with Eminem called “Welcome 2 Detroit”
and had already shot a tight video for it. He had a follow-up single with
Jazze Pha. Most joint venture deals don’t work financially in the artist’s
benefit because there is often a production company in the middle
collecting the money. Trick co-owned the production company, further
reducing the risk for Motown to do business with him.
When I negotiate a deal, there are times where I secure money upfront
for the artist that will be dumped back into the artist’s project because
I know the label won’t. For example, in almost every deal I’ve ever negotiated with a major label, I’ve gotten between $25,000 and $75,000
for the artist to hire his own street team to work his project. Most of the
radio-driven majors don’t understand the importance of building the
artist on the streets first, so very often the artist has to do this for self.
This fund is never recoupable. An artist shouldn’t be taxed for an area
where the label is weak, nor should the artist be taxed for something
that falls under marketing of the record, like a street team. But in order
to negotiate something like this, the artist must have something that
the label deems worthy enough as leverage.
You shouldn’t take just any old record deal. You should have a deal
with as many extras to guarantee your success as the label gets to
guarantee your profitability to them. You are taking a risk with the label
as well, but they’ll never see that. They always only see their risk.
Always go into your deal with the attitude that the label is your partner
(even if you never make a dime, because it is YOUR career). If they
drop the ball, you should be able to pick up the ball and run with it.
They have many artists on their label, but you only have one career.
Bear in mind that the REAL hard work begins after you get a deal.
You set the tone with your label. If the label has 3 artists, and 2 are lazy
and never show up to stuff that they set up but one is hardworking and
arrives on time for everything - guess which artist will get the best push
regardless of their level of talent? Human beings work at record labels,
and it is human nature to work whatever causes the least resistance
and least stress. This is a business. Learn as much as you can before
getting into the industry. Ask as many questions as you can to people
who are successful and legitimate, and have a really good entertainment attorney on your team. A successful team and a little bit of luck
are the true secrets to success in this industry. If all you want to do
is just make music, PLEASE find someone with some real business
savvy to add to your team or you’ll see the ugly side of this business.
It’s a wicked game of pimps and hoes, adn you won’t be the pimp.
- Wendy Day of Rap Coalition (www.wendyday.com)
01: Ray Cash and
T-Pain @ Springfest
(Miami, FL)
02: Too $hort, White Dawg,
and DJ Blackdragon @
The Moon for TJ’s DJ’s
(Tallahassee, FL)
03: Uncle Luke and Bulldog
on South Beach (Miami, FL)
04: Slim Thug with the 99
Jamz morning crew Supa
Cindy, Big Lip Bandit, and
Benji Brown @ Springfest
(Miami, FL)
05: Coota Bang, Archie
Lee, DJ Quote, and Michael Watts (Houston, TX)
06: Stone and UTP reppin’
OZONE @ Clark’s (Vegas,
MS)
07: Street Runner and KFoxx @ Springfest (Miami,
FL)
08: Mannish and Kadife
Sylvester @ Springfest
(Miami, FL)
09: Yo Gotti, adn Mr. Fugi
(Memphis, TN)
10: Jock Smoove and
Barnard @ Plush (Jacksonville, FL)
11: T-City promotions on
the set of Juvenile’s video
(Houston, TX)
12: Paul Wall and Brandi
Garcia @ DJ Drama’s
birthday party (Houston,
TX)
13: DJ Q45 and T-Smiley
@ Plush (Jacksonville, FL)
14: Alex Gidewon and
Diddy @ Mansion (Miami,
FL)
15: Monie Love and Chris
Brown @ Springfest (Miami, FL)
16: Twisted Black and
friends (Dallas, TX)
17: BloodRaw, Young
Jeezy, and Slick Pulla @
Club Suite (Miami, FL)
18: OZONE @ the Kentucky Derby (Louisville,
KY)
19: Supa, Tony C, and
friends @ Tropical Magic
(Orlando, FL)
20: Bootcamp Click reppin’ OZONE (NYC)
21: DJ Drop, DJ G-Rock,
Big Chief, Steve Austin,
Big Bink, and Money Waters (Dallas, TX)
Photos: DJ Quote (05);
Edward Hall (21); Julia Beverly
(01,03,04,07,08,14,15,17,19);
Keadron Smith (11,12); Kool
Laid (06,09); Malik Abdul
(10,13,18); Matt Sonzala (16);
Shoeb Malik (02); Swift (20)
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21
chincheck
by Charlamagne The God
W
hy do we put all these 15-minute-of-fame chicks up on a pedestal? I’m talking about these video chicks
who might be hot for the moment (ie. Buffy the NOBODY), reality show chicks who’s time in the spotlight
will be very brief (ie. HO-oopz, as in “oopz, the little bit of shine I am getting is a mistake, I didn’t know this
was a reality show I thought Flavor of Love was a taste test for Valentine’s Day candy”).
I don’t understand why the hip-hop community gets caught up in the hype over these females who obviously have
no talent, skills, or anything to take them to the next level of life or to assist them with - other than posing half naked
in every major hip-hop publication. How many times will the general public pay to see that? That even eventually
runs its course. I feel sorry for these chicks that have nothing to do other than to host parties. It’s sad because for
a month or so the phone can’t stop ringing, then the calls slowly stop coming - that’s because the clock that says
fame is on 14 minutes and 30 seconds!
That’s right ladies, time is almost up, and most of these chicks have the audacity to act like they really got it going on! They have the audacity to act like they’re really hot! Walking in parties with security like your name is
Condoleeza Rice or Oprah fucking Winfrey, catching attitudes, throwing tantrums, acting like you’re better than
everybody. Who do these chicks think they are? You’re not leading the underground railroad like Harriet Tubman.
You’re not sitting down on a bus refusing to move and actually making a stand for your people like Rosa Parks.
Whenever I see these chicks I hear Craig Mack’s voice in my head saying, “YOU WON’T BE AROUND NEXT
YEAR!” I heard HO-oopz is quite the industry whore. Allen Iverson, T.I., I mean, do I believe the rumors? YES! I don’t put nothing past a chick who
participated on a reality show to win a date with Flava Flav. Public Enemy is one of the best hip-hop groups of all time, but Flava Flav? That says
a lot about the breed of chick we are dealing with.
Some people are just thirsty for fame and will do anything to keep that little bit of shine. A grimy little redbone like HO-oopz might poke a hole in
the condom, or while you’re pissy drunk high off that kush at 4 o’clock in the morning treating her like the breakfast she is (that’s right, breakfast
is something to do early in the morning after the club closes) the little hoodrat might just rip the condom off in the heat of the moment and tell you
she wants to feel it. And please don’t put the old turkey baster trick past HO-oopz. After sex she will grab that turkey baster, suck the cum out of
a condom, warm the skeet up in the microwave, and shoot it right back in that fame hungry, money hungry cat trap of hers.
My dudes, don’t get caught up. Don’t be fooled. The only difference between HO-oopz and pretty redbone Shaquita from the projects is 13 episodes of Flavor of Love, a few spreads in some magazines, and a few fake myspace pages. Honestly, a ho is a ho in any environment! It doesn’t
matter if she’s broke in the projects or a special invited guest at a celebrity party; a whore is a whore and she should be treated as such until she
grows out of whorehood into full-fledged black womanhood.
HO-oopz recently did a interview where she disrespected
the Queen of all Media my radio aunt Wendy Williams. She
said that Queen Wendy keeps her name in her mouth 23-7
and then said that there’s only 2 hours out of the day she’s
not speaking her name. This is not a typo: HO-oopz said
23-7 only 2 hours out of the day Wendy’s not speaking her
name, and the poor young lady thinks there’s 25 hours in
a day!
Now do you see why these misguided chicks shouldn’t be
put on a pedestal? Go put your head in a book and get your
head out of that rappers lap! Wipe the cum off your cheeks
and have some respect for yourself, HO-oopz, your 15 minutes of fame is counting down fast! You should be utilizing
this time to the utmost. You’re a pretty young lady - go out
there and try to get in some print ads for some clothes, try to
get a bit part in a movie (the camera set up in a rapper’s bedroom while you’re getting banged out from the back doesn’t
count), do something productive!
Your reality show days are over because you blew the spot
on Flavor of Love, told everybody it was fake, and they started casting for the 2nd season before the first was over. Your
a producer’s worst nightmare. These white people don’t
need you messing up their money just cause you like to run
your mouth to any media outlet that will listen. That’s the
problem: your mouth. When it’s not being ran to the media,
it’s wrapped around some rapper or athlete’s cock or in the
middle of some chicks vagina (yeah, I heard those stories
too).
HO-oopz, please don’t get offended. Everybody in the country saw you put your tongue in Flava Flav’s mouth, so if
somebody told me you put your tongue in a pitbull’s ass, I
wouldn’t be surprised.
Sincerely Gangsta,
Charlamagne Tha God
- If you would like to tell Charlamagne The God that he is
an idiot, email him at [email protected].
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01: Citty, Young Cash,
and T-Pain @ Springfest
(Miami, FL)
02: Paul Wall, Beenie Man,
and Sean Paul @ Springfest (Miami, FL)
03: Sleepy Brown and Latin
Prince @ Springfest (Miami,
FL)
04: Project Pat and Juicy J
@ Tropical Magic (Orlando,
FL)
05: Hutch, DJ Dap, DJ Lil
Boy, DJ KD, Ed the World
Famous, and J Blaze @
Blazin’ 102.3’s pool party
(Tallahassee, FL)
06: Southstar, DJ Greg G,
DJ Hankadon, and Tony @
Blue Room (Orlando, FL)
07: Money Waters and
Twisted Black (Dallas, TX)
08: DJ Nabs and Mel
Testamark @ Springfest
(Miami, FL)
09: Christina Milian and
DJ Ren on the set of Dre’s
“Chevys Ridin’ High”
(Miami, FL)
10: Emperor Searcy and
Kadife Sylvester @ Club
Suite (Miami, FL)
11: Serena Williams @
Kentucky Derby (Louisville,
KY)
12: Shareefa and Malik
Abdul @ DTP Press Junket
(NYC)
13: Blofly and George
Lopez (Dallas, TX)
14: Juvenile and Boomtown on the set of his new
video (Houston, TX)
15: Dolla Boy, Lil Fate, and
Titi Boy @ Visions for DJ
(Atlanta, GA)
16: Greg “True Champ”
Davis (New Orleans, LA)
17: DJ Khaled and Diddy
@ Mansion (Miami, FL)
18: DJ Slikk, guest, and
Marlei Mar @ KYMP Record Pool (Louisville, KY)
19: Ladies reppin’ OZONE
@ Blue Room (Orlando,
FL)
20: Smackabatch, Tony B,
and Kamikaze @ the SEAs
(Tunica, MS)
21: DJ Jamad, Kid Kaos,
and guest @ Greg Street’s
sneaker show (Atlanta,
GA)
Photos: DJ Dap (05); DJ Ren
(09); Edward Hall (07); Julia
Beverly (01,02,03,04,08,10,17);
Keadron Smith (14); Malik Abdul (06,11,12,18,19); Marcus
DeWayne (16); Matt Sonzala
(13); Maurice Garland (15,21);
Ms Rivercity (20)
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23
industry101
Kawan “KP” Prather
Executive VP of Sony Urban / Head A&R
I
f you’re a true music junkie who reads
album credits and liner notes religiously,
you’ve already seen Kawan “KP” Prather’s
name. Formerly one-third of Atlanta hip-hop
pioneers P.A., KP has become one of the most
successful A&Rs of his generation. During
his tenure at LaFace he launched the careers
of the Youngbloodz and T.I. He also served as
A&R for all of Outkast’s albums leading up to Stankonia as well
as albums from Goodie Mob, TLC, Pink and Usher. Now with his
position at Sony, he is the man responsible for signing the likes
of Ray Cash and John Legend. His list of accomplishments goes
on for days, so take his advice and Google him to find out more.
Give us a brief background on yourself.
I was born in Atlanta, Vine City to be exact. My love for music started
as a DJ. When I got in high school I met some guys, Mello and Big
Reese, and we came together and became P.A. After that we were
introduced to Rico Wade, Pat (Sleepy Brown) and Ray Murray, who
the world knows as Organized Noize. We all pooled our equipment
together and formed the Dungeon Family.
The first P.A. album Ghetto Street Funk came out under Pebbles’
label, Saavy. That was in the early 90s and we didn’t get another
P.A. album until 1998. What were you doing in the meantime?
The whole time we was making records. Before L.A. Reid and Pebbles,
all of us in the Dungeon, we was making records and doing everything
else, but we didn’t know of the titles that come with the record industry. We didn’t know what an A&R was or who a promotions rep or any
of the other behind the scenes people were. But we was doing all of
these things. In our crew, you would call me the A&R. I was picking engineers and matching producers and artist and other people together.
When we got around L.A. and Pebbles, I was still in the group but I
was running into a lot of people and introducing them to L.A. When we
was doing the Straight No Chase album, L.A. told me I should come
to the other side of the business. So I became a consultant at LaFace
and was assigned to work on Usher’s My Way album. They had him in
NYC with Puff. It was my idea to pair him with Jermaine Dupri, since we
already knew him and Usher is a Southern cat.
The results were obviously good. What did that experience teach
you? Did it make you decide to be on that side of the game?
Absolutely. The Usher album showed me there was another side to
the game other than being an artist and that you could be very great at
something. As a member of P.A. we were great producers but we was
cool artists. Unlike Outkast who are both. People loved our songs, so
I took what I was as a producer and artist and became somewhat of a
coach. That’s pretty much what an A&R is, a coach.
After your success at LaFace, you decided to
start your own label Ghett-O-Vision with the
Youngbloodz and T.I. Why take that risk after
working with established artists like Usher, Outkast and TLC?
At LaFace there was a high brow image, very polished and clean cut. There was a voice being unheard, people like me that weren’t very socially conscious. We weren’t dumb, but still had something to
say. I felt that gritty artists had to have a place. So I
did Ghett-O-Vision. The name symbolized that were
from the streets, but we weren’t just plain stupid either, we had a vision. I chose the Youngbloodz because they were fun; they represented the South’s
club scene. As for T.I., he was a great lyricist. He
was like ‘Pac, an uncontrollable dude that was gonna do what he wanted and say what he wanted.
Looking back, do you consider the Against The
Grain and I’m Serious records to be huge successes, even though they didn’t do the astronomical numbers that people harp on these
24
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days?
I always felt like they were huge successes because they were the first
records of their kinds, they opened people’s eyes. I’m Serious sold
5,000 for 70 weeks, that’s consistency and that’s good. That album
came out the same week as Petey Pablo and Bubba Sparxxx. Those
albums sold more in the first week, but I’m Serious kept selling. That
solidified T.I. as an artist in my opinion.
Speaking of him, since you were over the project, did you play a
part in creating the whole “King of the South” thing?
He said it one day and I was like, “If you believe it, say it loud.” If you
play small you will be small. I encouraged it, but it’s something he
came up with. At the time it caused some noise, but we all think we
the king of something. Other people that carried themselves like kings
didn’t get offended by it.
Talk about the transition from LaFace to Sony.
The transition from LaFace was cool. I learned from L.A., he was like
my industry father. But I had to pack up and move out. It was never
bad blood. I just felt, at the time, I had done all I could do under him.
We made money and history and but it was his. He was supportive of
my decision and we still talk at least once a month.
What was the biggest challenge you faced?
The biggest challenge was getting respect. Everything I did prior to
joining Sony was credited to L.A. I never did any press or appearances
because I was so concentrated on the music, so people didn’t know
what I was doing. It wasn’t hard because I got to make what I wanted
to make. I got to bring in the John Legends and Ray Cashs.
Cleveland has been severely under the radar since Bone’s heyday. How did you find Ray Cash, and as an A&R how does one
keep their eye out for talent?
I don’t think it’s a formula but you gotta stay open and never think it’s
about you. I met Ray Cash through his manager. I met his manager at
Office Depot when me and T.I. was out looking at telephones. He said
he had a CD, I heard it and loved it. I flew him to New York after that
and got it done. But as an A&R I can’t think it’s about me. I can use my
resources to make things happen, but it’s about the music first. If the
music ain’t hot, we don’t have nothing.
How did you find John Legend?
John Legend came through a relationship I had with John Monopoly.
About three people were working his project, trying to get him in the
door. When I heard him I went ahead and made it happen. The album
he put out, Get Lifted, was already done by the time I signed him,
except for “Ordinary People.” Being an A&R doesn’t always mean you
have to make a bunch of records. Sometimes you gotta fall back and
just let an artist do them.
How do you determine when to step in and when to fall back?
When an artist is good but not working to their full potential, you gotta
give them a push. You’ve gotta make them see what they can do if
they put their mind to it. You fall back with an artist like ‘Kast, and watch the magic unfold in front of
your eyes. Same thing with John Legend.
Do you agree that DJs are the best A&Rs?
I think it’s a place for everything. What I do isn’t contingent on freestyles and mixtapes. Everybody’s got
a mixtape now. Literally, the DJs are pushing crack.
But I am a truest. I have to really love it. If it’s people getting money, I don’t knock it. But I don’t buy
into the whole notion that you have to be hot in the
streets in order to get a deal or get fans. I believe
that you have to be hot first.
What advice do you have for people looking to be
in the industry?
Focus on what you would do for free and the things
that come natural to you. I know people who are
great in promotions, but want to be an A&R because
the job seems sexier. I would love to see people stop
following trends and just do them.
- Maurice G. Garland
01: Sean Paul and
Beenie Man @ Springfest
(Miami, FL)
02: Bryan Jahoda, Young
Stally, and Big L @ Club
Kies (Indianapolis, IN)
03: Deja, Brooke Valentine,
and TV Johnny @ Sharpstown Mall (Houston, TX)
04: Kentucky Music Pool
meeting during Kentucky
Derby (Louisville, KY)
05: Citty and Slim Thug @
Springfest (Miami, FL)
06: DJ Black and friends
@ Club Suite (Miami, FL)
07: B.G. and DJ Hektik
(New Orleans, LA)
08: Poe Man and Peezee
(Dallas, TX)
09: Baby and DJ Chino @
WJHM (Orlando, FL)
10: BloodRaw and Smoke
of Field Mob @ Club Suite
(Miami, FL)
11: Moss B and Gangsta
Boo @ DJ Drama’s birthday party (Atlanta, GA)
12: Rick Ross and Dylan
13: M-Geezy and
Paris Jontae @ Club Plush
(Jacksonville, FL)
14: Keyshia Cole and DJ
Jesse Jazz @ House of
Blues (Orlando, FL)
15: George Dukes, Bun B,
and Big Teach @ Springfest (Miami, FL)
16: Gu and Paul Wall @
DJ Drama’s birthday party
(Houston, TX)
17: Kawan Prather, guest,
Ray Cash, and Latin Prince
18: Big Chief and Twisted
Black (Dallas, TX)
19: Amir Boyd and
Killer Mike @ Greg Street’s
GA)
20: The Replacementz @
(Atlanta, GA)
21: Cheri Dennis and DJ
Mars @ Mansion (Miami,
FL)
Photos: Bright Star (09);
Edward Hall (08,18);
Jesse Jazz (14); Julia Beverly
(01,05,06,10,12,15,17,21);
Keadron Smith (03,16); Malik
Abdul (02,04,13); Marcus DeWayne (07); Maurice Garland
(11,19,20)
OZONE
25
djprofile
DJ Black (Indianapolis, IN)
Y
ou’re famous for your “dragged &
chopped” mixtapes. What’s the difference between dragged & chopped
and Screwed & chopped?
There’s no difference. It’s out of respect for the original Screwed Up
Click and DJ Screw, R.I.P. You can’t call it chopped & Screwed if you’re
not DJ Screw. I know he probably wishes that before he died he had
trademarked the name so nobody else could use it. No disrespect to
Michael Watts and OG Ron C, but it is what it is. On the Southside of
Texas if you say “Screwed & chopped,” they don’t respect you. You
gotta call it something else. I’ve been jamming Screw since day one
before it got commercial. I got all 156 chapters, and I’m from the Midwest. I’m real with it, I got it tattooed on my stomach.
How were you exposed to Screw’s music?
A DJ named DJ Gu up here in Indianapolis was doing it since around
the same time as Screw. He was realy heavy on the underground
scene, bangin’ out slowed down tapes, and I was a little guy like 13,
14, 15. I just been a slow head ever since. I don’t do shit fast. I don’t
even do parties unless it’s dragged up. I’m just stayin’ real with what
I got love for.
Do you have to be fucked up to appreciate slowed down music?
Naw, that’s bullshit. To me, music just sounds better slowed down. I
can’t listen to the radio cause that shit sounds like the Chipmunks or
something. That’s just the perception, but it’s not true. You’ve always
got your haters. But don’t get me wrong, it does sound better when
you’re feeling good off every drug in the book. But in Indianapolis I
have a record store that’s 90% dragged & chopped, and I have all
types of customers – females, males, from 15 all the way up to 60, and
they all buyin’ dragged up.
What’s the difference between a DJ Screw tape and other slowed
down tapes?
I don’t think nobody can imitate DJ Screw, just because of the way he
went live on his records and how he recorded his sounds. The bass
hits a certain way. It’s a special feeling you get when you listen to DJ
Screw and you hear everybody that’s hot right now – Lil Keke, Lil Flip,
Pimp C, Bun B and Hawk – and you hear them all just talking on a little
microphone, and you hear the feedback. You hear all that in a Screw
tape. I don’t think nobody can imitate that. Watts is on top of the game
right now, and I gotta give props to him cause I can’t keep up with him.
He’s always doing some different tricks. He’s the man right now. OG
Ron C is next, and DJ Black does have next after that.
What’s the music scene like in Indianapolis?
It’s more than corn in Indianapolis. People just think of the Indie 500
up here, but really it’s an open market. We have a group up here that
just got signed called 625 Entertainment. I think Jim E Mac is the next
big thing about to get signed out of Indianapolis. You’ve got a lot of
locals trying to do their thing, but they don’t wanna put no money
into their project. They half-ass the covers and put their music on a
burnt CD-R instead of packaging it professionally. But Indianapolis is
on the rise as far as the music scene is concerned. We’re the last in
the Midwest, but I’m here to save that. I’m reppin’ for the corn state til
the day I die. Indianapolis is an open market. We’re Midwest country
boys, that’s how I put it. If you go up to Chicago it’s like the East coast.
But in Indianapolis you’re gonna see the same thing you see in Miami
and Jakcsonville and Houston and Atlanta – we poppin’ trunks, ridin’
big rims – that’s that South feeling. Every artist who comes here says
that. It’s an untapped market here in Indianapolis, and it’s so open.
Artists need to quit going from Chicago straight to Cleveland and skipping over Indianapolis. Ask Lil Flip, David Banner, Swishahouse, Mr.
Bigg, and Lil Boosie – they will all cosign for me, cause I had them
niggas doing shows up here for $6k, $10k, $15k before they were even
signed. It’s an open market, especially for the South and the West
coast. Tell ‘em to holla at me.
What else do you have goin’ on?
I have a SoundScan retail store. I don’t fuck with the clubs unless they
wanna drag it out one night. I fuck with the radio on holiday weekends. I DJ for Lil Wyte, Frayser Boy, Boogie Man, Grandaddy Souf,
The Last Mr. Bigg, and Chrome. They’re all Hypnotized Mindz artists
26
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under Three 6 Mafia’s label.
So what exactly is your affiliation with Three 6 Mafia?
I’m the official DJ for Hypnotized Mindz. I have a marketing company
and street team as well, and our clients include David Banner, DSR,
Atlantic Records, Swishahouse, and a whole bunch of other labels.
And when I say “marketing,” it’s not just hanging up posters and shit.
It’s vehicle wraps, full-fledged promotions, the whole nine. Also in the
works, hopefully I’ll be the official DJ for the 2006 low rider tour.
Are there any other camps you’re affiliated with?
I’m down with the Hittmenn DJs.
What is the biggest mistake that you’ve seen indie artists make
that hurts their career?
The biggest problem I see is just flat-out lack of promotions. I feel like
you should put money into your project. They go in the studio and lay
a hard track down, but don’t package it right. I’ve been in retail since
1999, when I was 19 years old. One thing I’ve learned is that when they
bring music in there and don’t put no promotion behind it, they just
sit in the stores. They think it’s gonna sell but it just collects dust and I
never hear from them again. It’s lack of promotions. You’ve got to put
time and money into your project. When I come out with a mixtape,
I’ve got four wrapped vehicles and I promote my mixtape like it’s an
album. That’s how I hustled my way to where I’m at now.
Would you like to give out any contact info?
Check out www.draggedup.net or myspace.com/thekingofdrag. You
can call me to get chopped up, not slopped up, like the great OG Ron
C would say – 901-428-4BLK.
- Julia Beverly (Photo: William Pride)
01: Juelz Santana, Slim
Thug, and Jim Jones @
02: Face, K-Mutie, and
D Map @ Greg Street’s
GA)
03: Steve Austin and Edward “Pookie” Hall (Dallas,
TX)
04: Raul and DJ Khaled @
Mansion (Miami, FL)
05: The Clipse and Big
Earl (Orlando, FL)
06: DJ Niro, Mr. Blakes,
PicNic, Headkrack, Tony
C, and PayDay @ Gypsy
Tea Room (Dallas, TX)
07: Street Dogg, Rick
Ross, and Brisco @
08: Dre and Christina Milian @ Springfest (Miami,
FL)
09: DJ Greg G and DStrong @ Icon (Orlando,
FL)
10: G-Dash and Lil Keke @
(Houston, TX)
11: Rick Ross and DJ
Demp @ Baja’s for Blazin’
102.3 birthday kickoff (Tallahassee, FL)
12: Freestyle Steve and
Young Jeezy @ Club Suite
(Miami, FL)
13: Shane and Bigga
Rankin of Cool Runnings
@ Club Plush for Young
Jeezy concert (Jacksonville, FL)
14: LeToya Luckett and
Latin Prince @ Springfest
(Miami, FL)
15: Kid Capri and Too
$hort @ Suite (Miami, FL)
16: Kanye West and Tom
Cruise @ Mission Impossible 3 premiere (NYC)
17: Pimp C in the studio
(Port Arthur, TX)
18: Headkrack and crew
on the set of OZONE’s
Dallas photo shoot (Dallas,
TX)
19: Barnard and Young
Jeezy @ Club Venue
(Gainesville, FL)
20: Guest, Gaby Acevedo,
and Chino @ Blue Room
(Orlando, FL)
21: DurteRed and Dela
Candela on the set of
Dre’s “Chevys Ridin’ High”
(Miami, FL)
Photos: Big Earl (05); DJ Dap
(11); DJ Ren (21); Edward Hall
(03,18); General (16); Greg
G (09); Jaro Vacek (17); Julia
Beverly (01,04,07,08,12,14,15);
Keadron Smith (10); Malik
Abdul (13,19,20); Maurice
Garland (02); Repo (06)
OZONE
27
28
OZONE
01: Diddy and Ump @
Mansion (Miami, FL)
02: Dallas Austin and Greg
Street with a lucky fan
@ Greg Street’s sneaker
show (Atlanta, GA)
03: Serena Williams gets a
little tipsy @ the Kentucky
Derby (Louisville, KY)
04: Jock Smoove and crew
@ Club Plush (Jacksonville, FL)
05: Blak, Yung Joc, and
DJ Dap @ Jam TV during
Blazin’ 102.3’s birthday
week (Tallahassee, FL)
06: DJ Sosa and Rasheeda @ V103 (Atlanta,
GA)
07: Clinton Sparks and
Slim Thug @ Springfest
(Miami, FL)
08: Kinfolk Nakia Shine
and Bun B @ Springfest
(Miami, FL)
09: Big Bud and crew @
Venue (Gainesville, FL)
10: T.I. and his publicist
Sydney Margetson (NYC)
11: Stally and a friend @
Club Kies (Indianapolis,
IN)
12: KC and a friend @
13: Choppa and True
Champ (New Orleans, LA)
14: Malik Abdul and
Reams @ Blue Room
(Orlando, FL)
15: Chevys ridin’ high
on the set of Dre and
Dirtbag’s video (Miami, FL)
16: Benny Boom and
Brooke Valentine on
the set of her new video
(Houston, TX)
17: HeadKrack, DJ GRock, and Play & Skillz
(Dallas, TX)
18: Juggi, Yung Joc,
Shawt and Young A of
Akright Records (New
Orleans, LA)
19: DJ Infamous, Field
Mob, Jeff Dixon, and Too
$hort @ Club Suite (Miami,
FL)
20: Big Teach and Smitty
21: Trini and George
Lopez (Dallas, TX)
Photos: DJ Dap (05); DJ Ren
(15); DJ Sosa (06); Edward
Hall (17,21); General (10); Julia
Beverly (01,07,08,09,19,20);
Keadron Smith (16); Malik
Abdul (03,04,11,12,14); Marcus Jethro (13,18); Maurice
Garland (02)
OZONE
29
q&a
Dre (Miami, FL)
Y
ou actually got started singing in an R&B group, right? You’re
also a producer now, but you’re getting ready to drop an album of your own. Is it a rap album, or R&B?
It’s a rap album, but I do have an R&B joint on there. A lot of people like
Fat Joe, Puff Daddy, Timbaland, Cool, Busta Rhymes, and DJ Khaled
were telling me to put an album out.
So when you started out rapping were you playing around?
I’ve always been freestyling and whenever I was in the studio with
people I’d give them direction. I’d rhyme for them and give them direction and then Busta Rhymes was like, “Yo, you dope, you should
rhyme,” and then Joe Crack was like, “Yo, you need to rap,” and that’s
how I got it. You can never limit yourself.
When you first got your label deal for Epidemic/Jive, wasn’t Dirtbag supposed to be your first release?
Yeah, we’ve been trying to get that Dirtbag situation straight for the
past two and a half years. But Jive hasn’t fared well with their rap department, so we all felt that if I put out an album it would brand Epidemic and make an easier lane for Dirtbag to drop his shit. Basically,
I’ve been changing how Jive conducts business on their rap side.
People know who I am already, so it’s easier.
So you’re able to call in a lot of favors.
Yeah, all of that. It’s just easier because people know my face, and I
have relationships in the industry.
A lot of people know that you, and your partner Cool, produced
Ja Rule’s “New York” record. What are some other songs you’ve
produced?
“Hate It Or Love It” for Game and 50 Cent, “Rodeo” for Juvenile, “Say
I” for Christina Milian and Young Jeezy, “Holla At Me Baby” for DJ
Khaled, and a lot of album cuts.
Since you’re affiliated with Fat Joe, did producing the “Hate It Or
Love It” record with 50 Cent put you in the middle of their situation at all?
Naw, cause we did that record for Game, not for 50 Cent. We did that
record prior to any friction. That was the third single off Game’s album.
What was crazy about it was that we had produced the “New York”
record that had kinda set off [the 50 Cent and Fat Joe beef] in the first
place.
You and Cool seem to steer clear of the beef and drama.
Yeah, God has blessed me and Cool. Me and Cool, we’re about the
music. At the same time, [Fat] Joe is a good friend of mine and I hate
when people talk bad about him. But Joe has always led me and Cool
away from that. He always told us it’s about the music, and that’s our
mindset anyways. At the end of the day, if we can create music for
people to come together, that’s a good thing. Just the fact that we did
both those records, and they were both great records, let people know
that we don’t get involved with bullshit and that two great records can
be made.
Being that you’re close to Joe, what’s your opinion about some
of the controversy he’s had with former Terror Squad artists like
Cuban Link? Remy Ma was recently blasting him on the radio.
I don’t know Cuban Link. Me and Cool became cool with Joe after
all that so I can’t speak on that. As far as the Remy Ma situation, she
was just frustrated and just let herself go on the radio. But it’s love at
the same time. I love Remy Ma, she’s super talented. She wants to
win and has some opinions on why she thought she wasn’t in a good
situation, but she was just frustrated. Basically an argument she was
having on the phone spilled over on the radio, but I think she cleared
it up. When you’re on the outside you don’t see what’s on the inside.
I’ve personally seen Joe try to make things happen for everyone. I’ve
watched him work, it’s just a tough game. I’m going through the same
thing with Dirtbag. Sometimes there are just certain circumstances that
you can’t explain, which is why I’m trying to drop a record to brand the
label for Dirtbag to have an easier situation. Joe dropped “Lean Back”
on the Terror Squad album when it was supposed to be on his album
so they would come out with hits. Sometimes it’s just unexplainable.
30
OZONE
Since it is a tough business, why is it that so many people are
trying to get in?
They see the end and the success stories, and those are great. When
you see T.I. and Jay Z and they’re so successful and they win, and
the spoils of that are money, beautiful women, big houses, and big
cars, who wouldn’t want to get into the business? I’ve been fortunate
enough to enjoy the success of being a successful producer.
Is the money better as a rapper or a producer?
When you’re a successful producer it’s great money, and when you’re
a great rapper it’s great money. There’s money to be made on both
angles. Rappers make money doing shows, but as a producer you
can’t make money doing shows. It depends on where your heart is.
Then you have your Kanye Wests and Dr. Dres who are behind the
board and in the booth.
Is that your ultimate goal?
Yeah. Me and Cool want to brand Epidemic and have artists come to us
and become successful rappers like Dre did with Aftermath. We want a
movement for people to succeed; new and upcoming rappers.
Are you and Cool sort of like the Miami version of the Neptunes,
where you’re Pharrell – dropping verses and doing cameos – and
Cool is more behind-the-scenes like Chad?
I don’t know Pharrell and Chad’s relationship. Me and Cool are super
close. I’ve know his wife for longer than he’s know her. Me and Cool
are family, we’re like brothers. Cool likes being in the studio but I’m
somewhat forced to be out and about now that I’m promoting an album. Cool likes to be in the studio and he has a family. I don’t have the
responsibilities that he has. I don’t have any children or a wife and I’m
fairly young still, so I’m out and about. When Cool has an opportunity
not to be in the studio he’s going to be with his family.
What do you see happening for Miami in 2006?
Trick Daddy kicked down the door a few years ago but it took us a
minute to run through it. With DJ Khaled and Rick Ross and me all
dropping our albums, we all came together to try to help each other
win. We’ve got Pitbull, who’s an amazing talent. We can’t deny the fact
that Pitbull is a star. He’s no longer someone that’s up and coming. He
made it, so that’s a success story, and he helped pave the way. We’ve
got Smitty, a lot of people coming out of Miami.
What’s the name of your album?
It’s called The Trunk. I got beats from Timbaland, Scott Storch, DJ
Khaled, and DJ Toomp, and Cool and I handled the rest of it. My next
single is featuring Keyshia Cole and is produced by DJ Khaled. It’s a
phenomenal track. We just finished the video for “Chevys Ridin’ High”
and they shut down the set.
Why The Trunk?
It’s symbolic. Niggas do a lot of kinds of work from the trunk in Miami. Me and Cool did work from the trunk - selling beats by playing
music loud and opening up the trunk to let people hear it. I’m taking
my album in the trunk and taking it across the country. I’m giving two
Chevys away with my album and the station in Dallas is giving some
away. We’re working on an endorsement with Chevy.
- Julia Beverly (Photo: J Lash)
01: Shawn Jay of Field
Mob and Too $hort @
Club Suite (Miami, FL)
02: Charles Reece, Mes,
Rig, and Boogieman @
OZONE’s Dallas photo
shoot (Dallas, TX)
03: Eye Candy and Storm
@ Blazin’ 102.3 pool party
(Tallahassee, FL)
04: Smilez and Southstar
FL)
05: Dap Rugget’s Motown
and Cedric King at Greg
Street’s sneaker show
(Atlanta, GA)
06: Guest and Haitian
Fresh @ Club Waterfalls
(Sebring, FL)
07: Ump, Raul, DJ Khaled,
and Rich @ Mansion
(Miami, FL)
08: Tum Tum (Dallas, TX)
09: Shareefa and Jeff
Dixon @ DTP Press Junket
(NYC)
10: Doug Banks, Rudie
Rush, and DJ Dap @ The
Moon for Blazin’ 102.3
birthday week (Tallahassee, FL)
11: Adept @ Blue Room
(Orlando, FL)
12: DJ Hektik and Young
Buck (New Orleans, LA)
13: Jock Smoove giving
away jewelry @ Club
14: Monica and Cool on
the set of Dre’s “Chevys
Ridin’ High” (Miami, FL)
15: Monie Love and
Rasheeda @ Springfest
(Miami, FL)
16: Treal and Smilez &
Southstar’s video wrap
party @ Blue Room (Orlando, FL)
17: Lil Hen and Young
Cash @ Plush (Jacksonville, FL)
18: Yung Joc, Juggie and
Baby Boy @ Club Dreams
(New Orleans, LA)
19: Brooke Valentine and
crew (Houston, TX)
20: Mr. Pookie, Mr. Lucci,
Pimpsta, KottonMouth
(Dallas, TX)
21: Brandi Garcia, J-Mac,
and Nnete @ Springfest
(Miami, FL)
Photos: Derrick the Franchise
(12); DJ Dap (03,10); DJ Ren
(14); Edward Hall (02); Julia
Beverly (01,07,15,21); Keadron
Smith (19); Malik Abdul
(04,06,11,13,16,17); Marcus
DeWayne (18); Matt Sonzala
(08,09,20); Maurice Garland
(05)
OZONE
31
q&a
Da Backwudz (Atlanta, GA)
H
ailing from Decatur, Da Backwudz already know what it’s
like to work with the industry’s biggest names. They also
know what it feels like to see their buzz die right before their
eyes. Now with their long-awaited debut Wood Work on shelves,
Sho-Nuff and Big Marc weigh in on how they are working even
harder since the album dropped.
How does it feel to finally see your record in the stores?
Sho-Nuff: It’s been a long time coming, we’ve been doing this since
’97 and we finally getting in the stores. It’s at Best Buy, Tower, Target,
wherever you wanna buy your music. We got Nas, Slim Thug, George
Clinton, Killer Mike, Big Gipp, Bohagon, Sleepy Brown, and a little
Sade on there. We got our boy Caz Clay on the “I Don’t Like the Look
Of It” single and we got Bun B on the remix.
How much creative control did you have on this album?
Big Marc: Dallas [Austin] gives us full creative control, he just comes
and sprinkles his spice on it. We didn’t have to fight to do songs. It’s
still a business at the end of the day, so a lot of the people that we
wanted to work with we couldn’t quite afford, but we still got to work a
lot of people. Who can say they got George Clinton their record?
Well, Blackalicious from Oakland is another rap group that worked
with him recently. They didn’t say it was weird, but they said that
his methods are interesting. How was your experience with him?
Big Marc: We was just vibing. We had the track going and he was in
[D.A.R.P. Studios] working on some stuff. We asked him if he wanted
to hear some of our stuff and he said yeah. After that he just laid something down on it. I was a king to my dad when I told him I made something with George Clinton.
“You Gonna Love Me” dropped two years ago. How does it feel to
see people still interested in your music two years later?
Big Marc: It’s a blessing to have people take heed and listen to us.
That’s motivation to stay in the studio.
Sho-Nuff: When “You Gonna Love Me” died down our buzz died down
too, because of the sample not being cleared, so Quincy [Jones] and
Dallas had to sit down and work it out. But then we came with the
“Oompa” and the buzz came back. Since then, MTV has made it Jam
of the Week and BET supported too. We getting love everywhere,
overseas, Holland, Germany, West coast the Midwest. We just came
back from D.C. and New York and they loving us too.
How did the “I Don’t Like the Look of It” idea come about?
Sho-Nuff: The Execs came with the beat. When we heard that, we was
skeptical at first.
Big Marc: We visualized it as we wrote it. We all came to the table,
everybody had the same vision and we made it happen.
What was your reaction when you first saw the video?
Sho-Nuff: My reaction was: This is it. It’s like no other video out right
now. It was a complete video. I haven’t seen a video like that since
Outkast’s “Bombs Over Baghdad.”
Speaking of which, do you guys feel any pressure from the Outkast comparisons that have been coming up?
Big Marc: Not really. That’s motivation, because look at where they at
now. I know people ain’t saying we sound like them, but people get
the same feeling from us that they got from them. It’s a blessing to be
said in the same sentence as them.
Sho-Nuff: With all the music in the South, we coming with something
else, so naturally people say we on some other shit. I think that’s where
the comparisons come from.
You guys put in a lot of work leading up to the release of this album. How has life been since the record came out?
Big Marc: We getting a lot grinding in. Just because you got an album everything ain’t sweet, but now you gotta work harder because
you got a barcode now. You got to grind to get folks to get your record. You go harder when the album out because you got something
for people to go grab. Its like a dude selling door-to-door insurance,
he ain’t gonna fall back, you gotta knock on doors because you got
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something to sell now.
Sho-Nuff: Like when we in a place and they don’t know what we got.
But after we do a show, they gonna be like, “I gotta go check them
out.” It’s word of mouth. If you ain’t in people’s faces you might as
not record.
Months or years down the line, will you be disappointed if you’re
looked at as one of those groups who get labeled “slept-on”?
Sho-Nuff: Hell, look at Jay-Z, his first album got slept on. A lot of great
artists’ first album got slept on and when they got more successful
people went back and bought the first album. So, naw I wouldn’t be
disappointed.
Big Marc: For real the money and all that is gonna come, we done
claimed all of that. We love to make music, if people respect us for
making good music the rest will fall into place. So if you make good
music people will fuck with you eventually. So even if we are slept-on,
the world will know that we made good music.
We are starting hear about groups like you, Little Brother and Lupe
Fiasco out of Chicago being applauded for lyrics and content. Do
you sense a shift in hip-hop music taking place?
Big Marc: We do feel like hip-hop is going back to having to make a
song with substance to win. I’m a consumer too and I think people are
tired of being mad when they hear music. People hating on snap music, but D4L blew up because people felt good when they heard the
music. They wasn’t worried about their bills and relationships when
they heard their music. We do think people are going back to wanting to feel good when hearing music. And they want substance and
content too.
Can you understand why people would hate on snap music, folks
feel like they aren’t saying anything?
Big Marc: At the end of the day people want to jam. It is what it is.
That’s why you got groups like dead prez, Mos Def and Tali Kweli.
They go over people heads sometimes because those people don’t
want to get that deep sometimes, they’re like, “I ain’t worried about
that because it ain’t got nothing to do with me,” when really it does.
That has to do with folks just having knowledge of life, that don’t really
have much to do with a song that got hella spins. You can’t be mad at
the artist for making songs like that.
Sho-Nuff: It may be happy music but they ain’t gotta worry about
shootings when they hear it.
Do you think hip-hop fans are maturing any? You are both around
25 years old with your first record coming out.
Big Marc: I don’t think age got anything to do with it. Look at LL, he
banging. Him and J-Lo banging right now [hums their single “Control
Myself”] look at Snoop, Too $hort, Pimp C and Bun B, ‘Ball and G. If
you making good music that you think people gonna feel there ain’t
no age limit. Look at Shirley Ceaser, she still making music. I still think
people like Kool Moe Dee and Big Daddy Kane could come back if
they was making records. There’s people that love them niggas, if
they came back they could win. I bet Missy will make records for hella
long, she ain’t never gonna stop. I don’t think age got anything to do
with it. Even if it’s your first album, if you making good music it don’t
even matter.
01: DJ Black and Chris
Brown @ Springfest
(Miami, FL)
02: Treal reppin’ OZONE
FL)
03: Hittmenn crew, Kaspa,
and TJ Chapman @ Mansion (Miami, FL)
04: PImp C performing
(Port Arthur, TX)
05: DJ Mars and DJ Fahrenheit @ Mansion (Miami,
FL)
06: Marques Houston and
Slim Thug @ Springfest
(Miami, FL)
07: Bart, DJ Nando, T.
Waters, and DJ Delz @
08: Bam remembers Big
Hawk (Dallas, TX)
09: Bibi Gunz and Boom
Bip @ Mansion (Miami, FL)
10: @ Tropical Magic
(Orlando, FL)
11: Big Al and 4-Ize @
Greg Street’s sneaker
show (Atlanta, GA)
12: Short Dawg and Lil
Brotha of Konkrete @
Greg Street’s sneaker
show (Atlanta, GA)
13: Alex Gidewon and
Emperor Searcy @ Club
Suite (Miami, FL)
14: Flyi dcgi and DJ Dagwood @ the SEAs (Tunica,
MS)
15: Shawnna gettin’...
a pedicure @ DTP press
junket (NYC)
16: T-Pain and B.G. @
17: Russell Simmons, LL
Cool J, and Chris Lighty
(NYC)
18: Ed the World Famous,
DJ Dap, BloodRaw, DJ
Demp, and C. Wakeley @
BloodRaw’s birthday party
(Tallahassee, FL)
19: DJ Black, Yung Joc, DJ
Nasty, and Nino @ WJHM
(Orlando, FL)
20: The Runners and DJ
Sosa @ Springfest (Miami,
FL)
21: DJ Cinnamix, Hasan
Brown, and guest @
Photos: DJ Dap (18); DJ Sosa
(20); General (17); Jaro Vacek
(04); Julia Beverly (01,03,05,0
6,07,09,10.13,16,19,21); Malik
Abdul (02,15); Matt Sonzala
(08); Maurice Garland (11,12);
Ms. Rivercity (14)
OZONE
33
q&a
La Chat (Memphis, TN)
W
hat part of the M-town do you claim?
Westwood, my hood.
It’s been a minute since we heard a peep from you. What’s the
business? What have you been up to?
I dropped Dramatized last year with Juvenile and Mike Jones on there.
It’s selling. It’s good to be independent, but other than that, I’ve been
trying to keep it moving.
What is the relationship between you and TVT artist Yo Gotti?
I am the newest member of the I&E family. They just signed me on
New Year’s.
You have put it down with Three 6 Mafia, local label owner Nakia
Shine and now you’re down with Gotti. How did you get started in
the music industry?
It was a guy who knew Juicy J back when I was in high school. He
knew I was rappin and gave him my number. I did some underground
shit with them back then.
You are somewhat a veteran rapper on the underground scene.
How long have you been rapping?
I honestly have been writing raps ever since I was in the third grade.
You really developed a fan base as part of Three 6 Mafia, even
co-starred in their first straight-to-video flick Choices. What happened to the Hypnotized Minds deal?
I sold over 150,000 copies and didn’t receive a check. The pay really
was never proper, but I knew I had to make me a name before I left. It’s
like you wouldn’t believe. I just set up my own publishing. I never saw
a royalty check or publishing check. I felt [like] if I’m your artist and
you know these folks ain’t seen no check, throw them something cuz
they had it. They really got it now. Next time you see them, tell them I
said give me something. (laughing) Mane, niggas wouldn’t even pay
my mortgage.
Three 6 Mafia is the only rap group to ever perform at the American Music Awards. What do you think about them winning a Grammy?
I’m proud of them. They was due something. I ain’t no hater. The town
grew up listening to them. Like I said - tell ‘em gimme something.
(laughing)
With the movie Hustle and Flow putting your hometown on the big
screen as well as this newfound attention given to Three 6, do you
think M-town will be able to have a stronger impact in the music
industry?
Memphis is already on a come up. That’s why Hustle and Flow was
filmed here - about Memphis and our style. Then, we been having big
boy fights and events going on. Plus, we got Yo Gotti doin his thang.
So really, we just a fire city anyway.
You are the only female rapper representing Memphis since Gangsta Boo. Being one of only two women from the town, what do you
bring to the table?
You hear a lot of people saying they the truth. I’ma say I’m the streets,
from a street bitch perspective.
The rap game is a hard arena to break into. Do you think it’s even
more difficult for you being a female rapper?
I really don’t know, cause I haven’t been dealing with majors again yet.
But I know I got plenty shows, and they show me love. That’s how I
been eating.
You have made many accomplishments in music in such a short
time. Do you feel that you get the respect that you deserve to
get?
It’s very important makin’ it as a career, cause it’s a lot you sacrifice to
be a rapper. You try to avoid trouble; gotta leave your family from time
to time. It’s definitely hard, but I feel I get the respect so far cause like I
said - I do plenty of shows everywhere. And the people come out and
show me love.
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OZONE
There are probably many up-and-coming female rappers who look
up to you as a role model. Who were your influences when you
were coming up?
I grew up off MC Lyte. I used to do her in talent shows. My dream is
to do a song with her, cuz she really was an idol to me. Right now, I’m
feelin’ Da Brat. You know, keep it gangsta. I love that.
Tell me about your upcoming CD. When can we expect to see it in
stores? What collaborators do you have on it?
I’m gonna say probably for the summer. I got Gangsta Boo, Gucci
Mane, All Star, Block Burnaz, and Yo Gotti.
The past five years in the game have been quite impressive. Where
do you see yourself in 5 calendars?
I hope I have my own label, and able to put my folks out. But I really
wanna be rich, so I can quit rappin’!
You mean you would put down and mic and do something else?
Why?
So I can be a regular mom to my 10-year-old son. He needs me, but
he knows he’s the reason I try so hard. Everythang I do is for him.
I know your experiences have given you more knowledge than
you could have learned in any classroom or textbook. What words
of wisdom do you have for any rapper, especially female?
Never say the word “never,” because anything is possible. In this
game, you gone have to have patience. And for us women, we can
do it. We are the strongest people in the world. We give birth, and
that’s hard to do. Half of these men out here was taught and raised by
women, so even if y’all try to keep us out the game, we gonna figure
out how to get back in it. We can’t be defeated. I’m gone say this and
I mean it - niggas ain’t slicker or smarter than us bitches out here. You
ain’t know?
It’s been more than a pleasure. Any last departing words or shout
outs?
Thanks for the love with this interview and all my fans keep supporting
me cause I’ma stay coming in this game. And as long as I got fans,
I’ma stay in it. What it do, CEO Grip, Yo Gotti, Denairo, Try, V/Slash, All
Star, Tyrone, Ben Gotti, Certy Mac, Womack, Big Ceddy, Luke, Lucky
and Doodie - the real hard hittas.
How can the people get at you?
Easy. The number is 901-691-4437, or email me at [email protected].
- JoJo (Photo: Julia Beverly)
01: Juvenile and Paul
Wall on the set of his new
video (Houston, TX)
02: Stevie Da Mann, Kaye
Dunaway, and Greg G @
Icon (Orlando, FL)
03: Rick Ross and 2Slabz @
Dre’s “Chevys Ridin’ High”
video shoot (Miami, FL)
04: Crime Mob and Pimp
G reppin’ OZONE @ Kartouche (Jacksonville, FL)
05: Zay and crew reppin’
OZONE (College Station,
TX)
06: Yung Joc and Rico
Brooks @ WJHM (Orlando, FL)
07: DJ Drama and Lil Keke
@ Drama’s birthday party
(Houston, TX)
08: Jock Smoove, Coach
K, and Barnard @ Club
09: Cheri Dennis and
Diddy @ Mansion (Miami,
FL)
10: Bear and Brandon
of Jagged Edge @ DJ
(Atlanta, GA)
11: DJ Chino and Red
Cafe @ Firestone (Orlando, FL)
12: Jermaine Dupri reppin’
Def DJs @ V103 (Atlanta,
GA)
13: Jock Smoove and
Young Cash @ Club Plush
(Jacksonville, FL)
14: Guest and Ozzie Oz @
Club Venue (Gainesville,
FL)
15: Diamond D, M1 of
dead prez, and Ghostface
16: Voice of da Streetz @
17: Duval County Rock
Stars @ Club Plush (Jacksonville, FL)
18: DJ Drama and the
G.R.i.T. Boys @ Drama’s
birthday party (Houston,
TX)
19: Monoply Records @
Kentucky Music Pool meeting during Kentucky Derby
(Louisville, KY)
20: Coota Bang, DJ Quote,
and Archie Lee (Houston,
TX)
21: DJ Nasty, Ricky P, Nubreed, and Slim Goodye
FL)
Photos: Bright Star (11); DJ
Quote (20); DJ Ren (03); DJ
Sosa (12); Greg G (02); Julia
Beverly (06,09,14); Keadron
Smith (01,07,18); Malik Abdul
(08,13,16,17,19,21); Maurice
Garland (10); Nikki Kancey
(05); Pimp G (04); Shannon
McCollum (15)
OZONE
35
q&a
G-Mack (Lexington, KY)
W
ho’s featured with you on the cover photo?
The FAM, my artists, is Young Studio and Big Scoop. The Hit
Squad is my street team.
What were you doing before you started rapping?
At first I was into all types of shit. I was playing high school ball and
had plans to play college ball. At the same time I was in the streets
and I had a cleaning business I was running. I did music as a hobby.
I didn’t think I was gonna make a career out of this shit. It was just me
dropping lyrics over industry beats. I was recording in Louisville, KY,
with the Get Down Click. They started to make a lot of moves and get
recnogized by a lot of labels. I watched their formula. The owner was a
street nigga just like I am, so I saw how he put his operation together
and made it pop for him and his people. So I saw that this was a way
I could stay street and still make a living, and I got into music and
started pursuing it as a career.
What was the first record that started making noise for you?
“Ain’t Nothin’,” featuring Boo & Gotti. That record really got me hot in
my area, but I didn’t feel like the album it was on was ready for the national level quality-wise. There was so much room for me to grow as an
artist. Even when I had the opportunity to put it out on a national level I
was scared to pursue it, because I personally didn’t think it was ready.
It’s hard to tell yourself that you’re not ready for the national level, but
I did realize that so I only pushed it as a single. I only dropped the
album in Lexington, Louisville, and Cincinnati.
What’s the single you have out now?
”Stunna Foo.” That’s the single I can go five, six hours away from my
hometown and do a show and they’ll know the words to it. When I was
in Houston at The CORE DJs retreat and Bigga Rankin put that shit on
at the club, everybody threw their hands in the air. I saw people I’ve
never seen in my life singing the words. So that’s the single that put
me beyond my region.
What’s the name of your new project?
Hood Rich Won’t Cut It. I’m pushing my mixtape like an album. My
album is actually done, it’s called The Street Bible. I’m trying to use
the mixtape as bait to reel the labels in. Once I reel them in, I’m trying
to get a label to put out the actual album. The mixtape is a reason to
be out grinding, a reason for the promoters to book us for shows. We
pressed up 25,000 mixtapes just for the streets alone, so I’m sitting
around waiting for somebody to recognize my grind. It’s finally to the
point where the labels are calling. They ain’t talking about shit yet, but
they calling. So I figure that’s a start.
For anybody who’s never been, tell us about the Kentucky Derby.
The nightlife for Derby attracts everybody who’s got toy cars that’s
hooked up. They come out to show off. It’s just like Spring Bling. It
throws a lot of people that don’t live in this region off, because the
Kentucky Derby is a horse race. But I’ve been going to the Derby for
seven years and I’ve never been to the horse race. The nightlife attracts a whole lot of stars. You could look up and see Michael Jordan.
It’s always concerts going on for the weekend. The strip is bumper-tobumper traffic. Every dope boy in the whole region is out showing off
their toys, flossin’. When the Derby comes around, you put your car
in the shop just for that. You buy new rims; upgrade to whatever the
streets is requiring for your inches. You get it all ready for the Derby
because that’s big shit. For the people that’s around, that’s the perfect
time to stunt. And my whole shit is based on stuntin’.
Is there anything else you want to say?
Being from Kentucky, our region is not real accepting of independent
artists. So we’ve got to travel like twice as much as your average artist
to get in a situation where we’re around music outlets. For instance, I
use OZONE Magazine as one of my music outlets and I use TJ Chapman’s Tastemakers meetings as one of my music outlets. I use The
CORE DJs record pool conference as one of my music outlets. I use
the Southern Entertainment Awards as one of my music outlets. And
all that shit is 5-10 hours away from Kentucky. When I went to The
CORE DJs conference in Houston, that was 17 hours away. So being
from Kentucky, we’ve gotta put in that extra drive time on the road.
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OZONE
And I had to do all that before I even got my region to get behind me.
So I definitely want people to know how much harder it is when you’re
from Kentucky. The reason why I go so hard as an independent and
haven’t really spent time pushing for a record deal is because every
artist I know in Kentucky that ever had a deal, it didn’t really work out
for them. I don’t know why, all I know is that they had a deal - some
of them even had videos - and the situation just didn’t work out. So I
wanted to put myself in a situation to where I’ve got a following before
I even get the deal. I can write my own ticket when the deal does
come. Black Coffee, they were signed to Motown. Rob Jackson was
signed to Arista. He’s a friend of mine. The Nappy Roots were signed
to Atlantic. All of them were in situations where, when they got there,
they wasn’t able to write their own ticket. The Nappy Roots were doing videos on farms - some of them cats really are that country, but a
couple of them are from Louisville, KY. Louisville is just a regular city.
So when they were in that label situation, it seemed to me - I don’t
know as much with the Nappy Roots as I know with Black Coffee - but
it seemed that they didn’t have no creative control over their project.
I’m a hustler; I’m a grinder to the last day. When the deal comes, that’s
what I want the world to know. I don’t wanna be filtered in no way. I
wanna do shit the way I wanna do it. When I get my deal, I still wanna
be able to keep it that way. That’s why I started my record label.
Do you have any contact information that you’d like to give out?
Yeah, check out my website LostLandEnt.com or www.Myspace.com/
Gmack859.
- Julia Beverly (Photo: Clatties Moorer)
ALBUM IN
STORES
MAY 29TH
www.myspace.com/guttacampclique
For booking call 904-355-1952
To buy a CD call 904-728-8663
OZONE
37
q&a
Dirtbag (Miami, FL)
W
here have you been hiding? There was a lot of hype when
you signed your deal, and then things slowed down a bit.
Basically, things just came to a stop. I learned the hard way
– you can’t win on the label, you gotta do it yourself. It’s a little politics, you know? I was supposed to make a move from Jive to another
company, so we’ve been going through that for the past six months.
They finally decided I’m gonna stay over there at Jive, due to the success of Cool & Dre. Dre signed over there at Jive. So politically they
figured, damn near anywhere I go I’m gonna blow up now since Dre
finna blow, so they kept me. But it was a battle for six months that held
things up. I was out of town for a little bit and that kind of held things
up too, so now I’m on the grind. I’m putting out a mixtape and I’ve got
a new single I’m working on called Bring It Back to The Bottom. I’m just
keepin’ it poppin’ while these boys work.
What were the problems between you and Jive? Some of the
Southern artists that have been signed to Jive in the past felt that
the label didn’t really know how to market them. Was that part of
your issue?
The real problem I got at Jive is that they really don’t take too many
chances. They kinda tippy-toe. You can’t play ball like that. You either
go all out or you don’t do it at all. They’ll throw a single out there but
they won’t work it, they’ll just see how it goes by itself. So fuck it, I gotta
work it myself. I know if I get it poppin’ myself they’re the machine so
they gotta do what they gotta do. But they’re not gonna take that first
risk on me. They’ll sign me and have me sitting for five years, and
they don’t care as long as I ain’t making money for nobody else. So
that’s the situation over there. After you create a buzz and get a few
hundred spins yourself, Jive will step in. They don’t have good street
teams. Their pop records sell, so that’s their bread and butter. They’re
known for pop music so they just got rap on the side. You know, Too
Short ain’t over there no more and E-40 ain’t over there no more. It’s
not impossible to eat [at Jive] but you’ve gotta make that buzz on your
own. If you ain’t got a buzz, it’s difficult.
Is it fair to say that when you signed the deal with Jive you slacked
off a little and relaxed, thinking that they were gonna pick up the
slack?
I ain’t gonna say that I relaxed, but I did think they were going to pick
up the slack. But with a lot of the stuff I was doing, they just didn’t want
to put music out. It was all “hush-hush.” So it got kinda frustrating. But
on my part, I forgot the grand hustle, you know what I’m saying? You
never stop hustling. Even if you’re on a major label, you still push your
own shit. So I take 75% of the blame for that. But the other 25% is on
them, because they didn’t push my talent.
Didn’t Jive do a video for you and Mystikal?
Well, Jive didn’t do that. Chris Lighty did that. Then Mystikal got locked
up and Busta Rhymes and his label got on us about putting the song
out there. A lot of people didn’t come through on clearances. But it’s
all good, I keep doing it. It’s like being in the game not knowing the
game. God bless them, my heart goes out to them, but I’ve moved on
to some other things now.
With all the setbacks did you ever get to the point where you felt
like quitting?
I can’t. Cause if I quit and do something else, it’s going to be illegal.
I gotta give it at least a five year run. I been in it for three years, so I
got two more years to go. Whenever you start your own business you
gotta give it at least a five year run. If this shit don’t work out in five
years, hell yeah, I’m going back to hustling. But until them I’m gonna
sling these CDs for real.
But you’ve been in the game for a lot longer than three yeras - you
used to be known as Jo-Vicious. When are you counting from, the
time you signed the deal?
Yeah, as soon as I got the deal, that’s when it started counting. Everything else before that was grinding to get the deal. Now that I’m with
a major, something gotta pop. With everything I did in the past, I met
that goal of getting on a major label. It’s just like going to the NFL – you
gotta get drafted first. I had some other teams tryin’ to pick me up, but
[Jive] wouldn’t let me go. But the good thing is that with Dre and his
38
OZONE
success over there, we’ll get it poppin’.
You said that you had to go out of town - but I heard you were actually in jail for a minute. Why’s that?
Violation of probation, that’s all.
So aside from the problems you had with the label, that didn’t help
your career too much either.
Yeah, I had to take care of certain things, and I got all that knocked
out of the way so now I’m free to do whatever I want to do when I
want to do it and how I want to do it. So now that that’s ironed out,
everything else should be smooth sailing. Situations come up, you
know what I mean? Sometimes people wonder how you continue living and having money in your pockets if you ain’t spinning no records.
Well damn, nigga, I do shows. I do sell my mixtapes, feel me? A nigga
stays grindin’.
So you’ve got a new mixtape out now, right? Tell me a little about
that.
Yeah, it’s called Eyes Above the Water. Hopefully I’ll get a review in
OZONE, cause y’all matter. You know, your opinion really does count.
But the mixtape, it’s some tight work. I got Bun B, Three 6 Mafia, Cool
& Dre, The Unusual Suspects, everybody’s on there. We keep it poppin’.
It’s looking like it’s gonna be a real big year for Miami’s music
scene as a whole.
Man, it’s gonna blow now, with Khaled, [Rick] Ross, and Dre, and
they’ve all got big videos too. Usually we just have a Pitbull or a Trick
Daddy look, but now you’re getting three different Miami looks at the
same time so that’s gonna really show ‘em what it is. Feel me? So the
shit is definitely gonna blow. And this shit, [Dre’s “Ridin’ High” video]
is real tight. We got all the rides and shit out here.
Aside from the mixtape you’re putting out on your own, does Jive
have plans to release something?
They talking about pushing this single “You Don’t Know” in June. Until
then, I’m still on the grind with my mixtape.
- Words and photo by Julia Beverly
01: G-Mack and his OZONE Kentucky Derby cover @ Villa Fontaine
(Louisville, KY)
02: Da Muzicianz with their OZONE
cover (Orlando, FL)
03: Teka and Haitian Fresh with their
OZONE BCR/Spring Bling cover @
Tampa Tony’s block party (Daytona
Beach, FL)
04: Memphis Bleek @ Baseline
Studios (NYC)
05: Tum Tum, DJ Princess Cut, and
Fat Bastard (Dallas, TX)
06: Steve Austin and HeadKrack
(Dallas, TX)
07: Da BackWudz @ Springfest
(Miami, FL)
08: Paul Wall @ his birthday party
(Houston, TX)
09: Kool Laid and Stone (Vegas, MS)
10: Boyz 2 Men’s Shawn Stockman
@ Villa Fontaine (Louisville, KY)
11: Freeze and friends (Houston, TX)
12: Juvenile @ Clark’s (Vegas, MS)
13: Malice of The Clipse @ WJHM
102 Jamz (Orlando, FL)
14: Z-Ro and DJ Chill @ Galveston
Beach Party (Galveston, TX)
15: Money Waters and Kottonmouth
(Dallas, TX)
16: Hubie and Mr. Taylor (Charleston,
SC)
17: DJ Q45 @ Plush (Jacksonville,
FL)
18: Jimmy Henchmen @ Mission
Impossible 3 premiere (NYC)
19: Greg Nice @ Nirvana (Los
Angeles, CA)
20: Big L and U Digg Records @
Club Kies (Indianapolis, IN)
21: Stacks @ Nirvana (Los Angeles,
CA)
22: Slim and Playboi Entertainment
@ Villa Fontaine for Jermaine Dupri’s
Kentucky Derby party (Louisville, KY)
23: What would you do for an
OZONE Mag? (Vegas, MS)
24: Small Soldier and Lil Ronnie
(Dallas, TX)
25: DJ K-Tone and Tony Touch @
Club Sky (Denver, CO)
26: Cory Mo and DJ Chill @ Galveston Beach Party (Galveston, TX)
27: DJ Khaled and Street Dogg @
28: Prodigy of Mobb Deep (NYC)
29: Wickett Crickett (Houston, TX)
30: Uncle Pauly (Dallas, TX)
31: DJ Kaotic @ celebrity bball
game during the Kentucky Derby
(Louisville, KY)
32: Tru-Life @ Baseline Studios
(NYC)
33: Fans checkin’ out JB’s 2 Cents @
Mission Impossible 3 premiere (NYC)
34: Nnete, DJ GT, and DJ Chill @
Beach Party (Galveston, TX)
35: Smoot @ Galveston Beach Party
(Galveston, TX)
36: Minister X and Sway @ celeb
bball game (Louisville, KY)
37: DJ Jam-X @ Nirvana (Los Angeles, CA)
38: Lil Ronnie and Tum Tum (Dallas,
TX)
Photos: Bam the Barber
(14,26,34,35); DJ Jam-X (19,21,37);
DJ K-Tone (25); Edward Hall (24,30);
General (18,28,33); Julia Beverly (02,07,13,27); Keadron Smith
(08,11,29); Kool Laid (09,12,23);
Malik Abdul (01,03,10,16,17,20,22,
31,36,38); Matt Sonzala (05,06,15);
Swift (04,32)
OZONE
39
q&a
Rasheeda (Atlanta, GA)
R
asheeda can answer to many titles: good wife, great mother
and respected part time radio personality at Atlanta’s V-103.
But unfortunately, successful rapper is a bullet that she has
struggled to add to her resume. Her relentless grind has earned
her deals with major labels like Motown and Jive, but politics and
misunderstandings have prevented her from getting the best return on her investments. Now with a new vision and a joint independent venture through her home D-Lo Records and Big Cat
Records, the underdog MC is finally set to release Georgia Peach.
Riding off the strength of her position-switching single “Touch Ya
Toes,” Rasheeda is happier than ever, independent and loving it.
You’ve been on major labels most of your career. What brought
about the decision to go independent this time around?
I was on Jive, and we didn’t mantle the situation. The majors I’ve been
dealing with, the focus wasn’t there, and they still don’t get it. I don’t
have the time sit around as they play games.
What are they not getting?
As far as the female rapper game, the label’s focus is about what is hot
at the moment. If I have a record that is hot, the minute another rapper
comes along, they change the focus. They don’t realize that it takes
more time to break a female artist. A lot of times, I’ve come with hot
singles, but you got to put out the time and effort to make it work.
What does it take to make it work?
It takes a little extra everything. When you are an independent artist
and you get the major label deal, the [label] needs to kick into high
gear. I’ve had records with 1000 spins. Then when majors come, they
say they gonna help. But they do the opposite. As a female, I need
a video. I need promotion and marketing. Female rappers need our
records to be worked. We need more time.
What else attracted you to going independent?
Nowadays, when a major scoops you and you don’t do well, you get
dropped after one single. But say you sell 200,0000 units independently, you got money in the pocket. You do it on a major (and) you
don’t see nothing. A lot of big artists that sell two million copies don’t
even get royalty checks. A lot of a lot of independents need to learn
and get their game right and make money on their own so that one
day they won’t need the majors either.
Have your experiences pretty much made you give up on the idea
of being on a major label completely?
I’m not opposed to working with a major, but the only way I’d get back
with one is if we have our own dollars and we get do what we gotta
do. The majors [are] in NYC. They don’t know what’s going on in the
South. I’d rather do the distribution with marketing and radio myself.
What do female rappers have to do to get taken seriously and
made a priority?
It’s just more so just getting the respect of record companies. But also
on radio, if they don’t play the songs, the fans won’t know about us.
Females being consistent is another thing too. It’s a constant grind
and struggle. It’s only a couple females that have made it. But it can
break for us. It’s hard; you have to come out right too.
Do you think that female rappers still aren’t being taken seriously
because a lot of other females cannot relate to most of them? Not
every female is occupied with money and sex.
It’s just how the ball bounces. Most rappers seem to change with the
time. So you defiantly want to see someone who you can relate to. I
look at it as of now the game has flipped. You have the Shawnnas,
Missys and Kims who all do their own things, but as females, we look
at ourselves as sexy and we want to be sexy. Not all of us are about
going to the extreme to prove that, though.
What causes some female rappers to bite the bullet and just go
to the extreme?
To each its own, real talk. It’s so hard to make it. I can understand why
people go that route to make it. You always gotta go through something bad to get something good, but as a female, I gotta make my
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mark. It’s about females being portrayed. Period. As for me, I’m gonna
be heard whether I’m talking sex or not. I can look sexy, but it’s about
how I portray it.
Let’s talk a little about the album.
The album is called Georgia Peach. I got Akon, Nitti, Stokely, Jasper
and Swin producing. And I have songs with Gangsta Boo, Diamond
and Princess of Crime Mob and Pastor Troy. It’s a grown and sexy album. You’ll see the growth. You can pop it in the deck. I got songs like
“See Me Naked” and I got stuff like “Every Nigga Can’t Trap.” You’ll
hear the growth. “See Me Naked” is like, “Nigga, you just wanna see
me naked.” All these dudes out here tricking, acting like they trying to
do something, stop fronting. You doing it just because they wanna see
me naked. And with “Every Nigga Can’t Trap,” one day I was in the
studio and I was listening to a mix tape, and every nigga was talking
about trapping. Half these niggas ain’t never seen or been in a trap.
What has kept you motivated through the turmoil of your career?
It seems like every time I get a bad hand, every time a door shuts in
my face, another door opens up for me. But that will be a part of my
history when my name finally gets big. I wouldn’t even be where I’m at
right now if it wasn’t for the blows I’ve taken in the past. Other rappers
look at me like I’ve really been through a lot. It’s so many fans that love
Rasheeda and people don’t know about me. But if I don’t continue to
work, people will never know me. But as far as I’ve gotten, it’s been
because of work, so I’m not quitting.
How has motherhood affected your career?
My son is a big inspiration. He’ll tell me, “Mama, that’s tight,” or, “That
ain’t tight.” Motherhood also helps me stay busy and focused. Plus, I
get to teach my son through the music. He is really starting to get it.
He’s asking is that real? Is that the truth? He likes T.I. and Jeezy and
with actually meeting them, he’s luckier than the other kids because
he gets to see them when they are normal. He knows not to curse too.
He knows what the bad words are. But he usually listens to the clean
versions. I tell him the videos are like a movie. Plus, him seeing me in
the videos, he gets a clear understanding of what’s going on.
Do you think other children his age understand that much of this
music is fiction other than real life?
I don’t think other kids are getting that understanding. We as parents
we have to take the time to listen to the music and see the messages
but also make sure they listening to the positive stuff to bring out.
- Maurice G. Garland (Photo: M. Shawn Dowdell)
01: Jim Jones and Juelz Santana @
02: T-Pain @ Springfest (Miami, FL)
03: DJ Khaled with his OZONE Springfest cover and Slim Thug @ Springfest
(Miami, FL)
04: Sean Paul @ Springfest (Miami,
FL)
05: Al Sharpton Jr. and DJ Chill @
Galveston Beach Party (Galveston,
TX)
06: Shareefa @ DTP Press Junket
(NYC)
07: Twista @ Union College (Albany,
NY)
08: Field Mob @ their listening session (NYC)
09: Malice of The Clipse @ Right
Track Studios (NYC)
10: Tyte Wurk and Ozzie Oz @ The
11: Skip of UTP @ Clark’s (Vegas,
MS)
12: Kinky B and BloodRaw @ Mansion (Miami, FL)
13: B.G. @ Springfest (Miami, FL)
14: Derrick the Franchise and FamLay @ Club Reign for Busta Rhymes’
listening party (Virginia Beach, VA)
15: Egypt and DJ Scratch @ Mission
Impossible 3 premiere (NYC)
16: DJ Quote and Chingy @ Springfest (Miami, FL)
17: The Clipse @ WJHM 102 Jamz
(Orlando, FL)
18: G-Mack @ Hustler Hollywood
(Lexington, KY)
19: T.I. and Mike Li (Chicago, IL)
20: Yella Boi and DJ Khaled @ Mansion (Miami, FL)
21: Krib TV @ Springfest (Miami, FL)
22: Diamond of Crime Mob @ Kartouche (Jacksonville, FL)
23: D Cooley with his OZONE Patiently Waiting article (Louisville, KY)
24: General and Kevin Liles (NYC)
25: Mr. Lucci (Dallas, TX)
26: UTP, Stone, and Partners-N-Crime
@ Clark’s (Vegas, MS)
27: Juelz Santana @ Springfest
(Miami, FL)
28: Funkmaster Flex! Funkmaster
Flex! Funkmaster Flex! (NYC)
29: Meechie @ Galveston Block Party
(Galveston, TX)
30: Latin Prince, guest, and Brannon
Scales @ Springfest (Miami, FL)
31: Troy Hudson and Lil D @
Kentucky Derby celeb bball game
(Louisville, KY)
32: Static Major and Big L @ Club
Kies (Indianapolis, IN)
33: Havoc @ Right Track Studios
(NYC)
34: Money Waters @ SXSW (Austin,
TX)
35: Steal from Smiff & Wesson (NYC)
36: 2 Live Crew @ The Moon for TJ’s
DJ’s (Tallahassee, FL)
37: Money Waters and Steve Austin
(Dallas, TX)
38: Common @ Union College
(Albany, NY)
Photos: Bam the Barber (05,29); Derrick the Franchize (14); Edward Hall
(25); General (08,15,24,33); Julia Beverly (01,02,03,04,10,12,13,16,17,20,
21,27,30,36); Kool Laid (11,26); Malik
Abdul (06,18,23,31,32); Matt Sonzala
(34,37); Pimp G (22); Rohit Loomba
(19); Swift (07,09,28,35,28)
OZONE
41
q&a
DJ Khaled (Miami, FL)
W
hat do Kanye West, Juelz Santana, Freeway, The Clipse,
Akon, Styles P, Fat Joe, Rick Ross, Trick Daddy, Pitbull,
Young Jeezy, Bun B, USDA, Fabolous, Nas, Trina, Slim
Thug, and Chamillionaire have in common? They’re all featured
on DJ Khaled’s new album - and he’s adding more features every
day!
Your first single “Holla At Me” has been doing really well. Are you
happy with the response so far?
Aw, man, I’m so happy. The whole world is supporting DJ Khaled and
my single “Holla At Me” featuring Lil Wayne, Pitbull, Paul Wall, Fat
Joe, and Rick Ross. The video for “Holla At Me” is off the hook. BET
is showing me crazy love and MTV is showing me crazy love, so I’m
very happy.
Yeah, the video shoot was crazy. How did you get all those artists
together at the same time?
Everybody got love for me, man. I got a lot of good relationships, and
they love the song so much they wanted to do the video. They wanted
to have the song blow up, actually. All these artists perform my record
when they do their shows out of town. They just show me phenomenal
love. It was hard to get everybody’s schedule together, though.
Since you’re on the radio five days a week and in a lot of the clubs
in Miami, is it hard for you to travel out of town to promote your
album?
It’s real hard, but what I do is go out of town on the weekends. At the
same time, they let me take off when I need to. My radio station is fully
behind me. 99 Jamz has supported me so much, from Mr. Russ to
Tony Fields to Derek B to Joe Castro to Jerome. They’re promoting me
so much on my station, and the whole 99 Jamz staff is just supporting
me so much. They’re pushing me to go promote my album.
Have the other stations in Miami been showing some love to your
single, or do you feel like they hold back a little because you DJ
for a rival station?
At one time, the rival stations were playing it like crazy. I think they
slowed down a little. I’m sure their bosses got on their cases. But the
whole country’s showing love. The competition really doesn’t exist in
Miami because DJ Khaled and 99 Jamz are number one. The show I’m
on, The Takeover alongside K Foxx, we got the number one ratings. So
we’re good, you know?
What do you have planned for Springfest?
I’m hosting Springfest with 99 Jamz, and we’re gonna have a crazy
surprise on stage.
Okay, what about Memorial Day weekend? That’s always a big
weekend for you in Miami.
Yeah, it is. We do Memorial Weekend real big every year. We’re taking
over like always. We’re really taking it to another level this year with my
album promotions. I’m doing my album party that weekend, it’s gonna be real big. Me and Budafuco are opening Mansion for the whole
weekend. When the out-of-towners go back home they’re gonna buy
5,000 copies of DJ Khaled’s album. Each person.
That’s a lot of record sales.
I hope so. But I’m doing this more for staying relevant in the game and
getting my family and my fans to the whole next level.
When does the album come out?
The album drops June 6th. It’s called Listennn. That’s something me
and my family always say. That’s just my trademark.
Have you decided on a second single?
I’m gonna drop two records. One is “Born And Raised” featuring
Trick Daddy, Rick Ross, and Pitbull, produced by The Runners. That’s
gonna be a fucking crazy record, it’s gonna be a problem. That’s the
Florida anthem.
What else you got comin’?
Then I got a new record that’s so crazy: Young Jeezy, Bun B, and
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Jeezy’s group USDA. Orlando’s own DJ Nasty did the track, and it’s
called “Gangsta Shit.” They’re both gonna fuck the game up. It’s
gonna be so big. Remember I told you first, right here in the OZONE
magazine.
What else are you working on besides the album?
I’m doing my producing thing. I just did a song for Young Jeezy’s new
album, and I’m also featured on one of his records talking crazy shit.
I’m working on Fat Joe’s new album, Rick Ross’ new album, and I just
did a joint for Dre featuring Keyshia Cole. The joint on Fat Joe’s album
features Lil Wayne. It’s so crazy right now. I’m representing that Miami
movement.
Do you have any contact info?
Myspace.com/DJKhaled. That myspace shit is serious right now, you
know?
- Julia Beverly (Photo: Earl Randolph)
q&a
Ray Cash (Cleveland, OH)
H
ow were you able to get a deal coming
from a city like Cleveland?
I kinda took my hustle out of state. I was
going from Cleveland to Philly to Harlem just
recording for almost three years, working with
my people. We’ve got a company called Real
Recognize Real. One of my managers at the
time was an A&R at Def Jam and he had a lot of
connects. We met with a couple people and got
through to Sony. It really ain’t take a long time
[to sign my deal]. There were some doubters
because I do come from Cleveland, but it wasn’t
as hard as it would’ve been if I’d stayed in the
city. I’m the first one to take our sound national,
so I don’t wanna make it where they gotta go
out of the state to get deals. I wanna make it so
they can get paid to do what they do here, and
the A&Rs and labels can come look for them.
It’s a whole movement starting up with people
in Cleveland. Before, they wasn’t listening to local rappers. Since I blew, other local cats have
been doing their thing in the hood and people
are more subjective to listen now. I’m just trying
to make it where niggas ain’t gotta go outside
to get deals. My advice to them is just to keep
hustling and let me do what I do. Do what you
do, straight from the hood.
Do you think your image is one of your weaknesses as an artist?
People kind of expect to see a rapper with a bulletproof vest, or a
pimp cup. Not glasses.
They wanna see that fake shit. A lot of that shit is fake. 95% of it is fake.
The name of our company is called Real Recognize Real. We are what
we are. Don’t get it confused cause I wear Cardiers. I’m from Cleveland. Niggas know how we get down. As far as the whole image thing,
that came up when I was dealing with Sony. As far as the glasses and
shit, I was wearing those glasses when I was selling weed and rocks,
so I’m not gonna take them off just to rap for you. I’ll never change for
nobody. I don’t care how much money it is, I still gotta come home to
Cleveland. I’m gonna be a man for me and my city. We don’t change
for nobody.
here. We’re bringing out the street side of the Midwest. Tip is one of
the few artists that can really, really rap, and he’s very lyrical. So if
that’s the comparison, that doesn’t bother me. but people know the
difference. If you’re gonna compare me to somebody, at least compare me to somebody that can rap.
Was the image issue a challenge for you and the label to work
through?
Nah, cause they see that I’m accepted. Other artists accept me and
people see that I can actually rap. I ain’t got no bullet wound in my
face, but who the fuck wants a bullet wound in their face? So the whole
image thing, it’s not a problem. They see that I’m gonna do me and
make dudes respect me.
Tell me about the album.
The album’s not commercial at all. That’s why I’m comfortable with
it. I’m not looking to sell a million out the gate. I’m realistic. My thing
is, the fan base that I do have, let’s keep that and let it grow. I tried to
put together a classic. I didn’t wanna put an album together with 17
songs and youonly fuck with 13. I didn’t wanna put out an album with
17 songs and they all sound like you’re trying to get on the radio. So
I just did me. I got crazy samples on there, I got crazy original beats
and concepts. I ain’t put it together like, I wanna make one song for
the ladies nad one song for the clubs. I kept it all the way G through
the whole album. It’s my personality; I really had fun on there. It’s an
ode to the dope boys and the struggling mothers. I got Beanie Sigel
and Bun B and Scarface on there; I’m fuckin’ with real niggas. If you
like niggas that can rap, you’ll like my album.
How did you start rapping?
I really didn’t wanna rap. I used to do it for fun and people told me I
was nice. Then I found out that maybe I did have a chance, so I said
fuck it. I wasn’t doing nothing else. It’s kinda like God put me in a position to make a choice – either work a 9-5 and hustle, or do this rap
shit and you just might be lucky and blessed enough to pop off. I’ve
been lucky.
Was your single “Pimp In My Own Mind” sort of your own twisted
sense of humor?
Yeah, that was me right there. At first people ain’t understand. But
if you look at niggas like 8Ball & MJG, they said “Pimp In My Own
Rhyme,” so I switched it. It’s about a swagger, the whole image. People wanna see a nice swagger. It’s about how you make yourself feel.
When you look in the mirror, no matter what you do, feel good about
yourself. Do you.
Your A&R Kawan Prather is the same A&R who discovered T.I.,
right? Have you heard many T.I. comparisons?
I’ve heard the T.I. comparisons because I am from the Midwest and
I can actually rap. No fad music around here. When you think of the
Midwest you think of Nelly and Kanye, but I’m more of the streets up
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What’s the single you’re working on right now?
The “Bumpin’ My Music” remix is coming out. We’re gonna shoot another video, might be “I’m Getting” or might be “See It All,” it just depends on how we feel. We made the countdown on 106th & Park and
MTV Jams and all that, so we lookin’ good right now. I’m just doing
another mixtape, staying in the streets. I got a tour coming up in May,
so I’m just gonna be on the road grinding, staying in people’s faces.
You mentioned that you’re not expecting to sell a million albums
and you’re trying to be “realistic.” So what would you be happy
with as far as first-week album sales?
I don’t know. Nobody would be happy with 30,000 the first week. I
probably could do better than that, but I’m not lookin’ to do 250,000
my first week either. I’m just looking for that gradual push. It’s gonna
be a lot of grinding. You gotta make the people believe. They starting
to believe, everywhere I go. People who was hating started to switch
over. If I keep doing me, everything’s gonna keep going smooth. So
I’m good.
Would you like to give out any contact info?
www.RayCash.com or www.myspace.com/RayCash.
- Julia Beverly
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patientlywaiting
Slick Pulla
Atlanta, GA
Corporate Thugz Entertainment’s name
is almost too fitting. They operate with the
organization and efficiency of a Fortune
500 company, but yet their aura is more
attached to inner-city streets as opposed
to high-rise suites. Their three flagship
artists Young Jeezy, Bloodraw and Slick
Pulla have all had their run-ins crime and
law enforcement. But this year it’s been
amplified. Jeezy gets caught with semiautomatic weapons in Miami, ‘Raw finds
himself fighting a federal drug-trafficking
case and Pulla gets shot at restaurant.
Surely, no one expects those types of
things to happen in their work environment. But events like those are nothing
new to Pulla.
“We’re real street cats,” says the artist
born Renaldo Whitman. “This isn’t stuff
that people aren’t used to happening.
People get shot, locked up and have
problems with the law. It ain’t no different
form me being in the trenches. All these
things can still happen. I just take it in
stride and keep my faith in the big man
up there.”
In the midst of taking things in stride,
Pulla is preparing his debut solo album
The Trapublican. It follows an already
impressive track record that includes appearances on every Jeezy’s albums and
mixtapes, as well his very own Gangsta
Grillz’ 4th Ward Day - all of which have
shown signs of growth as an emcee.
“I’ve gotten more familiar with the booth
since Streetz Iz Watchin’. I was fresh
out of the trenches then,” admits Pulla.
“Just like with basketball, when you are
a rookie you start off with raw talent then
as you mature, you get better. Just like
with Lebron [James], he had raw talent,
but now he got his jump shot and he’s a
better team player.”
While being a team player is always a
plus, Pulla knows that the key to being
an effective player is to always add you
your arsenal. He plans to keep his style
as diverse as possible. “I’m from the
South, but I’m not just doing music for
the South,” he says. “Of course my people in the South are gonna feel me but
this is for everybody everywhere. This is
universal language I’m speaking.”
Pulla simply hopes that the language
he uses motivates all of his listeners.
Whether they check him on myspace
or get the music from him first hand. He
looks for the same in return. “The 4th
Ward is my hood,” says Pulla who was
born in Atlanta’s Kirkwood section. “Just
hearing them say I was snapping is my
motivation. That’s why I’m giving them a
little more every time I drop something.”
- Cedric Boothe
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patientlywaiting
Big Chief
Dallas, TX
Big Chief, a.k.a. Young Don Chief a.k.a. Chiefa, is a certified hustler
representing West Dallas, TX. This 24-year-old can usually be found
be found posted up with a chew stick in his mouth. While joining forces with Corey Cleyborn, CEO of Clout Records, Big Chief is also CEO
to his own label Take It Off Ent., and roster includes R&B sensation
T-Gray, female MC T.G.O Gotti and rapper Mr. Maintain. His new Clout
Records release Eat Greedy Or Don’t Eat at All is an album filled with 19
tracks giving you a full understanding of why this Dallas, TX hustla “Eat
Greedy.” You can hear his new single “The Man” in rotation throughout
the clubs and radio stations in Dallas, TX and beyond, in addition to
over 20,000 mix CDs in the streets.
Rapping since the age of 12, he has stood out on tracks with other
popular Dallas based rappers such as Pimpsta, Pookie and Lucci, the
Young Hustlaz, and many others. Big Chief’s style is unique and unlike any other. He has a distinct high pitch flow as well as the ability
to knock out songs to perfection at a rapid pace. He accomplishes all
this while still having the poise and veteran leadership to wear the hat
of executive producer of his own project. Chief’s take-charge mental-
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ity combined with his versatility and work ethic makes him a serious
threat to the steal the spotlight from artists currently on top of the music charts.
Eat Greedy Or Don’t Eat at All is not only the album’s title but also
Big Chief’s expression of the statement “All or Nothing” – everything
Chief does is overweight. Every cut takes you deeper into his mindframe. Chief’s single “The Man” has been blowing up on the Dallas
club scene as well as Dallas radio stations, which is the #5 market in
the nation.
Even though Chief has over 10 years of experience underneath his
belt he decided to partner with Dallas stand out record label Clout
Records. Clout truly has the city of Dallas on lock, with four club nights
averaging over 1,000 people each night, great industry connections,
and street promotions. Big Chief is poised to take the music industry
by storm.
- Edward Hall
patientlywaiting
Grind Family
Northwest Indiana
C.O.B., Soope and Phil-Mo a.k.a. The
Grind Family are the epitome of underground hip-hop. We’re not talking about
groups who have major label deals with
poor-selling records. We’re not talking
about groups who put mixtapes on top
of mixtapes with no album in sight. And
we’re definitely not talking about groups
who only rap for their friends and wonder
why they haven’t been “discovered.”
“We way out here on the island where
muthafuckers don’t know what the fuck
we’re doing,” blasts C.O.B. “There’s
nothing where we’re at. It ain’t like Chicago or New York or L.A. Coming from
Gary and Hammond, Indiana, we ain’t
got our own radio station or our own
news channels, nothing. When I say we
started from nothing, we really started
from ground zero.”
Over the years, their Northwest Indiana
stomping grounds have become synonymous with poverty, crime and unemployment; prompting people living there
to move to greener pastures. But what
looked like an exodus from the ‘hood
actually turned out to be unexpected
promotion for the Grind Family’s music. “When they moved away they took
our music with them and spread it out
in different cities,” says C.O.B. “Everybody was feeling what we were doing
– California, Minnesota, Detroit, Arizona,
everywhere.”
Now that most of the country is up on
game, they plan to bring Midwest rap
back to the forefront. But even they will
admit that it will take help from others.
“It’s gonna take unity,” says Soope
when asked what is needed to resurrect
the music from his region. “In the South
niggas came together and that’s why
they blew up. Midwest niggas ain’t really come together yet. We’re like fuck it,
we’re just trying to put it out ourselves.”
But The Grind Family hasn’t let the selfishness surrounding them hold them down.
They’ve released a handful of independent projects, garnered attention from
major media and sold upwards of 20,000
units with absolutely no support from
outside entities. It wasn’t until this past
March that they linked up with Sony/Red.
However, don’t expect for a new situation
to bring about a new attitude. The Grind
Family is keeping theirs intact.
“This is all we want, to make this music
and help our people and give them that
medicine,” stresses Soope. “I see the sad
faces. When I give my niggas CDs, I see
how happy they be. I’d be letting them
down if I get a little paper and put out
some bullshit to make a couple bucks.”
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patientlywaiting
N.G.O.K.
Austin, TX
NAME MEANS New Generation of Kings
THE GROUPS 2-3 Mic Breakaz and Public Offenders
THE ARTISTS T.Y., Big Scutt, J.Dubb, Winn, Luck, Lyricist, Phenom,
Gator, Black Prophet, Pilarcito
CONTACT www.myspace.com/ngokmusic
ALL BLACK
“It’s mainly speaking to get away from the American patriotic scene.
Red, white and blue is for the government. Red, white, and blue don’t
match. It’s like a movement for Austin. We’re deep now and we’re not
just making music, we’re trying to make a point. Why do we wear all
black? Because you can’t see through the darkness. You can’t see
through the truth.”
SCARED OF COMMITMENT
“It’s made to be controversial. Speaking from a guy’s point of view,
why as young males are we so scared of commitment? We’re showing
the self destruction of it. Like ‘Pac said, you first gotta show people
what’s going on to get them to do something about it.”
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MY PEOPLE
“It’s not just my people as a race, it’s my people as a whole, humankind. We’re talking about how things fell apart and how nobody’s caring because they’re all about themselves and their money. The song is
poetry in motion; you can actually see what you’re hearing, the police
brutality and what people are going through on the streets.”
I REFUSE
“It’s a lash out. Everybody was trying to do us wrong. It’s a respect
thing, We refuse anyone trying to step on our shoes or get over on us.
Don’t throw dirt on the game.”
BANG OUT
“That’s another side of our sound, with everyone in N.G.O.K. on the
track. We’re just hitting the streets and letting people know that we’re
on all levels at once, like Outkast. They did all sorts of styles over the
years but always kept it true. Our producer T.Y. can pull out such amazing melodies because he layers so many different melodies around a
core. He can take you anywhere you want to go. Nobody’s touching
him on the beats because he’s doing his own original thing with bass,
strings, and horns all on the royal tip.”
- Robert Gabriel (Photo: Matt Sonzala)
patientlywaiting
Willie the Kid
Atlanta, GA
The NBA Playoffs are on and Willie the
Kid is nowhere near a television. Instead,
he is running back and forth between a
recording studio and an office space,
because that’s what his life has always
been centered around. Music and business. “I never got in trouble for throwing
a football in the house,” admits the Western Michigan native whose father was a
DJ. “I got in trouble for scratching the records or saying the curse words in a rap
song. I didn’t come home with bruises
from basketball, I’d come home with the
Nas tape, or the Raekwon purple tape.”
At the ripe age of 19, Willie seems to
have it all figured out. Not saying that he
is a know-it-all when it comes to the music industry, but he is well aware of the
one thing that he needs to know in order
to get where he wants to be: his place. “I
got the best seat in the house,” says the
Aphilliates’ Music Group recording artist
from inside the label’s newly-furnished
office in Atlanta. “All I got to do is make
good music and fall back. I’m in a real
good situation.”
So far, Willie seems to keeping his end
of the bargain because judging from the
feedback his mixtape The Day the Game
Changed is getting, he is making good
music. “Its authentic shit,” he urges. “Its
fly but at the same time its hard. This ain’t
water, its an energy drink. People stop
me in the street all the time and spit lines
that I ain’t think they was gonna catch.”
There’s no disputing that he is in a good
situation. He’s affiliated with the Aphilliates (no pun intended), one the premier
DJ collectives in the country. The fact
that his older brother, former Wu-Tang
clan associate LA the Darkman, is the
president of the label doesn’t hurt at all.
“I was in 6th or 7th grade when my brother got a deal with Wu-Tang,” says Willie,
mentioning that he learned the difference
between fake and real from watching his
brother’s career. “I saw how they would
go on the road and come back with stories and T-shirts. My brother was doing
songs with Method Man and Raekwon.
So I started taking it serious too.”
Willie didn’t exactly come into the game
with a head start either. His beginnings
consisted of scraping up $20 with his
childhood friends to buy beats and record in a neighbors house. But soon
enough, he started to soak in what his
brother was experiencing and made it
work for his own situation. “[Watching
him] made me want to learn more about
rapping,” he says. “Teachers were telling
me to be a doctor or teacher. But I realized that music could be a career too.”
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patientlywaiting
Code Red
Louisville, KY
When you hear the words “Code Red” that’s usually a warning meaning that shit is about to hit the fan. But when it comes to this Louisville,
Kentucky-based foursome that uses the phrase as a stage name, don’t
expect any bells and whistles. “Our gimmick is to not have a gimmick,”
insists Manfred when speaking on what he and his partners El One,
Jr. Dread and Watz plan to offer. “We just want our music to speak for
itself. We don’t need the extra background story.”
Nevertheless, their background is an interesting one. The group was
started by El One and Dread who were stationed at Fort Knox, later
adding in-house producer Watz and Manfred. From their appearance,
its easy to tell that each of the members come from different walks of
life as well. All the more reason to anticipate a very distinct sound from
Kentuck’s latest export.
“[Kentucky] is a little bit of everything,” says El One. “You’ve got some
cats that are really heavy on the Southern sound, which is really popular here. Some cats still come with a blend of the Midwest and the
East. If you look at where we’re situated on the map, we’re right in the
center so we’re really a blend of everything.”
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In Code Red’s case, “everything” includes Dancehall Reggae, but excludes the typical “country” sound that is expected from their region.
“Absolutely, emphatically no,” says Jr. Dread when asked if they are
adopting the “country” image. “I think that’s what’s gonna separate us.
They may think it’s the country, but we’re adding different flavors.”
Currently promoting their Debarge-sampled single “Summer Jam,”
Code Red’s debut album All Aboard is slated to drop on July 25th
through Label X/Toucan Cove/Universal. And for the ears that can’t
wait until then, they are pushing Bigga Rankin-hosted mixtape Reinventing the Game. But don’t let the upbeat-nature of “Summer Jam”
and their other hit “Elbow Room” fool you. They speak on everything
from first-hand war experience on “Give Me A Reason” and interracial
dating on “Brother Louis.”
“Musically, we’re breaking boundaries,” urges El One. “In our music
we’re using heavy live instrumentals and trying different patterns and
styles with our lyrics. We break the mold of what conventional hip-hop
is. If you want to call us “pop,” I’ll take that label. We’re gonna crossover and blow up. We’re gonna be popular. Wherever the music takes
us, we’ll follow.”
- Patriq Morton
99 Jamz’ Supa Cindy
In addition to holding down the morning show on Miami’s
WEDR 99 Jamz, Supa Cindy’s extracurricular activities include her non-profit organization Supa Friends. Every year
on Memorial Day Weekend, Supa Friends holds the “I Know
I Can” summit, a mentoring program for teenage girls.
Tell me about your non-profit.
It took me about two years to get it going, and this is my third
year of doing it. We do the “I Know I Can” summit every year,
and the non-profit’s main purpose is to mentor young girls. This
year I’ve got a lot of things lined up with the city of Miami, so I’m
going to be doing events quarterly instead of just annually. It’s
huge for me, and I’m very happy about it. The summit itself is
basically a gathering of young girls, and I have a female panel
that speaks to them. To me, a lot of the programs that they have
for young girls are boring. I’m just doing a female panel because of the politics of it – to show them role models. But when
I was younger and I went to an event like that, a girl sitting up on
a panel telling me she’s a lawyer or a doctor or whatever didn’t
motivate me to do shit. To me, what makes the biggest impact
is the male panel. I put guys up there like [morning show co-host] Big
Lip Bandit and Pitbull. (laughing) Last year, Pitbull’s big ass mouth,
telling the girls, “Pussy is power.” But seriously, I think things like that
stick in the girl’s heads a lot more than a woman saying, “Look at
the struggles I went through and now I’m a doctor” or whatever. For
some reason, these young girls nowadays are so hot in the pants that
they’ll be quicker to absorb the information that a guy is telling them. A
woman telling them to keep their legs closed and be a young lady isn’t
as effective as a nigga or a rapper telling them, “Look, all I wanna do is
fuck, and I don’t give a shit about knowing your name tomorrow.” I like
that part of the program. It shows them how it really is.
Who do you have lined up for this year’s panel?
This year Slim Thug is gonna be there. Trick Daddy’s ass better show
up. I told him I was gonna talk about him [on the radio] if he didn’t.
DJ Khaled, Dre, Toccara from America’s Top Model, and possibly Serena Williams and Mad Linx. A lot of local celebrities will be there also.
We had Springfest a couple weeks ago and Ludacris was here like a
month ago, so what I did was film a lot of these rappers answering
questions. I have a video that’s going to be playing at the summit with
Ludacris, Paul Wall, T-Pain, LeToya Luckett, Cherish, Sean Paul, and a
bunch of other artists. The craziest one was T-Pain. He’s retarded.
Are you doing anything different at the summit this year?
Last year I let the parents in but I really don’t want to let the parents in
this year. I just want the young girls there. I raised the age this year to
13-21 years old. I think that even if you’re 21, you’re still lost at a certain
point. When I was 21 I didn’t have it all together, and I still don’t have it
all together. I don’t want the moms or the guardians in there because
they tend to be so opinionated. It’s like a double-edged sword. I want
the moms to be in there learning, and relating to what their daughters
are going through, but I don’t want to scare the girls off from talking.
So this year I’m having a breakfast for the moms next door. The moms
are going to be next door discussing issues that moms go through,
and the girls will be with me. I think the panel is a good idea. The
problem with a lot of these programs that they have is that they’re not
real. When I ask people to be on my panel, I tell them that if they think
they’re gonna go up there and look pretty, I appreciate the assistance
but I don’t want it. I definitely want people who are opinionated and
are willing to really talk about their past experiences so the girls know
it’s real out there. They’re thinking they know everything when they’re
in high school, but they don’t really know shit.
Do you mostly address safe sex and things like that, or what are
some of the topics you discuss?
This year’s main theme is self-esteem. I think self-esteem is the root
of so many other problems that these girls go through. A lot of them
don’t believe in themselves. They don’t think they’re cute. They think
they’re ugly and fat. With that mentality, it opens the door to so much
chaos and drama in their lives. So this year I’m focusing on self-esteem, but we talk about absolutely everything. When the girls walk in,
they can write down anonymous questions. So even if they don’t have
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the guts to discuss what they really want to discuss, they can possibly
have their question answered. Girls go through a lot of crap and that’s
what made me want to start this mentoring program. Even at my age,
I’m still going through it. Being a single woman in the music industry
in South Florida is not an easy thing. Guys are intimidated if you act
like you got everything together. If you don’t need them, they have a
problem with it. But when you act like you do need them, they have
a problem with it. They want a dependent independent woman. They
want you to want and beg for their help but they’re not gonna give it
anyway.
What are some of the other events you’re putting together aside
from the summit?
The summit is still going to be an annual event, and I’m going to get all
the information of the girls that attend and during the year I’m gonna
be sending out email newsletters and motivational things. I’ll be doing
meetings and outings and luncheons if they want to discuss certain
things. Hopefully I’m gonna be getting some funding from the city, so
it’ll be a lot easier to accomplish these things right now. All I’ve done
so far, literally, is approaching people in the industry that I know can
spare a couple dollars and asking everybody for donations. That’s
how I’m making this work. I didn’t get any major sponsors or nothing
like that. I’m just trying to build the event. I’ve got 1,000 girls being
bused in, and that costs money. I’ve got 1,000 girls being fed, 1,000
girls getting gift bags, and all that money is coming from me and people that have given donations. So it’s not an easy thing to do. I’ve been
eating ramen noodles for the last couple months.
You’re known for dropping dirt and gossip on the radio – how do
you justify that when you’re trying to uplift a community?
Last year after my summit I was on the local news because somebody
went all over my website and put porn on the message board. I know
it was a hater – who the hell is gonna keep bombarding my website
like that for no reason? So they asked me on the news, “How can you
promote positivity when you have porn content?” I’m not saying I’m a
saint or I’m perfect, cause I’m not, but everybody is learning as they’re
living every day. As far as gossip, that’s my job. But at the same time,
I’m not walking around disrespecting myself. If you don’t respect yourself, no one else is going to. My job is an entertainment reporter, which
is a nice way of saying “gossip.” But at least I’m trying to put a balance
in my career instead of just being a radio girl slutting around on the
streets of South Beach. So yes, I’m an entertainment reporter, but at
the same time I’m trying to help my community. I don’t have to do this.
I’m not making any money off this summit. I think in everyone’s career,
whether you’re a rapper or an actress or whatever, you have to have a
balance. If you don’t have a balance and you’re just out there selling
yourself in a negative way, it’s not worth it.
How could someone get in contact with you?
Supacindyonline.com or myspace.com/supadupe.
- Julia Beverly (Photo: J Lash)
K Foxx as Tina Turner
ROLE PLAYING
With her calendar I Am Every Woman, Miami’s 99 Jamz radio personality K Foxx hopes to honor legendary female role models.
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O
riginally from Manhattan, K-Foxx is now a proud Miami representative by way of North Carolina. A radio personality
and aspiring actress, she is venturing into the modeling
field by releasing her own calendar. But her project I Am Every
Woman isn’t just typical T&A. With the help of photographer Joe
Wesley K-Foxx pays tribute to legendary black females like Billie
Holiday and Tina Turner by posing as them - and doing a damn
good job of it. Through her calendar, she hopes to raise awareness in the community about the lack of positive female role models for today’s youth.
How would you describe your job? You’re an on-air personality on
99 Jamz, but you also do a lot of other things.
My job title technically is a radio personality, but that’s not the only
thing I do. I’m also behind the boards. I’m running the show, I’m like
the pilot making sure the commercials play. Sometimes I do commercials. Those are the technical aspects behind the scenes, but I also
have fun. I’m an entertainer. Radio is basically a theater of the mind to
make sure that I’m keeping the flow right.
Is radio something that you went to school for, or you just picked
it up naturally?
Yeah, I went to school for Mass Communications with a focus on Journalism and Radio and Television. I got my first internship in radio, so
I decided to do it. I thought it was fun, and I didn’t like the idea of
people seeing my face all the time [on TV]. With radio, you can be a
star and still have your life and go to the grocery store in peace. But
once you’re behind the mic, you can be anyone you want to be. So I
decided to let my personality shine. I started doing radio when I was in
North Carolina for two years, and I had an internship there doing weekends. Then I moved to Fayetteville, NC, and held down the 7-midnight
spot. Once Miami came calling, I was out.
What appealed to you about Miami. Was it a better opportunity?
Oh, definitely. For one, money. It’s a bigger market. Miami is a nobrainer – the lifestyle, the people, it’s a celebrity playground. The quality of living here is so much better than North Carolina. I’m originally
from New York, so I need that fast pace. Miami has a fast pace but you
can also take it easy and go on a yacht or go to the Bahamas or go to
K Foxx as Angela Davis
Jamaica. And South Beach is poppin’ every day of the week. That’s
what appeals to me about Miami.
There’s been some complaints by local Miami artists that radio
doesn’t support them because all the radio personalities are from
other cities. Being that you’re not from Miami, do you think there’s
some truth to that?
I think that in everybody’s hometown, even if it’s Atlanta, Houston, or
Chicago, local artists feel that there isn’t enough support. But they’ve
got to understand that it’s a business. 99 Jamz was a special station
because it was ran by the GM, but now it’s corporate. It’s other people
making decisions. So you can’t always say, “Let’s add this record,”
until it’s commercial enough. So that’s the downside of it, but if you
make a hot song and it’s buzzing in the streets, radio can’t deny it. So
what I’m saying to these artists is, make sure you’ve got a hot product.
Rick Ross did, and he blew up. He’s knocking down doors right now.
Pitbull, Jacki-O, Trina, Trick Daddy, they all came out with heat. So
there are artists that are getting play. Local radio stations play what’s
hot, so you’ve gotta make that fire. You can’t come with no bullshit and
be like, “Play it!” I think sometimes artists need to go back in the lab.
They’ve gotta listen to radio and study it to see what’s an instant hit.
Usually records with instant hooks, like a D4L song where they’re not
talking about anything, is an instant hit. It’s simple. But that’s the way
the business is ran today. So it’s not necessarily the radio station; it’s
corporate first and foremost.
Even though you’re from New York, has the style of music in Miami grown on you?
I listen to all types of music. I love up North music and down South
music. As long as it’s hot, I’m rockin’ it. I think Miami is creating our
own sound right now. Being from New York, back in the day when
I thought of Miami I thought of Luke and booty music. But that was
then, and this is now. I like the way booty music has taken a twist and
turn and Pitbull has taken things to another level with the reggaeton.
Rick Ross is keeping it down and dirty. Miami’s sound keeps growing
and elevating, and I love all that shit.
Let’s talk about the concept for the calendar you’re putting out.
Where did you get the idea?
I did a shoot for another magazine last summer and I posed as a Bond
girl. We created three looks from a James Bond movie, and I got good
responses from people all over the country. I never knew I had it in me
to actually look like that on camera, so I decided to use it to my advantage and take it further. I picked ten different influential women who I
admired, and honored them by recreating their look in this calendar.
It’s called I’m Every Woman, and it pays tribute to women like Billie
Holiday, Josephine Baker, Tina Turner, Halle Berry, and Angela Davis,
just to name a few.
How can someone get a copy of the calendar or get more information?
They can log on to www.KFoxxOnline.com to purchase the calendar. A
lot of them will be given away through the radio station for promotional
use. I will also be giving some away to local stores, and hopefully
Borders will pick it up. I think nowadays there are not a lot of female
role models that little girls can look up to. Back in the day you had the
Tina Turners, Josephine Bakers, and Angela Davises, but today there
are really no role models for us to look up to aside from video girls.
Not everyone fits that image, so that’s why I wanted to put out this calendar, so we can get back to the real essence of a woman and show
how we’re able to conquer adversity.
Do you plan on taking your modeling career to the next level?
I definitely think this calendar is gonna be a stepping stone to more
modeling, because when people look at it they’re like, “Wow, you
transformed into each of these women.” I’m not saying that I look totally like them, cause you can’t look like ten different women, but I
captured the essence of each of them. I’m not opposed to doing print
work so I’d definitely like to do more modeling, but I want to tap more
into acting. I used to do theater back in the days when I was in high
school. I really want to act because people can see you as different
characters. I’m a chameleon, and I think this calendar shows that. I
think I can put that talent to use on the big screen.
What are some of the challenges you’ve come across being a
woman in the music business?
When you’re a young attractive female in a male-dominated business,
men obviously look at the physical first. I really had to set my boundaries first and decide what I’m gonna do and what I’m not gonna do. As
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EVERY WOMAN:
K Foxx explains the reasoning behind
the women she selected to honor in
her calendar:
Tina Turner:
If you haven’t seen her story or heard
about her struggle, she survived an abusive relationship. She still kept going.
She survived drugs and still kept going.
She surpassed all the adversity and still
had number one records and was able
to go on without Ike. She also survived
racism in those days. As a powerful
woman and a sex symbol, I admire that
in Tina.
Josephine Baker:
Back in the day, she used to be an African-American dancer. In the 1920s she
wasn’t allowed to perform for integrated
audiences. She put her foot down and
said, “I’m not gonna perform for an audience that’s segregated. You’re gonna
have to have black and white people together in order to see me.” Because she
did that, she wasn’t accepted in America. But she was accepted in Europe.
She had to go outside the country to get
accepted, and then she came here. She
adopted twelve different ethnic children
from all across the world and called it the
rainbow tribe.
Angela Davis:
A lot of people know her from her hairstyles, but she was actually a part of the
political movement in the 60s and 70s in
the Black Panther party. She spoke out
against racism and injustice. She had
the courage to speak out, even though
back in those days people got killed for
things like that. She’s still a professor, to
this day.
Billie Holiday:
She had her own sound. She didn’t want
to sound like anyone else. She sang
from her soul; from her experience. One
of the quotes I have on the calendar from
her is, “If I’m gonna sing, I might as well
sound like me instead of sounding like
somebody else.” I admire that, because
today within this commercial society,
people try to sound like other people.
Back in the day when you sounded different that’s when you got accepted.
She was defiant; she was an individual.
a woman in this business, you get tested. Men look at you like you’re a sex symbol first. I had
to really perfect my craft and say, listen, this is what I have to offer, and if you’re not fucking with
it then step down. I’m not about to lay down for anybody that wants to get up in me. Once you
know yourself and you’ve set boundaries, it’s easier not to get discouraged by the challenges.
Once you prevail and your talent is exposed, there is no stopping you. If you’re talented and
you believe that, you’ve gotta stand by it and keep on going. If one door is closed, believe that
another one is gonna open. There’s definitely been sexual harassment and men thinking I’m
not smart enough to handle certain things, but give me the opportunity and I’m taking it and
running with it.
So once you developed a reputation, it got easier for you?
Definitely, cause men will test you to see how far they can go. Once you say, “Listen, I don’t get
down like that,” they’ve gotta give you your respect. There are a lot of powerful and influential
men that could put you in places you might wanna be, but you’ve still gotta look at yourself in
the mirror at the end of the day. Can you live with that? Are you gonna give up a piece of your
soul in order to get there? You can’t bow down to nobody. If you have that attitude, people
have to respect that.
On the flip side, do you feel like men are intimidated by your position?
I think so, but it depends on the man. With a female like me, I do have a voice and I do have
my own shit, so I don’t have to depend on a man for nothing. He’s gotta come to the table with
somebody too. He’s gotta be secure that I’m gonna be dealing with famous men on a daily
basis. But if I say it’s about you, that’s what it is. You’ve gotta have trust, cause an insecure man
is not a good thing. I’ve dealt with insecure men, and that makes you feel insecure. It makes
you second-guess yourself and what you’re doing and why you’re doing it. I believe that in a
relationship, you’ve gotta build together. You’ve got your own thing and I’ve got my own thing.
Let’s come together and build, instead of bringing each other down. Fortunately I’ve had a man
in my corner that supports me 100%, and he isn’t insecure.
When we talk about the fact that there aren’t many female role models, what do you think
is the solution?
I think it’s important for women like Oprah, Tyra Banks, Kimora Lee Simmons, Angela Bassett,
and Halle Berry start programs to recruit young women, or even doctors and lawyers. You have
to start within your own community like I’m doing with this calendar. It might be simple, but the
concept is that I’ve transformed into all these different women. I think it starts in the community
and then you’ve gotta take it to the national level.
Is there anything else you’d like to say?
The 305 is looking real big as far as music is concerned. Khaled’s album is dropping in June,
Rick Ross is doing his thing, Pitbull, Trick Daddy, everybody. I really believe that it’s our time to
shine. We gotta keep making those hits for the 305. Miami is recognized as a talented place to
be. We’re about to blow, and if they won’t let us in we’re gonna kick down the door.
Do you feel like you represent Miami even though you’re from New York?
Definitely. Don’t get me wrong, I love New York. If it wasn’t for New York I wouldn’t be the person that I am today. But at the end of the day it’s not where you’re from, it’s where you’re at. I
believe that Miami has helped enrich me and showed me a different side. It’s opened me up to
different things and different styles of music.
Halle Berry:
She’s obviously a sex symbol. Men
salivate over her. She has a game plan.
She’s an African-American actress, the
first in history to win an Oscar. I admire
all the struggles she’s been through as
an actress. There are a lot of stereotypes
and not a lot of black roles. She created
a lot of these roles in Hollywood for herself. She knocked down doors.
Janet Jackson:
She’s been doing her thing forever. She
was on Good Times as Penny, looking
up to her brothers. Being a female in a
male-dominated world, she still said,
“I’m Janet, this is who I am, watch me
bloom,” instead of living in the shadow
of her brothers, and I admire that.
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K Foxx as “Foxy Brown”
DALLAS
GOT NEXT
Words by Matt Sonzala
Disclaimer: This is by no means meant to be the definitive history of
Dallas hip-hop. It’s merely a look at some of the events and turning
points that lead up to today. Dallas is a dynamic city with a hip-hop
scene that is definitely on the verge, but the success it is about to see
by no means happened overnight. A lot of people put in work to bring
it to where it is today and it would be impossible to mention them all.
Also, for up and coming artists who may feel slighted for missing out
on the photo, or not being mentioned in this piece, please send your
materials to Ozone Magazine, at the address in the front of the book
and we will consider you for future coverage. Thanks, and enjoy this
look at one of hip-hop’s hottest cities).
I
n hip-hop, many regional scenes become “flavor-of-the-month” success stories. One day the industry’s focus is on Los Angeles, the
next it’s on Atlanta, then it’s back on New York. Houston, TX, is currently living through one of its highest periods ever with all eyes on the
syrup-soaked city. People are talking about Houston as if the slowed
down sounds coming from it are the newest, freshest, most groundbreaking reverberations ever to rumble from the South.
Fact is, the sound of Houston is more than ten years old. For the past
fifteen years groups like UGK and DJ Screw’s Screwed Up Click have
been rapping about sipping syrup, candy paint and sitting sideways
over lackadaisical beats that fit the pace of the city like a glove. The
Houston sound is not new; the world has just finally caught on.
Four hours north in Dallas, TX, there’s another scene emerging. If you
take the time to look you’ll see that the second largest city in Texas is
overflowing with artists bringing new sounds to the table and a flavor
all its own. Big Tuck & DSR, Play-N-Skillz, Money Waters, Steve Austin,
Pikahsso, Kottonmouth, Big Ben and Grifter are all set to blow.
But Dallas, like Houston, is no overnight success story. Like many cities across the U.S., their local hip-hop scene is deep and rich with
history. But unlike many cities across the U.S., Dallas has already had
its share of major hip-hop success stories, though none ever really
were able to stay the course. Take a look at other styles of music and
Photos by Jaro Vacek
you will see that it is certainly possible to make it out of Dallas. Norah
Jones, Erykah Badu and Edie Brickell are all leaders in their respective
genres and all came straight out tha D.
In the late 80’s, when the hip-hop world was just starting to focus on
West Coast artists like N.W.A and Too $hort, Dallas became a huge
market for their music, due in part to a community radio station that is
still around to this day called KNON and an adventurous group of DJs.
Jeff Liles would play uncut N.W.A jams late at night on his radio show,
mixed with hard rock and industrial bands from the period. His show,
Life is Hard, was one of the first if not the first show in the nation to
ever play N.W.A on the radio. In fact, he was later kicked off the air for
playing the classic song “Boyz in the Hood” unedited.
His show had a good urban following mostly because it followed one
of the earliest and strongest hip-hop radio shows in the city, the All
Hearty Def Party which was hosted by DJ Snake, Big Al and Cassanova Rock, also known as Nemesis. For years this was the only
place where you could hear rap from outside the East coast on the
radio in Dallas. On Thursday nights, EZ Eddie D and his crew would
spin primarily East coast underground hip-hop. His show Knowledge
Dropped, Lessons Taught can be heard to this day on Saturday evenings from 5 – 7 PM on the same station. (Later on Saturdays from 10
PM – midnight is the Dirty South Block Party, hosted by Bobo Luciano,
Pikahsso and DJ Fish. More on them later).
“KNON was huge in the mid to late 80’s and early 90’s.” Cold Cris,
an early break dancer turned rapper from the groups 2AWK and Mad
Flava remembers. “There was about four or five hip-hop shows at that
time and people used to really listen to that station to find out what
was going on. When Snake and Big Al and Cassanova had their show
they used to throw parties and they would sell out the Red Bird Armory in Oakcliffe, they threw huge parties and people used to listen
to KNON religiously. They used to play a lot of new music and break
a lot of acts. DJ Curly was on there too. Dallas even had two urban
commercial stations at the time. K-104 has been around forever and
107.5 was the other.”
(l to r): David Chris, Young Muhammad, Craig Sweet, P.T., DJ Princess Cut, Rob Free, KD Da Duke, George Lopez, Big Tuck, Tum Tum, Ron Don, NFL,
Trinity, NFL, Double T, Fat Bastard, Big Hood Boss, Lil Ronnie, Don Dada, Lumba, Mr. Lucci, D-Lou, K-Roc
In late 1986 a young Jeff Liles was introduced to Eazy E who sent him
cassette tapes to play. “This was around the time when Licensed to Ill
came out” Jeff Liles remembers, “and Yo Bum Rush the Show. When
it was truly underground. Eric [Eazy E] would call me every day from
out on the streets. He was the first person I knew that had a cell phone,
and when they first came to Dallas to a club called City Lights, it was
really something revolutionary.”
City Lights was one of the original Dallas clubs for rap. It’s now owned
by Erykah Badu and called the Black Forest Theater.
Jeff Liles formed the experimental group, Decadent Dub Team.
Through his affiliation with an influential A&R at the time named Kim
Buie, and with N.W.A, their track “Six Gun” was remixed by Dr. Dre and
included on the Colors soundtrack.
Around this time Dallas also saw the beginnings of one of the most
important voices in mid to late 80’s hip-hop, the D.O.C. His group the
Fila Fresh Crew were straight underground, but are recognized as one
of the city’s pioneering crews. Their singles “I Hate to Go to Work”
and “Dunk the Funk” were Dallas classics. They also appeared on the
album N.W.A and the Posse.
“Dr. Rock was one of the biggest DJs in Dallas in the 80’s.” Cold Cris
continues with his history lesson. “He was originally from Los Angeles
and was a member of the World Class Wreckin’ Crew – Dr. Dre’s original group – and later in Dallas became a part of the Fila Fresh Crew
with The D.O.C. He introduced D.O.C. to Dr. Dre. D.O.C. was just way
ahead of his time. Dr. Rock used to have a mix show on the weekend
nights, him and Ushay, who was also a huge DJ back then. They were
really rival DJs on separate stations and Ushay had a popular club
called Starz. Ushay actually produced one of the earliest records to
come out of Dallas called “Neck Work” by the Star Studded Strutters.
That probably came out in 1983 or 1984.”
Soon after the Fila Fresh Crew began making noise, the D.O.C. moved
to Los Angeles, connected with Dr. Dre and N.W.A and released his
debut album, the hip-hop classic, No One Can Do It Better. That record
produced the mega hits “It’s Funky Enough” and “The Formula,” and
also one of the most incredible posse cuts of all time, “The Grand
Finale.” It was one of the most important LPs of its era. Unfortunately,
because he really didn’t make it a point to rep Dallas, many, including myself and actual residents of Dallas thought he was from Los
Angeles. In fact, in his first video, and on the cover of the album he
was wearing Los Angeles Kings gear. This pissed off a lot of people
in Dallas who did know him from his early days, and it was seen as a
setback at the time.
But Nemesis repped Dallas to the fullest. Their major success came
in the early 90s with their hit “Munchies For Your Bass,” which was a
slow, R&B-tinted, bass-heavy cut that rang out of every car for years
from Florida to Cali. Their first album, released on vinyl only, “To Hell
and Back,” was self-financed and self-released and sold upwards of
20,000 copies. This sparked the attention of Profile Records, who were
known at the time for releasing hip-hop classics by Run-DMC, Special
Ed and DJ Quik, as well as Poor Righteous Teachers, Rob Base & DJ
EZ Rock and N2Deep.
Joe Macc, an early investor/affiliate of Nemesis who later became a
rapper in the group remembers their initial days. “It was a struggle,
it was hell, dude.” He says, “We was trying to get out the streets and
do something else besides hustling. People looked at us like, ‘Yeah
right.’ Nobody believed in us until we got on the radio.” These were
the days before every boy in the hood knew that there was money
to be made in the rap game. It was also an era where regional styles
weren’t really looked at as having national appeal outside of New York
and Los Angeles.
Nemesis, and their friends in Houston the Geto Boys, helped to change
all that. Their break out successes brought eyes to Texas. DJ Snake is
recognized to this day as a bass music pioneer and has mixed recent
records by Lil Jon and a lot of other folks who followed his lead. Other
important records that came out of Dallas in the 80’s were “Me, My Bo
and Ho” by U Know Who and “Yellow Hammer” by K-Cold.
In 1990 Dallas saw another major success in a young DJ named Baby
G. A quiet, intelligent type, Baby G was one of the most exciting DJs
of the time. It was this year that he won the DMC U.S. Championship
and showed the world that there was real hip-hop outside the major
hotspots of New York, Los Angeles and Miami. “The fact that a guy
from Dallas went up there and took that shit from all those judges from
New York was phenomenal,” Cold Cris says. Baby G. was in a group
with Cris called I.G.P., which was an extension of their crew the International Grand Posse. One night after opening a show for Professor Griff,
the recently ousted Minister of Information for Public Enemy, Cold Cris
and Baby G. were offered a deal.
“Professor Griff of Public Enemy was doing A&R for Luke Records.”
Cris remembers, “Me and Baby G. opened up for him and he called
me backstage after his show and basically said he was putting together a group and wanted me and G. to come to Miami. I thought
he was bullshitting. Next thing you know he called the next week and
was putting the whole shit together. He found Hype Dawg in St. Louis
and these two dancing cats in Louisville and basically flew us all down
to Miami and that’s how we formed the group. I.G.P. was really a collective, a crew which was not only music but a very large set. It was
me, Kasaan, Ice Mike, EZ Eddie D, Almight-D, Baby G, Kid Cannabis,
Shabazz who is now World Fame from Grifter and way more people.
But Griff put us together as 2AWK – Two Average White Kids.” Even
though Baby G is not white.
2AWK didn’t quite work out as Griff had planned, but from its ashes
formed Mad Flava, a group consisting of Cold Cris, Baby G., Hype
Dawg and The Don Kasaan. Mad Flava got a deal with Priority Re-
(l to r): Pimpsta, SEJ, guest, Skillz, guest, Play, DeVille, Jizno, George, DJ Drop, guest, DJ G-Rock, Big Bink, Sleepy, KottonMouth, Philly Station, Tahiti,
Philly Station, Philly Station, Gunna, Caesar, OZONE/CRUNK!!! truck, Philly Station, Skin, Mes, guest, Rig, Picnic Time
cords and while their debut From the Ground Under made a good bit
of noise it came out a full year after Priority did its major promo push.
In this business timing is everything, and Mad Flava became yet another story of a label fucking up and missing the boat on what could
have been something big.
T
he 90’s in Dallas were similar to the 90’s in a lot of other places.
Artists saw the success their neighbors in Louisiana Master P
and Cash Money were having and they began stepping their
game up. Two of the most influential artists to come out of Dallas and
really work the independent hustle were – and still are – Pimpsta and
Kottonmouth.
Kottonmouth later went on to form the Rally Boyz with Jizno and Fort
Worth’s Big Ben. The Rally Boyz became one of the city’s premier
groups because of their hustle, immediate chemistry and connections
to rappers from all over the spectrum. The Rally Boyz have always
been grinders, and Kottonmouth is known as a leader in Dallas’s latest
movement, a scene he helped to create.
“I’ve been hustling our music for a long time, and today, I take CD’s
from other artists out on the road with me and even try to sell they
shit,” Kottonmouth says, explaining the grind that got him to where
he is today and what some other folks might need to do to get their
weight up. “These artists a lot of the time, they hollering and bullshitting and running they mouth but they not into retail, they not into the
mom and pops, they not into selling out they trunks, they not into going to the car show and setting up a booth and selling they CDs. They
not into selling they CDs in their homeboy’s traps. They not into giving
they CDs to they pimp pa’tnas and letting the hoes sell the CDs. Any
way you can sell music is the way you sell music. I don’t give a damn.
I’ll give your grandma some CDs to sell while she at work.” And maybe
he has. His catalog is one of the most widely known to come out of the
Dallas independent movement.
Pimpsta has kept his name hot for the past ten years by consistently
releasing albums and undergrounds, sometimes multiple copies in
the same month. Before boys started dropping discs full of their flows
over other peoples beats on a regular basis, Pimpsta was flooding the
streets with his countrified street prose almost monthly since 1993. He
was a pioneer artist and businessman. His first single “Rollin’ on Them
Thangs” was an ode to riding on Daytons, a topic that is all but played
out today, but sounded fresh as can be in 1993. “At the time that song
and album kind of changed the game because no one was talking
about cars like that,” Pimpsta explains. “Everyone was on West Coast
stuff, but Greg Street loved that song and helped get it out there and
blew it up. There was nobody but Pimp C sounding country like that at
the time. Everything I did kind of went against the grain.”
Going against the grain isn’t really against the rules in Dallas like it is
in other cities, namely Houston. In Houston, artists outside the realm
of what DJ Screw created have a really hard time being heard. But in
Dallas, there’s a whole gang of artists making noise by being truly different. Not everyone is on some straight, Texas street shit.
There’s diversity in this city and many of the artists who step outside
the box and experiment with new sounds are starting to get attention
from the media and even the streets. Pikahsso and his PPT family
recently won a contest held by the Dallas Mavericks to create their
playoff theme song. Money Waters released an album of blues-tinged,
reality hip-hop and is known to perform with a full band. Steve Austin
brings a new energy and classic lyricism to the game. Hydroponic
Soundsystem have crafted countless classic singles and two incredible compilation CD’s that sell like wildfire overseas. Head Krack has
been known as a freestyle champ since he was a young buck and is
now receiving major recognition as a radio and mixtape hustler. All
five of these artists are poised to have a huge year in 2006. And it’s
all started with working the streets in Dallas, a city where it’s okay to
be different.
S
trangely enough, even the stuff that approaches mainstream in
Dallas seems to go against the grain and generally sounds new.
The biggest group to break out of Dallas in the past few years is
DSR – the Dirty South Rydaz. After years of hustling their mixtapes and
underground albums throughout Texas and the surrounding states,
following the lead of their contemporaries the Swisha House and Boss
Hogg Outlaws, they recently scored a $7 million deal with Universal for
their T-Town Music Label – a company formed by a successful retailer/
distributor/hustler named George Lopez and his partners Trinidad Delgado and Alan Powell. Their first major label release is coming from
Big Tuck, one of the most unique voices in Southern rap today.
“I was taking CD’s to George Lopez at T-Town Music about six years
ago.” Big Tuck pontificates. “George was already doing retail, pushing
the Swishahouse, the Boss Hogg, the Mike Jones and stuff like that.
And he was like, ‘Man I might as well go and start my own group.’
And here we are. I can honestly say that I’m one of the first rappers
that Dallas has accepted as they own. It’s part of my attitude and my
(l to r): Picnic Time, Charles Reece, Ernest M., BoogieMan, Coach Cognac, Edward “Pookie” Hall, Uncle Pauly, Money Waters, Small Soulja, Worldfame
Grifter, Cold Cris, Puerto Rican Mike, Charles, Chase Pat, Poe, Kio, Boleg, Peezy, guest, guest, City Life, Lil Phil, Mista Mista, Dawg Wonder, Classick
personality. I’m a cool cat, I don’t really get in trouble and I don’t really
argue with nobody, I’m supportive of everybody so they support me.”
And they support the rest of the camp too, who take the down South
Texas style and put their own twist on it. One thing that sets them apart
is while they are definitely hard, street artists, they have no problem
with injecting some humor in the mix. Their wordplay is unmatched
amongst their peers. DSR’s other members Tum Tum, Fat Bastard,
Addiction, Lil Ronnie, TT, Tite and their young partners the TBGz are
all names to be on the lookout for.
Two of the most successful producers to emerge from Texas in recent
years are from Dallas as well. Play-N-Skillz are currently riding high
off the success of Chamillionaire’s “Ridin’ Dirty,” which garnered over
10,000 BDS spins in the U.S. and has been remixed lyrically by artists
in France, New Zealand, Germany and the U.K. It gets radio and video
play all over the world and Play-N-Skillz couldn’t be happier.
But this isn’t their first success story. The duo has worked with all sorts
of folks. “We recorded Lil Flip’s whole last album, even the stuff we
didn’t produce,” Play explains. “Baby Bash, Young Buck, Outlawz,
Bone Thugs and Harmony, Petey Pablo, Fabolous, everybody and
anybody. Every time somebody comes to Dallas they calling Play-NSkillz. If they not calling for the bitches they calling for the beats.”
Born two Latin kids in a rough section of the Dallas suburb of Irving,
Play-N-Skillz work well within the Latin music scene. But unlike a lot of
their peers, they are able to branch out and work with anyone. “Dallas
is real multi-cultural.” Play continues. “Blacks, whites, Latinos, Asians,
everybody gets down out here. If you saw our video for ‘Latino’s Stand
Up’ you saw we had everybody. We had the black people throwing up
their L’s. We have an Asian kid named Lumber from the group Phar
East that we’re working with. He’s definitely about to blow.”
If you’re not convinced that Dallas – and its neighbor Ft. Worth – has it
going on, then you must have missed something. It’s rich with hip-hop
history and new pages are written every day, making this North Texas
Metroplex one of the most dynamic hip-hop cities today. It would take
more pages than we can fit in this issue of OZONE to cover everyone
currently making noise in this city. Just by looking at the photo, you’ll
see that there’s no shortage of tight artists in North Texas.
“I ain’t never seen no shit like this,” rapper Mr. Lucci was heard saying as the camera snapped away. While the artists in Dallas may not
get together on a daily basis, since we came to town, everyone now
knows that they really are not alone in this game.
Other artists to watch include Fort Worth’s Twisted Black, a fire breath-
ing reality rapper in the vein of Scarface who’s not afraid to speak the
truth and reach inside his soul for topics to cover other than what he’s
got in his mouth or on his car. Boleg and his Stampede Records family
and Bobo Luchiano represent one of Dallas’s oldest and most notorious neighborhoods, Oakcliffe, like it’s the South Bronx of the South.
Blofly comes with some undeniable street shit, and Big Chief has one
of the most unique and appealing voices in rap today.
Two of the biggest selling independent artists from Dallas, Mr. Pookie
& Mr. Lucci, both have releases in stores this year and Grifter Records
is home to a whole gang of young heaters – and some old school
legends like label head World Fame – all set to blow in the ‘06. Quint
Black, Big Hood Boss, Big Wheel Records, Crystyle, D-Lou, NFL Boys,
Rakoo Nation , SEJ, Six-2, Young Muhammed, Nino, Hotboy Starr,
Olmann, Philly Station, Gator Main, C-Pone, Creepa, Lil Socc, Colby
Savage, Young Pig, Coach Cognac and Diamond D are all names to
look out for in the near future.
“Without Dallas I wouldn’t be shit,” Kottonmouth closes with a bit of
chastisement for what he sees currently in the Dallas rap game. “No
matter where I go ain’t nobody gotta ask Kottonmouth where I’m from.
The only thing we gotta do in Dallas right now is make sure everybody
lining they business up to look like a structured business. We don’t
wanna look like a bunch of niggas talking loud unless we talking about
structured business.”
With a company like T-Town Music opening up the doors to retail
and once again attracting the attention of the majors, Kotton’s right.
If these artists and labels can get their business right, they certainly
have a chance.
“I don’t think it’s automatic that Dallas is gonna blow just because
Houston did,” Cold Cris of Mad Flava says in closing. “But a lot of eyes
are on Dallas right now and the opportunity is there. I think it’d be a
shame if an artist or a company didn’t step up and exploit that attention that’s going on right now. It’s up to everybody to man up on their
own and do what they have to do. There’s nothing entitled or promised to nobody. You got to get out there and get it on your own.”
Thanks to George Lopez and everyone at T-Town Music, Jeff Liles, Cold
Cris, Jeff Wade, Bobo Luchiano, Joe Macc, Pookie from urbansouth.
us, Mr. Blakes and the entire city of Dallas for their help in making this
story a reality. You can hear all these artists and more on the hot mix
CDs currently flooding the streets by DJ Princess Cut, a young, female
turntable wizard who relocated a few years ago to Dallas from Japan,
the Untouchable DJs and on the Dirty South Block Party every Saturday
night from 10 PM – midnight central on www.knon.org.
(l to r): Big Truck, Pikahsso, Rod, Corey Clout, Tequila, guest, Crystle, Big Chief, guest, Twisted Black, D-Lyte, Money Maine, JJ Chianes, HeadKrack,
Rakoo, Blofly, Steve Austin, Big Ben, Sarge, Big Wheel Records
OZONE
71
First Annual OZONE Awards: Sunday, August 6th
at the Bob Carr Auditorium in downtown Orlando, FL
red carpet: 4-6 PM showtime: 7 PM
in association with TJ’s DJ’s Tastemaker’s Music Conference (August 4th-5th)
visit www.ozonemag.com or www.tjsdjs.com to vote and purchase weekend passes to all events
Tickets to the OZONE Awards are also available through www.ticketmaster.com
Nominations were selected by a panel of DJs, journalists, and other knowledgeable, non-biased individuals in the rap community. OZONE is widely known and respected as the premiere voice of Southern rap
music, so it’s only right that our nominations this year are focused on Southern artists. Keep in mind that
this year’s nominations are based solely on music released between May 1, 2005 and April 30, 2006.
BEST ALBUM - RAP
Bun B - Trill
Rap-A-Lot/Asylum
The king of collaborations brought together the entire South for his perfectlytimed first solo album, even uniting Houston - if only for a few minutes - on the
“Draped Up” remix.
Juvenile - Reality Check
Atlantic
Lil Wayne - The Carter 2
Cash Money/Universal
Facing with the challenge of adjusting to a new recording home and picking up
his life after Katrina, Juve came with his best material since his groundbreaking
Cash Money release 400 Degreez.
Wayne became a critical and media darling with the superior lyrical dexterity he
showcased on his latest project.
T.I. - King
Grand Hustle/Atlantic
He claimed the throne years ago, and backed it up in a major way in 2006 with
one of his strongest efforts to date.
Young Jeezy - Thug Motivation: Let’s Get It
Def Jam
The highly-anticipated major label debut from the South’s hottest underground
commodity spawned numerous hit singles and club anthems.
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and the nominees are....
BEST RAP ARTIST (MALE)
BEST R&B ARTIST (MALE)
Bun B
Anthony Hamilton
Blah blah
Juvenile
Blah blah
Lil Wayne
Blah Blah
T.I.
This Urban Legend told you he was Serious, but he still had to Trap
you with his Muzik until you crowned him the King he’d always
claimed to be.
Young Jeezy
Young Jeezy
The raw emotions in his voice catapulted him to near iconic status in
today’s climate of soulless music.
Bobby Valentino
Former Mista front man goes from Organizing Noize to Disturbing the
Peace and makes a sound hit in the process.
Chris Brown
This smooth teen catapulted to the top of the charts virtually overnight.
Ne-Yo
After penning hit records for Mario and others, Ne-Yo stepped out
into his own limelight.
Pretty Ricky
A little raunchy for your mother’s liking, but Pretty Ricky snuck their
way into the hearts of teenage girls everywhere. Their “Grind” finally
paid off.
T-Pain
blah blah
BEST RAP ARTIST (FEMALE)
Crime Mob (Diamond & Princess)
This young duo kept their crew’s name alive after people got tired of
knucking and bucking.
Jacki-O
The self-proclaimed Madam of Miami will take your attention, your
man and your jewelry if the cameras aren’t watching. But, when on
the mic, she takes no shit.
Khia
Christina Milian
blah blah
Ciara
This overnight celebrity dropped an album and had a run that proves
she will be here for many moons.
Raw and uncut, Khia still represents for the ghetto females in the
ongoing battle of the sexes (“J.O.D.D.,” “Snatch the Cat Back”).
Destiny’s Child
Rasheeda
Joi
Shawnna
Keyshia Cole
Trina
LeToya Luckett
The “R” in her name must stand for resilient. This “Georgia Peach”
has proven that she’s here to stay.
Slowly but surely stepping out of Ludacris’ shadow. this Chi-Town
queen is about to make the world respect female emcees again.
Attitude for years, sassiness for months and ass for days, Trina “blah
blah blah”-ed her way to the top and snagged Birdman Jr. on the
way.
74
BEST R&B ARTIST (FEMALE)
OZONE
Houston’s angels bid farewell, but did so in grand fashion.
George Clinton, Big Gipp, Bun B and Pastor Troy can vouch for her.
She is the Queen of the Underground.
Swiftly becoming the Mary J. Blige of her generation, Ms. Cole got
hyphy with the fellas but still represented for the ladies.
Showing that there is indeed life after Beyonce, Luckett crept in with
the Houston wave and found her niche.
BEST ALBUM - R&B
Anthony Hamilton - Ain’t Nobody Worryin’
BEST RAP GROUP
Arista
His second studio album clearly indicated that he was not a flash in
the pan.
Lyfe Jennings - Lyfe 268-192
Sony
Boyz N Da Hood
A collective comprised of two underground rap vets and two flashy
newcomers, Boyz N Da Hood took the South by storm, drawing
comparisons to the legendary gangsta rap group N.W.A.
If every convicted felon had a soulful voice and songwriting skills like
the ones displayed on Lyfe’s autobiographical debut, we wouldn’t
see many repeat offenders. Fuck a license plate – give them a guitar!
D4L
Ne-Yo - In My Own Words
Dem Franchize Boyz
Def Jam
R&B’s new man of the hour scored big with “So Sick” and his debut
album.
T-Pain - Rappa Ternt Sanga
Konvict/Jive
Trey Songz - I Gotta Make It
Atlantic
Tallahassee’s multi-talented son dropped an album laced with his
trademark singing and production style, and produced two massive
hits in the process. Not bad for a rapper.
Originally written off as an R Kelly Jr., Trey Songz created his own
lane and brought a breath of fresh air to R&B.
Love them, hate them, or hate them a lot, ATL foursome D4L ignored
the dissenters and made an undeniable run for the top.
Right when you thought they got worn out, Dem Franchize Boyz
dusted off the White Tees and reminded us why we like them.
Little Brother
They held up a mirror and forced hip-hop to take a good look at itself
with their critically acclaimed major debut The Minstrel Show.
Three 6 Mafia
It’s a little easier out here for a pimp now that Memphis legends
Three 6 Mafia have received their mainstream respect.
Ying Yang Twins
Best known for their strip club anthems, this Atlanta duo expanded
their horizons into grown-man territory with United State of Atlanta
- and still managed a few “HANH?!?”s in the process.
BEST LYRICIST
Bun B
BREAKTHROUGH ARTIST
The South ain’t got lyrics, huh? Tell that to Bun B. There’s a reason
why he’s been featured alongside virtually every rapper you’ve ever
heard of.
Mike Jones
Chamillionaire
Paul Wall
Even though he’s reppin’ the Screwed and Chopped state of Texas,
Cham’s flows and lyrics are anything but slow.
Killer Mike
He may not have picked up his phone when you called, but Mike
Jones saw his career go from off the radar to off the hook.
On top of single-handedly birthing (and soon killing) our fascination
with Grillz, Paul Wall went from being a local Chick Magnet to the
People’s Champ.
Shaky release dates and a shelved album almost deaded his name,
but Killa Kill managed to stay alive with the amazing freestyles and
lyrical dexterity of The Killer mixtape and the Got Purp? compilation.
Rick Ross
Lil Wayne
Slim Thug
Scarface
T-Pain
T.I.
Webbie
Lil Wayne finally gained nationwide respect for being the talented
emcee that he has been since a pre-teen.
For well over a decade Scarface has proven why he is one of the
most revered voices in all of hip hop. In 2006 he continued to add to
his legendary status with his group The Product.
He talks cash shit and he’s money on the mic, but T.I. still spits like
he struggling in the trap.
Hustlin’ every day (for years) led Miami’s Rick Ross to a major label
bidding war and a multi-million dollar Def Jam deal.
They say everything’s bigger in Texas. Houston’s 7-footer was ridin’ a
Bentley before the album dropped - like a boss.
Save for the now infamous chain-snatching incident, T-Pain’s breakthrough has been a pleasurable experience. Being “Sprung” and “In
Luv” never hurt nobody.
Coming from Lousiana’s ‘other’ city, Baton Rouge’s Webbie brought
back the I-don’t-give-a-fuck attitude that others have forgotten.
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BEST RAP COLLABORATION
BEST RAP/R&B COLLABORATION
Bun B f/ H-Town All Stars (Lil Keke, Slim Thug, Paul Wall, Mike
Jones, Aztek, Lil Flip, Z-Ro) “Draped Up (remix)”
Beyonce f/ Slim Thug “Check Up On It”
Rodney King and DJ Screw would be so proud to see how everybody just got along. Or at least they edited it that way.
DJ Khaled f/ Lil Wayne, Rick Ross, Fat Joe, and Pitbull “Holla At
Me Baby”
blah blah
Field Mob f/ Ludacris & Jamie Foxx “Georgia”
These underrated country boys paid tribute to their home state along
with Luda and a damn good Ray ??? impression by Jamie Foxx.
Miami’s premiere DJ Khaled called in a bunch of favors for this energetic lead single off his debut album.
T-Pain f/ R Kelly, Twista, Pimp C, Paul Wall, MJG, & Too $hort
Purple Ribbon All-Stars (Big Boi & Killer Mike) “Kryptonite”
Ying Yang Twins f/ Avant “Bedroom Boom”
Yeah, the song was jamming. But you may need to go back and
listen closely to Big Boi’s verse. He’s no slouch.
Three 6 Mafia f/ Young Buck & 8Ball & MJG “Stay Fly”
This Tennessee union was a long time coming, but well worth the
wait.
Trae f/ Fat Pat and Big Hawk “Swang (remix)”
blah blah
blah blah
Young Jeezy f/ Akon “Soul Survivor”
blah blah
Young Jeezy f/ Christina Milian “Say I”
blah blah
Only God can bring the whole crew back, but until then, Screwed Up
Click fans have Trae’s tribute to hold them down.
CLUB BANGER
Bubba Sparxxx f/ Ying Yang Twins “Ms. New Booty”
blah blah
NO ESCAPE AWARD
Rick Ross “Hustlin’”
David Banner “Play”
T.I. “What U Know”
D4L “Laffy Taffy”
Ying Yang Twins f/ Pitbull “Shake”
Dem Franchize Boyz “Lean Wit’ It, Rock Wit’ It”
Yung Joc “It’s Goin’ Down”
Dem Franchize Boyz f/ Jermaine Dupri, Da Brat, and Bow Wow
“Oh I Think They Like Me (remix)”
blah blh
blah blah
Blahblah
This breakthrough record from Bad Boy South’s newest representative came complete with its own dance.
blah blah
blah blah
blah blah
blah blah
Webbie f/ Bun B “Gimme Dat”
blah blah
76
OZONE
MIXTAPE MONSTER AWARD
SLEPT ON ARTIST
Chingo Bling
B.G.
Texas’ tamale king stays in the kitchen, whipping up new product.
DSR
Dallas’ T-Town Music collective landed a $7 million dollar deal with
Universal Records off their impressive underground grind.
Magno
Mike Jones’ (who?) former partner Magno now represents DJ Clue’s
Desert Storm South and stays on his mixtape grind.
Pitbull
No longer just Mr. 305, this internationally recognized superstar still
stays true to his humble beginnings and releases mixtapes frequently
that are, dare I say, better than the album.
Plies
Ft. Myers, FL newcomer Plies’ 100% Real Nigga mixtapes with Cool
Runnings’ DJ Bigga Rankin helped him amass plenty of fans, and
haters, in 2006.
Young Jeezy
This category wouldn’t be complete without mentioning Jeezy’s
accomplishments with mixtapes like Trap or Die and Can’t Ban the
Snowman.
LIVING LEGEND AWARD
8Ball & MJG
blah blah
Scarface
blah blah
Three 6 Mafia
By now, we all know that they made history by winning an Academy
Award. But even before the Oscar, these Memphis legends impact
was clear.
Although he’s been in the game for a decade plus, B.G.’s independent releases through Koch were underappreciated by the mainstream audience.
Bohagon
Lil Jon’s secret weapon helped everybody “Get Crunk,” but he’s just
a soulful country boy at heart.
Jody Breeze
Jazze Pha protege and Boyz N Da Hood member Jody Breeze is still
waiting to drop his solo album, and fans are waiting also.
Little Brother
Allegedly dubbed “too intelligent” for their audience by BET, this
North Carolina trio proves once again that catchy hooks often win
over substance.
Webbie
Grimy, gutta, and unrefined, this truly talented Baton Rouge rhymer
stayed somewhat under the radar despite two big singles.
Yo Gotti
Respected in the streets of Memphis and beyond, Yo Gotti is still
awaiting national recognition.
TJ’s DJ’s HUSTLER AWARD
DJ Chuck T
Carolina representative “Mr. Publicity” lives up to his name, churning
out mixtapes after mixtapes consistently and maintaining numerous
other hustles.
David Banner
Whether rapping, producing, acting, or aiding hurricane victims in his
home state of Mississippi, Banner redefines 24/7.
DJ Drama
Drama and his Affiliates’ crew are literally everywhere.
Too $hort
Mike Jones
UGK
Tampa Tony
Uncle Luke
Tony Neal
It’s all about that almighty dollar sign: $. Who showed you how to do
this indie thing? Biiiiiiitch!
Port Arthur, TX, rap partners Bun B and Pimp C have each earned the
title of Underground King. Bun B also gets the loyalty award for his
relentless (and apparently, successful) “Free Pimp C” campaign.
From challenging censors to paving the way as a businessman,
Miami’s bass king has earned the title of “pioneer.”
You don’t grind, you don’t shine. You don’t work, you don’t eat. Call
281-330-8004 for more information.
Known for his Florida anthem “Keep Jukin’,” Tampa’s most creative
artist added “inventor” to his list of job titles this year with the ingenious smoker’s device Da Splitta.
The founder of The CORE DJs, Tony goes the extra mile to make
sure his crew eats.
OZONE
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TJ’s DJ’s TASTEMAKER AWARD:
TJ’s DJ’s TASTEMAKER AWARD:
(MUSIC)
(STYLE/TRENDSETTER)
Cool & Dre
Dem Franchize Boyz
This Miami production duo created their own signature sound.
DJ Screw
Although he’s gone (R.I.P.), his legacy and music lives on through
Houston’s recent rap explosion.
K-Rab
Snap, crackle, pop. The “inventor” of Atlanta’s newest trend, snap
music, K-Rab’s impact is clear.
Lil Jon
Although somewhat silenced this year by legal issues, Jon ventured
beyond the South and kept his sound alive by linking up with rock
groups like Korn and California legends like E-40.
Mr. Collipark
White tees have become hip-hop’s official uniform, thanks in part to
DFB.
Fabo of D4L
Famous for his white sunglasses, Fabo’s unique style has been
imitated by many, but duplicated by none.
Lil Wayne
Bling, bling. Everytime I come around your city, bling bling. When did
men start wearing more jewelry than women?
Paul Wall & TV Johnny
Everyone and their brother, sister, mama, and grandmomma has
a grill now, thanks to Paul Wall’s side hustle and his comedic - but
presumably rich - business partner, Johnny Dang of TV Jewelry.
Although its longevity remains to be seen, Mr. Collipark’s vision for a
new genre of “intimate club music” became a reality with the success
of the Ying Yang Twins’ “Wait” and David Banner’s “Play.”
T.I.
T-Pain
Although CNN tried, they couldn’t ban the Snowman. Jeezy’s trademark t-shirts were a best-seller at hip-hop clothing stores worldwide.
Florida’s dreadlocked rapper, singer, and producer discovered a new
vocal effect in the studio and “went crazy” with it. Love it or hate it,
you’ve got to admit that it worked.
Not only is T.I. a great rapper, but he’s also become a sex symbol.
Young Jeezy
BEST VIDEO
Chamillionaire f/ Krayzie Bone “Ridin’ Dirty”
Kudos are already in order for having Debo in the video, but the parallel between pro wrestling and police brutality was ingenious.
Da BackWudz “I Don’t Like The Look of It”
The Willy Wonka movie is already weird enough, so calling this video
weird is mundane. But you have to appreciate a vid where the models don’t get more face time than the artist.
The artist from outside our region who showed the most love the
South and/or was most accepted in the South.
David Banner “Play”
Busta Rhymes
Speaking of models, this one was a who’s who. Sweaty, steamy and
sticky, Banner gave his fans a little eye and ear candy.
Instead of bitching about the state of NYC rap, he got down and did
an entire mixtape with Southern artists.
Juvenile “Get Ya Hustle On”
Cam’Ron
This video had more accurate Katrina reporting than Fox News on
their best day. Juve reminded us of the forgotten.
Rick Ross “Hustlin’”
Crossing the bridge into the real Miami, Carol City representative
Rick Ross gave the world a glimpse of the every day hustle in his
neighborhood.
Don’t forget, this guy rapped on the “Neva Scared” remix and did a
“Bout It” remake a while back. So his collabos with Webbie and Lil’
Wayne should come as no surprise - he’s no bandwagon jumper.
E-40
He unified crunk with hyphy and still kept his O.G. status through it
all.
Three 6 Mafia f/ Young Buck and 8Ball & MJG “Stay Fly”
Juelz Santana
A night in the life of a rap star: endless partying captured by great
camera work made us feel like we were right there with them.
His mixtape with Jeezy still hasn’t dropped, but Juelz has earned his
Dirty South pass.
Honorable mention: Although Korn is not a Southern rap group,
Too $hort
their video for “Twisted Transistor,” which featured Lil Jon, David Banner, Xzibit, and Snoop Dogg playing the roles of the band, certainly
deserves mention.
78
HONORARY SOUTHERNER
OZONE
Having lived in Atlanta since the 90s, he’s damn near a Southerner
now. But at the end of the day he’s “still coming straight from Oakland.”
BEST CLUB DJ
BEST RADIO DJ
Bigga Rankin (Jacksonville, FL)
Coll Runnings’ O.G. Bigga Rankin faithfully preaches his Ghetto
Gospel to clubgoers throughout the South, no matter how drunk they
are.
DJ Irie (Miami, FL)
blah blah
If you had a bad day at work, Khaled’s afternoon mix will
Freddy Hydro (Memphis, TN)
blah blah
Greg Street (Atlanta, GA)
blah blah
Waited in the VIP line too long and your favorite record was over by
the time you got inside? Don’t worry - Miami’s mo
DJ Nasty (Orlando, FL)
Lil Larry (Memphis, TN)
Michael Watts (Houston, TX)
blah blah
blah blah
blah blah
DJ Mars (Atlanta, GA)
blah blah
BEST MIXTAPE DJ
Bigga Rankin (Jacksonville, FL)
blah blah
DJ Chuck T (Charleston, SC)
blah balh
DJ Drama (Atlanta, GA)
Drama’s Gangsta Grillz series has become widely recognized as an
underground staple for new artists.
DJ Ideal (Miami, FL)
blah blah
Rapid Ric (Austin, TX)
blah blah
DJ Smallz (Tampa, FL)
Smallz showed his face in
BEST PRODUCER
Cool & Dre
blah blah
Jermaine Dupri
blah blah
Lil Jon
blah blah
Mannie Fresh
blah blah
Mr. Collipark
blah blah
The Unusual Suspects (Big D & Jim Jonsin)
blah blah
OZONE
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79
PATIENTLY WAITING: TEXAS
PATIENTLY WAITING: MISSISSIPPI
DSR
Big K.R.I.T.
ESG
Boo da Boss Playa
G.R.i.T. Boys
Donnie Cross
Kiotti
Kamikaze
Lil Keke
Scar
Trae
Smoke D
Blah blah
Blah blah
Blah Blah
blah blah
Young Jeezy
Young Jeezy
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
PATIENTLY WAITING: ALABAMA
PATIENTLY WAITING: LOUSIANA
334 M.O.B.B.
Chyna Whyte
Birmingham J
Lil Boosie
Rich Boy
Max Minelli
The Last Mr. Bigg
Partners-N-Crime
Tyte Wurk
E-Vicious
Venus
blah blah
blah blah
blah blah
blah blah
blah blah
80
OZONE
blah blah
blah blah
Blah blah
blah blah
blah blah
blah blah
PATIENTLY WAITING - TENNESSEE
PATIENTLY WAITING - CAROLINAS
All Star
Big Cas
Cadence
Fatboy
D Cooley
J-Khrist
Lutinent G
Mecca Don
Kinfolk Nakia Shine
Marly Mar
Yo Gotti
Piazo
PATIENTLY WAITING - FLORIDA
PATIENTLY WAITING - GEORGIA
Acafool
BloodRaw
Plies
Treal
Triple J
Young Cash
Citty
Da BackWudz
Lil Weavah
Slick Pulla
Young Dro
Yung Joc
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
blah blah
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81
“We got a few
niggas calling
themselves King
of the South,
Kanye out there
preaching, Ma$e
is a gangsta again.
We just trying to be
Eightball & MJG.
We ain’t trying to
sell you no clothes,
we ain’t preaching
to you. I just want
you to listen to my
music and feel
good.” - Eightball
84
OZONE
EIGHTBALL & MJG
WORDS: MAURICE G. GARLAND
PHOTO: TARRICE LOVE
P
remro “Eightball” Smith and Marlon “MJG” Goodwin have
earned every title that people throw at them: legends, originators, kings, poets, etc. But after you get labeled such
things, what else is there to work towards? You bust your ass to
get your respect and just due. But when you get the acceptance,
what’s next?
Once people applaud you for something, you’re really no longer
at liberty to do the same thing. Why? Because you’ve mastered it,
you’ve done everything that there is to do with it. You have to move
on to the next challenge.
Ball & G are well aware of that. Since their debut Comin’ Out Hard
(named one of OZONE’s 20 Essential Southern Albums) they’ve
managed to take on a new challenge or territory with every album
that followed, making classic records along the way.
The biggest test of their career however may have come in 2004
with their Livin’ Legends album. They were on a new label, Bad
Boy, in a new time where the T.I.’s and Ludacris’ of the world were
carrying the banner for a new wave of Southern artists who had
inherited the spoils of a phenomenon they helped build.
Now that they are officially settled at their new recording home,
they plan to release their second Bad Boy album, Ridin’ High.
Once again, Ball & G are presented with more challenges. But this
time, they are ones they’ve put themselves up to. Whether it’s the
experimental sound of their lead single “Ridin’ High,” placing their
own artists Devious and Mack-E on the album or finally being able
to work with a gang of Memphis artists including Three 6 Mafia,
Project Pat and Al Kapone, this will not sound like what you are
used to from the Fat Mack and Pimp Tight.
The album was originally titled Pure American Pimpin’. Why did
you change the name?
Eightball: They was scared of Pure American Pimpin’. The label was
thinking from a record sales aspect. To them, the name would have
hindered the sales. Me personally, I don’t think it would have, but that
was just one of the battles we had to fight.
What is a pimp to you?
Eightball: You got a bunch of different definitions, but I think that a
pimp is an entrepreneur. Anyone getting money the best way they can.
They’re a pimp.
Do you think people misunderstand that word when artists use
it?
MJG: Basically, its a lot of definitions of the word. Folks would say
the word isn’t politically correct. You can define different meanings of
the word, but the question is, can you use the word anytime around
anybody?
In our last issue Too $hort said he felt like rappers just throw the
word around like it’s a sport, not knowing what that whole lifestyle
really entails. How do you feel?
Eightball: “Pimp” ain’t nothing but another word like bitch or nigga.
When you say bitch you don’t mean a female dog, but you use it to
describe a certain person. Same thing with “nigga,” it can be defined
a bunch of ways, but the real meaning, the text book meaning, niggas
who say it don’t mean it like that. So to the youngsters saying “pimp,”
it’s just a word.
You guys were instrumental in introducing that pimp/player aesthetic to Hip Hop. Other than that, what kind of impact do you think
you’ve had on music?
MJG: We figure we’ve made a lasting impact. I think we let our fans
and listeners know that we have knowledge and staying power.
Eightball: I think we’ve showed our fans loyalty and longevity. If you
ain’t learn nothing from watching us, you’ve learned how to be loyal
to your brother.
Have people told you that?
MJG: Over the years we’ve gotten plenty of stories from the fans telling
us that our music got them through hard times, or even happy times.
So many years, that’s been one of the effects of us being around for
a long time. The music has not only been a part of our lives, but a lot
of other people’s lives.
Eightball: The shit that we talk about, we see and live it. We been here
for a long time. Our music is a reflection of what we’re doing at that
time. The people that get Ridin’ High on July 18th are getting a book
of our life since Livin’ Legends.
The most interesting thing about books isn’t the information inside
of them. It’s the fact that the author, or good ones rather, for a brief
moment in time, have the reader’s brain at its mercy. They can
switch it up without having to give a reason. Hell, they can end the
book whenever they want and however they want and never have
to explain themselves.
The author’s risk, however, is that the can easily sway their readers
to another direction and never retrieve them, because a bond has
been broken. That’s why the best authors stick around for years.
They can do whatever they want with their books, but they make
sure that their fan base is always satisfied to some degree. Some
of them even go as far to prep their followers so that they won’t be
too surprised by their new works.
How has that chapter been?
Eightball: This album is a feel good album. We tried to not get too
personal on this album. Its just 14 songs a muthafucker gonna want a
pop in and listen to. Something to pop in to get away from your problems. We didn’t want to get too deep on this album. We just want to let
people get away from the world for 55 minutes.
Why do that now?
Eightball: That’s how we was feeling. It’s already enough people making statements. We got a few niggas calling themselves King of the
South, Kanye out there preaching, Ma$e is a gangsta again. We just
trying to be Eightball & MJG. We ain’t trying to be none of that shit. We
ain’t trying to sell you no clothes, we ain’t preaching to you. I just want
you to listen to my music and feel good while you’re doing it.
Depending on who you ask “feel good” music means something
with no content. That it’s killing Hip Hop, per se.
MJG: It’s all about how you feel. I try not to judge. The best thing
overall is seeing someone being successful and doing good at what
they do. All of us can’t be the best or the most lyrical. If it works for
you, and its working and somebody likes it, that’s the best thing about
it. You can’t rob nobody of their shine. It’s a time for everybody to
shine. It don’t matter if I like it, or if I’m the best or if I’m the coldest. If
people buying it that’s beautiful. That’s the first and foremost part. If
everybody can look at it like that it wouldn’t be none of that hate shit. It
wouldn’t be cool to say its killing Hip Hop. The only thing that can kill
Hip Hop is ourselves if we don’t do the right things. The first thing we
gotta do is get along with each other regardless.
What do you think it is that causes people to not get along? You
guys have been around for years, and we haven’t seen any publicized beefs with you and another artist.
MJG: What I see is that it ain’t nothing different. It’s the same shit just a
different time. The music industry, problems, fame, critics; it’s always
been the same. It’s just been different music and different time. It’s just
that Hip Hop music is at the forefront.
Eightball: It’s a combination of all kinds of shit. The attitudes, niggas
getting bread that never had it gonna cut up, niggas going places
they’ve never been gonna cut up. Everybody ain’t gonna get along.
But at the same time you never hear a president of a record label tell
OZONE
85
“Sometimes you
kill muthafuckers
with kindness... I
thought about it –
man, I should go kill
[Joe Weinberger].
But I read a lot and
thought about it and
I’m like, naw, let this
man live in internal
hell. That’s what
he’s doing right
now. That’s why he’s
suing 50 Cent...”
88
88
OZONE
OZONE
UNCLE LUKE
WORDS: JULIA BEVERLY PHOTO: COLIN WILLIAMS
H
ow hard is it for an artist such as yourself to stay relevant in
the game for a long period of time, with trends coming and
going so quickly?
How hard is it to stay relevant? It’s not hard at all. Not to me, because
I’m a businessman first. If I was just an artist I would probably have
been lost in the shuffle a long time ago. But I’m in the business of sex,
and when people are in the business of sex they stay around for a
long time. And I’m consistent with sex, I don’t fuck around. I’m not a
gangsta one day and a weed smoker or something the next day. I’m
sex all the time!
Have you thought of going into the “sex business” full-time? Like
full-out porn?
Yeah, that’s what I’m doing now. This will probably be my last album
as an artist. I have a couple artists on my label, yeah, but I’m going
straight sex, porno, adult entertainment. That’s the only way to go. It’s
a $57 billion dollar industry. Ads in the porn magazines ain’t like your
magazine where you’ve got to spend $10,000 an ad (laughing). In the
porn business you can just spend $2,000 with the AVN and you’re
good. You don’t have to buy ads, you don’t have to buy videos, you
don’t have to spend half a million dollars in promotions and marketing.
Would you describe your new album My Life & Freaky Times as
softcore porn, or more mainstream? How explicit is it?
It’s Luke. Everything I brought to the table with 2 Live Crew.
You have kids, right? What’s your opinion on how much sex kids
should be exposed to?
Yeah, I’ve got three kids. Kids should stay in kid’s place. I don’t think
kids should be exposed to nothing that they ain’t ready for. I coach
football, and I’ll have all the kids over at my house. They’ll be in the
back room and they talk like grown people. I’m not sayin’ that I condone that, though. They don’t talk crazy around me cause I’ll straighten them out. You’ve gotta know how much they’re ready for. I got a
15-year old daughter and her mother said she was talking to boys. So
I got on the phone and told her, “Yo, you talking to boys? You know
what them muthafuckers want, right? That’s all they want, to try to get
a little piece of the tail.” I talk to them real. At the same time, if they’re
talking like that, 9 times out of 10 they’re listening to music like that.
To a large to degree they are getting exposed to it through music,
but you’ve gotta know how deep to go with them. That’s how I am
with my kids. Sometimes they ain’t ready, like my son. He ain’t ready,
he’s into that Playstation right now. But as soon as he started talking
about them girls, that’s when I’m going to start talking to him hart. He’s
gonna be hearing that shit. “Nigga, you better wear a rubber!”
Do you think it’s important for the schools to address sex education as well as the parents?
Yeah, I think they need to. I think kids nowadays are not like the kids
when I was a kid. Nowadays, the kids are exposed to so much more.
You’ve got internet, music, fast girls, everything is fast right now. The
world is going real fast. You’ve got cell phones now; shit is not slow
like it used to be. Back in the day if you had four brothers or something
in the house and one phone, you could never get on the goddamn
phone. You’d have to wait in line or beat somebody down like you
was in a jail cell just to use the phone. So it ain’t like it used to be, and
there’s so much shit that they can see and hear these days. They need
to be talking about sex at school because these kids are having sex at
13. I don’t know what’s up with their hormones, I guess it’s whatever
the hell they’re putting in the chickens. These girls got double D’s at
twelve years old. My daughter’s like fuckin’ 5’9” at twelve years old.
I hear that the government has been pushing more for abstinence
education in schools telling them that the best option is not to do
it at all.
That’s the wrong thing to do because it’s not realistic. When you talk to
kids about what not to do, they’re gonna go do it. It’s just like anything
else. You’ve got to use reverse psychology. Back in the day when kids
were told not to listen to my music, they found a way to go get it.
They’re gonna sneak around the corner and listen to it. It’s the same
thing with sex. If you’re telling them not to have sex, then the cool kids
are gonna try to rebel against the adults. Those are the ones that are
eventually gonna do shit they don’t even know nothing about cause
ain’t nobody talking about it. I think people should have more conversations about sex and the responsibilities that come with it, cause
other than that you’re gonna have a whole bunch of people having
kids.
But when you talk about the fact that kids are exposed to so much
more sex these days, don’t you think you had something to do
with that? Wasn’t that the purpose of your whole career?
No, not necessarily. I think I did open it up for the urban community,
yeah. I opened up Pandora’s Box. Right here on South Beach, before, you would’ve seen black girls coming in from the ocean and they
wouldn’t have a bikini on. They’d have a towel all wrapped around
them. Traditionally, black people are really conservative. They’re more
conservative than conservative whites are, in my opinion. Most black
households are like Oprah. With this whole tradition of sexuality most
black people are nervous about that. So to a dgree, I opened that up
so people expose themselves a little more and show their body a little
more in a tasteful, classy way, and sometimes in a derogatory way.
But I could’ve never put that in a video, cause they would’ve never
played it. So on the music standpoint, I opened it up so people can
say what they wanna say on a record. But as far as sex, that’s always
been here and it’s always gonna be here. I ride by schools right now
when I’m going to work, and in my opinion they need to put uniforms
on all of ‘em. Some of the girls are walking to school like they’re going
to a nightclub. That ain’t my fault, cause there’s a time and a place for
everything.
You say it’s not your fault, but at the same time, if you opened the
doors for women to dress a certain way in videos why are you
surprised that kids would want to dress like the women they see
on TV? Don’t you think it all ties together?
Not necessarily, cause I haven’t had a video in a long time. Here’s
what I was taught in my household: kids stay in a kid’s place. If kids
are having kids, you’ll run into a situation where the kid’s mama and
daddy ain’t gonna conduct themselves in a womanly way or a fatherly
way, because they’re just a damn kid too. When I was a kid, when I
was up under their roof, I had to be my ass in the fuckin’ house at a
certain time. I couldn’t be all in the streets doing whatever I wanted.
If my niece came over with some scandalous lookin’ outfit on, she’d
have to take that shit off. It’s the responsibility of the parents to regulate their kids. I mean, Playboy’s been around for a hundred years. So
music videos, man, that shit don’t do nothing. Back in the days those
black exploitation films were worse than the films now. Shit, they had
girls on there snorting coke and all that shit. People were exposed to
worse things back then than they are right now with a lil’ music video.
Do you think prostitution should be legal?
It is legal. Shit! You’ve got states right now in the union where sex
is legal. Vegas. Everybody wants to go to Vegas, everybody’s got a
convention in Vegas. If you ain’t got no money, you can’t get no sex.
Most girls want a man with some money. At the end of the day they
don’t want no broke-ass man. Why fake it? Shit, come on out of the
closet. Do a poll in your magazine: “How many women want a brokeass man?” How many women want a man that can do something for
them; that can take them shopping and buy them nice things? That
costs money right? How many women want to take care of a man? If
any women reading this magazine got a lot of money and wanna wife
me, then wife me goddamn it. I’ll quit my job. You can take care of
Luke for the rest of his life!
On that note – you mentioned that you’re a businessman first, not
just an artist. A lot of people may not be familiar with the story
of what happened to Luke Records and why you ended up filing bankruptcy. It seems so common nowadays for people to file
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bankruptcy, and it’s kind of surprising to the general public when
you hear that someone like Suge Knight or The Source is preparing to go bankrupt.
Well, I filed bankruptcy because I was trying to get out of my contract
with Sony. At the same time there was a whole bunch of sample lawsuits that I had. Before that, we were sampling everything and there
wasn’t no sample issues. Then there was a whole new wave of suing
people for sampling records, and I got caught up in that. Right now,
there’s a formula where you do certain things and get clearances and
shit. After you sign for a record you get clearance. Back then, people
wasn’t getting clearances. They was just sampling and using shit and
it wasn’t no problem. So I got caught up in that and at the same time
I had a bad contract with Sony. They weren’t paying me any more
money and they were trying to take all my artists. In my opinion, I had
a Judas in my camp at that time – Mr. [Joe] Weinberger. In my opinion,
he conspired with Sony against me. So the logical thing for me to do to
get out of my contract with them was to file bankruptcy. A lot of people
don’t know that that’s a business move. If you do Chapter 11, you can
reject any contract. I actually helped T-Boz [of TLC] with that because
they were screaming that they were in a bad contract. If any artist is
in a bad contract, just file Chapter 11 and you can reject the contract
in bankruptcy court. But a lot of people look at Chapter 11 as being
something bad.
Was the situation with Joe Weinberger a lesson in hiring people
that you trust?
Most definitely. With everything I was doing at the time, I thought I was
doing the right thing – hiring a tax attorney to protect me and making this guy my general in-house lawyer to protect me from lawsuits
and all that. I’m not an expert – you can’t be acting like you know
every fuckin’ thing. I’m not a lawyer, nor am I an accountant. So you’ve
got to trust some of these people with your business deals. A lot of
times, people like myself get affected by that. We’re creative artists
– we can create and we can market, but we are not lawyers and we’re
not accountants. People like that have a tendency to take advantage
of people like myself. So the lesson to be learned as far as this business is a deep lesson. It’s not necessarily that you can’t trust nobody,
but you’ve got to try to keep these people closet o you. Right now, to
be honest with you, I don’t trust lawyers and accountants. I’ll look at
them, I’ll double check them, I’ll have five different lawyers check the
same set of paperwork. I just don’t trust them. It’s hard to trust these
guys. You’ve gotta educate yourself on this business. Read a lot and
look at some of the mistakes that people like myself made. You’ve got
so many companies that have been affected like this. That’s one of
things I was thinking about doing, a documentary on all these black
companies like Fergo Sports, Famous Amos, same situations. Some
lawyers and accountants stole their company from right up under
them. There’s so many stories of creative people wanting to do the
right thing and owning their own company. Then you’ve got these slick
lawyers stealing people’s companies. They ain’t gonna do no movies
like that because we all know who the lawyers are. The majority of
them won’t do it; you don’t see that in Hollywood.
Are you on good terms with Trick Daddy these days?
I’m alright with Trick. But when I read articles in your magazine where
he’s sayin’, “When I got out of jail, nobody did shit for me,” I got a
problem with that. I love Trick to death, but I got a problem with that.
When he got out of jail he stayed with me. When I was putting a bitch
out of my house, he stayed with me. We was breakin’ bread together.
See that’s why I love Pitbull so much, and I think with cats like Rick
[Ross] comin’ up, it ain’t gonna be like that. Some people come up in
this game and never say who the fuck put them on. I’ve heard all kinds
of fuckin’ stories but I’ve never read the story of how Luke found Trick
Daddy. Luke had a tag team disco rap contest, a 4-week contest, and
Trick Daddy won. The contestant winner was to get on the next Luke
single and get signed by Luke Records. And that’s how he got discovered. Just pay respect. I ain’t never gonna have a problem with him. I
love him like a son, but I do know what kind of son he is. And I love Pit
like a muthafucker too. Pit was reading all those [Trick Daddy] articles
like, “Damn, man, I would never do that.” Pit said he would never turn
his back on me, never say that I wasn’t the one that discovered him
and put him on. So that’s why he’s got that kind of love. Every artist
that I put on, they have some slick shit to say after I make them a
millionaire, which I don’t understand. But that was the phase in time
where all artists were talking shit about their record companies in that
bullshit-ass Source magazine. Please put that in there.
What about the other 2 Live Crew members, are you cool with
them?
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Yeah, we’re alright. It’s just a fucked up situation that Lil Joe [Weinberger] holds a lot of the cards with us doing a reunion album. It’s
really fucked up.
Didn’t Joe try to sue 50 Cent recently?
Yeah, for our lyrics [in “In Da Club”]. This guy is making money off
something he never created. He never worked one fuckin’ day in the
studio. He never pushed no record out of my mama’s garage. This
guy is like the fifth member of the group, and it’s really fucked up. I
don’t think the story has been put out there enough, cause muthafuckers need to be calling his office saying “What the fuck are you doing?”
Me, I had my run-ins with the group members. We had our differences
but I put my differences aside. If the fans told me they wanted a fuckin’
2 Live Crew reunion album, I’d give ‘em that. I’d go on tour with some
guys in the group who I might not want to go on tour with. But I’d get
up there onstage and do my shit for the fans. But I’m not gonna do
it if Joe Weinberger is the fifth member and we’re making the same
amount of money.
Have you ever thought about getting revenge on Joe or are you
just sitting back relying on karma?
Sometimes you kill muthafuckers with kindness. Whoever created that
phrase is a brilliant muthafucker. If I go fuck him up, beat him up,
take him out or do something crazy to this man, I’ll be giving him the
satisfaction. But think about it like this: if you leave him alone on this
earth, he’s got to be burning up on the inside. And that’s how I really
look at that whole situation. He’s got to live with what he did. He’s living in internal hell, I really, truly believe that. I would be putting out of
his misery if I was to do something to him like a normal person would
do. And I thought about it a couple times – man, I should go kill this
muthafucker. But I read a lot and thought about it and I’m like, naw, let
this man live in internal hell. That’s what he’s doing right now. That’s
why he’s suing 50 Cent, trying to make it seem like I’m suing him. Suing Jay-Z, trying to make it look like Marquis is suing him. Suing the
Ying Yang Twins. That’s all this dude does.
Is he winning any of these lawsuits?
Naw. He’s tryin’ to get them to settle out of court. That’s how he makes
his living. He’s like a fuckin’ pirate on a pirate ship.
If he walked by right now what would you say?
I’d say, “Hey, how you doing, Joe?” cause I know he’s living in hell.
That muthafucker fucked up. He’s living in hell. If you go talk to him it’d
be like talking to the anti-Christ. My man is fucked up. I talked to him a
couple times and helped him try to get out of that situation. He could
make himself right. He could come back and just do the right thing
and give these guys their money. That’s the record business, you supposed to pay people they royalties. Them guys are really fucked up.
Them guys lost a lot of shit. They made business mistakes by going
with him during that whole bankruptcy process. He did the divideand-conquer thing. He divided us and told them he could give them a
better deal, and they went for that shit. So they put themselves in their
own fuckin’ hole. They went for it and Joe an’ them loaned them all
kinds of money. He really put them in debt, and had them to the point
where he controlled them. That’s why they’re fucked up right now. I
told you, karma. Same thing with H-Town. They crossed me with Joe
and Sony. 2 Live Crew crossed me and them muthafuckers ain’t sell
one fuckin’ record. When H-town did a record on Sony they did not
sell one fuckin’ record. See, God don’t like ugly. When that happened,
I was like, man, there is a fuckin’ God. That’s why I just let my man live.
He could straighten himself out, though.
You mentioned that you coach youth football. I heard you and
Snoop had a little altercation at the last tournament.
Yeah, he had some thugs on his sideline, some straight pussies. We
had this All Star game where he brought his team down. For years
they had been doin’ so much talking shit, like they were the baddest
thing in the world. Nelly brought his team, Puff Daddy brought his
team, Snoop brought both of his teams, and both of his teams got
the shit beat out of them. Some of his thug friends were kicking my
players on the sidelines. These are kids we’re talking about. For some
dude to be kicking a kid, that’s fucked up. I asked them to apologize,
and his people said they didn’t feel like he needed to apologize. I find
that real fuckin’ disgusting. He’s got a son just like I’ve got a son. A
lot of us in this business have kids. If one of them dudes would’ve
kicked his son on my sideline, he would’ve been ready to fight. And
I wouldn’t be mad at him cause I would do the same thing. That’s all
I tried to do – tell buddy to straighten up his fuckin’ house, because
that’s somebody else’s child. He’s got these kids out there throwing
up gang signs and all that. That ain’t youth football. That’s like me having my children out here with the girls walkin’ around in booty shorts
or some shit like that. That wouldn’t be the right thing to do. I seen
his kids in the locker room throwing up gang signs and talking about
the Crips and all this shit. What kind of program is this dude running?
I don’t appreciate that. I don’t appreciate the coaches he’s got in his
league, running around acting like fuckin’ thugs around these kids.
That’s fucked up to me.
Well, back to the sex stuff – we all heard about the Superhead
book, and now Nas’ baby mother is putting out a book –
Who? What’s her name? I gotta make sure I ain’t have sex with her.
Carmen.
Nope, I don’t know Carmen.
Well anyway, along with this CD you’re putting out, do you think
we’re seeing a whole new hip-hop subgenre of groupie tales?
Yeah, just wait til Gloria Velez puts out her book. You should publish
that bitch, you’d make a lot of money. If Gloria talks about all the people she fucked, man, Gloria got a lot of shit.
You seem to have a preoccupation with Gloria Velez. Why is that?
It’s something I created that went out of fuckin’ control. She’s my Frankenstein. I created a fuckin’ monster.
With women, we don’t really wanna fuck a guy that’s fucked all our
friends. But it seems like a lot of rappers fuck with all the same
girls. Why is that?
Except me. I’m the only one that don’t. But it’s these new rappers
and these new NFL players. The football players all done fucked the
same girl. I don’t get it – now the rappers are fucking the same girl
and they pass her around and then dump them to the football players.
That’s crazy, ain’t it? And then the football players make them their
wife! That’s fuckin’ crazy. It’s like Tupac said a long time ago: “Every
other city we go, same ol’ ho!” But for these dudes to be wifin’ these
video hoes, I don’t understand it. Back in the days we never fucked
around with the same girl. As far as wifin’ them muthafuckers, never.
I don’t even get down like that. I always ask them, “You ever messed
with a professional athlete/entertainer/football player/rapper?” I give
the whole speech cause I don’t want that shit. As soon as a nigga
walks up to her talkin’ about, “I ain’t seen you in a long time!” all she
gonna do is get fucked and keep it moving. That’s why I don’t fuck
around with nobody in this business. You ain’t met nobody yet that
said they been with me.
So you didn’t fuck Gloria Velez?
Hell naw. I watched her fuck a whole bunch of girls, though, with that
double dildo of hers. It’s in my book. I wonder if she still got that muthafuckin’ double dildo.
Why don’t you put out Gloria’s book?
She’s mad at me and I love her. I created her, fixed that muthafucker
up, molded her, and the shit just went haywire! That’s muthafuckin’
Frankenstein, I tell you, but she’s got a lot of fuckin’ potential.
Do you respect Superhead as a businesswoman for making money off what she did, or do you look at her as a regular hoe?
Superhead, I don’t know what to say about her. I don’t think I respect
her. I don’t respect no bitch that goes and fucks everybody. If you’re
fuckin’ everybody, multiple niggas, naw, I don’t respect that at all. For
her to go write a book about it, she’s obviously madder than a muthafucker. From a business standpoint she’s getting paid off the shit, so
I ain’t mad at her. Muthafuckers might say that about my book, but
my book is more about the ups and downs and trials and tribulations.
There is some wild party shit, but it’s moreso entertaining than just
blowing muthafucker’s spot up. You know Ed Lover, he loves the fact
that I said he pissed off some girls. The dudes I talk about in My Life &
Freaky Times are happy that I put it out there like that.
Who else did you talk about besides Ed Lover?
Aaron Hall might be mad because he claims that I hooked up him with
Gloria, and I talk about Aaron stickin’ his tongue in all the hoes. But he
did that shit on video and I didn’t tell him to do that. I mentioned R Kelly
to him. I said, “R Kelly’s more freakier than you,” and he said, “Naw he
ain’t, gimme a girl,” and started sticking his tongue in the girl’s ass in
the middle of the club. So I talk about him. I talk about Fab Five doing
the golden shower, but I ain’t call no names so I guess people have
to use their imagination. But these girls, boy. I tell you, I’m glad I got a
woman now. I got a girlfriend.
How does your girlfriend handle your past and your reputation?
I think I might finally have the right girlfriend. See, I fuck with girls that
almost look like librarians. She’s alright with it. About a year ago, I had
a similar girl and I thought she could handle it, but she couldn’t. So
then I tried an ol’ ghetto-ass bitch named Freda. I tried her because
I felt that that’s what I needed. You know how you go through these
phases? I like the girls that are really politically correct, nice, respectful, educated, independent women. That’s what I like, but when I get
those kinds of girls it’s too much pressure for them. So then I’m like,
goddamn, I guess I’m gonna have to fuck one of these hoochies or
video hoes, right? So that’s what I tried, a hoochie. She wasn’t no
video girl, she was a straight hoochie, you know, a ghetto muthafucker. I said, let me try this, fuck it. Maybe I was supposed to be with a
ghetto ass muthafucker! Maybe she can deal with my shit. And that
didn’t work.
How do you feel about the transition that bass music has taken,
and the influence that bass music has had?
I think there’s a resurgence of it, and that’s why it was perfect timing for
me to put this album. I was in Savannah the other night and the girls
were screaming, “We want some fuckin’ Luke! Fuck this!” The music
has slowed down. If you listen to T.I. and Jeezy and all that, during this
time of year people want the music to speed up. The Missy Elliotts and
the Busta Rhymes and all that, all that shit is straight bass. It’s coming
back, so that’s a good thing. I’m happy about it! But the fucked up
part about it is that you’ve got so many muthafuckin’ Miami artists that
don’t want to do [bass music]. That’s the crazy part about it!
That’s true, cause now you’ve got people like Rick Ross and Cool
& Dre who are sort of reinventing the Miami sound.
Everybody wants to be hard. Bass music is booty shakin’, it ain’t
gangsta, it ain’t hard. To me, bass music is straight party music. I grew
up on the streets, though. I don’t think too many niggas have seen
and done what the hell I did. But do I wanna rap about it? Hell naw.
Under these circumstances, I like smiling right now. I grew up all my
life not smiling, doing shit to niggas. I could tell muthafuckers a million
stories but that ain’t me. I like to party and make people happy. But
it’s crazy, man, I hope this town here realizes that everybody’s gonna
make money off it. This is a trendy-ass city and everybody is gonna
start making money off bass music. They’ve got to wait for another
nigga to do it out of town before they want to do it, which is fucked up.
They’re gonna miss the boat again. But this is a crazy ass city here.
Rick Ross said that you were one of his top influences when he
decided to get into the game. How do you feel about that.
I think I’ll probably be more proud of Rick and Pit than anybody, you
know? They’re the ones who will take Miami hip-hop to another level
from where I took it, because they’re levelheaded people and they’ve
been through a lot of bullshit. They’ve seen the bullshit and the jealousy and they’ve seen that me and some other record label executives
don’t get along. We’ve never even came together and did nothing
– it’s really fucked up that all these record executives around here,
you guys done came up after me and we ain’t never really did nothing
together. But that ain’t no fault of mine.
Are we talking about Ted Lucas?
Well, Ted Lucas is a good businessman, from what I know. He’s still
around in the business. A lot of people get in the business and soon
they’re out. So he must be a good businessman because other than
that, he’d be out of gas. It’s just that I don’t really know him. We’ve said
“hi” and “bye,” but that’s about it. So I can’t really speak on what kind
of cat he is. Like I said, the problem with Miami is that everybody’s jealous of everybody else and everybody wants to out-do everybody else.
That’s what makes me sick. You’ve got to do records with all kinds
of muthafuckers. Even from an executive standpoint, you don’t see
executives coming together and doing shit very often. That’s why I’m
happy that Slip-N-Slide and Poe Boy thing came together for the sake
of Rick Ross. I’m happy about that. That’s a start. That’s why I look at
Pit and Rick and this new kid I got, Blaze, as being the muthafuckers
that are really gonna bring the city together and take it to another level.
But as far as the other ones, I don’t know what to say.
Anything else you’d like to say?
The album comes out May 26th. It got pushed back because the record stores saw some of the titles on the back of the audio book andbanned them muthafuckers. But the crazy thing is, it just wouldn’t be
right if my record didn’t get banned.
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YUNG
WORDS: JULIA BEVERLY
PHOTO: EARL RANDOLPH
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f course, you’ve got the hit record “It’s Goin’ Down” right
now. It kinda seems like you came out of nowhere. How
long have you been recording and what brought about the
interest in it?
Since I was 12. I had a lot of cousins that rapped. I used to always rap
with my folks. If my mama had company, she’d want me to come in
there and rap for everybody. I’d do it and they’d give me money for
doin’ it. That’s when I realized that I could do this. So that’s when I
started doing it.
Were you putting out music independently?
Me and my homie Chino Dollar had our own label called Mastermind
Music. I ended up signing myself over to Block [Entertainment].
How long ago was that?
We did the deal in November.
So you really blew up kinda quick. Had you already recorded “It’s
Goin’ Down” when you hooked up with Block?
Yeah, that’s how he heard about us, cause I was already out there in
the streets in the A. I was all around the city pumpini’ my shit, workin’
and shit, and it just started picking up.
The song’s got a real catchy hook and all that. Would you basically consider it just a party record or are you trying to say something?
It’s not just partying. I could say “It’s goin’ down” for anything! “Man,
them boys done pulled out them straps, it’s goin’ down!” Or “Oh man,
she brought her and her partna! It’s goin’ down!” Or “Auntie Rose got
the goddamn macaroni and cheese and them ribs for Thanksgiving,
boy! It’s goin’ down!”
So you’re tryin’ to bring that Atlanta slang to the world.
Tryin’? That’s what I am doin’, baby!
You’ve got that real thick ATL accent. Born and raised?
In the A, yeah. A-Town stay down.
Where do you see the future of Atlanta music? Of course we had
the Outkast and Goodie Mob and Organized Noize sound at one
point, then it kinda went to crunk, now it’s snap music.
I don’t know. I just know that I’m tryin’ to bring fun back to it, and a
sense of realism as well.
Now that you’ve got a hit single, do you feel that there’s a lot of
pressure to follow that up and avoid the “one-hit wonder” title? Do
you feel like you have a follow-up?
I feel like I do. I produced my next single and it’s called “I Know You
See It.”
What led you to start producing?
I’ve got ideas. I just wanted to see if I could manifest some of them. If
you listen to hooks, man, hooks ain’t nothin’ but melodies. For example I could’ve took that hook “Meet me in the trap, it’s goin’ down,” and
play a bass line that’s the same tune. Just by itself, that’s the melody.
Are you producing records for any other artists?
I got people asking me right now. But I ain’t gonna put [their names]
out there just yet. I’m tryin’ to surprise people.
How does it feel to be linked up with the legendary Bad Boy?
It feels good. I’ve got an official team behind me that’s tryin’ to make it
work for me. So it feels great, you know? Shit, I came up!
Tell me about your album New Joc City.
It comes out June 6th. I talk about some of everything on the album. I
talk about real, everyday life. I talk about a chick’s first time with a real
dude. I talk about a lot of different things. It’s not just partying. I got
some club records and I got some trap records.
Are you a trappin’ dude, or a party type of dude? Everybody
comes out tryin’ to be hard lately, talking about what they did in
the streets and how much drugs they sold and all that.
Naw, I’m more like a party type of dude. I ain’t even trippin’ over all
that, man. It don’t even matter about how much dope I done sold.
That’s the least of my concerns. That’s the last thing people should
be worried about. That shit is meaningless to me. If I talk about it at
all, I’ma talk about my transition from there til now, you know what I
mean?
What do you think is gonna be the key for you to stay in this game
and have longevity as an artist?
Understanding the youth, even as an adult. You got to understand
what they gon’ see. The older you get, the less you get caught up in
the hip talk and the little sayings. But the younger people are always
evolving. They’re always comin’ up with new talk. Right now, me being
23, if I go to a middle school or a high school they’re gonna be sayin’
some stuff and I’m gonna be like, what? And it wasn’t that long ago
that I was in high school. But it just shows you how quick times can
change. You’ve got to stay in touch with your youth and keep a sense
of reality as well.
I’m sure you don’t really want to talk about the whole situation in
on the T.I./Yung Joc tour in Cincinnati where T.I.’s assistant was
killed. But being that your name was put out there as having some
sort of involvement, can you clarify what actually happened that
night?
There was no involvement. Honestly, no one did anything, from my
camp to T.I.’s camp. The dude was intoxicated and that’s where the
drama came from. I kept the peace and T.I. kept the peace. It just escalated from that to something else.
Does being in a situation like that make you question your career?
Naw, it doesn’t make me want to change my career at all. Cause at
the end of the day, you’ve got people who go to work a regular 9-5 job
and they’re sitting at their desk and some crazy deranged cat comes
in there with a gun and shoots up the whole office. That happens. So
it doesn’t make me rethink my livelihood but it just makes me more
aware that you really have to watch your surroundings, cause at any
given time you can be in the midst of a volatile situation.
Whenever a rapper dies, everyone says “R.I.P.” and “Stop the
violence” and all that, but it seems like people are not listening.
What do you think artists like yourself can do to get the message
across?
As an artist, you become a target, regardless if you’re trying to be or
not. You’re already a figure in the hip-hop community. People know
who you are and know your background. People can almost look at
you and tell how much you’re worth, or have an idea of what you’re
worth. If a cat on the street sees a rapper walking by, he’s thinking,
“He says he got $50,000 on his wrist. It looks like it. I know I can’t afford it, so, it might be. If I can get that off his wrist, shit, I can go flip
that right quick and get some work and flip that and beyond.” You
know what I’m sayin’? You gotta think about the way people think
sometimes. Sometimes people don’t look at reality. People get caught
up in surrealism. I thought art was supposed to imitate life, but I think
cats got it twisted. It seems like they let their lives imitate art. As far as
me, I don’t really know what needs to be done to keep the peace. All
I know is what I do to keep the peace. If I’m involved in a situation, I’ll
try my best to defuse it. If it had nothin’ to do with me, then it’s nothin’
I can do.
Are the rest of the tour dates with you and T.I. rescheduled?
Yeah, due to the circumstances, we had to postpone some of the
dates. But I am gonna resume the full tour with T.I. when it’s rescheduled. It’s a couple other tours I’m doing. Right now I’m doing dates on
Bow Wow’s tour, and Puff wanted me to let it be known that I’ma be
touring with him come July and August.
Really, the only criticism I’ve heard about you as an artist is that
some people say Block is trying to mold you into Jeezy #2 or put
you out the same way Jeezy came out. Do you think there’s any
truth to that or do you feel like you stand on your own?
I’m on my own. You don’t hear me talking about dope and AKs. You
don’t even hear me stuntin’. I mean, that’s not what I do. I don’t do
gangsta rap. So for somebody to say that Block is tryin’ to mold me
into another Jeezy don’t even make sense. I talk about gangsta shit
but I ain’t classified as a gangsta rapper. It’s a difference. So there’s
no truth to that shit whatsoever. You know, me and Jeezy are cool.
But Jeezy does what he does and I do what I do and we respect each
other. Block is not tryin’ to mold me into a G. Joc is Joc. The only thing
Block is tryin’ to do is polish me up so I can be an icon, that’s all.
Anything else you want to say?
I produced my next single and I’m directing my next video. I’m bout to
drop the Gangsta Grillz next week called Welcome to my Block, and
I’m reading some movie scripts right now.
OZONE
95
“Being an artist, it’s hard for a person to get to know you versus that image
they see on television or hear on the radio. That’s why I do the music that I
do, to motivate people. Hopefully I can get some people to follow and start
respecting love and understanding the value of love.”
98
OZONE
J-SHIN
WORDS & PHOTO: JULIA BEVERLY
So what have you been up to lately, since your last interview?
I’ve been on a middle school and high school tour for the last three
weeks. That’s my main goal with the promotions for this album, to hit
up the middle schools, high schools, and colleges, and also do the
club stuff. The album drops in August so I’m tryin’ to reach the teens
right now. By the time the album drops I’ll be ready to go and start
hitting that adult contemporary scene. We’ve been videotaping all the
events that we’re doing, especially in the schools. There’s been a nice
turn out and a great response so it’s looking pretty good.
hear, I can guarantee there’s somebody out there in the world that
went through what that person was talking about.
What’s the difference between performing in a club atmosphere
and performing at a school – do you change up your routine?
Yeah, when I perform at the middle schools and high schools not only
do I perform, but I also step in and talk to them about education and
how important it is. A lot of young kids want to get into music, so I talk
to them about it. It’s a performance and it’s also motivational.
When you’re in the recording booth, how do you bring that emotion out?
Just understanding life. Until you get that time in your life where you
can really experience real love – and I’m not talking about puppy love
or what you think love is – you can’t sing about it. It’s hard for me to
listen to a 16 or 17 year old singing about love when they really don’t
understand what it is.
What do you think is the most important thing for kids to hear from
you, aside from just “stay in school”?
Just having a goal and going for that goal. Life is what you make it,
and it all boils down to the decisions you make. I tell them, “Right now,
you’re in middle school and high school. You’re with your parents and
really don’t have no responsibilities. But time is running out, and soon
you’re gonna have to make a decision. Your decision is gonna determine how far you go in life.” That’s what I try to preach to them.
Tell me about the rest of the album.
Once again, it’s titled All I Got Is Love, and it’s coming out in August. “If
I Fall In Love” is the first single. I got a song called “Perfection,” which
is basically just talking about the fact that we all have this imaginary
person that we would love to have and marry. Everybody’s looking for
perfection: “Somebody I can take home to meet mama / Somebody I
can wife up and ice up.”
The single you have out now is called “If I Fall In Love.” Was that
based on a personal experience you went through?
“If I Fall In Love” was written by Trap; I was the co-writer. The song
stems from my past history. I just wanted to touch on the experience
of being able to get involved in another relationship after you’ve been
in one that really didn’t turn out right. It’s been discussed, but not on
a major scale. They don’t wanna talk about love or fallin’ in love, but
gangsta need love too. You see the rappers in the street, but what do
they do when they leave out of the streets and go home? They’ve got
wives, girlfriends, and kids. They humble up. We all need that love. The
song is basically about being involved in a relationship where you’re
looking for someone that you’re going to love. Before you get into that
situation, a lot of times you want to know if that person is going to love
you like you love them. That’s what the song is about.
So the majority of the album is based on love and relationships?
Yeah, it’s about love. The title is All I Got Is Love. Especially being in the
position that I’m in, I have a lot of young ladies come my way. And I’ve
always got to try to figure out what it is that they really want when they
do come to me. Is it the fame, is it the jewelry, is it the money, or is it
me? So on this album, I’m telling you that love is all I’ve got.
How do you check out a woman’s motives?
I’m not gonna say it’s a test, but it is certain things that I do and say just
to find out their response. I don’t really wanna give it away, but it helps
me find out if they’re into me as a person or just me as an artist. I just
ask questions. I try to read into certain things and certain situations. As
an artist, trying to find love is hard.
Do you think it’s harder or easier for an artist to find real love than
the average guy?
Being an artist, it’s hard for a person to get to know you versus that
image they see on television or hear on the radio. That’s why I do the
music that I do, to motivate people. You always hear young kids following certain songs, so that’s why I love what I do. Hopefully I can get
some people to follow and start respecting love and understanding
the value of love.
Do you think that most of the love songs you hear on the radio are
exaggerated or represent real life?
It’s life. It’s real life. A lot of people say that R&B is over-exaggerated,
but that’s not necessarily true. Just because I go through something
doesn’t mean that you’ll go through it. With any R&B song that you
It seems like there’s a thin line sometimes between good R&B and
bad, corny R&B. What do you think determines the difference?
Real R&B has emotion. Back in the day when Marvin Gaye sang “Sexual Healing,” it was heartfelt. He meant what he was saying. That’s
real R&B. And then you’ve got….nah. I don’t want to diss nobody.
(laughing)
Do you think “the one” exists? Or is it a figment of people’s imaginations.
I think in everybody’s heart and mind there’s gonna be someone out
there that’s gonna be “the one.” But the person that I feel may be the
one for me, might not be “the one” for the other person. It’s a personal
choice. That’s perfection. For me, it could be a woman who’s 160
[pounds]. That might be perfection for me, that’s what I want. Or even
somebody 170, 220 [pounds]. That’s how we do it down South. I like
‘em thick.
Okay, what other songs do you have on the album?
I got another joint on there called “Let Go,” which basically talks about
a situation where you got a woman that’s with you and she’s sort of
nervous. She’s afraid of what’s going to happen next and you’re just
telling her to let go. We just finished another song last week with TPain called “Send Me An Email.” That’s about a situation with my girl
where we’re going through problems. For some reason we can’t seem
to communicate on the phone, so I say, “Send me an email / With all
the details.”
Yep. That’s what that Blackberry is for.
That’s what it’s for. That’s what we wanted to touch on. People are
emailing each other everything now.
If someone stole your Blackberry what would they find?
Oh my goodness. Well, to be honest. I’m a good guy, so it wouldn’t be
too bad. But I don’t know about my Nextel with the video and pictures.
If they find that one, I’m in trouble.
There’s a lot of things happening in Miami’s music scene.
Yeah, and that’s a touchy subject because I’m on a mission. Coming
from Florida, it’s hard to be R&B. It’s time for me to make people recognize that we’re doing our thing down here when it comes to R&B.
When I’m in the studio recording, I wanna sound like J-Shin. But in this
industry, there’s no more creativity. Everything is sounding the same
and that bothers me. For example – Ne-Yo’s a bad boy, but before NeYo was Usher. Me, J-Shin as an artist, I’m going to continue to have
that individuality and that creativity that I have. When you deal with
the labels, when Usher dropped they wanted everything to sound like
Usher. When Ne-Yo dropped, they’re like, “We need some stuff like
Ne-Yo.” As an artist, I don’t want to follow that trend. That’s why I’m
happy to be with Southbeat Records. They give me creative control
and I’m happy about that.
OZONE
99
cdreviews
JUVENILE
REALITY CHECK
UTP/Atlantic
SCARFACE
MY HOMIES PT. 2
Rap-A-Lot
BUBBA SPARXXX
THE CHARM
Purple Ribbon/Virgin
When Juvenile hit the mainstream with his instantclassic 400 Degreez in 1998 he set the stage for
critics and fans to expect nothing but straight heat
for the rest of his career. Even though his next three
albums were solid efforts, they lacked the power
punches their predecessor. But now with a forced
fresh start and new recording environment, Reality
Check shows has New Orleans’ finest coming out
swinging like a veteran fighter with something to
prove.
Making a sequel is always a risk. It has
to be just as good as its predecessor to
justify its existence and it has to be twice
as good to be respected. And with its
precursor being heralded as somewhat of
a classic, My Homies Part 2 has pretty big
shoes to fill.
They say the third time is the charm,
and Bubba Sparxxx’s latest offering,
The Charm, keeps that phrase in
good standing. The album opens with
“Represent,” a dry-drummed track
that plays as the perfect compliment
to Bubba’s beat-for-beat flow patterns. While the hook sings: “It’s your
turn, you’re supposed to represent,”
he makes sure that that is not the
only song he does it on, even if
someone else is on the song.
The album opens with the Hurricane Katrina aftermath inspired “Get Ya Hustle On” where he spits
that now infamous line: “Everybody need a check
from FEMA so he can go and score some cocaiena.”
From that point Juve uses his energy to create great
music, rather than harp on the obvious despair of his
hometown.
“Sets Go Up” has Juve and Wacko doing what they
do best, making grown man gangsta shit with undeniable hooks. He stays in that mode on “Rock Like
That” with Bun B and the Scott Storch-produced
“Why Not” where he revisits his trademarked ‘Nolia
Boy flow pattern (think the chorus of “Ha”). However,
Juve makes some instant vintage with “What’s Happenin” when he flawlessly borrows Sir-Mix-A-Lot’s
cadence from “Posse On Broadway.”
Juve also satisfies his bounce music and strip club
devotees with playa shit like “Loose Booty” featuring
Skip and a seemingly rejuvenated 8Ball. Then he
gets on some straight Uptown shit with “Holla Back,”
giving the P-poppers a new anthem to move to.
Not known to take too many risks, the former Hot
Boy cools down and makes some R&B flavored cuts
as well. “I Know You Know” with Trey Songz has
Juve pleading to his significant other that he’s being
faithful without being too whiny. On the other hand
he warns ladies about falling in lust on the Brian
McKnight-produced and assisted “Addicted.”
He takes another step out of his comfort zone by
allowing more high-profile guest appearances.
“Pop U” features Fat Joe and an always engaging
Ludacris, but it’s the N.O.-meets-Houston heater
“Way I Be Leaning” featuring Mike Jones, Paul Wall,
Wacko and Skip that proves to be the highest-point
of the album.
Things start off with a bang on “Definition
of Real,” where Scarface, Z-Ro and Ice
Cube all do a good job of proving why
their faces should be next the word in the
dictionary. Another banger comes courtesy
of “Never Snitch” with ‘Face, Beanie Sigel
and The Game letting it be known that
they will never talk to cops and don’t mind
regulating those who do.
As hard as that track is, the strongest song
on the album is also the most vulnerable.
Z-Ro’s “Man Cry,” a remake of ‘Face’s “I
Seen A Man Die,” has the always introspective and lonesome Z-Ro playing the
role of the man wasn’t “at peace with God”
and needing “to patch it up.”
Unfortunately, the highlights are few and
far between after that point. “Gotta Get
Paid” is vintage ‘Face story telling over
slow-rolling Tone Capone production and
“Street Lights” featuring Yung Redd and Lil
Ron is a traditional Rap-A-Lot cut, but both
get lost in the mediocrity that make up the
rest of the album.
“We Out Here” with Skip and the Ghetto
Slaves borrows from some fairly recent
Swishahouse production and has a usually entertaining Skip scraping by with a
reworked version of his verse from “Nolia
Clap.” “Platinum Starz” by Lil’ Flip, Chamillionare & Bun B has dust from 2003 all
over it while tracks like “Always” and “Club
Bangaz” do little to stand out.
The only songs that may catch your attention towards the end of the album are the
Geto Boys helmed “My Life” and “Southern Nigga” featuring 8Ball & MJG, Lil’
Keke, Slim Thug, Mr. Lee, Rell and E-Rock.
On what may easily be the album’s
best cut Bubba conjures some
authentic Dungeon Family magic with
Sleepy Brown on “That Man,” where
Bubba’s protégé Duddy Ken actually
gives his mentor a run for his money.
Sparxxx gives another standout effort
on “The Other Side” featuring Petey
Pablo on the hook, giving listeners an
easy-to-consume blend of braggadocio and club talk.
Bubba also showcases his introspective skills on the thought-provoking
“Ain’t Life Grand” featuring his Purple
Ribbon labelmate Scar. He continues
in that trend on the soft-guitar laden
“Run Away” with pop crooner Frankie
J, which has TRL written all over it.
Mainstream audiences will also flock
to the Mr. Collipark-produced “Ms
New Booty” featuring the Ying Yang
Twins and the sing-songy “Wonderful.”
The only drawback to this solid CD
are a couple lapses of reincarnated
beats. Bubba reunites with Timbaland for “Hey” which sounds like the
skeleton for Jay-Z’s “Dirt Off Your
Shoulder” and on “Gotta Girl” he
spits over the beat from TCP’s 2001
single of the same name.
Juve ends with the eerie testimonial “Say It To Me
Now” where he answers every question about his
career and relationships with one breath. Hands
down, this is his strongest effort since 400 Degreez.
While My Homies Part 2 has some pretty
decent cuts, it ultimately suffers the same
fate as most sequels: It’s not as good as
the first one.
Never at a loss of words, and hardly
ashamed of his brashness, Bubba
deviates from the guitar twang and
harmonica formulas of his last two
offerings to recreate and reintroduce
himself to people who may have
counted him out.
mixtapereviews
DJ DRAMA & YOUNG JEEZY
CAN’T BAN THE SNOWMAN
Originally touted as Trap Or Die 2, Can’t Ban the
Snowman is running neck and neck with 2005’s
mixtape classic. Jeezy opens the CD with “I’m
Back,” addressing everything from his baby mama
drama to his critics to the notorious news stories
on CNN. Listeners are also treated to more music from his CTE
partners Slick Pulla and Bloodraw this time around. The jewels of
the CD are easily “Say I” featuring Christina Milian and “Burnin’ Up”
with Slick and Bloodraw. Also, be sure to peep Slick’s “Verbal Intercourse.” – Maurice G. Garland
BIGGA RANKIN & G-MACK
HOOD RICH WON’T CUT IT
Damn! Kentucky’s been holding out on us. This
CD was fire! I’d never heard of G-Mack until I got
this CD, but once you hear this kid spit I guarantee
you’ll be checking for him. Since the CD is hosted
by Bigga Rankin and G-Mack is part of the GTP
fam, I figured it was gonna be some of that bouncy Florida type shit,
but I was wrong. G-Mack has the swagger of an East coast artist
with the lyrics of a down South artist. G-Mack sounds a lil’ like Young
Jeezy at times, but that’s a pro as well as a con. His production was
tight and he meshed well with each beat he flowed over. Florida
mixtape O.G. Bigga Rankin naturally did tha damn thang as far as
hosting is concerned, so even if you’re skeptical about copping it because you’ve never heard of G-Mack you can rest assured that Bigga
ain’t hosting nothing for a whack artist. - DJ Chuck T
DJ DRAMA & YOUNG BUCK
CASE DISMISSED!:
THE INTRODUCTION OF G-UNIT SOUTH
Young Buck is looking to get a new movement
brewing via his new G-Unit South imprint, and he is
off to a great start. Case Dismissed highlights the
label’s new signees Lil Scrappy, All Star, D-Tay, Lil
Murder and Hi-C (B.G. is mentioned, but he’s not on here). Highlights
include Buck’s solo “I’ll Be Back,” All Star’s remake of Webbie’s “GShit,” and “Move It Like I Do” featuring D-Tay and Hi-C. Marking the
first time a G-Unit artist does an official mixtape outside of DJ Whoo
Kid, Buck and Drama supply straight heat for an hour and some
change. – Maurice G. Garland
ACAFOOL
GOOD TIMES WITH ACAFOOL
Florida native Acafool teams up with an all-star cast
of the South’s hottest DJs to bring you Season
One of his Good Times mixtape series. Acafool
brings something to hip-hop music that the game
is lacking very much right now: comedy. This CD
had me rolling on the floor laughing. The skits on this CD are funny
as hell and his lyrics are a tearjerker too. I’ve never seen an Acafool
performance, but I heard it’s like a circus show and Def Comedy Jam
all rolled into one. Don’t get it twisted though, Acafool may clown a
lot on this mixtape, but his subject matters are real as hell. Songs
like “Nasty Girl” and “I Can Feel That” are tracks that every nigga out
here should be able to relate too. Some of the skits on the CD can
get sort of corny at times, but the good ones definitely outweigh the
bad. I really enjoyed this CD from start to finish. Any hip-hop lover
that wants to take a break from gun-bussin’ and drug-slangin’ should
add this CD to their collection ASAP. - DJ Chuck T
DJ CHUCK T & CHARLIEO
REAL LIFE GOODFELLAZ VOL. 1
Charlieo’s thick accent is the first thing that catches
your ear when you pop in this mixtape. His deep
Southern drawl adds a bit of spice to his music and
accentuates his style perfectly. I must admit that his
lyrics are mediocre, but he makes up for it with his
smooth delivery and catchy punch lines. “10 Ones In My Fist” could
easily become the strip club anthem of 2006. Songs like “Big Rides,
Big Cheese” and “Pushin’ Chevy Machines” will make the dope boyz
go crazy. Will the Carolinas finally blow this year? If they have more
artists like Charlieo hiding out, most definitely! - DJ Chuck T
104 OZONE
SICKAMORE & JOKAMAN
LET THE SHIT BEGIN
To be completely honest with you, I didn’t like the
title of this CD, and I wasn’t about to review it for
that reason alone. With a name like Let The Shit
Begin I was almost certain that this CD was going
to sound like… well… shit! I was totally mistaken.
This mixtape is the shit! Jokaman’s voice is very distinct and unlike
any other H-Town artist I’ve heard. His lyrics are also very different
from any other H-Town artist. This nigga can rap! Jokaman rides
every beat like a seasoned veteran, and talks about a whole lot more
than sipping syrup and ridin’ on swangaz. The only bad thing about
this mixtape is that the host should’ve had more energy. Sickamore
is a laid-back kinda dude, and his technique didn’t quite match Jokaman’s firey rap style. From the time the first song comes on til the
time the last one goes off, you can’t deny that despite what his name
may lead you to believe, this kid is no joke. – DJ Chuck T
BIGGA RANKIN & PLIES
100% REAL NIGGA RADIO VOLUME 2
There’s really no need to review this CD. Anything
Bigga Rankin puts out is tight work, and if you
didn’t already know that, then you need to be
smacked. Plies, a.k.a. “the new nigga at Slip-NSlide,” shows a lot of versatility on this CD. He
keeps it hood, but doesn’t get too repetitive. Tracks like “Chopper
Zone” and “Bond Money” show that this nigga can damn sure spit
some gangsta shit, and then totally flips the script on “I’m Tired Of
Lying.” This track is something that every real nigga needs to hear.
Plies tends to brag just a lil’ too much about being “the hottest nigga
in Florida,” but in this rap game you gotta go for the top if you plan
to make it. With Trick Daddy missing in action, Plies has some big
shoes to fill. After listening to this CD, I don’t think he’ll have a problem doing just that. – DJ Chuck T
dvdreviews
by Malik Abdul
STREET LIFE: A DOCUMETARY
www.StreetLifeFilm.com
Come take a walk on the wild streets
of Detroit, Los Angeles, Cleveland, and
Chicago, where the hustlers, pimps, and
street thugs show you their way of life. It’s
all about getting yours.
This documentary takes you through the
inner city of crack-infested Detroit, where
staying strapped is a part of your wardrobe. Street Life is so well put together, it
has an official homicide detective giving
you the breakdown on why grown men cry
and beg for their mamas when they’re being interrogated. He tells how the biggest
kingpins snitch on each other for a lighter
sentence.
There’s no stone left unturned. You have
rappers like Lil Flip telling how the rap
game and the drug game are similar. It’s
all about having good product, and marketing your good product. You can also
check out the section with Bushwick Bill of
the Geto Boys, talking about betrayal and
everyday struggles. This DVD changes
states and takes you to the gangbanging
capital of the world, Los Angeles, where
Daz Dillinger and MC Eiht talk about gangbanging and beatdowns. This two-hour
DVD is filled with knowledge and advice.
Whether you’re planning to get into the
dope game or the music game, there’s
plenty of in-depth advice to tell you what
to do or what not to do.
Of course there are pimps and whores
on the DVD, giving advice like a preacher
on a Sunday morning. Magic Don Juan,
Pimpin’ Ken, and a slew of others talk
about the usual, “Keep that hoe in check.”
But this DVD also shows the other side of
the pimpin’ game: madams. These women
have females that they commission to
work. They set them up on dates, and they
get 70%. Women exploiting women.
Detroit’s resident bad boy Trick Trick
shows why he always rides with the AK
and hates the Feds. The DVD also shows
the infamous Trick Trick vs. Trick Daddy
beatdown in Detroit. All in all, this is definitely one of the best DVDs out there. I
highly recommend that you pick it up.
108 OZONE
ALL ACCESS
10th ANNIVERSARY EDITION
www.TheDVDMagazine.
com
All Access’ 10th Anniversary
double edition, featuring
Young Jeezy and Juelz
Santana, is fire! This is
definitely the best of both
hoods, from up North to
down South. These cats
are set to take 2006 to
another level. While other
rappers are beefing, or getting angry about too much
Southern music, these two
cats are putting all that shit
behind them and making
good music.
All Access gives you the
behind-the-scenes view
of Jeezy and Juelz sittin’
down, chopping it up, and
reviewing Jeezy’s new
mixtape. After the Juelz
session, Jeezy tells the
real story about him and
Gucci Mane. But you’ll
have to cop this DVD just
to hear Jeezy lay it down
on Gucci Mane once
again. You’ll hear both
sides of the story: the
bounty on Gucci’s chain
and the attempted robbery
that left one man dead.
That’s right, Gucci Mane
is on here too, talking real
greasy in his interview with
BET’s Mad Linx.
On the flipside, it’s a Texas
thang with the Boss Hogg
Slim Thug and Mike Jones.
If these artists aren’t
enough to make you want
to pick up the DVD, the
appearances from The
Neptunes, Kay Slay, Jay-Z
and the new Rocafella
Records, Gloria Velez, and
Miami model Montana will
definitely heat things up.
THE RAW REPORT
LUDACRIS PRESENTS: DISTURBING THA PEACE
www.RawReport.com
Here, The Raw Report presents its platinum series featuring
Disturbing Tha Peace. Since 1999, with the guidance of supermanager Chaka Zulu, this Southern powerhouse has sold over
15 million CDs.
Ludacris narrates the DVD, introducing you to each member
of the DTP family: longtime DJ Jaycee, hypeman Lil Fate, and
other artists like I-20, Lazyeye, and Norfclck. Ludacris lets you
know what each member brings to the table, and the DVD also
features separate interviews with each of these artists.
DTP recently signed Field Mob, who seem to be every happy
now that they’re on a label that cares about their creativity.
You’ll also see Smoke’s release from prison, and the success
of the hot single “Georgia.”
This DVD definitely lets you see why each member was chosen by DTP. Shawnna is a beast on the microphone, and she
isn’t afraid to let the men know that she has skills in addition
to sex appeal. The well-rounded DTP roster also includes R&B
artists like Bobby Valentino and Shareefa, as well as the group
Playaz Circle.

YUNG JOC - Ozone Magazine

Transcription

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