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i:ltsit!*ri, I r::iii:i L*
> Flsrida hurricanes
>
The Fugees reuniting
We're really happy to hear about this. But
is it really necessary to include Pras?
>
Gungsfc Gritlz
T.l. is kilting til' Flip on the beeftip so
far, arcording to the streets,
> Young Jeery
> SwishaFlouse
i$chael Watts, Mike Jones, PauMal[ & co.
signed a "S15 mil" deal w/ Warner Bros"
> Boo Rossini
> 50 Cent & Game vs. Nas
How mucfl longer before G-Unit runs out
of rappers to diss?
> ldase
vs. Diplomats
All,Access OYD
> i{TV VlvlAs
>
Boooooooring......,,.except for P Diddy's
fashion statements (molrawk, gold teeth)
> Eminem's new video
Showing fans a
sHe&fi!_Hss BR*ffi0T$sru
lf you
need a photographer for headsnots, comp
cards, promo shots, video shocrs, or album ccvers,
hit me up l:y ernallir,g -jb@ozonernag.com cr ca[[ing
.4*?-447-60&3" fler€'s s*me albums that carne oilt
this ifianth that festured nry phstggraphy.
Pltbult ill. l. A. rtl. l.
back cover, album insert, &
=-iii!18
.*,1't1,,ry*!J'.
little rnare than they
wanted to se€
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Grandaddy Souf
The 8p,otlee
CD cover & dD
f/ Chamillionaire & Play-N'Skillz "Hey Lady"
Game f/ 50 Cent "Westside Story"
fl YoungBloodu, Roy Jones "l Smoke, I Drank"
Pitbull f/ Piccalo "N.A.R,C,"
Big Gern
i{r.
r\iagic
Dr, Dre f / Jay-V & Game "Get Your i{oney Rite"
Do or Die f/ Kanye West "Higher"
Petey Pablo "l Swear"
Akon "Show Out"
Kamikaze "Loser"
PBT f/ Gotti "Who Dat"
Kanye West "Family Business"
Ugly People "Complicated"
Cornerstone'
Mlxtape #65
DJ Prostyle,
DJ Nasty,
& Jlmmy Jamz
,
CD cover &
album lnsert
OZONE MAGAZINE Srprzuern 2004
11
ttf,q*FF
#ts*&Rs.
Tl,e ane energy
yoq
Pqt in PqtUng rie, Pqnchhg re1cts;in'
at
rae,
tcrrin'
r'e, fqch'n'vit\ r€ til X go nqtt
Ue coqd be tqckin".hil ve bot\ btov nqtt
X knov ve hake eac\ o+\er crazy, ve bot\ €Cked ap
at
)'an aicf,
Jo ons frqr'
B(d ve ;titt ca,ll e?c\ ot\ec'Baby'
1"r on a nirrion to be dirred for li{e
tv,+ qP n'y latt blrlnt and cehinitc€ on t\e ni9\t
)oq tig\t a good orr., bct give \ead better t\an;havty ced
Uel J1t be ;n bed, bd ceady to take a ttO to
\ead
"'y
And vrap ;t qp and hy n'y \ead h yoqr laP and ve taag\ aboqt
Go oqt and ve at it again qP in t\e clqb v\en it': ccovded
*
i;
o
it
-
1
Every
it
X ain? dovn
of a
5on
-
vit\ rt vlren
sla:le
o7
t\ey hnd rane vay t\ey
innocent
knov hov
it
aled
h
do
ni994
feeb.
t\e
bft t\e
albanr'C\evy t'loney")
cdd up in
t\e tqckin'ca*et
funeral, tinre to get olre acfion
tvo-people party
\o? qP in the coftin, nake it
X ,t'qtt be frcked ap h t\e \ead, {qcR-n'a &ad body
Everybody
I
Risarttoctir
Bqt
t\at
t
ir extoctin'a nell
ain?
on
ny
od
t\at 1 can? dercrr'bc
ar 1 aide
'ry
Illbq'+ a nqt and 9et you pcegnant, hake ycq \ave ny baby
lw *tupid slql ass bitc\, \ov you gon'try and phy ne3
Tl';;
1 tod yor orce bcfoee hoe don? you puA m
aid rlick dynanite h yoqr Pqtty
boy ilrragin bringin'Pain, 111 bbv your frtcktn'hainl oqt
ar'n? no joker
tie
11t
T\at
you qP
rh't yq tay it foul, yoa finna Pay rov
fivfr\, nan, X go'tta 9o do one rrroce enand
gotta nail rr'y lettec ray'r'i 'Ua+c\ yoqr bacb l(aren!'
Ioq krov
Before X
I
*
t\at
Arabic Attasti\ bonet\qgrn\ar"'ony5@ya\oo.con
f'n
?pproac\ing
tle rlage
veigung in
at
like 190 P|ql +ive
t"nd
it ctlzy at tirct, X keep a Potliile
Uittng and vaiting +o btarf at \atecr
T\oug\ lite
X vear
5o
it
size eleven
yoq
rtep
h
t\at1l
on bcoil.
4n'a T\qrnran
on
Carnival';
Ccqi:e
I
of t\e Hot 100 trora l|axin'...
Tok
n'e
J.
Lo you
tlogin'
+tll t\tnb'Nic" ar4'
Jorie I'liran kepi
it
real
to Sevent\ Heaven vit\ Jesciea$iel
m3 )oq nevec ever vanna
Trictr
be
tor nigerrte, lRe Dalrar Chrirtina and Oa;ry lqet+$...
v\at3
Feel
I
Cokoqtr
qP nry rleeve,
JeX on tlre bea,c\,
tvft
len'on
leave
vit\
and
Eve
a c\effy
I'd D;e lnat\er Oay jqtt +! be vit\ HaIe Beny.
Iidei Carhtlov,'Penetration" (tron' t\e atbqrl'6ot Car\?')
lnd
-
lw *erl'r,tired
1
irrl
Lut of
t\e \ard vork and everyday
back, and ptt€t on oae ce*
o+ all
vanna cML
rit
Ait'r
c\ert
on nry
and
ttre*
it'r tqckin'vit\ ny \ealt\
Ccazy t\oughtr 9o;n't\toug\ rr'y \ea{ gotta fiv'd vealth
Solnc t^l rorcy von? hake yoq happy., bct it'll rqre change t'y lifertyle
Tfed of vir\in'€oc f\;ngr., jcrt gtrnntr 5o cop 'eh
Jick of t\e i'an, +ired of playin'by ur
eute;
0vecvocked and andecpa;d nakin'rne vanna
Stick niggar qPlB&
h
f"t'
on
:natc\ toie jevel,
rore atlrer rut
vanna be cic\
Fqck tivin'of+ c\qnp c\anger J
Can? be 4andin'on t\e cornec PitcUn'rockr
to t\e qack\eadr
1 va: bter*d vit\ a talent, bettec vayr to 9et bread
5ee tlre
hqt\ b I
drln't even vanna be rinnin'
tma leaver a n;ggq no optionr
Bct gcovin'qP \i\ere
I'n
L'rn tltesse$ rrran, t\at'r vhy X'n' tryin'to trrrd a better roqte
get t\e rig\t arrrount.
Bqt 1'll pqt a dqde to steep il
- BertRappa0aol.corl,
I
'Uqf'e 4r
Probtenn?'
dick inride
rtarin'a't one dick t\at r\e ain? rcvec reen
Nor4 v\en t\e body'r tli0l,it't \ard to 9o 9et in betveen
And kacen
ceps
Gqes
U\en
T\at htc\ ir layin'+i++ ad
one
And vlren yoq heac
otdrts F titted
I'lark Diggla, 'Coanfin'gtackr' (tron
t'loney
lart
?lusI
do our part to raire t\e yoqt\ t\e ri9\t vay
tet entertainerr and actocr do att ya dictafing
a €cxed ap ritqation
Look at tlre rlate of oqr nationr and you can? bhne ny occapatim
Oqn tqtqre dochc; and lavyeer ate being dertroyed
Veh ualr'ng voidr for our girL and boyr
J1t arre t\e Preach'n'tor tlre preac\er nan
Bq+ 1"" a ProP\et in r'y ovn rig\t - a teac\ec nan
?tqs i+'s \aed to vin t\e gane fcoo t\e bleachect, nan
5o ptl re in, coac\, oqr tqtqte'r \qnging frar' a 'th'n coPe
Foc t\e pa4 titteen year ve'!e *en \eartache and Pain
,{nd 1 can? btane it on Saddanr Hqr:ein
illddu Earteretr are t\e rcv niggat
cqltqre and
vit\
be your balter in t\e Qer\, baby, hdier
BU Cantcelt and Roracio Dav;on3 lveroae!
gotta
tok t\eir
i'l'r
gre4dent't daug\teer
1'll
Jo don?
Ue'ce in
Tlrey
feel v\en
It'r
yoq'c. dr;pping vit\ ,veat (yoq got ,"e tr;ppin1.
lJgly ?eople, 'CortPlica{ed' ({eor', t\e alban'49f People')
Ue
oven
gotta call \er over
lnna koq$ikova?
9ot onetlv'n' to recve \er, rvenin'in t\e Rover
tll gm,vy, baby, notUn'left to do bqt har\'en
,{nd
I
I
rrrconv?,lk
on Perelope Ccuz
5;pp;n'bourbon
iq
it'tit
,hd beat
h
\oo&atr
Dilated pqpil,
ctwded, yoa r0 ,exy vhen you r\outing
\ipr, n;b11,'19 yoqr liPt v\ile yoq Poqtiig
9et \eated
T\L a'n? t\e vay vanna be heated
X vant i+ bqt X don? need;t
T\e cycle get repeatedl rce it and vanna eat
3at vill teac\ yoq \ov to
"'y
see yo.t leaking orrt like oil
tae and yot'll knov \ov tlre
Hinataya, vartirZ00l9ya\oo.con'
Fro,t, tocat
Hand on yout
GiSgling vlren yoq tee
I
T\at'r r;9\t, X like tv;r'r'in9 in all vatec:
I
Love
1 \ate v\en a goon talk
1 ain? Uic\aet Jackron bat
nran Oirty gat nm ti,,re on Ur \andr
hf+ all alorc, it's tfu,e to advarce
Look like ya
I've
been
Get bS tite Otev Cacey fp6 U\ore Lirc
T\anb toc ctappin', y'att, yoa're too Und
X'na take ny Facel0€t tRe Nic Cage
Engage and in4lt ya - vocd to Jo\n Trarolta
florl people got a \ead, bqt hii€'r a \drtec
lly noat\ +t€ c\a'iber, ray lqny tlre revolvec
No vondee J nroke and ain' to plea:e
Battling is eAnll- jqrt ai", at'd tgeeze
5olabody call a ridevalb oqtlii\e c\alker
Ioq coqtd viev it, too - vocd to Barbaca Va*ecr
70170 visiu vlren g* ny rPecr on
X kin v\en 7 tfiit - vocd to Exxon.
- Dirty Handed, Dirty\anded9\ot'rait.con
f
nake yorr {ace took like ratr\ed potatoer
rc, aPProac\ vi+\ nanrcrt
0r X'na \ave yoqr +ac€ on t\e back o? rt'itk cartont prtecr, banrcrr
Bqt it yoq don? vant pmbtetr rtay avay tror" ne
|ly rhap vill ,laP ya bqc\ hake it look like )eq li'red drr,'ng rtalery
Erna;l yocrc 16 bav to
58@i 0Z0N Et'lACr. C0l'1 ror c,",idemrion.
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Boy @ l-20's "Break Bread" video shoot (Attanta, GA) 02 'Strictty Streets' Mercedes, Jen, and Nikki (Miami,
Boo's Southern essentiats: OZONE and sizzurp (Atlanta, GA) 04 - Goodie Mob reppin' OZONE backstage @ the
Atrium (Attanta, GA) 05 - Kardinal Offishat reppin' OZONE (Miami, FL) 06 - Brian Cox and Picasso @ Doppler Studios (Atlanta, cA) 07
- Mr. Magic and Choppa reading OZONE on the set of "Do it Big" (Pensacola, FL) 08 - Rick Ross @ Oxygen (Miami, FL) 09 - Labetmates
Pitbutl andJacki-O@Pit'sreleaseparty(Miami,FL) 10-DonYutereppin'OZONE@Krave(Miami,FL) 11 -JazzePhaandPatPat
@ the Vl'AAs (Miami, FL) 1 2 " DJ Bobby Black, DJ Drama, and Don Cannon @ Visions (Attanta, GA) 1 3 - Steve Gottlieb, Big Teach, and
01 "
Lit' Fate and Tity
FL) 03 - Gangsta
BryanLeach@Opium(Miami,FL) 14'Benzinoandhiscrew@Crunkl JuiceVMAafterparty(Miami,FL) 15-GeorgeMichaetsreppin'OZONE (Chicago, lL) 16 - Mami Chula reppin'OZONE @ the Atrium (Attanta, GA) 17 - Baby D, Fabotous, and Oohwee @ Opium
(Miami,FL) 18-NinaChantaleandanunusuattygiddyE-Class(Miami,FL) 19-GrandHustle'sXtacireppin'OZONE(Attanta,cA) 20
- Da Brat reppin' OZONE @ Opium (Miami, FL) 21 - DJ Khated and Elephant Man (Miami, FL\ 22 " Remy Martin and Pitbutt (NYC)
,
i,--".€* :i$ili:r*,n
".,"
01 - DJ Prostyte, Jim Jones, and DJ Nasty @ Cteo's (Ortando, FL) 02 - E-Doubte, Pitbutl, D-Roc of the Ying Yang Twins, DJ Rob-N, and
Cubo (Providence, Rl) 03 - Lit' Jon reppin' OZONE @ Krave (Miami, FL) 04 - DJ 007, Mercedes, and DJ Quest @ his birthday party
(Ft. Myers, FL) 05 - Carmelo Anthony reppin' OZONE (Miami, FL) 06 - Gator, DJ USC, Big CeeJay, DJ Canibus, BtoodRaw, and C.Rena
@ Bay Area Music Conf. (Tampa, FL) 07 - Fred reppin' the 305 (Miami, FL) 08 - Snoop and Pitbutt (Las Vegas, NV) 09 - Sptiff Starr
reppin'OZONE(Miami,FL) 10-BigTeachandStickRick@Mansion(Miami,FL) 11-Pistol PeteandFatJoe'sbrotherAngel @Opium
(Miami,FL) 12-DiscoRickshowsGreenEyeshowtogetagirt @Bermudas(Miami,FL) 13-BigAmp,J-Ho[[a,andC.Wakety@Bay
FL) 14 - DJ Majick and KG Mostey reppin'OZONE (Tampa, FL) 15 - Vedo, Scrappy, DJ Pat Pat, Big O, DJ
Laz,andPitbutt @WBTT(Ft.Myers,FL) 16-JTMoneyandthePoisonCtan@Bermudas(Miami,FL) 17-BigMookandcrew(Tampa,
FL) 18" DJ lrie strikes a classic pose (Miami, FL) 19 - Game and Jim Jones @ Opium (Miami, FL) 20- DJ B-Lord and Micnificent on
Rap City (NYC) 21 - Don Diva and OZONE cotlaboration (NYC) 22 - Joker and YoungBtood Sean Pau[ reppin' OZONE (Attanta, GA)
Area Music Conf. (Tampa,
Wlho evev said ftt&king rnusic
*bvisurly
w
tilt
w &s exy
snsiv e?
t.o the wvong"pl*cg...
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New York,
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Chicago, lL
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Orlando, FL
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GA
Los Angeles, CA
SECOND ANNUAL
We'd hate to say "told ya so," but after tast year's
Patiently Waiting edition, a lot of the artists we featu.red got_signed or blew up. So maybe we actually do
know what we're talking about. Here'i *n updaie:
Septem&r 2(N3;'Pitbull's
to the top you can
already hear the haters
Pitbutl signed with TVT
so closs
Records in October 2fl13
coming...he's rnore than prepared to reap both the b€nefits and consequences of his
fast-approaching fame. "
tdoy 2&H:'[Boo Rossini's] llife lLove
Records quickly a gained a reputation
throughorJt Jackson and the rest of the
South. His current singte, the remix to
'Say it to lvly Face' featuring Swizz
Beatz, is gathering stead radio spins in
over sixty markets.'
September 2a03; "With a debut singte
bragging, 'Pussy pay: my billr,' it might
be eary for some to dismiss packl-Ol as
yet another Rorida femate destined to
become a ane-hit wonder But criii{s who
have heard tracks from her upcoming
alburn respect her rap skills.'
Sep&mbelr 2lN3:
'lt's
ea$y
to
see why ISRC CEOI Steve Ritkind
junped at the chance to sign thh
unique artist after just, one listen
to his demo...Wbiting for the
impact of Lkon's lirst singte is
like waiting for a bomb to drop."
&tw 2&)3:
"5o you're
burnpin'a new mix C0?...
Attitude's srnooth flow
ard rhyme schemes will
haye head: checkin' the
inrert to find out who
the new guy is. "
CD
September 2003.' "[Rich] is more
intererted in getting a prcduction
deat than an artitt deal, to make
sure the math comes out right...
He's got a thick drawt sliding over
ban-pounding beats. He's bound
to become a Southem favorite."
Septembar 2(N3.. 'Tiillyille's sty{e, a
fu:ion of Lil.' Jon and Three 6 fi{afia, is
guaranteed to have any c{ub owner
beefing up their secur'ity...Spearheaded
by Lil'Jon's production and guidance,
rn-llvilte witt surely be the face of the
crunk movement in the coming yearu."
Saptember 2U)3; "Lil' Scrapry ir
ready io take on the wortd...a doubte
eP \rritt be dropping on B[rlE, featuring
Scrappy and his tabelmates Triltvitle...with a mentor like Lil'Jcn,
bussin' heads throughout the whole
album won't be a problem."
TO BLOW EDITION
and officialty btew off
the strength of the Lit'
Jon-assisted "Culor" the
lead singte from his
debut album rt.r.A.rA.l..
Boo Rossini's
lLife lLove/
Royat Dottar
Records rigned
with J Records
in September
20014.
Jacki'0'r Poe
Ltttle Rich
Girl comes
out October
26th,2W4,
through TYT
Records.
After creating a buzz
with "Sananza {Betly
Dancer)," the remlx
to Akon'r slngte
"Locked Up," fealuring Stytes P, was a
huge success,
Attitude was featured sn
oWarrant" from Bubba
Spanmr' Oe{ryeronce. ln February 2004 he signed with .
'
Timbaland's Eeat CtuL Records
and is currently working on his
upcoming soto project.
Now known as
RichBoy, this
Alabama native
signed to lnterscope
in late 2003 and is
April 2&11: "Slim
Thug..put up impressive sales numbers
throughout lexas and
Louisiana and caught
the attention of
seyeral major labeb.'
Octsber
2$)2: "LucDuc's solo
album, ln iily
Own Wortd,
comes out this
0ctober."
September 2A03.' 'At age
fourteen, PaulWall was
already shaking handr with
the industry's top movers
and shakers. Nonr 23, he
look to...elevate the music
scene in Texas.o
t&y
2004:
*With
9ptem'in
2044.
Scrappy landed
two hit singtes in
2il!4, signed with
\liotator rlianagement, and is preparing to put on
his crew, G's Up.
lriike's tabel,
SwidraHouse,
signed a dis-
tributlon deaL
with Arytum/
Wbmer Bros.
ln Sep. 2004.
Paul's [abel,
SwishaHouse,
signed a dis-
tributlon deal
with Asytuml
lilarner Bros"
in Sep. 2fr!4.
blazin'hot
August 2004. Their
singles, &ad t p
planr to spend
deb'ut, ?}e lc*e
0rrer, ir scheduled
for release in
*ptember
'Get fune
96's Teddy T,
Sgad Up slgned
wlth Sony in
Tritlvitte
Crunk ln Yo
ctique he was a part of disbanded. He signed to Universat Reccrds in early 2004 with
the hetp of his management,
two
the surnmer
ctubgoen ta
After Luc-&.rc dropped his
first soto album, the lconz
hwer
Itay 2lX)4: "Allke Jonec'
future is brighter than a Lil'
Flip smile in the sunshine...
in the meantime, he is
pefiaps the most accessibte
artist in the industry. Feel
free to call him on h'is cett
at 281-310-80(X.'
anrrently working on
hi: debut album"
encouraged
"Slim Thugga, muthafuckao is the hottest
new cornrnodity at
Star'li?kl lnterscope.
His album, Alredy
Platinum, is slated to
drop in late 2@4.
touring.
"
(rtti'c
Spring 2005.
2A03:
third LB
Llfe, is his besl
Yo
effort by far.
There's good things
to come for this
ilemphis rep"
ilay
ZA(M: "Putling up
to a video shoot in a
After releasing a successful solo album
through independent
hearyweight TW, Yo
Gotti's group the 8l.ock
Bumaz signed with
Cash i,loney1 Universal.
ln additbn lo his
solo deal with Def
black Senz and customized throwback.. . Young
Jam, Jcezy's
group, Bolz N 0a
Jeezy is confident that
his future in the rap
gane is already secure."
Hood, signed with
Bad 8oy Souti in
August 2q14.
OZONE IIAGAZINE Srmruarn 2004
27
can deal with it. trrn.:,okay::With]ifd.iiVinj::ai.i.Fls for .,
the rest of my.r1ifer,il.'rlt,,rqrvly9;l{Arniggli like me :r
wil.[ be [ikel,::1.'.Nah;rrfijik,r!hat:'.{:lt,}n€hJ.l drive this'
bus todayirbilt,:ilh,:.C04i1a:t:dolthitl::h6,.re
and turn ai
negative'situatiQn,rintoa'positive;,1,':.::ir','.:i"'':
:':
r,,
rl
r,'r::',',
You've got such a thick Southern voice, lrorti do ,
plan to extend beyond this region?
'Cause of the words, the lyrics. I mean, the South
is runnin' shit anyway, but this is real music and
real situations that go down everywhere. Niggas
in Cali are doin' the same shit that that l'm doing
down here, there's niggas in NY doing the same
shit. lt just snows up there and we always hot,
but it's the same shit. I bump Jay'z, Fat Joe,
'cause real niggas are atl the same. You've got
the flaw-ass niggas you ain't gonna get my shit,
just Like you got the flaw-ass niggas that I ain't
gonna get atong with. That's why I don't come in
this industry tryin' to make friends 'cause I realize
it's buttshit. Real DJs that pLay my shit and love
my shit, I'm friends with them, but niggas on that
other shit? Fuck them. Rea[ rappers that wanna do
songs with me that's down with me, that's coot.
But other rappers that's just tryin' to catch my
l:qgion, fuck 'em. And I know that now. I ain't no
,
ffjendly,-asf,njgga no more. Chris Lighty was tike,
'i66ff.iq!fa$]r5!r [Cent and G-unit]." Nah, nigga,
I'm strtighg,.ir:liqinr:!,tge'! to where [50] at yet. lf
,ygq,,,5.tqp,,r'tbrta,.ni.9$:,!efore you sell records you
:tdok
INTF-RYTEW
& PHOTOS:
halUaki.n' shit-eater. Once you done
.
less I done moved four or five quarters already.
JULIABEYERLY
So you've got five kids? How do you balance a
family life with your career?
Wel[, I ain't doing real good at it now, 'cause my
ermany James, who previously released
independent albums in the Southeast as
King James and Jo-Vicious, finally settled
on an appropriate stage name: Dirtbag. His
major label debut, Eyes Above the Water,
will be released in early 2005 on Cool & Dre's
Epidemic/Jive Records. The album features
Three 6 Mafia, Fat Joe, David Banner, Trick
Daddy, Devin the Dude, Young Buck, and his
clique the Gator Boys, among others,
What's the meaning of your name, Dirtbag?
Reatty, it came from 'ot girt. I used to dirty up
my ctothes and come home and shit and she'd
be tike, "Oh, you tit' Dirtbag." But the real
meaning of Dirtbag is don't ever forget where
you came from. I was doing real bad at one
point in my [ife, I was a real shit-eater' Shit was
not exceltent. One of my homeboys would let
me rest my head at his house. I gotta keep that
title over my head: you're a Dirtbag, nigga,
ke,A,
s'rrved,t$ee.:!t,:f6ur,.ptatinum records, then yaq::r,,::i
sleitrrtbiilreiii,. lxg..: aiie ain't the same a! thg:r:.ii
street game,'brit:'i'tuie':the same methods. I wont:,,',
step to a nigga and ask him to throw me a hatf urri.
and
don't you ever forget it.'Cause once you forget,
that's when you slip. I'm okay being the tucky
loser. Why? Because I lost before. But I atso win.
To somebody who's atways won and never [ost,
they could never understand that. That's why
it's my moniker, to remind me. Nigga, you have
been a loser. Nigga, you have been a shit-eater.
Nigga, you have been a Dirtbag, and it's okay
'cause you have the abitity to come back out of
that shit. Some muthafuckers crack under the
baby mama crazy and she ready to leave me. But
deal for any luxury purchases?
Shit, they ain't give me the whote two mil up- it's tike I always totd her, "l could be whatever
front. lt's potitics and buttshit. Peop[e ask me you want me to be, but more than anything, I'm a
that a[[ the time, though: "You ain't gone to the provider,ll,Thatis it. I might not be a father who's
matl and bought nothing?" Nah, the onty things there att'tlie-::t-ii.-:&p,r I might not be a father that
hugs 'em atl.lflEt{i;11g. I be smelling t!(q ,wqqd
I bought is houses and cars, that's it. I got three
houses that I grabbed up in Sitver Lakes pre- when I hug 'emt brpath stankin'. But'thry11l!1QW
when they get up ahd go to school, when'they
construction. I put tike 35k down, buitt a house.
come home daddy's.there to greet 'em. There's
Started off at 232k, it's at 265k now so hopefutty when it gets finished in February it'[l be up to a dollar lunch mgney, ice cream money, shoes,
ctothes, no,mattdi 1vhAt, I'm a provider. And of
310k. l'tt rent that bitch out for three grand and
pay my houses off,'fhat way I ain't got no bi[ts.
coui"se my.gifl say, "Oh; those things count, but..."
You gotta atways find a. way to eliminate your At the end of the day, that's what reatly counts
bitts first. I don't really spend money on luxury: '.!hough. When my kids grow up, they can say, "My
shit, not until I setl sQne.records. Sge, your ad... daddy providCd:,fl Hq:was a drunk crazy shit-eatin'
vance money is your flip money. Betieve me. !:d 'i,muthafqqksl;:biit,tietrovided. He wasn't there all
rather live broke and have these cribs. I went the time to tuck us in and read us a story, but he
to go get me a Rotex, right? They shut down all provided, Lights never went off , betty was always
the gates, security came o-ut;-and they showed fed, shoes never started tatkin'. You know what
it to me and totd me to put it on. I said, "Bitch, talkin''rfhees is, don't ya? I had a couple pairsrof
how much it is?" Forty grand. I said, fuck that, those mysetf. Sometimes I just put 'em on to remember (laughing).
l'm buyin' me a house. Forty fuckin' grand?!?
woulda got it for tike twenty, twenty-five, but
forty fuckin' grand? Man, kiss my ass. That ain't Aside from your fdmily, what other things cause
worth it. I'd rather go 'head and get md some you to lose focus on your career?
cribs and pay the bitls. Once the CD drops and A tot of things get in the way, but it's like wood to
I se[[ some records, that's when I cdn go get the fire. Att the shit that gets in the way helps me
some chunks. But the advances and the pubtish- write, !q,ligotta take the good with the bad. Hating money, naw. That's flip money, 'cause you ers get in the way, there's niggas you gotta chin
I
neverknow. r'd rathertheshitpav,:::ryjl,
ff
:::!h.H:i;ffirffijiHi,1,x':?:,t\H,;l
what sounds better. You know, that realty gets me
pressure and fatl off, nah. I done been there. Why is it called Eyes Above tiir'Vrii.{iil:.:t:::,t, ,
Usua[[y, muthafuckers who win atl the time, lf you got your whole head ab-o.re lhg Wq--tg.!', hot, dawg. I hate to be tike that, you know, I ain't
they lose once and fatt off. Shit, I been fuckin' you just tryin' to suryive. we ainlt try-inl$li-iii5t no argumentat type of nigga, but when we get on r:.
up my whole [ife, so I'm used to this shit (lough- survive, we creepin' right now.:fu€,:lti:ii:art.i:Ei€1::,:,.: the phone and they tettin' me something that re... ,,r:''.r,'r,:'
ing). But I atways found a way. That's where ass nigga. Strong niggas just suMveirb.$.j.:S.iiiesft:,:iA.tly gets me hot. We on the right page now, but a[lr':i':,1:1,,.,1,,1,:
the Dirtbag comes from. l'm the lucky loser, the niggas creep and go through the heit'and iiialG:ttthat {rustration comes straight back to my musicr,::1'1,,r11,,.
a positive situation out of a negatiV-€'That's the:it]tt:t!d:l!!rtle.a!ty hetps. I'm kinda gta{, tfg!, f.-u5:5el::,,!!p-i::ri:i:,r '
fuck-up that makes big bucks.
difference. A strong nigga says, "Okat;rl knowrrtt Shilt(&rliapien, but that's jurt my:wiiy,o{:$i!inl,j!.1:,; ''
'r,rrhappefu,,,Eien.diamonds,gqt,,{sufiiJ..ih:'thdr'iii]iii::,rlr..:r:::: '."
Speaking of big bucks, did you use your $2 mil this is what l'm doing for the rest o.f.:,'r,1.n.y. life.':l
28
OZONE MAGAZINE SrprEMern 2004
How were you able to put out an ipdependent
album when you're stitl technically under con-
tract with SRC/Universal?
said they were ready
, ,'.'..,11,;l5RCl
provide me with assistance
to gci:r,ahead iihtJ::::,
to retease this un-
we go with the same buushit:tAl!.i'Vef,:rqglit;
qonna qo ahead and do this
r like, fuck it;i{m
it, I'm gon{t9'g6,q|sad:aryd,,,,q9:!hit,:
d,jtrixtdp,e;:lll s beet},'ruitiois"that,l,lVe .
jt':a .muthafuakii',,lhtrjat,,.btti a itot
of conii
don't understand the industry. They
sat
sry€
r€-release. .l'
ready to 6 a compilation with my
tonio Tarv€i: He's the boxer who knocked out Roy
Jones
s\
Jr., for those that don't know.
did yeu b€eome part of Hypnotlzed.
an extended member of the camp.
,rever at",:LoUd;I
ing
back
Like
I
ama
ta.lti
an:43:faa:tr6,l
*iiiiiiitrr;r
tipetlatlly lng'about speqific DJs at 102 Jqm.z".l,:m
]:ttr,:wngn'1,] was lirdi6 I didn't give a fuck about
Maybq rl::v,9:,,,,r,iabou! whoayesr.:jtuts
:r:adio..r:at,a!! llye been signed with a major for
'table.,ifIf ':ioul&:'tetti*dl,mdi,,&t*e@4f::rii
rndo.. I iiilL'
it-itL "table.
'VOU1r.€:tettl
i..] rrr:thiee:,ieAi;inow, and "spins" is att they know
titii
lllt*
..a:::r...,a,,:.
a.:,
trr'r,::,rtpi,th€re',in'New
York. They don't know nothing
::':l:r.:,abctut"mutha{tiekin' down South music. Al[ they
,ta
ror,hii-i:il*o get
ikn6w,is.drqcumentation. They've got their MBAs
I don't know. You tett me?'l'm gonna keep it rea[: aren't being more persis.tent and they're ietting or whatever, fuckin' degrees, b-ut
I have titeratty begged some of the OLs atiOrtando me, "l dont know'what's up Mth Dj such-andl understand the streets. The oniy
of
keep
it
ifriig ih"t
records flop like a muthafucka. They see spins,
larv.e ,!tue enitrqgh. I
9n4, 'chirnilts::be mv
and perform, I bring artists through from out
they don't
reat with me. lf-my shit ain't
bangin', tight
songs. Labels throw shit aqainst the watt
no more. lf another market is witting to embrace feelings. Just don't lie to me. lf we ptayin' on ture has reatty fucked up the whote rap game.
me, then I'm gonna put atl my energy and focus the same team, goddammit, and we wear each A tot of groupi come wiih one hot-ass song and
:i^+^ tL-+
ll., h^', hI hi-+., f-^C^"+h
i^--^.,l^-t.
-L:r
^rL^-^-l
-..:r up in my :that's,r,ii'The tabet just mat<es erioqgh mqn9y.lt,a,,,
jerseys
and
shit,
don't
suit
-^-L^+
t$y.,,!oy DJ Dirty from South others
.ape with me and he's got my jersey and [ie to me. You'd be better off just to recoup and make a profit. They don't give a
,ihr,,5.otlth'r,:rr,tabt
better in certain
what'i'going on. I just
"Crabs in a Bucket." I had 24
just last week. 102 Jamz has had
:'.Ye,,gA!ito
fans; though, and that's atl I give a fuck
don't give a fuck about this corporate
.dQ,i!',',,infiasliucture and that's why I did what I had to
llaiart:r,darYOu can pick up the bootleg atbum at tocal
f{!.fr,r1;r,$.9n.h pop stores or you can order it online at
'l got www.parramo,com .
,Jliql,in:you:i.:.,.:,to5ial
ir,9e.,!!j!griliot,,,t,::.,iabdqt:,,l
OZONE MAGAZINE Srpra eea 2004
minute. [Att the major tabets] were trying to get
me, but I was kinda scared to sign'a rnaior deat so
I decided to try something independent,'Honestty,
my finances weren't the best at the time so I was
just going to chitl for a nlnute but the streets kept
calting me. I put out an atbum with Koch on my
own, but it was an atbum of songs I had already
previousty done. I just threw together a bunch of
otd songs and put it out there to let peopte know
l'm stitl here. When I reatty decided t0 come back,
I recorded
"l
I
i
.
Smoke, I Drink."
The first version of the song was you, Li1' Boosie,
and YoungBleed, and it was called "Do it Big."
Why are there two versions of the same song?
Originatty I did the song in Baton Rouge with me,
Boosie, and YoungBteed. At the time, I had just
signed to [Roy Jones Jr.'s tabet] Body ead, and I
came here to be more than just an artist. I want
to devetop other artists because I've been there.
I came here to Body Head to structure an atbum
that coutd generate revenue and a [major distributionl deal for us. I put the song out there, but
Lit' Boosie catled me - and that's my dawg, we
live in the same area together - and said, "Man,
this song is hot, do you mind if I perform it?" I
totd him I don't mind, because I can't perform it
right now. I gotta put together the lBody Head
Bangerzf atbum so I wasn't reatty abte to capitatize off the song as a solo artist. The radio in Baton
Rouge burned the song and started playing it, and
he went out and performed the song, so peopte
automatica[[y thought it's a Lit' Boosie song. lt's
atright though, it's ioot.
Now that you took Lil' Boosie off the record and
added the YoungBloodz and Roy Jones Jr., do
you think it'll beiome a problem?
Not for me. Once people hear, they'tl reatize.
shot a video for the song that's on BET now, thanks
to God. My video came on, it aired yesterday, so
peopte gon' reatizei,Ti-u€:Sb€i.qftns witt know. Li!':..,
t
,
:
I
The golf cart hesitates and the driver You were originally signed to No Limit, right?
I slams down the accelerator, causing Yeah, I was with 'em for a coupte years.
I the..,cart to lurch forward and throwing started out with C-Murder and we became the
I
me violently.trgainst the metal frame. We've best of friends. He was the CEO of his own label
narrowly avoided getting stuck in a large mud but he got into a few probtems and I went to
puddle. lt's unbearabty,,'humid, my elbow is No Limit with his otder brother [Master P]. I
throbbing, and now I've got.fffcts of mud all never reatty fett comfortabte with P, but I was
over my clothes. To my right, 'htif:mgre than doing what I had to do to put mysetf in a posi::i::i .
t'ttlt'l:::,1:r-.
three feet away, is a pig. Yes, a pig':'ilE{just tion where I could teave. Everybody understood
"'r."'',,ita€ of them, but a whole bunch. To my liift
1f .., !l.t,et. I put out a couple successful atbums at No
a fiiih{gd.-in area containing hundreds of odd 'ilimitr.,fhe first one sotd about 600,000, and the
triangiilii::$qped huts. Each one contains a second gnesold about 900,000 copies.
:''..:.::. .
chicken. Soriidvih€,re.nearby, a rooster crows.
I thought thev onrv did thai in the morningt
.
)lot'il'i"':l^;l.,ff"1;I]::tl:t J:i5.11* ''
Boosie been puttirigl:qul'.a,jtot:'.,qf sgngs and
l
lov€.:r::
'em, but "l smoke;:].iDfiffit'.,,':.,.!5:.i.completelydiffet:r.::rrr,
ent styte. This sofg,,rnQSg:Af!:.1}mFressjon becaugg,, t,.',,
of me on the hoo(:1f;h16,:i$.Ci-$twasldone two weeke,.,:il
plenty of time to vent and even give me a feWil:l'tmjnute. " I had put up a brick watl around
.::t,,:.:::. lravina
rca II falt
gospel mVsetf,:because
he's mara
more lilza
like ra ancnal
felt litra
tike awanrhndrr
everybody rrDc
was
boxing +iac
tips. Tlrnc
Turns arrf
out hatc
'ni.ii.2it{..har'
1-.
than an advocate for smokirig and gonni.bl6,',,tl&e,tMaster Pl. lt took me some
'',':rdfttikilg.
".i"i Keep
in mind while you're reading time to grovirirjp::and reatly start underthlf:,(Ad*:every sentence is punctuated with a standing the buiiiliiis,:side of the game.
Loui sidriarflavpi.ll """" know? "
decided to go with Koaht{:F,!::dsl for a
.:;:1.llr:ptS.
I
:
30
OZONE MAGAZINE SrprilaER 2m4
'r::::i::::it
.
before Boosie and'rY'.Qtrn$B{ia6d,'€ven came ovei.. I rirr'i::
had the song sittingin*tt!?,'3.,,tgilio with my verse on'i.':"i:
it. The first version had been doing great. but it
just a regionatrgll$:,tTheie's a tot of peopte
out there that don't know Litt Boosie and peopte
that forgot about Yciiliiggtsdiliind being realistic,
at the time I wasn't at my best as an artist. When
teft No Limit, I tost a tot of the muscte that I had to
make certain shit happ€iit;. I had to go on faith and
just do it. When we got ready to go to the big radio
was
I
This was not in the job d;itf!p,!io-n when I To be honest? as faiii iti,tgncerned, it was
signed up to interview Mr. Magic, a m,ember the devil's favorite sin: vanity.''P..jicit-,,io.caught stations we had a probteriljgettl09:it ptayed. When
of the Body Head Bangerz along with Choppa, up in himsetf that he never had time to pay you go to places like BEl!]:th€yiie:.like, "Nah, we
Roy Jones Jr., and Trouble. Their single, *i':',,attention to his artists. lt's so important to., not fuckin' with that." lvtd,,bgiig::ln the industry,
met a tot of peopte,:.i:&dii!r|:i:.tot of peopte
Smoke, I Drink" is a certified hit record, so pay attention to your artists, because they're
'1.ilone
when I was invited to Roy Jones' ranch, I'd the peopt€Jhat's making it happen for you. that:have respect for me, caui6.6i6st of the artists
pictured something large and glamorous - not Remember, he.,1ryq3 the CEO of No Limit. He seen me in:videls back wheri.::ih$y,'first wanted to
,t:,.,,., an actual ranch with real, live animals. But shoutd have never b€en the top artist, because rap. I was doing'it:,as a kid sojigiilF€d that respect
'''1'11.1,11.....
here I am - in rural Pensacola - sweating. Roy, he never had those capabitities. That's where in the streets, arid l,itive othet,raftists,!hat same
'"tl.':.eh.eppa,
and Magic are running [ate, filming he lost his structure. lt was c'o6l:.When he was type of respect. Because oft[a!,.,,[;r1vas abl6,to catt
'Dri,E:t9.,,€," a DVD to coincide with their up- the owner and he rapped too, 6u1:..u-&.9! he the Youn g B loodz and sayt]l:.:ltJgY;:,.man,i:,,1.,.got thi s
coming:Biily-flead Bangerz album.
decided to be the main artist he got himidtfttt hit song, but it's a regionat'soir$'.l1lgtt!j!6*;1fCiil|: r,
rian,get on it, l'm gonna put Rily:Jon(sron it to gr"il6.:,:i. .. ..
f"k"d'p'
it more appeat." lt's a marketing strategy. This
on." th"y"ii&rarrived, the brutalty ho,
is busine3s..:Ysq,.qan't just throw shit out there,
you have to haVelaFlar:r, Wett, it opened up doors
through the interview, the
.:,:-.
:
.
"Mr. Madc came down and
askefme to sive him an
opporunity at fiody Head.
oic'e t. gavdhim drg gpp?.tljrutv- he oroved that he
deserved'it " Roy Jones, Jr.
j
.:
I
a major deal with Universal, and the Body Head
Bangerz atbum is coming out on September 28th.
That's three days after Roy Jones' fight.
my day up." That's what I do.
Your phone has been blowin' up since the
video came out?
the Body Head Bangerz a compilation CD?
Aw, man! I ain't got my phone with me right
It's not a compitation CD, I don't wanna get it now for a good reason. I teft it in the truck
confused. lt's the Body Head Bangerz: me, Roy 'cause if I had it white we were doing this inJones, Choppa, and Troubte. lt's a group album, terview it woutd just keep ringing. Every time
and we've got other artists on it, tike 8.G., Ju- hang up the phone, it's, "Hetto?" "Yo! I just saw
venite, the YoungBloodz, Lit' Ftip, Bun B, Mike the fuckin' video!"
ls
I
Jones, Petey Pabto, Lit' Boosie, YoungBleed, and
Fiend. We reached out and got a lot of favors from
people, so the atbum is comptetety packed with
hits. There's ten, twelve bangers on there,
and
it ain't realty no tabet right now that coutd do
what we doing. We've got the champ already, Roy
Jones Jr. He weatthy, he atright, and he btessed
us and put us in a position where we could "Do it
Big" for reat. This is a CD that's gonna make history. Trust me.
What made you decide to sign with Body Head?
[CEO] Roy Jones is a good dude. That's my dawg.
Outside of anything else, I fucks with him, for
rea[. He's a young black entrepreneur, and so am
l, so two heads are better than one. Sometimes
you need more than just structure, sometimes it's
about who you know in the business. Being with
him opens a lot more doors.
Okay, let me be a skeptic for a minute. You're
talking about God and staying positive. But
the hook to your single is, "l smoke, I drink,
I'm supposed to stop but I can't." How does
that uplift people?
I'm an entertainer, that's what I do. I make music for the people. Ctearty, my message isn't,
"Go out there and fuck yoursetves up." My message is, "Be aware of what you're doing." You
know how they say that the first step is to admit
it? Be aware of what you're doing. You know
that you smoke and drink too much, so be carefut. lt's the people that are hiding it that are
fucked up. Shoutd your mom and dad talk to you
about sex, or not? I feel like you should talk to
your daughter and son about sex, because if you
don't, somebody etse wit[. That's just reality.
"Seimetirnes God humbles
us. This is a qame that
God is plaving, aild I don't
mean thaf in; cruel wav. I
mean that life is strirctured bv him. Ffe's savi{rsYou'rd still mv child: ari'd
you
have a idt to db for
J.J
me.'" - Mr. M^S.
feel good when they sing it, and that's what
'it's for. Not to hurt nobody, not to make people
drink and drive. I'm just making a btunt statement. lf I'm wrong for doing that, then kiss my
ass. I do everything for God, and only for God.
I'm not living to ptease nobody etse, honestly.
For reat, if you don't like me, you don't have
to listen to me. You don't have to come to my
concerts. We can have a long distance relationship (laughing).
Obviously, "l Smoke, I Drink," is turning out
the hook based on your life personally? Do to be a huge hit. But it's on the Body Head
Has Roy's attitude changed at all since getting you feel like you smoke and drink too much?
Bangerz album, not a Mr. Magic album. Do you
knocked out by Antonio Tarver?
::1....,. l'f m n6t the type of artist that sits in a house and think it'll hurt your career as an individual
Yeah, I think he changed a [ot. 5ometimei..G6d.,,::ir,rr:ites.about att my problems. I make music for artist?
humbles us. lt's like mommy and daddy say] some; ".'thq,pebillt. Do you realize how peopte react off Nah, [isten. lt's alI about marketing and having
times God smacks us on the ass. This is a gariie thii.songwhen they hear it? I wanna exptain this a formuta. See, so many artists just concentrate
that God is playing, and I don't mean:,,that.:it1,A 'to peoplC, because l've been asked this a tot. on getting one hit and then they rush it. I make
cruel way. I mean that life is structure.d.:by,hiffir,:..gel...into an arena, I open my mouth, and peopte each song a hit. I hate to sound cocky, but God
so it's already written. He's saying, l1Ar,e':yq,u.r.ly!!!r:' lose their minds. They having a good time. No- is good to me. For some reason, I'm in great
ing to accept what I have to offer you?;.You:,haVe'a: ..body:wanna hurt or kitt nobody, because they're favor right now. This is my gift from God. God
job to do for me. Win, [ose, or draw;,:,you!,.re1,sLitl hqylng a great time with Magic. lf you can find blesses some peopte to sing, God blesses some
:'sorne kind of flaw in that, that's fine. l,m
out people to dance, some peopte can speak in front
r ,::my Child and you have a job to do-rl .For.ririhaigvdr
. ' redgbn,.God made i! happen, an!, lyhat mikeglnii: here to entertain. I don't get on the microphone of miltions. God blessed me to be abte to make
:
music that'l[ get the peopte in the club dancing.
: . :,:ap,pl9{a,te Roy more as a humatl:bei!g::At1d,:ii.ia-, . and say, "Go get drunk and fuck yoursetves up. "
,:.:.:,t{fjend,,ris.that he went down and,,.gqti.batk rfp.ilnd:lr I say, "l smoke, t drink, l'm supposed to siop ln the
whole No Limit camp, I was atways the
,].,.:',fi€ls're.ady tO.make.that up tothe'$rbildl Thatl5;.;but lcan't
l.:::llr:n adog, llove women, l,m ad- type of person that people looked for. I have
'":.'wiAti:mek€shimachamp. Lett,'no!..{q.qgei,tt1d1',..dictedtornoney,cars,andclothes."That'sthe
that type of appeat, that's my btessing. I don't
;:.'1!!ih!rnmQdAti, rvho's known,as'thegieatli,t o dr average perron thatls living today, and what
chase a hit or a song or a check. Checks come
,r:.,-'1n,.lhe wortd, had seven or eilht toiiei,..Wiirnlng:
.:do,'i! cater to ttre people. I try la,struqttre my to me. I do this att day [ong. People gon' reatize
:::attl'the time ,doesnf t make:vsu::a:champ,1lWfiq!.' ,:music to cater to'a'certain type qf perlon Who
that in a minute, 'cause that's how God wants
niakes- you'a champ is to [ose, aird then,.W,in'and.,.','t"t ,nu, I've gotta change my.muticrto,ft what it. Ya heard?
Is
I
I
ov.€(coiire adversity. That's what:.mikes,your.thei r.,lsomebody etse thinks? Who gonl,piek',the music
pe6pt€'s champ: 5o, for whatqv.el.lii4son;,l.it..liap; . foi- the people who don,r tisten.te. artists tike
peRed; What I love about him ii thdt:6ds r€ady.,to Barry Manitow and Bruce springiteen? Whether
make it up to the world, and this is what I expect or not peopte tike what I do or agree with what
people to see in him and love about him. "l think I rap about, I don't reatty 63;'91 ...':,' ,.:.,]:r.
he changed for the better. He's reatty a probtem
now, because he understands what defeat tastes So in reality, what are your addict{ons?
tike. He was never abte to accept that before. My addictions ur" ron"y, cars, and ctothes, but
Now, he knows what it feets like to watk out
I don't use those addictions in:a,:,irarmfut way.
an arena and see everybody tookin' at him tike, Let me tett you something: when you humble
-in
"Damnnnn..." He's deati with that. That can't hurt yourself and put yourself
iriiosition wtrere
pride
his
no more. Now he reatizes that in order you're witting to do whatever God has for you
to be the champ, he's reatty gotta show a[[ these to do, he brings things in your tife so yo, can
r'.
of
people what he's capabte sf...That's why they enjoy them. I didn't do anything wrong for
love him. I tove his energy rightrnciw, I love to be this money. I didn't rob or kitt anybody. fhe
around him. His aggression fuets,:me. lt gives me reason I have things ,nu, ot6*r...peopte don't
confidence. llmtheshitatwharldo, andhe'sthe is because I rety on God tsvoik his blessings
. shit at what he does; so welre.the shit together. through me. Remember, lcantt tive my tife f6r
It's coot, it's a blessing that l'm abte to inspire you or anybody else. We're God's chi[dren, so
::'.,:fij.lr.r.:lvjth ilus'ic.; I m-ake the'type of music, that whatever he puts in me, I attow it to btossom.
I
makds:rpe.op-1et mi{.9;.]jrf1:.ma!re1,Lrlm.,want lo.l,fuht. might make music and hear peopte say, ,,1 can,t
His. energy jumps over the Richter scale when believe he said that." WetL, maybe that's my
he hears my voice, and when he hears himsetf on job. Maybe God put me here to make this song
our shit. lt makes me feel good to give it my att. io make peopte think. I don't what it's for, bui
With Body Head it ain't a.financ'iat thing, it ain'l ,,l,t1",,,t*hat I do. lt fett good to do it, and peopte
aboulmoney. lt's aboutfriendship and famity. lt's lovo jt. so, I reatty don't care what one person
not just about the busine-ls, it's about rneaning saysi'caule they're not the one deciding if I get
:. , Sornelhing. People geejng- and understanding and into the Kingdom of Heaven of not. This is how
,.:rl,.,feelin9,Pqopte cdtt:ine::now and iay, "l just saw tive my tife. You think I give a damn about what
' :,touf'rVidoA;.man. lt.'s cfunk, dawg, you just tifted peopte think? Peonle
the song. Everybody
I
..a::'U.'
lwe
Anything else you want to say before we finish?
I want to say this to atl the peopte out there
that's finding some type of reason to be negative towards me: God bless you. I would atso
like to say this to each and every one of you:
get a personal retationship with God. That isn't
onty for the haters and the skeptics, that's for
everybody. Every fan that's listening to me, any
person that's ever believed in me and heard me:
get a personal relationship with God. A personal
relationship is very, very important. lf you don't
u nderstand what that is, it's a direct connect.
You don't have to go through no preacher, no
church, nobody etse. You can go straight to him.
I have a direct connect to God, me, mysetf, and
I would advise everybody etse to do the same.
I work personatty for Him. I might sound crazy
or I might sound like a lunatic, and that's what
makes me so good at what I do. Get a personal
relationship with 6od, trust me. That's very important. Just keep doing what you do. lf you're
a hater, be the best hater you could be. Don't
just stop hatin'! The more you hate, the bigger I get. Tett the haters to start writing some
artictes on me. Tatk about how horribte I am! I
need y'a[[ to do that for me, 'cause atl that is
gonna make me a superstar. Body Head for [ife.
I appreciate y'atl.
OZONE MAGAZINE Srpnrvrern
2004
31
Unsigned Hype in The Source in 1996. 5o actualty
we had a littte Something going on, so white I was
in Attanta working for the AP I was also hustting
our demo around. The first people that actuatty
showed an interest in Crooked Lettaz was lchiban.
Me being the impatient cat that I am, I was gonna
go and sign it cause I fett tike being signed was
uttimatety what we wanted to do. Lucki[y, Banner
talked me out of doing that, and it turns out that
lchiban was probably a step below Tommy Boy.
But, woiking at,'the AP just kinda gave me a feet
for the every,day 9.tq-5 grind. I just didn't tike
taking orders::':l didn't [ike working for somebody,
man, that just wasn't my forte. And the rap bug
had consumed rTr€'so:Inuch that I couldn't think
about anything e[se. I was at work writing rhymes,
I was at work catting 'A&Rs, I was using their,fax
machine to send over press kits, I was using their
FedEx number to send demos. I was basically just
using that job to cotlect a check.
:€
'''
i.$ {B
.':::$
r:
Since you used to be a journalist, what's your
.rl opinion on hip-hop publications today?
(laughing) Let's put it tike this: hip-hop
pubtica-
tions aren't supposed to be used as a propaganda
tool or your own ptatform to personalty attack
other artists. A hip-hop magazine isn't supposed
to be a tool for you to ptace your own personat
gripes or beefs in the open. And of course everybody has to make ends meet, but a hip-hop mggazine shouldn't be used as your.own personal caih
cow. A[so, there's pubtications that call you and
the first thing they ask is if you.::Wahtr::to buy 44.',:rt,,,
JIj:r{,
vertising. I understand .you've gottei make: money';:l:::r,i:::r,
but damn, man! The!'re nott:eVdh,.,:jhterested in
whether your irusic :i:i,,good 0i noL:.:rWhen I catt
magazine5 tiyin' to geir::Some toVe on rth6:r:editoriat'
I
,'.
side, dori't j'uit instanlii.,shoot''the ad"ihit,'1q me
right:off the bat! A maggitne sho0.ld:r::have th6::rirli.':'
.t+yPq!Y
tegrity to
here would people know you from?
On a national tip, I wds introduced to
the game through the group Crooked
Lettaz. [David Banner and l] signed to Tommy
Boy in 1997 and reteased an atbum catted Grey
Skies in 1999. We had a critically acclaimed
atbum that was commercially stept'on because
Tommy Boy sucked. They continued to suck and
subsequently went under. That was my introduction to the game. The rap game isn't a[[ it's
cracked up to be. Once we got signed and got a
deat, I thought we was gon' be on easy street.
learned the hard way that's not the case.
recognize"fhat we were from Mississippi. So,
we were prepared to take on the weight of the
whole state on our backs cause we fett like we
were underestimated and overtooked. Our demos was getting thrown in the garbage by A&Rs.
They'd tett us that when they saw the postmark
on the package they'd put it in the garbage or
just woutdn't listen to it.
The first time you went.,to New Yor.k,'what
wastheexperiencelike?
', ,
.
.:
It was cutture shock in a sense. I didn't feeI any
of the discrimination or animosity, that a to! of
Southern cats say they fett from New York, but
I kinda got the feeting that they liked the excluWere you a solo artist originallY?
sive club they were in and didn't wanna let in
I started out in the mid-90's withrra group catted
The Network which was myself,',ii1ly brother B- any new members. And the tabets definitety had
Dazzle, and this other cat by the'r,,nane q[,JC, no idea what to do with Southern music, at at[.
I
from Detroit.
lt
was kinda experimehtal:]:l'Ws
were a[[ part of a clique catted the Stowaways,
we a[[ met up at Jackson State University, and
Banner was a part of that clique. We''d'get
together and freestyte and do shows here and
there, but we wasn't reatty taking it seriousty.
We waS kinda tike a Southern Wu-Tang ctique.
We had peopte from Nigeria, Chicago, Detroit,
Attanta, and L.A. in the ctique;:Bahher actuatty
produced the first solo,ieceirdr'that I did outside
of The Netwolk; and that's who we decided to
hook'up as argioup. Basicatty, he was digging me
as an MC and I was digging him as an MC. There
was nobody representing for Mississippi so we
decided to do it.
Wh€n you chose the name Crooked Lettaz,
were you worried about the pressure of representing a whole state?
No. I mean, we wanted the pressure. That's why
we named oursetves that, because wherever we
went they had to say our name and immediatety
32
^
a
rtistr,:ii :Eoa*:r''!:,
be,.!1!!Ve,, I
n
what
".,
,
golta make,rmongy;,,butl, l lie.
:hadi::!e,Veitllqats,':eall:l:::r':,i
me and befoie they wgii evenriworai€d::$butr:ihowr:rr:r,,r
rfiy music sounded they were' shootinl 'me,r!h€y:::ad,,1 ,;:
rates. ' That instantlv ,,rilakes .me,, net '6ven rWanna '
,
fuck with ''ein.rlVhen Our,Glais is on' itr,] feet'l,''
want to g;t.back into'ihe publishing aipect of the
game. i wanna put,out a.magazine, either !afget-,
ing MissisSippi artists or maybe a magazine that
encompasses the Southein tifestyte. f'm thinking
of a Southern Jet or Ebony.
How did you get in Unsignqd Hype?
We had send in stuff before'and never got a response, so I was reatty disgruntted. I was tired
of it, but Banner kept engouraging..me like, "Go
lslde from*aPpJng, you were work-ing at the ahead and send it, send it." The first demo that
we put,together in 1996, I was [ike, "Man, they
Associated Press also?
never gonna get this demo, we don't need to
waste our time sending il in.'r He wai,like,, "Dude; '
just go ahead'and send i!. ".So I was a!'work gvery '
,day and I' made'these, [ittte flyer:i,., press reteases, '
"' and I printed on them in big letters:'i'lDavid Bannef '
and Kamikaze gre coming!l''lld,sit there'a-nd fax .it
tike forty times. As the days went by, after I sent
the package out, I made a new flyer that said: "Attention Unsigned Hype editois:'' David Banner and
,Kamikaze shoutd'be on'your desk right now." l'd
fai it like jsix, seveh.times in a row, wait an
l
'
,,
,
,
Press was reat btand, btah, btah, btah
type stuff. So fresh out oJ,cotleg€; llm
in Atlanta covering the Otympiis'{or the
Associated Press working crazy hours.
didn't know anybody, I was attaf:rtfrom
home, away from my tittte girt. But, this
was right after me and Banner !!al{got in
I
AGAZINE SrprrMern 2004
OZONE
say,, :this
he's doing, s6:',Ilm gonna do,'a::litgryp$'rlii;rii:,,5ome r'''" '
.magazines aaei:like, "l don't give''drfdtk::lvh:O::ryou"-'
aie. Witl'yoir buy-a0 ad? I witt put you in my magazine no matter'tiow:Whack:,yoq,,arq, " I know peopte
'ill]::::t:]:]i:]t:u:,],.
"Karnikaze is one of the best
lvncists in the f,amq period.
Not onlv can 6e rhvme. but
he's been'grinding sd long he
also hasthe buiiness sense
and media saYw to back it
up." - David Banner
hour, and fax it again like six, seven times. I bet
they were like, "lf this bastard faxes this shit one
more time..." I did the same thing with Murder Dog
and they sent a fax back saying, "Stop faxing us."
Anyway, Banner was down at Southern in school
and I was working at the AP Bureau in Jackson.
He calted me [ike, "Dude, we in Unsigned Hype!"
.l was [ike, "Dude, quit bulshittin'." He read it off
to me. That was a good feeting. At that point
thought we were finatly gonna get a deat, but it
lurned out to be 1997 before we actuatly got anything poppin' off so th'at was a real long process.
I
So after you and Banner decided to go separate
ways and do solo careers, what was your plan?
Based on the ctimate of the game, my ptan was to
put out the "U Ain't Hard" iecord ahd get a few
hundred spins and then sit back and wait for these
offers to come in. l've watched the game; studied
the game. I knew I had a hit iecord when I recorded "U Ain't Hard," and my ptan was to sit back
and finish the atbum, kinda foltow the same path
that Banner fottowed. Unfortunatety, the massive
industry shakeup happened at the end of 2003, so
my timing was reat, real fucked up. Nobody was
tryin' to sign shit. I got the record up to 1 50 spins
and I was getting calls from labets every day, and
I actuatty took a few meetings in New York but
nobqdy was really offering anything I wanted to
hear;'rlrve atready been fucked over as an artist,
by both a record [abe[ and a manager, so I wasn't
in the market for a deal that was gonna have me
tose my independence. My tabet Our Gtass is something I've worked on for many years, and I didn't
want it to fatl off into anonymity because of me
fuckin' with a major labet. When my video comes
on TV or my atbum comes out, I atways want the
Our Glass.name.to be prominent. I reatly want to
be a CEOrbeeaute l don't tike taking orders from
peopte. I resorted to Ptan B, which was to put the
atbum,out,indeiFendently; setl some units, keep
getli4grso.me,tplnsr ali radjol and buitd uP a buzzt
Wasn:,tith€re an
ir:tiit that claimed
Ain't Hard" from
you stole "U'
him?
Oh my God, yeah. lt was this cat named Factor.
don't realty know what the basis of the shit was.
He had a song a few years ago with a hook saying something about "bustin' heads to the white
meat." So when my song came out and started
reatly hittin', of course he came out of the woodwork saying that I bit his song or whatever. That's
just a common saying out here, tike, "Word?"
I
Have you ever really "beat somlonili',.hiil'iol
the white meat?"
Of course not. I've seen someone's head beat to
the white meat, though. See, there's Kamikaze
and then there's Sho-Nuff. Sho-Nuff is the [aidback character and Kamikaze is the aggressive
one. At the end of the day, though, to be perfectty
honest with you, l'm just trying to se[[ records.
Uttimately I want to make some type of change in
society and in the wortd, but in order to get my
message across to the people that need to hear it,
I have to get their attention first. lf "bustin' heads
to the white meat" didn't get their attention,
then I don't know what witt. Now l've got peopte's
ears and a nice buzz going on in the South, thanks
in part to OZONE Magazine and mixtape DJs dnd
prior connections that I had ffom Crooked Let(az,
you think your prior affiliation with Crooked
Lettaz has helped or hurt you as a solo artist?
A tittte bit of both., lt helped rne get some A&Ri
to take rhyrcalls and notice rny project. But at the
same time, you have a lot of people with an ignorant-ass mentatity. They're thinking, "Kamikaze
and David Banner donlt work together anymore;l
from what I can tett, he ain't fuckin' with him.
Do
Banner is successful and I haven't heard anything from this Kamikaze cat up until now, so
maybe I don't realty need to fuck with him."
I haven't run into that a whote tot, but it happens. Then there's some cats who woutdn't give
if we were at each others' throats 'cause
it's atl about money. lt's about business.
a fuck
Tell me about your new album, 2 Broke 2 Boll.
Do you have any major features?
Juicy J from Three 6 Mafia produced a track I
did with Nappy Roots. That's my only major feature on the record. I didn't wanna have any features on the record, because I think in the South
cats are setting records based on who's featured
on their atbum. Selting my records, first thing
a lot of cats ask is, "Who you got on there?"
don't have nobody on this muthafucka. lt's just
me. I don't need anybody on this record for it
to set| I stand atone. I got Nappy Roots on the
record 'cause they famity and the record kinda
landed in my [ap. Other than that, though, it's
just famity on the record: Tony B, Godson Royal,
I
Rett, att these cats are affiliated with Our Glass.
Remember when Nas came out and had only one
other voice on his record? Those days are long
gone, but they need to return. MCs need to be
able to stand their own ground. There needs to
be a law that you have to be able to hotd down
a whote album by yourself. There would be a
lot of unemptoyed rappers. A lot of rappers are
surviving in the game right now just because
they're able to get guest appearances on their
record. I ain't callin' nobody's name, but some
niggas albums be looking [ike compitations.
"'Too brr:ke t* ball'is my
mentality. l'm not gonnla
ftivolously spend riloney
on twenty
iars whcn I cair
I
t -'
onty d"nve one at a hme"
The welfare oF my kids is
way
rnore irnportlnt than
tl"trr
driving a big Fancy car to
irnpress' ior.'' -- Kamikazc
"Same Otd Clothes." lt's atready getting spins
Mississippi. lt's actuatty been received a lot better than "U Ain't Hard," and
couldn't have imagined that. lt's reatty catching on, though, and it's reatty a blessing to be
able to fottow-up a big song with another song
that coutd be bigger. "Same Otd Clothes" was
a sleeper song that came up at the last minute. At first I wasn't even expecting it to be a
single. The next step is to get a van, bus, truck,
bicycte, skateboard, tractor, whatever we need
to get on and hit every nook and cranny in M'ississippi, Atabama, Georgia, Ftorida, Texas, Tennessee, Louisiana, and Arkansas. We're gonna
promote this record grassroots, through retail
outtets and out the trunk. We'[[ go to ptaces
in CentraI
I
where they don't even know what
a
record
store is, and we gon' pop the trunk and we gon'
setl records.
What about production?
You're "too broke to ball," but what happens
Wet[, Banner did two tracks on the record, so if you make money? Does your image change?
for the record, I am fuckin' with him, and he Too broke to batl isn't an image, it's a mentalis fuckin' with me; That's my dawg and I love ity. lt's a state of mind. You coutd have mittions
him to death.
of dottars and stillrpe too broke to batt. lt's atl
about how you cafiy yoursetf. lt's about not
p6:you feel. pres3iire,,to *ti'rbl!sh. yourself as a flaunting your wealth.. When you see peopte
solo artist? I mean, people don't see you guys in the ctub buying',,Moet and Cristal and batin the videos together and such, so that's why [in', people basicatly do that shit to show other
peopte what they've got. I don't have the time
they might assume there's beef.
lmean, I'm a man and lwanna make it on my or the energy or desire to show off for anybody.
'Oyn and stand on my own two feet. When have I don't have to prove anything. "Too broke to
batt" is just a mentality. l'm not gonna frivoryOU:: ever, se€n. anybody associated with a sucrqeisfu! artist'come out and achieve the same lously spend money on twenty cars when I can
sUiC€!s:::as the person that put them in the onty drive one at a time. I've got kids, and the
gaiiielr,;|A€r::and Bann€i hive tatked about this. wetfare of my kids is way more important than
He doRlrt;lhave to be in my videos, I don't have me driving a big faney,,carr.to impress you. lt
doesn't matter how much money I have. lf I've
r!srrrbe,,:i:n my videos. I was in one of his videos, actuatly. Scheduting conflicts prevented him from got twenty, thirty mittion dottars in the bank,
being in my video. I don't have to be atl over I'm stitt gonna be the regular everyday cat. l'm
his record, and he doesn't have to be atl over stit[ gonna appreciate and respect the everyday
mine. l:rwant to be able to:itand atone. I don't working man. That's the whole basis of my a[want anybody out there to be able to say, "Ban- bum. lt's too much talk about rims and such in
ner put that man in the game." I never asked rap now, and it reatty frustrates me 'cause it's
peopte are flaunting their weatth in my face
that man for anything, wen though I know that tike
and in the faces of the peopte who work hard
if the opportunity was there att I'd have to do every day. There's peopte I know that go out
is dsk. lAiidl:the same:iOnttmy:tenditirtqut.,r.lrlveir.got a
point to prove on my own, just for those people there and work their ass off 9'5 every day, and
at the end of the month when they get their
who are ignorant to think that I must have been
check they stitt-barely making ends meet. Then
g!'ourp::::Oiice
I prove my they turn onr the TV and see a muthafucka talklhe wef:kl:,,linrkrrlrofil,lher
po!,nt withr!hiE,'reeordt, they'tI see. Anyway, it's
ing about, "l got'eight cars!" And he's pouring
bdtter',rfo't',,,Misiissippi:'for cats to come out on Moet on the ground and shit. lf I saw that, I'd
t,t '
thei own;
be pissed off. l'd either want to rob the nigga or
kitt him. That's extremety frustrating, so peopte
Deating with New York labels, do you think need to look at the TV and see somebody thdy
the attitude has changed towards the South can identify with. I think l'm somebody they can
or Mississippi in particular?
identify with, and they gonna get an atbum futl
A littte bit, but we've gotta get at least two or of damn good music. I think this is some of my
three artists gold or platinum artists out of this best work to date. I think it's a diverse album.
state. lf we don't, they'tt took at it tike a fluke. I don't think it's a typical Southern record. I
I've got to do at least as welt as Banner did, and tried to concentrate on the lyrics to this album.
then they't[ start scooping peopte up.
A[[ I can say is, go to the website or record
store and buy the CD and judge for yoursetf:
What's the next single?
www.Kamikaze60l.com.
OZONE IIAGAZINE Srprfl'Brn
2004
33
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in junior high schoot after his famity moved
Born in Pittsburg, 23-year-otd Apotto Kreed found his catting
he recatts' "l found mysetf battting
to AtLanta. ,,A cat moved i" ry"t"lgnb"rhood with u drut"ta.hin","
was known for booty-shake music'
south
the
time,
the
At
tabte."
rri.iinii".lt'
u.ui
everybody, rrying to
and Nas. Then, outkast
NWA,.Jay-7,
Eazy.!,
Kane,
Daddy
"u,
Big
tike
artists
uv
but Apotto was heavity innu"n.lo
first guys that made
the
was
"l'outkasu
exptoded on the Attanta t.*" *t-ri soutnernplayilitiiiilaiuorirttk.
music, " says Apotto' He caught his. fi rst break
nooty-sfrate
riot
South,
p-6sp
in
ihe
ni
iust
reat
is
there
reatize
me
on six trackion his atbum Magic's Kingdom' He
in 1999 through OJ Magic f*ikei*ho.om*lrSon"d hit to uirp"ut
Apolto was sent back to the drawing
tabet'comptications,
due
to
but
Mike,
*itl-r
moved down to orlando to *oik
Lauryn Hitt's lvliseducation'
work.on
his
for
known
Nobtes,
board. He recentty tinked up with producer Vada
artist.
"VJ Records is a true indie," Vada
first
as'their
lpotio
signed
ri".!rai,
toi"vL
A&R
an
as
serving
vada,
With some industry vets working behind the scenes'
exptains, "We've got some itructure, some Sackbohe to it. "
,,straight
possibte major distributors' with his numerous
several
t
with
tutt
in
lna"p".O".i'-urt
vJ Records is
puts
a tot.of-emphasis on tyrics"' His mixture of
*ho
rapper
influences, Apotto describes'himsetf as "a southern
a tot of things going on in the
passion, energy, ana tyricaicont"ttt n"pi separate hiri?rom the masses' "There's
peo,pte the news' But I love to party' too'
potiticat,
l.give
"l'm
Jouii';h"'tuyt.
iuif,ing
wortd that rappers
"r"n't
u o--rrr in_tr'u southeast, hetping to prepare fans
Don,t get it twisted.,, ni, ri*iui", rni we.ign-in,.is.gerierating
by Julia Beverly, jb@ozonemag'com
&
words
hunger Paiis. Phot-o
i*'triirp."|iine d"urt
'!;i!"J
!
s*
"'
"tnum,
:+
ii
F=
t'
i.=
rgffi
.En
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F.=+
while the P$c's (Pimp squ3d ctiq.ug) T.l. reigns as the setf-proctaimed
King of the south, it would be easy to
catt Big Kuntry King "The Prince.;'.But.acc.orling to him,.he.a;;;t;..;;i";'atotarty
different position in a
separate hierarchy. "That's [T.1.'s] thing," sayiKuntry. "l'm a muthafuclini
mobster.,,some dedicated pSC
foltowers already know him as the hus[y brother featured on
T.l.'s street anthem .,Heavy chevys,,,white
others simpty know him as the voice behind underground hits tike
"stitt runtiy;juno ,,Throwback.,,He isn,t an
instantty recognizable figure, but, he says, "lt's nit about fame, lt's
anoui ieiting the country hear my voice.
I just try to keep it up and be consistent." consistency
ana att-alounolrinJin!are quatities that are promoted
to the max in the PSc clique and the offices of theii record labet, cLnJ
H,]rii". Big Kuntry has retenttessty
pounded the pavement with a wave of freestyles and.songs popping
up on DJ Drama,s GangstaGri/lz, Attanta
radio stations, and his own independent miitape ertort-ni irm
io"Eol. it-a-o tnr"" songs a day,,,says the
charteston, sC native. "l'm always in the studio." As for h-is first
ornciai airL,m, Kuntry ptans to stick it out
independentty so the dotlars witt make sense. "'stitt Kuntry'and
'rhro*nu.r;i'ive both been on the radio, so
when I bring my tracksheet to lmajor] tabets, they're rea'dy to cash
out. aut r m sticking with Grand Hustte,
'cause that's where the reat paper'i gonna be." Kuitry^prides
himsetf on niiinaep"noence, hoping to avoid the
identity crisis that artists tike the st. Lunatics and Df2 have suffered
rrom aru'to their poputar H.N.l.c.,s. ,,1
did a mix cD by mysetf. when you stay under the shadow,-yo, .un;i
tho* u'iJirou"," boasts the z5-year-otd.
"When I come out, l'ma come out. I'm standing in front of-the cameral" r*"rll." G. Garland (photo: JB)
*+
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Dam Fran *hieo
IfiAJOR LAFEL SACKIilS
INAEPXNDSHT HU$?LE
Boyz
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ur
rFHXTfflslTlox
the
it! Even those of you who hated onBovz
,,ln my white tees, in my-white tees"'" come on' admit
Franchize
uut rinir
rylo^""t
Tees" (an
catchy summer banger "r.;lj0;;;ii;"rp numbir"t".g.'ir.,"'t""t
oi"ilrponr" s6ngs, such as "Pinktheir
riu*n"J'u
tabet'
popr,ui"ti
ro
on the map
rn",ru.."ir?' wniiu'i""t" secured
*t
*".
anonvmous camron
airrl lni".,iil;k
i;";."
[+?lii*::**]ii;'nJ:;:i:lt;X;J":[:il::|ff ]""{:
rishi2Der,adeatwith'1,.',Y,"i;1fwn"n the officer putl'ed him over ano reatr/eu '=-"ti,
ii'x"i'
'"1"" v;"tr
;;3li;"ffi;.:;:,Ji;;
i;"'' used 'lo
##f;t"";ffi."Jjtl*X*:;,'rH;iff;?,*y'tiiffiH"iTii,Jil'di$11,i!i;
;l;?i#.;il;_ry:::lll#:,,11,s,*::ilLti-J,i:i*ilfi:l[1"ffi *t*'"!",iiTili
go t
or gang bangin"
"No matter where You
they_'re into r"ri#tn'rii. "r-.iun lop.pi.n' Jizzal Man' and
Buddie'
cotor, what creed, it a""r.,i.",a"7if tn"'torr-."tili'ei;"p-(Partae'
thev att wear white,""r.i; ru"rliuiiy,
j" ii
says Partae' when it comes
Pimoin')embracestn"i'soui't"in*'Joti"'oo*nsoutt-i'iiiuboitcrunkmusic'wetyricalbutat
,li.:ii=* u",iino* no* *" a" ii
your game
"!""tt'"'
the same time we,re
Franchize warns' "Get
*""t,
uiuin
ro,
p.rices
*otAt bv Julia Beverly'
to ctothing tines that .n"rg" ouii#ous iike cheap ti,iiirlf pi'"i"
ir"
E€fu
right, ,cause Franchize
jb@ozonemag.com
".=il"
;;;.
W;
"
1*AS5L 71{BPr'ql".d8*
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"MY CLICK'
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W
ln.Tampa, an area mostty known for its bouncy bass and superficial ctub joints,
the Eve'nin Ridahz
ctique brings a street element to the music. i'We're known in the streets foiour
struggte tyrics,
..lt's
our.hood lyrjcs, our rhythm,".they emphasize.
not att about violence, it;,1*t a oir%rent giri
to the wortd." The four-member group, consisting of shime, r.rir", L-iru"l, ini
orizzte (currently
incarcerated), is signed to deepty-rooted Tampa labet 2-4-1 Records. The iour
met white working
together at a day job and eventuatty became roommates. "We had a basic hote-in-the-watt
studio
at the house," says shime. "We've got this vibe that's more than
;rri mrric-, it', u 111ou"r"nt.
We're brothers." After flooding the streets of Ftorida with freestytJsina
,nOJrgrornd mixtapes,
preparing for the retease of their first futt-tength arnum, aiighi Nt gh'ts
!.[9 clgrp is
and Dark Days.
"That's got a real strong meaning to it," they explain. *fhe wortd'is di;i;t;
what you see it
to be. The sunshine can deceive you. At night, we reatty see tne ultyliii o?'ihe earth.
That,s
why it's Bright Nights." Combine the street success of their singte ,,lAi'c[i;f.;'*iif,
tn" production
and and backing of 2-4-1, and a hit singte doesn't seem far offior th6 gro;p.
Airor the so-catted
"Tqmpa curse" (the one-hit wond_er syndrome), the Eve,nin Ridahz saftnei;r" n"r" to
break the
mold' "we're gonna become.the foundation for everyth.ing that comei ori'or iurpu,"
the group
says confidentty. "We know this music business takei harc work.
We don't betieve
- in the curse,
we believe in us'" - Photo and words by Julia Beverry,
ib@ozonema!,.or---
[ffi
.*AB*L*hlRsgo!:d9.._
"GIITil'IE A BREAK'
.-
rHngpgHtlEl'lr HusTtH
ffit
PER$ISTEHSE
*REATry.tTY
tr
ry'
+:
i=
..We,ve
Biq Mook.
..1 just want peopte to know that there,s more to Tampa than,getting crunk,,' emphasizes
glg tr,toot< got fris'siait in th-e gamle from watching otder famity members
ft"r"f;;
oo*n
tyricists
got some reat
p".V Eipress, and recentty has worked with wettfreestvte. He beqan by working with Ftorida legends li*
to
Down Aecords' He's hoping to position himsetf
uno-olrty
Recordi,
.ii?""iiix"-o""i" s, 2-4-1
some shine
bring
to
tryin'
the.grind
kid.o,n
a
s."n". 'iim lust
bring Tampa to the forefroitoiinl nip-frop *rsii
elg, is stated.for.a N-ovember release' He promises
to the Sunshine state," t"vi,trl"r-HiJdebut aLbum' ihlnk
production.from Sonnv Crack and Kashem
Feaiuring
hi;-rt";.
;#";;;;i
that the atbum witt e*pto/"'i'h"
ptans to give tisteners a glimpse into his
Mdk
Bi;
vu-'i.",
ruur.ui
Sadiq and a guest upp"uru'n*irotling"t
fans'
ne;i inspirea OVlii",'n" iromises.to satisiv a wide range of hip-hop
personatity. For this
tracks"' savs Mook' The
"rtit;;l;';t;
;.t,ve got joints for ft,"
.rro,"i*'goi iome L"ritv-nui"i ionit, ind d"finit"ty-turical
whereas the ieiond slngte t Totd You 5o fires
first singte, Gimme a sr"o[j i"Lkr=io p1"ur" tniyri."ili"*-a,' sound tike the typicat iampa artist' he's sti[[
just
because-Big,fi""f,4."i.'t
back at some of Mook,s critics. But
*ooai. ;i got tove for cats tii<e Knowtedge' the SK Squad'
sot love for those Ooing Oi;t-hlngt in his neck ot tn"
representins
il;;r";i";;;';rruroor..irh"'" are arr cats that are rearrv and
in'depth
tyrics
witty
seekins
when
noriaa
io
usuaLtyiook
Tampa tyricatty." White il;i;;;it;oesn't
says Mook, "l just
done,"
and
said
att
it's
"wh"n
star.mJtluui"a.
subiect matter, that,s what keeps this rising
wno do-ubted me and say, 'l totd vou so!"' - DJ Majick
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"
ffi i-9,
chamirrionaire. "r was iuit tired
i,
*oir,iJ'r"Jr'rir"i"ov
sortof controt'notiusis'1g,o991ters9"hr.ir"glii',ii,a".irionl.rrp".iiitviir'dont.omptetetytrustthem.,,
;r:i!-:, , Jf,::v.llr;x;j;H:
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RAI'II TALEHT & POTSHTIAI
Bud
w
ur
.5k
g*
H
Just ask Big Bud' I
4,000 atbums in the smatl. cottege community of Gainesvitte, FL is an accomptishment.
i ,u,,,n*
:=I,G"ISetting4,000a[bumsinthesmatl'co[[egecommunityofGainesvi}l"l!Lj'-:i1.^.^"ill'lT:.*:',.1*fIP:i":y*
about a hu-nared I
within
ii6i"t
,,1
mom-ana-p"p
just
in
and
hano-to-hand
I sotd ltn Bud We rrustl independently,
e&1
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'."r.i.e
#l
& Webbie, Bil
and Li[ Boosie
Blg
Mystikat, T.1., Master e,
Trina, Lit,Wayne,
,,1
feet tike there's
he sighs.
att
done been a
stays on the road and on the grind.
Bud's atbum contains
name,
mightguess.from-his
forthe-Uattas.;'-tr,"!ou
rap
so
battas,
struggtas than
-ui
weea s-nouto be tegatized!" he savs.
from
#IryI*s++
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l
#d
*i{
l.
fuf*r
#n|;rl
Frash
catms the. sav-
that his
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Brimming with youthfut exuberance, it's ctear that Fresh
has a bright future. He started young, signed to
..we were
o."rt. or u ero;p
rike the
"jioit ,p, olne -f,eri;;;';;;gr, sochird.
onty
one
woutd show up
for practice"'Due to a tieht coniract, rresn tanguiitrea"aut [n"iun5ii"r'i"""r"rl".rs
without ever reteasing an
atbum' when his contract-finauv ended, hu
r.
,n! psc crique and met producer
cyber sapp, who signed Fresh to his tabet tnrattible Recoias.
"r',1on ine grind in
since n",t nu"n
the south for years,
Fresh atready had songs recorded with artists tike
Bonecrusher, voungstoodr, r.i-ij""la
Trittvitte, Archie, and Kitter /vlike tong before they-acrrievej
..when
;cess.
everybody started
btowin' up, they were atrdv my horieboys,', tiyi i*rr,.
"r ut.uuav hia'n*lr si* rong, with each of them,
so I put out an atbum to get a reiponse." i6tt
something rresn'vil.-t
u nrg" success and sold out1n
the Attanta area at stores tike FyE and Best Buy. Heatso
recJiveO
atbtim ontine fror., iu,.
as Baghdad'.The lead singte, "Hev Fuck Boy,; was iota
"rauiifoiti"
to
"*uV
ani witt appear on Bonecrusher,s
upcoming album' Fresh is currentty preparing'for the retease
ot rett
rr"rn vol. 2, whichfeatures
Paulwalt, chingy, Akon, stim Thug, souila sti-m, xiiterl,tit<e,
ciat.; doh;g"o;;d his ctique the Get Money Boys,
among others' several maior tabets have expressed interest,
but Fresh is more cautious this time around. ,,1,m
tn"n i
i,il'n"ppv'io-n","uting peopre, so I wasn,t
realtv focused on the businEss. Now rim atr ui,out pupe;;;i ;;:"Jtli;';#Jd,
sounds of Attanta/univerr$:.-"]-1r
1s9 ,1,3
Temptations, " he taughs. "one person_"!wo-rra
ue
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tr
$hock
ffir
H*T LIVH PERFORIfiAI{CKS
Ms' Mississippi)
(better known
soto artists Q and Gotditoxx
'as
MS' the labet
Future Shock Records consists of
Jackson'
ri-i.]i"""t"pt.Li"ntine
una
."rpiir"O
and a group catted Da o-r""r,
"iZri
ir*li'itti, irtotrt Mulik VoI' t ' Q is the most
i"J,rti.gltt
oDted to retease a .o,n'r,uf;o| "iil,il
fiis rhyries on"tt""i-ilf.
lvrical member ot tne group]fl.using
gh wi th the
and everyday struggtes'
"ip"'iences
Hot Bovz' she began
:l{ }-Tg:J.::^YT :: "*:*:f
i;:T:li:"t:,tl;"'i:'r?
bv ihe
inspirea tf
B:,i,i::lT";::L"i SJil.i ,;;;;;s th" cu,r'-ruron"v
"ii.
rv(c w19 wfites her own [vrJ'ti,it-n,iJee9
in.i
your
freestvrins with friends "ra'ii,irii"ivi*"iop"a
,..turp,,, which encourag"t *oti"nit tne"ctub to atternatety "Make
ics. shock,s first singte,
in the region' white it
#
Da A-ream comes throu
',
risht cheek jumpl Make vo'l''Ett
u[ iitprav
#;li i;;;];;"t u*t pi;ll"eiemates
voiunteer to demonstrate
u*ur"irJir'ii
oa i-reim
misht sound anatomicatty iirn.utt,
the femate member of
e;i;t""-,
nrJ"t"i;;
*"nu"u"r"ji #ri;iihJ;i1"*r.
thi ass.shaking
i;gut.*n.n"u".
express. mysetf sexualty on
to
f
need
,,1,m onty nin"a"?nllri-,u-iuugi,'i.
the crew?
more difficutt to promote an
t;n..';;;;-i" do.'Suieiy,-it can beisn't
a song, it,s not something iil,
worried' "we've got good
rut iuiure Shock
urtirt,
entire record labet as "pp#;',; iuri'on"
t"""' ar-'"v J"* buying our CD and supporting
music, and they way ,".ni'"'""*'0""r'ri."*i.;'lt
Product' it's
rrs'EvenHatrresDurs""'";i';;]niiioiatuvJuliaBeverty'jb@ozonemag'com
Even Hattiesburs
us.
iTliliff:J""::H"t':tsood
""0 and worqs Dy Jurtd
finna sett," says N-Sane' Photo
illioJi' ini;;i'-
Kadallack
BaVz
I*ABH; Cslli,S* B#fds lp-til
*i:f
Rscords
"AHHHH*BOOM!"
IOEHTIFICATION
€t
*HffiF *OLLAESKATONS
s'
g"
HOT pAODUCTtCIht
"Energetic" would be an understatement when describing a live performance
by the six members
of the Kadattack Bovz. sweating profusery in their
*r,itl t"", ;;;;;;;i;]
areaos swinging
wildty, you can usualty catch them witdini out on stage as the
crowd forms the hip-hop version
of a mosh pit. st'itt, they resist the "crunk" laoet- ,,ltis a tot of
cats jumping on stage saying they
crunk' we ain't never called ourselves.crunk. we just get on
the stlage'ani entlrtain," exptains
the group's unofficiat spokesman, Tex James, "wetve jJst got
that
r"*i. we entertain in_
got into one srr6w. we m;kei;;pi"'*unt
".-"igv
more, keep
;1""*:j ilp^, j.jlTg,l:,I^,^"I:f-,!jig,*:J"
'1q1i;1 p^oqr"
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":'r:J
.
e#;fi;:;5
il;
#;;;; ilj il;:
ii"i'il:r;.
;;,;f,
Records, or smurr. inr;";-h
:lX,::1';.':trX?11
yang Twins, the singre
duces
for the ying U"^:T..:..Touipark
was inrusel wiir, L,iir"
the opportunitv to work with otner
nfher ceo?eia
Gpn-roir
rF^ k-i^^:^' LL- tt...-,!
+f;6Y;: :li: T"";
,t',;;;"i';:"::,H".:i:
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got
*lii'""iii'a'';k*";r,=#;"ilUiffi'Jl
time to beout n"r" o'"inrin;.'w";*'F;fi:fl
li?:'_,'"?_'Ii1;,^II3l::Ti:b.-!ve ?in't
d9{ i,;;"ri;:ii
;;J: iff
lilj'il[l"",yl':,'::TJ:
i:r ?.::E:
::.v, "g!;i:;!r
keep
it poppin'." - photo and
woids byjulia'eevlify,
;ueozonemig.co;
;il;'Ti#
iil:
;il:
rrliiriilrii
ii;i1"i{iilli.:iiiif lt'li*lliiiljllliriiillii{l.$i;:llt.,;r
fr,
il'
Dallas,
Texas
v
fj
Pky-N-Skilla
ISgHTIFICATIffH
ds ".*-"
g ."
ITfiAJOR LAMtrL $ITPFORT ffi ili
HsT slhlsLx f iil
n*nlo fiRFLfitr
cousin to the North: Dattas' The truth iii'i;
white the industry is buzzing about Houston, it's easy to forget its big
some of the best artists in the i+
out-on,
you'ie
missing
your
fix,
Texas
rot
just
ioutlon
ui
tooking
is, if you,re
has already produced a few
ofier-.Datlas
to
ib'i'"ining
r'ur
iepubtic
state. Every region in tnis'naiion-sized
in the D for some time now'
tegends
Unlerground
is Ptay-N-5kittz.
stars (Erykah Badu and u.o.C.i,ino next up
i'The t*intii hlve graiuated ttcertified Batter status with their
as
to
reierred
often
brothers
two
these
pabto, anJ eorie thugs N Harmony. But it's their solo atbum, ;;:'i
production work on atnrms iiom t-ii, Ftif , e"t"y
i'
coming out straight throu.gh. Universal Records on October
atbum's
process,
that,s gonna ;;;h tor. "Our
The
Ftip,
Lit'
;l.'
from
got
features
proauctioni-strdio
"We'ue
in
dattas.
26th,,,says ptay from hi, Si00;0clb trimetime
ir
n
a
lc"
ra
lb
ff
Adina Hoviard, and Pimpin' Ken,'we ''iii
Lit, Jon & the East Side Boyz, Krayzie Bone, Layzie s".;,-6i;ittlonaire,
with everybody on the atbum'",The iii'
versei
for
some'beats
so
we-traded
background,
come from a producing
with a simple DR-202 beat i;tr
started.out
They
schoot.
high
in
DJing
days
iilit
duo has come a tong way ;i;?;
was a real big step for :;':.::
ptatinum
artists'
"Ftip
for
proa-ucing
no*
machine, working with tocai artists. They're
,,fhat,s what reatty pJt ur bn. He came up to Dattas and was gonna do a
coniinues,
game,,,efay
rap
the
us in
ffi
featurewithme.HewantedSt0,000,though,unol*usiiro!,;Ni*,younotgettin'that,pimp'lgotthesebeats;:ll
He stayed in Dattas for three months, 'il
tr
D
though, we can swap., r pr"vla-n*-i"*L o-"utt and tnl r"ri *ut hiitory.
Now the atbum is ptatinum plus' and the whole
banged out about sixty tt..Xtl."J thirteen made- his atbum.
pushermatl@aol'com (Photo: Jonathan Mannion)
sonziti'
matt
heai-Ptay-N-Skittz."
to
got
chance
a
wortd
rt
l'$
It*
5t
D
:iir"il;;;t?rilili.i#liliri}::'::r
:t
LABEL
sriflDirdy
w
nsRK FT!$C
lf'lSnFS*,lUENT HU$TLE
ffi'
nAnts A|RpLAY ffil'
"
takes persistence and creativ"
r;ri;i;"g;kiiir
producer and rapper' he's
been
ffi
f;;
ilij!!-;ilifry;;TrJr.Tn',?ffi::lgi1rrixriliil:;1','"'J$:,j'g=,,'ir;;;;;#;i#:..d
illf::iin'#ia"ffi'n'J.qT$-Tr;'fi"+l!'#Ti{rrf-*',:,":'ffil':H",:!$rt*ml",i
iorji]rr,ir",,','i"v
t#;
gooa
1;
ff.ll
#ii
,,,r
205-333-d77g
$:
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sr ii
$.,.'
*unt
$t.+
taoeroigei. o,iiJir xi""v
+ilf iiriiS.il
fig!.trj*tll';,,.*r"1,.'*.{TJ:T,?d??f
at
or 404-438-783ii:i;il" t"'n"rrv, jb@ozonemag..d, t", route-too."' ix"-';;;
reached
{+:
i+,
"irrt;u:;ff,."T:blg;t:j,':g:;''[u;
ira"p".!"rt artists,,,he says.
exunipie-r*
|
l*
,
F
ffi;ffiil,,i""Jli;iiJ".i#Hil:
pi.[J'riiri, *h";;;;
i";; ril;#::l,t
ilt y,itil:1,3t*kmru:,;;;j[1"*t:""rntl:ifiusic] ,hey aon,io"iiuu" ,,"
uttimiieg;;i;;'i"
ill
F.'
in
promoted 'cattGradv'bv riding
arounJ Attantaln u'u"n. we
had a rorarp"ur.liYn'rl""t:i"n:^i:y^tlta.1gt'
rront or the crubs the srrtta clubr,
tn" srfd""i irror,
song. Radio DJs heard a6out it,
una it
tr,"r".;;
*uar".,, a crub joint, (enny
the independent grind. "My
I
I
t"'
quatities tt.t x"*vjh"ras
has in abundance. As both a
p"irl.inii'rrri.ll ai"uriii.i"'ri"
i"rl il;i'""". He reteased
two albums
i!iTfi*::r#
Kennv prans to rerease-anotrrer
arbuniii"#iu
ri,
oe
"q9i:"-l
=flw
:ii
=.',.=n
ffi
it
i
LAsxL
tJtfni;l
"BOTTLf; ACTIOH''
==m
fl'rr.
ft*A"'NN LABEL AAGKIF*S
:,.
ry
$E
EF
style as "R&B/pop/hip-hop" and startBorn and raised in the ATL, Miss B (short for Miss B'Havin') describes.her
ctub banger to get he.r big break'
row-dy
a
crunk,
it
took
s-titt,
Ptoteee.
ed her career singing in .
l'HeaabLissa," t'liss B recorded the official 2004 anthem for feistv women,
.ffi
=ffi
i*pir"J fV if," ,u1.6*
9;;6:;ti;
ot iong!
ite
,,Bottte Action,,,which is gaining airptay on mixtapes and radio stations throughout the country' "l don't fight'
year's incident that she used as the basis
don,t argue, I just hit tirat Uitiir-witfr u Lottt"," she raps, recatting last
of
mine worked the door so I didn't have
a
fr-iend
and
a.clun,
at
for her singte. "t was meetinf a coupte friends
chicks was tike, 'Who the hetl does
to pay to get in,,, |."r"ro"irilirr-Bl "l *"nt around theiong tine, and these
peoptes and this.girt came up tike, 'oh, she think
on
riy
waiting
bar
at
the
sitting
t
was
Later,
she
is?,
she think
jList g'ranoea the fiist bottte I seen and hit her with
she att that!, I ain,t say not6G untit she reached ou"r"*u. t
said she started everything' By the time
witn&ses-that
had
ground,
but
I
it. She was bteedin, unA th" irit-if'"
herway of tife' "This is just a stepping
the potice came lwas gone!;'stitl, ttiis a emprrasizes that viotence isn't
it worked, since "Bottle AcI
am."Apparentty,
who
reatty
isn't
tuyt.
"This
aooi,;'in"
get
tn"
in
to
me
stone for
on recording for the
focused
currentty
she's
Records.
Def
50
Ptaymaker/so
with
deat
a
tion,,enabted her to ink
current shortage of
the
with
atbum.
debut
upcoming
her
wett
as
as
So So Def Dirty Southarr-sioir compitaiion
ptan to sex up her image for attenstand-out femate MCs, Miss B caters her music towards women, bui doesn't
says' "But l'm more hip'hop punk'
tion a ta Lit' Kim and Foxy Brown. "They do their tning, and I io mine," she
Beverly,
Julia
by
words
ib@ozonemag'com
and
Photo
time."
same
puhf
the
at
sexy, but lt,s
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"VISRATH"
SgLffiS CSMAM*RA?AR*
HA-'SR LJ{BS'- *AEKNS
p6stTtv*
ffit
ffi'
suTt**K sr
Rasheeda' better known as the Queen of.crunk, started
her. m-usic career as a part of the femate rap trio Da
Kaperz' They dropped an independent atbum in lgss which
featured irJ".iii (,,before he was Ludacris,,),
a,bum, however, the group
iiJ#i'J."r?x?:1i.1"'1,11:#LTi?ln:""::,::\"j'-
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fr;'l'l;$Hllfi*;f,.+ttlliill'':lffiffi*+'*,,i,',ffifl''l"il+!idrli;t,l*:i'
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.,
Btood's releasing a mixtape
to satisfy the streets. He
ptans to keep "grindin' til
the whole wortd knows who
he is. "
TREPLUS.COM
MIAMI, FL
grind, known for throwing
out cash at their concerts.
CASELY
Fidel recently dropped the ATLANTA, GA
Got Cash? mixtape/album,
MtA ,ll, FL
showcasing
R&B singer Casety's cot-
ski tts.
laborations with smooth
Miami rapper P.M. have
generated
a
buzz
in
the
area.
CHILLY C
MAKE A DOLLA RECORDS
ALIUS MAFIA
MONTGOMERY AL
s. MrsslsslPPl
his
rhyme
FIEND
FE ENTERTAINMENT
NEW ORLEANS, LA
Fiend's newest album, Go
Hard or Go Home, is cur-
rently blazin'
throughout
JODY BREEZE
GRIFFIN, GA
FROZE ONY
TEXAS
UNIVERSAL RECORDS
MONTGOMERY AL
SHO'NUFF/WARNER
KADILLACK
LAKELAND, FL
Rumor has it that Trick Daddy
'Sohagon is
f've been
trelns to work
&zz_y.
*ittitritn for
but it's all
dbont timing He
has such a distinct voice and
stvle and he savs
sirch incredibfe
shit"" - ill'Jot
Years.
COLLARD GREENS
COLUMBIA,
SC
",,1i-,
-M*l
GARCIA
CRAZY HOOD
MIAA,II, FL
The
titte of Garcia's atbum
Anti-Sociat,
r""n,
A newcomer to the Central
Florida scene, Bitty's singte
is heating up in the clubs.
erage Miami crunk atbum,"
norm." "This isn't your avsays Garcia. "Everybody's
DANGER
WEST PALM BEACH, FL
BATON ROUGE, LA
for
bringing
and rhyme
the same'Benzes-Beemershoes' thing. I tatk about
real topics, reat issues. "'
This duo remains at the top
major
labet A&R searching for
the next big artist out of
MISSISSTPPT
around the neighborhood
off the success of his first
Clearty
the standout
Humble Thugs, Boss Lady
lives up to her name.
HOLLA POINT
SONY
CLARKSDALE, MS
BSU
MIAMI, FL
z
DIZYONE
?
TVT RECORDS
o
o
z
t
What happens when you setl
over 140,000 units indepen-
DALLAS, TX
o
F
o
BUMPY J
ATLANTIC
BLOODRAW
PANAMA CITY, FL
everywhere
to gain
he
cHtcAGo, lL
fans
performs,
C.O. & MONEY MARK
dentty with little radio ptay
FIDEL CASHFLOW
PURE CASH
ORLANDO, FL
Atong
with Lady
LIL CHAPPY
MONTGOMERY, AL
LIL WYTE
HYPNOTIZED MINDS/
ASYLUM/WARNER BROS.
MEMPHIS, TN
DSR
m
I
JADE FOXX
ORLANDO, FL
CHICAGO, IL
f
o
Attanta airwaves, giving Kavious a nice look all across the
art-
DO-WRONG
POE BOY RECORDS
MIAMI, FL
J
J
and
Pastor Troy) is heating up the
ist in the rap quartet the
independent atbum.
Continuing
remix (featuring Bun B
BOSS LADY
atbum Still o Stdr, Birmingham J is stitl wetl-known
o
I
bonafide hit record. Also, the
MIAMI, FL
Currently negotiating a
major deal for his second
z
yetted out
KOTTON MOUTH
DALLAS, TX
the South.
BIRMINGHAM J
KOTTAGE BOY
BIRMINGHAM, AL
"lt's a Kodak Moment, nigga,
FREEZE!" lt's very tikety that
if you're in any ctub around 1
AM in the state of Tennessee,
you't[ hear this phrase being
Southeast. - W5
DOUGH BELLY
N.
NUCLEAR RECORDS
MEMPHIS, TN
of the mouth of
every singte person. Kavious'
skit[ and talent
collaboration with his homediversity and subject mat- town brethren Yo Gotti is a
ter to the game. l'm not on
thanking me
BOOSIE & WEBBIE
TRILL ENTERTAINMENT
I
L
F
"unyl
thing different from the
COWBOY BUCK WILD REC.
NASHVILLE, TN
was getting booked for shows
off the strength of Kadittack's
street record "Get Down Boogie." Dude sounds just [ike
Trick, which has proved to be
both his greatest btessing and
greatest curse.
KAVIOUS
BILLY KANE
ORLANDO, FL
of the list for any
BROS.
Jazze Pha's protege.
BOHAGON
BME/WARNER BROS.
ATLANTA, GA
LOUISIANA
SO SO DEF
Lousiana and Mississippi.
B.A.M.A.
BIG RICH
EYE 4 AN EYE RECORDS
JARVIS
Lyric,
Central Ftorida's Bonnie &
Ctyde combo is stitl on the
JAH'RISTA
cHtcAco,
tL
and no video? You have every
major [abe[ exec ctamoring to
figure out how they made such
a colossal fuck-up and didn't
sign you before Dre met Mar-
OZONE MAGAZINE Srmr*srn 2004
41
"Paralyzed," is a certi
fied banger in 'hood ctubi
to meet
Jimmy. That's the chair
with the nice-ass view that
sha[[ and took him
Lit Wyte now occupies. H'is
current single btazing radio
airwaves does exactly what
he says: "Get fotk beat
down to the floor." lt atso
got me a speeding ticket on
the way back home from
the Southern Heritage Ctas-
This South Georgia duo
is
throughout CentraI F[orida.
concentrating on perfecting
their craft - Pau[ D performing
poetry and spoken word, and
OOHWEE
Ken Jo on production.
ATLANTA, GA
sic. - WS
PRETTY RICKIE & THE MAV-
LUDDY
DANGAZONE
MIAMI, FL
ERICKS
MIAAAI, FL
SMOKE D
GFM MUSIC
JACKSON, MS
TOM G
GIGANTIC ENTERTAINMENT
TAA,TPA, FL
P.M.
MIAMI, FL
We're stit[ waiting on P.M
to get his big break. Formerty known as the nicest
lyricist in the lconz camp,
P.M. got frustrated with
label potitics and left to
pursue a better situation.
b.i.G.f.a.c.e.
representation of his skilts as
an MC, however.
STAT qUO
As the first artist from David Banner's camp, Marcus.
(with a period at the end)
knows there'[[ be pres-
ing the fine line between
disgruntted MC and outspoken hero. After leaving
sure to prove he's not on
the buddy system. "l'm a
perfectionist," he says. "l
dawgs,
Stat continues buitding his
buzz through mixtapes and
leaking singles to radio. Ya
understand me?
been
speculation around
Jackson, tike,'Who's this
nigga Banner fuckin' with
from Memphis?' But when
has been
throqgh so
much, and he's
wise wav bevond
his 4gel Fle'can
touclx the soirit
of people hom
tlre Denrteritrarv
to dr'e church""'David Sanncr
know. This ain't no buttshit
or no free ride. I'm worth
the weight. "
'olvfatcu$. has
sudt an odginal
soufld tlrat
peoplewill have
to comc to him
to gnet it' His
voice and the
I diink that'if
sit
atrsir and liiten
towhatdude is
DeoDle reallv
spittiri'.'- Davia
flanner
performances.
'? Bov Stone
they'I
*'Tom G's work
ethic is incredible, and he also
has lwical deoth.
savi{r'- he's real}v
terms, Rick linked up with
Poe Boy and continues to
maintain his buzz in the
streets with mixtapes and
P BOY STONE
GULFPORT, MS
the Period.' There's
way.he raps is so
umque thathe
can liecome like
a Snooo or an
Andre'3000.'
* David Bsnncr
Even though he's now rid-
ing with the big
Stip-N-Stide Records on bad
just don't wanna half-step
in no form or fashion. I've
got a song catled 'Respect
it,
GMM/SHADY/AFTERMATH
Rick has managed to piss
off about hatf the hip-hop
community in Miami, watk-
MEMPHIS, TN
they do hear
in the CentraI Ftorida area.
The ctub joint isn't a good
RrcK ROSS
MIAMI, FL
MARCUS.
a tittle
Tom's lead singte, "City Boy,"
received heavy radio rotation
RISKAY
TAMPA, FL
for lacing CentraI
Ftorida remixes, this female
Known
MC has
definite potentiat.
SUAVE SMOOTH
ROAA^
HEADQUARTER RECORDS
WEST PALM BEACH, FL
With his shri[[ voice and
PURE PAIN RECORDS
SAVANNAH, GA
bass-heavy tracks, you ei-
RX
WEST PALM BEACH, FL
Not only is this cat a regutar
love him, with a wide array the grind.
of tracks ("U Don't Know
Me" and "Back the Fuck
station last time
out the state.
I
passed
After a drama-fitted year that
ther love him or hate him. involved surviving several
Most Floridians choose to gunshots, Tripte J is back on
on West Palm radio station
WMBX's Top 10 for [oca[ artists, but he's atso a hustler.
I bumped into him at a gas
through and restocked my
cotlection of bootleg CDs.
TRIPLE J
WEST PALM BEACH, FL
Up," among others) getting
ptay at strip clubs throughSUNNY VALENTINE
ATLANTA, GA
TWISTED BLACK
DALLAS, TX
TZAR
PARADOX UNIT
ORLANDO, FL
SKY
ATLANTA, GA
PAPERVIEW
NYC
You've heard this
PICCALO
MIAMI, FL
other Southern artists.
Missis-
sippi native's unique vocals
alongside David Banner and
Pitbutt's comrades appear SLY KAT
several tracks with EPIDEMIC/JIVE
their Chico partna, inctud- As Epidemic focuses their
ing "Damn it Man" and efforts on promoting their
"N.A.R.C." Their singte, headtine act DirtBag, the
on
OHB
POLK COUNTY, FL
Their
42
underground hit,
"Get Loose,"
featuring
Jacki-O, atso did we[[ in the
South Florida area.
OZONE i,iAGAZINE SrmMeEn 2004
tatented Sty Kat keeps himself busy by leaking tracks
to Miami mixtape DJs.
THER.I.P.Y.
ALBANY GA
URBAN MYSTIC
SOBE ENTERTAINMENT
MIAMI, FL
$.|;t
-P
er
{t!
id
{.t
6t
*r
_.rl
{wei
%rrcff
treffi
#€rumdg
rwren
ffiAr
.geffi3*
ME
vtctous
EYE
4AN
EYE RECORDS
ffiE
LOUISIANA
{a
H
Y{
qI
c0
tl,
rl
{,o
sst
ffiWE
$*
#
{b
F}
f lI1
f,Er;
* Pmn*tlga+
r lllsltetH
i
mil*er$r$
r fiffid Flsndln$
r trrsds€ Fldfftfim*
VIPER
BIG EARL PRODUCTIONS
ORLANDO, FL
Reggae singer Viper recentty re-
rSilafirtrd& ffituntlcH
* llr*dr* urn* /
corded with Smitez & Southstar
for their upcoming project.
.
U*h$etery;m tndlHtrhru
tttrh
ll*St$
r$ru$hffinlFrtndw
fiU
CI
E
t;
fi
fr
WES FIF
ORLANDO, FL
WHITE BOY
CHICAGO, IL
:S#
'*,
WHITE DAWG
GAMERUNNERZ
ORLANDO, FL
&
YUNG WUN
FULL SURFACE/J RECORDS
You can usualty find White Dawg
hustting CDs "3 fo da 520" on the
ATLANTA, GA
picket signs that say "Fuck a
Major." 100% independent and
ern version of ODB. We think he's
just crazy. Eitherway, Yung Wun's
"Tear it Up" became a Southern
mixtape stapte.
side of the road, in the studio,
on the radio, or possibty waving
proud of
it.
KASHUS DENIRO
LONGTERM RECORDS
JACKSONVILLE, FL
His [abe[ claims he's the South-
1,
il
QUESTION
BRIMSTONE ENTERTAINMENT
oRLANDO, FL
of Arabic heritage, steps
to prove that hip-hop exists in a[[
YOUNG CASH
This former DJ,
904 CLTQUE
forward
JACKSONVILLE, FL
cuttures.
OZONEliAGAZlNESrpradern2004 43
MIKE JONES INTERVIEW:
CHAMILLIONAIRE INTERVIEW:
How did you meet Chamillionaire?
He was just a dude I met through Paut-
Your website lists artists tike Slim Thug,
Lil' Flip, PaulWall, and Mike Jones, and
makes it appear like you're all together, Why are you dissing Mike Jones and
you've got him on your site?
Watl. We became friends, I mean, I '
thought I was cool with him. I thought I
was cool with a lot of peopte. We don't ':
know each other personatty, though. L
knew Pau[ before I knew him. Me and Paul
was cool when I got signed to Swishahouse. :r
Chamittion tells people I tried to give him
my demo or something like that, but that's
a [ie. I was hot by mysetf; I had a company
called lce Age Entertainment. Chamiltionaire
been with Pau[ since tike 1999, I got signed
in 2002. I started btowin' uP seven months
after I signed to Swishahouse. Chamitlionaire
and PaulWat[ did took out for me on some
When I first started the site I started
Due to overwhelming requests, this months'
controversy originates in Texas. Why do two
of the states' hottest independent artists
have beef? Chamillionaire caught everyone by
surprise recently by dropping a 3-disc album
with almost an entire disc dissing Mike Jones.
But according to Mike, there is no "beef," just
a publicity stunt. You be the judge.
shows, but when I went solo, I looked out
- lnterviews by Julia Beverly
for them too. Back then, everybody was in
groups. lt was Stim Thug and ESG, PautWat[
and Chamittionaire, and they'd tet me and
Magno open up for them. Chamillionaire wasn't
never hot by himself, but him and Pau[ was hot as a
group. They tet me open up three shows and then me and
"lr CgmlttttoNAtRE REMagno went our own ways. I got hotter and then they started ALLY HAD A PROBLEM WITH
opening for me on three shows, so it was [ove. I didn't even Mtxr JoNes, HE sHouLDA
TOOK IT UP WITH HIM
think about stuff like that. Me and Magno featured [Cham] on
our album, First Round Draft Pick. The first song "Day to Day FIRST INSTEAD OF PUTTING
our A Dlss CD. Tulr's
Grindin'," sounded good with him. I thought we was coo[. He
jumped on the song, he got paid. [Swishahouse CEO Michaet]
NOT HOW YOU HANDLE A
Watts paid him for it, now he runnin' around tatkin' about, "l PROBLEM, ESPECIALLY WITH
ONE OF YOUR FRIENDS.
showed him [ove." He got paid for that. lt's business.
I'vr
NEVER HEARD MIKE
JoNEs ulx DowN oN
Were Chamillionaire and PaulWall signed to Swishahouse?
Cnru*ttr-ror.r, oR ANYoNE
They wasn't on contract and they left to pursue they dreams
with Paid in Futt. That's when they blew up, they had a hit ELsE. FOR THAT MATTER.
Cnrtttt-t-tox rs rRtPPtN'.
song. But I guess PautWatt and Cham had their differences,
I ruNx ur DrD THts FoR
so Paul left and came back over to Swishahouse. I don't know
what they got going on, but all of a sudden, Cham on his PUBLtctrY. " - PnulwAlllast teg and he pu[ts a publicity stunt. This is the one thing
I want everybody to know: we dropped First Round Draft "CoNtRovrnsY sELLs, BUT
THERE'S A LOT OF YOUNG
Pick in 2003, right? Now it's 2004, so it's been damn near a
year since he's reatty seen me. Except that I seen him two HUSTLERS IN THE RAP GAME
THAT HAVE ACHIEVED SUCweeks before he dropped the CD and he didn't say anything
Boftt
to me. Shit, a three-disc CD with a[[ that hate on it? lt took cEss wrrHouT
OF THEM ARE GONNA BE
time to do that. So while I'm out on the road doing shows, he
at home not getting booked, hating on me. Look, if l've got SUCCESSFUL IF THEY KEEP
PUSHING FORWARD."
beef with you, I'mma get straight to the point why I'm mad
- Mlrr SoNzaLl,
at you. lf you listen to that whote CD, he ain't talking about
nothing. lt's a complete pubticity stunt, 'cause we from the Munoen Doc MlclztNr/
Damce CoNrnol Rnoto
same city. Wett, he rea[ly from D.C., but you know, he stays
here. Why he ain't say, "Hey, Jones?" He
r.
coutda called Watts, he coutda catled
me, but he ain't never calted me. The
last time I saw him, in my mind we was
coo[. I was getting interviewed by Skip
Cheatham in Dattas, and when I got
through I was sayin' peace to everybody,
shakin' hands. Chamillionaire seen me,
we ain't say no words. Two weeks tater,
the CD comes out. So that night, instead
of him sayin, "Hey Jones, let me hotta
at you about something," he didn't say
anything.
you planning to respond?
Yeah, but people be [ike, "What's taking you so long?" What's taking so long
is that I didn't even know there was no
So are
beef. I don't wanna play into the pubticity stunt, but I have to respond because
everybody's hittin' me asking me about
it. He reatty hatin', and out of respect
for my fans, I gotta tet that be known.
My atbum is catled King of the Streets.
I'm spitting facts, though. lt ain't
(continued on following page)
44
OZONE MAGAZINE Srprn'regn 2004
>
no
reatizing how powerful the internet was,
cause I was tooking at my mailing list and
seeing major tabets [ike sonymusic.com.
From day one, l've atways been about
everybody. I've atways pushed my whole
team. The bigger picture is that Texas is sup-
to rise. I wanna see Texas doing it like
ATL is doing it, right? So I reatized that all
these A&Rs don't have any idea what's going on in Texas. I sacrificed my own website
posed
- chamillionaire.com - and put everybody
on there. Some people didn't understand it,
but I was looking at the bigger picture. Even
Mike Jones and Magno, I looked at them like
a future PaulWatt and Chamillionaire so I was hetping
them [by putting them on the site]. I had majors trying
to pay for a spot on the website, but it's not about money
for me. The whote screwed thing is hard to tap into, but my
website has that whote thing on [ock. I'm feeding them information about every artist that's doing it. lt was never att
about me. Even though I'm not cool with Mike Jones, whenever A&Rs asked me who's hot, I'd atways say Swishahouse
even though I wasn't messing with them. I've never been a
hater. The reason dissed Mike Jones] is because I caught
him redhanded. lt's not even a he-say, she-say type thing. I
finatty got tired of it. Some peopte look at it tike a pubticity
stunt, but he knows what he did and I know what he did.
I
What was your relationship with Mike Jones before?
Me and him had a tatk outside of a hotel a long time ago after a show. He was tetling me how he's chiltin' with his girt,
he don't mess with groupies, he don't smoke. That's kinda
like me, cause I don't smoke, I'm a[[ about my money. He
was tetling me his ptans and ideas and that's when I looked
at him in a different tight. His promotional ideas let me
know he was trying to think bigger than just being an artist.
He was tetling me how [Swishahouse CEO Michaet] Watts was
payin' him on satary and he wasn't gettin' money. I was giving him advice on how to turn the situation around. That's
one of the longest conversations I had with him. He reatly
doesn't know me and I reatly don't know him tike that, but
everybody would always talk bad about him being a gimmick and I woutd atways defend him. I never reatly thought
he was the best rapper but from a personal standpoint I
respected him and what he was trying to
do. Even A&Rs were [ike, "He's whack."
When people were getting tired of that
"Who?" stuff it was a lot of backtash on
him, a lot of people hatin'.
So when did problems start?
When Watts catted me to do "Day to
Day
Grindin'," at first they didn't even
wanna pay me for it. I told 'em I was
gonna do it for Magno and Mike Jones.
At the time I was the hotter artist, so it
was to hetp draw the fan base towards
them. That was the first single off their
album. Stowty, stuff just started getting
weird. Peopte started acting funny. I can
watk in a room and sense it, when everybody turns tike the devil just watked in
and you don't know why. I atways sensed
something was wrong. The first incident
was in Cteveland a long time ago. A good
friend of mine had just started getting
cool with Mike Jones and he's tatkin to
them about me like they're his buddy.
The main thing is, when peoPte sPeak
(continued on following page)
>
Ylrng lfftrn f/
David
Banner
oWeNk it, Talk *t'
^ (Atlanta, _qS)
Full Surface
/"J R6corde
< (hllke Jones continued)
bullshit-ass skits. But I ain't got time to do a whole CD about him. I'm about
songs I did make about him, I made them on
the road. I made four songs about him, that's it. The fans wanna hear my
response and go back to hearing some jamming music. Nobody wanna hear
to do another tour. The few
18, 19,20 songs hatin' on one man. That's a pubticity stunt, I don't care
what nobody says. lt's trippin' me out that people be footed by this buttshit.
lf he had a legitimate reason, he woutda catled me and we woulda got it
squared away. Man, somebody even sent me an audio ctip of an interview
he did where he says, "Man, basicatty I'm just hatin' on him 'cause he btew
up quick." Everybody got a deal except him so he hatin'. Everybody tryin'
to get Mike Jones right now. Before the CD came out Pau[ totd me, "l think
Chamitlionaire gonna shoot a stug at me." lwas telting Pau[, "Don't even
worry about it." [Chamittionaire] shot the slug at me instead.
Can you think of anything you've said that might have sounded like a
diss to him?
I didn't hate on Chamillionaire. He just tryna make a tick. The most money
Chamillion ever got for a show was 53500 and that's when he and Pau[ had
a hot singte. He's never made a hot song by himself. lf he did, name one?
I'm getting 55k, 57k solo. That's why he hatin'. He's thinking, "Everybody
listening to Mike Jones, so that's how l'm gonna get my buzz back." When
peopte try to book him for shows, he tries to charge whatever I'm charging.
He tetls promoters, "Mike Jones, he a gimmick rapper." I've got another
interview he did where he told them, "l did this to put a dent in Mike Jones'
shows." I thought you did this 'cause I was hatin' on you? We ain't got no
beef. He's just straight hating. Then he ran up to PautWa[[ a coupte days
ago tryin' to get him not to hang out with me. Niggas just mad 'cause we
the future. Everybody that's reading this: I got mad love for y'a[t, but never
betieve what you hear. Basically, just put two and two together. lf you're
a real hood nigga, a street dude, if you have beef why you dropping a CD
behind my back when you seen me weeks before you dropped the buttshit?
Anything else you want to say?
Yeah, when you talk to Chamittionaire, I want you to make sure you ask him
why he didn't come to me instead of dropping this buttshit, and why he
didn't
say why he was mad at me on the CD. My atbum comes out September 15th. Tet[ everybody to check out the website whomikejones.com for
more info, and tetl 'em to catl me on my ce[[ phone if they got questions.
They know the number: 281 -330-8004.
< (Chamillionaire continued)
on me and PautWatl, I believe in family business. There's personal stuff that
went on between me and Paul. Mike is over there hearing Paut's side and
spreading att this stuff [ike it's fact, not opinion. 5o I tet that stide a couple
times, and then somebody on the other side of the map tetts me something
else Mike Jones said. He's saying more stuff that's personal. lt's real bad,
cause he's messing up my relationships. lt's not just Mike Jones, I just made
an exampte out of Mike. I just seen Pau[ at the ma[[ like three days ago. We
got in an argument but we left on good terms. The Pau[ I used to know is
a different guy now. He doesn't really know the whole story. At[ he sees is
the CD coming out. Me and my brother are the onty ones who knew the CD
was coming out, besides Watts. I ran into Watts and I told him, "lt's gonna
be bad, man, and I mean everything I said." I don't really know what Pau[
thinks, but as long as me and him don't have a probtem, it's coot. I feet tike
that's the worst thing that could happen. Peopte wanna see me versus Paut.
Controversy setts. lf I was just doing atl this stuff to buitd up my album
woulda been screaming my atbum release date atl over the [diss CD].
I
Mike Jones says he saw you two weeks before the CD came out and you
could have approached him then.
100% tie. I don't hotd back my feelings. [Mike Jones] is a liar. He didn't see
me nowhere. The last time I seen him was a long time ago outside a show
in Dattas. I guess he's trying to make it seem like I'm scared. I don't care
even if he does come back and diss me, because it'tt onty make me bigger.
This guy is a proven liar. I love your magazine, but [in your articte about
Mike Jones, you said he's sotdl 250,000 independent? He has his own song
with Usher? That dude's life is a [ie. I'm not finna let him get away with it.
It makes me so mad cause I thought the dude was rea[.
Why you didn't say why you're mad at him on the CD?
Man, he knows. He knows what he did. He's tryin' to act like he didn't do
nothing and he's stitl wondering how I know. I could get real personal with it
and te[ you specifics, but then l'd be snitchin' on somebody etse.
could understand one diss track, but a whole CD? lsn't that overkill?
Nah. You drop one track, he's stitl alive. But you can't measure respect by
sates. There's a tot of peopte that's respected that don't se[[ records. lt took
that respect away, so everywhere he goes peopte are gonna be checkin' to
see if he's reat. lt just sounds bad cause of how raw we went at him.
I
OZONE
i
AGAZINE Srmr lern 2004
45
I A fe always knew Jim Jones would drop a solo joint. lt was just
lllf u matter of time. First he appeared on Cam'ron's CDs and in
Y Y his videos, followed by some real shine time on the Diplomats
true to their intense Diplomat work ethic, he's
been grindin' on mixtapes and radio shows, all the while gearing up to
drop his dolo debut, On The Way To The Church. Sitting inside his new
label, Koch Records, in lower Manhattan, New York's Rider Man waxes
poetic about holding an umbrella in the rain, the #1 reason for the
Diplomats'success and the real reason he believes that Mase returned
to rap,
CD. And always, staying
ultimate fame. lf it comes, it comes. But we gonna do it the way we want
to do it. We not gonna fail because the way someone else wanted us to do
it. Nah, if we fail and it's on our own terms, we gonna be content with that
because it's a[[ about us.
I heard you are called New York's Rider Man because your songs are
perfect for cruising. Your songs come out like anthems. Do you look for
those types of beats?
I don't really th'ink I'm gifted because it's not as easy for me as it comes
for other peopte, Every word I put in there is so dear to my heart. I'm
not tatking no butlshit. l'm not btowing no smoke up your ass. Everything
I spit about is something that I lived through or the people that l'm with
Why did you choose Koch Records to distribute your debut?
I tried to get some deats with some majors, Roc-A-Felta and Def Jam and on a daity basis lived through so it's dear to my heart and I feel tike I tived
shit, and I had a price in my mind that I was worth, I thought I deserved. through it. lt's tife and it makes peopte just retate to that. And that's atl
Because I've been in this game so long and this craft that l've acquired know how to do. As far as my ear for the beat, I don't care if you was a bum
in this game atong with me knowing how to do music. They wasn't feeling on the street and you gave me a beat CD and I listen to it and l'm feeling it,
that. With that, I had to sit back and turn to the same blueprint we used I'm [ike, I need that. Loop it up. My album has about eight 2 tracks. Cause
to get our [abe[. I started going hard in the streets with myself, mixtapes, I coutdn't find the producers. Wett, we got it down to two now. "Certified
freestyles, DJs everywhere, taking trips around the country by mysetf. Gangstas" is a 2-track. lt's looped up. My man had the beat on his CD.
Cam was [ike, "Man, we need to go get some of that money like Lit' Jon don't have a gift for that. lt's crazy because I didn't know how to rap.
and them be doing. Let's go get some of that paper." He said you got to Mase showed me how to rap. I used to buttshit and freestyle in high school
look at it [ike, first week you sotd 100,000 records on Diptomats. You good watking through the hattway, but Mase sat down and showed me how to do
for at least 50,000 records at the minimum. Now [ook, I'm over 100,000 it one day. I knew I had a lot of things in my heart that I wanted to say over
good at the minimum first week. l'm cool with that, because with the living so hard but I didn't know how to put it out there. Then when I did, I
money l'm getting if lsetl a gotd atbum, a nigga on a major gotta setl five wasn't doin' it right. Then Cam was [ike, "Man, Jim, you live so hard and
million atbums to even talk to me about some paper. lt's a[[ about paper the shit you do, if you can just spit it the way you [ive, people are going to
at the end of the day. That's one thing about the game, they'[[ make you falt in love with you because you just that type of person and everything
famous before they make you rich. ln the hood, they say, "They'tt get you you do people can relate to." I started to get the hang of what he was
high before they'tt feed you." You smetl me?
talking about. Getting deeper in the game it becomes more emotional and
personal with you because it's not just a business anymore as far as us, it's
But Koch isn't known for pushing their artists to platinum status.
a way of ['ife. lt's mixed with everything. Sorry to say but the drug game
Koch is an independent, and me coming from a major and having a tabel and the rap game are now one. lt's street [ife. lt's hard tike that.
on a major, I have that mindset so it all works out.
They were very open=minded here. They do need
What do you look for in new artists that you sign
to get a better btueprint. I'm one of the first new
to your label?
artists and this is my first atbum, with a buzz. For
I look for the hunger in the person. And the talent
you just can't deny it. There's a hato over their
them it's totally different. And that's why l'm here
and I bring a strong team with me. At the same
head. Un Casa, I remember him freestyting for me
time, they can learn from us and we can learn from
and Cam when we used to go up to 145th Street
them. lt works hand in hand. A lot of things they do
to buy sneakers years ago. Cam was [ike, "That
here we have no knowtedge of, since we're used
kid got a problem." We said, when we get our shit
to deating with the majors. We might feel that it's
together, we gonna come back for him. Juetz found
tedious, but now we here so we have to put that
Bezel. That kid is a fuckin' monster. I don't think
legwork in. At the same time, the shit that we do
anyone want to do the one-on-one with him. Juetz,
from a major point of view that they can't grasp or
that's self-exptanatory. When the talent comes to
they don't know how to do, I've got a team that's
us, we know we need it.
gonna show them how to do that. lt can onty make them stronger as a
Iabet.
How is your new alcoholic beverage Sizzurp doing in the South?
Everybody's taking to it. lt's doing way better than I ever thought, period.
Liquor is a funny thing. You gotta get it legalized in every state, one by
Who are you trying to reach with this album?
I ain't no preacher. The onty message at the end of the day that I want to one. Now we got about 30 states under our be[t. The demand got so much
portray is that I'm sti[[ on my way to church. Everybody that I know, we we coutdn't meet the suppty. We had to get a whole new distillery so
from the hood, they still on theirway to church, too. You smetl me? At the we could start pumping out twice as much. The word Sizzurp, I coined
end of the day, we a[[ want to be at a safe and sanctified ptace, whether it from the South. Pretty much Houston is where lgot the word from.
you're a retigious person and you believe in God, or you betieve in anything was presented with the opportunity and I was [ike, I want to sip on some
else, you want to get to the highest ptace of living or you want your soul to Sizzurp. The Three 6 Mafia song came in my head.
be there. Besides that, I'm from the hood. Everything I talk about surrounds
that. lt's atl about the hustte and the struggte. We say we hopetess because What's next for Jim Jones?
there's pretty much nothing left for us to do. Most of us have been locked I inked a ctothing deal just today. lt's gonna blow the socks off niggas,
up before. Most of 'em hard-headed, probabty dropped out of school to get you smetl me? Myself, the music is a tovely thing. I woutd like to continue
a job, makes it that much harder. They not opting to give us no jobs. Some doing it for like two more years. But I'm not really into being in my 30s
of us that do choose to go to schoot, it stitl don't work out for us. So at the and still rapping. Rap is like a fraternity. You can be stuck in it for life
end of the day we sti[[ hopeless. Like man, we stuck under a btack ctoud. but I can't be doing this music for [ife. lt's tike high schoot or something.
God granted me his [ove, he gave me an umbrelta under this black cloud so My four years are up. With this recent venture of Sizzurp and clothes,
it's not raining on me. I'm not directty in the rain, but I'm stitl in the rain. reatized this music is my liaison to do pretty much whatever the fuck
You understand? Like my shoes is getting wet from that water sptashing on want to do. There's a whote lot of other shit l'd love to be doing. There's
the floor. For the couple of people that I can save that can get up under a big world out there and I'm not trying to be stuck in one phase. I would
the umbrelta with me, I'm going to do that. I ain't trippin'. I don't need love to do movies and get potiticat, and see as much watks of life as I can
to be under this umbretla by mysetf. That's what it's atl about at the end in this world. Travel hetla hard with my famity, my son. I ain't trying to be
of the day for me. I don't want nobody to be scared or nervous but that's stuck in this paradox. I have a 10-year plan. After ten years I'm cool. Ya
what's up. My niggas ain't got nothing left to do. And for them, I just tetl dig? For rea[.
them just be careful what you doing cause they're trying to bury us. Put us
in jai[. Where we live and us being so dormant and so ambitious, we killing You mentioned Mase before. Why do you think he's back to rap?
each other to make a dollar. Some of us trying to pay the rent, some of us I don't know why Mase came back for. Probably came back to just piss
me off. I ain't got nothing to say about the young man. Let him do him.
trying to floss. But shit, why can't some of us make some money?
I
I
'l dontknowvztrv
A{ase calne back
Probablv iunt to
me 6ff This
gmeis ahustle."
Diss
I
I
I
What's the Diplomats' secret to success?
The #1 thing that made us so successful or kept us in this game is that
we didn't compromise ourselves in nothing we did in any term or deal
we took. We didn't se[[ our souts, not for the bullshit, not for a chance at
This game is a hustte. You smetl me? But I thought he was just preaching.
I thought he was just a reverend. Sme[[ me? So he must have back s[id.
Something must have happened in his tife. But I don't know what to say
about that young man. That's not one of the peopte I want to talk about
right now.
OZONEMAGAZINESrprn*ern2004
49
"{
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Go ahead and introduce yourselves to our
readers.
My name is 8.G., better known as B-Gizz[e,
the number one original Hot Boy.
came from my heart. But if I had to pick
a favorite, it woutd be track five: "Don't
Talk to Me."
When you bump into the rest of the
Tell us a little about your new release with
Cash Money members one-on-one,
your own label, Chopper City
Records,
through Koch, Life After Cash lvloney.
It's my eighth soto project, and it's my second
atbum under Chopper City Records. lt's me at
my best. lt reatty is Life after Cash lAoney. l'm
just tetting my story, my tife with Cash Money
leading to my new tife with Chopper City.
what's that like?
I mean I rea[ty haven't had any oneon-one's unless you count Juvy. He left
before I [eft. I saw Turk in jai[, though.
The other day I had a concert in Memphis
and I went to see him. Baby never been
to see him, no one been to see him, but
I tatk to him 'cause before then he'd atways catl and check on me. I'm real like
that. Me and [Lit'] Wayne had met up
somewhere and went oLlt, we snuck out
How has life after Cash Money been different than life with Cash Money was?
Life after Cash Money equals Chopper City Records for me. ln life after Cash Money, there
ain't no more stuntin' goin' on. Shit's reat.
You know it's rea[, 'cause if it ain't real then
it ain't me. When I was with Cash Money there
was a lot of artificial [ove. lt wasn't reatly
what I thought it was. I thought it was gonna
be Cash Money for [ife, but I was misled.
to get something to eat. I'm suing Baby
right now. I've got a case pending that's
in civil court. I hired some high-profite
What was the atmosphere like at the beginning of
Cash Money up until the point where you left?
I was there from the beginning. Cash Money was
practicatty buitt on the back of B.G. before the ma-
jor deal came around, before Juvenite came
around.
Before anybody started coming around, B.G. was the
one putting up the independent numbers. I was the
reason Universal gave us our deal. I was Cash Money,
at one time. At first it was me, Baby, Mannie Fresh,
and Stim.
'1'm suinq Baby
"ght
now. I'vEgot a case
pendinqin"civil courl
' I hired some hishtrrofile accountiitts
'from los Anseles.
Thev alreadv fiiund 9
million dollirs lBabv]
stole from n\e." "
5o why weren't you more involved in things from a
business standpoint?
Baby and Stim founded Cash Money, and I was young.
It was like eighty percent [ove, twenty percent business. Baby and Stim practicatly raised me. They took
me from my mom when I was twelve years old. I put
my whole tife in their hands and I never questioned what they did ,cause
thought they were reatty my family. Baby was [ike a father figure to me.
When the millions of dottars got invotved, that's when he changed on me.
I
How did he change?
He'd always te[[ me, "Look, I got your money. l'm hotding it for you, I don't
want you to blow it. As long as I got it you won't want for nothing.,' I never
thought for one second that he'd do me like he did. He'd give me this, give
me that, buy me this, buy me that. He always gave me just enough to where
he'd know that I would have to come back and ask for more. He never gave
me what I was supposed to have or what I shoutd have gotten tegatty. He
knew that if he gave me what I earned and deserved than I woutd do what
want whenever I want, buy what I want whenever I want it. he kinda birdfed
me, but I thought it was coot. I was [ike, "Fuck, he my b.ig brother."
I
What's the significance of your album cover showing a cemetery?
I was thugged out, you know? I felt like I was born with Cash Money, but I died
and was reincarnated. That's why it's Life After Cash lAoney.
What's your favorite track on the new album?
Reatty, I tike the whote atbum, 'cause the whole album is based on a true
story. lt ain't just fantasizing, I'm rapping for a reason. The whote album
he's the last Mohican.
accountants from Los Angeles. They
already found nine mitlion dollars that
they stote from me. I tatked to Wayne
and told him that he's been there for a
while and he ain't getting what he supposed to be
getting. I told him it might look good with a car
here and a car there, but he not getting what he's
supposed to make, Look at us back in the game.
We had a deal with Reebok before 50 Cent or JayZ. We had the Hot Boyz tennis shoes. Now look at
Baby, he got a deal again and look at how he's
onty promoting himsetf. He don't want anybody
bigger than him, he's setfish. I'm [ike, fuck, I can
help Wayne, so I just totd him that I'm here for
him with open arms and the fans witl respect us
more for standing on our own two feet and standing up to a nigga. As long as we're up under his
wing we ain't getting nowhere. Att he had to do
was hetp us and put us in a position. lf anything,
it would have made sense for him to hetp us build
under his umbretta but instead he trying to hotd
us back. He can't lose Wayne right now 'cause
lf you had the opportunity and the money was right, would you
back to Cash Money?
go
I wouldn't go back as a soto artist, but I'd do a Hot Boyz atbum. He gotta
clear up his otd bitt first, though, then we coutd talk. lf he gave me my
money we could tatk about a Hot Boy project.
Do you think you could have a good working relationship with Baby
even after the lawsuit?
I'm strictty business. I got my own [abe[, I'm doing pretty wett. I just
want what he owes me.
What was your relationship with Soulja Slim?
It was [ove. Me and Stim been knowing each other since elementary
school. We used to get detention and we kinda grew up together. As we
got otder he was fuckin' up, going back and forth from jait. When he
got home I blew up and went ptatinum and shit. He went with No Limit.
We had always wanted to do something together but Cash Money and
No Limit wasn't seeing eye to eye so our CEOs woutdn,t have approved
it at the time. But when I left my situation and he teft his situation, we
hustted together.
OZONE IMGAZINE Semlaarn 2004
51
Would you sell your ghetto pass for a million dollars?
I n the mid-80s. renesade celebritv photosrapher J Lash
I trcftl was offeied a frittion dotlars-bv the National Enquir-
lbtr'f cir a "comDromising" photo of Maeic Johnson, pre-A|DS
revelation (the tape rec6rder died whe'-n I asked the details
of this ohoi,o. which he dectares is "probabtv God's witt").
He turned it'down because he feared he'd [ose credibitiiy
if he aired out his ctients' dirtv laundrv. His refusal to se[[
onlv heloed to further his career. helpiris him eain trust and
res6ect.'J was born and raised in'Catiforn-ia andwas active in
the ctub scene durine the Death Row era, but for the past six
vears he's been a stalote in the Miami niehttife. He's passionite about photograpl'iy not onty for the 5rt form, but'atso for
the adrendtine r[sh'that comes from chasing artists and dodgins bodveuards. When it comes to maior concerts and events,
he"prefeis to sneak in the side door-rather than go through
the' tiresome DaDerwork Drocess of requestinq credentials
and deatinq with'oubticisti. Because of that, hd braqs, "l've
been kicke"d out of the greatest parties in thb wortd."
.
How did you make the transition from shooting
to me, "You aren't getting ready to do what
think you're gonna do, are you?" 5o I just flash,
flash, flash. Michael sees me, and att his security
runs towards me [ike I just shot the president.
They circled around me, and the big guy is tike,
"Give me your fi[m," reaching for my camera. I
had atready taken the fitm out and stuck it in my
drawers and put another rott in. Bitty D was just
sittin' there crackin' up, [ike, "l totd you don't
do it!" Mike Tyson saw the situation and ran over
with his neck flinchin' and stuff, tike, (imifates
I'Aike Tyson voice) "Hey! That's my photographer!
You can't mess with him, that's my manl You're
not gonna disrespect me! I used to have bitches
like you ironing my drawers!" Now, this guy is
tike 7'1", and mike is tike 5'11". Mike looked like
he was gonna take him though. Then Don [King]
comes up tike, (imifates Don King voice) "Naw,
naw, naw, naw, that's my man right there. Hey,
Mike, what's up baby!" Then they did their tittte
hug and shit and Don says, "Take this picture!"
says
models into shooting concerts and parties?
I used to just shoot girls on the beach, then I
Over the years, J's lens has focused on scenery started hanging out in the clubs. I took a coupte
models, rappers, singers, and athletes, and cool pictures and sent 'em to the magazines. I
you've probably seen his work many places and used to sneak in Don King's fights, and I got the
didn't even realize it. Some of his most recog- first picture of Mike Tyson that was published in
nizable shots include a Tupac photo which ap- Sports lltustrated. Then Don gave me a job and I
peared on the cover of Rolling Stone and a pho- worked for him for about ten years.
to of Biggie at the Soul lrain Awards the night
he was murdered. J also captured the infamous Since you always like to sneak into events,
shot of Mike Tyson biting off Evander Holyfield's have you ever been arrested or had your film
ear, and the bullet-riddled car after Tupac was taken?
shot. Throughout the years, his work has ap' I've had my fitm taken ptenty of times. I've
peared in magazines like Rolling Stone, Sports been chased by every top security guard in the
lllustrated, VIBE, The Source, Jet, NOW, and country. l've been chased by R Ketty's security,
of course, OZONE. J is a hustler - for example they couldn't catch me. Prince's security guards
- he'll often shoot several rolls of pictures at an couldn't catch me. R Ketly was performing at
artist's concert or video shoot. Then, the next the Miami Arena, and I just snuck in the back
time they come to town, he presents them with door and got into the crowd and took some
a complete photo album available for purchase. pictures of him, and his security guards started
During the weekend of the MTV VlMs in Miami, chasing me from the other side of the arena.
he captured shots of police arresting Styles P They got me cornered in the middte so I just
outside South Beach hotspot Opium Gardens. started jumping over chairs with peopte sitHe also is available to shoot model comp cards, ting in 'em. The other security guards from the
and if you can't reach him at 954-733-361 3 you Miami Arena started chasing me, and I had to
can find him at any video shoot, concert, party, run out the back door. The onty security guards
who ever caught me was actually R Ketty's
or strip club in South Florida.
security, but it was in Ca[i at the House of
Btues. I think they remembered me from
How did you originally get into photography?
It was a hobby at first. I used to hang out and the Miami incident. You ever seen the 7shoot on the beach, watching the waves hit the Up commercial where the crowd is so thick
rocks on Venice Beach with the sunset hitting they just pass the guy from one end of the
the water. White I was taking pictures of the crowd to the other? That's what they did,
waves, this girt came up that looked better than they passed me from one bodyguard to
the rocks and the waves. I thought it was one of another 'tit they got me in the back. They
those tricks, tike Candid Camera. I thought it was took my fitm, and they tried to take my
my homeboys playing tricks on me so l'm wait- camera and threatened to beat me up, the
ing for somebody to jump out and laugh at me or whote nine.
something. She took off some sweatpants and a
big hat and a long t-shirt and handed me a roll of Why is it such a big deal if you take a
film. She totd me to take pictures of her because picture of R Kelly?
she woutd look better than the rocks. So, she ba- I don't know. I don't see why it's such a big
sicatty showed me how to take pictures through deat. I've been chased by Michael Jacktrial and error. lt turned out that she managed a son's security, too, that's a good story. I
photo store right there on the beach, so she took was at the Sammy Davis Jr. Tribute, and
her photos and hung them up on the watl and told was in the back just hangin' out. I see the
a[[ her friends. Next thing you know, I'm shooting gates come down, Sammy comes through, so
atl her friends. By the end of the summer I had a eased into the situation. Next thing you know,
[ot of new ctients so I opened up my own photog- Etizabeth Taylor comes out. Michael Jackson
comes out with this big security guard. Bitty D
raphy studio.
I
Mike jumps in the middte, the security guard
steps back, Michael steps over, I flash. Don and
Mike laugh about it and Mike tetls the security
guard, "Peace, no probtem man, everything's
good." So I snap another shot where they're
laughing (below). I put the shot in a couple
I
I
52
OZONEMAGAZINESEPTEMBER2004
magazines, but they're [ike, "You gotta stop
doing this shit, you can't just be taking pictures
of Michaet Jackson!" I was [ike, shit, "Michael
Jackson, you've been flashed by J Lash!"
just go tirough the proper methods of requesting credentials?
Ifhy.no!
That'sthebeautiful thingaboutmeetingyou (laughiig). Noi, lknowthe-rightthingtodo.
I didn't have avenues, I didn't know who to calt. t stitt don't know t-he pR plopte.
just show up.
I
Being a photographer, you end up spending a lot of time with celebs. who,s the
most interesting character you've come acloss?
The most fun I've had was with Mike Tyson, I guess because I went around the wortd
with him. I was with him when we took the concourse from New york to paris. lt was
me, him, and Don King, we were the onty btacks on the ptane. The flight was ten
gr.and one-way. lt only took us two and a hatf hours to get there.
My woist moment
with Mike Tyson was.opening night of ctub ZNo's tast y6ar. Him and Don King were
going through some shit, and he knew me through Don. so p Man sam catted
m-e over
to take a picture of him and Benzino, and as soon as I took the picture, Mike saw
just
me. and he
flipped. He was screaming, "you're the enemy! you're the enemy!"
He's swinging on me and l'm ducking, and finatty security came over and putted him
_
-knock
away from me. I guess they were wondering why he hadn't just
me the heti out. Mike
grabbed my camera, smashed it to..t-heground, jumped on i[. the whote time he's
stomping
on my camera screaming, '.you're the enemyl"
What about artists? Who have you spent a lot of time with?
I've been around a lot of shit with [uncte] Luke. There's sides to Luke. There,s Luke
the Freak Nasty man, Luke the businessman, and then Luke the famity man when
he's at home with his kids. Luke and Don [King] possess a lot of the same traits;
they're both shrewd businessmen. one thing lGirned from Don King is that you
never get what you deserve, you onty get what you can negotiate. sarie thing with
Luke. If Luke catches you not knowing what time it is, it;s not his fautt thit you
decided to sign the contract and you're gonna starve to death off that contract.
That was on you. Shoutda waited. I remember Don King tetting me that he had a
[arge amount of.money on the table with HBo, but it-wasn't-enough. so he teft
several mi[ion dollars on the tabte and went to ABc and made a nEw deat for a
cheaper amount, but it had better growth potentiat. of course, ABC wide wortd of
sports became a big hit. The lesson is tha[ when somebody ofiers you money, you
might be hungry ry it might sound tike a great price, but you shoula thint< iwice.
Prime. exampte is TLc. It probabty sounded tike a great deit at the time, but they
went bankrupt and they had ptatinum hits. I thinkihe same thing is true with B2K.
It might have been a good situation for the one guy in the groupiwhich is why he's
going solo, but apparentty his situation was better than the rest of them.
so you took the infamous photo of rupac's car riddled
with bullets when he was
killed? Describe that situation.
The fight had just ended and the press conference was over with, so I was supposed
to fotlow
this girl to a ctub where Foxy Brown was performing with Kurupt. lnyway, i took
the shortcut and they went the tong way. They went down Lis Vegas Boulevaid and made
a rright
d
rgrL uil
on ndr
Harmon,
ilruil, near fne
the Tront
front oT
of tne
the notet,
hote[. and I had went orrf
hote[,
out rhe
the hark
back werr
girt
way. Tha
The oirr
The
called me and told me to come back, she was [ike, "something is poppin'.,'so we circted
,'pac'from
police
back and
cars were atready there, they had atready movid
the scene and
it was just the car left there and the crime icene tape. it was crazy. police everywhere,
butlet holes in the car. I took a couple shots of the scene.
On.a business tip, how do you make money as a photographer?
W.et[,_l have a lot of corporate-sponsorshipi, tike'Nike,-Nabisco, stuff tike that. working
with Don King and Showtime/HBO hetped a tot. The corporations witt hire me to shoot conventions, but everybody thinks I'm just in the ctubs. I don't wanna be just shooting potaroid
pictures of the girls for 510. when it comes to hip-hop, ,,Rap is what ybu do, hip-hop is how
you [ive." Hip-hop is how I [ive.
From a financial perspective, if somebody wanted to come up in the game as a hip-hop
photographer, what route would you recommend?
shoot, I don't know. They don't wanna go the route I went. I'm stitt going the wrong direction (laughing). l'm sti[[ having probtems with magazines, gettinghy'money. yo-u've
gotta invoice 'em a[[ the time, fax 'em att this paperwork. I know that doesn't sound
very encouraging. I see a lot of new photographers in the game taking pictures and
sending.'em to the magazines, but I don't know if they're
{etting paidrbr it. I don,t
wanna drop any dimes on any magazines that don't piy ph-otogriptrers _
We know who they are (laughing).
Yeah. wet[, see, if you deal directty with the tabet you can get the big check, but
try to just deal with the artist directty and hustle wiratever lcan hustG.
I
Are there any artists that haven't paid you?
(laughing) Wet[, yes there is. But ldon'Lwanna call 'em out'cause I'm stitt trying
to get my moneyl
ls there anyone who pays exceptionally well?
No (laughing). wett I'm sure there are, but r can't think of any right now. rt's been
a while since I had an artist who paid exceptionaly wett. I mianl they pay, it just
takes a long time and you have to hear, ,.Don,t worry, I got you,,'constirittf.'t nia a
couple photo agencies I worked with, tike clpA press - shouti to sue, she gof me a tot
(continued on following page)
>
OZONE MAC'AZINE Sepra,reen
2004
53
< (continued from previous page)
of major magazine covers. l've had a lot of covers of boxing magazines and
stuff like that, and the Tupac shot was on the cover of Rotting
Stone. lt was sma[[, it wasn't the main picture on the cover, but
a cover is a cover.
What parties have you been kicked out of?
Recentty, or a long time ago? | haven't been kicked out of too
many parties latety. Probabty the last party I got kicked out of
was [Atonzo Mourning's] Summer Groove. There was a big dinner, and they had atl the press standing outside but I snuck in
and sat down at a table. I didn't know you were supposed to
pay some elaborate price - or maybe I did and just didn't care
- but anyway, I was thinking that they weren't gonna notice if
one ptate of food was missing. ln any event, I was wrong and
apologize. I sat down and ate, and that's when security came
and grabbed me and asked if I wanted to make, [ike, a fifteenhundred doltar donation for the plate of food. I was [ike, "Man,
there wasn't even steakl" (laughing) Fifteen hundred dottars
I
and no steak?
What methods do you use to sneak into all these events?
Man, people have to pay for this type of information! Welt,
for one, I think I get away with a tot of stuff because l'm tike
oxygen: I'm everywhere. People know that if they don't have
J Lash at their party, they don't reatty have a party. lf people
are at a party and they don't see me, they start wondering,
"Am I at the right party?" They'tt catl me [ike, "Man, I've been
looking out for you, where you at?" Then when I te[[ 'em which ctub I'm at
they're [ike, "Aw, I KNEW I shoutda gone over there!" (laughing) I need to
have like, a J Lash hottine. For ninety-nine cents you can diat and find out
where the hot shit is.
just have the right relationships with security?
Security and promoters. The biggest security guards? You better make 'em
your friend. Don't ever get smart with security. lt's better to be friends with
security than the artist, because if you're cool with security you can get to
the artist. The artists are secondary.
So you
So how did you get cool with security?
Most of the time I think they just got tired
of chasing me from back in the
day. For example, some of Michael Jackson's security was working for Jermaine Dupri for a minute. I saw some security that used to work for Prince
that started working for Jay-Z for a minute. Now, Jay'Z has
police that are seven feet ta[[ that'tt tett you, "l witl shoot you
if you take a picture of him." And they be lookin' serious, too.
I was at an event where Jay-Z was with Timbatand and I was
getting ready to take a picture and this guy - he was bigger
than Shaq, l'm sure - says, "Look here, son, I'm onty gonna te[[
you this one time: do not take that picture. I am a secret service officer and I have the right to do whatever I want to you.
Do not do anything with that camera." I was [ike, "Atright, big
boss." Only'cause I didn't have a digitat camera. Now that l've
got digitat, there's no flash going off, so I could get away with
it. I stepped my game up.
Besides that, are there any photo ops you regret that you
weren't able to get?
Puffy and Jennifer Lopez at Opium Gardens. I coutda got it,
but I woutda got my boy in trouble. I was close enough and
had the camera, but it woutd have flashed. lf I had taken the
picture, he might have lost his job. He was Puffy's right-hand man at the
time. Puff and Jennifer were just doin' their little dance. Puff is a very
interesting person. I took the pictures of him and Biggie back in the day
and l've given him posters and stuff like that. I don't know if they've made
it onto the watl at his house or anything like that, but who knows.
I tried to take a shot of him with lrv Gotti from Murder lnc and he
woutdn't do it. Later, lrv totd me, "Everybody can't take a picture
with America's most wanted," so I understood. lrv is stitl a cool
brother. I respect street peopte. Everybody who's in this game isn't
in it for money. I'm not into photography for the money. The money
hetps, but I'm in it for the passion and the love 'cause it's what I do.
I don't take the pictures necessarily for the cash atl the time. I have
to pay for my equipment, but the pictures to me are more for the
memory. When you get flashed by J Lash, it's not just a picture or a
photograph. lt's a memory. You can atways go back and look at that
I
photo and remember.
Julia Beverly, jb@ozonemag,com
(All photos provided by J Lash)
-
54
OZONE l,tAGAZlNE
SEmEMBER
2004
Where are you from originally? How did you become interested in music?
Temmora: I'm originatty from Memphis, born and
raised I started singing when I was five in the
church choir doing tatent shows statewide. Later
was in the school choir. I guess you could say that
music has always been in my bloodlines; several
people in my famity are in the music industry.
I
Who were some of your musical influences?
Temmora: Janet Jackson. I tike Phyttis Hyman,
I learned about her a coupte years back. Aretha
Franklin, Tony Braxton, Anita Baker. I tove Erykah
Badu and Ji[[ Scott. There's not too many artists
that I don't tike. I think they're a[[ incredible in
their own right.
How would you describe your music?
Temmora: Mainstream. lt's hard to ctassify.
Arthur Lezl (Temmora's manager and CEO of her
Iabel, LEG Records): lt's a little jazz, betieve or
not a littte country, firmly rooted on an R&B/hiphop foundation. Peopte from a[[ walks of tife tike
her music. lt's a mixture of a lot of things. She's
very in-your-face, very emotional with her music.
When she sings you can tetl that she's singing from
the heat. That's one of the things that really impressed me when we first met.
When you started singing was it just a hobby or
***d
S:***re *d
was it a career plan?
Temmora: Actualty, it's been a lifetong dream. lt
started with me and my mom. We used to watch
the Grammys when I was little, and we used to
dream, "Oh, that's what you're gonna wear at the
Grammys!" and "What are you gonna say when
you win?" So it actuatty started when I was little,
I always wanted to be a singer. The tatent shows
started grooming me. Winning some, losing some,
floppin' on my face, learning from each and every
show and event that I got into helped devetop me
into a better artist. You've got to know that you
can't win 'em att, but you can put your best food
forward. And you must always practice, no matter
how good you are.
When I saw you perform at the Billboard Awards,
you had a whole crew of backup dancers.
Do
your shows usually involve choreographed rou-
''i
*
t
tines?
Temmora: Well, yeah, it's not so much that it's
choreographed, but I do train with my dancers and
my vocal coach and my physical trainer to be abte
to hotd the stage. There's a lot of work that goes
into it, getting my shows together.
Arthur:She usuatly travels with dancers, or sometimes when she's performing slow baltads she'll
hotd the stage down soto.
After doing talent shows, did you start getting
paid shows and opening up for other artists?
Temmoro: l've opened for quite a few people, or
sometimes they'tt catt me in to do a break. l've
actuatly headlined some shows, which was interesting. l've done a lot of industry conferences,
behind-the-scenes type things, to let the industry
know that l'm here.
You opened your show with an Usher song. Do
you normally do that to get the audience's attention with something that's familiar to them?
Temmora: lf it's a conference I usualty do original materiat, but when I'm doing a show for the
general pubtic I'tt do a cover or two to get them
famitiar with my voice.
write most of your original material?
Temmora: I write a lot of the material, and my
manager writes as we[[. Sometimes we have other
writers come in and collaborate.
Do you
Did you release your first album independently? What was the main single off that album?
Temmora: "Tryin' to P[ay a Ptayer" was the single
off the first album, Iolk to l4e.
Arthur: We reteased it through Southwest Distribution, but they went under and the rest, as they
say, is history. So the remainder of the time, we
sotd albums out of the trunk of our vehicte. This
time, with this next atbum, we're working
on
locking in a national distributor. One of the labets
we're looking at is Thump/Universat, they're
really strong because there's such a resurgence
of otd-school
R&B. White everybody etse is out
chasing the rap, R&B is stowly bubbting under the
surface. That's evident with the success of Prince
and Teena Marie and even most recently Anita
Baker. We're also looking at some of the larger
national independents, as opposed to a major.
That way she can get the attention she deserves.
We need somebody who's gonna aggressivety
work on the retail side as aggressively as Temmora works on the consumer side.
How would you describe your new album?
Temmora: "There's No Me Without You," with
Howard Hewett, is the first single.
Arthur: The best way to combat downtoading is
to make sure the atbum has more than just that
one song, so we've spent a lot of time making
sure that we give people their money's worth.
There's a few uptempo tracks in particular that
are particutarty strong, and we'd [ike to add verses from a rapper who's already on the verge.
What type of challenges have you dealt with?
Do you think it's more difficult to break into
the industry as a singer than as a rapper?
Temmora: I believe if it's your destiny it's gonna
happen regardtess. There have been a lot of obstactes, peopte not wanting to give me respect.
They say you have to deserve and earn it, which
understand, but at some point you're just pounding and pounding and something's gotta let up.
It's a struggte, and you've got to let these people
know that you're not backing down. I don't think
I
it's any harder or easier whether you're talking
about R&B or rap. With R&B it's a littte harder
streetwise, 'cause you can't get the street notoriety that you can get with rap.
Are most of your shows in the A,lemphis area?
Temmora: Actua[[y, we've done shows just about
everywhere. Wherever the opportunities pop up.
Arthur: The #1 urban mainstream station in
La-
fayette, LA, requested that Temmora come perform the first week in October. So she'I be there,
then the Carolinas, then Birmingham, and then
Arkansas. She has a strong fan base in Arkansas,
believe it or not. We go wherever the opportunities arise: matts, schoots, wherever. We have
to be more creative because the competition is
greater than ever and [major [abe[] budgets are
shrinking. lt's becoming more and more difficult
to attain or maintain the consumer's attention.
We try to be creative with our marketing, as far
as partnering with other companies who are trying to reach the same fan base as Temmora.
For a lot of females, it's difficult to break into
the industry without being sexual or explicit.
Do you think that'11 be a problem for you?
Temmora: I ptan on just letting my music speak
for itself. I betieve I do have sex appeat, but I
don't believe I have to be naked to se[[ an album,
no. I think that just because everybody else is doing it, l'tt stand out more because l'm not doing
it. I can be sexy without being naked.
Temmoro: Mostly relationships, but there's no
mate-bashing. Can't beat up on the guys forever
(laughing). lt's just tetting it from my heart, my
perspective, things I go through on a daily basis.
l'm not married, but the first song happens to
be a wedding song. I didn't write that one, but
it was so beautiful I coutdn't pass it up. The
album is catted "Any Other Girl," cause I'm no
different from any other gir[. One of the songs,
"She Takes the Long Way Home," is basicalty
about a person who is in a stressfu[ retationship.
Her house isn't far from work, but instead of
driving straight to the house she takes the long
road home to get her head together. lt's about
that I thought they woutdn't tike. They listened
to it and were [ike, "No, that's the hit!" That
feeling trapped in a retationship.
Arthur: lt'[[ be released next spring.
radio airplay?
surprised me. Temmora says "mainstream" because she doesn't like to be pigeonhoted. lt's in-
teresting because now with the internet peopte
have access to so many different types of music
and cultures than ever before. You can't deny
the impact that urban cutture has had on today's
music, though. Even if you're talking about pop
stations, you'tl see the urban influence in their
playtists. But this a[[ goes back to the definition
of "urban. "
Being independent, has
it been difficult getting
Temmora: Sometimes, but I have to give big ups
to some of the program directors who do show
Aside from relationships, what other topics do
you discuss?
Temmora: Wet[, my mother is deceased, and
this is one of the main reasons why I do this.
It was our dream together. There's a song on
the atbum catted "Missing You," it's just letting
my mom know that I miss her dearly. Anybody
who's missing someone can retate to that song.
We wrote the song, but the idea came from a
Grammy-nominated writer. I also have a contemporary Christian song calted "Mary Did You
Know?" tatking about Jesus, which is the ctosing of the album. I also sing in Spanish, so one
of the songs, "Victim of Summer Love," is on
the atbum in both English and Spanish. I have a
strong Latino fan base.
Arthur: She wanted to identify with the fan
base so much that she began taking lessons to
learn how to sing in Spanish. People atready
think she's Spanish with the name "Temmora,"
but she does have sort of a Spanish look to her
atso. That's a common perception, so she began
taking lessons to sing in Spanish. That's another
way that Temmora shows how dedicated she is
to her fans.
Do you ever get to the point where
it
feels
like "work" and you don't wanna do it anymore?
Temmora: I think that with anything you get
to that point. So yeah, I am human, and sometimes I wanna quit. Sometimes I feel [ike it's
too much. But when I watk out on stage and see
faces and fans and peopte that be[ieve in me
and what I'm doing, atl that just goes straight
out the window and I get that energy boost. I
get tired sometimes, but at the end of the day
it's my passion. I love it.
you're "mainstream." Are you worried about being labeled as a "pop" singer?
Arthur: No, she's definitety urban. That's who
she is and she sings from the heart. When you
You said
hear her sing it's definitety urban, but there's a
strong amount of crossover appeat.
Temmora: lt's interesting how people in charge
can predict what's "urban" and "not urban."
When peopte on the street hear
it,
they
can
make their own decision.
Arthur: lt's always interesting how peopte try to
teil us what we like to listen to. For example,
there's a song on the first atbum that was a jazz
tune she remade calted "Peet Me a Grape."
Most people said, "Oh, that's too adutt." But
she would go into junior high schools and etementary schoots and they att tiked the song.
Uttimately, it's atI about good songwriting.
People categorize what's "urban" and what's
"not urban. " Last week we were in a Littte Rock
with a group of producers who wanted to hear
some of the album. When one track came on
said, "Skip that one, you probably wouldn't be
interested." lt's sort of a country/bluesy song
mad love for independents. I had twenty BDS stations that jumped on the first singte, "Tryin' to
Ptay a Ptayer." lt's harder, yes, than being on a
major labet. But it's a fight in anything you do.
Are you interested in doing hooks and features
for other up-and-coming rappers?
Arthur: She's had many artists approach her for
hooks, but a lot of people don't foltow through.
We have no problems with that, if it's the right
materiat. I can be reached at 870-550-4100.
How did you end up meeting your manager
Arthur, and signing to LEG Records?
Temmora: lt was at a talent contest I heard
about on the radio shortly after my mom passed.
I checked it out just to see what was going on in
Memphis. It was a tri-state talent competition,
and Arthur knew the guy who was hotding the
competition.
Arthur: I was in a group at the time, and the guy
who produced for us invited me to come over
and watch the talent competition. lt's funny, because I've seen her grown and devetop so much
since that point. I'm proud of what she's done.
I don't think people reatize how much time this
takes. Weight training an hour a day, vocal [essons twice a week, choreography several hours a
day muttipte days a week, not to mention traveting at the same time and trying to comptete
the atbum? That's a futl-time job. I think it's a
common misconception peopte have, whether
you're tatking about R&8, rap, or pop: This person was so talented they sang one song and sotd
a mittion units and it happened overnight. People
don't reatize the years they've spent. Anyway, I
had missed her performance, but I saw her doing the hook to a rap song. Even through that,
with her head down, I coutd hear the pureness of
her tone. I tapped my friend on his shoutder and
told him, "Dude, that's your next superstar. He
said, "Yeah, I'm gonna use her for some hooks."
I just questioned that statement, because she
was someone good enough to go soto. [Temmora
and ll exchanged phone numbers after the show,
and I taught her what I know about the business.
Stowly, over time the retationship developed.
It's been almost five years now. I was in a group
catted Esquire at the time. I don't wanna say it
was modeled after Boyz ll Men, but it was around
that same time. lt was supposed to be a group
of articulate, fairty attractive,
wet[-groomed
gentlemen. Unfortunatety, it didn't work out
because the guys in the group didn't understand
the amount of time and energy and effort it
takes to create something tike that. The group
disbanded, but I stitt had the love for music so
[managing Temmora] is something that's a hobby for me. But it's not something that's a hobby
for Temmora. This is what she does.
I
What subjects do you talk about on your album?
Julia Beverly, jb@ozonemag.com
(Photo: J Lash)
-
OZONE ITIAGAZ|NE Seprn',Brn
2004
57
nx
Brooklyn-born DJ Quest r€tocated to Southwest
Florida as a teenager and moved to Orlando for
a few years aft*r-high school where h* Joined
ifoe idur* oi Steele-D-, clique. lle's cuirently
one of the largett club DJs in Ft. Ai{yers, FL, and
spins 5+ nighti a week on Clear Chahnet's WBTT.
l"infortunafety for Quest, Ft. Myers has not been
the best phcb to tive this past month.
Oid your station do any type of fundraisers
after the hurricane?
Suave Smooth and Smitez & Southstar came
down to do fundraisers. Ciear Channet actually
created a prograrn called StormAid to benefit
the hurricane *ctims. lt's an ontine charity auction (www.5tormAid.com) where you can bid sn
autographed posters, stuff tike that.
4profie
production on the low-tow, but i'm not real[y
satisfied with my beats yet'
What other DJ cliqu,es do you represent?
Tech.Nitions, CO-REjJ1' and Bum Squad DJs. A
tot of people think Tech.Nitions is finished, but
I talk to Ran on a regu[ar basis and he's just
sittlng back watching muthafuckers aad seeing
How did you originally get started DJing?
| ptayed footbali and wrestled in high schoot, who'sactuattydownforthe.teamandwho'snot.
Man, it kitLed us. lt pretty much looked like a bonrb so wlrenever I'd go to the game or practice I Tech.Nitions isn't just a website. We've sti[[ got
weni off in this bitch. A"tot. of peopte aren't here, started making mixtapes for mysetf and the our week{y calts, we're still networking.
so they reatty don't see how severe it is. When you cats on the footbalt team to listen to. I never
actuatiy drivb through the city, place! thatxsed to realty took it seriously,untj! I rnovqf to Orlando Can you explain_what the. Tech.Nitions are
be theie are gone. The first'two weeks after the and hooked upwith a DJ ctique catted House of and what The CORE is? It's a little slrange
hurricane, yoi'd u.trutty get lost because lancl- Steel.e. lt was me, Phantom, Remington Steete, for you to belong to both organizations since
marks that you're use<l io are just gone" A tot of G Dep, Marksman, and 007. We had a couple $*y'tt somewhat at odds. *
Tech.Nitions was. started by DJ Ran and Scrap
small mom b pop businesses aie gane, lf you had ctub nights.
Dirty, and the whole idea was to unite the DJ
a traiter horne, it's gone. The firsi one, Hurricane
community. A lot of new DJs don't know how to
Charley, *as ihu w6rst. lt wasn't even supposed Were you atso putting out mixtapes?
to corne here. lt was supposed to hit Tarnpa, not lt seerns tike a lot af peopte are puttjng out getrnusicorhowtodealwiththecommon probport Charl,otte, but about a hatf hour before it hit mixtapes just to get their narne out there. lf I lems that you run into with radio stations and
tand that muthafucker just took a sharp turn right don't havi a lot of good music to put out, l'm PDs. lf l've got a prob.tem_at the station. I can
towards us. Our powefwas sut for two weeks. I not gonna put out a mixtape. I hate tistening caltanold-schooicattikeCharlesDixon,Ran,or
coutdn't do shit. A tree fett on my house, but it to a-mixtape with whack songs, They're very Showtlme, and they'lt tell rne how to handle it.
didn't do too much darnage, lt actuatty protected watered down. Back in the days you could find The CORE DJs is basicatly the same thecry. lt's
the house f rorn atl the otlier ftying debris. lt dan:- a hot Tony Touch or Kid Capri mixtape and have just that a few people had probtems with Rail
agec! the roof, but it wasn't rnajor. We've got teaks that shit for years and it'tt still be hot, These and decided to branch off{rom Tech.Nitions and
irithe roof, garage" I've got records that were days you {isten to a mixtape fcr a week and do_theirownthing"TonyNeat,whostartedThe
danraged by tlie witer. Thiiis the worst storm sea- thiow it out and get ready to buy a new one. CORE DJs, that's my man and .l support him. l'm
put out the "southern Fried Gumbo pretty much down with everybody.
son I ian recatt since I've t'ived here. ln New York I recently
-mixtape,
and now everybody's like,
I went through Hurricane Gtoria, but that shit was Vo[. 1"
"Where's volume two?" I'm not gonna put Anything else you wanna say_?
nothing eornfared to this.
that aut unt'i[ !'ve got hot shit. I'm also doing Checkoutmywebsite, www.DeeJayQuest.com
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ff
affected
KAMIKAZE
"2 BROKE 2 BALL"
OUR GLASS ENT.
Kamikaze begins by
introducing his alter
ego Mr. Sho-Nuff on the
intro, then wastes no
time hitting listeners
with
the ctub banger that's
been causing riots in
Mississippi clubs for the
past year or so. Even so,
the surprise hit off this atbum might turn out
to be the next track, "Same Otd Clothes," a
catchy ode to the day-to-day grind produced
by and featuring fettow Jackson rapper Godson
Royat. White Kamikaze reps the 'Sip proudty, he
doesn't possess the typical thick drawl that the
industry has come to expect from Southern rappers. Lyricatty, he can easity compete with NY
rappers, and even jokes, "l'tt catch a red-eye to
the N-Y, set up shop in BedStuy / lt's mad real
in the city, son, I've come to get these heads
high." Even though the tracks have a Southern
vibe, they've got the potentiat for a wider appeal than just one region. The upbeat "Round
Here" conjures visions of outdoor barbeques
and a live-ass party out in the country. My
personal favorite, "Loser," is a setf-depreciating but amusing laid-back joint where Kamikaze
sings at a mock open-mic night. His Crooked
Lettaz partner, David Banner, produced the
bouncy "Bonified Pros" and the introspective "l
Apotogize," effectively squashing any rumors of
beef between the two. "Husttin"'and the titte
track, "2 Broke 2 Batt" with Tony B, express Kamikaze's overall mindstate: this isn't an album
about money, cars, ctothes, and hoes. This is an
atbum for anybody who's struggling to make it
day to day, whether it's hustting on the street
or suffering through a 9-to-5. Kamikaze speaks
from the heart on "Change," touching on potiticaI and spiritual issues with lyrics [ike "Most
y'atl rappers are [ike false prophets / Ptuggin'
your albums, te[[in' us we need to cop it and
thankin' God? You need to stop it." He proceeds
to spit a fast-paced btur of profound thoughts
that't[ have you hitting the reptay button a few
times. "l Apotogize" provides more insight into
Kamikaze's mindset as a man, as he reflects on
a past retationship. Of course, along with the
positive there's a few negatives. The onty major features
("Get 'em Back" featuring the
Nappy Roots and "Bonified
Pros" featuring Bonecrusher)
aren't impressive. "Hee
Haw," featuring Rell, sounds
like it's trying too hard to be
a club record, and the hook
gets irritating. The skits are
a [ittte
longer than
neces-
sary. White Kamikaze's sound
is ctearty diverse, the album
feets a littte unba[anced. lt
starts off with the strongest
tracks and loses steam to-
wards the end with tracks
like "So Coo[," which sounds
a littte out of ptace. But, by
the end of the album, just in
case you haven't reatized that
Kamikaze is a grade-A lyricist,
the acapetta introduction to
"Shine" should convince you.
Overall, it's clear that this is a well-organized
project. While many major artists are forced
to rush an atbum of mediocre songs to back up
one singte, Kamikaze has presented us with a
comptete quatity atbum on a limited budget,
with no samptes, mostty unknown producers,
and onty a few guest appearances. Stitl, there's
something intangibte that's lacking. Like it or
not, Kamikaze's work wi[[ atways be compared
to his former rhyme partner, and the project
doesn't exude the intensity or energy of Banner's l4ississippi. Stitt, what Kamikaze lacks in
flair, he makes up for with profound and witty
lyrics that effectivety capture the mentality of
the everyday working man. With this retease,
Kamikaze proves that he's more than capabte
of holding down a solo project. - Julia Beverly,
jb@ozonemag.com
music. Some artists, like Twista and Lit' Ftip for
example, seem to be ptagued by some ailment
causes them to perform better on other
people's songs then on their own. Sometimes this
seems to be the case with Grandaddy. lf this was
his official atbum, I would be a littte disappointed,
but it seems that he's teft off a few of his best
tracks for the upcoming major retease. The re-release of "Savage Journey (Fuck da Law)" is still a
classic. - Julia Beverly, jb@ozonemag.com
that
TRIPLE SEIS
TIME'LL TELL
Years after leaving Terror
Squad due to the untimety
death
of rap
released
GMNDADDY SOUF
THE BOOTLEG
PARM MO
a major
with his record
"Savage Journey (Fuck
da Law)" Grandaddy
Since creating
buzz
Souf has been languishing at SRC, frustrated
by labet potitics and
stowty watching his buzz
die out,
searching for
that etusive hit singte to break him into the
mainstream. To cure his creative btues, he's released the "unauthorized" bootteg album. We
begin with the reggae-infused "Streets of Parramore," a tribute to the Ortando 'hood where
he was born and raised. Feltow Parra Mo artists
Joe Grind and Jango Fresh atso appear on this
song. "My Gameroom," featuring BloodRaw, is
Grandaddy's plea to the haters. "lt ain't your
business who I fuck," he growts. The popular
club DJ anthem, "Everybody lay it down, come
on and represent your town," is turned into a
hook on "Where You From," where Grandaddy
is joined by Petey Pabto affitiate JD Hawg.
"Crabs in a Bucket" seems to be Grandaddy's
motto, condeming those who try to hotd back
other people from being successfut. Throughout
the album it's clear that Grandaddy has grown
as an artist, but sometimes it seems that he's
trying too hard to make a commerical record
instead of just tetting loose and making good
legend
Big
Pun, Triple Seis has finatty
his debut
soto
album. The years of exposure to Pun are undeniably
present from the get-go.
Time'[[ Tett opens with
"Harsh Reality," featuring
Pun himself. Over a beat
reminiscent of RZA, Pun
and Seis come with lyrics
that ctearly serye as a translation of Seis' real [ife
experiences into music. The posthumous verses
by Pun aren't simply verses that Seis haphazardly
found; they're arguably some of the most emotional and heartfelt verses Pun ever recorded. Seis
can't match his mentor's vigor on this track but
brings his own share of insight with tracks [ike,
"Remember me, that same cat that you let steep
in his crib / The same cat that keep you deep in his
rib / Put it atl together and see what I did / Made
it famity first, let me show you what my famity's
worth." As is the case with the butk of the production on the atbum, the lead singte "Krazy"
lacks solid production and Seis doesn't sound
comptetely comfortable. His lyrics drop in terms
of content and depth, but Veronica adds a hook
that's the hightight of the song. The onty break
from the monotonous production comes from Les
of the Beatnuts on "Drinks Up." He uses an lndian
sitar sampte which makes for a hot track, but it
seems to throw off Seis' flow. The hook is simple
and the track doesn't share Seis'wisdom. Another
solid production effort comes from Cochese on
"Love Put Me." On this track, a piano metody and
vocal sampte offer Seis the canvas on which to
examine his career, the sacrifices he's made, and
the mistakes he's made. Other
MC appearances include Cu-
ban Link on "Be About lt."
Seis delivers
but
it's
a decent
verse
Link who shines
on
this track. lce-T shows face on
"Coast 2 Coast," bringing one
of the strongest verses on the
album. This album is notable
for the truth Seis shares on
many of the tracks, but with
mediocre production, the
album fa[[s short of a must-
have. The "Skutty Remix,"
produced by Just Blaze, is
reatty the only commendabte
production effort and it comes
way too late in the album to
save it. There are several
tracks on this album which
are skippabte. Seems like onty
Time'll Tell if this talented
MC's luck
his favor.
witl ever turn
-
Rohit
in
Loomba,
poombster@yahoo.com
OZONE
i
AGAZINE Srprzuern
2004
61
with no remorse. PT Cruiser drops a good verse
and Mista Dunn is "trying to turn maydays into paydays."
sucks you in
TJ's DJ's 3rd QUARTER TASTEMAKERS ONLY XCLUSIVES
PSYCHO & KASH f. LIL BOOSIE / SINCE I'MA HUSTLA- LONG
TERM SOUTH
Contact: L Kash - 904.708.1575
Psycho & Kash team with Lit Boosie to create a track high-
KEY
/
GET BUCKED
- FIEND
TL'6
@.
ENT.
Contact: Fiend - 504.243.1 422
Fiend has returned with a master ptan to get this money and maintain the love he receives from his fans from the N.O. to Ohio. lf you
don't rep those areas, don't worry, Fiend wants you to know that
"for the fotks in the middte feeting me a tot or a littte, so what as
long as you get bucked now." But, what is getting bucked? lt is making your
ends the best way you know how and cetebrating with your people.
THE THOM JAMEZ BOYZ
f.
KADILLAK BOYZ
I
PUSH
&
SHOVE
- STREETWIZE
Contact: BigT - 404.522.4577
The Thom Jamez Boyz tinked with the Kadittak Bofz to form a congregation
of pain against att of their enemies. With "Push & Shove" they combine
forces to announce to the wortd that a new order is being served. lf you
push, they're going to shove and stomp your ass out.
SUAVE SMOOTH
/
BACK UP (REMIX)
- HEADQUARTER
Contact: Jermaine - 561.389.5525
This reincarnation of the original breathes new tife into the project. The
main differences are new versions of the verses, more inctusive regional
shout outs, as we[[ as a more direct hook. The production for "Back Up
(Remix)" stitt provides for a feeling of bucking the system through a sound
system and simpty energizes your emotions.
EVE'NIN RIDAHZ I MY CLICK- Z-4-1
Contact: Ski - 813.294.1160
2-4-1 Records reemerges after riding a successfu[ wave
with Rated R's "ln
Here Tonight." This time around they have the Eve'nin Ridahz ctaiming
Tampa as their own. With a ctick that is never quick to back down, few will
chattenge their turf. This tune announces "l pack pistots tike a renegade/Attack tike a hurricane/Representin' Tampa Bay.../Fuck with me, you't[ be
running like a track meet." Get the point?
LIL UNFUFU / YOU AIN'T REALLY READY - BANG 'EM
Contact: Fufu King - 904.866.01 59
Jacksonvitte's Lit Unfufu is testing his foes and chaltenges them to get ready.
When somebody presses Fufu, be prepared because he's ready to knock their
ass out! More specificatty, "tett me what woutd you do if a hater pressed your
crew? I don't know about you, but I'd ctap that foo[. I'd have his neighbors
saying, 'what happened to that boy?' Round here, niggas don't ptay with
toys." lf you're not ready, you'd better get ready cuz Fufu is headed your
way.
f.
CRUCIAL, SKINO, C DAWG
/
KNOCK 'EM DOWN
.
BIG CAT
Contact: Mel Man - 404.603.8229
Young Snead and his gangsta nation from the A are on the scene to deliver
a message. You had better move out of the way or get knocked down! The
production paints a picture of these guys on the block handting business. lf
there was a definition of a gangster, compared with these guys most would
fail because they wouldn't be tough enough.
T. MOSES & JR. / READY TO DIE . GOODFELLAZ
Contact: T. Moses - 561.856.4350
The industry is fitted with artists who cavalierty throw phrases about how
not afraid of death they are, but when faced with it woutd probabty cave
tike a spot in Afghanistan. But, what woutd you do if facing someone who
has nothing to tose? T. Moses poses this question to those looking to take his
"scritta.
"
MISTA DUNN
f.
PASTOR TROY
/
HIT DA FLOE
- BLACK
ICE
Contact: Eric Brown - 404.246.6842
Mista Dunn and Pastor Troy combine to lay down some A-T-L funk. "Hit Da
Floe" sounds eerity like a classic UGK track. So, off the rip, the production
62
I'L'6
PooL
CD
OZONE IvIAGAZINE Srprr,Ben 2004
f.
BIG BUB
&
CARLA BOSTON
/
BLOWED
ICE
EE.DE
TIFFANI
f.
TIGAH
/
LOVE ON MY MIND
- RUFF WORLD
Contact: Mickey Rallens - 786.586.4653
Tiffani's voice melds well with this unique beat to make a song that
is both catchy and thoughtfut. When she betts her metodies you can
feet the joy she has for finding that special someone to tove. Tigah
and Tiffani ptay well off of each other and do very we[[ to express
their feetings without the clich6s.
/
LET'S GET IT LOW (THE KRUNK LOVE SONG) - NME
Contact: Renee Wilson - 404.885.5754
Ee-De is one of the rare breed that is abte to putt off having a smooth voice
white maintaining his appeat. With "Let's Get lt Low," the mood of the
track is ptayfut, but stitt allows Ee-De to disptay his vocal range.
STEPHEN HALL
/
I WANNA KNOW
-
DA LUV CIRCUIT
Contact: Junell - 954.993.5220
It is not often where the man exposes his feelings for a woman. But, Stephen Hatt puts everything on the line and needs to know if the object of his
desires is reciprocating the love he's trying to give. Stephen Hatt putts it off
with grace and a style reminiscent of the mid 80s R&B explosion.
LIL STICKS
/
PIMP SUIT - TEFLON
Contact: Tarvoria Russ - 386.527.9627
ln Sticks' neighborhood, even while doing dirt, you gotta stay clean in your
pimp suit. To be fashionabty btand is a painful state of affairs. lt says that
you have nothing of value. But, if you come clean as Sticks does, you woh't
be overhyping the deepness of your pockets or lyricat ability.
HEAI DINO, & FLEM BLAK /
YA GITT SKEETED ON
- DARK
HEART
Contact: Slim Black - 813.784.5956
"Ya Gitt Skeeted On" is one of the rare tracks that is setf-exptanatory. Heat,
Dino, and Flem Btak got together to make a song that lists atl of the people
they have issues with that woutd provoke them to skeet. For instance, if a
gir[ thinks she's too cute, "ya gitt skeeted on." The heavy use of horns in
the production is Stip-N-Stide-esque and creates a South Ftorida fee[.
HUMBLE THUGS
/
HOLLA
- IJ
Contact: Jeff Johnson - 305.620.0001
The Humbte Thugs hail from the mighty M-l-A. They have dropped another
set that has the quintessential Miami sound. ln fact, you'd be abte to City
Boy stide to this jam as you "hotla" at your favorite shorty. Look for the
group's lead mistress Boss Lady to tight up stages in the near future.
KIMTLLTON
YOUNG SNEAD
LIFE
Contact: Eric Brown - 404.246.6842
This song is strictty for the smokers who've got the dough,
dro, or reefer. Key ll Life grabs some good tatent in Big Bub
and Carta Boston to sprinkle their skitts over a mid-tempo
track. The combination rotted tightty together makes a
song that should get some good burn.
tighting both the bright and dark sides of being a "h-u-s-tt-e-r." Lit Boosie states, "l gotta provide/So I'mma hit this
nigga with the 4-5...Somebody's gotta get it cuz, my f*ckin'
chitdren' hungry." Psycho ft Kash do a good job painting a
picture of the gritty street [ife, showing Jacksonvitte is more
than Jaguars and Super Bowts.
FIEND
II
- BLACK
/
NAILS DID (REMTX)
- RUFF WORLD
Contact: Mickey Rallens - 786.586.4653
Kimiltion opens with the otd jigato cadence (you know the one, "l've got
my hands up high, my feet down [ow, that's the way we jigato") to get your
head bobbing to the understated musical tones. Then she throws you for a
loop with the reggae break down. This song witt keep your attention with
the sudden changes and familiarity working we[[ together.
THE XTREMISTS / T.H.U.G. - HARSH REALITY
Contact: Mass - 561.541.9131
Much like Pubtic Enemy, The Xtremists attempt to raise the conscious [eve[
of the populace with each creation. As long as there is racial injustice in
this country, expect to see The Xtremists in the midst of the battte.
904 CLICK f, MIKE JONES / THE STREETS IS REAL - M.O.E.
Contact: Vic - 904.545.0385
The 904 Click recruited the hottest mix CD vet in the game, Mike Jones,
to show how they tive in the streets of Jacksonvitle. 904 Ctick knows that
when you "[ook at my face, l'm an African-American. White fotks see me
and they think I'm stangin' heroin." Some things never change.
- Keith "1st Prophet" Kennedy, keith@tjsdjs.com
playlists $*p*. tr*ffiw
{**:r:re'rci*! r*dio Top t$ {l'r*tt**wid*.}
01
02
03
04
05
06
07
08
09
- Terror Squad "Lean Back"
- Ciara
Petey Pabto "Goodies"
- Lif Ftip
Lea "Sunshine"
f/
f/
- Netty fl Jaheim "i,ly Flace"
-
LL
cool J "Headsprung"
- Akon
fl
Sty{es P "Locked Up"
- Christina tditian "Dip it Low"
' Usher f/ Alicia Keys "lAy 8oo"
- Juvenite f/ Soulja Stim "Stow Motion"
10 - Kevin Lyttle "Turn lde 0n"
1$A{SX Ls*atr Le;v
{W*st Fal:n, FL}
01
02
03
04
05
06
07
08
- Jermaine "Tell lie"
- BSU f/ Lil'Jon "Sak Passe"
- Oanger fl Davinchi "Feels 5o Good"
09
'
l0
Jalrlia*** Re*€Fld ***l {*r{*:'ld*, fL}
01 - Lif Jon & the East Side Soyzfl Lil'Scrappy
"What U 6on'Do"
fl
0? - Tony Sunshine
DirtBag, P Diddy "Oh ltly God"
03 - Mobb Deep "Real Gangstas"
Q4 - 213 "6roupie Luv"
05 - Guerilla Etack f/ Beenie Man "Compton"
06 - Sitkk Da Shocker "We Like Dem Giris"
07 - Twirta
R Kelly "5o Sexy'
08 - i{iss-Teeq "Scandalous (rernix}"
Ludacris & T.l. "stomp"
09 - Young Buck
10 - Brandy "Who is She to You"
fl
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01
0?
03
-
**in*rc
"No Pmbtem"
Squad "Lean Back (remix)"
Lil'krappy
'Terror
fl
fl
fl
fl
- Gold Rush "Damn Right" r-#
- J-Red "Dis Ain't How" 1gUfi
- Cotosus "Let's
o*-*ff
Rotl"
- Funkadelic [nt" "Funkadetic"
-
RX
fl
"6et
Babeblu Productions
Right"
it
Sehife Cartel "Oo a Thang"
- ,Avatanche "561"
*$4 Rec*rd F**t {?*r'':p;*, Fl-} T*p lne*iw"s
01 - Strizzo "Low Low {remix)"
02 - Mr. Magic fl YoungB{oodz & Roy
Jones Jr, "l Smoke, I Drank {remix}"
03 - Eve'nin Ridahz "iAy Click"
04 - Kaddiltak "Get Down Boogie"
05 - Piccalo "Get Loose {remix}"
06 'The Eeam "Ah Damn"
07 - Do Wrong "Ahh &tan"
Vi*le* trtlx iMi*mi, FL) f1**vy r*t#tisn
01 - SBall & flJG fl Shannon Joner
"Straight Cadillac Pimpin"'
02 - Capleton "ln Her Heart"
03 - Ciara f/ Petey Pabls "Goodies"
04 - KR5-One "lttegal Business"
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07 - lvlase "Breathe, Stretch, Shake"
08 - Petey Pabto fl Rasheeda "Vibrate"
09 - Tanya Stephens "lt's a Pity"
10 - Terror Squad "Lean Back"
1'l - Various "Ching Chong Riddim iledley"
'17 - 213 "Groupie Luv"
D.i
Vlad (hosted by Shaquille O'Neal)
www.OJVlad.com
r.S/ *ry
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t{rynin'
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04 - LL Cool J "Headsprung'
05 - Pitbull f/ Piccals "Damn lt f'"lan"
06 - Idista
R KeUy "Ss Sexy'
07 - Akon "Locked Up"
08 - Houston f/ Chingy "l Like That"
09 - Guerilla Black f/ Seenie l{an "Campton"
10 - Beenie trtan "King of the Dancehall"
'ltick Daddy f/ Lil Jon & Taista "Letl Go"
1 1 't2 - Jadakiss f/ Anthony Hamitton "\{hy''
13 - Lit'Jon & the East Side Bo,yz
Lil 5crappy
"What U Gon Do"
14 - Lil Ftip
Lea'Sunshine"
15 - lifobb Deep f/ Lil'Jon "Real, Gang$tas"
- Ciara
DJs, send your mix CDs (include a cover) to:
1516 E. Colonial Dr Suite 205 Orlando FL 32803
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