dj issue - Ozone Magazine

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OZONE MAGAZINE
FIGHT THE POWER: THE FEDS vs. DJ DRAMA
THE SECOND ANNUAL
DJ ISSUE
CAN’T EXPLAIN JUST WHAT ATTRACTS ME TO THIS DIRTY GAME
MIMS
PIMP C
BIG BOI
LIL FLIP
THREE 6 MAFIA
RICK ROSS &
CAROL CITY CARTEL
SLIM THUG’s
BOSS HOGG OUTLAWZ
B.G.’s CHOPPER
CITY BOYZ
& MORE
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APRIL 2007
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* SCANDGAANGSTA GRILLZ & MORE
* RAPQUE
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REAL, RAW, & UNCENSORED SOUTHERN RAP
:
FIGHT
THE
POWER:
THE FEDS vs.
DJ DRAMA
THE SECOND ANNUAL
DJ ISSUE
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MIMS
PIMP C
LIL FLIP
THREE 6 MAFIA
SLIM THUG’s BOSS HOGG OUTLAWZ
BIG BOI & PURPLE RIBBON
B.G.’s CHOPPER CITY BOYZ
YOUNG JEEZY’s USDA
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& MORE
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* RAPQUE
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* GANGS
OZONE MAG // 11
PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly
CHIEF OPERATIONS OFFICER // N. Ali Early
MUSIC EDITOR // Randy Roper
FEATURES EDITOR // Eric Perrin
ART DIRECTOR // Tene Gooden
ADVERTISING SALES // Che’ Johnson
PROMOTIONS DIRECTOR // Malik Abdul
MARKETING DIRECTOR // David Muhammad
LEGAL CONSULTANT // Kyle P. King, P.A.
SUBSCRIPTIONS MANAGER // Destine Cajuste
ADMINISTRATIVE // Cordice Gardner, Kisha
Smith
CONTRIBUTORS // Alexander Cannon, Bogan,
Carlton Wade, Charlamagne the God, Chuck
T, E-Feezy, Edward Hall, Felita Knight, Iisha
Hillmon, Jacinta Howard, Jaro Vacek, Jessica
Koslow, J Lash, Jason Cordes, Jo Jo, Joey
Columbo, Johnny Louis, Kamikaze, Keadron
Smith, Keith Kennedy, Kenneth Brewer, K.G.
Mosley, King Yella, Luis Santana, Marcus
DeWayne, Matt Sonzala, Maurice G. Garland,
Mercedes (Strictly Streets), Mike Sims, Ms.
Rivercity, Natalia Gomez, Ray Tamarra, Rico
Da Crook, Robert Gabriel, Rohit Loomba,
Shannon McCollum, Spiff, Swift, Wally Sparks,
Wendy Day
STREET REPS // Al-My-T, B-Lord, Big
Teach (Big Mouth), Bigg C, Bigg V, Black,
Brian Franklin, Buggah D. Govanah (On
Point), Bull, C Rola, Cedric Walker, Chill,
Chilly C, Chuck T, Controller, DJ Dap, David
Muhammad, Delight, Derrick the Franchise,
Destine Cajuste, Dolla Bill, Dwayne Barnum,
Dr. Doom, Ed the World Famous, Episode,
General, Haziq Ali, H-Vidal, Hollywood, J
Fresh, Jammin’ Jay, Janky, Joe Anthony,
Judah, Kamikaze, KC, Kenneth Clark, Klarc
Shepard, Kuzzo, Kydd Joe, Lex, Lil D, Lump,
Marco Mall, Miguel, Mr. Lee, Music & More,
Nick@Nite, Nikki Kancey, Pat Pat, PhattLipp,
Pimp G, Quest, Rippy, Rob-Lo, Stax, TJ’s DJ’s,
TJ Bless, Tim Brown, Trina Edwards, Vicious,
Victor Walker, Voodoo, Wild Billo, Young
Harlem
DISTRIBUTION // Curtis Circulation, LLC
SUBSCRIPTIONS // To subscribe, send check
or money order for $11 to:
Ozone Magazine, Inc.
Attn: Subscriptions Dept
644 Antone St. Suite 6
Atlanta, GA 30318
Phone: 404-350-3887
Fax: 404-350-2497
Website: www.ozonemag.com
COVER CREDITS // USDA photo by Eric Johnson; Carol City Cartel photo by Julia Beverly;
E-40 photo by Eric Johnson.
DISCLAIMER // OZONE Magazine is published
11 times per year by OZONE Magazine, Inc.
OZONE does not take responsibility for unsolicited materials, misinformation, typographical errors, or misprints. The views contained
herein do not necessarily reflect those of the
publisher or its advertisers. Ads appearing
in this magazine are not an endorsement or
validation by OZONE Magazine for products or
services offered. All photos and illustrations
are copyrighted by their respective artists.
All other content is copyright 2007 OZONE
Magazine, all rights reserved. No portion of
this magazine may be reproduced in any way
without the written consent of the publisher.
Printed in the USA.
12 // OZONE MAG
INTERVIEWS
Boss Hogg Outlawz
Chopper City Boyz
Big Boi & C-Bone
Desmond Clark
Three 6 Mafia
TJ Chapman
Lil Flip
pg 102
pg 104
pg 98-99
pg 100
pg 66-67
pg 96
pg 56-58
FEATURES
Sidekick Hackin’
Old School DJ Tribute
2nd Annual DJ Survey
Release Therapy: Pimp C
Entrepreneur: Miami Kaos
10 Gangsta Grillz We Want To See
10 Gangsta Grillz We Don’t Want To See
Fight the Power: The RIAA vs. Mixtape DJs
pg 30
pg 80
pg 82-95
pg 64-65
pg 97
pg 26
pg 28
pg 76-79
70-73
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CAROL CITY
MONTHLY
SECTIONSpg 38
Hustlin’
Feedback
Rapquest
End Zone
Chin Check
CD Reviews
JB’s 2 Cents
Industry 101
Mathematics
The Elements
Photo Galleries
Patiently Waiting
10 Things I’m Hatin’ On
pg 14-16
pg 18-19
pg 112
pg 24
pg 108-109
pg 17
pg 32
pg 22
pg 110
pg 23-49
pg 42-52
pg 17
Send your comments to feedback@ozonemag.com
constantly containing articles with knowledge on how to stay on top of
your shit. Also, since I’m originally from Baton Rouge, it’s a true pleasure
checking out your extensive coverage on that region and surrounding areas.
I don’t think any other major mag has covered Lil Boosie as often as OZONE
has. Just wanted to show our appreciation for all your efforts. Don’t change
shit about your mag, cause it ain’t broke. No need to fix that muthafucker!
– E&J, dbrecordsllc@hotmail.com (Tallahassee, FL)
You only concentrate on Jackson when you cover Mississippi, but there’s
more artists in The Sipp making moves than Jackson. Hattiesburg is one of
the hottest spots in The Sipp. Artists like GMB, Mizz Smurff, U2Dak and of
course me, Huggie B, are making moves. I feel you need to give us just a
small portion of the light and time that you give Jackson and you will see
who runs The Sipp.
– Huggie B, hhhuggieb@hotmail.com (Hattiesburg, MS)
Out of all the so-called Hip Hop mags out there, OZONE is one of the few
mags that I still read from front to back because of the broad amount of info
it provides – not only about artists, but about life and how it affects us as a
whole. Continue to hustle hard and keep it true. We see your hard work and
we appreciate that and support that.
– Future Profit, leaders3@tmail.com (Tuscaloosa, AL)
Hey JB, I read your February issue’s 2 Cents. Although I do agree with your
feelings and understand your article, I have to say that as a New Yorker not
everyone feels that way. There is something you have to hear. I respect you
and what you’re doing, and know you will understand where I’m coming
from once you listen to my record “We All In The Same Game.”
– Donny Goines, donnyscott24@tmail.com (NYC)
Regarding your March issue’s Rapquest segment on Nashville, TN: Thanks for
the coverage on PacMan and the Tennessee Titans, however, the information was not correct. Adam “PacMan” Jones and Vince Young are the only
Titans that have a vested interest in the music and entertainment business.
PacMan’s label is called National Street League and his group is called The
NSL Click, of which he is a member. Vince Young’s Next Level Entertainment
has an artist named AP.
– Cheryl Moss (Atlanta, GA)
I subscribe to OZONE Magazine and I look forward to reading each issue for
Wendy Day’s words of wisdom and advice. I agree with most of her thoughts
and finally decided to voice my feelings after I read the February 2007 issue,
where she wrote about structure and organization. As the sole owner of my
company, structure and organization are a necessity on my plate. It seems,
however, that many of the people I encounter in the music industry don’t
feel the same way. Day after day, I encounter people who send “business”
emails and don’t even bother to give a name or contact information. I get
emails like, “Yo, what’s up ma, u need beats?” Of course it should be about
their music, but presentation is a key to success as well. It’s the happy
medium that most people don’t even bother to achieve. Most of the artists I
encounter tell me they’re businessmen, but they don’t even take the proper
steps to ensure their own future – like hiring a lawyer to review the contract
for them. I’m a paralegal by trade and I tell my artists, “No one sits down
and writes 20-page contracts because they have nothing else to do. Every
word means something!” Real business people recognize that it takes talent,
structure, and organization.
– Robin Hardrick, msrobin@ruenempire.com (Chicago, IL)
JB, the writing in OZONE is sharp and I love to glance through the pictures
to see who’s new in the game. You have exceptional information for up and
coming artists like myself. I had to give you props after reading it. You must
have a demanding career, but that’s cool because it keeps your work tight.
– Ronald Pickard, 04920094@inmatemessage.com (West Palm Beach, FL)
My business partner and I consistently read OZONE. We love how you really
big up the South but still show genuine love to all other regions. With so
much fucked-up shit going on in the world, it’s nice to see others who attempt a different but positive approach. Your mag is extremely informative,
14 // OZONE MAG
I love your new Rapquest section. People are starting to realize that the
South has talent. That’s why the East coast is hating the South, but you’ve
got some that show love to the South. And the West coast is really loving us.
The way I look at it, it was the South that first put out music.
– James Dillard, dillard_james@yahoo.com
OZONE’s first annual drug issue is the dumbest shit I’ve ever heard of. This is
the best stuff you could come up with for Black History Month? How to cook
crack? Who needs to know that shit?
– Cho Boogie Brown, cheboogie@earthlink.net
Editor Responds: You didn’t read it yet, huh?
I’m not really the type of nigga to be writing to a magazine, but I can’t
even front – that Crackhead Confessions article kinda fucked me up. My
mom died on Christmas in 1989 when I was just 5 years old. She was an
addict and she died from AIDS. I don’t know if it was from needles, sex,
whatever. I don’t wanna know. I just know one thing: I’m a rapper and I’m
‘bout to blow and she’s not even around to see it. I just had a daughter and
she’s not around to see her either. My brother has been in and out of jail his
whole life. He’s 26, and her doing drugs mentally fucked him up. It fucked
me up too cause I’m real slim and have constant asthma attacks and a weak
immune system. I was mad when I found out the real way she died. For
years I was being lied to; they told me she died of cancer. When I was 19
my sister told me the truth. I used to cry all the time but since I found out
the truth – that she caused her own death – I never shed another tear. If I
had money like JB, Jeezy, Luda, and the rest I would go back and help those
crackheads, but why help them if they’re just gonna do what they want.
Once I get my deal, I’m gonna help at least one of them change their life. If
I could stop someone else from losing their mother like I did, that would be
great. Please print this.
– Dye-Ris, dadeking@aol.com (Miami, FL)
I get so many magazines in the mail that I rarely take the time to actually
read them. I got this month’s issue in the mail today, The Drug Issue, and
decided to actually take the time to sit down and read it. I must admit that
it’s really good. Keep up the good work. One thing I will say, though, is that
the mag is getting too crowded. You have a lot going on and that’s cool,
but don’t overdo it. It seems like you’re trying to pack too much info into
one issue. You know the average person in Hip Hop doesn’t read THAT much.
Your writers are definitely on point, though. It’s definitely one of the best
issues of any magazine I’ve read in a long time.
- DJ Chuck T, djchuckt@aol.com (Charleston, SC)
As a journalism major, much respect for making such a real, hood, but also
good magazine.
- Shamrock from the White Rapper Show, shamrock_music@yahoo.com
(Atlanta, GA)
JB, I don’t care what no one says about you! I got your back. I was excited
to read OZONE’s December Sex Issue. You made my day. You don’t drink,
smoke, do drugs, or gamble? An all natural woman – I rarely see you in
makeup either. Love it! That’s a rare jewel in this crazy entertainment industry. Continued success!
- Dee Dee Cocheta-Williams, abcpublicity@aol.com (Atlanta, GA)
The February issue with the UGK cover was a great issue! That Killer Mike interview, the one with Freekey Zekey, and the joint with Nas were easily some
of the best interviews I’ve read in a long, long time.
- Haziq Ali, haz1q@aol.com (Atlanta, GA)
Killer Mike’s Throwback Review of Eazy Duz It was the most thorough shit
ever. If real “record reviewers” would be this thorough in listening to every
detail of an album, the music world would be soooooo much better and
then artists would be more inclined to make respectable albums that have
more than 2 weeks of listenability. I know that if I submitted an album to a
magazine that was gonna completely strip it down to every last detail before
giving it a review, it would make me be on my “A game” all day. Then again,
I don’t rap, so at the end of the day what do I know? The record review section is what used to make The Source one of the most respected mags in Hip
Hop history because they had people on their staff that knew what the fuck
they were listening for. Knowledge of dope rhymes and dope ass music down
to knowing what samples were used or replayed over with live instrumentation, to the type of skillful scratches done, etc. Once “that rapper dude” took
over you could immediately tell that the new staff didn’t really care as much
about the attention to detail and in turn, it seemed like that’s when certain
artists started not to care about quality control as well. Please continue on
the path that you’re headed in. I’ve loved your mag for years, from back
when it was just an Orlando thang.
– DJ Jaycee, captainscissors@tmail.com (Atlanta, GA)
I just got the March issue and you killed it on this one. You finally put a realass artist on your cover. Young Buck is the muthafuckin’ truth, period. I’ve
been feelin’ him since Buck and Tay. A girl I know went to school in Nashville
and got me into it like five or six years ago. All the other articles, like robbin’
the stash house, brings back memories of high school!
- Adam Murphy, jessejames314@aol.com (St. Louis, MO)
I can’t believe you haven’t had an article about X-Mob yet. I’m very disappointed. Your magazine is quite impressive when it comes to the South but
y’all are slippin’ right now. They make a great story. They’ve worked with all
the majors in the South. They’re really Louisiana’s underground kings and
they just inked a deal with Pimp C’s UGK Records.
- Oteder Foster, oteder_foster@yahoo.com (Louisiana)
I was reading the new OZONE Magazine while I was at the radio station last
night and I noticed Judy Jones had a Cincinnati section in the RapQuest
article. I see she mentioned Hi-Tek and Tocka which is cool, but the talent
in Cincinnati doesn’t stop there. I’m out here in the streets with these artists every day so I just want to set the record straight and represent the
city to the fullest. I don’t understand how she could mention Tocka without
mentioning his Garnett Entertainment labelmates Showtime and Cross. OZONE
has also done articles on LocDown Records’ Big Neil and Aristakrat Records’
K-Riley, who currently has a remix of his first single “Dat Boi Cold.” It originally featured Gucci Mane and now features Jim Jones and is currently being
played in 33 radio markets and on BET. If you wanna talk about mixtapes,
yes, Tocka had a hot-ass mixtape, but so did K-Riley. As far as up and comers, we’ve got Beat Gang, Bad Newz Barnes, Kidd Corleone, Evil Eye, the twins
Split Image, and a young artist named Means. We got a movement here and I
need everybody to know that. It’s been hard and we’re just now beginning to
see a light at the end of the tunnel.
– The Mighty Joe Young, themightyjoeyoung513@gmail.com (Cincinnati, OH)
Kentucky was overlooked again in your RapQuest article. Even though we’re
the most slept-on state in the music industry, we’ve still found our way into
the music scene with heavyweights like Static, the Nappy roots, G-Mack, and
Native. Many other rappers are stepping into the ring too, like Hurricane,
Kommittee, B Simm, KD, and many others. It took a little instigating and
B96.5 FM’s DJ E-Feezy and DJ Q to get some local talent exposed. Louisville
has been patiently waiting for our turn to shine, but somehow everyone’s
radar is off. We have had pioneers in then game like Underground Mafia,
Kool Daddy Fresh by way of Cashville, Hugg Bizza and Father Jah holding us
down for years, but just like our native son Muhammad Ali, we will make you
respect us.
– Divine Da Instagata, outtadashopent@hotmail.com (Louisville, KY)
16 // OZONE MAG
The March issue is crazy! As soon as I saw the cover I had to read the whole
magazine from front to back. Crackhead Confessions was definitely eyecatching. I can’t believe you went “crackhead hunting” either. I knew from
jump that this issue was going to be a classic. I notice you’ve changed the
layout a little and added a few new sections. I love RapQuest; that’s genius.
Wendy Day’s article was informative, and the 20 Reasons Why Weed Should
Be Legal section was entertaining. I have to disagree, though. You can’t pass
an Accounting test high off some Kush. It’s a drug – get over it. Killer Mike’s
“How to Rob a Stash House” was dope and the principles can be applied to
many different ventures. Big shout out to Kevin Black in your Industry 101
section! I don’t have anything to say about Carlos Cartel, who has real pictures of dudes in caskets on his ad. That’s a real headbussa. That was a good
move for Jeezy, motivating the thugs with his essay contest. I read the Under
The Influence section, and I’m glad you put the DOWNside last. A lot of these
young dudes might have tried some of those drugs out of stupidity if you
hadn’t. As far as Ricky Ross the dealer vs. Rick Ross the rapper, I’m with the
rapper. He taught us to be successful with our grind. The other dude taught
us to slang to agents and go to jail. Reppin’ The Bay was a good look too.
- Derrick Francis, derrick_francis03@hotmail.com (Virginia Beach, VA)
Corrections: The photo of Dwayne Wade and Jacki-O that appeared in our
Super Bowl special edition was not taken at Coco’s in Ft. Lauderdale. Also, we
neglected to credit Ralph Rivera for his photo of Pitbull that appeared on the
cover of our Super Bowl special edition.
jb’s 2cents
A
dmittedly, OZONE has engaged in its share of controversy
during our five years of existence. Hey, we did what we had to
do to get noticed. But you can’t deny that we also backed it up
with consistently good material. Good interviews, good pics, good
concepts. We’ve got flavor; attitude. It’s what sets us apart from the
million other publications out there.
10 Things I’m Hatin’ On
By Roland “Lil Duval” Powell
Yeah, we’ve highlighted some of the more interesting beefs over the
last few years. I went through a number of obstacles – sneaking
into big shows with a camera, my specialty – to bring you the nowclassic shot of TI holding up the picture of Flip in the leprechaun
suit when he dissed Flip at the Birthday Bash in ATL. I filmed that
clip of the Orlando police officer throwing Lil Scrappy off the stage
in his early days that you’ve probably seen on the Beef DVD (that officer,
who happens to be Smilez of Smilez & Southstar’s brother, hates me to this
day, by the way). And those infamous voicemails I got – well, never mind.
And yeah, I’ve put people on blast myself. I’ve ended a few careers – but
every one of them deserved it. And I’ll continue to do it, because my bluntness is the reason you read this column.
Disclaimer: This is really what everybody else is sayin’.
I know I’m dead wrong, but I’m hating anyway.
01 // PEOPLE BITING MY NIGGA JIM JONES
Is it just me, or does everyone you see in
the club now try to look like Jim Jones?
Gotdamn, black people are followers.
02 // MOHAWKS
This shit makes some of you niggas look
like dykes.
03 // VH1’s I Love New York
Speaking of gay, I’m convinced that everyone on that show is gay except the cracker,
and he’ll probably let someone stick their
finger up his ass if New York tells him to.
04 // UGLY BITCHES
Have you ever fucked a bitch so ugly that
when you nut you feel the same way you
feel after you jack off?
05 // REAL ESTATE AGENTS
If one more person comes up to me telling
me they sell houses, I’m gonna snap. Stop
believing what a nigga tells you. You ain’t
gonna get rich just cause you got your real
estate license. Getting a real estate license
is as easy as getting a Kroger Plus card now.
06 // NIGGAS LIVING FOR EVENTS
Stop revolving your life around events.
People were planning six months in advance
for Super Bowl and All Star weekends, which
is the dumbest shit I’ve ever heard. Think
about it: does it really make sense? Save up
damn near a whole year for three days, then
come back home and start over. Boy, these
crackers got us right where they want us.
07 // MYSPACE
Please change your password at least once
a month, cause I’m tired of y’all letting
these people get in your account and putting these bullshit-ass comments on my
page about tracking everyone or the iPhone.
Ballin’ with Jim Jones
in MIA...
With Rich Boy, Spider Loc,
& Young Buck in ATL...
JB, DB, & our Blackberries
Pimp C, me, & Big Gipp
08 // ANNA NICOLE SMITH
This bitch thought if she killed herself she
would get more attention. Hey, it worked!
09 // THE MOVIE PURSUIT OF HAPPYNESS
This was one of the longest, most depressing movies I’ve ever seen, and what pissed
me off is how they ended it. They didn’t
show the man balling or nothing after he
got the job.
10 // COMEDIANS
A lot of comedians have been hating on ya
boy, and I have one thing to say to all of
them: It’s too late! You should’ve hated four
years ago. LOL @ you broke ass niggas.
www.myspace.com/rolandpowell
So call me an instigator if you will, but lately it’s come to my attention
that I also have a skill for getting stubborn alpha males to deal with their
problems in more productive ways, like actually speaking to one another.
Most rap beefs are either publicity stunts or the results of Ego + Entourage.
Take Rick Ross and Trick Daddy, for example, the biggest beef bubbling under the surface that neither has publicly admitted yet. What is it ultimately
based on? Nothing, as far as I can tell. Some ego bullshit. DJ Khaled’s “Born
& Raised” is a classic Miami anthem and one of my personal favorite songs
that dropped last year. Rick, Trick, and Pit each killed their verse, and because of some silly shit, we as music lovers might never have one of those
moments again. In Vegas I witnessed another classic moment as Young Buck
and The Game stared each other down across a crowded club. Although the
incident ended without violence thanks to a few dozen police and security
guards, it could’ve easily gone the other way. If it was just the two of them
– minus the entourages – the situation could probably be defused. Without
the pressure to make a public statement and “keep it real,” two reasonable
adult males could probably come to the conclusion that at the end of the
day it’s really not that serious. Biggie and ‘Pac, anyone?
Remember the little diss records Chingy and Nelly had thrown at each other?
No? Me neither, but anyway, they’re friends again and performed together
in Vegas during All Star weekend. We’re still not sure what Mike Jones and
Chamillionaire were “beefing” about, but they took a picture together (check
the photo galleries) so apparently things are squashed. Baby and B.G. settled their differences after the untimely death of Baby’s sister. The CORE DJs
boycott of Young Buck only lasted a week. See? We can all just get along.
I try not to brag on myself, but based on what other people tell me, I’m one
of the few respected females in this testosterone-fueled industry. So, I feel
it’s my duty to offer my mediation services to these silly boys. Occasionally, there’s legit beef. But most of it is based on nothing, and if the two of
you will just fucking talk to each other and express your feelings (it’s not
masculine, I know) maybe you can make some money together. And that’s
really what it’s about, right? So, Rick & Trick, whenever you’re ready to share
a blunt, I’ll be more than willing to set it up. I don’t know Game personally
but hey, holla at me if you wanna make nice with Young Buck. Is this naïve?
Maybe, but at least it sounds good.
As for the females, well, yeah, we’re even worse. We hate each other more
than men do. Jacki-O vs. Foxy Brown? Khia vs. Every Other Female Rapper?
I will take all of your pictures and put them in the photo gallery so you can
get some pub, but that’s where it ends. Y’all are on your own, sorry.
making Kenny famous
- Julia Beverly, jb@ozonemag.com
Diddy f/ Keyshia Cole “Last Night”
DJ Khaled, Akon, TI, Rick Ross, Fat Joe, Baby, Lil Wayne “We Takin’ Over”
David Banner f/ Akon, Lil Wayne, & Snoop Dogg “9 MM”
Lil Scrappy f/ E-40 & Sean Paul “Oh Yeah”
Baby Boy f/ P Town & Lil Boosie “The Way I Live”
Diddy f/ Timbaland, Twista & Shawnna “Diddy Rock”
Chamillionaire f/ Kelis “Not A Criminal”
Blast f/ Akon “Look Me In My Eyes”
jb’splaylist
Young Buck “Get Buck”
B.O.B. “Daddy”
Trick Daddy “Born A Thug”
Young Dro “We Lied”
Trick Daddy “Lights Off”
OZONE MAG // 17
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It’s been another cold month in the Nappy City, but the Colts winning the Super Bowl brought
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some heat. We also had two blazing shows back to back: 8Ball & MJG and Rick Ross. The city
jumped behind DJ B-Nasty and DJ Black as they headed to Tunica for the SEAs, where they
both were nominated for awards. Female artist Cold Hearted’s new single “On Point” is catching on heavy in the streets.
- Lucky The Promo King (srfoleaf@aol.com)
NASHVILLE, TN:
Nashville is the place where DJs are scared to break records and are too cheap to pay $40/mo for one of the states largest record pools! Clubs can’t last longer
than six months and lazy police despise urban nightlife, while local promoters pimp the clubs because they value a fast buck over someone’s life. Local artists
are putting out more mixtapes than DJs and Playboy finally dropped his CD. But the streets are really talking about Jellyroll’s $1k freestyle challenge to anyone
in the South who wants some at the annual Southern Entertainment Awards.
- Janiro (Janiro@southernentawards.com)
MEMPHIS, TN
Memphis made its mark at the Southern Entertainment Awards, with winners such as E-Feezy for Radio DJ, Nakia
Shine for Independent Rap Artist, and www.memphisrap.com for Website of the Year. The Memphis-Nashville connect seems to be building even stronger this year; it’s been growing ever since Young Buck got with Three 6 Mafia
for “Stay Fly.” Yo Gotti signed All Star and DJ Whitey (winner of Best Intro on a Mixtape) teamed up with J. Sin of
Memphis to bring some definite Tennessee heat.
DALLAS/FT. WORTH, TX:
The streets tune in every Saturday night
for the Dirty South Block Party show with
BoBo Luciano & ‘Em on KNON 89.3 FM.
Cowboy’s In My City DVD causes a lot of
controversy! Metro Muzik, the A-Teem
and Victory Entertainment provides
Dallas artists really the only chance to
perform and be seen while DJ Wildhairr
& JT do the same for Arlington and Forth
Worth. This hoe ass bouncer jacked me
for my good at the door of club Unknown. Money Waters is set to conquer
SXSW. Why do artists in DFW have no idea
who DJ Snake is? Stay strong Bo-Leg and
Twisted Black!
- Edward “Pookie” Hall (www.urbansouth.us@
gmail.com)
CHATTANOOGA, TN:
First off, congratulations to DJ Dutty
Laundry for winning the award for Best
Exclusives on a Mixtape at the 2007
- Deanna Brown (deanna.brown@memphisrap.com)
Southern Entertainment Awards. First
Fridays have been going strong with
recent performances by Gucci Mane and Project Pat. Jim Jones, The Alliance, and Fabo are scheduled to
perform in the Scenic City in the upcoming weeks. On the upscale front, Harlem Entertainment’s Cosmopolitan Satudaze continues to be the go-to event each month. WJTT has some big events scheduled,
including their Black History Month Step Show with Lil Scrappy. Wally Sparks (yours truly) linked up
with Knoxville’s Mr. Mack for his street album 865: Welcome to Bloxville, which features Chattanooga
native D. Cooley, Yo Gotti, All Star, and the best talent from the Knoxville area.
– DJ Wally Sparks (DJWallySparks05@aol.com)
JACKSON, MS:
Boo shot the video for his single “Make It Rain” with Jazze Pha, and despite
the rumors, he is still signed to J Records. They’re really sleeping on him.
BlockWear is still king of the streets in 2007. Young Tut is the new teenage
heartthrob with his hit single “Sidewalk.” David Banner hit the big screen
beside Samuel L. Jackson in Black Snake Moan for his acting debut. Mississippi native Deuce McAllister helped the New Orleans Saints make history.
Hoopz will be bringing her Flavor of Love to Jackson when she kicks off
Freelon’s 2007 Spring Break weekend in March, and OZONE will be there to
make it official!
- Tambra Cherie (tambracherie@aol.com) & Stax (blockwear@tmo.blackberry.net)
AUSTIN, TX:
Preparations for this year’s Hip Hop portion of South By
South West are being finalized, while the 10th year anniversary of TheScrewShop.com will be celebrated at SXSW
on Saturday, March 17 with its own Hip Hop showcase. Salih
and Tomar Williams of Carnival Beats are putting the finishing touches on their production for upcoming albums from
Mike Jones and Chingo Bling. DJ Rapid Ric just launched
his new MixtapeMechanic.com website. Nina Ross Records
dropped 02 Block Edition, featuring Austin’s own Gerald G,
Pimpin’ Pen, K-Paul, Ryno, Black Meezy and more. DJ Bounz
is holding it down every Wednesday and Thursday night
downtown at Canvas.
BAY ST. LOUIS, MS:
Deliyteful & CrossRoads Entertainment linked up G’NO with
Select-O-Hits. DJ Deliyte is hosting the DJ Summit for
Mississippi street, club and radio jocks. Nels Sports Bar &
Lounge kicked off Season Two of the Thursday Night Comedy
in BSL. The Boiler Room in Gulfport hosts Mr. Wipe Me Down
himself, Foxx of Trill Entertainment. Mardi Gras in the ‘Sipp
is hot! On Fat Tuesday, the Krewe Of Real People hits the
streets.
- DJ Deliyte (unodasound@yahoo.com)
- O.G. of Luxury Mindz (luxurymindz@gmail.com)
HATTIESBURG, MS:
Young Dro and a few others put on a bustin’ show, but the crowd was empty because we get burned so often by artists and promoters! Miz Smurff
returned from the SEAs with a trophy for Female Mixtape Artist of the Year. The Movement Tour is about to kick off, featuring U2DK, GBC Camp, GMB,
Underground Society, Miz Smurff, and more. DJ Sweat has given the Pinebelt a new place to boogie: Tha Park! Preparations for the annual USM
Que/Delta week have begun. If you don’t know, Google it!
- DJ Big Brd (llerbac@yahoo.com)
18 // OZONE MAG
CINCINNATI, OH:
Aristakrat Records’ K-Riley dropped a track so
hot that WIZF 100.9 couldn’t deny it: “That Boi
Cold,” featuring Jim Jones and Gucci Mane. The
new smoking ban in Cincinnati means no smoking in public places: no tweed, no trees, and no
Marlboros. It’s so serious they’re even going after
the restaurants with wood-burning stoves. I bet
Cracker Barrel won’t get a citation. Cincinnati
police and the Crime Stoppers have teamed up to
start playing their own game of Wheel of Fortune.
They got the most wanted faces on the wheel
– they spin it and that’s who they’ll go after this
month. Damn it man, them boys cold.
- Judy Jones (Judy@JJonesent.com)
WASHINGTON, DC:
D.C.’s rap fate is starting to emulate Chicago’s. Both cities are deep in the streets but it’s the nerd
rappers that generate enough noise to break their city out of the rap depression. Twista aside, Chicago
broke off of the not-so-gangsta offerings of Common, Kanye and Lupe. The District seems to be following a similar trend behind industry favorites Tabi Bonney and Wale. That’s cool, but the streets are
salivating for niggas like One Way, rumored to be in talks with Warmer Bros., Kingpin Slim, a former
Source Unsigned Hype held up by a recent weapons charge, and Black Flag, anchored by Chink Santana,
to get on.
– Pharoh Talib (Ptalib@gmail.com)
VIRGINIA BEACH, VA:
Scandalez hit 106th & Park and repped for VA in a major way! O.V.A. is
prepping the streets for his new single “Arm & Hammer.” Fam-Lay is still
on the grind and waiting for Interscope Records to start pushing his
project. Club Miami, which was closed after a Jim Jones concert ended
with SWAT teams being called in and several people shot, reopened as
the Aqua Lounge.
– Derrick Tha Franchise (Trax4Profit@hotmail.com)
RALEIGH, NC:
MONTGOMERY, AL:
While I was getting a pedicure, I hustled somebody’s baby mama into
telling me that the Small Tyme Ballaz aren’t together anymore. Small
Tyme denied it, but look at the Dirty Boyz – they’re still “together” too,
but it’s funny how Big Pimp just dropped a solo album. It’s fire, but
what’s really going on? Somebody tell Jim Jones that up North ain’t the
only place “BALLLLLLLIN’,” but we do like to get our money’s worth. He
should’ve kept the fucked-up attitude and given a better show!
Twin cannons Ike & Shyst, otherwise known as “The Country City Boyz,” have
started the year with a bang. Their joint “Supa Star” featuring Freekey Zekey of
the DipSet is bangin’ in the 919 and the surrounding areas. Other hot joints in the
streets come from Fayetteville’s J-Khrist, Raleigh’s Cab Life, and Durham’s The
Presidents.
- Big K (kapcitypromo@gmail.com)
COLUMBIA, SC:
South Carolina’ s DJ Chuck T and DJ B-Lord each took home a couple
awards at the SEAs, and Hot 103.9 WHXT won radio station of the
year. Columbia’s nightlife has seen a couple changes, with Club
3000 opening on Two Notch Road and Club Elements lowering their
age requirements to 23 for women and 25 for men. Of course, Club
Evolutions is still packed on Fridays and Saturdays. You can find local
artists like Collard Greens and Lil Ru at any of these spots on any
given weekend, but you’re most likely to find them at Liquids making
it rain.
- Hot Girl Maximum (hotgirl.maximum@gmail.com)
TALLAHASSEE, FL:
Palm Beach’s Pupp graced our city with his birthday bash,
with the first live performance from Plies since FAMU homecoming. Diddy Bo from nearby Quincy made the final cut for
Diddy’s newest “Making the Band.” Speaking of making the
band, FAMU’s World Famous Marching 100 performed with
Prince at the Super Bowl in Miami during halftime. TJ’s DJ’s
Quarterly Tastemakers Pool Meeting was off the chain as
usual – the highlight of the night was a live performance by
hometown representative T-Pain and his brand new single
“Buy You A Drink,” featuring Yung Joc, who was also in the
house with Boyz N Da Hood.
- DJ Dap (DJDapOnline@gmail.com)
ORLANDO, FL:
DME front man Wes Fif dropped one of the most anticipated mixtapes of 2007 with Real Nigga Radio’s slick
talker Bigga Rankin called Direct Connect. After gaining
a buzz in the Tampa Bay area, “The Smoothest Mouth of
the South” Sean Simp joined the battle to be on top of
Orlando. Orlando native Grandaddy Souf, who has now
relocated to Atlanta, released his new single “Keep ‘Em
Comin’ Back.” Since Orlando is considered the mecca
of boy bands, Vh1 chose Orlando to be the location for
their new show where “Surreal Life” meets “Making the
Band,” led by super-producer Bryan-Michael Cox. DJ
Nasty, who’s been moonlighting as a producer along
with his brother LVM, landed the first single on Lil
Wayne’s new album.
- Rob Lo (RobLoPromo@aol.com)
CHARLESTON, SC:
DJ Chuck-T repped Chucktown properly by winning the prestigious Impact DJ of
The Year and Best Rap Mixtape at the 2007 Southern Entertainment Awards. Chuck
T also prepares to continue the Down South Slangin Carolina Kings Edition Series
with a new installment on Chucktown’s favorite rapper, Marley Marl. Local police
continue to show prejudice and racist behavior by putting pressure on popular
strip club Badabing to close down, after a fatal shooting occurred in the parking lot this past January. Needless to say, McDonald’s and the Northwoods Mall
weren’t shut down after similar incidents. The Weekend Pub in Goose Creek continues to build a buzz as the new hot spot in the Chuck with the help of promotions
company Lavish Entertainment.
- DJ B-Lord (BLordDJ@aol.com)
JACKSONVILLE, FL:
Believe it! It was a sad day for local Hip Hop when Hot 105.7 changed to a Latino
format. Derrick Washington changed the Quarterly Upstart Record Pool Meeting
format to an Industry Mixer & Showcase. Bigga Rankin’s annual Ghetto Grammys
was more exciting than the real Grammys. Charm is holding down Duval in New
York; she’s doing big things along with Dot 1 who released a new EP this month.
The Duval Boyz’ “Stay Fresh” and Dirt Digg’s “Block Bleeders,” featuring Paul Wall,
are bangin’ in the streets, along with Shot Out’s new album Nice Guys Finish Last.
- Ms. Rivercity (www.myspace.com/msrivercity)
MIAMI, FL:
- Destine Cajuste (upromoteme@aol.com)
TAMPA, FL:
Wild 98.7’s freak, Orlando, is officially off the market and is now a married freak! Blazin’ Entertainment and All Or Nothing Inc are taking over the
upscale party scene by making sure they bring hot artists to their spots. A
$263,574 necklace was stolen from Sam’s Club, so be on the lookout for a
bangin’ chain at a club near you! Black Reign is a crowd favorite, but R&B
singer D.Wyte was victorious at the Bay Area Haps Artist Showdown!
- Mz T-Rock (mztrock@yahoo.com)
Comedian Mike Epps busted his ass on a scooter in front of a
crowd on South Beach. Dwayne Wade celebrated his 25th birthday
by throwing a private party on the 55th floor downtown where
his “invite only” guests had to buy their own drinks! DJ Irie got
his own limited edition Adidas sneaker! Trick Daddy caught some
bootleggers in front of a Walgreens selling his CD, so he called the
cops. When the dispatcher asked for his first and last name, his
answer was, “Trick – Daddy!” There is a newsletter circulating in
the streets called “The Truth About Diamonds [Strip Club]” naming
the strippers who allegedly have the funk, the owner who has a
“sickly dickly,” and everything else! Yuck!
- Supa Cindy (Supaisaqueen@gmail.com)
OZONE MAG // 19
mathematics
PASSION
F
ifteen years ago, I was making a shitload
of money in corporate America. But I wasn’t
happy. In fact, I was miserable. I only had
people around me whose only goal was to get
something from me. Getting up in the morning
and going to work was a daily fight with myself.
Everyday I showed up a little bit later and left
the office a little bit earlier. Sunday nights were
the worst! I’d stay up as late as I possibly could
because I dreaded the start of a new work week. I
was miserable. I was spending my money faster than it was coming in, trying
to placate myself into being happy. Some of you are probably reading this
thinking about how familiar it sounds to your current situation.
I was reminded of this as I sat in an office last month with one of my favorite people in the world. He was venting, and was a bit frustrated because he
makes decent money, but wanted a less stressful life and to be happy. When
pressed to make a list of the things that make him happy, just like me those
many years ago, he couldn’t find one thing to mention that really made him
happy. This made me sad because I love him so much as a person and I want
him to be happy.
Fifteen years ago this month, I started Rap Coalition. It was a tremendous
risk and I had to put up half a million dollars of my own money to get
started, knowing that I could very easily lose it all. I didn’t care and went
for it! I have been happy almost every day since, regardless of the kind of
day I’m having, regardless of whether I get paid or not, and regardless of
how many hours I work each day (and I work mostly 16 hour days, 7 days a
week). But I love what I do, so it doesn’t matter. I remember those unhappier
days in corporate America, and I am thankful I am doing something that
makes me happy.
I was riding through Montgomery, AL in September with T Long, a New York
Yankee who just started a rap record label. He looked over at me and smiled
the biggest grin I’ve ever seen. He said he was very happy. I smiled back
and replied that I was happy too. I pointed out how lucky we both were to
be doing what we loved, what we were passionate about. Most people work
their entire lives in a bad 9 to 5 job that they hate, and never get to experience their passion in life. Here’s a guy who works about 4 hours a day, for
about half of the year, and makes millions of dollars. But, as he pointed out,
those hours that belong to the Yankees, REALLY belong to the Yankees. Nothing creeps into his mind when he’s on their time - no fights with his wife,
no issues with his kids, no record label challenges, nothing. Is there anyone
who wouldn’t envy his life? What got T Long where he is, is passion. What has
gotten me to where I am today is passion.
Passion is the undeniable love for someone or something that keeps you
getting back up every time you get knocked down. Passion is the driving
force that keeps you focused and on track when the odds seem insurmountable. Passion is what keeps you going day after day even though it’s hard,
and regardless of whether the money comes or not. And if you don’t have
passion for what you are doing, it’s hard to compete for any duration,
because those who do have passion will be able to work longer, harder, and
smarter than you. You can’t force passion. Either you have it for something
or you don’t. It’s better to find something that makes you passionate and to
pursue it, because it’s impossible to pick something randomly and then find
the passion for it.
Last Fall, Nas put out an album called Hip Hop Is Dead. I think what he was
trying to say was that Hip Hop lacks passion. So many folks jumped into the
music business because they saw it as the new drug game: a legal hustle
that brought a high rate of return for a relatively small investment. The risk
22 // OZONE MAG
byWendyDayof the RapCoalition
www.wendyday.com
of failure was kind of high, but if and when you hit big, you hit REALLY big.
The urban music industry used to be run by people who were passionate
about the music, cared about the sound of their records, and felt that if the
artist wasn’t saying something important that it had no value. Then the
industry changed in the mid-90s, and the drug trade encroached into the
business bringing deep pockets and lyrics that they wanted to hear: more
superficial, entertaining lines (about partying, sex, spending loot, etc). The
problem with the industry becoming fueled by money is that the passion
began to wane.
Why is passion so important?
Money is a good thing. The love of money is even okay. But being a slave to
money is never good. If you can be controlled by money, you are a whore
in the rawest sense. People who are controlled by money will do ridiculous
things just to get some - things they may even swear that they’d never,
ever do, until confronted with the opportunity. Would YOU sell your soul for
money?
Since time began, there has been a conflict of art versus commerce. Do we
make music that we believe in and are proud of, or do we make music that
will sell to the masses? Is music an art form or a business? Very few people
have succeeded at both. The Fugees did it in the late 90s. They made music
that was classic, artistic, and that sold millions and millions of CDs. Is “Laffy
Taffy” art?
I have a close friend in Detroit who owns a record label. He makes music
that he feels good about. When his artists make a song, he’s trying to
create a classic. He’s not just trying to make a hit record that will be hot
in the club for the next 6 months, or that will get into regular rotation at
radio. I know another rapper who is specifically trying to make a song that
will blow up at radio the way Biggie’s “Hypnotize” did. He wants fame and
money. His hope is to have a huge song and then capitalize on it by doing
endorsement deals for products and commercials. He’s thinking that maybe
he can even get into TV and film through the fame his song creates. To him,
Hip Hop is a business, not an art form. He’s not trying to positively impact
the culture, he’s trying to feed his kids. Neither of my friends are wrong,
they just have different visions.
In the 1980s, when rap first became commercial, no one was thinking about
the money. It was exciting because it was a new art form and there were
very few rules. The main rule was “don’t sell out.” Others, who were willing
to “sell out,” stepped in and made all of the money. Today, the main rule
seem to be capitalize and maximize all opportunities while retaining as
much control and ownership as possible. Is that so wrong? The flip side to
that is to allow someone else to pimp the culture and get rich off of something they don’t give a fuck about (hence the 1980s and 90s in rap music).
And where does passion figure into all of this? Can someone truly be happy
making music that is disposable, just so they can earn enough money to
buy a summer home in the Hamptons? Can they hold their heads high when
their little children are singing along with some mindless dribble that won’t
matter to anyone a year from now? Or is the goal to put those kids through
private school, by any means necessary, and selling music is really just a
job after all?
I don’t have the answer to this one. But I do know one thing: without being
happy, there is no point. Money buys a lot of shit, but it can’t buy happiness. But for many it sure does buy a lot of distractions to keep you from
realizing that. Without passion, we can’t go as hard as we need to in order
to succeed. Passion is the driving force that leads to happiness. Without it, I
may as well just be selling shoes or Carpet Fresh. I, for one, am thankful to
have found my passion. It makes getting up in the morning very easy. And I
remember vividly those days when it was not.
(PS- Thank you, Michael, for reminding me, again, what real passion is).
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OZONE MAG // 23
CHINCHECK
T
hank God for white people! Seriously, if it wasn’t for white people, we
wouldn’t be here in Amerikkka: the “Land of the Free” although 12.6%
of black men in their late 20s are behind bars (compare that to 3.6%
of Hispanic men and 1.6% of white men).
“The Land of Justice” even though the cops that beat the shit out of Rodney
King and were caught on tape were found not guilty. Not to mention that
the cops who fired 50 shots into a car and killed Sean Bell have yet to be
charged like the murderous pigs they are. Finally, Amerikkka, the “Land of
Equality,” even though we have never had a minority or female president.
Hopefully Barack Obama or Hillary Clinton can change that.
I’m so glad to be here in Amerikkka. Don’t hand me that hypothetical negro
daydream about what-if-the-white-man-had-never-brought-us-hereblah-blah-blah. I don’t want to talk about “what if?” Let’s talk about what
it is: Today, the white man is giving me another reason to love him. Yes, it’s
because of the white man that I sit down in front of that idiot box – you
know, the flat screened one that lies to you. Well, at least it’s a flat screen in
my crib.
It’s because of the Caucasian man that I watch something other than Girlfriends, Boondocks, and reruns of the Wendy Williams Experience on Vh1. In
fact, if it wasn’t for white people, my new favorite TV show wouldn’t exist.
I’m talking about Ego Trip’s The White Rapper Show! My, how have I waited
for the day something like this would grace TV screens all across Amerikkka!
You know, I was so ready to denounce this show before I even laid eyes on
it. My mindset was, “Here we go again. Another show making a mockery of
this culture that I love called Hip Hop!” I already had my gun cocked and
loaded to shoot this shit down! Then I watched it, and ladies and gentlemen,
I realized that I had been waiting for a show like this all my life.
In my 26 years of existence, I have never seen white people on the other
end of this coon spectrum! For once they are the Sambos, the bojangles,
the shuckers and the jivers all for the love of their master, Hip Hop. I let a
tear drop after watching this show. It wouldn’t even be funny if these white
people didn’t take themselves so seriously! They really think they’re nice. It’s
like when that coon Flava Flav was tap-dancing for the white man on Flavor
of Love. He thought they were laughing with him, but they were actually
laughing at him. It’s the same thing, only the shoe is on the other foot.
We’re laughing at the white people for making a mockery of themselves. This
is a historic moment in black history! I have witnessed two black coaches in
the same Super Bowl and white people on TV looking like complete and total
jackasses! This is reparations! Armageddon must be upon us!
Sure, they set us back 60 years with the Flavor of Love seasons 1 and 2, but
they’re setting themselves back 60 years by airing the White Rapper Show.
Every white person who loves Hip Hop had to feel ashamed when these
white kids in the South Bronx met Grandmaster Flash (a pioneer who made
it possible for Hip Hop to become the billion dollar business that it is today)
and hardly mentioned Flash or the South Bronx when they had to rhyme
about it. One kid couldn’t even come up with a verse.
24 // OZONE MAG
byCharlamagne Tha God
www.cthagod.com
Did you see the episode where the white rappers were so amped after they
met Everlast? You met Brand Nubian, Grandmaster Flash, Just Blaze, and
Juelz Santana, and you’re happy to meet Everlast? House of Pain? “Jump
Around”? What about the dirty Punky Brewster-looking white chick whose
idol is Vanilla Ice? She needs to be punished, stripped of that privilege called
white skin, painted Arab brown and given a license that has the last name
Bin Laden on it. Let her try to get through airport security with that!
Or, how about the crazy cross-eyed kid who calls himself the “King of the
Burbs,” yet he’s trying to revive the ghetto? If I was the king of the suburbs
– a place where there’s no gunshots, stabbings, or home invasions – tell
me, why would I want to revive the piss-poor ghetto? He’s like Dr. Frankenstein, trying to awaken a monster that he can’t control. What does he say?
“Hallelujah, holla back!”? Every time I hear him say that, I feel the same joy
the white man felt when Sambo ate his watermelon and danced across the
stage. The same joy the white man feels when he sees us sliding credit cards
through our women’s asses in music video.
Then there’s the fat chick Persia who looks like she smells like the dumpster
in the back of a Taco Bell. All I can think of when I see this chick is stale
nachos and 30-day-old cheese sauce. She was calling another white man
“nigga”! Do you know how that must make an old Dixie flag-waving racist
white person feel, to see a white person call another white person “nigga”
as a term of empowerment? You white people haven’t taught your kids their
white supremacist history. They’re confused! This is great, people, it really is!
One thing though: when the fuck did MC Serch become a Hip Hop icon? Did
that happen between now and “Gas Face”? You youngsters don’t know what
I’m talking about. He’s the cornball white host, trying to sound hip by telling
people to “step off” and “fall back.” He used to be a rapper, a white guy with
a high-top fade. I thought he was corny back then, and still do. I thought his
high-top fade had starch in it. That’s why it stood straight up like that and
never moved. He was in a group called 3rd Base and they had a song called
“Gas Face.” Nobody really cared though. I didn’t like “Pop Goes The Weasel
Cause The Weasel Goes Pop.” That was another one of their songs; youngsters, pay attention. I’m teaching.
If people cared, then tell me why I type “3rd Base” into Google’s image
search and see pictures of a baseball diamond. I type “MC Serch” into Google
and it showed me pictures of actual MC searches. When I type in the names
of real icons like Run-DMC, Rakim, Outkast, Melle Mel, or Ice-T, their pictures
pop up. If MC Serch was a real Hip Hop icon, I think it would do the same for
him. But alas, it doesn’t.
I laugh at the White Rapper Show as if I was watching a rerun of Dave Chappelle’s Rick James skit. Eminem goes multi, multi-platinum and gets white
rappers the respect that they all thought Vanilla Ice had lost forever. Now,
here come these guys to set you back another twenty years! Now you know
how we felt after Soul Plane! God bless the White Rapper Show. Thank you for
not showing us another white president, another white doctor, another white
lawyer, another white billionaire, another white owner of a Major League
Baseball team franchise. Thank you for showing us that white people, too,
can be losers. White skin can, and will, be wasted! God bless Amerikkka!
PHOTO GALLERIES
Joc @
Tarvoria & Yung
iami, FL) 03 //
ider
(M
Sp
&
r”
d,
tte
Ro
Ma
t
’t
Ho
n,
“Don
y, Polow da Do & Darryl Phillips on
e set of Akon’s
Bo
th
h
on
Ric
ro
//
To
05
&
Zo
(Miami, FL)
// Joe Hound
@
iami, FL) 02 //
Super Bowl party
x (Miami, FL) 07 ee, FL) 09 // Mecca & Wyclef
thday party (M
ss
Space for Diddy’s Fat Joe’s “Make It Rain” remi
r Rick Ross’ bir
ha
@
fo
lla
am
o’s
(Ta
te
ng
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ck Pulla, Young
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//
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or
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se
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Bu
o
)
fo
th
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To
FL
on
i,
&
un
on
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a
Yo
Mo
iam
//
01 // Young Jeez E’s Super Bowl afterparty (M
Khaled & Noreag ung Cash, & Southstar @ The
& Durte Red
(Miami, FL) 12
a, GA) 06 // DJ
Yo
ON
MS) 14 // BANG Shine, DJ
e @ The Forge
et Buck” (Atlant esh, Supastar J-Kwik, DJ Q45,
Sobe Live for OZ
DJ Ideal & C-Sid
Awards (Tunica,
“G
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kia
//
’s
en
Na
11
ck
lk
)
inm
Bu
fo
MS
g
rta
Kin
a,
un
te
of Yo
rn En
(Tunic
an Fr
) 16 //
ne @ Plush
Loc on the set
i, FL) 08 // Haiti uthern Entertainment Awards y Day & Gangsta Boo @ Southe ake It Rain” remix (Miami, FL
la & Young Capo
Chopper” (Miam
Fat Joe’s “M
) 13 // Wend
MS) 18 // DG Yo mys (Jacksonville, FL)
Records @ So
of
GA
a,
t
the set of “My
ply
a,
se
nic
no
nt
e
(Tu
th
tla
Mo
(A
ds
//
on
”
ar
& Trina
ent Aw
et Buck
i, FL) 10
e Ghetto Gram
Mansion (Miam
Young Buck’s “G // Fonsworth Bentley, TI, Tiny, P Mob @ Southern Entertainm
h @ Plush for th
a on the set of
15
J, & Haitian Fres listening party (Atlanta, GA)
gwood & FU
ple
Da
Tri
DJ
,
Jeezy, & DJ Dram ’s “Don’t Matter” (Miami, FL)
//
aw
17
dR
)
Bloo
on
emphis, TN
ia Studios for his
ssee, FL) 20 //
on the set of Ak @ Plush for Trapper’s Ball (M
7); Ms Rivercity
’s DJ’s (Tallaha
Kane @ Stankon
mp
rcus DeWayne (0
The Moon for TJ a, MS) 22 // P Stonez & Erica
@
mp
De
Drama, & DJ De
DJ
dul (08,20); Ma
&
Ab
ol
nic
Co
lik
(Tu
//
Ma
ds
;
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ar
3)
)
(1
Aw
FL
t
id
(Jacksonville,
rn Entertainmen
uis (07); Kool La
Black @ Southe
7,19); Johnny Lo
21 // DSR & DJ
1,12,14,15,16,1
6,1
5,0
4,0
3,0
(01,02,0
; Julia Beverly
Eric Perrin (22)
n (18,19)
so
Photo Credits:
Ty
e
nc
rre
Te
;
(09)
(10,21); On Point
OZONE MAG // 25
ver the last few years, DJ Drama and his Gangsta Grillz series have transcended Southern mixtapes and in the process broke numerous artists.
O
From T.I.’s Down With the King to Young Jeezy’s Trap or Die, Gangsta Grillz without question has been the greatest mixtape series to come out
below the Mason Dixon Line (and arguably the country). Shit, some of the mixtapes are better than artists’ albums. Given Drama, Cannon and the
Aphilliates’ current legal troubles, the fate of Gangsta Grillz and the mixtape circuit as we know it hangs in the balance. Since we maybe never hear
another DJ Drama mixtape, we thought of some Gangsta Grillz that we hope one day will hit the streets... and some that we’re glad never materialized.
Nick Cannon
Respect Me As a Rapper
We respect Nick Cannon as an actor, comedian and
television producer (also, the fact that he blew
Christina Milian’s back out gives him added points
in our book). But Nick Cannon the rapper can’t rap
his way out of a wet paper bag. By now, Nick has
probably tried to bribe Drama by offering him DJ DWreck’s position on Wild’n Out. As much as we’d love
to hear a Nick Cannon diss towards Christina and her
new boyfriend Dre (of Cool & Dre) on wax, we’re glad
Drama never agreed to do this tape.
Master P & Romeo
Like Percy, Like Romeo
Give Master P credit for making Southern rap music
relevant and making multimillions as an entrepreneur. But we all know Master P is, was and never
will be much of a rapper. Romeo is slightly better
than his father, but the rapper doesn’t fall far from
the whack rapper family tree. No Limit has struggled
over the last few years and we’re happy Drama has
never extended a hand to bring the Millers back.
Pretty Ricky
Not Tonight
There’s nothing gangsta about horny teenagers dry
humping. Mr. Thanksgiving and the new millennium
New Edition? No thanks. If Dram’ works with these
guys, DJ “The Fuck” Drama may be inclined to pull a
Kells with those underage Scream Tour groupies, and
Dram already has enough problems in his life.
26 // OZONE MAG
DMX
All Dogs Go To Heaven
DMX’s rap career is dead and gone, and not even the
iPod King could resurrect this decreased dog. X had
a good run but he’s better off as an actor or even
a preacher. Hey, there’s money to be made in the
church, X. Just ask Mase.
Cadillac Don & J Money
Our Album Already Dropped
The “Peanut Butter & Jelly” boys released their
album in November, but I don’t think anyone knows.
Drama is notorious for helping artists build buzzes
after their albums drop. But in this case, he’s better
off making these dudes a couple of sandwiches and
let them ride off into obscurity in their different
color Chevys.
Uncle Luke
Gangstas Are Freaks Too
Let’s be honest, Miami bass and Gangsta Grillz don’t
mix, like two dicks and no chicks. Sure, Drama’s
pussy rate would go up working with Luke Campbell,
but this mixtape would be better off thrown from
the port of Miami than on the streets.
Ying Yang Twins
Me, My Brother & DJ Drama
The Twins learned a valuable lesson last year. No
one will buy your album if you don’t have a hit
single (unless you’re Nas). Look for the Twins to run
to Drama for help. But booty shaking, whispering
and saying “I-yi-yi” isn’t what Drama’s brand is
made of.
DJ Webstar & Young B
Truancy Officers
The only time Drama should make it rain is in Magic
City. And the only time he should chicken noodle
soup is never. Let’s save the party dances for Fat
Man Scoop’s mixtapes and make sure Young B is
going to class.
Ray J
Brandy’s Brother Gone Wild
Wait a minute, what’s gotten into Ray J lately? He’s
been hanging out with Whitney Houston, smoking weed with Snoop and making pornos with his
ex-girlfriend, Kim Kardashian. Next thing you know,
his “One Wish” will be a DJ Drama exclusive. Hell no!
Brandy, we thought y’all were good kids.
Mistah F.A.B.
The Bus Stops Here
With all due respect to The Bay, we don’t ghostride
our whips in the South. Do you know how much
money we put into our cars to risk foolishly wrecking them? The iPod King won’t be ghostriding yellow
buses or dropping a hyphy Gangsta Grillz anytime
soon. If he does, we might revoke his Southern
card (we haven’t forgotten that Drama’s really from
Philly). //
- Randy Roper
PHOTO GALLERIES
03 //Tori Robxer (Miami, FL)
per Bowl DJ Mi
ssee, FL) 05 //
Su
ha
E’s
lla
ON
(Ta
OZ
’s
@
DJ
in
’s
BOB, & Jim Jons Dollar Man @ The Moon for TJ
Young Jeezy
e,
&
Jo
ck
e
Bu
lli
g
Wi
un
//
Yo
02
Chill da Million
iami, FL) 07 //
’ (Atlanta, GA)
&
(M
on the set of
ck
x
e
ly,
Bu
mi
Jo
t
Kie
t
re
‘Ge
D,
Fa
in”
’s
&
ga
,
ck
Ra
Su
tti
Bu
iami, FL) 04 //
t Joe’s “Make It
// DJ Khaled, Go
e set of Young
(M
Fa
th
r
10
g Buck’s “Get
of
)
xe
on
t
un
FL
Mi
k
se
Yo
e
Za
e,
DJ
of
ill
th
t
wl
Big
nv
se
on
so
y&
r Bo
g Jeezy on the
aled & Noreaga & Bigga Rankin @ Rain (Jack
un
Kh
01 // Young Jeez & Mike Rojas @ OZONE’s Supe
“Make It
Yo
DJ
&
his
y
//
of
Bo
t
06
h
)
se
e
// Ric
n,
nta, GA
Jones
fe Lorena on th
wi
(Miami, FL) 12
rton, & Big
r”
inson, TJ Chapma omp @ Doppler Studios (Atla y & Kay Slay (NYC) 09 // Jim
his
Tu
tte
&
a
e
ss
Ma
Jo
’t
ne
t
Va
on
To
Bo
on’s “D
) 14 // Fa
l, Bryan Leach,
ea
Id
longs to
Be
DJ
Small World & DJ Buck” (Atlanta, GA) 08 // Rich h & Durty Red on the set of Ak Belongs to Me” (Houston, TX
e
//
am
16
“G
, IL)
es
et
the set of UGK’s Trick Daddy’s
K’s “Game
party (Chicago
on
UG
my
ug
of
t
am
Th
on the set of “G remix (Miami, FL) 11 // Nay Fr
se
Gr
m
e
eSli
th
Pr
&
in”
& Brandon on
) 18 //Bun B
r DJ Miltickit’s
NG on the set of set of Young
his “Make It Ra
ince, Dr. Teeth,
ck” (Atlanta, GA
use of Blues fo
Supa Cindy, & BA
the
l Conflict @ Ho e set of Young Buck’s “Get Bu
GA) 13 // Jas Pr
20 // Big Teach, 22 // Goldie Mack & friend on
)
MS
a,
nic
Buck” (Atlanta, i, FL) 15 // DJ D-Rocc & Crucia
th
(Tu
ds
on
)
h
ar
MS
es
,
Aw
Fr
t
uis
y
en
Lo
Sta
St
inm
&
iam
y
ay
Rain” remix (M
17 // Lil Scrapp & Dolla Bill @ Southern Enterta Nels Sports Bar & Lounge (B
@
rge (Miami, FL)
7,
Wayne
Teach @ The Fo
Chapman, DJ 00 te, G-’No, Miz Smurff, & Big G
TJ
B,
BO
//
19
l (20); Marcus De
TX)
) 21 // DJ Deliy
(08); Malik Abdu
FL
Me” (Houston,
id
i,
La
iam
ol
(M
Ko
t
;
oo
8)
eo sh
ron Smith (13,1
“Tuck Ya Ice” vid
,17,19,22); Kead
” (Atlanta, GA)
0,11,12.,14,15,16
7,1
5,0
Buck’s “Get Buck
3,0
2,0
1,0
lia Beverly (0
Deliyte (21); Ju
Bogan (20); DJ
son (04,09)
Photo Credits:
(07); Terrence Ty
OZONE MAG // 27
We wish Drama, Cannon & co. had been able to drop these mixtapes before
the Feds kicked in their door:
Outkast
Gangstonia
The Outkast Gangsta Grillz was rumored to already be in the making but
Dram was having trouble getting Andre 3000 to record. Now he probably
knows how Big Boi feels. This would make up for that lackluster Idlewild
album. But that Idlewild movie is a different story.
Clipse
We Got It For Cheap Vol. III A Gangsta Grillz Special Edition
Vols. I and II are both mixtape classics, so we have no reason to believe the
brothers from VA wouldn’t drop another masterpiece with DJ Drama at the
helm. Since Jive probably won’t drop another Clipse album for at least seven
or eight years, they might as well drop this mixtape.
Talib Kweli & Mos Def
Blackstar Reunited
Little Brother proved that the Drama’s formula is potent even with backpack
emcees that are far from gangsta. Dram’s roots are with the underground, so
Mos & Kweli together again on a DJ Drama set sounds like a certified classic.
UGK
Legends In The Game
Bun B & Pimp C are Southern Hip Hop legends who deserve to be crowned
kings in every Hip Hop fashion imaginable, Gangsta Grillz not withstanding.
Drama should waive the $20,000 hosting fee or whatever absurd amount of
money he was getting for a Gangsta Grillz and just do UGK’s tape off GP.
R. Kelly
Innocent Until Proven Guilty
Kells is an emcee at heart. How else can you explain the way he killed the
“Make It Rain” remix? An R Kelly mixtape would fly off shelves faster than
the R Kelly sex tape. In exchange, Kells can teach Drama how to get his court
case pushed back until everyone forgets about it.
28 // OZONE MAG
Trick Daddy
I Run Miami
With Miami rappers like Rick Ross and Pitbull emerging on the rap scene,
Trick Daddy Dollars has had to share the Miami Hip Hop spotlight. But one
hot mixtape with Mr. Thanksgiving would remind everyone who the mayor is.
Jay-Z
From Brooklyn to the A
When was the last time Jigga dropped a mixtape of relevance? Yeah, I’m
stumped too. Since Kingdom Dumb received lukewarm reviews, Jay-Z’s best
bet would be to hit the streets hard with a Gangsta Grillz special editon. But
Drama has to negotiate this one carefully: Bleek only gets 16 bars, period.
Scarface
True King of the South
Scarface falls into the same category as UGK. Drama should pay homage to
‘Face for holding the South down since the Geto Boys. He hasn’t dropped a
notable album since The Fix, back in 2002. The game needs Mr. Scarface back.
Hot Boys
The Reunion
Drama may be the only one that can coerce the Hot Boys into a comeback,
or at least get the four members to submit enough material to put together
a mixtape. There is speculation that Mannie, Juve, Turk and B.G. will come
together for a Hot Boys album without Lil Wayne, but it won’t be the same
without Weezy F. Baby. Where’s Drama when you need him?
50 Cent & G-Unit
We Started This Shit
Fuck what ya heard, 50 and his Guerilla Unit started this current mixtape
trend. In 2002, 50 Cent Is The Future featured 50 and his crew remaking hit
singles instead of mere freestyles over instrumentals. Today, this trend continues. 50’s in-house mixtape DJ Whoo Kid could sit this one out while Drama
and the G-Unit remind everyone who started this shit. //
- Randy Roper
PHOTO GALLERIES
Stay
iami, FL) 03 //
thday party (M
bir
of
’
ss
ies
Ro
lad
k
e
Ric
th
r
fo
a&
nes @ Bongo’s
FL) 05 // Monic i @ Bongo’s for
g Jeezy & Jim Jo Ross’ birthday party (Miami,
od of Eye Kand Pacman Jones
FL) 02 // Youn
k
wo
i,
Ric
lly
r
iam
fo
Ho
(M
Ms
o’s
ty
&
ar
ng
t
&
per Bowl afterp // Shakir Stewart & C.O. @ Bo
// Young Buck
) 07 // Too $hor
e for OZONE’s Su
04
t on the set
tta” (Atlanta, GA
x (Miami, FL) 09
vier @ Sobe Liv ck’s “Get Buck” (Atlanta, GA)
e set of “Go Ge Fat Joe’s “Make It Rain” remi
Kid, & Greg Stree dead their
Xa
e
th
&
th
c
on
e
Jo
y
lli
ez
Wi
ng
Je
a,
Yu
g
e
am
Bu
un
of
g
Dr
air
01 //
t
Yo
un
&
se
DJ
ion
y
e
Yo
//
ill
th
nk
of
11
am
t
Ja
on
)
Ch
se
//
b
&
on the
(Miami, FL) 06
Buck’s
DJ Chubby Chub tertainment Awards (Tunica, MS ston, TX) 13 // Mike Jones
Fresh & Polow
@ Nikki Beach
ou
Micha Porat, &
e set of Young
En
l,
(H
nt
th
du
rs
rn
me
on
Ab
he
Wa
ge
ds
ut
le
lik
na
en
So
Sty
Ma
Ma
fri
@
&
//
y
B’s
& Jim
y
08
ck
n
ez
er
)
De
Bu
Je
nn
r
FL
&
Gemstone
//
Ba
i,
fo
o,
15
ts
Bo
vid
iam
)
Ar
(M
Da
FL
e
i,
//
o, Gangsta
um of Fin
day party
DJ Mixer (Miam
rlando, FL) 18
Ball
(O
’s
wl
er
Bo
ne
r
pp
to
Rick Ross’ birth Buck” (Atlanta, GA) 10 // DJ Wh & Kay Slay @ Houston’s Muse
pe
es
Tra
r
Su
Fir
fo
ush
e
& his son @
y @ OZONE’s
et
Don Juan @ Pl
DJ
)
&
FL
,
i,
ck
on the set of “G et Buck” (Atlanta, GA) 12 // Tra ston, TX) 14 // Kaspa & Smitt ards (Tunica, MS) 17 // Disco
Bu
iam
g
(M
“G
(Hou
ent Aw
20 // C-Bo, Youn ONE’s Super Bowl afterparty
of Young Buck’s UGK’s “Game Belongs to Me”
” (Atlanta, GA)
hern Entertainm
r OZ
of
Tum Tum @ Sout set of Young Buck’s “Get Buck & Malik Abdul @ Sobe Live fo
&
d
oo
gw
Da
y (16,21)
beef on the set
DJ
7,22); Ms Rivercit
22 // Deelishis
nt Beats on the
nta, GA) 16 //
t (Tunica, MS)
; Malik Abdul (1
) 19 // Baseme
“Get Buck” (Atla
3)
en
GA
Ev
2,1
a,
A
(1
nt
SE
tla
ith
’s
(A
se
Sm
n
ou
ah
Studio
8,19,20); Keadro
Jones @ Zak’s
& Stacks @ Swish
8,09,11,14,15,1
21 // Billy Cook
(01,02,03,04,07,0
rly
(Memphis, TN)
ve
Be
lia
Ju
;
rrin (06)
Who (10); Eric Pe
Bogan (05); DJ
Photo Credits:
OZONE MAG // 29
OZONE EXCLUSIVE
nelly
Textin’ is no longer safe now that OZONE’s dangerous minds
have hacked the system.
jd
?
baby
JD: Hey, what up
(Seven minutes
sponse.)
pass with no re
rried
are you. I’m wo
JD: Baby, where
e.
fin
I’m
maine,
Janet: Hello jer
about you.
ly love that song
u doing?
ke a bath. I real
.
JD: What are yo ning to my album, bout to ta
on
so
te
duet with him
Janet: I’m jus lis I should probably do another
k
in
th
I
.
lly
Ne
with
w.
y Nelly right no
llo.
JD: I’m wit da bo t with him? Tell him I said he
no
u
r
Janet: When
something.
xtin Ashanti or
JD: I think he te town is she?
t in
s some
Janet: She’s no
Big Maine’ need t you.
et about them,
ge
rg
fo
me
t
co
bu
d
,
at
an
t
th
know about
is Jeezy concer
JD: Shit, I don’t
bout to leave th
I’m
’.
vin
lu
n
so
big maine’
of that Ms. Jack
handle any of
think that I can
n’t
You ready?
do
I
.
ile
wh
wait a
Janet: No, let’s
e. I’m sleepy.
c City
tonight, jermain
let’s go to Magi
akes u like and
sh
gy
er
en
in
e of those vitam
my belJD: Well drink on
lebath and wax
g.
in
th
me
nna take a bubb
wa
t
or so
jus
I
.
by
ba
tonight
Janet: No, not
lybutton.
l.
your fuzzy nave
sexy shit. I like
at
th
e
av
sh
n’t
JD: Damn girl, do be alone tonight, jermaine.
nna
ly might
Janet: I just wa
then. We probab
lly bout to do,
Ne
a
gg
ni
is
th
t see what
JD: Fine. I’ll jus or sumthin’ together.
b
go hit up the clu
…
ay
Ok
:
to the
Janet
w Wow and head
t go pick up Bo
jus
to
ut
bo
I’m
tired.
JD: Nelly said he
at you.
movies. I’ll holla jermaine.
ght,
Janet: Good ni
JD: I love you
Janet: Hey sexy
, I heard you we
re
Nelly: Ms. Jack
son? How you fin in ATL.
d out?
Janet: Lil’ guy
told me you we
re here.
Nelly: Who?
Janet: jermaine,
silly
Nelly: Oh shit,
I’m wi
t that nigga rig
ht now.
Janet: That’s th
e problem, lol.
Nelly: What you
mean that’s th
e problem?
Janet: You’re su
pposed to be ov
er
new toy and ev
erything, you go here with me. I got a
tta come see me
Nelly: Oh, shit…
.
well what abou
t my derrty JD?
Janet: Oh well,
poor him. That
’s just the way
Nelly: Damn, no
love
w this is a real
dilemma lil’ ma goes
ma.
Janet: I just wa
nna hold you,
kiss you, suck yo
ride you, feel yo
u, taste you,
u, make you co
me
Nelly: Damn Ms
. Jackson you na too.
sty.
when can we ma
ke this shit happ If you serious then
en?
Janet: Anytime.
Anyplace, I don’t
don’t tell jerma
care who’s arou
ine, my next al
bum’s not done nd. But
Nelly: Okay, I’m
yet.
fin
and then be on na drop this nigga JD off at th
my way. We on
ly got a few ho e movies
nasty cuz I gotta
urs to
pick JD back up
after Dreamgirl get
s is over.
Janet: Hurry!
meanwhile...
So-So much.
* This is just a joke. No, we did not really hack into anybody’s sidekick.
30 // OZONE MAG
PHOTO GALLERIES
ogie @
// Yoko & DJ Fr
tlanta, GA) 03
nta,
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the set
go, IL) 11
hassee, FL) 14
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x (Miami, FL) 17
Polow da Don on it’s pre-Grammy party (Chica
& her brother @
mp Week (Talla
per Bowl DJ Mi
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22 // Gloria Velez
The Moon for De Khaled on the set of the “Mak Brisco & Smitty @ OZONE’s Su
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weekend (Miam
Cafe (Jacksonv
Chubby Chubb,
video games @
nica, MS) 16 //
@ Da Real Ting
wind with some
ment Awards (Tu FL) 18 // Ivory Orr & his wife ) 21 // J Prince & Scarface un
i,
n (04)
MS
; Terrence Tyso
Bowl party (Miam tertainment Awards (Tunica, i, FL)
Rivercity (03,20)
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lia
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;
5)
DJ Who (1
Bogan (09,14);
Photo Credits:
OZONE MAG // 31
tonyrEy
HUNGER FOR MORE
O
nly a year and a half in, he’s already claimed a spot that most
engineers would give up their apartment for, just to sleep in the
studio. And imagine he started out as an intern at Atlanta’s famed
Patchwerk Studios. But Tony Rey wasn’t your ordinary intern. He
was as qualified or more than the people that he was suppose to
be learning from. So he taught his peers. Since moving on to work
with the likes Mase, UGK and Yung Joc, Rey has found himself at home as the
resident engineer for CTE and one Young Jeezy.
What were you doing before you moved to Atlanta?
I was a teacher at Full Sail Recording Art School. I taught there for about four
years then I taught local engineering within Orlando. Most of my influence
comes from teaching. Actually I taught a lot of cats out here in Atlanta.
Who all did you teach?
Jamie Newman, Cory Andrews… I had a lot of students so it’s hard to remember all the names, but most of the cats you talk to out here came from Full
Sail. It’s a pretty big school.
So you basically taught them how to be producers through the various programs that were available there at Full Sail.
Nah, it was more of the technical side, how to use Pro Tools, how to record
and things like that. It’s really more of a technical school. Creativity is something you come into on your own.
Where did you learn?
I learned on my own pretty much. I bought a system and I just kept going
at it, trial by error and after I was doing it for a couple of years I decided
to go to school. There I learned a little bit more, but most of my learning I
would say was from teaching really. When you teach you kinda have to look
at it from another angle. It’s trying to explain to somebody who’s never seen
something. People have different learning abilities, learning curves, so you
have to put yourself in a whole different mindstate.
So at what point did you decide to stop teaching and pursue this route
professionally?
It got to a point where I was seeing a lot of students that I was teaching, I
was seeing their credits on albums. I mean, I had a couple of credits, but it
wasn’t nuthin’ real official, real major. So really, the school that I was working
at, I really wasn’t happy the way things were going. So I started opening my
eyes up to different things and started realizing that if I stayed there I’d be
teaching for the rest of my life. I felt like I was too good to just sit there and
teach other people. But I love teaching. I still teach now. People call me all
the time. I give all my students my number to hit me up and I go to studios.
But I really just decided that I wanted to be a full time engineer and a part
time teacher. Orlando was kinda limited, mostly local artists, penny pinchin’. I
can’t tell you how many people owe me money in Orlando. I figured it had to
32 // OZONE MAG
be better than that in the big leagues, so I made the move.
What’s the difference between what you do and what a producer does?
Well, really, what I do is play the producer role. I’ve been doing it for awhile
so I can tell when an artist can have a better take. An engineer, if you look at
it, is only supposed to be recording and making you sound right. It has nothing to do with your delivery. It has nothing to do with charisma, your swag,
this or that. But I’m a producer first before I’m an engineer, so I work with my
artists. I don’t come into a session and tell someone how to do something,
but you know, you feel it out.
What was the first project you landed once you got to Atlanta?
I interned at Patchwerk first, but I taught all the other interns there. One day
I was there making beats and this guy named Shawn Erics opened the door
and asked me whose beats they were. I was like, “Those are my beats.” He
thought Jazze Pha or somebody was in there. So he had a group at the time
and he put me on. He hired me as an engineer. After that, my first real project
was Mase. Somehow, somebody got my number and he got it and called me.
Shortly after that the whole Jeezy thing came up. One of my boys was recording with him, but he didn’t have time to do him cause Jeezy was starting the
new album. He was also working with Jazze, so he asked me to come with
him to see what we could do. It took a little bit, but after a couple of weeks I
started doing some stuff with Jeezy. It’s been downhill from then.
So are you exclusive with Jeezy and CTE?
Not exclusive. I’m doing more mixing now. More mixing than producing. I’ll
make an exception for Jeezy with tracks because I know he’s particular. I
know his sound and he knows what he wants to do. He has a great ear. So
pretty much I do a lot of stuff. CTE is my family. They made me a lot of money.
That’s definitely it, but I wouldn’t say exclusively. I just mixed a couple of records for UGK, mixed some stuff for Joc, so it’s not really exclusive, but that’s
where most of my time is consumed.
So what types of projects lure you outside of CTE? I presume it would have to
be a pretty eye-popping venture for you to stray.
Really man, I love this. I love music. Even when I was in Orlando and I was
gettin’ frustrated with the local cats, I just took it for what it was, because I
love it and I don’t wanna get burned out. In this industry you can really get
burned out from being selective. “I don’t wanna work with this dude cause
he really can’t rap,” “I don’t like this beat,” or whatever. I respect everything
that comes my way. I look at it with a fresh mind. I look at it as if I just
started. I really like projects that people put their heart into. You may not be
the best artist or the greatest lyricist, but if you’re putting your heart into it,
I’m cool with that. That makes me put my heart into it and I’m still hungry. I
can’t stop. My mind is open and I’m still learning. //
- N. Ali Early (Photo: Julia Beverly)
PHOTO GALLERIES
inment
uthern Enterta
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wg & crew @ So
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Tyson (02)
OZONE MAG // 33
34 // OZONE MAG
PHOTO GALLERIES
@
// Philly Station a,
hassee, FL) 03
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(02,20)
OZONE MAG // 35
36 // OZONE MAG
PHOTO GALLERIES
elz
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Photo Credits:
Terre
OZONE MAG // 37
38 // OZONE MAG
PHOTO GALLERIES
Super
Sims @ OZONE’s
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1)
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y
0,2
rapp
ards
3,14,15,17,18,2
FL) 19 // Lil Sc
tertainment Aw
4,07,08,10,12,1
@ Southern En
lia Beverly (01,0
Ju
;
dry, & DJ B-Lord
6)
(0
uis
Lo
9); Johnny
5); Eric Perrin (1
Edward Hall (0
Photo Credits:
2)
son (09,2
(16); Terrence Ty
OZONE MAG // 39
40 // OZONE MAG
PHOTO GALLERIES
Club
s & Young Dip @
FL) 03 // Ooop
06 //
e,
)
ill
FL
nv
e,
so
ill
ck
nv
so
(Ja
ck
h
y
TV @ Plush (Ja
W8 Crew @ Plus
e
lad
ac
ad
&
df
De
HK
&
Ma
n
//
//
do
08
05
)
Bran
oot (Miami, FL)
party (Miami, FL
Out, King Ron,
Ya Ice” video sh
cksonville, FL)
y’s Super Bowl
, FL) 02 // Shot
ck
dd
(Ja
ee
Di
h
“Tu
ss
r
us
fo
ha
y’s
Pl
e
lla
dd
@
ac
k
(Ta
Da
Sp
’s
Ric
ck
@
Young Buck’s
anning & Slick
Moon for TJ’s DJ cca & Buggah on the set of Tri mes Cruz & Coach Reggie PR
ck on the set of
, LA) 10 // DJ Ch
oodRaw @ The
Ja
, MO) 04 // Me
Zoe & Young Bu n models @ Oxygen (Miami,
3 (New Orleans
nica, MS) 07 //
01 // Storm & Bl
uis
la
Q9
Lo
(Tu
ril
.
@
ds
a
Go
(St
ar
//
nic
se
Aw
13
ca
Mo
t
)
Show
Roe &
inmen
nds (Orlando, FL Mixer (Miami, FL) 15 // Miskee nta, GA) 18 // Erica &
Society for DTP
uthern Enterta
go, IL) 09 // DJ
Webbie @ Lege
& Tum Tum @ So
my party (Chica
Super Bowl DJ
“Get Buck” (Atla
dillac
12 // Jacki-O &
E’s
)
ON
FL
Lil Ronnie, Trae Blues for Miltickit’s Pre-Gram
i,
OZ
@
iam
(M
die
r
of Young Buck’s estone (Orlando, FL) 21 // Ca
DJ Mixe
y T, & Ed
of
Hi-C on the set
, TX)
Fir
&
as
@
a,
all
CC
rd
(D
friend @ House DJ EFN @ OZONE’s Super Bowl ce, guest, Antman, Rollo, Tedd
Mu
Mr
M5
&
Lil
@
h
,
l
an
&
i, FL) 20 // Coac
Chief & Dolla Bil
17 // DJ Don Ju
iam
)
spa, DJ J-Ni
Big
(M
Ka
MS
//
r
t,
a,
xe
23
es
11 // Jim Jonsin
nic
Mi
)
Gu
LA
(Tu
DJ
//
,
nta, GA) 14
(Lake Charles
inment Awards
E’s Super Bowl
“Get Buck” (Atla
uthern Enterta
Sims (18); Ms
e & Cool @ OZON , Decky, & Erik Tee @ 107 Jamz
& Serious @ So
ill
Wayne (09); Mike
i, FL) 19 // C-Rid
Ch
y
iam
Bo
(M
r
Big
xe
Mi
DJ
FL) 16 // LaRay
ll,
DJ
2,20); Marcus De
(1
Re
wl
l
//
Bo
du
r
22
Ab
pe
)
lik
Su
TN
Ma
is,
E’s
8,11,13,19,21);
Kenny @ OZON
@ Plush (Memph
Beverly (03,07,0
with DJ Drama
ik Tee (22); Julia
Don & J-Money
Er
;
7)
(1
n
rri
Pe
3); Eric
Edward Hall (2
Bogan (04,15);
Tyson (01,05)
e
Photo Credits:
nc
rre
Te
;
6)
0,14,1
Rivercity (02,06,1
OZONE MAG // 41
CAT-LANSTAI,DGAE
A
phenomenon isn’t official until it has
a theme song. Myspace.com is no
different. “Myspace Freak” by C-Side
(an acronym standing for Creative
Superb Individuals Doing Entertainm
ent) is one of the first songs
about the addictive social internet comm
unity to garner mainstream attention.
C-Side, a rap trio consisting of Gator,
21, from Chicago and cousins Kenny
Kold,
21, of Atlanta GA, and Bo-Q, 23, from
Aiken, SC, saw the growth of the Mysp
ace
network and realized the opportunity
to make a hit song of Tom’s brainchild
.
“I had been noticing the whole Mysp
ace thing going on,” Gator says. “I didn’
t
even have a page at the time. But I was
just noticing everybody talking
about. So I was like let’s make a song
about it.” As Myspace grew, so did the
song’s popularity. Since leaking the
single to their Myspace page the grou
p
has received over a million hits from
visitors looking to hear C-Side lines
like
“Shorty be up on it like everyday of
the week / Myspace.com the reason
she
can’t sleep / Heard a lot about her so
you know I had to see / Then I found
out
Bobby Brown and Whitney daughter
was a freak.” And since adding Jazze
Pha
to the single, C-Side has seen the popu
larity of the song growth exceptiona
lly
as spins have picked up across the coun
try.
But don’t take the Myspace theme as
just a ploy to lure women at the click
of a
mouse. Myspace freaks come in all shap
es and sizes. “It’s all kinds of Myspace
freaks,” Kold explains. “It ain’t just prom
iscuous
42 // OZONE MAG
women or anything like that. You got
stalkers. You got guys that don’t take
no
for an answer on their beats. They stay
on Myspace all day. All they do is spam
on everybody’s page and get you to
check out their beats. And if I do check
them out, they’re horrible.”
But C-Side’s buzz isn’t just limited to
a single track. Kenny Kold, the group’s
primary producer and their productio
n team, P.O.W.E.R. Entertainment, have
worked with the likes of Dem Franchise
Boyz, UGK, and P$C, and has landed
tracks on upcoming projects for T-Pa
in, Keyshia Cole and Fabo. “Most peop
le
know us from ‘Myspace Freak,’ but a
lot of the records that they’ve been
feeling or riding to, we had parts in a lot
of those too. But now people are start
ing
to come to us [for production],” says
Kenny.
The group loves Myspace as much as
the average listener. “I be on Myspace
a good bit,” Bo-Q admits, laughing.
“But I be promoting.” They’ve got their
next single “Fresh Like Nu Drawls” on
deck, along with a mixtape and album
coming soon through their 17.20 Reco
rds/Peachtree Music Group/Universal
Records deal. Don’t look for C-Side to
base their careers solely on the Mysp
ace
buzz. Their beginning can be linked
to Tom and their Myspace anthem but
the
group’s success is the product of their
own grind. //
- Randy Roper
PHOTO GALLERIES
take no
is spam
heck
up’s
ave
ded
eople
n feelstarting
ace
eir
bum
al
space
t the
TX) 03
Me” (Houston,
ame Belongs to e of Blues for his
“G
K’s
UG
of
t
se
ltickit @ Hous
s & crew on the
Doe, GLC, & DJ Mi OZONE’s Super Bowl DJ Mixer
zeleo, E-Viciou
ys 05 // Really
r
a, MS) 02 // He
@
Bo
nic
ler
an
(Tu
we
ism
Je
ds
e
He
ar
e
th
Aw
th
@ The Moon fo
Entertainment
Prince, & Johnny
ams, DJ Who, &
, Plies, & Sticks
’s “Get Buck”
Cam @ Southern p City (NYC) 04 // Rovella Willi ’s (Tallahassee, FL) 07 // Jas sonville, FL) 10 // Byron Trice
ck
&
Bu
o,
g
Bo
un
Yo
sta
ng
of
t
ck
Ra
, Ga
Don on the se
Moon for TJ’s DJ
nes @ Rain (Ja
e Trapper’s
01 // Nick Scarfo r from The Wire, & DJ Nasty @
Gee & Polow da
& Brisco @ The
@ Plush for th
b Boss & Jim Jo
acto
// Torch, Gunplay h (Jacksonville, FL) 09 // Mo t Awards (Tunica, MS) 12 // Big ele, guest, Lil Larry, & Big Ed
e for OZONE’s
06
// DJ Prostyle,
Liv
IL)
be
,
So
go
@
ica
ea
Plus
rty (Ch
rn Entertainmen
Drama, Devin Ste Brandy, Dior, Ashley, & Alish
& Slick Rick @
he
,
DJ
(Jacksonut
h
//
Pre-Grammy pa
om
So
us
14
Do
Pl
@
)
Dr
@
ck
FL
e
DJ
i,
Ma
t,
on
// Guest,
GA) 16 // Gues
the Stars (Miam
Sweetback the
Ashley, & Corle
&
a,
of
// Storm,
P
la,
nt
e
g
Yo
21
ttl
tla
(Miami, FL) 08
)
//
Kin
(A
Ba
”
FL
//
al
18
i,
ck
nu
11
Bu
, IL)
(Miam
FL 2nd An
ssee, FL)
ck’s “Get
party (Chicago
Bowl DJ Mixer
r
my
i, FL)
pe
am
iam
Su
Gr
TJ’s DJ’s (Tallaha Trick Daddy @ Uncle Luke’s NY & C-Bo on the set of Young Bu
(M
eE’s
ty
Pr
ON
ar
OZ
//
per Bowl afterp
e of Blues for his
g Buck,
ep, & B Rich @
(Atlanta, GA) 13
e for OZONE’s Su
e Outlawz, Youn Cap One, & DJ Miltickit @ Hous FL) 20 // Tori Robinson, D Sh
Liv
Th
//
be
So
15
)
@
e
TN
Ge
,
9); Spiff (03);
Ball (Memphis,
’s (Tallahassee
FL) 17 // Gotti,
Deelishis & Big
Rivercity (06,08,1
rparty (Miami,
Moon for TJ’s DJ Rain (Jacksonville, FL) 23 //
Ms
e
;
3)
Th
(2
@
s
i
Bo
Sim
e
ke
Super Bowl afte
Mi
& De
t & Mob Boss @
Campbell (13);
Terrence Tyson
i, FL) 22 // Gues
ville, FL) 19 //
Smith (02); Luke
@ Space (Miam
0,21); Keadron
PR
7,2
ie
5,1
gg
Re
4,1
h
2,1
ac
& Co
rly (01,05,07,11,1
(16); Julia Beve
(04); Eric Perrin
o
Wh
DJ
s:
dit
Photo Cre
(09,10,18,22)
Terrence Tyson
OZONE MAG // 43
G
B
RHOO
USTON, TX
“I
eets. I
the voice of the str
of the people and
ish and
want to be the voice s real. I can rap in English or Span
to
what’
ice
t
vo
en
res
the
ve
rep
ha
to
t
nt
no
wa
people that might
b
the
Ro
r
for
pe
k
rap
ea
sp
on
to
ust
I want
bio of young Ho
ring up the
ding quote from the
tea
en
tly
the
s
ren
at’
cur
Th
is
o
k.”
spea
ino wh
to introduce the Lat
ck.”
G. Powerful words
er “Reppin’ My Blo
ng
ba
the
th
wi
ts
Houston stree
d
ay, where he staye
grants from Urugu
mi
im
o
er
tw
aft
to
ht
go
rig
r
ica
Ch
caree
Rob G was born in
on. He started his
e moving to Houst
on national
for three years befor king a name for himself. He landed
ma
ly
ick
qu
high school,
later.
television two years
to this one
and eventually I go
all over [Houston]
es
ttl
ba
ing
nn
wi
“I kept
the local
. It was put on by
called Roc The Mic
d had about
an
on
ust
Ho
in
re
radio station he
nner got
ng. Basically, the wi
hosted
300 people competi
V
MT
on
e
ttl
ba
a
as in
for
to go represent Tex
d
fie
ali
qu
dis
ords. I got
by Roc-A-Fella rec
s.
gh
lau
b
Ro
cussing though,”
in the
a is losing its place
d as a
Although Roc-A-Fell
un
gro
ng
ini
steadily ga
rap world Rob G is
.
representative
formidable H-Town
s a name focused. That wa
out four
“That’s what’s got
ab
for
ed
air
ent that
tionally televised ev me I really started working
t ho
months. When I go
bers.
em
rem
he
,”
rap
at
positive.
’t always been so
But Rob’s life hasn
l and having a
oo
sch
h
hig
g
vin
cer. Three
Shortly after lea
s diagnosed with can
drug deal
child Rob’s wife wa
a
in
led
kil
t
os
alm
was
days after that he
gone bad.
admits. “My
wrong things,” he
“I was out doing the e. I was just doing a little
d on
son had just turne
wasn’t a big
side with drugs. I
something on the
ays had a job.
alw
I
ing because
time dealer or anyth hind that stuff and it just
be
I almost lost my life nately I always dealt with
rtu
Fo
es.
ey
my
ed
open
ays telling
streets who were alw r myself a
real people in the
ide
ns
co
n’t
for me. I do
of drugs; I
me this life wasn’t
not out selling a lot
thug or nothing. I’m
44 // OZONE MAG
was just trying to
get some money to
ily.”
take care of my fam
has a
family. He currently
to get money for his uston with his Rob Camsic
mu
his
ng
usi
w
Ho
eets of
Rob is no
his
Myspace and the str
ble as he prepares
strong following on
the best music possi
ke
ma
to
ing
try
t
paign, and is jus
but.
Latium/Universal de
t to look
end of the day I go
music cause at the
od
go
//
ke
es.
ma
to
lud
nc
ing
“I’m just try
ct myself,” he co
ll be able to respe
in the mirror an sti
Douglas
Words by DeVaughn
dz
Min
ry
xu
Photo by Lu
?
e
n
o
z
o
g
in
d
a
e
r
s
’
o
h
w
“Game
the set of UGK’s
01 // Bun B on
ONE cover
OZ
eir
th
th
wi
Belongs to Me”
ze & Yung Joc
02 // Jody Bree
(Houston, TX)
t cover @ The
en
nm
tai
ter
En
with their Block Tastemakers (Tallahas’s
Moon for TJ’s DJ g Buck with his OZONE
un
see, FL) 03 // Yo his video for “Get Buck”
t of
cover on the se
$ (Miami,
// Guest & Stack
(Atlanta, GA) 04
e set of Joe
th
on
in
az
Am
FL) 05 // Adlai
) 06 //
opper’ (Doral, FL
Hound’s ‘My Ch t of Fat Joe’s ‘Make it
se
e
Boy @
Angelica on th
i, FL) 07 // Baby
Rain’ remix (Miam et & greet (Atlanta,
me
his
Houlihan’s for
allas, TX)
ief @ Club M5 (D
GA) 08 // Big Ch The Moon for Demp
@
illion09 // BloodRaw
e, FL) 10 // Cham gs
Week (Tallahasse
ame Belon
“G
K’s
UG
of
t
aire on the se
. & C-Side
n, TX) 11 // C.O
to Me” (Housto
(Tallahasek
We
mp
De
r
@ The Moon fo
ishahouse
otabang @ Sw
see, FL) 12 // Co g the Southern Enterrin
du
a, MS)
Meet & Greet
s weekend (Tunic ’s
tainment Award
t of Akon
se
e
th
on
D
y
13 // DJ Benn
// DJ En(Miami, FL) 14
“Don’t Matter”
during Super
o’s
ng
Bo
@
tice & DJ Greo
// DJ
(Miami, FL) 15
Bowl weekend
wl DJ Mixer
Bo
r
pe
Su
E’s
J-Nice @ OZON
Club Envy
// DJ Snake @
(Miami, FL) 16
Kim Ellis’
@
bo
Fa
//
17
(Dallas, TX)
) 18 //
rty (Atlanta, GA
Anniversary Pa
Rhythm City
@
no
ze
Ka
&
t
Frayto, gues
set of
// Gotti on the
(Dallas, TX) 19
remix (Miami,
in”
Ra
it
e
ak
Fat Joe’s “M
ach
Pitbull, & Big Te
FL) 20 // Guest, mp Week (TallaDe
r
fo
@ The Moon
gends
// Jacki-O @ Le
hassee, FL) 21
und & Dre
Ho
e
Jo
//
22
)
(Orlando, FL
Chope Hound’s “My
on the set of Jo
Foxx on the
K
//
23
)
FL
per” (Doral,
remix
“Make it Rain”
set of Fat Joe’s
Cole @ the
hia
ys
Ke
//
24
(Miami, FL)
//
e (Miami, FL) 25 r
Alize Experienc
dy’s Supe
Did
r
fo
e
ac
Sp
a
Lisa Lisa @
i, FL) 26 // Mich
Bowl party (Miam Super Bowl
E’s
ON
OZ
& ladies @
Misty
iami, FL) 27 //
house party (M
ny Louis
hn
Jo
)
FL
i,
Jean (Miam
cky, & Jimi Jump
&
28 // Mouse, De
) 29 // Noreaga
LA
e,
ug
(Baton Ro
e’s “Make
Jo
t
Fa
of
t
se
e
EFN on th
On
iami, FL) 30 //
it Rain” remix (M Step” (Atlanta,
“2
k’s
Un
the set of
g
da Don & Youn
GA) 31 // Polow “Get Buck”
of
t
se
e
Buck on th
&
// Shoeb Malik
(Atlanta, GA) 32 r Demp Week
fo
on
Mo
e
MJG @ Th
of
) 33 // Smoke
(Tallahassee, FL
(Orlando,
ne
to
es
Fir
@
Field Mob
t
Fresh on the se
FL) 34 // Stay
GA) 35
a,
nt
tla
(A
”
ck
of “Get Bu
e
out out Lil Wayn
// Toro & Zo sh
on’t
“D
’s
on
Ak
of
t
on the se
FL) 36 // Vato
Matter” (Miami, reenville,
(G
s
en
Ow
and Rico
tti (Greenville,
MS) 37 // Yo Go
Joc @ The
MS) 38 // Yung Tastemakers
’s
DJ
’s
TJ
r
Moon fo
)
(Tallahassee, FL
Bogan (24);
Photo Credits:
); DJ Who (28);
(04
od
Crazy Ho
,16,18,36,37);
(08
ll
Ha
Edward
,15,30,34);
,14
(07
n
rri
Eric Pe
); Julia Bev(27
uis
Lo
Johnny
,35,38);
,31
,26
,25
,03
erly (02
); Malik
,10
(01
ith
Sm
n
Keadro
,19,
,13
,11
,09
,06
(05
Abdul
); Ms
,33
,32
,29
,23
20,21,22
)
Rivercity (12,17
OZONE MAG // 45
FMIALMOI, -FL RIDA
O
ver the past few ye
ars, Miami has deve
lop
Dre, Smitty and sev
eral others have ha ed a trend of putting out flourishing
new artists. Rick Ro
d a successful run
hold names such as
in South Florida’s
Trick Daddy and Un
booming Hip Hop ma ss, Pitbull, DJ Khaled, Cool &
cle Luke. Opalocka
rket. It has also yie
res
ident Flo-Rida hope
As Poe Boy Entertai
lded houses to be next on Mia
nment’s newest ed
mi’s roster of hitma
ition, Flo-Rida is cur
raw talent into sea
kers.
rently undergoing
soned musicians. It
the boot-camp-lik
is the same groom
and Brisco find his
e grooming that tra
ing that helped Ric
place with Ca$h Mo
nsforms
k Ross seal a deal
ney Records. The ch
was an easy one. Flo
with Def Jam
oice to join Poe Bo
-Rida explains, “I
y’s tight knit family
grew up with E-Cla
together in the stu
ss’ brother. We did
dio. E-Class heard
songs
me and said I shou
artist. I was with a
ld be a solo
group called the Gro
undHoggz at the
time.” After leavin
g the group, Flo-R
ida
temporarily moved
to California
for a change of
atmosphere, but it
wasn’t long before
his
hometown was be
ckoning him to return.
“Poe
Boy was calling me
when
the Rick Ross thing
was
taking off. I came
back,
cut a couple of rec
ords and
there it was.”
One of the records
he cut was
the single “Birthda
y,” produced by The Runn
ers. On the
surface, the record
is intended
to be a club song.
However,
there is a significan
t me
behind the lyrics. “Yo ssage
u’re not
promised tomorrow
. You could be
looking forward to
your birthday
but you don’t know
if you’re going
to have a birthday
, so
to enjoy life. I mean it’s best
, do
overboard, but enjoy n’t take it
it like there’s
no tomorrow. That’
s where the
concept comes fro
m. We’re getting
a great response fro
m
The concept is obvio it,” says Flo.
usly well received
by its listeners. “Bi
rthday” is gaining
heavy play in Miami
nightclubs and still
has mainstream ap
proval, despite its
current undergrou
nd status.
In addition The Ru
nners, Flo-Rida ha
s als
collaborated with
Cool & Dre, DJ Khale o
d the
Beat Novocaine, Tra
e Pierce and Nitti.
His
work with Devante
of Jodeci, Rich Harri
so
Flava Flav, Rick Ro
ss and Brisco has giv n,
en
him a higher level
of expertise and a
nod of
approval from indust
ry
other Poe Boy affilia executives. Like his
tes, Flo-Rida recen
tly
inked a deal with a
major label – Atlan
tic
Records. His album
is scheduled to hit
stores
during the first qu
arter of 2007. Until
then, FloRida is polishing up
his mixtape game
and living
every day like it’s
his birthday. //
-Ms Rivercity
46 // OZONE MAG
?
e
n
o
z
o
g
in
d
a
e
r
s
’
o
h
w
Bowl house
OZONE’s Super
01 // D Shep @
Cool with their
&
e
Dr
//
02
)
party (Miami, FL cover on the set of Joe
wl
OZONE Super Bo
) 03 // TI
opper’ (Doral, FL in’ remix
Hound’s ‘My Ch
It Ra
e
ak
“M
e’s
Jo
t
on the set of Fa
est on the
// Brandon & gu ” (Hous(Miami, FL) 04
Me
to
gs
lon
Be
e
am
Crockett
set of UGK’s “G
ld’N Out’s Affion
ton, TX) 05 // Wi e’s “Make it Rain” remix
Jo
t
on the set of Fa
Eastwood
// Allstar & Fate
(Miami, FL) 06
t during the
ee
Gr
&
et
Me
@ Swishahouse
s weekend
tainment Award DJ
Southern Enter
ubb,
Ch
by
ub
Ch
//
(Tunica, MS) 07
t of Fat
uricio on the se
Khaled, & Mr Ma
iami, FL) 08
(M
ix
rem
in’
Ra
Joe’s ‘Make it
DJ Mixer
E’s Super Bowl
// Ladies @ OZON i Gunz @ Studio
Bib
//
(Miami, FL) 09
V and
TX) 10 // Bigg
7303 (Houston,
ille, MS) 11
nv
ree
(G
ke
Mi
promoter Killer of Young Buck’s ‘Get
set
// C-Bo on the
on the set
GA) 12 // Cool
Buck’ (Atlanta,
r” (Doral, FL)
pe
op
Ch
y
“M
of Joe Hound’s
me Mob
& Princess of Cri has13 // Diamond
ek (Talla
We
mp
De
r
fo
City
@ The Moon
Drop @ Rhythm
see, FL) 14 // DJ
on the set
lly
Je
DJ
//
15
(Dallas, TX)
) 16 // DJ
p” (Atlanta, GA
of Unk’s “2 Ste
(Jacksonville,
fe
Ca
g
Tin
al
Q45 @ Da Re
t Joe’s
on the set of Fa
FL) 17 // Drop
i, FL) 18 //
iam
(M
ix
rem
‘Make it Rain’
Fat
ley on the set of FL)
Fonsworth Bent
(Miami,
ix
rem
in”
Ra
it
Joe’s “Make
Greet
ahouse Meet &
19 // GB @ Swish
tainment
ter
En
ern
uth
during the So
20
d (Tunica, MS)
Awards weeken
dio 7303
Stu
@
y
Bo
h
// Guest & Ric
Web21 // Jacki-O &
(Houston, TX)
FL) 22 //
o,
nd
rla
(O
s
nd
bie @ Lege
Fat
ol on the set of
Joe Hound & Co
(Miami,
ix
rem
in”
Ra
it
Joe’s “Make
for
e @ The Moon
FL) 23 // Juvenil ssee, FL) 24 //
ha
lla
(Ta
it
Demp Week
Fat Joe’s “Make
KD on the set of
25 // Lil
)
FL
i,
iam
(M
Rain” remix
p’
t of Unk’s ‘2 Ste
Corey on the se
City (Mijic
Ma
//
26
)
(Atlanta, GA
IL)
Mims (Chicago,
ami, FL) 27 //
e @ Q93
yn
Wa
ld
Wi
&
a
28 // Monic
uriLA) 29 // Mr Ma
(New Orleans,
Omar of The
//
30
)
FL
i,
cio (Miam
of Trick Daddy’s
Wire on the set
i,
eo shoot (Miam
vid
”
“Tuck Ya Ice
Mane
cci
Gu
&
es
Pli
FL) 31 //
ndo, FL) 32 //
@ Legends (Orla by Boy’s
Ba
@
r
ice
Ricardo Sp
//
tlanta, GA) 33
meet & greet (A
the set
on
ls
de
mo
o
tw
Slim and
“Tuck Ya Ice”
of Trick Daddy’s i, FL) 34 //
iam
(M
t
oo
video sh
, & Juvenile @
Southstar, 8Ball
mp Week (TalDe
r
fo
The Moon
// SupaCracka
35
)
FL
lahassee,
8 West
23
@
y
ez
Je
& Young
// Tum
36
)
FL
le,
(Gainesvil
ouston,
(H
03
73
dio
Tum @ Stu
rdson &
ha
Ric
ey
nc
Ya
TX) 37 //
r Diddy’s
fo
e
ac
Sp
@
c
Hen-Ro
(Miami, FL)
Super Bowl party
@ Club
ed
Ble
g
un
38 // Yo
TX)
d,
an
idl
(M
Remedy
Bogan (30,33);
Photo Credits:
,28); Edward
(26
od
Crazy Ho
c Perrin
Eri
);
,14
Hall (10
); Julia Bev(08,15,25,32,38
); Keadron
erly (01,03,11,37
); Malik
,36
,20
,09
(04
Smith
,13,17,1
,12
,07
,05
(02
Abdul
Marcus
1);
4,3
3,2
2,2
8,21,2
Rivercity
Ms
);
(28
e
DeWayn
ba(27);
om
Lo
hit
Ro
);
(06,19
)
(16
r
lea
ck
Ron Lo
OZONE MAG // 47
E
C
N
A
I
L
L
A
E
TATHLANTA, GA
T
attoos are as popu
lar in Hip Hop cultur
e as Philly blunts an
Nowadays it seems
d strip clubs.
everyone has at lea
st one tattoo beari
name, a fallen soldi
ng their mom’s
er
or
tho
se not-quite-sureletterings. But the
what-this-says Ch
tattoo that influenc
inese
ed The Alliance, a
group, into making
five member Atlan
their hit song “Tatto
ta rap
o” wasn’t an R.I.P.
different variety. It
tat but a tattoo of
was a female with
a
a tattoo on - you
back.
guessed it, her low
er
“I was at the club
[and] I just saw a
shorty,” says Q, Th
and creative mind
e Alliance’s manage
behind the song.
r
“She looked good
you seen her ass. Bu
from the front and
t the tattoo was sit
then
ting right. That wa
wanna smash that.”
s sexy. Made a nig
Score another one
ga
for lady lumps ins
minds of rap artist
piring the creative
s.
The Alliance, which
includes rappers Bla
ckout, 22, P.O.P., 21
rapper Bliss, 19 an
d in-house producer
, Skinny, 20, female
, Tyindie label, Nothin
Comz Eazy. Q’s vision Cutta, 22, were formed by Q under
his
present them as on
was to unite a gro
up of solo artists an
e mega-group. Aft
er three years of pla
d
chairs in search of
yin
the right pieces, Th
e Alliance was forme g member musical
unity, oneness,” Q
d. “Alliance to me
says. “It’s all abou
is
t being together. We
one shine all at on
wanted to make ev
ce and then we sta
eryrt slipping off into
solo projects.”
48 // OZONE MAG
“We’re family,” TyCutta adds. “It’s all
one but everyone
do their own thing
is go
.” Branching off ma
y be in the plans, bu nna branch off and
the Alliance is riding
t for the time being
high off the succes
,
s of “Tattoo” featur
ubiquitous Fabo (“F
ing
abo came in and he
was like, ‘This [song the surprisingly
Super Bowl’,” Q lau
ghs).
] is bigger than the
Newly signed to As
ylum, The Alliance
(who all have tattoo
wondering) are in
s,
the studio preparin
g their debut album in case you’re
feel-good concept
which focuses on
songs ranging from
wannabe models to
in the clubs. “We’re
approaching wome
not a certain types
n
of music, we’re jus
Ty-Cutta says. “Ride
t making good mu
to, party to, laugh
sic,”
to,
varying sounds an
cry
to,
it’s
a
va
rie
d styles, The Allian
ty.” With so many
ce can’t be classifie
“snap.” “It’s really
d as jus
versa
from different places tile over here,” Skinny adds. “You go t “crunk” or
t [members] coming
, coming out of the
different sound.”
ghetto, so you know
it’s going to be a
And while many art
ists are known to dro
heard from Bonecru
p a hit and gracefull
sher?), The Alliance
y bow out (anyone
has other ideas. “W
in the business,” Q
e
says. “We’re not he
re to be one-hit wo wanna be icons
stay.” //
nders, we’re here to
- Randy Roper
?
e
n
o
z
o
g
in
d
a
e
r
s
’
o
h
w
me Mob on
Diamond of Cri
01 // Princess &
(Atlanta, GA)
p”
Ste
o
“Tw
the set of Unk’s
set of Fat
& Trina on the
02 // Scott Storch remix (Miami, FL) 03
in”
Ra
Joe’s “Make it
, TX) 04 //
Club M5 (Dallas
// Young Dro @
r” (Miami,
tte
Ma
’t
on
“D
of
t
Akon on the se
Unk’s “2
of
t
se
e
th
on
s
FL) 05 // Ladie
D on the set
GA) 06 // Baby
Step” (Atlanta,
) 07 // Big
GA
a,
nt
tla
(A
p”
of Unk’s “2 Ste
t of Young
Polow on the se // BOB
Zak, Rich Boy, &
) 08
GA
a,
nt
tla
(A
”
Buck’s “Get Buck mp Week (Tallahassee,
r De
@ The Moon fo
odRaw @
es Wakeley & Blo h @
FL) 09 // Charl
// Coac
10
)
FL
o,
nd
Firestone (Orla
C-Ride @
ndo, FL) 11 //
Firestone (Orla
rty (Miami,
pa
e
us
ho
wl
Bo
OZONE’s Super
Zekey @
ey
ek
Fre
&
mp
FL) 12 // DJ De
hassee,
mp Week (Talla
The Moon for De @ Club M5 (Dallas,
e
On
FL) 13 // DJ Eduring
aled @ Bongo’s
TX) 14 // DJ Kh
i, FL) 15
iam
(M
d
en
ek
Super Bowl we
ersary
Kim Ellis’ Anniv
// DJ Teknikz @
t Joe on the
Fa
//
16
)
GA
Party (Atlanta,
remix
“Make it Rain”
set of Fat Joe’s
Legends
@
eld
rfi
Ga
//
(Miami, FL) 17
s.
// GritsAndEgg
(Orlando, FL) 18
d’s “My
un
Ho
e
Jo
of
t
com on the se
zzle
FL) 19 // Ice Mi
Chopper” (Doral,
e party
us
ho
wl
Bo
r
pe
@ OZONE’s Su
set of
// Janky on the
(Miami, FL) 20
tlanta,
(A
”
tta
Ge
o
“G
Young Jeezy’s
Nice
Beverly & DJ JGA) 21 // Julia
e party
us
ho
wl
Bo
r
pe
@ OZONE’s Su
nB
// Kay Slay & Bu
(Miami, FL) 22
Houston
@
rs
Wa
le
Sty
introducing
TX)
e Arts (Houston,
Museum of Fin
rlando,
(O
s
nd
ge
Le
@
23 // Ladies
on
eezy @ The Mo
FL) 24 // Mac Br
e, FL) 25
sse
ha
lla
(Ta
ek
for Demp We
the set of UGK’s
// Mike Jones on Me” (Houston,
to
gs
“Game Belon
a & her brother
TX) 26 // Monic
)
ew Orleans, LA
(N
3
Q9
Montez @
(Orlando,
ne
to
es
Fir
@
27 // Mr CC
for
n C @ The Moon
FL) 28 // OG Ro
FL) 29 //
e,
sse
ha
lla
(Ta
Demp Week
ung
on the set of Yo
Pacman Jones
a, GA) 30
nt
tla
(A
”
ck
Bu
Buck’s “Get
m
ts inspiration fro
// P-Stonez ge
Stankonia
@
h
ot
bo
e
th
OZONE in
ck
a, GA) 31 // Sli
Studios (Atlant
esville,
ain
(G
st
We
8
Pulla @ 23
star @ The Moon
FL) 32 // South
)
(Tallahassee, FL
ek
We
for Demp
e set of
th
on
d
kin
Rif
33 // Steve
tter” (Miami,
Akon’s “Don’t Ma del on the
mo
eo
Vid
FL) 34 //
r’
d’s ‘My Choppe
set of Joe Houn Abdul 35
lik
Ma
)
(Doral, FL
s on the set
// Zo & Ted Luca
“Tuck Ya Ice”
y’s
dd
of Trick Da
i, FL) 36 //
iam
(M
t
oo
video sh
@ Firesja
Ra
&
e,
Yola, Ashle
// Bun
37
)
FL
o,
nd
tone (Orla
uston’s
Ho
@
n
ee
Qu
B’s wife
e Arts for his
Museum of Fin
ston, TX) 38 //
ou
(H
rs
Style Wa
during Super
o’s
ng
Bo
Trina @
iami, FL)
(M
d
en
ek
Bowl we
Bogan (35);
Photo Credits:
,13); Eric
(03
ll
Ha
Edward
,14,20,30,38);
,06
,05
Perrin (01
,11,19,21,
(07
rly
ve
Julia Be
Smith
n
ro
ad
Ke
29,33);
Abdul
(22,25,37); Malik
,12,16,17,
(02,04,08,09,10
,32,34,36);
18,23,24,27,28,31 );
(26
e
yn
Wa
De
Marcus
)
Ms Rivercity (15
OZONE MAG // 49
S
M
I
M
NEW YORK, NY
D
ue to the South’s reign atop radio and
Billboard charts, New York
rappers seem to be intensely preoccupi
ed with bringing New York
back to the forefronts of Hip Hop. But
for New York newcomer Shawn
Mims, the fight isn’t about returning
NYC to its glory days, it’s about innov
ation and showing Hip Hop fans that
NY music isn’t just mixtapes and emce
e
battles. And the way Mims feels, his
timing is impeccable.
“I think it’s a great time for me to come
in the game,” Mims says confidently.
“I’m going to provide a different side
of New York for people to see that
New York is not just what they think
it is. It’s not just the rap battles. It
ain’t just the mixtape mayhem, [ther
e are artists] like myself that can come
across and give you good radio recor
ds, an album and a good project as
a
whole.”
Mims, who claims a JamaicanAmerican ancestry, lost both of
his parents at a young ag. His
father died when Mims was 11 and
his mother passed two years later.
Before his mother passed away, she
had bought him DJ equipment for his
13th birthday, which sparked his love
for Hip Hop culture. Over the years,
Mims developed a knacks for DJing,
engineering, and producing before
honing his MC skills. After graduatin
g
high school, Mims enrolled at Nassau
Community College but later dropped
out
to pursue his passion for music fulltime.
Kanye isn’t the only college dropout
to make it rapping, and Mims’ break
through single, “This Is Why I’m Hot,”
has
spread through the country like a wildfi
re.
Miami-based producers Blackout Move
ment
creatively blended instruments from
different regions over a snap-influenced beat
as
Mims effortlessly references each area
with
swagger.
Some have criticized the New Yorker
for his
Southern-sounding lead single, but
Mims sees
things differently. “I started [pushing
‘This Is
Why I’m Hot’] in Florida,” Mims says.
“It wasn’t
necessarily me jumping on the South
’s tip. I
wanted to get the respect from the South
. So it
definitely ain’t me emulating anything.
I respect
the South. I respect what the Hyphy
movement is
doing in The Bay. I respect what New
York’s got
going on and the whole Midwest move
ment with
Kanye and Lupe. I got respect for the
game; for Hip
Hop in general.”
50 // OZONE MAG
Mims’ EMI/Capitol debut album Music
Is My Savior is tentatively scheduled
for release this spring. And while Mims
carries the torch for NY, he also plans
to continue introducing a new sound
and give people from all areas what
they want to hear. “Don’t categorize
me as just a New York dude,” Mims
says. “I’m just really bringing a new
side of Hip Hop. So if you’re looking
for
something new, East Coast, West Coas
t, Midwest, Dirty Dirty, international;
pick up this album cause you’re going
to hear everything you wanna hear.
Trust me.” //
- Words and photo by
Randy Roper
OZONE MAG // 51
L
L
A
H
E
H
T
N
Z
KCHICID
AGO, IL
at have
clientele th anted
ing with a
w
al
st
de
ju
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e
.
’r
ht
ey
saw.
r get caug
ter and th
ey’re smar come, but they neve to the lifestyle that I n
th
e
us
ca
be
in
in
he
le
w
ep
s
ab
st
ug
os
d
y
dr
M
ul
sp
di
co
selling
hool was
a lot more there so that people
Those
the streets]
ge
t album Sc
lers [are in that are doing it too. it in
t it out
e Hall debu rically talented Naled r
st
pu
th
hu
in
to
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dz
re
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at
e
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ly
fo
ds
th
th
in
t
ki
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ng
(t
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pa
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. They’re
ust one lis
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and gifted independent label Raw ates as typical brai e than
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these two uxtables, but the gro and problems with
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Born Micha ovides the perfect so
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cocky Naled
in the afflue
to co-ming g Hip Hopper. Howev Blaze
e-O, pr
e seemingly s and hanging out ang banging and sellle
bl
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ab
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is
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yet origin
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ds of an Ea
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ith the soun neous sample of th
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w
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ta
the simul
ntion to th that became Jay-Z’s oducers
Nonetheless raps about children
as
te
s.
w
at
ug
ht
dr
g
g
in
MC
o pr
song
at brou
ay.
Tales,” the
and him th O had duplicated the Kingdom Come, the tw
drugs anyw
“Dumbass
m,
blebu
cide to sell
e are kids
ou
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D
de
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at
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th
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famili
t there
s.
post-retir
cord.
to put it ou college selling drug erfor his first king on the same ac
t we
“I wanted
in
th
st
who are in But they’re on a diff
ju
me time, bu
e
wer
ng at the sa y before we were
so
e
ent level
m
sa
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th
the da
song to
“We sampled didn’t find out until
submit the
supposed to was also the day
the label. It supposed to
was
before Jay ng. We were thinkso
record the
to be some
was going decided
ing that it
e
w
t
bu
,
ith it
backlash w h it. In the end it
it
w
n
to just ru
ay because
in a good w these
us
ed
ct
fe
af
are
e like, ‘Who
people wer arted checking us
st
guys?’ They on a different radar,”
us
out. It put
ble-O.
explains Dou
t
finding wha decade of
After a half o are providing a sepa p
ra
tw
th cocaine
works, the
view for bo st taking
of
t
in
po
rate
e’re ju
ous rap. “W en to us and
and consci
giv
e
er
w
to
at
th
We’re going
the things
n destiny.
el
ow
fe
r
I
ou
t.
g
ou
in
mak
nate ab
e kids
e’re passio
do what w entative of a lot of th ludes
nc
es
pr
like I’m re ing up these days,” co
w
that are gro
Naledge. //
J
illiams
- Autumn W
52 // OZONE MAG
OZONE MAG // 53
lin
’
hu
st
Indigo Blue
B
lue Williams looks more like an NBA basketball player than Nas’ and Nick Cannon’s
manager. He’s tall, dark, and handsome and
incredibly good at what he does. Nicknamed
“the check finder” by Lyor Cohen many years
ago (Lyor is nicknamed “the check writer”), Blue has
proven his ability over the years to find many a check
for the artists he represents. He is a force to be reckoned with and walks with the swagger of a man who
has created success repeatedly.
Blue Williams got his start as a roadie for Jodeci in
1991. Although his entrée into the music business
was carrying bags through hotel lobbies for the R&B
group, he moved up pretty quickly to the position of
body guard after a fight broke out and he proved his
worth. After that, he caught the eye of Mary J Blige,
SWV, and Shai - where he was both body guard and
road manager for all of them. His popularity grew and
he caught the attention of a young executive named
Shakim Compere, who was both manager and partner
to Queen Latifah. In his travels, Blue kept bumping
into Shakim, both on the road and playing recreational basketball in LA. Blue eventually introduced
Shai to Shakim, who brought Blue onboard at Flavor
Unit to be a manager.
The Fu Shnickens (in 1994) was Blue’s entrée into
management. He also learned by listening to anyone
and everyone who had any success in the music
business. Blue studied under Lyor, was mentored by
Shakim (whom he worked with everyday), listened
to everyone who’d take the time to talk to him (from
product managers to marketing folks at labels to
other managers who came before him), and learned
as he went. Everywhere Shakim went, Blue went, so
he listened and watched. He got to meet and be mentored by hugely successful people like Ernie Singleton
and Clarence Avant, following up with phone calls
and offering to buy them lunch so he could pick their
brains. “Real mentors groom people to grow on their
own,” Blue reminisces as he thinks back over the
many people who played a part in his growth as he
came up in this industry.
At the height of Flavor Unit’s success, Blue managed
Outkast, Monica, SWV, Total, Faith, Naughty By Nature,
Queen Latifah, Donnell Jones, and LL Cool J. Flavor
Unit had twelve artists signed to their management
company, and Blue managed eight of them while Shakim handled the four biggest artists. Managers handle
and build the careers of artists while interacting with
the record labels on the artists’ behalf. Managers also
find opportunities for the artists to make money. “If I
don’t hunt, I don’t eat. If I don’t find opportunities for
my artists, I’m not eating. I get paid a percentage of
everything I find for them, so I have to be out there
finding checks for them,” Blue states emphatically.
“A manager’s job is getting artists out of bed, to get
them to where they need to be. Managers find events,
find tours, fight the label, and handle personal business for the artists. We get up every day and do what
we gotta do.”
Although Blue started managing smaller acts, those
smaller acts became international superstars. Blue
recalls, “I grew as they grew - like Outkast, for example. I then began finding my own acts to manage,
such as the YoungBloodz when [Kawan “KP” Prather
signed them at Arista.” Blue now manages Nas, Nick
Cannon, and Case.
In 1997, Blue decided to spread his wings and start his
own company: Family Tree. He knew that when he had
54 // OZONE MAG
By Wendy Day from Rap Coalition
started at Flavor Unit, he’d never get rich working for
someone else, but knew he had to learn the business
and develop the right connections to benefit the
artists. When he left Flavor Unit, he took Outkast and
Donnell with him. Although it was difficult to leave,
the time was right. The trust level was there with the
artists he was managing at the time, and Shakim gave
his blessing. Blue knew not to burn bridges but also
knew the artists were planning to leave regardless,
so there was no animosity with his former boss. Blue
hadn’t jumped at the first opportunity to leave, and
had proven his loyalty to the company repeatedly.
Blue left when the time was right and sat Shakim
down first and explained what he wanted to do because he respected Sha too much to just jump ship.
Blue explains, “Bridges are critical. Connections and
relationships are key in this industry. You have to
always be respectful and know how you leave someplace. You will always need that person in the future.
All artists leave eventually, it’s just a matter of time.
But you have to be careful what you wish for, and not
let people gas you up. It’s never what it seems to be
from the outside looking in.”
So as a manager, what does Blue look for? “I pick
and choose artists selectively. I look for the complete
package, meaning far more than just a good lyricist
or someone who makes good music. Integrity is important. Management means going into the trenches,
so if I am going to work hard, I have to manage
artists I like, not to just make money.” He goes on
to explain that he was a big Outkast fan. “I manage
artists that I really like. I look for charisma as well as
talent, meaning that I look for stars.” LA Reid taught
him that. Blue looks for artists that stand out from
other artists. He wants to work with someone who
lights up a room.
Managers make money from the whole package. Blue
shares his secret for making money as a manager:
“Hot records come and go, but an artist who can tour
is where the money is. Can they sing that song four
days in a row? I hope so, because touring is the key.
Look at Cher as a touring example. Her manager,
Roger Davies, arranged like 4 or 5 retirement tours
(1999-2004) and Cher made $60 million per year
touring. Look at the Eagles - every time they tour
they make between $15 million and $25 million. A
regular artist touring for 150 nights [a year] can
make a couple million dollars. On Lyfe Jennings’ first
album, touring is how he got people to notice him.
The label’s focus was on John Legend at the time,
so it was up to Lyfe to build his career by building a
base of people. He listened and because of that he
could build a career and feed his family. These days,
he’s pulling at least $25,000 to $30,000 a night.” Now
that’s a nice career!
Another place to make money for artists is with endorsement deals. Blue both farms them out to others,
as well as negotiating them himself. He feels there
are so many opportunities today. “If you don’t farm
them out, you’ll miss some. There are people out there
who do this all day everyday. Learn how to outsource.
I am better for my client if I can make a decision
that makes a bigger pie for the artist to chop up.
Insecurity and fear of losing clients keeps others from
doing this. If an artist makes $4 million a year on the
outside deals brought in by others, you’ve made more
money than if you made him $1 million in deals on
your own. Secure your relationship with the artist and
let the outside professionals do what they do best, for
your artist,” says Blue.
In terms of finding clients, most artists come referred
through others due to Blue’s reputation. He might
hear something inside a label about a new artist
just getting signed, for example, LA Reid just signed
his new ‘Usher’ and Blue wanted to meet the artist
because he knows the value of what LA will bring
to the table for the next big R&B act that he puts on
the level of an ‘Usher.’ People bring him work. Blue
says, “Reputation is key. Integrity can’t be replaced.
“So-and-so is shady,” or “so-and-so stole money”
- you can’t fix that. You have to keep your business
clean. You always want the industry saying your name
positively and impeccably. Word has to be your bond.
It has to mean something. Don’t put it out there if you
can’t deliver. If you can’t meet a deadline, make a call
and let them know.”
Sometimes it seems as if Blue’s success came quickly,
but he assures me that’s not the case. “Realize that
people are putting in days and years before anyone
even knows who they are. Folks on the outside looking in say that his story seems easy, so I can do it too.
Don’t just read his story and say, ‘I can do that’ and
think you understand their journey. Chris Lighty, Shakim, and Blue built this shit. We were doing it, when
others were just thinking about it. We put time in and
put the grind in. We deserve more respect than thinking this shit was easy. I’ve been shot at; I’ve been
paid $50,000 in $10s and $20s; I’ve had experiences!”
How does Blue stay so humble? He remembers all
of the other managers who’ve come and gone.
Things happen to keep him humble. He still rides his
motorcycle, still plays ball at Ruckers, and he’s still
reminded that he’s a black man every time he steps
on a plane. He’s not so far gone with the hype. His
mother was a principle for 23 yrs in the South Bronx.
“She had a real job and career. What she did has
impact. What I do is fun. I’m lucky. I may be cocky in a
room with my peers like Puff, or Lighty, or Steve Stout,
etc. But I don’t believe the hype. And I’m proud that
I don’t need security,” Blue tells me as he laughs. “I
admit mistakes. I don’t need to add arrogance to it. I
always remain humble and focused, and I just do my
job. I keep it moving.”
In asking Blue to tell me about any difficult experiences he’s overcome, he easily tells me about parting
ways with Outkast last August. “I was blessed for ten
years to manage Outkast. We never had a contract,
everything was done by handshake. We were brothers.
And after ten years of arguing around the world, it
was time to take a break from each other. Outkast
didn’t build their brand on their own. Just as they are
dope artists, I am a dope manager. There are no hard
feelings on either side, mine or theirs. What we accomplished together was enough. Someone called me
recently about an idea for Dre, and I called Dre and
forwarded the idea along because it was so perfect
for him. There’s no animosity. Tension is high from
everything going on, but we made a lot of money
together. Of course, nowhere near what they should
have made. They had a career of horrible managers,
and then they had me. They’ve got nothing to compare me to. I think they know that this is harder than
they ever thought. We still talk and we are still family.
But this shit ain’t ever easy.”
No, it’s never easy. Blue stares off into space as he
reminds me, “Fortunately, every day I get the opportunity to get up and try again. I have a cousin in jail
doing double life [sentences]. He has no opportunities.” So Blue is taking the opportunities that his
cousin will never get. //
OZONE MAG // 55
words // DeVaughn Douglas
56 // OZONE MAG
PHOTOS // MIKE FROST
T
hree years ago Lil Flip was the poster boy for the
Houston rap scene. He had a new deal with Sony
Music and was moving up the pop and Hip Hop
charts with his singles “Sunshine” and “Game Over.”
“Game Over,” which used the beat from the Namco
Pac Man video game, quickly became the subject of conversation as Flip’s album climbed the charts. The owners of the
music sued Lil’ Flip along with Sony, which eventually brought
about the demise of their relationship.
For the next few years it seemed as though Flip disappeared
from rap altogether. During his hiatus Swishahouse, led by Mike
Jones and Paul Wall, branded their Houston sound throughout
the country. Now with Houston superstars like Chamillionaire
winning every award available to rap and Port Arthur natives
UGK rising back to notoriety, Flip’s place in Hip Hop seems rather shaky. Now a few months from releasing his Asylum/Warner
Bros. debut, Lil’ Flip tells OZONE why he was gone for so long
and where he belongs in the rap world today.
Why did you decide to leave Sony and go to Asylum/Warner Brothers?
It’s difficult when you’re a hard working artist and you get treated like you
don’t want to work. This is the same label that had 50; he got shot and they
let him go. Basically, a lot of people there have egos that are bigger then the
work that they’ve put in. With Asylum I got the street muthafuckas that know
rap but I also got Warner, which is a big record producer. I got the underground and the major pushing my album.
blackball be after they found out I was making beats. He would bob his head
in my face but then he would run back to Sony talking ‘bout, “He’s making
beats now!” So if Flip is making beats that means that A&R doesn’t have a
job. I ain’t trying to produce my whole album just cause I make a few beats.
I’ve never had anyone over my back telling me what I need to do. I always
constructed my own music. I never had anyone saying, “Flip, you need to do a
girl record.” I just always did what I felt.
You mentioned earlier that you had trouble keeping up with the staff.
Look, I’ve got a million reasons I can be mad at Sony but that was definitely
one of the major ones. I originally signed with Steve Rifkind’s Loud Records.
After Loud folded Columbia had the option of deciding which artists they
wanted to keep or get rid of. They ended up keeping me and I was introduced
to a brand new staff. By the time I started getting cool with this new staff I
got up a few months later looking for people. I’m like, “Where’s such-andsuch” and they’d say, “Oh, he ain’t over here anymore. He’s with Universal.”
That shit just started getting annoying. They ended up placing me around
new people who were responsible for getting my project done and some of
those new people placed me in fucked up situations.
On that note, do you feel like Sony tried to keep you in the same lane? In
other words, when you have a hit like “Sunshine” or “Game Over” they are
only looking for that kind of record?
Yeah. With Sony, first off, their track record when it comes to [rappers] ain’t
even all that. They give up on an artist when you get close to three hundred
[thousand records sold]. If you ain’t doing shows, and out in these streets,
and spending your own money on yourself you’ll fucking drown with them.
I mean, no disrespect, but look at an artist like Amerie. She only goes gold
every time. She gets her one video, maybe two, and [Sony] is cool with that. I
know she wants to sell more records, and she should. Sony isn’t helping her,
or their other artists, do what they should be doing. The only artist that’s
doing phenomenal on the label is Beyonce. Now that Three 6 Mafia won an
Oscar I’m sure Sony will start paying attention to them. Now Sony will spend
money on them and be like, “Oh, we love you.” But them niggas have been
putting it down for so long and only now is Sony looking. Sony should have
been looking at them a long time ago. [Sony] don’t respect nobody unless
you’re Beyonce or maybe Nas.
What kind of situations?
Take the “Game Over” situation. That whole lawsuit could have been avoided.
I didn’t even want to do that song for a number of reasons. One, Beanie Sigel
had already done a song with the beat called “Mac Man.” Two, there was a
dude [in Houston] doing that exact same song. Three, I had been sitting on
that beat for about six months. I’m not going to say the A&R’s name, but he
kept calling me saying, “I know you don’t wanna rap on it, but I’ll pay you
thirty grand. Don’t worry, we’re not gonna use it on anything important.” Shit,
I’m a nigga from the hood and you talking ‘bout thirty grand. I jumped my
ass on the plane and went on ahead and got [the thirty grand]. So yeah, I did
the song, but I never really expected them to release it, or for it to get so big.
Plus, peep what I did just in case they pulled some foul shit. I cuss so much
on the beginning of the song that I never thought they would use it as a
single. In the beginning of the song I start it off sayin’, “Aww shit, y’all done
fucked up and let me in this bitch.” I was trying to say so many cuss words
- I didn’t overdo it because it could have been worse. I did that shit so that it
would not be my radio hit. But I’ll put this on everything - I did the song on
a Monday and then I stayed in New York for four days. When I flew home on
Friday that [song] was on the countdown.
So you didn’t even expect “Game Over” to be on the album?
I was just doing it because they begged me so much. They would not take no
for a fucking answer so I finally agreed to do it. Plus, the agreement was that
they wouldn’t use the song for nothing that I didn’t approve of. That was a
lie. Then the lawsuit came behind that shit. The media hyped that shit up like
I took the beat and then at the end of it all I didn’t have to pay.
From every article that was out it seemed like you took the beat.
Nah, Sony had to pay for all that shit. An A&R that worked for Sony is the
one that brought me that beat. He didn’t clear that shit. He acted like he was
on top of his business and he just wasn’t. That’s the first time I let an A&R
pick some shit and look what happen, so now I don’t fool with that A&R shit
anymore. A lot of them have ulterior motives.
What do you mean by ulterior motives?
I feel like Sony blackballed me. I’ve got songs with Destiny’s Child and
Beyonce that we were supposed to shoot a video for but they won’t release it.
You won’t let me shoot a video for that but you’ll allow someone I’m beefing
with to shoot a video and do a song with them? Man, I’ve had A&Rs try to
Nas has criticized Sony in the past.
Right. He got problems with them but he gets more respect off of seniority.
I mean it probably ain’t all peaches and cream for him like he wants it to be
but for the most part him and Beyonce are cool.
So now you don’t have to deal with A&Rs at Sony picking your music. How did
the new single with Lyfe come about?
We shot the video for “What it Do” and did an uncut video. Then we were getting ready to shoot the video for “I’m a Baller” and halfway through is when
I was starting to leave Sony. There were only about three or four people who
knew I was leaving Sony so everyone was pushing “I’m a Baller.” When I got
over to Asylum they tried to get “I’m a Baller” and send it to DJs but everyone
was like, “I got this from Sony three months ago.” That was a big record.
My first performance of the song scared me because when I went out there
everyone in the audience already knew the words to the song. Warner decided
they wanted to go with “Ghetto Mindstate” and I was kind of shocked. I was
a little skeptical because it wasn’t a club record but it was testing well with
programmers. So I just said, “Fuck it, let’s go with it.” I’ve always wanted to
do music with Lyfe. I had heard about him before he had even got out of jail.
I don’t put an artist on [a record] because they’re hot. I put people on my
songs that I can feel.
Did your album get leaked when you switched labels?
I had to pay [Sony] two million dollars to leave, to take my album with me
and buy myself out of contract. Right after I left somebody leaked the album.
Usually your label sends out two or three singles but I was starting to notice
that when I visited radio stations the DJs had the whole CD. This was three or
four months before the album was supposed to come out. It was frustrating
dealing with that and the beef I was going through, and that shit just pissed
me off. I just said fuck rap for a minute. I’m not gonna put out an album that
everyone has. I don’t even know how many people got the album. But when
I’m out in the streets people were still telling me to put out the album and
they were going to buy it anyway. So I went back in the studio and did 18
OZONE MAG // 57
more songs to put on the album.
The first single, “Ghetto Mindstate,” appears to be a break away from the
type of music you usually do.
No, on The Leprechaun I had a song called “Gotta be Me.” I had a song called
“The Biz” about the rap business. On Underground Legend I had “What I Been
Through,” “I Should Have Listened,” and “It’s A Fact.” I’ve had a lot of songs
that ain’t got shit to do with the club because everyone don’t wanna hear
about that and jewelry. That’s the fucked up thing about the rap game, man.
Your first look is what you are. That’s all people see you as.
What separates this album from your last albums?
It’s more mature. Most of the time my albums are done one right after the
other. This one has a more mature sound because there is a three year break
in between recording. I take more risks on this album by trying different
tracks and different rhyme schemes.
What’s your response to the critics that don’t think you’re lyrically up to par
or that you’re too commercial?
There’s two types of rappers: rappers that sit around and see how many big
words they can rhyme, and those that have more of a conversational flow.
My type of style is the conversational flow because when I rap it feels like
I’m telling you a story. Before my albums, when I was underground, I was
known for straight freestyling. I was spitting off the top of my dome what
I was living and how I was feeling, but when you get into making records,
it’s different. There’s a difference between making a battle record and a hit
song. My whole thing is, everybody’s got their own way of telling a story
and this is mine. I’m more of a storyteller. Critics are funny. I’ve bought at
least six trash albums in the last year because some magazine said it was a
classic. So the critics will praise the garbage and trash good shit. Take Ice
Cube’s last album. I read some bad reviews on it but when I listened to that
shit that bitch was jamming. He was rapping about what’s going on in the
world right now and that shit was hard. These magazines and critics just
show too much favoritism. It’s not even about the music anymore.
What’s it like stepping back into the Houston rap scene? You came out on
your own and then kind of fell back. Swishahouse was pretty much on top of
Houston after that. What is your place now in the Houston rap scene?
Yeah. What people don’t realize is I didn’t take a break by choice. Plus, even
though I didn’t have an album out I was on a lot of independent shit. I
stayed on the road touring and doing mixtapes and DVDs. Everywhere I went
the fans keep telling me they were waiting on an album. I feel like my place
is still there, but I just had to go through a lot of bullshit. Now I just gotta
come back harder then ever before. If I knew what I know now with Sony, it
would have been a totally different situation. The fans know when I come
back I;m coming hard.
You’ve moved from being an independent artist to a major label artist. What
are some of the things you learned during your career?
With independent labels you spend your own money and take all the risk.
You’ll be real pissed if you get screwed or fucked over on a show or some
shit. But with a major, if they fuck up - that’s their money. I can still get
money on shows if the major fucks up. So independent you can make more
money, but if you take a loss you can take it pretty hard.
Anything else?
Keep your contacts. I use to book my own shows before I signed with a
major so I would be on the phone with the DJs and program directors. When
I got with the majors I would always have someone in between me and
the program director or DJ. Keep in contact and speak with your people
directly. I had someone say he tried to get me on one of his mixtapes but my
people kept telling him, “No” or, “He’s too busy.” I ran into him and had to
personally send him some freestyles that I had saved on my computer. This
guy is the DJ for the [Miami] Heat so this ain’t small time. Now I’m thinking,
damn, if they passed up on this opportunity what else are the passing up on
without me knowing? I was doing everything before on my own; picking the
beats, promotions, marketing, doing it all. That’s why I feel I’m a star. I’m
probably one of the only people out of Houston that has all the elements
that it takes to be a star.
So let’s set the record straight. In terms of Houston artists, there are rumors
that you don’t get along with a lot of them. Names like Slim Thug, Paul Wall,
and Swishahouse always seem to come up.
I was one of the first Screwed Up Click members to do songs with Swishhouse. Didn’t no S.U.C. artists do songs with them before me. I was the first
cat to do that. I don’t have a problem with anybody from Swishahouse.
They never did shit to me. I love the North side [of Houston]. I got family
that stay on the North side. I don’t have a problem with nobody unless
they disrespect me. All these people who they say I have problems with or
58 // OZONE MAG
supposedly have problems with me appeared on my first album. I’m 95%
of these Houston rappers’ idol. They was calling me every day to fuck with
me. They used to call my phone every day. All that grills shining and the
big jewelry? All that shit came from me. You know how it is when you’re a
baby and you want to be like your daddy? Then when you turn 18 you feel
like you can buck him? So a lot of people feel like now that they’re getting
a little notoriety, they’re bigger and better than me. Me, I’m not focusing on
the bullshit. All the people who offended me know what they did. I’m loyal
and other people just aren’t. If I fuck with you, I fuck with you whether you
have a hit or not. There’s no more loyalty in the game. People got this idea
that when they come out they got to save the hood or all their homeboys.
How many rappers put the homeboy on when they blow and nobody really
feels their homeboy? How many rappers got all their friends on stage with
expensive jewelry? That shit is draining financially and emotionally. They
don’t realize that at the end of the day when it’s time to pay the bills, your
homeboys don’t want none of that shit.
With the state of the music industry nowadays it seems like it’s getting
harder and harder to pay bills.
Hell yeah. You’ll have an artist come out with a hot single and only sell a
hundred thousand records. You got to look into other avenues. I’ve wrote a
couple of books. I’ve got an autobiography coming out. I got a few movies
coming out. One is called “Crown Me,” a horror movie, and a movie called What
They Don’t Want You To Know About The Rap Game. I’ve got a cookbook coming out called “My Grandparents Cookbook.” I got a clothing and tennis shoe
line coming out along with my line of watches. Plus my alcohol Lucky Nights
is selling and I’m adding a couple of sodas to that. You can’t just put all your
eggs in one basket. Ain’t nothing wrong with having multiple jobs. //
OZONE MAG // 59
L
E
T
R
A
C
WORDS & PHOTOS // JULIA BEVERLY
The Big Boss Ricky Ross is so confident in his two up and coming lyricists, (l to r) Gun Play and TORCH, that
he’ll put a million on either of their success. When you hear Carol City Cartel’s music you’ll understand why it’s
F
irst off, every artist that blows up seems to come out with their
own group, and not all of them are necessarily good enough to
have their own album. So what makes Carol City Cartel different?
Torch: Cause we’re the best.
Rick Ross: Listen, we’re the best, first and foremost. It’s the big
boss Ricky Ross. It took me a long time to get here, but the first
thing I always said was, “When I get on, I’m going to return that favor and
put the next man on.” And at the same time, it’s one of the best moves you
can make as an entrepreneur. I got the realest, wildest young niggas out of
the hood and gave them an opportunity to see this thing come to life. That’s
what Torch and Gun Play are all about. There’s a lot more dudes that ride
with us, but this is who we’re focusing on. We’re coming with the debut album
Black Flag. It’s going to be legendary. We got everybody on there. Cool & Dre,
Jazze Pha, Young Jeezy, DJ Toomp, a lot of people.
You used to be driving the white-on-white; now you’ve got the black-onblack and got an album coming out called Black Flag. Why the switch?
Rick Ross: Yeah, the white-on-white, that represented the birth of my career.
Now, the black-on-black represents the death of the enemy.
And your enemy is who?
Rick Ross: Man, a lot of bustas. Triple C, y’all better go get that album and
you’ll learn.
60 // OZONE MAG
Gun Play, a lot of people have seen you performing with Rick at his shows,
and you’re kind of hard to miss. You’ve got a real unique look.
Rick Ross: You know, that’s cause he’s on five drugs right now. That’s why he
looks like that. [laughs]
What drugs are you on right now?
Gun Play: I’m on some yellow. That’s that syrup, that real good ‘Tuss, ya feel
me? We just flew in from Minneapolis last night, so we ‘Tussed out. I got some
clean coming but I’m not gonna fuck with that til tonight cause I ain’t really
trying to overdose right now. That’s a whole ‘nother issue. ODTV.
Rick Ross: Overdose TV coming soon. Happy endings!
Gun Play: Nah, I ain’t got Overdose TV coming, just a DVD.
Happy endings?
Gun Play: That’s another interview. That’s another movie.
Rick Ross: Gun Play is the black Tommy Lee.
So you’re self-destructive?
Gun Play: Very. [laughs] But we ain’t going to get into all that.
I’m going to be your psychologist right now.
Gun Play: Nah, listen, I’m the underboss. Don’t worry about the drugs, that’s a
whole ‘nother segment.
But you only named two. He said you’re on five drugs. What’s the other
three?
Gun Play: You know, somebody got some fire skittles, and I’m with that too.
These niggas blow them fat dirtys too. But that’s another segment. Black
Flag coming soon. I’m the underboss, man. Ross took me, by the back of my
neck like a little puppy, when I was a kid, and just basically showed me how
to get money and how to interact with real niggas, real playas, across the
map. He molded my career and I followed him cause I knew he was a boss
early.
So he was kind of a father figure to you?
Gun Play: Yeah, you know, it’s deeper than that. I got these C’s on my eyes,
these black flags on the other side. I’m a fucking billboard. It’s [Carol City
Cartel] all over, you know?
So for the people who aren’t from Miami, let ‘em know what Carol City Cartel
is all about.
Rick Ross: Carol City is all about money, man. That’s where the biggest players come from. The biggest hustlers, the most gettin’-money niggas in the
world.
Gun Play: It’s all about the MIA. We rep the whole city of Miami. We most
definitely rep Carol City, but the whole 305, we ridin’ with them. This is the
city of dope. That’s where we come from.
I’ma just keep
it real and do
my best to be
a good leader
and a good
motivator. I tell
them to stay off
the drugs, save
their money,
and invest in
things. Saving
your money
is the best
investment
ever, feel me?
I heard Rick had to bail you out a couple days ago. What was that about?
Gun Play: [laughs] Ooh, shit. Who told you about that? Yeah, I was fucking
around on some shit and almost missed my flight to Chicago the next day for
a New Years’ Eve party. You know, when I get the girl at the end of the night,
that’s a happy ending. But why are you talking about my problems again?
That’s a whole different issue.
That’s what makes an artist great, right?
Gun Play: My issues?
Yeah. So what are your issues?
Gun Play: Man, my issues are cocaine, man. Goddamn promethazine, man.
Goddamn pills, goddamn weed, goddamn alcohol. All that there, man. I gets
fucked up, cause I work hard, ya dig? That’s what I do, playa, so it’s all good.
Okay, we’ll leave you alone for now. Torch, you’re the quiet one in the group?
Torch: Yeah, I lay low.
What do you bring to the table as an artist?
Torch: I bring the hustler’s angle from up top. I’m the Cartel’s headbussa
from up North, you know? I bring the transporters. My hands are dirty. I’m
from the streets. I’m from the Castle Hill Projects in the BX.
How did you end up down here in Miami?
Torch: I came down here around the end of ’98, ’99. That’s probably one of
the biggest misconceptions about me; a lot of niggas probably think this is
some new shit because they just met me. But a nigga been down here putting in groundwork.
What are the similarities and differences you’ve seen between your time in
the Bronx and Miami?
Torch: Shit, same work, different hustle everywhere. You just gotta go get it.
If you a go-getter, you’ll know what I’m talking about. You gonna get it.
How do you feel about the “North vs. South” mentality in the rap game?
Torch: Shit, I don’t even know about all that. Niggas just need to make music
and get money, straight up. If niggas are making good music, they’re gonna
get money no matter where you’re from. North, South, East, West, if the shit
is hot, they’re gonna get money.
Should we expect the same type of music from a Carol City Cartel album that
we heard on Rick’s album, or are y’all bringing a different flavor musically?
Rick Ross: It’s a different flavor. Triple C sticks to more like the “White House”
records, you know? It’s that vibe. We keep it all the way gutter, all the way
street. On the Triple C album you’re going to get a lot more different flows,
coming with Gun Play and Torch. They’re both lyricists. I’ll put a million on
both of them. They’re both playing their position right now, but the time is
going to come when they stand up on their own. The world is going to see
what I’ve been seeing for the last decade. Both of them boys are ready.
Do you think you have to work harder for the world to respect you as artists
and not just Rick Ross’s homeboy?
Torch: Nah, they’re going to hear the music and understand. The music
speaks for itself.
OZONE MAG // 61
My career started from mixtapes, so me, I’m pro-mixtape. I believe in
mixtapes. They help you get to a certain point, [but] once you get to a
Jay-Z status you can’t do thirty records and just leak them on a mixtape
when there’s a $20 million dollar advance [on the table]. - Rick Ross
Is there a lead single from the album?
Rick Ross: Yeah, we just dropped “Where You From,” and we’re getting a crazy
response on that record. It’s Triple C featuring Brisco. It’s a real hard underground street record.
It’s a represent-type song?
Rick Ross: Yeah, represent where you from. That’s what it is. We’re still grinding it out, making big moves. Look out for Flo-Rida, Brisco, E-Class, Triple
C, M-I-Yayo the movie. We finna kick the doors in with our label deal. We’re
gonna wrap that up real soon. My next solo album Trilla is coming soon too.
When y’all get that big advance for the Triple C project what are you going to
do with it?
[Everyone starts talking at the same time about houses, and someone states
that someone blew $100,000 in three months and called him on the phone
asking for $5,000]
Rick Ross: It’s a new life right now. I got to stunt, feel me? On a 25/8 basis.
Fuck 24/7. I gota stunt always, so I need seven [figures], eight [figures]. But
we’re gonna always get more money, so that shit won’t be nothing. We’re going to get millions and more millions, and that’s what I like, ya dig?
So what about you? What are you doing with your advance?
Torch: Shit, man. Go harder. Can’t settle, man. Invest.
That’s not a real answer. What are you going to invest in?
Torch: Shit, everything. Heroin.
Um, okay. How about real estate?
Torch: Real estate ain’t better than heroin.
If you say so. Well, going back to the album - tell me a little more about it.
Rick Ross: It’s a real fire album. The beats are legendary, the production is
legendary, and you know I got the biggest features that I could possibly get.
If you’ve never heard of Gun Play, look out for him. Listen to him. Put your ear
to the streets and you’re going to understand where he’s coming from. He’s
one of the best in the game and I’m happy to be a part of this. With Torch, you
know, New York is suffering right now but I’d put down a million that he’ll
be the one to bring it back with his solo project. I’ma just keep it real and do
my best to be a good leader and a good motivator. I tell them to stay off the
drugs, save their money, and invest in things. Saving your money is the best
investment ever, feel me? So y’all niggas stay gangsta.
Who all did you work with as far as features and production?
Rick Ross: We got the best of the best: Jay-Z, Young Jeezy, Lil Wayne, Brisco,
Flo-Rida, 8Ball, Boyz N Da Hood, Yung Joc, and Smitty. On the production, we
(right) The
Carol City
Cartel, a.k.a.
Triple C’s, is
more than just
a rap group.
62 // OZONE MAG
got Cool & Dre and Don Cannon and a few others. We just mixed it up with a
lot of different elements and flavors. It’s going to be the biggest street album
of the year. You know, I grew up listening to that West Coast rap – this is the
down South version of N.W.A. Just let the people know we coming. Lyrics,
it’s nothing. Beats, it’s nothing. We’re getting the most money because we
outwork niggas, man.
So speaking of Don Cannon, what’s your opinion on the RIAA’s raid of the
Aphilliates studio? Do you think it’s going to fuck up the mixtape game or the
rap game in general?
Rick Ross: No, it’s like busting a dope boy in Liberty City. That shit will still
be up and running. But to keep it all the way real, I don’t even know exactly
what happened. Until I talk to somebody direct, there’s a lot of room for
speculation.
Do you think mixtapes like the Gangsta Grillz series help or hurt an artists’
record sales?
Rick Ross: Your real fans are gonna buy your album anyway. My career started
from mixtapes, so me, I’m pro-mixtape. I believe in mixtapes. They help you
get to a certain point, and then you control the amount of music that’s in the
market through your albums.
But isn’t that hypocritical if you turn your back on the mixtape game after it
helps you get to the top?
Rick Ross: Nah, how is that hypocritical? Once you get to a certain point, it
becomes more business. Once you get to a Jay-Z status you can’t do thirty
records and just leak them on a mixtape when there’s a $20 million dollar
advance [on the table]. If you’re an up-and-coming artist and you need to
establish yourself, like I was – and still am – I’m going to do a release with
DJ Drama, DJ Khaled, and Bigga Rankin’s Real Nigga Radio. You know, I wish
[mixtape DJs] the best. DJ Drama is a great businessman and he’s got a lot of
great dudes around him, so I’m pretty sure they’ll be able to handle whatever
the situation may be. They ain’t get caught with no heroin, and as long as you
don’t get caught with heroin, you’re alright. [laughs]
Hmm. Sounds like you’re speaking from personal experience. Have you ever
been caught with heroin?
Rick Ross: Nah.
[Someone in the background says, “Don’t answer that.”]
Gun Play: Man, listen. Black Flag is coming soon. Torch is one of the nicest in
the muthafuckin’ world, and I’m one of the nicest in the muthafuckin’ world. I
work for the big boss, Ricky Ross, Rick Rizzle, Rich Nizzle, Ricky Clause. //
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OZONE MAG // 63
I’m
not saying that [mixtape DJs] are getting rich off artists and the
artist ain’t getting no benefits from it, but yeah, they’re getting
paid. To me, doing a mixtape is like putting out an album. I might as well
take those same rhymes and put it on some of my own beats and put a record out instead of paying for some street credibility that a nigga’s trying to
sell me, telling me that this [mixtape] is what I need to make my album sell.
If someone’s getting paid [off my mixtape], I want to get money too. If
everybody can get paid, it’s a beautiful thing. But as soon as you put your
rhymes over beats, it’s no longer a mixtape. It’s an independent album. What
I propose is that mixtape DJs start hosting independent record releases.
Instead of the rappers taking the small end of the money or no money at
all and wait for the mixtape DJ to blow them up, why don’t the DJs take
$5,000 or $10,000 and jump on these independent mixtapes and host them
muthafuckers. They need to say “hosted by DJ so-and-so” now, because with
the copyright game and the way the powers that be are playing dirty now,
they can come get their houses and cars. Even with “for promo only” on it,
it’s still copywritten music and they’re still going to get sued. So we’ve gotta
come up with new, creative ways to put this stuff out and still keep the same
street flavor that we get out of mixtapes.
DJs are gonna have to start doing mixtapes of their own music. That’s just
the bottom line. If you’ve got a reputable artist that’s hot, it’s going to sell
whether you use existing beats that’s already on the radio or brand new
beats. People just want to hear these hot dudes rhyme and want to hear
some new material cause everything is so watered down right now.
In my case, I don’t have a publishing deal right now, so Jive doesn’t have jurisdiction on my income. But in most cases, the artists do have some type of
deal with their label. At the end of the day it’s easier to give up [a freestyle]
and still run with your business than it is when you’re dealing with total
copyright infringement.
64 // OZONE MAG
I don’t buy mixtapes or listen to them. I like [artists like] Young Jeezy and Lil
Wayne, but I ain’t never heard none of their mixtapes. I don’t participate in
that shit. Do I think Jeezy would be where he’s at without his mixtapes? Hell
yeah. The nigga is cold. Wayne is on top of his game right now. That nigga
ain’t gotta rap on other niggas’ beats just to get people to know that he can
rap. He could take those same rhymes and put them on some indie shit on
the site and get paid. Most of those independent [labels] are getting $7 or
$8 per record, and a nigga like Jeezy right now can sell 50,000 independent
records. Even if he just gets on a record and farts, we’re going to buy it. I
think [the idea that artists need mixtapes to sell albums] is the attitude that
these [DJs] want us to have.
But I do think it’s dirty that record labels pay mixtape DJs to do a mixtape on
an artist and then turn around and send the Feds to niggas’ studios to arrest
them and fuck over ‘em like that. I think that’s some fucked up shit. I think it
is very unfair that record labels are paying niggas like Drama to do mixtapes
and then they turn around and sell a nigga out and throw him under the bus.
That’s fucked up. If they’re going to turn their heads on [mixtape DJs] then
they need to go ahead and turn their heads on the whole thing. I think it’s
easier for them to condone the shit. [The record labels] are going to have to
adjust their approach a little bit.
The first time we talked [about doing a UGK Gangsta Grillz mixtape] me
and Drama had figured out a way for both of us to get paid. We ain’t gonna
expose all the details of what we were talking about, but we came up with
a way that both of us could get paid. We were going to do a Gangsta Grillz,
mixtape style, but using beats that I produced. [Our record label] Jive was
going to give Drama $10,000 to do our mixtape, and he was going to give
us the $10,000 back. I said, “Nah, you keep the $10,000 and let’s do the
mixtape over our beats, you host the muthafucker, we’ll walk in Jive and let
them press up 100,000 or 150,000 copies and put it in the stores as a limited
edition.” In a case like that, I can make Jive give me $100,000 [advance] and
give Bun a $100,000 [advance].
make a record about it. Fuck ‘em in the ass, man.
If you want to settle for $10,000, that’s you. But me, I like advances. I like
money. I don’t give a fuck about getting niggas on the street to like it. But
even though I feel a certain way about the mixtape game, when it comes
down to the RIAA vs. mixtape DJs, I’m riding with [DJs like] Drama. I’m never
going to ride with the establishment. I support Drama because they threw
him under the bus, and a whole bunch of these record labels were paying
him to do their mixtapes. You and I both know we had the conversation
because Jive was trying to pay him [to do a UGK Gangsta Grillz].
They’re making $8 a record, and some of them are selling 150,000 mixtapes
every time they drop, so somebody is getting some money. Even if the
production cost is just a dollar, they’re still making money. Even after their
promotion if they’re only making $5 a record, $5 times 100,000 is $500,000
and if Pimp C’s name is on that muthafucker, you’re gonna break me off. And
if the DJs don’t want to support UGK, fuck them anyways because my fans
are drug dealers, strippers, hot boys, and hot girls, and I don’t give a damn
about selling no records to no other muthafuckers. I don’t give a fuck if they
don’t like me on the East coast. I don’t give a damn if the record company
don’t like it. I don’t give a fuck and that’s my attitude toward the game. If I
don’t eat, you ain’t gonna eat off me.
And Jive ain’t on an island of their own. These muthafuckers [at all the record labels] were up there paying this dude [Drama] to do mixtapes on their
artist. For a brand new artist that needs a street buzz and has never sold no
records, that’s a great thing to do. Get them a DJ with a name, put a mixtape
out, get people hyped on you, and then you’re able to get a deal. But for a
nigga like me that likes money, and niggas buy my records anyway, I can’t
fuck with it. I gotta get me some bread.
But at the end of the day, the same people that was paying Drama to do
mixtapes send the Feds at him, and I think that’s real fucked up. I’m riding
with Drama because they fucked over him. He ain’t doing nothing worse than
what the record companies are doing; putting out records and trying not to
pay the artist. If you see a nigga in the street who has sold 100,000 records
and he looks broke, something is wrong. Even if he only sold 50,000 records,
somebody got paid somewhere.
So even though I don’t do mixtapes and all that, I still gotta ride with
Drama because he’s a product of the streets. At the end of the day, fans
don’t give a fuck about
[the politics]. They
just want to hear their
favorite rapper. He was
supplying the streets
with the dope that they
needed to keep going in
between these weak-ass
watered-down albums
where they won’t let a
nigga sample no muthafuckin’ records no more.
And Drama is just the
first example of what
the Feds are going to do
to a bunch of muthafuckers if they don’t get
their game together.
“I’VE NEVER TOLD A
DJ, ‘NO, I WON’T GET
ON YOUR MIXTAPE.’ I
JUST ASK THEM HOW
MUCH MONEY WE’RE
GOING TO MAKE. BUT
WHEN I TALK ABOUT
MONEY, NIGGAS
DON’T WANT TO TALK
TO ME NO MORE.
WELL, YOU CAN’T GO
TO THE DOPE MAN
AND BUY NO COCAINE
IF YOU AIN’T GOT NO
MONEY.”
But you know what
[the raid] did? It made
Drama the most famous
mixtape DJ in the world,
and I’m sure he knows
what to do with that
[reputation] because
that muthafucker is
smart. Shit, you’ve
gotta be smart to fool
everybody into thinking
that you ain’t making
no money off these
mixtapes.
I know a whole bunch of hoes that fuck for free and will get their pussy
wet for some dinner at night. I also know a bunch of prostitutes that make
$3,000 - $4,000 a night out on these streets. So you’ve got different types of
bitches and hoes out there. If [other artists] want to do mixtapes for free,
why would [DJs] be mad at me? Miss me with that bullshit. I’m all about
money. Straight business. And I might have only sold a quarter or half of the
amount of records that these niggas done sold, so something’s wrong here.
If I’m in the club with a nigga that I know has sold a bunch of records and
his jewelry looks funny, somewhere along the line the money is not going
back to his pocket. If I see a nigga who’s blowed up in the media and I know
that he’s living bad and his shit is fucked up, something is really wrong here.
If you’re a broke rapper with a record deal in the United States right now,
something’s wrong because there is too much money to go around for that.
If you’re a rapper and you’ve got a record deal but you’re broke and the CEO
is riding around with more diamonds on his neck than your house cost, you
better get your shit in line and figure out where the money is going.
The whole record industry is acting like they’re broke right now, because as
long as they keep crying and acting like they ain’t got no money, they ain’t
gotta give nobody none. I don’t see Interscope hurting for money right now,
do you? All of them muthafuckers [in the record industry] are rich. The music
business ain’t that bad. Sure, some people ain’t selling as many records
as they were selling before, and it’s probably because two weeks before
everybody’s album comes out, the bootleg is out. If I got the bootleg for $5
the week before and it wasn’t good, what’s gonna make me go to the store
and spend all my hard earned money on that album? I’m not gonna do it and
you’re not gonna do it either.
Do you know what I’m riding around listening to right now? Eazy Duz It.
That’s some shit from a whole ‘nother era. I called Scarface and told him,
“Look here, man. Whatever you got going on with the record label, please
settle that shit and put an album out because we really need a good record
right now, bro. Niggas’ shit is all watered down, no samples.” Niggas are
sex symbols now. They got lip gloss all over they lips in the videos, looking
extra shiny, and they want us to go to the store and spend our hard-earned
money on that shit. Nah, man, we are going to spend $5 on the bootleg and
check your shit out to see if it is jammin’. That’s why niggas’ record sales are
going down, cause they’re putting out that bullshit.
And the radio doesn’t help us, either. Shit, the radio is all being programmed
by one or two companies that own the radio stations. Back in the day,
everywhere I went they were playing a different record that was hot in that
city and you wouldn’t hear it nowhere else. Now, everywhere I go, I hear
the same damn Beyonce song playing all muthafuckin’ day long. It makes
me sick to my stomach. So we’re turning on XM and Sirius and we’re buying
mixtapes because niggas are starving for music. So yeah, I support the mixtape game, as long as I can get some money too. Let’s all get some money
together.
Fuck the gotdamn
publishing companies.
Fuck the gotdamn record labels. Fuck all them. I’m riding with Drama. And all
the hoe-ass niggas that were trying to talk down on him, shit, you better get
real, cause those muthafuckers don’t give a damn about you. If they figure
out a way, they’ll send the muthafuckin’ RIAA at us too.
But I never want [my opinions] to be misconstrued that the DJ is not
important to this rap shit. There couldn’t be no rappers or Hip Hop music or
gangsta music if it wasn’t for the DJs. We need DJs to serve it and spin it in
the right fashion. Without them, there wouldn’t be no us. The shit don’t work
without the DJs. DJs are very important. They’re just as important as the rappers, the producers, and the record companies.
I’ve never told a DJ, “No, I won’t get on your mixtape.” I just ask them how
much money we’re going to make. But when I talk about money, niggas
don’t want to talk to me no more. Well, you can’t go to the dope man and
buy no cocaine if you ain’t got no money. Even if you’re getting it off consignment, at the end you’ve gotta come back with some muthafuckin’ money.
So I always say, “Nigga, how much money are you making off this mixtape,
and how much are you going to give me?” They never call back. So if a nigga
don’t like my attitude towards this game and the way I do things, fuck ‘em
in they pussies. Tell all these bitch ass niggas to get in line and go on and
So, I’m not angry at mixtape DJs. I just like money. I actually like greedy
muthafuckin’ DJs more; I want to work with them because that means we’re
going to get the most money together. Most [mixtape DJs] just aren’t greedy
enough. They’re used to the way it’s being done. When a muthafucker wants
to come in and try to challenge the structure of the game, people don’t like
that. Who wants to give up $250,000 out of their $500,000? They don’t want
to do that. //
- as told to Julia Beverly
OZONE MAG // 65
D
J Paul and Juicy J aren’t typical Hollywood residents. The Memphis natives who recently relocated to the supple surroundings of
Southern Cali would rather drink red Kool-Aid than red wine. They
prefer fried bologna sandwiches to fried calamari or caviar, and though they
enjoy champagne and cigars, most of Paul and J’s neighbors are wealthy
Anglo-Saxons who had probably never heard of them until last Spring when
they brought home a gold statue of a bald headed white man better known
as Oscar. To say the least, the Three 6 duo is not the average Hollywood
tandem, but then again, this isn’t Hollywood, this is the HollyHood, a city
nestled in the state of mind somewhere between Southern California and
North Memphis. It’s a place where the fabulous lifestyle of the once Most
Known Unknowns is not only accepted, it’s celebrated.
I hear you guys bought a house out in California?
DJ Paul: Yeah, yeah, yeah, we got a little spot out there, man. You know it’s
for when we be out there doing movies, shows and stuff, so we could keep
it rolling.
How is the West Coast treating you?
DJ Paul: Ah, man, love, its love out there. We get love everywhere we go.
What’s the biggest difference from living out in Southern California compared
to living in North Memphis?
Juicy J: Sunshine.
DJ Paul: I mean, we still live in Memphis, we just be out there from time to
time working on movie stuff and the TV show and all that. But yeah, like
Juicy said, it’s more sunshine and it’s expensive as hell out there.
Tell me about the new reality show you guys are working on. How did that
project come about?
Juicy J: Yeah, basically, it’s called HollyHood, and they follow Three 6 Mafia
around as we adventure through Hollywood. You see us chase women, chase
money, all that, man. It’s just us kickin’ it.
So is it more like Flavor of Love or The Real World?
DJ Paul: Aw, neither one. It’s something totally different, man. You ain’t
seen nothing like our show.
So how will the music be different now that you guys are on TV living the
Hollywood life?
DJ Paul: It ain’t different at all. Like I said, it’s still the same. We still record
our music in Memphis, we do a few out here, we do a few there. We record
wherever we be at. Right now, we in New York, when we get outta here we
can go to the studio. Plus, we keep a studio on the road with us in our bus
and all that, so we record everywhere. I’ve recorded songs at the rest stop
in Arizona.
What new doors have opened up for you guys since winning an Oscar?
DJ Paul: Aw man, all kinda doors, man. You know when you watch cartoons
and you see that big ol’ silver door at the bank, the big ol’ vault door? That
door opened up for us.
Damn, that must be nice. So aside from winning an Oscar and making history
in the process, what accomplishment gave you the most satisfaction last
year that may have been overshadowed by that Academy Award?
DJ Paul: People didn’t realize that “Stay Fly” was our biggest single ever, and
“Poppin’ My Collar” was our second biggest single ever, then, “Side 2 Side”
was our third biggest single ever. So, before the Oscar we had made a little
history ourselves with those records.
“Stay Fly” was your biggest hit, but there were some rumors going around
that the girl singing the hook in the background was delivering some subliminal messages or something, can you clear that up?
DJ Paul: Nah, that was an old R&B soul sample. That was a love song
sampled in the back, man. That wasn’t no devil worshipping or nothing going on in the back of that song.
Well obviously the rumors didn’t hurt the success of the record, or the subsequent singles, but why do you think people have so many misconceptions
about you guys?
DJ Paul: I don’t know, we really don’t pay no attention to all that. I mainly
focus on all the positive stuff. If it’s negative, my ears automatically close. I
went and got this operation so if I hear anything negative, my ears close on
they own. I spent 20 G’s on that operation, man. 20 G’s!
66 // OZONE MAG
“
“
When is it going to air?
Juicy J: It premieres on April 5th. It’s gonna be on the 10 Spot on MTV, on
Thursday nights.
rm of promoti.on
Mixtapes are a fo
love mixtapes g
for artists, so I ar
ted off makin
Me and Juicy st
ixtape DJs
m
e
er
w
e
W
.
es
p
ta
mix
s, early 90s.
back in the late 80
“
We played around,
did some tricks, but
for the most part its
still gangsta, gutter
music, Three 6
Mafia style music.
We just got an extra
trick or two to pull
out the sleeves.
You guys are becoming major Hollywood, or HollyHood stars. You were in
Jackass 2, you had Choices 1 and 2, and now you got your own show. What
other big screen productions are you guys working on?
DJ Paul: The new Rocky movie, we did the theme song for the fighter who
Rocky was going up against. The character was played by Antonio Tarver;
his name was Mason Dixon in the movie. We did the theme song for Mason
Dixon.
Juicy J: We did a few joints that ain’t came out yet and we really can’t talk
on it till the checks clear.
I hear you on that, man. So I know the last album was called the Most
Known Unknown, but a lot has changed since then. Do you still feel like that
is an accurate title?
Juicy J: No.
DJ Paul: Once you win an Oscar in front of 56 million folks you ain’t unknown
no more.
Do you consider yourselves to be Hollywood now? How has your mentality
changed?
DJ Paul: We’re still the same. We still eat fried bologna sandwiches and we
still travel all the way back to Memphis to get a good deal on Kool-Aid
packages. My favorite flavor is the cherry, I ain’t really into Blue Raspberries
and all that.
So you guys have the same ways and habits as you did when you were the
most known unknowns, but what’s the biggest difference now that you’re
one of the most known knowns?
Juicy J: We can’t really just go out like we used to could because everybody
knows our faces and stuff, but it feels good, though.
DJ Paul: Yeah, it be cool, it’s just sometime like, I had this dude walk up on
me and ask me for an autograph while I was standing at the urinal. That
kinda freaked me out.
So tell me a little bit about the new album?
Juicy J: Oh, we’re through with it. We got like 50 songs recorded. The hard
part is figuring out what songs to use, that’s the hard part.
“
What direction are you guys going with this project?
DJ Paul: Aw, it’s the same as all the other albums. If it ain’t broke, we don’t
try to fix it.
The lead single is “Doe Boy Fresh,” correct?
DJ Paul: Yeah, it’s “Doe Boy Fresh,” we gon’ premiere it tomorrow as the
Spankin’ New Video on TRL. It’s featuring Chamillionaire.
a
i
f
a
m
e
e
r
th 6
IN
words // ERIC PERR
Who else do you guys have featured on the new CD?
Juicy J: Paul Wall, Lil Keke, 8Ball & MJG, Project Pat, Lyfe Jennings, Lil Wyte,
and some hometown legends like Al Kapone, Spanish Fly.
How has the group dynamic changed now that Crunchy Black is no longer a
member?
DJ Paul: It’s still the same. Me and Juicy always wrote most of the songs. We
always wrote all the music and produced all the records so everything is all
the same. You ain’t gonna hear no difference.
I heard that Project Pat is now an official member of Three 6 Mafia. Is that
true?
DJ Paul: That’s just a rumor. He stands in on a lot of tracks, like if we need a
third verse or if we feel another voice needs to be on the hook or something,
but he’s stayin’ solo.
Do you have any new artists coming out that you’re working with?
Juicy J: Right now we ain’t got no new artists coming out. We still trying to
get the artists we already got signed to our label at the position where we
feel they need to be. We wanna make sure everybody is straight before we
try to bring any new people into the family right now.
What are your thoughts on the whole mixtape mayhem going on right now?
DJ Paul: It’s crazy. I didn’t even believe when it happened. Mixtapes are a
form of promotion for artists, so I love mixtapes. Me and Juicy started off
making mixtapes. We were mixtape DJs back in the late 80s, early 90s. We
started off as DJs.
Do you have any ending messages?
Juicy J: Man, just get the album. The album gon’ be dope. It’s crazy, there’s
all kinda business on there. We played around, did some tricks, but for the
most part its still gangsta, gutter music, Three 6 Mafia style music. We just
got an extra trick or two to pull out the sleeves. //
OZONE MAG // 67
68 // OZONE MAG
OZONE MAG // 69
words // Eric N. PerrinN
HNSO
PHOTOS // ERIC JO
d, USDA’s dy
a
e
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re
a
s
p
u
ro
at Hip Hop g k Pulla and BloodRaw are rea
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Pre
ng Jeezy, Slic
u
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helluva trip.
e
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ta
to
T
he calendar posted on the
back wall of the lofty Corporate Thugz Entertainment office
on Atlanta’s Northwest side is a
virtual treasure map. It leads to
riches. There is a color coordinated marking for almost every
day of the month, directing the
corporate thugs to different cities,
different events, different places
to collect money. There are three
70 // OZONE MAG
colors that appear on the calendar; green, yellow and blue. Green
indicates a Young Jeezy bounty,
blue represents BloodRaw, and
yellow means Slick Pulla. It is a
simple yet effective system that
helps organize and arrange the
hectic schedules of three rappers
who consider themselves brothers.
But there’s a twist. This Spring,
when USDA releases its first group
errin
ON
(l to r) Slick Pulla, Young Jeezy, & BloodRaw
a life sentence. It was either life or he was going home,” explains a nowexhaled Jeezy. “During the same time, Slick [Pulla] got shot and a lot of shit
like that was going on.”
Then, in April, 2006, the USDA story got a lot better, “On April 6, 2006, I was
acquitted, and by the blessing of God I’m here,” proudly proclaims BloodRaw.
“There was a lot of niggas who held they nuts and counted me out, they
say niggas was giving each other high-fives at the club, but this is destiny,
homie. Can’t nobody stop this.”
It certainly appears destiny is on their side. Even with all odds stacked
against them, the Corporate Thugz are in harmony. Jeezy, Slick, and Raw are
now more focused than ever and all the tribulations have left the music unchanged. “It’s real street music, we been sticking to the same formula. It was
the same thing coming in and it’s gonna be the same formula coming out,”
affirms Slick. “It’s three great minds thinking alike for one common cause,
and that’s to put the real back into this street movement, man. We gon’ give
the people what they want.”
Jeezy has been giving the people what they want for a while now, but even
he seems youthfully excited about the USDA project. “It’s just time for USDA.
Niggas been hearing me scream that shit every since I been doing my thing,
so now its time to hear ‘em,” says Jeezy. “I’m just excited to see the project
come together and the album is hard is fuck. This shit is hard; it’s what the
streets need.”
Young Jeezy
So the new project is called Corporate Thuggin’. Tell me a little about it?
Young Jeezy: Ah, man, I’m excited about it. I finally get a chance to show the
hood my niggas and these niggas really deserve it. [Blood]Raw; he had a lot
going on, man. He was facing a life sentence, and this is like the second or
third time this done happened since we’ve been trying to work on the project and complete it. Also, during the same time, Slick got shot and a lot of
shit like that was going on, but those are my niggas. A lot of niggas get on
and forget about their homies, but them my niggas and they really can rap,
so I’m just excited to see the project come together and the album is hard
is fuck. This shit is hard; it’s what the streets need. This gon’ be the record
of the summer, period, hands down. Over here at CTE, we make records. We
don’t make just singles, we make albums, shit you can ride to and live to.
young jeezy
slick Pulla
Bloodraw
project, Corporate Thuggin’, the
colors on the calendar will collide,
blending together to form a new
hue: Gold. They wouldn’t mind
platinum, either, but in the fairy
tales, the chase is always for the
gold. In USDA’s fable, however, the
journey has been anything but a
fairy tale ride.
The road to completing the Corporate Thuggin’ album was once more like a
nightmarish expedition, spiraling out of control. In January 2006, BloodRaw
had been picked up by US Marshals and put on trial in his hometown of
Panama City, Florida, where he faced a possible life sentence for Federal drug
conspiracy charges. “The whole family prayed because this nigga was facing
Your Inspiration album just reached platinum status, so congratulations on
that. I know you had high expectations. Are you satisfied thus far with your
albums sales?
Young Jeezy: Yeah, definitely, when you say a sophomore album, niggas
normally fumble on that shit, and I really done me on that CD. I wanted to
change it up a little bit, but at the same time I don’t wanna stay where I’m
at. The shit is called progress. If you gon’ build a foundation you have to
make progress. You’re not gonna stay on the first level of your house, you
gotta step it up. A lot of niggas ain’t got the street credibility that I got or
been through what I’ve been through, or can talk about the things I talk
about. So I’m gonna be the best at it, let that be known, but at the end of
the day, people grow with you. You get better and if you talk about real shit,
they grow with you. But you still the same nigga. Ain’t nothing change but
my boxers, homie, for real.
Since you’ve achieved crossover success, do you feel you’ve crossed over?
Young Jeezy: Nah, I just feel like they’ve accepted me. But it was just a matter of time. I make good music, I make records. A lot of niggas just be talking, homie. Like I could talk this shit all day to you homie, like I got years of
this shit in me, but at the end of the day I could still make good music when
I do that. Jeezy was never no tunnel-vision ass one-way nigga. You could
listen to the Trap or Die mixtapes all the way to “Soul Survivor,” and it’s the
same nigga. I’m just giving the story to you on a bigger plate. It’s for us, but
it’s for the world too, because I want them to understand why we do certain
things and why we act certain ways. It’s because we all trying to survive out
here. We live to die and we die to live, homie. A lot of people don’t understand that because they really think that it’s music and entertainment and
they don’t understand that what we’re saying on these records is really real,
we really mean this shit, this shit is real. This is what we do, and it’s not no
flamboyant shit. This is what we go through and this is the outcome - now
you tell me what you think about us. It’s that type of shit, but never cross
over, baby. I ain’t got my A.I. on, naw. I’m gon’ be Jeezy. Especially with this
USDA shit, I’m bout to fuck niggas up, man. I’m gonna be the young, wild ass
rich nigga that I am. I don’t give a fuck. I’m gon’ say what I wanna say, I do
what I wanna do, anybody that got a problem with it, fuck it! Let’s get it. We
are the streets, I ain’t gotta keep explaining this shit to nobody.
OZONE MAG // 71
You had a little problem with that on the radio with Monie Love in Philly.
Young Jeezy: It really wasn’t no problem, man. She was just disrespectful, and
I’m a man first. I don’t give a fuck about all that rap shit. A lot of people don’t
know that it was a lot said off-air that really sparked that. She kept saying
things like, “The South killed Hip Hop and it is dead.” And I just didn’t agree
with that. I ain’t no fucking punk, man. Nobody finna fucking talk to me that
way, on or off radio. I said what I felt. I ain’t have no personal problems with
Nas. I said I fuckin’ disagree, shit. I’m a grown ass man, how the fuck I can’t
tell you I disagree with something? I ain’t gotta see nothing nobody’s way.
That’s why I’m standing right here right now, cause I did what I had to do.
Hip Hop, to me, is Big and Tupac, UGK, 8Ball, MJG, niggas like that. That’s Hip
Hop to me. It might not be Hip Hop to the next man, but that’s Hip Hop to me.
You’ve said in the past that you’re not a rapper. Do you still feel that way?
Young Jeezy: I’m gonna be real, man, it’s like any hustle. If you stay on a
hustle long enough, and you focus hard enough on that shit and really try
to do the best you can, then you gon’ get a lot of money. It’s the same thing
with music. I love the studio. I really be in there, and a lot of niggas don’t
know what type of work I put in, but I love what the fuck I do. And I’m always
in that muthafucka, so eventually I’m gotta get better. It’s called progress.
And if the people accept it, then I’m doing it right.
a lot of pressure off my shoulder, because it’s always been on me. Now with
this Corporate Thuggin’ project I get to introduce the world to my niggas,
Slick Pulla and BloodRaw.
With so much solo success, what made you decide to work with the group on
the Corporate Thuggin’ project?
Young Jeezy: This is real family shit over here. This USDA shit is real. CTE is
us, we all we got and it’s just time for USDA. Niggas been hearing me scream
that shit every since I been doing my thing, so now its time to hear ‘em.
Corporate Thuggin’ baby. The object of the game is to get paper and that’s
what the fuck we gon’ do, and keep it street. And we gon’ win, we gon’ be
the only niggas that keep it street and don’t crossover or do no silly shit. We
just gon’ be the niggas that stay solid and do what we do. We work together
as a group because those are my niggas. They been on the road with me,
they been through gangsta shit with me; shootouts or whatever, and I vouch
for them niggas. They really do what they say they’ve done. We all really
are street niggas, and they hungry just as I am; they hustle. That nigga
[Blood]Raw stays on the road, doing shows constantly. Slick [Pulla] is on the
road, too and niggas constantly doing mixtapes, so when we get together it’s
like a family reunion because niggas be so happy to see each other.
What do Slick Pulla and BloodRaw bring to the table that Young Jeezy
doesn’t?
Young Jeezy: I think ‘Raw appeals to every nigga in the penitentiary, every
nigga in the Fed, State, whatever. And he’s not from Georgia, he’s from
Florida, but we accept him like one of our own. When gangsta shit went down,
we stood up for the nigga like family does. This ain’t no bullshit, and a lot
of niggas don’t know that Slick got locked up twice, for months at a time
between this, and both those niggas were in and out of jail. It was hard to
get the project done,
and I was out on the road without
my niggas, so it was different. We all
sat around and prayed when ‘Raw
I know a lot of your album success
was in Florida for his court date. The
has resulted from your mixtape
whole family prayed because this
success. What are your thoughts on
nigga was facing a life sentence,
the current mixtape mayhem and
my nigga. It was either life or he
DJ Drama?
was going home. And when his
Young Jeezy: The streets are riding
manager, Wakeley called me and
with Drama. I don’t give a fuck,
said this nigga is fuckin’ free,
my nigga. Tell Drama we got loyal
niggas damn near was crying in
money; we good. We ain’t about to
that muthafucka, dawg. Niggas
let that nigga go nowhere. I actually
lost they mind. It was the biggest
think it’s kind of a good thing, beshit ever. And that nigga Slick, he’s
y
ez
- YOUNG je
cause he’s gonna come out of it cool,
a livewire. That nigga is fucking
and it shows how big this shit really
crazy. Slick is hotheaded like a muthafucka, he is off
is. We live it, so we don’t really know.
I didn’t unthe chain and he be in the streets wildin’. I be trying to calm this nigga down
derstand how big my Trap or Die mixtape was until I was in Toronto, Canada,
and show him another side of life. He be out shootin’ at niggas, getting shot
and a nigga was rapping this shit to me and everybody was playing it. I didn’t and all types of shit. It’s a lot of shit that we go through that people don’t
understand how big this shit was until I was doing album release parties for
know about, but God is good.
my mixtapes and 5,000 or 6,000 people showed up. Mixtapes are the streets,
so we need this shit. It can’t be the streets without mixtapes. And if they try
All three of you are very different. How would you describe each style?
to stop it, it’s only gonna make it bigger. It’s like weed, homie. You can’t slow
Young Jeezy: The biggest thing that I think ‘Raw brings is pain. You can hear
that down. Shouts out to any real DJ out there that plays real street music,
his pain in his words. And the biggest thing about Slick is that he’s that
because it takes a real nigga to break a real nigga. Niggas like Drama are the
young, fly muthafucka who don’t give a fuck about nothing. The ladies love
niggas who make niggas like me. I toured for two years off [my mixtapes]
that muthafucka. I call him the wavy haired Cuban. And then Jeezy definitely
Streets Is Watching and Trap or Die. Two years! I did a show every night, some
brings that hustle to the group, you know? I’m gonna talk that money shit till
nights two or three shows, hustlin’ off a mixtape. I can look you in your eyes
you tired of hearing it, nigga. I’m gon’ talk that money shit and if you gotta
and tell you that if I wouldn’t have done those mixtapes, I wouldn’t be where
problem with it, don’t fuck with us.
I am right now. And that’s why I’m able to do the type of records I do can do.
Go back and check my catalogue, if you wanna know if a nigga is real or not,
How do you think Slick and Blood will be able to come out of your shadow?
go check his first couple of mixtapes. If he wasn’t talking how he’s talking
Young Jeezy: I just hope that the streets embrace them, just as they’ve
now, then that ain’t that nigga. You can go back and check any mixtapes I
done me. It feels good to be able to do something you love to do and help
did: Streets Is Watching, Trap or Die, Can’t Ban the Snowman, all the way to
some real niggas out in the process. It ain’t gon’ stop with Blood and Slick.
I Am The Street Dream. Those shits are like albums. It’s niggas’ albums that
I’m gonna help some other niggas and we gon’ make this shit big. This is a
don’t sound as good as those, so I could never cross over, baby.
movement. It ain’t nothing like taking a nigga you fuck with, who you been in
the streets with and in the trenches with, to sit on the 106th & Park sofa when
You seem to have crafted an image that’s beyond just rap at this point.
you know that this is this nigga’s dream. This is all he ever wanted to do,
Young Jeezy: Robin Hood, baby, that’s me. You see it on the jacket. I’m Robin
and you made that happen for him. To me, that shit is priceless. That’s being
Hood. I’m just one of those types of niggas, man. I’ve been there, I’ve done it
gangsta. That’s gangsta right there. Just watch our moves, you’ll see.
all and I seen it all. Just cause my life is moving at a fast pace doesn’t mean
that I’m not aware that other people need help sometimes to get to where
Slick Pulla and BloodRaw
they’re trying to go. Anything that I can do, I’m gonna try to do to help. I got
a good heart, so anything that I can do for the kids or the community, I’m
If you had to define Corporate Thuggin’, what would the definition be?
the first to bat. I’m so happy to be here, and I’m at that point where I know
Slick Pulla: Corporate Thuggin’, it’s like a way of life. That’s what you do when
I’ve done my job. So I can do me now, relax and have fun and do the things
you hit the streets and you handle yo’ business, that’s corporate thuggin’.
a nigga of my status is supposed to do. That’s why I feel so good about this
No matter what you’re doing, but its not just being in the streets, you can be
shit. I feel good, baby! But I ain’t gon’ lie, on my next album, I’m going back
corporate thuggin’ behind a desk.
to the club. I’m partying, because I gotta enjoy life, man. I’ve been so hard on
BloodRaw: It’s just us. We came from the streets and we’ve just been intromyself since the beginning and now, I feel like I can step back a little. There’s
duced to a corporate world, but we still being us, we ain’t gon’ change. We
The Inspiration had less promotion from Def Jam than Thug Motivation, but it
still sold more units. Why’s that?
Young Jeezy: It’s different because when you become profitable, things
change. It’s politics involved. When you just a street nigga doing this shit and
you come straight out the hood like, “Fuck it, here I am,” that’s how it is. But
when you start making money, it’s different. It ain’t a lot that people can do
for you no more, because we really went in the streets and put that shit out
there and promoted and really was doing the legwork. You can’t sit back and
depend on nobody but yourself.
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72 // OZONE MAG
thugs, if that’s what you wanna call us, in a corporate world. We’re adapting
and getting money.
Slick Pulla: Pretty much my vocabulary, and a lot of times I like to say something that make you think a little bit too.
BloodRaw, even though you beat the Federal case, I heard that you recently
got arrested for a similar situation.
BloodRaw: I mean we ain’t gon’ get into the new case, but we gon’ get on
the old case because that was big. The new shit is real petty, but the old
case went down like this. On January 6th, 2006, we were about to leave the
country to go to Europe on a 17 city tour and the U.S. Marshall picked me up.
They expedited me to Panama City to face federal conspiracy charges. Then,
on April 6th, 2006, I was acquitted, and by the blessing of God I’m here. There
was a lot of niggas who held they nuts and counted me out. They say niggas
was giving each other high-fives at the club, but this is destiny, homie. Can’t
nobody stop this. We’re gonna be successful no matter what. When you put
God first, everything is possible.
BloodRaw, how is the music scene in your hometown of Panama City, Florida?
BloodRaw: The music scene is not real big. Panama City is drug-infested. We
don’t have nobody to look up to. The kids don’t have no recreational centers,
no idols or nothing. Kids in Panama City grow up and at 11 or 12 years old
they’re trying to get a sack. I’m real influential to the younger generation
that’s coming up now in Panama City, so I do everything I can to support the
hood. Everybody knows I’m the Bang ‘Em Bay representer, but at the end of
the day, I’m trying to bring Florida together. Florida as a whole has been
divided for so long. But we’re coming together and I’m in a position to help
out and bring us together as a state. I look forward to putting Florida on my
back. I feel like Shaquille O’Neal and Dwayne Wade. I am Mr. Gunshine State.
Slick you recently got shot; why didn’t we hear more about that situation?
Slick Pulla: Getting shot is not my claim to fame. If you in the hood and a
certain situation goes down, that’s something that can happen at any given
time to anybody. In that situation, I felt the cat was trying to make a move
on me and I’m hotheaded so I went and slapped him and his homeboy, and it
resulted in the shooting, but I’m blessed.
How has the group dynamic changed as a result of the some of the situations
you’ve been involved in?
Slick: The group has pretty much stayed the same, man. It’s real street music,
we been sticking to the same formula. It was the same thing coming in and
it’s gonna be the same formula coming out.
BloodRaw: The difference between us and a lot of other groups is that we
don’t really look at it as a group. We came into this as family and with a lot of
niggas. We’re all solo artists also, but we wanted to come out as a group first
to show people that we could get down this way, and we can get down on the
solo tip. Right now we’re just representing CTE. We gon’ be around for a long
time, so if anybody else think this a game, they just finna’ see.
Slick: Be prepared.
Tell me about the new album, Corporate Thuggin’.
Slick: It’s three great minds thinking alike for one common cause, and that’s
to put the “real” back into this street movement, man. We gon’ give the
people what they want and let ‘em know the Corporate Thuggin’ mindframe.
BloodRaw: The whole CTE, Corporate Thuggin’, is just really showing the
whole world what we stand for, what we live by. It’s blood, sweat, and tears:
Corporate Thugz. Entertainment. USDA is the clique; we’re Slick Pulla and
BloodRaw. Corporate Thugz Entertainment is the umbrella and USDA is the
forefront. Really, this is just three young cats from different places, different
states, who came together from the streets and got something to say.
I heard Jeezy heard you performing at a concert and signed you almost immediately afterwards. Is that true?
BloodRaw: Yeah, in Dothan, Alabama. I’ll never forget that night. I love
Dothan, man; it’s like a home to me also. Yeah, one night in Dothan, me and
Jeezy was both on the ticket. Dothan is right next to Florida, so that’s like my
market, too. Jeezy seen me perform the street song I had called “Represent,”
and him and Kinky B lost their minds. So I came to the A and in less than a
week we made it happen. Here I am now.
Slick, you’ve been with CTE since 2000. Have you gotten restless within those
seven years?
Slick Pulla: It’s about playing your role. Restless for what? We’re family. Whatever accomplishment my big homie made is an accomplishment for me, too.
It’s a team thing for me, and everybody is gonna get they chance to do what
they need to do. We’ve been down since before it was even on and cracking like this. It’s all about playing your position in life. Whenever my homie
shines, I shine. Whatever he does, that’s a reflection of me also. And whatever
I do is a reflection of him, so we all shining together. I have no reason to be
restless because everything has been right on stride.
What are you most looking forward to from this project?
BloodRaw: Really, I’m looking forward to us being together again because
we’ve all been pretty successful from our mixtapes. We’re all been out doing
our own shows and we were on road all the time. [points at Slick] I love being
with my brother and I think this USDA project is gonna bring us back together.
We’re gonna be on road, having fun like old times, and we gon’ still make
money.
Do you know what the first single is going to be?
BloodRaw: I’m 90 percent sure it’s gonna be a song called “Check.” It’s by one
of our in-house producers named TA, he gave us a banger. The song is about
getting money and bringing all the tools it takes to get money.
{
Corporate Thuggin’ is gonna be released under Def Jam, right?
BloodRaw: Yeah, Def Jam. Everything we do is Def Jam. We got a label deal.
Our solo projects are Def Jam, we got R&B artists, we got other rap artists and
everything is through Def Jam.
Do you guys have different positions or ranks in the group?
BloodRaw: We all working on positions, me personally, I got my own label.
Slick got his thing, we either gon’ run some type of department, or we gon’
be A&Rs or something. But like I say, we all learning as we’re being artists.
We’re learning the business. It just doesn’t stop with being an artist. We’re
all gonna have positions in this company.
Slick: We’re a young label, but with all of big homie’s success, we’re in a
good position. We’re learning things right up close and personal.
Speaking of Jeezy, how do you plan on emerging from behind his shadow?
BloodRaw: We all had a following before this. We all brought something to
the table, and Jeezy just made our situation better. Slick has a style that you
can distinguish from anybody. He got his own flow and his own voice. When
you hear me on a track, you know it’s me. It ain’t like we’re following in the
footsteps of Jeezy. When we came in we had a following, and we’re doing our
own thang. The people are gonna wanna hear more of us individually, but
they gon’ love to hear us as a group.
What mindset do you guys have when you’re going into the booth?
BloodRaw: We just really bring us. We just put that together and its like Peruvian Flake, you can’t get no better. It’s like a thousand grams on the scale, it
just adds up. Slick is the fly, flashy, young nigga. I’m gonna bring the soul to
the table, the gospel, and Jeezy gon’ do his thing. He gon’ talk them yams, he
gon’ talk about being a boss and it’s just gonna be three different minds all
with something to say.
Slick, what defines your style and separates you from other rappers?
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What other producers do you have on the CD?
BloodRaw: We really did the in-house thing. We probably got four outside
producers on the whole album: Shawty Redd, Midnight Black, Toomp, and
Mannie Fresh. It’s a tight lil’ lineup, but the in-house producers really showed
they ass. We got Nasty, the nasty one. We got TA, we got Speedy, and Tony Rey.
They all really showed their ass on this project.
Why separates Corporate Thuggin’ from other group albums?
Slick Pulla: This album is gonna take you back to the 8Ball & MJG days. The
UGK days, the Geto Boys and Goodie Mob days. There hasn’t been an album
from a group in a long time where several people collectively got together
and gave you a solid, straight drop album. It ain’t really went down like that
in a minute. It seems like a lot of cats just get in where they fit in and throw
a verse here or there. But we did this here from the beginning to the end. We
finna take you on one helluva trip. //
OZONE MAG // 73
74 // OZONE MAG
OZONE MAG // 75
The true story of how a culture born in the streets was
taken over by corporate America and sold down the river to die.
Words // Matt Sonzala
76 // OZONE MAG
1989. A Number. Another Summer.
Just like in 1989, if you really want to keep current with Hip Hop, you’ve got
to get the mixtapes.
Hip Hop was a lot different in the late 80s than it is today. Rap videos came
on TV for 30 minutes a day on MTV’s Yo! Mtv Raps and 30 minutes a day on
BET’s Rap City, and that was it. This was assuming you had cable, and unless
you had some revolutionary local access programming like Soul Beat in the
Bay or Video Mix in Florida, you didn’t have too many options to see many rap
videos. Urban radio wasn’t quite ready for Hip Hop. There were stations here
and there, and of course songs breaking through now and again, but Middle
American commercial radio wasn’t really in tune to the burgeoning revolution.
Our Freedom of Speech is Freedom or Death, We
Gotta Fight the Powers That Be
This was before The Box – a Pay-Per-View channel where viewers could pay
a nominal fee to order videos by phone - and before iControl’s Video on
Demand Service. This was before any common person in the United States had
access to the internet. This was pre-MP3’s, pre-YouTube, pre-just about any
current format or place where the average young consumer acquires music
today.
Also like in 1989, while Hip Hop is currently enjoying its reign at the top
of the pop heap, it’s being vilified as if it’s no better than drugs, guns or
well, bootlegging. On January 17th, 2007, the Aphilliate Music Group studios
of Atlanta’s DJ Drama and Don Cannon were raided by police, a SWAT team
and agents from the RIAA. Guns were drawn, musicians were thrown to the
ground, cars, computers and CDs were confiscated. The operation was pulled
off much in the same way that a major drug bust would go down. But these
cops didn’t find guns or drugs; they found CDs. More specifically they found
mix CDs, many of which had been commissioned by the labels that the RIAA
claims to serve.
You couldn’t hear Hip Hop on the radio 24/7, anywhere. There certainly was no
satellite radio. There were no Hip Hop magazines. The only outlets available
to the young Hip Hop consumer were mixtapes and college radio. I’m talking
about mixtapes that actually came on cassettes, two separate 45-minute
programs featuring a DJ mixing, blending, scratching and manipulating the
hottest tracks on the street, direct from vinyl.
In those days you also couldn’t just walk into any retail store and buy these
mixtapes. If you lived in New York or Los Angeles you could sometimes find
them in Hip Hop friendly record shops, but for the most part Middle America
(and Canada, Europe, Japan, etc.) relied on getting dubs from their friends
and relatives in these cities, by mail or in person. Folks in the big cities could
sometimes get them directly from their local DJs or from street vendors. Hip
Hop, as they say, was truly underground.
Get Down. Sound of the Funky Drummer
At the time, mixtapes weren’t exactly supported by the record industry. While
forward thinking industry insiders recognized them as an important promotional tool, the majority of the record industry saw them as a hazard to sales.
In fact, as early as the 1970s when portable cassette players first started
being purchased by consumers, cassettes and “home taping” of albums was
frowned upon much in the same way the trading and downloading of MP3’s
is today. In fact, an entire crusade was waged against the format and it was
said that “Home Taping is Killing Music.”
Music Hittin’ Ya Hard, CAUSE I Know You Got Soul,
Brothers and Sisters
But that didn’t stop the mixtape DJs, and the format began to spread. DJ
Crews like Jam Pony Express in Florida had been doing underground mixes for
some time. DJ Screw in Houston started a revolution in his city that continues
to this day, over 5 years after his death. Every market had a DJ who basically
put Hip Hop on his or her shoulders and brought it to the people.
Soon after magazines like the Source and Rap Pages began popping up, momand-pop stores in the hood and even mall stores in the suburbs began bringing the hot Hip Hop product to the front of the store, rather than keeping it in
a bin in the back. Hip Hop was growing and could not be held back.
Knowin’ What I’m Knowin’, While the Black
Band’s Sweatin’, And the Rhythm Rhymes Rollin’
Fast forward to 2007. Hip Hop is everywhere. Every city has a Hip Hop radio
station, MTV and BET devote a lot of their airtime to it, there’s at least 20
Hip Hop magazines in the U.S. alone, Satellite radio has multiple channels
dedicated to it, and the internet provides a wealth of options to hear, see and
own it. Hip Hop is everywhere.
Strangely though, while the amount of options to be seen and heard have
increased, the doors to many of those outlets remain closed to fledgling and
independent artists. Sure, there’s multiple “Hip Hop” radio stations in each
city now. Sure, MTV and BET devote a lot of their programming to Hip Hop.
Sure, your local newsstand is overrun with Hip Hop periodicals. But most of
those outlets are chasing the same ten artists, the hot names of the moment
- leaving many other worthy artists in the dust.
Gotta Give Us What We Want, Gotta Give Us What
We Need
I
t’s crazy to think that over 30 years since its meager beginnings,
Hip Hop, a culture born in the Bronx ghetto and developed in every
hood in every state in the union, still faces the same scrutiny it did
in its infancy. Back when Hip Hop was new, it was hard for common folks to get a good understanding of the music, let alone the
culture. Nowadays with Hip Hop being everywhere, you would think
people could get it right.
No one from the Aphilliates camp who was in the studio at that time was
willing to talk about the raid. But OZONE caught up with Willie the Kid, the
Aphilliates’ flagship artist from Grand Rapids, MI, whose album The Crown
Prince is due out this summer. Willie had been recording in the studio that day
but left to get a bite to eat. The raid happened during the fifteen minutes he
was gone.
“When I was coming back down Walker Street,” Willie recounts what he saw
that fateful day that may have changed the Hip Hop mixtape game forever, “I
saw all the police cars, a couple vans, a couple trucks and they had a U-Haul
out there. I saw the SWAT Team, Fulton County Sheriffs Department, and a
couple of agents from the RIAA. It was crazy.”
Kind of a strange thing to see outside of a recording studio, especially one
that is run by people with no history of drug or gun convictions.
“I kept going, circled the block, and came back around to make sure everyone was okay.” He continues, “Everybody was inside the building and they
wouldn’t let me go in. Outside there were police and a SWAT team with guns.
It was like they were doing a drug bust or something. You would think it was
something more major than it was. I wasn’t sure what was going on at that
point, but I knew there were no drugs in there. I thought it was a false alarm.
I just got in my car and left.”
This was no false alarm, it was a faulty alarm. From the looks of a FOX News
Report, when the agents swooped down on the studio they stormed in with
guns drawn, put the 15 or so people inside on the ground and proceeded to
confiscate computers, cars and reportedly 81,000 pieces of product – DJ Drama and Don Cannon’s mix CDs. Both DJs have been charged with Racketeering.
Anyone who has ever listened to a DJ Drama CD can see that DJ Drama works
closely with the labels and artists he is presenting. The artists give him shout
outs, they say the name of the disc, they let it be known that this CD is sanctioned by them and that it will be used to promote their upcoming CDs. For
this, Drama and his partner Don Cannon had to spend a night in jail and are
now facing criminal charges.
According to Willie the Kid, the camp doesn’t seem too worried about it. “We’re
getting a lot of good publicity, man, a lot of free promotion.” He explains,
“These cats threw a new spotlight on us. I don’t see any consequences coming. All I see is a lot of publicity and a lot of opportunity and exposure for us
and who we are. We couldn’t ask for a better time to get this kind of publicity.
We gonna turn everything that seems negative into a positive, cause there’s
OZONE MAG // 77
(above left) The Aphilliates’ Music Group includes DJ Drama, DJ Jamad, Willie the Kid, & Don Cannon, among others; (above right) The day after they were released on bond, DJ Drama
and Don Cannon were welcomed home as royalty at R Kelly’s birthday party at Compound in Atlanta, shown here in VIP with Young Jeezy and Young Buck (Photos by Julia Beverly)
so much room for the positive right now.”
While this case currently has the entire music industry in a bit of a state of
shock, there’s a few people speaking out on the subject who think that Drama
and the rest of the DJ’s really haven’t got much to worry about. According
to off-the-record statements from representatives of the RIAA, they don’t
really target mixtape DJs, but when a law enforcement official presents them
with a CD that isn’t properly packaged and has the look of what some would
consider a bootleg, they have to consider it as such.
That statement sounds fine, but according to an internal document that was
written by the RIAA and distributed to higher ups at the major labels that
OZONE acquired from a confidential source entitled simply “Mixtapes,” that’s
not totally the truth.
The document starts off with this sentence: “Urban genre mixtapes have
become an enormous piracy problem.”
It goes on to say that “Depending on what definition is used, mixtapes
accounted for between 50% -75% of all seizures of Urban pirate music (in
2005).”
In the section headed “What is a mixtape,” the RIAA states that “the first
Urban mixtapes were basically where Hip Hop began in the 1980s (sic). They
were often live recordings of DJ sets, and raps were intended as samples of a
DJ or an artist’s skills… By the late 80’s mixtapes gained in popularity as they
also became a vehicle, much like radio airtime, where new artists and new
material could be introduced. Well know (sic) DJ’s and their mixtapes introduced the world to unsigned artists like Jay-Z, Camron, Eminem, 50 Cent and
others who built hype on mixtapes before major label success. While many of
these early forms of mixtapes involved reproducing copyrighted recordings,
the volume was insignificant and some viewed them as having an overall
positive impact on the popularity of Hip Hop music and in promoting new artists… Demand for these Hip Hop mixes early on (particularly when they were
actually tapes) would exceed the supply and this helped create an advance
buzz that left many people waiting for a commercial release.”
The paper goes on to say that mixtapes are a “Way labels test market new
material and showcase up-and-coming artists. This undercurrent of label
complicity serves to supply a cloak of quasi-legitimacy to everything that
someone chooses to call a ‘mixtape.’ In some record stores recently raided
by the police, the ‘mixtapes’ being sold spanned the range from the classic
DJ mix of mash ups and new material, to out and out pirate compilations,
including the best tracks of a single artist lifted from multiple albums with
little if any DJ talent on display. Some retailers have joined in the charade,
suggesting that as long as it is called a ‘mixtape’ they should be able to sell
it despite its dubious origin.”
Could DJs who don’t mix REALLY be what’s killing the mixtape game? For Hip
Hop heads yes, for the authorities, no.
On page three of the document the RIAA states that “Over 95% of our piracy
cases are investigated and charged under State True Name and Address Laws.
These laws require every sound recording being sold in the State to have on
the packaging the true name and address of the manufacturer. The use of
State law to fight piracy has dramatically simplified enforcement because
we need not go through the cumbersome process of proving ownership, and
78 // OZONE MAG
lack of license… Since the State laws do not require extensive knowledge of
the music industry and no expertise in copyright law, we have been able to
effectively train police officers on the applicable law, how to examine recordings to look for the name and address, and how to make a judgment as to the
legality of the product if the name or address appears to be fictitious.”
This is where Drama found his trouble. In a statement given to OZONE Magazine by a representative of the RIAA, the organization compares the arrest
of DJ Drama and Don Cannon to when a police officer pulls over a car and
realizes he just pulled over someone famous. Local law enforcement had been
finding his CDs in their routine checks of stores and street vendors, when they
noticed that many of the discs did not provide the name and address of a
manufacturer they decided to swoop in.
Alan Berry of Naptown Music in Indianapolis knows this law all too well. “I
don’t know all of the charges DJ Drama is facing,” Berry, whose two retail
outlets in Naptown were raided in 2002 explains, “but we pretty much went
through the same thing. I had the racketeering charges against me too. After
you get like five or six felonies placed against you, they tack racketeering on
top. I had thirteen felonies placed against me. I pleaded down to one misdemeanor. That’s because the majority of the charges they couldn’t prosecute
me on, nor will they be able to with Drama either. A state can’t prosecute a
copyright infringement case because that’s a federal issue, not a state issue.”
He continues, “I think the case with Drama comes from having a cop in a town
that doesn’t know anything about Hip Hop but he does see some people driving around in nice rides. There may be some race issues there, but no matter
what, he saw money there. He saw the guy’s product on a burned CD and to
his knowledge, it was a bootleg CD. So they go in and they get to confiscating. Well, guess what? If they win that case a portion of those proceeds will
go to the local police department. If the local law enforcement doesn’t win,
they don’t lose anything. The only thing lost is the taxpayers money.”
So what’s a young DJ to do? Is it possible to produce a legitimate mixtape
without facing scrutiny? Shila Mitra of BCD Distribution in Houston says yes.
On a recent visit to the BCD offices, OZONE Magazine was given a tour of the
facilities and a lesson in how BCD keeps their product legit. They run each CD
through a computer program called Replicheck which automatically checks
for copyrighted material. The CD is then sent through the office to be listened
to by certain employees in search of beats or rhymes that may not have been
properly licensed. If the CD contains illegitimate tracks, said songs are taken
off or the CD is denied distribution all together.
Before taking your disc to a retailer or a distributor like BCD, it’s a good idea
to do some homework yourself first. The website www.harryfox.com can help
you learn about everything you need to know to license a song. Some licensing in fact can be done online for a nominal fee.
From their website:
“Mechanical licenses are required under U.S. Copyright Law if you want to
record or distribute a song that you do not own. By properly licensing your
recordings, you ensure that the publisher that represents the songwriter who
wrote the composition gets paid. Reputable replicators and online music sites
will require you to have these licenses before they duplicate your recording or
offer it online.
HFA’s Songfile makes this easy. Songfile licensing is a tool to obtain mechani-
cal licenses for physical recordings (CDs, cassettes, vinyl) made and distributed in the U.S. in a quantity of 250 to 2500 units, or to create and distribute
from 150 to 2500, permanent downloads of a song from a server located
within the U.S., at the current statutory mechanical rate . In addition to
royalty fees, there is a modest per-song processing fee of $13 to $15 charged
by HFA, depending upon how many songs are licensed at once. All processing
is done online, and in most cases, you will have your license within 24 hours.
Once processed, licenses are made available to you electronically for viewing
and printing through your Songfile account. Please note that all Songfile
license fees are non-refundable.
To use Songfile you must be conducting business in the U.S., and have a valid
credit card with a U.S. address. You will be asked to register for Songfile use
by agreeing to HFA’s Terms of Use and creating a user name and password.
Licenses for songs on physical products and for DPDs must be obtained in
separate transactions. For physical products, you to will be able license
multiple songs for one physical album at a time; you will need to complete
a separate transaction for each album. You can obtain up to 50 separate DPD
licenses in one transaction. Unlike physical licenses, DPD licenses expire in
one year.
For information on licensing quantities of more than 2,500, imports, or other
digital or physical formats, please refer to the Licensee Services area on the
main HFA website.”
After you’ve taken care to license the tracks, you must be sure to include the
name and address of your manufacturer on the packaging of your CD and
you should be good to go. All this does cost money, but going through the
process can make your CD legit and untouchable, and if you’re really as good
as you say you are, then you can make all of that money back and then some.
And stay out of jail.
What happened to DJ Drama and Don Cannon may seem unjust in the eyes of
the Hip Hop community, but in the eyes of the law, it’s just another day on the
job. Regardless, two of Hip Hop’s brightest rising stars are now tied up with
red tape and having to deal with charges and the loss of their equipment,
product and essentially their business. And it doesn’t seem as though too
many people are coming to their aid.
“You know who I blame right now?” Alan Berry says in closing, “The artists.
I mean, I love Jay-Z and 50 Cent, don’t get me wrong, but have the balls to
stand up and say that you utilize this as a way of marketing your music. The
RIAA are their employees. Don’t get on a record and say what a bad ass you
are in the street, but then you can’t stand up to your employees and tell them
not to arrest people that are working with you to take Hip Hop to a different level. That, to me, is wrong. Back when I was going through this shit, I
thought, ‘There’s no way this will stick.’ I tried to plead for help cause I was
getting screwed over for doing what I believe in. I was doing their soldier
work and none of them stood up; none of them said one thing. I know they
knew about it. I smell pussy on that.”
In the end, everyone who dedicates their life to this music still has to somehow make a living. The DJ is no exception. A rapper or a record label cannot
negate the fact that when their songs hit the hottest mixtapes their overall
value increases and awareness is created in markets long before they ever
set foot outside their region. When a mixtape DJ truly exerts his or her craft,
they’re creating something special that in many ways they have the right to
call their own simply for the fact that by creating this masterwork, they’re really only helping to propel a culture that at times gets oversaturated with the
prepackaged bullshit that generally, only the majors can pump out.
Radio is almost impossible to infiltrate, at least on a national level, for the
average independent. Squawk all you want about who’s making hits, the
mixtapes help to bring each region to the forefront, or at least to the reach
of the average consumer who has an interest in rap music beyond the commercial backed major shit. Every region these days seems to have its own
breakout mixtape DJ. He’s the dude who helped Young Jeezy get heard before
radio picked up on him. He’s the dude who made the otherwise regional
rapper hot in HIS streets, and he’s done it time and time again for countless
artists. He’ll do it again.
In the end you have to look at the kid. The music loving kid who wants to
contribute to an art form that seems open to all, but in reality is a good
ol’ boy network, a network of insiders who make it harder to join at times
than the most barbaric fraternities, a network of people who don’t want to
hear your voice until you’ve made your mark and proven your value. So the
kid invests in a set of turntables, or even a computer and begins spreading
the music he loves through his streets and makes his name ring alongside
the stars of his favorite music. Eventually he, like the rappers he idolizes,
becomes a hot commodity and everybody wants a piece of him, and there’s
another young kid, from the streets of America, who somehow made his way
to the top. And from what I’ve been told, this is what our country was supposedly built upon. Free DJ Drama and Don Cannon and keep your hands off
our mixtapes. //
[THE MUSIC BUSINESS] IN REALITY IS A GOOD ‘OL BOY
NETWORK, A NETWORK OF OF INSIDERS WHO DON’T
WANT TO HEAR YOUR VOICE UNTIL YOU’VE
MADE YOUR MARK AND PROVEN YOUR VALUE.
OZONE MAG // 79
Old School DJs are musical rights leaders
who refused to let the music they love sit
on the back of the bus.
Words // Eric N. Perrin
I
’m probably not the person
you would expect to be
writing an Old School
DJ tribute. I grew up in the
Kris-Kross era; a period
of time when the
music was first transitioni
ng from Hip Hop to rap.
rap was when my overall
My first memories of
-wearing, backpack-bea
ring friends and I would
obnoxiously chant, “You
Down wit’ O-P-P / Yeah
you know me,” while wai
for the school bus to tak
ting
e us to kindergarten eve
ry morning. Being from the
Chicago, I idolized Da Bra
t and her first single “Fu
nkd
afied” because in the
early 90s that was the onl
y mainstream Hip Hop to
come from the CHI since
the ’85 Bears “Super Bow
l Shuffle.” Back then, rap
was just beginning its
constant reign over the
billboard charts and rap
pers were becoming the
“rock stars.”
new
Soon after rap’s commercia
l conquest, every person
in America thought they
could rap. But nobody I
knew wanted to be a DJ.
Most of us felt the DJ was
just the dude who assiste
d the emcee; the ever-prese
nt sidekicks who accompanied all rappers bef
ore T-Mobile.
It used to be much differe
nt. Back when Hip Hop was
still in the high school—
long before it died accord
ing to certain a New Yor
k rapper — the DJ was rap
perennial prom king. Dur
’s
ing the days of DJ domina
nce, the emcee was the
along; he was just the ma
tag
n who introduced for the
DJ; it was the man who
mixed the music who was
always the most popular
person in the club. The
DJ was (and still is) the
guy who got the asses sha
king and walls dripping;
but back then, a good DJ
was a headlining act. Not
only were DJs Hip Hop’s
biggest stars, but the DJ
was also the respected cre
ator of the actual music.
Hip Hop derived from disc
o songs which were manip
ulated in crowded clubs
until Hip Hop was born.
Guys like Kool Herc, Afrika
Bambaataa, and Grand
Master Flash were all ido
ls. There were DJ battles
held in parks that were fueled by entire crews of fan
s loyal to their leader, the
DJ. But eventually, these
80 // OZONE MAG
combatant DJs were betray
ed by the ones closest to
them, their loyal hype
men who were once hap
py to just be a part of the
entourage. These hype me
went on to become rapper
n
s, and we all know that
rappers have transcende
Hip Hop to the global spo
d
tlight. But why have we
forgotten the DJs?
I’ve met a million old sch
ool rappers, but with the
exception of Biz Markie
(who is better known as
a rapper), I’ve never me
t a single old school DJ.
not that they’re all extinct
It’s
; moreso insignificant in
the eyes of many curren
rappers and rap fans. Hip
t
Hop doesn’t respect its fou
nders and that’s a damn
shame. Too many fake ass
emcees are just involved
in rap because the drug
game got too crowed and
they figure they can make
loaves of bread from a
culture they don’t care mu
ch about; a culture that
was originally constructed
by DJs most people under
30 don’t know shit about.
Equally destructive, most
rap fans have no knowle
dge or concern for the pio
neers who have allowed
them to enjoy the phenom
enon that rap has becom
e.
I can’t criticize. I was the
same way until recently.
I cou
an old-school, coffin dod
ging DJ who I thought was ldn’t care less about
irrelevant to my life. In
fact, I hate to admit it, but
it wasn’t until I became
features editor of OZONE
and was constantly surrou
nded by people who rea
lly the love the music tha
began to care about its orig
tI
ins.
No, I’ve never met an old
school DJ, but I know how
much their turntables
and vinyl has changed the
world. Cats like Jam Mas
ter Jay, Magic Mike, Jazzy
Jeff, DJ Screw, Terminator
X, Kid Capri, DJ Yella, Unc
le Al, Red Alert, Marley
Marl and endless others
have
sic we live our lives to. Old altered the way we hear the world and the muschool DJs are musical righ
to let the music they lov
e sit on the back of the bus ts leaders who refused
, and it’s a travesty that
we don’t appreciate their
efforts to the extent we
should. //
OZONE MAG // 81
Second
82 // OZONE MAG
dj issue
Close your eyes and imagine life without the DJ. It’s a scary thought, isn’t it? Our entire world literally revolves around their spins. Still, do we appreciate
them? No, not nearly as much as we should. They are the often inaudible artists who have augmented our existence in more ways than we can imagine. But when is
the last time you gave thanks for all they’ve done? Chances are it’s been while. Well, here is your opportunity. Open your eyes and pay tribute to the DJ. On the following pages our elite DJ panel describes in detail the art form they know and love.
// Compiled by Ms. Rivercity, N. Ali Early, Eric Perrin, Julia Beverly, Maurice G. Garland, & Randy Roper
DJ 007 (Memphis, TN)
Born and raised in Houston, TX, Kevin “007” Dogan now calls
Memphis home. He has been involved in radio since 1992 and is
currently employed at K-97.1 FM. Cut The Check, DJ 007’s latest
mixtape, was hosted by Yo Gotti and Lil Scrappy. His future plans
include artist management, A&Ring and producing.
Hotdj901@gmail.com
Mailing Address (CDs Only, No Vinyl):
2650 Thousand Oaks Blvd., #4100, Memphis, TN 38118
C-Wiz (Nashville, TN)
Representing Nashville, TN, C-Wiz is a tour DJ for Three 6 Mafia
and Pimp C. His current club resume includes Lizzie’s Grill, 615 and
Club Sallees. Some of his most recent projects including Actin’ Bad
Lookin Hard Vol. 1 & 2 and The Streets Need Me Vol. 1. He also does
artist consultation.
281-330-0682 (Mike Clarke, Manager) www.myspace.com/djcwiz
Mailing Address:
Attention C-Wiz, 5343 Charlotte Ave., Nashville, TN 37209
DJ 3 (Wichita, KS)
Derrick “DJ 3” Crosby is 32 years old. In the past, DJ 3 served as
a tour DJ for Juvenile and several other artists. He currently DJs
many of the major concerts and venues in Wichita, KS and can be
heard on www.okrp.com – an internet based radio network. He
recently released a mixtape called The Houston, Texas to Wichita,
Kansas Connection.
Dj3spins@yahoo.com www.myspace.com/dj3316
DJ D Lowe (Jackson, MS and Flint, MI)
Deric Lowe, better known as D Lowe, has the best of both worlds.
He represents both the South and the Midwest. Other than his mission to become a household name as a DJ, D Lowe also produces
for several artists in Jackson, MS. He can also be found spinning at
the Upper Level Bar and Grill.
tooblakkdjlowe@gmail.com
DJ Blak (Atlanta, GA)
Phillip Green is a man of many aliases, including DJ Blak and The
Politician. He is a DJ at the internationally known Magic City in
Atlanta. Blak also tours with Yung Joc and releases his Blak Out
mixtape series regularly. He is 22 years old.
678-446-8504 djblak@tmo.blackberry.net dj.blak@gmail.com
www.myspace.com/djblakfae
Boolumaster (Chicago, IL)
A vet in the game, E. “Boolumaster” Wills has been DJing for over
20 years. He represents Chi-Town to the fullest when he’s mixing
on WPWX Power 92. His latest mixtapes – Hip Hop Shit, Steppin
Volume 2 and House & Disco – keep any party jumping.
boolumaster@gmail.com boolumaster@tmail.com
DJ Dady Phatts (West Palm Beach, FL)
Known as an advocate for the independent artist, Reginald “Dady
Phatts” Benoit currently spins on WMBX X102.3 in South Florida.
He has most recently worked with Killa Kim and Dirte Red and is
always on the lookout for hot new talent.
561-541-6694 dadyphattx1023@aol.com
DJ Deliyte (Bay St. Louis, MS)
Jared A. Jackson, better known as DJ Deliyte, can be heard on
WBSL AM 1190 in Mississippi. He is a resident DJ at Nels Sports Bar
in BSL, MS and tours with several artists including G’No, Pimp G
and Smokealota.
unodasound@yahoo.com www.myspace.com/djdeliyte
Mailing address: CrossRoads Entertainment, LLC c/o DJ DELIYTE P.O.
Box 2602 Bay St. Louis, MS 39521-2602
DJ Bounz (Austin, TX)
Quickly making his way into the mixtape game, Matthew “DJ
Bounz” Naderi has dropped several tapes including More Money
No Problems, Diggin’ Da Souf with TheScrewShop.com, and Mindset
Vol. 2 Hosted by Rasaq and Tum-Tum. DJ Bounz (pronounced
Bounce) is 23 years old and currently tours with J-Kapone.
djbounz@gmail.com www.myspace.com/bounz07
www.djbounz.com
DJ Don Juan (Nashville, TN and Petersburg, VA)
As a tour DJ for Young Buck, Paul “Don Juan” Strickland has
become a staple in the Nashville club scene. He is currently 26
years old and has DJed at virtually every club in the city. His Phat
Kaps Radio & United Streets mixtapes are currently circulating in
the streets.
615-977-4103 djdonjuangunit@gmail.com
Mailing Address: 2940 Baby Ruth Lane #24, Antioch, TN 37013
DJ Boz (Virginia Beach, VA)
A DJ for Energy 106.1, 30-year-old DJ Boz, a.k.a. Big Lettrz, resides
in Virginia Beach, VA. He spins at numerous venues including
Guadalajara, MP Island and D’Fraisers. Boz produces music and
mentors up and coming DJs as well.
Djboz3000@aol.com
Mailing Address: 1912 Lantana Ct., Virginia Beach, VA 23456
DJ EMURDA (Houston, Texas and Florida)
EMURDA has lived in many places including Jamaica, New York,
New Jersey, Houston and is now a resident of Florida. It’s evident
by his latest mixtapes that he strongly represents Texas and its
artists. His last three Chopped & Screwed volumes were hosted
by Tum Tum, OG Ron C and Chamillionaire. EMURDA also does web
design and bookings.
713-820-3459 info@djemurda.com www.djemurda.com www.
myspace.com/djemurda
DJ Burn One (Atlanta, GA)
David “Burn One” Sweeten currently resides in Atlanta, GA. He can
be heard on the airwaves in Huntsville, AL on WEUP. Aside from
putting together some of the South’s hottest mixtapes, Burn One is
also the tour DJ for Bubba Sparxxx.
burnonemp3@gmail.com
DJ Camilo (New York, NY)
DJ Camilo is part of the WQHT Hot 97 team in New York. Aside from
club gigs six nights a week, Camilo also DJs in Europe every other
month. The “International Club King” has blessed over 95% of the
clubs in the NYC area. He latest mixtape is entitled Heatrockas Part
1. He will be opening a Latin restaurant in the spring of ’07.
Djcamilo@aol.com
Mailing Address: P.O. Box 1414, Jackson Heights, NY 11372
DJ Epps (Miami, FL)
DJ Epps is a member of the Shadyville DJs. He’s also an on-air
personality and Assistant Music Director for 103.5 The Beat. Epps
works with several artists in Miami including North & Agony. When
he’s not spinning in South Florida, Epps takes his skills abroad to
Europe and Asia.
Djeppsmp3@gmail.com www.myspace.com/djepps
Freddy Hydro (Memphis, TN)
Fredrick Turner, a.k.a. Freddy Hydro, is a 30-year-old DJ from
Memphis. You can find him at Club Unity and other major events in
the South. Freddy does mixtapes and is Playa Fly’s tour DJ.
901-503-6006 freddyhydro@yahoo.com
OZONE MAG // 83
dj issue
DJ Freeze (Jackson, MS)
David “DJ Freeze” Robinson occasionally spins on Hot 97.7 FM in
Jackson, MS. He is 27 years old and most recently released two
mixtapes: Just Musik Volume 1 and The White Party 2 Soundtrack.
He’s a regular club DJ at Da Spot.
freezeicecold@yahoo.com www.myspace.com/djfreeze601
Mailing Address: 1412 Hair Street, Jackson, MS 39204
KD a.k.a. Han D Man (Atlanta, GA)
Otherwise known as the Han D Man, KD spins for AOL Radio, Sirius,
Dish Network and freelances for Hot 107.9 in Atlanta. He’s toured
with UGK, Ghetto Boys, Heather Hunter and many others but he’s
probably most known for his Worldwide mixtape series. KD is also
part owner of the Musgrow Lounge in Winston-Salem, NC.
www.kd-handyman.com
DJ Fresh (Kansas City, MO)
Representing the Midwest, Gary “DJ Fresh” Edwin is a member of
the Derrty DJs, MDC DJs and the CORE DJs. The 40 year old radio
DJ can be heard on Hot 103 Jamz and at several clubs including
Philling Station, Uptown Theatre, Union Hill and Jamaican G’s. He’s
also a tour DJ for The Gift.
freshmp3s@yahoo.com
King JB (Tampa, FL)
At 30 years old, King JB has landed some of the most coveted
disc jockey positions. One of central Florida’s top record breakers,
Johnathan “King JB” Brett DJs for WLLD Wild 98.7. Bahasa Lounge,
13 Lounge and Café and Code Nightclub are also spots where you
can catch JB doing his thing.
813-810-9921 kingjb987@hotmail.com
DJ Grip (Austin, TX)
22-year-old David “DJ Grip” Elliott is best known for his mixtape
work with Texas artists like Tum Tum, Spark Dawg, Kiotti, Kyle Lee
and others. He DJs at various venues and is a disc jockey for KXXS
104.9 The Beat.
djgrip@tmail.com
DJ KD (Ft. Lauderdale, FL)
Formerly a DJ at 99 Jamz in Miami and X102.3 in West Palm Beach,
DJ KD currently spins at various nightclubs including Chyna White,
Ninety 9 and Perri House. It’s Crack featuring Jobs and Hall of
Fame Taking Ova are two of his most recent mixtapes. KD will be
going on tour with Jase in the near future.
954-940-8145 Djkdsalute@tmail.com
djkdmusic@gmail.com (for MP3s)
DJ Headbussa (Tampa, FL)
Formerly a resident of Orlando, FL, Nedroy Bent a.k.a. DJ Headbussa currently spins at several venues in Tampa. The 25-year-old
DJ is part of the Wild 98.7 street team and is Co-CEO of M.O.B. DJs.
He’s already put out several volumes of his Krank Up mixtapes and
plans to release more soon.
305-766-4686 djheadbussa@gmail.com www.myspace.com/krankmusik
DJ Hella Yella (Austin, TX)
Leon “Hella Yella” O’Neal is a 22-year-old DJ/college student. His
mixtapes I’m Stylin On You and Lavish R&B Vol. 2 have received
favorable reviews. In addition to rocking college parties, he currently DJs at club Spiros and often tours with Spark Dawg.
Dj_hella_yella@yahoo.com www.myspace.com/djhellayella
Mailing Address:
Leon “DJ Hella Yella” O’Neal, 2208 Mission Hill #103, Austin, TX
78741
Mac Payne (Wichita, KS)
Music Director for KDGS Power 93.9, Mac Payne (short for McKinley
Paynes) is a highly influential record breaker in the Midwest. He
represents the CORE DJs and his own company The Lavish Life.
316-685-2121 ext. 236 macpayne@entercom.com
www.mylavishlife.com
DJ J Hustle (Dallas, TX)
Jaroi “DJ J Hustle” Womack is a tour DJ for Money Waters, Silk and
Young Bleed. He can be found spinning at Club Blue, Club One and
M5. The 23-year-old DJ has also released three volumes of his
J-Hustle mixtape series.
womackjaroi@yahoo.com
DJ Magic Mike (Orlando, FL)
“DJ Magic Mike” Hampton is a man that needs no introduction. With
decades of experience and platinum-selling records, the 40-yearold vet continues to be blessed with success. Magic Mike mixes on
WPYO 95.3 FM, and at Antigua and the House of Blues in Orlando.
www.myspace.com/djmagicmike
DJ J-Nice (Atlanta, GA)
A member of the Hittmenn DJs, J-Nice has worked with some of
the industry’s top names including Ludacris, Shaq, Shareefa, the
Notorious B.I.G., Black Rob, Gucci Mane and tons of others. The
30-something-year-old currently mixes at V-103 and spins at the
world famous Club 112 and Club Esso.
Djjnice000@aol.com www.djjnice.com www.myspace.com/djjnice
Mick Boogie (Cleveland, OH)
Mickey Batyske, otherwise known as Mick Boogie, mixes for WENZ
in Cleveland and Sirius Satellite Radio. The 28-year-old also DJs
at Spy, Cloud 9, Cleveland Cavalier games and many out of town
venues.
www.myspace.com/mickboogie www.mickboogie.com
Jane Dupree (Nashville, TN)
Bridgett Hardville, a.k.a. Jane Dupree, is a house, techno and Hip
Hop DJ representing Cashville. She is 27 years old and spins at the
Velvet Ultralounge and Blue Bar. Aside from DJing, JD also produces beats and recently dropped two tapes - Best of Both Worlds
and Disko Ballin’.
404-784-7254 janedupree@gmail.com
Jeff Da Illest (Chicago, IL)
Tour DJ for Fantasia and the Illisoul Movement Family, Jeff “Da Illest” Jackson is a specialist a rocking a show. Whether he’s on the
road or spinning at one of his resident clubs like Cactus, Inclusive
or the B Lounge, Jeff puts integrity before the dollar.
312-285-6009 jeffdaillest@gmail.com
Mailing address: 11331 S. Langley Chicago, IL 60628
84 // OZONE MAG
DJ L-Gee (Queens, NY)
Representing Queens, New York, Lenair “DJ L-Gee” Gardner belongs
to the Bum Squad DJz, Hood DJs and Hustle Squad DJs. He is 25
years old and is involved in several mixtape projects including The
West Coast Saviour hosted By The Game, Sexual Tendencies Part
2 hosted By Luscious Liz, and DJ L-Gee & Ali Vegas Presents Black
Card Council.
347-495-8750 djlgee@gmail.com
www.myspace.com/djlgee
DJ M.O.E. (Houston, TX)
At 17 years old, Maurice “DJ M.O.E.” Jacobs is already setting his
sights on the Texas DJ crown. He recently released three mixtapes
entitled Set The City on Fire, I-10 Hustlin and I Do It 4 Da City. The
initials M.O.E. of course stand for Money Ova Everything.
832-541-6315 txyoungin713@tmail.com
mp3-djmoe713@gmail.com www.myspace.com/djmoe713
Mailing Address:
7616 Darien St., Houston, TX 77028
DJ Nabs (Atlanta, GA)
As a DJ for Hot 107.9 and XM 67, Nabs is well known in the Atlanta
area and the South in general. He has been a tour DJ for So So
Def since 1992 and is involved with many side ventures like music
production, video production and music publishing.
djnabs@djnabs.com www.djnabs.com
dj issue
Princess Cut (Dallas, TX)
Juri Koshikawa, better known as DJ Princess Cut, represents The
Lone-Star state to the fullest. She is a specialist in Screw Music,
having gained an impressive reputation for her UGQ and Bout to
Blow mixtape series. Princess Cut is on a mission to bring United
States Hip Hop back to her roots in Japan.
djprincesscut@gmail.com www.myspace.com/djprincesscut
DJ Rob Storm (Memphis, TN)
Rob “Storm” Sandridge currently spins on KXHT Hot 107.1 in
Memphis, TN. Besides DJing, Rob is also active in the promotions,
graphics and production sides of the music business.
901-643-5379 djrobstorm@yahoo.com
www.myspace.com/djrobstorm1200
Mailing Address: 1722 Childers, Memphis, TN 38127
Sam Sneak (Miami, FL)
If a record is to be broken in South Florida, you’d better believe
Sam is the man to do it. There isn’t an underground radio station
in Miami that Sam Sneak doesn’t mix at. In addition to radio, the
22-year-old Sneak also DJs at Coco’s and Take One Lounge.
Djsamsneak@gmail.com www.myspace.com/djsamsneak
www.myspace.com/jamsquaddjs
DJ Shakim (Atlanta, GA, Queens, NY, and Orangeburg, SC)
Shakim Hicks DJs all over the world and can be heard in Macon, GA
on WXFM. He is a tour DJ for Bow Wow and a member of the Superfriends. His most recently put together a mixtape for Fundisha
entitled The Struggle: New Era Mixtape.
Shakimdj@aol.com
DJ Sir Swift (Nashville, TN)
Mystic Nightclub and WTST TSU Radio are two places you can hear
the 28-year-old Jamal “Sir Swift” White spin the crunk Southern
classics. He’s also a vet in the mixtape game. His most recent
releases include Supply & Demand Vol. 6, Got What U Want Vol. 5
and U Gotta Grind Vol. 1.
615-513-5850 sirswift03@yahoo.com
Mailing Address: DJ SIR SWIFT/So So Def DJs 5341 Mt. View Rd. #
108, Nashville, TN 37013
DJ Slym (Orlando, FL)
As part of the Clientell Party Starters, the Hittmenn DJs, Wilin DJs,
Supreme Team DJs, Dawgman Ent., ZoePoppie Ent, 93.5 Clientell
Radio, and a long list of other affiliations, Alex “DJ Slym” Ducenord
is one of Orlando’s busiest DJs. At 22-years-old, he already has a
full club agenda at Tropical Magic, Roxy, Element and Legends.
djslymorlando@gmail.com,
Mailing Address: 1085 Miami Blvd. Delray Beach, FL 33483
DJ Smallz (Tampa, FL)
DJ Smallz, a.k.a. Mr. Southern Smoke, represents Tampa, FL. He can
be heard on 95.7 The Beat and Sirius Satellite Radio. Besides his
household Southern Smoke mixtape series, Smallz recently released a few volumes of his Fear Factor collection which highlights
up and coming artists.
www.myspace.com/southernsmoke
DJ Snake (Dallas, TX)
Formerly a DJ for KNON 90.9/89.3 and a tour DJ for Too $hort, Don
“DJ Snake” Brown currently spins at club ECCO in Dallas. The 42year-old DJ does not make mixtapes but he does produce and mix
music at Nexxus Media Group.
donbeezy@aol.com or myspace/djsnakepit
DJ Spinz (Augusta, GA)
At 17 years old, Rafael “DJ Spinz” Hill has already made quite a
name for himself. His Southern Swagger mixtape series is a big hit
in the streets, especially the edition hosted by Nitti. He also has
gigs at Mr. J’s, The Palace and Foxie 103.1FM.
therealdjspinz@gmail.com www.myspace.com/dj_spinz
Statik Selektah (Boston, MA)
Patrick Baril, better known as Statik Selektah, is a 25 year old DJ
for KMJJ, WBLX and Shade 45 on Sirius Satellite Radio. Running his
company Showoff Marketing and producing tracks are two of his
side ventures. The titles of his last three mixtapes are Nas – The
Prophecy Vol. 2, The Look of Love and The Bar Exam.
info@statikselektah.com
DJ Stilo (Ocala, FL)
Formerly from New York, Edwin “DJ Stilo” Mancia currently resides
in Ocala, FL. He spins at club Lil New York and Club Blue. Two of his
most recent mixtapes releases are I-95 North 2 South and Choppaz
n Stacks. The All-Mighty Stilo also founded Phatsounds DJs.
352-547-6925 info@djstilo.com djstilo@phatsoundsonline.com
Mailing Address: 3018 NE 25th Ct., Ocala, FL 34479
DJ Suss One (New York, NY)
DJ Suss One is a tour DJ for Mariah Carey and a disc jockey at WWPR
Power 105.1 in New York. When he’s not traveling the world, the
25-year-old musical connoisseur is putting together mixtapes like
A Tribute to Big Pun, Back to the Eighties, The Reggae Party, The
Reggaeton Party and the Suss One Mixtape series.
djsussone@gmail.com
DJ Teknikz (Atlanta, GA)
DJ Teknikz has been perfecting his craft since 1997. His If U Buyin’,
We Sellin’ mixtape series is one of the fastest growing brands in
ATL. His Georgia Power volumes are quickly following suit. He received 13 Southern Entertainment nominations this year and took
home Mixtape Rookie of the Year.
678-698-3188 www.myspace.com/djteknikz
DJ Trauma (Atlanta, GA)
33-year-old Tayari “DJ Trauma” McIntosh is a disc jockey for Atlanta’s Hot 107.9 and a member of the World Famous Superfriends. In
addition to touring with Ciara and Cha Cha, DJ
404-664-8786 djtrauma@comcast.net
www.myspace.com/djtraumaatlanta
DJ Unity (Oklahoma City, OK)
Kevin “DJ Unity” Oguinn is a mixshow DJ at KKWD Wild 104.9 and a
member of the Bum Squad DJz. He spins at several clubs in the area
including Club Spyce. DJ Unity prefers using vinyl as his weapon of
choice.
405-361-4859 Djunity1@sbcglobal.net www.myspace.com/djunity
Mailing Address: 6205 Wildewood Dr. Oklahoma City, Ok 73105
DJ V-Dub (Chicago, IL)
A mixshow DJ for WGCI 107.5, Vaughn “V-Dub” Woods, won the
Mixshow Power Summit Midwest DJ of the Year award in 2004. He
currently spins at the Shadow Bar, Boutique, Sangria and Buzz.
V-Dub is a tour DJ for Do or Die, Bump J and Static.
773-842-9477 themixtapehour@aol.com www.myspace.com/djvdub
DJ Who (Baton Rouge, LA)
Chad “DJ Who” Joseph is originally from New Orleans, LA. He currently lives in Baton Rouge where he drops mixtapes on a regular
basis. Some of his recent projects have been hosted by Chyna
Whyte, Ms. Toi, Khao and Pimpin Ken. He is 33 years old.
gothicent@gmail.com
Mailing Address:
DJ Who C/O Gothic Ent, Box 74843 Baton Rouge, LA 70874
DJ Wildhairr (Fort Worth, TX)
Alfred R. McGowan Jr., otherwise known as DJ Wildhairr, represents
Fort Worth, TX when he’s on tour with Michael “5000” Watts. He
also DJs for Club Crystals, Club Axis, Club MP3, and Club AfterLife.
Wildhairr does promotions and bookings as well.
817-797-6360 DjWildhairr@yahoo.com
www.myspace.com/DjWildhairr
Wiz Hoffa (Albany, NY)
Wiz Hoffa is CEO and Founder of the Noize Mob DJs – 2006 Justo
Mixtape winners for Best Mixtape Team and SEA winners for Best
Street Team. He is also VP of a graphic design company and Chairman of Hollywood Hustle – a film company. To top off the resume,
Wiz also produces.
noizemobmp3s@gmail.com unsignedmp3s@gmail.com
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What’s the worst DJ job you’ve ever
had?
“I was doing a wedding reception and they started
fighting. I didn’t get paid.” – DJ 3
“Club 112 on one of their off nights. It never
caught a crowd and I was only getting like $100 to
DJ for 5 hours.” – DJ Blak
“I did a house party that got shot up.” – DJ Boz
“I DJed a funeral for my cousin.” – C-Wiz
“I was playing somewhere in upstate New York after a snowstorm. There was 10 people in the club
and 6 of them were the club’s staff.” – DJ Camilo
“Carrying crates for Mike Swiff. Dude would have
over 15 crates of Hip Hop, old school street music,
but I had to carry ‘em.” – DJ D Lowe
“Kentucky 2005. It was different ‘cause I was in
the country with the horse ranches. I take this
money any way I can get it. If the money’s right,
I’m there.” - EMURDA
“DJing at the cafeteria at CAU when I was in college. I had to walk up two flights of stair with all
my equipment. It was brutal and it was for pennies. But you got to get your start somewhere.”
– DJ Trauma
“Anytime I was doing a wedding reception. No
disrespect to mobile DJs, but that’s just not my
thing. While playing the ‘Cha Cha Slide,’ I decided
to focus on spinning in the clubs.” – DJ Unity
“I was DJing at a club and the pipes burst overhead.” – DJ V-Dub
“I was spinning for an 8th grade graduation party
and the mother was very religious. Words like
‘hell,’ ‘damn’ and ‘ass’ seem to come in every line
and those were the clean versions.” – Boolumaster
“A private party on a boat. It was called the Booze
Cruise but it was more of a boo-boo cruise. The
idea was hot, but a lack of promotion didn’t have
enough folks out there.” – DJ Bounz
“It was at some type of multicultural festival when
I was in high school. I played ‘Yeah’ when it first
came out and everyone went crazy. A crowd gathered in front of where I was at; guys were shoving
each other and jumping around and girls were
dancing on the guys. The teachers got scared and
pulled the plug on the music.” – DJ Burn One
“I did a party that was supposed to be for the
grown and sexy. It turned out only 5 people
showed up and the promoter didn’t pay anyone
the full fee that was agreed upon. Naturally I was
upset.” – DJ Freeze
“I’ve had plenty. Anytime you get paid to play music you don’t like - weddings, birthdays, kinsientas
– but I turn down all of those jobs now.” – DJ Grip
“I DJed in a big barn-like building and every 20 to
30 minutes the power would go out and somebody
would have to go flip the breaker switch.” – DJ
Hella Yella
“I did music for a ghetto drag show as a favor.”
– Jane Dupree
“I was doing a wedding about two years ago and
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everything just fell apart, but I made it through. I
forgot a lot of the music that the couple wanted
but it was a learning experience.” – Jeff Da Illest
“In the mid 90s I signed a three month deal with
a club called The Yum Yum Tree in Plum, TX. It was
the smallest club I have ever seen but they would
crowd 100 to 150 people inside on the weekend. They had wooden floors with loose boards
everywhere, no AC and one window.” – KD aka Han
D Man
“I did a wedding for my boy. It was wack!” – King
JB
“I was hired to spin at a high school graduation
party in a cabin in the woods in upstate New
York. The only bad thing is my setup was on the
second floor balcony outside and I was swatting
bugs all night, even off of the records. The pay
was good so I didn’t complain too much.” – DJ
L-Gee
“There is nothing worse than DJing for elementary
and middle school kids. I’m glad I don’t have to
do shit like that anymore. These kids were leaning and rocking and popping and locking and
snapping and walking it out all at the same time.”
– Mick Boogie
“I chopped and screwed this one cat’s song off of
Myspace who was pretty weak. I think it was a Still
Tippin’ beat. He sounded better after I got through
but I can only do so much.” - DJ Princess Cut
“I was DJing at this club and no one showed up.
The promoter refused to shut it down so I was
stuck DJing for the floor and walls for like two and
a half hours.” – Sam Sneak
“I did this college party at this old warehouse. The
room I was DJing in was on the fourth floor. The
elevator didn’t work so I had to carry 5 crates of
records and my equipment up four flights of stairs.
To top it all off, the floor wasn’t that sturdy so
every time someone stepped too hard my needle
would skip. That was one long night.” – DJ Sir
Swift
and scratching. The Midwest is known for the
party mix with the Techno & House genre. The West
just be straight up clowning on the set and in the
Deep South we rock the Chopped and Screwed, the
heavy bass kick with that signature tick that keeps
yo’ ass on the dance floor.” – DJ Deliyte
“DJs from the South seem more laid back in most
cases, not a lot of screaming on their tapes or
mixshows. In Texas, we like a little more laid back,
slowed up, style of songs as well. Best believe we
know how to get crunk at the right times.” – DJ
Grip
“They really don’t differ. There are just different
styles of DJs – show DJs, entertainer DJs, mixshow
DJs, house DJs, drum and base DJs, the list goes
on. And then there’s your press the button DJs.”
– DJ J-Nice
“For the Midwest especially, Chi-Town plays a
wide spectrum of music. In the south some DJs
play more regional music. In the last two years
we have seen a change in music where radio
mixshows have been the determining factor of
how music should be played in the clubs. I think
the DJ is the trendsetter of what’s hot or not and
most people have lost sight of that factor.” – Jeff
Da Illest
“I think the only difference is the music that’s
played. I play music from all areas. If it’s hot then
I’m playing it. A lot of DJs only play music from
artists that rep their area. I’m an equal opportunity DJ.” – DJ L-Gee
“There’s not really a big difference in styles. Good
DJs play to the crowd wherever they are.” – Mac
Payne
“On the East I know the DJs play songs by the
boroughs, which is pretty hot. They do a lot of
scratching; they also play records according to
BPM. Down in the South it’s different styles all
over. Miami DJs play records pitched up 3.0 and up
and we ride over the music.” – Sam Sneak
How do DJ’s from the South, East Coast,
Midwest and West differ in styles?
“I believe that DJs in the South enjoy playing
strictly Southern music – which is not a bad thing.
The Southern DJ is known for breaking artists
more than any other market. The East coast DJ
puts a little more time and effort into their mixing
abilities and enjoys playing music from all regions
of the country. The Midwest DJ is a different breed
musically. They are very fortunate to fall right in
the middle of the country so their music scope is a
lot broader than any other region. The West coast
DJ is very skilled at the art form of DJing. Many of
the great turntablists like Q Bert, MixMaster Mike,
Babu come from the West coast.” – DJ Shakim
“I can’t really categorize all DJs from a certain
part of the map. All cats have their own unique
swagger. One DJ might do a lot of tricks, where
another DJ is all about his mixing and transitions.”
– DJ Bounz
“DJs in the South are crowd controllers. We like to
talk and interact with the crowd. East coast DJs
don’t really talk; they’re more about scratching
and battling. Southern DJs can get down in the
scratching and battling too though.” – DJ Slym
“I really don’t see that big of a difference other
than DJs playing records from their own region
more often.” – DJ Burn One
“Me being originally from New York and now being
based in Ocala, FL, there is a definite difference.
Southern DJs are more vocal, more crunk, and interact more with the crowd. Up North they interact
with the crowd but they are more laid back and of
course the music selection is different.” – DJ Stilo
“I had to do a holiday party for a corporate bank
and they made me play 50s disco music. I’m me so
I rocked it anyways.” – DJ Slym
“Doin weddings and crap like that. I hate those
type of gigs ‘cause everyone at the party thinks
you’re a human jukebox.” – DJ Teknikz
“As a DJ, you gotta cater to your crowd so you
gotta play what’s hot in your market. Like in West
Palm, if you’re DJing in the clubs, you gotta play
Suave Smooth’s ‘What They Do’.” – DJ Dady Phatts
“The only major difference is the musical composition for that area. The East Coast has the cutting
“I’ve been all over. There’s always different kinds
of DJs. Some scratch more than others or blend
more. Some people just play the hits. Some crowds
love mash-ups. For the most part, I think that
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different areas just have some different hits that
work in their area and not others. One of the keys
to being a great DJ is knowing what’s poppin’
everywhere.” – DJ Suss One
“I don’t think regions really define a DJs style but
I have noticed that West coast DJs are more preservative of the art form. In the South, we support
our own. The East jumps on whatever’s hot and
they wonder why they are still bringing New York
back.” – DJ Teknikz
“I think Southern DJs are more versatile because
we have so many different types of music to pick
from and we never have to leave the South.” – DJ
007
“I’m from the South so our style is unique. We
take chances, not saying that DJs everywhere else
don’t, but we are not afraid to step outside the
box. We will throw that new record in our set in
a packed club. I haven’t seen that many DJs from
other places do that until they hear one of us do
it.” – DJ Blak
“Hip Hop has become real regional. We all play
music that pops in our immediate area. Also, East
Coast DJs tend to move crowds with mic control;
West Coast DJs tend to be real technical with their
scratching and cutting.” – DJ Camilo
“Down South has hype DJs that play the music
fast, as well as DJs that rock playing up tempo,
but not speeding through every record. Only thing
I could say is, for the most part, skills in the clubs
don’t matter anymore. With the exception of a few
DJs, skills are not a factor.” – DJ KD
“For me the difference is the Midwest DJ always
DJs for the women and we blend all our records
95% of the time in the club and radio.” – DJ V-Dub
“East Coast DJs typically mix faster and run
through records quickly. Somebody like a Biz Mark
or Kid Capri can play 8-16 bars of a record and
still keep the party hot. I love that style, but down
South you might have to let the record run a little
longer and do some talking. We have so much
appreciation for the music down here, you gotta
let it breathe. The West Coast is very similar; they
have a great appreciation for the classics so you
can’t play with people’s emotions. The Midwest
has the best of both worlds.” – DJ Who
Have you ever considered quitting the
DJ game? Why did you decide to stay?
“Nah, I’ve never even thought about quitting.
Whether I’m spinnin’ at the crib or at a venue with
lots of folks I still get that rush. It’s just that good
feeling.” – DJ Bounz
“I have considered leaving the DJ game because
it was getting tough on me financially. Also, there
are just so many shady muthafuckers you have
to deal with in this business and it can wear you
down sometimes.” – DJ 007
“I wanted to quit when my grandmother died. She
was the only person at the time who supported
my musical endeavors. So after she left, I wasn’t
very motivated any more. I had a dream where
she came to me and said, ‘You’ve come too far
to quit, so keep going and it will pay off.’ I kept
pushing.” – DJ Blak
“Yes, because music was becoming whack and
people were not respecting real Hip Hop. I stayed
because of Serato. No more lugging crates.” – DJ
Boz
“Never. I stay because this is what I live for, love
and want. Yes, it’s a tough and competitive game
but it’s in my blood. I wouldn’t want to be a doctor, lawyer or accountant.” - DJ Camilo
“Yes. It became stressful, then the money wasn’t
always right. I’m not a quitter and plus I got that
raise I wanted.” – DJ D Lowe
“Yes, because DJs underbid each other. I stayed
because the city needs me.” – Freddy Hydro
“I did because of politics. Sometimes you’re
wrapped up in it without realizing it. Plus, club
promoters are trying to rob you. For any DJ it gets
frustrating, but it’s a learning process.” – DJ KD
“I can’t quit the game because I love it too much.
I have been spinning for almost 30 years. It’s my
life and it’s what I get paid to do.” – DJ Magic Mike
“I thought about quitting during college to focus
on my books but I love what I do. I could not stay
away.” – DJ Trauma
“Of course. Working with bullshit promoters, radio
politics and young DJs fucking up the game made
me wanna say peace out, but I’ll let the Lord tell
me when to stop.” – DJ V-Dub
“Absolutely. The music has changed drastically. I
decided to stay because there are still mature listeners that are open to classics and underground
joints.” – Boolumaster
“Yes. Hurricane Katrina devastated my area along
with my 4 Technics 1200 MK2 turntables, recording
studio and most importantly my 10,000 plus album
collection. I decided to stay ‘cause I got Mississippi on my back.” – DJ Deliyte
“Quitting, no. Evolving and moving on, yes. I’m
currently building my artist management and
marketing firm. I didn’t go to college to just be a
DJ. But I will never quit. It is a part of me.” – DJ
Don Juan
“Yes, at times, but it’s hard to quit something
you’re good at and are successful at. The only
reason I’ve ever really considered quitting the DJ
game is to do original productions, but I decided
making beats can wait.” – DJ Grip
“Yeah, because the money wasn’t coming in as
frequent. Then I got a job DJing and doing Notorious B.I.G. parties back in the days.” – DJ J-Nice
“Yep, once. I had a major motorcycle accident
back in April 2001. I was under hospital care for
ten months. I had to learn how to walk, talk and
function all over. After my accident, I adjusted and
found a way to still DJ.” – KD aka Han D Man
“Yes, I finished grad school a few years ago
and felt that it was time to move on and enter
corporate America. Then I had realized I can take
that education and knowledge and apply to my DJ
career, which I have.” – Mick Boogie
“I semi-retired for a while, but the idea of having
access to thousands of songs at my fingertips reignited my interest in DJing again.” – DJ Nabs
“Yes, because I was spinning at clubs for a bunch
of drunk people who just wanna shake their ass.
I decided to stay because I’m trying to make the
South an international commodity.” – DJ Princess
Cut
“At one time the RIAA sent letters out to a lot of
stores I had CDs in, stating that if they carried
mixtapes they will be fined $250,000. They stopped
carrying the mixtapes. Since I was heavy in the
mixtape game, it set me back a little. But my drive
and love for DJing kept me moving. That’s when
I got into the club scene. I still get down with
mixtapes; don’t get it twisted.” – DJ Sir Swift
“Yeah, because it seemed like all the hard work
I was putting in, I felt that I wasn’t progressing
with it. I later realized that I had my own following which were my Haitians and that I could
become the key DJ for my Zoes and take it to the
next level.” – DJ Slym
“Yeah, because it’s hard to be a family man and
live the life of a DJ. I pretty much decided to stay
because I don’t feel whole without DJing, and my
team always inspires me to keep going.” – DJ Stilo
“Yeah, I did quit for a while but like Pookie in New
Jack City, it just kept calling me.” – DJ Teknikz
What has been the defining moment in
your career?
“Having DJ Toomp tell me he liked and respected
what I’m doing.” – DJ Burn One
“Becoming the official And 1 Mixtape DJ – DJing in
33 cities from the time doors open until the show’s
over.” – DJ Fresh
“When I got the opportunity to leave Baltimore
radio and go on tour with Notorious B.I.G.” – DJ
J-Nice
“I was booked to spin a house set on New Year’s
Eve. I meet this guy that hated house music and
trashed every DJ that played it. So I made a bet
with him that he would respect, appreciate, and
dance for the majority of my set. If he didn’t I
would give him $100. After I was finished with my
one hour set, he came to the DJ booth, apologized,
shook my hand, and asked for my autograph.”
– Jane Dupree
“DJing in front of over 20,000 people in Tampa
at the Last Damn Show. It was the best high you
could ever imagine!” – King JB
“When I was first featured on MTV’s Mixtape Monday. And also being recruited to DJ squads such as
Bum Squad DJz, Hood DJs and Hustle Squad DJs.”
– DJ L-Gee
“Traveling and spinning overseas was dope. Doing
the Jay-Z/Lebron party at All-Star was nice too.”
– Mick Boogie
“My defining moment was DJing in front of 10,000
people.” – DJ 3
“When Pimp C said I was the #1 DJ in the nation.”
– C-Wiz
“Being a part of the biggest Hip Hop station in
the world, Hot 97 in New York. I got 3 shows and
that’s a dream come true.” – DJ Camilo
“When 50 gave me a call and asked me to work
with him. This nigga cuts me checks on time and
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still got me on the team. Thanks, boss.” – DJ Epps
“Getting a slot on 99 Jamz. Radio was always a
dream of mine, so that was big for me.” – DJ KD
“When my first 12” was released and it was successful and also when my first LP went gold and
then platinum. That’s what let me know that my
name was out there and people knew who I was.”
– DJ Magic Mike
“Either touring with Tribe, or doing Nas’s official
mix CDs.” – Statik Selektah
“I think my birthday party this year was it. Big
Daddy Kane and Busta performed.” - DJ Trauma
“A defining moment for me was working on some
projects with Tha Dogg Pound during the Ice Cube
tour.” – DJ Who
“Being on the road traveling city to city, getting
the same response from everyone getting crunk.
Opening up for Murphy Lee in 2002, in Little Rock,
AR with Twisted Black.” – DJ Wildhairr
“Probably my DJ family winning a Justo Award for
Best Mixtape Team.” – Wiz Hoffa
“Earning a Platinum plaque from Chamillionaire
for his debut album.” – DJ Smallz
“Getting my first radio gig on KNON 90.9FM/89.3FM
in Dallas with Big Al and Cassanova Roc – The All
Hearty Def Party Show. R.I.P. Big Al.” – DJ Snake
“I was at a red light and a car next to me was
playing one of my mixtapes.” – DJ Stilo
“Being on a world tour with Mariah Carey – The
Adventures of Mimi Tour.” – DJ Suss One
“My win at the SEAs as the Rookie of the Year.”
– DJ Teknikz
Are there any artists whose music you
won’t play? Why?
“Busta Rhymes, because he’s an asshole.”
– Boolumaster
“No, because everyone deserves an opportunity. I
am a working component of what the people want
to hear. I play the music and let the people decide
if it gets more play on the radio or in the clubs.”
– DJ Deliyte
“No, but I will put a rapper on probation.” – DJ
Fresh
“I don’t have problems with any artists like that
but if you suck, I won’t play your music period.”
– DJ Grip
“Of course, when their music isn’t hot from an audience standpoint. Sometimes I actually play their
music just to show them the crowd’s reaction.”
– DJ Headbussa
“Any artists that attack or threaten any DJ for not
playing their records or playing a record that they
don’t like. That shit is not cool.” – DJ Hella Yella
“Not really, but if your shit is garbage I will not
play it period, no matter how much money you
offer me.” – DJ J-Nice
“I won’t play that Ms. Peachez ‘Fried Chicken’
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song. I would never play that in my life. I think it’s
degrading.” – DJ 3
“I’ll play anybody who makes good music. Fuck
the political shit.” – DJ 007
“Yes, if you disrespect me you’re dropped from the
Eppsclusive play list.” – DJ Epps
played. They are more willing to host mixtapes
and do drops. On the other hand, these big headed
type artists hardly show DJs love unless you’re
one of the top name DJs. And to the artists who
wanna charge DJs for drops and hostings – fuck
y’all greedy bastards. That’s from the heart.” – DJ
L-Gee
“I will play anything thats hot, unless Milli Vanilli
comes back on a Scott Storch beat. Then I won’t
play that.” – DJ Who
“Talib Kweli, Young Buck, Little Brother, and Ray
Cash show love. I’ve never really met a rapper who
was intentionally not showing love to someone to
supports their career.” – Mick Boogie
“Nah, but Weezy lost points after that comment
about DJ Drama.” – Wiz Hoffa
“Chamillionare seems to be a really humble dude
and always acknowledges the DJs.” – DJ Nabs
“I will play anything if it is hot. At one point I
wouldn’t play a Young Buck record due to the
incident with DJ Will but that has blown over.” – DJ
Shakim
“My boys Tumzilla, ESG, Kyle Lee, and Kottonmouth
always hold me down. There are always some
people who think they are too nice, but I don’t
need them. I focus on cats out there grinding.”
– DJ Princess Cut
“No, not really. If it’s jamming then as a DJ, I have
to play it, especially if it’s a club banger. I have
to give my audience what they want. I can’t and
won’t get personal unless that particular artist
does or says something about me or something
that I represent. Then it’s fuck ‘em.” – DJ Slym
Who shows the most love to DJs, and
who shows the least love to DJs?
“Ludacris shows the most love to DJs and he deserves everything that is happening in his career.
Busta shows the least love and he also deserves
everything that’s happening in his career.”
– Boolumaster
“Right now Mims show DJs a lot of love and Foxy
Brown is an artist that shows no love.” – DJ Dady
Phatts
“KRS-1 shows the most love. A large majority of
the new generation of artists have disregarded the
need of the DJ. If the DJ is not rocking your music
in the club and you have no radio play, who’s
going to hear your music? Hot DJs break hot shit.”
DJ Deliyte
“Buck, Nakia Shine and Grandaddy Souf have
shown the most love. There hasn’t been a least
to me. Everyone else acts about the same.” – DJ
Don Juan
“Paul Wall, Chamillionare, Lil Webbie and Don P
show the most love. Mike Jones and Ludacris show
the least love.” – DJ Fresh
“Young Buck and Nakia Shine show love.” – DJ Rob
Storm
“There are several artists who show a lot of love
to the DJs like Jermaine Dupri, Ludacris, David
Banner, Lil Jon and Nas, just to name a few. Most
artists realize that DJs are the backbone of the
music industry and if one DJ puts the word out
that an artist acts crazy to a DJ, it’s over.” – DJ
Shakim
“David Banner shows the most love. I haven’t
really ran into any artist that doesn’t show DJs
love.” – DJ Sir Swift
“A lot of artists front like they love DJs so much so
we can play their records. I’m pretty sure there’s
some genuine artists out there who do show a lot
of love to DJs, but until I meet ‘em and feel that
vibe, I cant answer that question.” – DJ Slym
“The artist that shows the most love to DJs has
got to be David Banner. He never forgets the DJs
that helped and continue to help his career. He
used to pick up my calls when I was just getting
into the game. I’ll never forget that about him.”
– DJ Smallz
“Southern artists show a lot of love. Northern artists tend to be more arrogant.” – DJ Stilo
“A lot of ‘em show love; I just can’t name one. I
don’t think it’s really the artists that don’t show
love; it’s normally the people on their team
– homo managers and shit.” – DJ Teknikz
“A lot of major artists show more love to the DJs
than locals. Some local artists I’ve come in contact
with pretty much use the DJ to get on the radio or
get some local fame. Once that happens, they drop
ya like a hot potato.” – DJ Headbussa
“I think Chamillionaire shows the most love to DJs.
He fucks with everybody.” – DJ 007
“Kiotti, Spark Dawg, and Paul Wall show love. It’s
a few artists that are assholes but I’m not gonna
call any names.” – DJ Hella Yella
“T.I. shows the most love. I don’t know who
shows the least. Whoever they are, they need to
understand that the DJ is the cornerstone of Hip
Hop.” – DJ Boz
“Paul Wall to me shows DJs a lot of love and
Marques Houston doesn’t show a lot of love to
DJs.” – DJ J Hustle
“Artists show love to DJs when they are trying to
get on but when they get on they change, until
they have another album coming out.” – DJ J-Nice
“I won’t say any names but I’ll put it like this: up
and coming artists tend to show the most love to
DJs because they need us and they need their shit
“Lil Scrappy, Yung Joc and DJ Quik show the most
love. Ciara shows the least love.” – DJ Blak
“Three 6 Mafia, Project Pat, all the Hypnotize Mindz
family, Pimp C, Bun B, Boosie, Webbie, Lil Jon, T.I.,
Dro, Big Kuntry, and 8Ball & MJG all show love. I
don’t know any that don’t show love.” – C-Wiz
“All artists show love before they get a deal.”
– Freddy Hydro
“Pitbull, Lil Jon, David Banner, Swizz Beatz, and
Wyclef, just to name a few.” – DJ KD
dj issue
“Mobb Deep always showed a lot of love. I can’t
name all the ones that don’t.” Statik Selektah
“I think Ludacris shows mad love to DJs, probably
because he was a radio personality. He knows our
struggle.” – DJ Trauma
“So far, Young Jeezy has shown the most love.
Busta Rhymes has been the worst.” – DJ V-Dub
“MP3 it to me or give me a CD to listen to. If it’s
decent I will probably drop it. The worst thing to
do is harass me while I’m DJing.” – King JB
“The best way is to approach me or contact me in
a fashionable manner. I hate getting messages on
Myspace from artists claiming to be the hottest
rapper from such and such.” – DJ L-Gee
“Yung Joc, and the least goes to Lil Wayne for
dissing DJ Drama and not having the man’s back
while he is in need for supporters.” – DJ Wildhairr
“Come correct. Some cats watch too much TV and
they forget that this is a business. I hate when
cats are uneducated about their craft.” – Mac
Payne
“Paul Wall has a reputation for showing mad love
and hosting mixtapes for DJs who are not particularly huge. On the other hand, I’ve never heard a
mixtape hosted by Jay-Z. Even Diddy has hosted
his share of mixtapes.” – Wiz Hoffa
“Do not Myspace me. I get like hundreds of emails
a day saying, ‘CHECK OUT MY PAGE,’ and then it’s a
picture of some dude with his shirt off and some
low-res music file and a whole bunch of words
spelled wrong.” – Mick Boogie
What’s the best way for an aspiring artist to get you to play their music? And
what’s the worst way?
“Develop a relationship with me by supporting
my events and quietly dropping your music in my
hand. If it’s good then I will remember you. The
worst way is trying to have a discussion with me
in the middle of my set. That’s an absolute nono.” – DJ Nabs
“First, the shit has to be hot! You can see an aspiring artist’s grind; if the joint’s hot, I’ll bless ‘em.
Bugging me is the worst way; your shit will never
get played. This includes record reps.” – Boolumaster
“The best way is by introducing themselves. Next
they can either hand or email me their music.”
– DJ Bounz
“The best way is email it to me at burnonemp3@
gmail.com or give me a CD when I’m out. The
worst way is calling me.” – DJ Burn One
“The best way is to try to build a relationship with
me. The worst way is to offer me money like I’m
some prostitute.” – DJ Dady Phatts
“The best way is to already have it buzzing in the
streets. There should be at least 5 or 6 people
asking for your song that night. The worst is to try
to talk my head off at the party or get mad.” – DJ
Don Juan
“If I think it’s hot, I will play it early in the night
of the club. The worst thing that an artist can do is
beg me to play their song consistently and bring a
CD that is not professionally made.” – DJ Freeze
“Get it to me in time for me to listen to it outside
of the club scene. The worst way is give it to me
at the heat of the party and be like, ‘Play my hit,
play my hit, now, now, now!’” – DJ Fresh
“Present themselves right, press a single that
really embodies your style so I can follow without
having to search through a whole album or mixtape, and no matter the situation you gotta keep it
trill.” – DJ Princess Cut
“The best way is to have your music mixed properly and know it’s bumping. The worst way is to
come at me with disrespect and not be willing to
be criticized.” – Sam Sneak
“The best way to get new music played is not
to pressure the DJ into playing your song. If he
comes across as a straight up dude, most DJs will
give his music a listen. The worst way to approach
a DJ is trying to talk a DJ into playing a song when
the DJ has never heard the record.” – DJ Shakim
“Cash is always good. I think artists should build
better relationships with the DJ and also grind
hard to make the DJ take notice of you. The worst
way is coming to the club waiting until I’m in the
middle of my crunk set and demand that I play
your record.” – DJ Sir Swift
“Email it to me at djslymorlando@gmail.com.
Build a relationship with me to where I know you
by face and name. The worst way is threatening
me at the club. I haven’t had a threat personally,
but I have heard about artists doing that.” – DJ
Slym
“Be as professional as possible. Don’t hand me a
CD with no label or contact info. Don’t hand me
unmastered material that was recorded in your
bathroom. Don’t hand me bullshit. Take pride in
what you do.” – DJ Grip
“Hit me on www.myspace.com/southernsmoke. I
read and answer all my emails.” – DJ Smallz
“Be persistent, but not annoying. Build one-onone relationships with DJs. We are all normal
people.” – DJ Headbussa
“Build relationships; talk to me; don’t tell me you
got the hottest stuff in town. Everyone in the city
has told me that. The worst way is handing me a
CD and telling me to check it out, or sending me
one of those generic ass Myspace messages.” – DJ
Spinz
“I listen to everything I receive. I give feedback if
I think it has potential. The worst way is to send
me a Myspace link or ask me in the DJ booth. I will
never play your song if you bring to me while I’m
spinning.” – Jane Dupree
“Submit it by mail or MP3. I hate when artists give
me music when I’m DJing at clubs or a function. I
always misplace the CD.” – KD aka Han D Man
“Just ask. If I like it, I’ll play it; if I don’t, I won’t
– simple as that.” – DJ Snake
“Be humble. If you’re overconfident or arrogant, it
makes me not want to deal with you.” – DJ Stilo
“Approach me in a humble way and I’ll check out
the music. The worst way is to not be humble and
continue to stalk me.” – DJ Suss One
“Just have a grind about yourself; be professional
and of course have hot music. The worst way is to
do what 99% of artists do – hit me on Myspace
with bathroom-recorded tracks and expect to pay
your way to getting played.” – DJ Teknikz
“The best way is to sit down with me and let me
hear the music and tell me the direction they’re
trying to go with it. The worst way is telling me
they’re the hottest shit in the streets when I ain’t
never heard of ‘em, and then the song is wack.”
– DJ 3
“The best way for an artist to get my attention is
to work hard and make good music that’s able to
compete on a national level, not just local. The
worst way is to approach me while I’m DJing at a
club and bombard me with some shit that’s totally
unfamiliar to me.” – DJ 007
“The best way is to have dope music. The music
has to be worth something. The worst way is to
come up to me in the club and ask me to play your
shit without money in your hand.” – DJ Boz
“Ask me not at the club while I’m spinning but if
you see me out at the mall or the gym – holla at
me. I’m a person just like you. The worst way is
payola.” – DJ D Lowe
“The best way is to make an appointment. The
worst is standing over me at the club talking in
my ear about your shit.” – Freddy Hydro
“The best way is to make a phone call and talk
about it. I’m easy when it comes to playing music.
The worst way is to try to give it to me when I am
already spinning and tell me that it’s the shit to
get me to play it and then harass me 20 minutes
later when I haven’t played it.” – DJ Magic Mike
“Just approach me the right way and remember
that I get new music 24/7, in every way possible.
There’s a big chance I might not get to it, but
if you got a buzz or I hear something I like, I’m
gonna find out where it came from.” – DJ M.O.E.
“Have it put in my hands by a reputable source.
Don’t hit me on Myspace!” – Statik Selektah
“The best way is to send one song in an email,
with a bio and drop to gothicent@gmail.com.
The worst way is to hand me an unmarked
Memorex CD from Wal-Mart with no contact info.”
– DJ Who
“Just send it to me. If I like it, I’ll play it. A lot of
DJs complain about spam from unsigned artists,
but I’d rather you spam me then run up on me in a
restaurant.” – Wiz Hoffa
How has the recent RIAA crackdown on
DJ Drama affected the mixtape game?
“It slowed it down in a way, but out here in Texas,
people have been living off of mixtapes for a long
time now. The mom and pop stores, flea markets,
and streets are all still alive and well. There will
always be a market for mixtapes, so this situation
is just a setback. You learn from it, and move on.”
– DJ Bounz
“Less retailers are selling the CDs. People are still
buying them but they are having to look harder
than usual to find them.” – DJ Burn One
“It may have slowed down some mixtape projects
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from more well-known DJs like Drama, but on the
underground scene with the other thousands of
DJs in their respective cities, I don’t think it has
hurt them at all.” – DJ Don Juan
“It has affected the game on a national level. The
streets love mixtapes because of the exclusive
music. We as DJs try to get those hot joints to give
to the public the best way we can.” – DJ Freeze
“It’s definitely made everyone in the industry
reevaluate their promotions and making money
options. I think it’s for the better in some cases,
because there’s a lot of shitty DJs and mixtapes
and this will help weed out some of the pretenders.” – DJ Grip
“I think it is going to help the mixtape game in
the long run because it is going to cause DJs to
have to tighten it up and become more legit with
their mixtapes.” – DJ Hella Yella
“It hurts the game bad. That just wasn’t right. Stop
snitching.” – DJ J Hustle
“It depends on the final verdict. If they make an
example of them dudes, then it’s going to be
hard.” – DJ J-Nice
“The majority of my mixtapes are so underground
the RIAA could care less.” – Jane Dupree
“It’s still a number of places that support mixtapes
but the major outlets are wearing panties right
now. It was really crazy here in the A for a good
month but it’s coming back to the norm now. I’m
sure Drama will come out of this bigger then ever
after it’s all over.” – KD aka Han D Man
“People are scared now. I’m not really into the
mixtape game, but I think it’s fucked up what they
are doing to Drama.” – King JB
“The only difference I really see is some mixtape
websites either shut down or they stopped selling
mixtapes. Hopefully that will change in the near
future.” – DJ L-Gee
“I think it’s gonna bring some regulation and rules
to the game, but hopefully things can result in
a positive, mutually beneficial way for everyone
involved moving forward.” – Mick Boogie
“DJs are now aware that they too can become
victims of an industry that will build you up and
tear you down. This is a business that thrives on
residual income and unless we become more business savvy, we will need to do more than hustle
mixtapes to be successful in the long run.” – DJ
Nabs
“It’s harder to fuck with artists who are signed
now. If you don’t own the rights to your music you
don’t have the authority to spit something for me
unless I pay your label big paper.” – DJ Princess
Cut
“It’s affected it big time. I know some DJs personally who are big in the mixtape game and are
afraid of dropping their next mixtape. Drama, keep
your head up pimpin’.” – Sam Sneak
“The RIAA needs to understand that DJs are not
fucking up the game; technology is. We help Hip
Hop by promoting artists and getting shit heard
in some markets where radio don’t play a lot of
new stuff. The mixtape game will never stop.” – DJ
Sir Swift
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“Not in a damn way. We will still put out mixtapes
as long as there is music to listen to. They just
pissed us off to the point that now instead of
dropping one or two mixtapes a month, we doing
five. Do ya thang Drama.” – DJ Slym
“It has changed the mixtape industry tremendously. Mixtape production has slowed down. I
see a lot of DJs posting free downloads online.”
– DJ Spinz
“It’s eliminated a lot of overnight DJs but the
grind continues. Drama, keep your head up and
get back in the game so I can take the crown fair
and square.” – DJ Teknikz
“A lot of stores out of state are scared to put my
CDs in their stores. They think they’re gonna get
busted. They’re scared to hold them.” – DJ 3
“It fucked it up because the mixtape is what
brought a lot of artists to the mainstream. It kills
up and coming artists that use the mixtape circuit
to promote.” – DJ Boz
“It’s terrible. They put a fear to them mixtape
DJs. For years we break these artists for these
record companies and now they want to pull some
bullshit like this. If it weren’t for mixtapes, artists
like 50 Cent would not be who they are now.” – DJ
Camilo
“I don’t think it affected it too much. I know cats
was nervous thugh. It all depends on where you
are and what the state law is. You just have to do
research. I still think it’s wack overall for tapes to
be illegal.” – DJ KD
“It didn’t affect me because I haven’t done any
mixtapes yet. I just thought about it ‘cause I know
DJ Drama and he is a cool mofo and I know he
didn’t need that stress.” – DJ Magic Mike
“I think it affected Drama but not the game. It’s
like the drug game – the demand is too great.
There is always going to be someone to slang
mixtapes. I think it will be more secretive but it
will still go on.” – DJ Trauma
“It only sent it back into the shadows. Cats aren’t
being as blatant with their promotions. Only the
more high profile DJs are changing their promotional tactics because of this incident. The lesser
known DJs are continuing business as usual.” – DJ
Unity
Are there any circumstances where a DJ
should get involved with artists beef?
“Hell no! It’s entertainment. Just make sure you
play both artist’s responses and stay neutral.”
– Boolumaster
“Never that. A good DJ plays good music. I’m not
going to stop keeping a hot record in rotation
over some beef. That’s like me not getting my
playa taper fade from my barber because he’s
messing around wit my homies’ ex-chick u know?
Ain’t my beef.” – DJ Bounz
“Only if you’re affiliated with the artist that’s in
the beef. Otherwise you’re just looking for attention.” – DJ Burn One
“Yes, if you’re running with that artist. Like with
me, Buck is my homie. You got beef with him,
you got beef with me. He believes in me and is
helping my career so I gotta protect that in all
ways because that’s family. I pray for everyone
including my enemies but don’t touch my family.”
– DJ Don Juan
“Yes, to help them resolve the problem.” – DJ
Fresh
“I think a DJ is allowed to ride with his or her
group to the fullest if they choose. Obviously
mixtapes are the best way to air your beef with
someone and these days you gotta have a DJ to
put out a mixtape so it makes sense for a DJ to get
involved.” - DJ Grip
“Only if you are really close to the artist on a
personal level.” – DJ Hella Yella
“Yes, on a positive note to end beefs and bring the
Hip Hop community together as a whole.” – Jeff
Da Illest
“No. We don’t need to beef with artists unless they
beefing with us. There’s too much politricks in
this game. Now if the artist says your name and is
disrespecting you, then go for it.” – DJ L-Gee
“Maybe, if someone says your name, but for the
most part I think DJs should stay behind the
tables and not get involved in silly ass beefs.”
– Mac Payne
“Maybe if you DJ for that artist And you were
mentioned in a song. I don’t know. It’s a lot of
senseless rap beefs that are made to sell records. I
just play records.” – Mick Boogie
“Speaking for myself, I think that it boils down to
your personal relationship with the artist.” – DJ
Nabs
“No even if it’s your artist. When you get into the
beef that makes you take sides and someone’s
always going to lose in that situation.” – DJ Rob
Storm
“It depends. If you’re the artist’s DJ, then yeah.
But if that’s just your favorite artist, then no.”
– Sam Sneak
“If the artist that’s in the beef and the DJ are that
close than yeah, you gotta hold it down for your
boy. But we are DJs; we play music and we should
just leave it at that.” – DJ Slym
“Mind your fuckin’ biz unless you’re trying to make
shit better.” – DJ Snake
“No, we are DJs; we are the middle man between
the artists and the streets. We play it all and let
the people decide who got shitted on. Beef is
wack anyway so I’d rather not play any of it.” – DJ
Teknikz
“I never get involved in artists’ beef unless I’m
attached to that artist and my name comes up in
some bullshit. Then it’s a problem.” – DJ 007
“Nope unless you’ve been provoked like I was. It’s
not a DJs battle but a DJ should respect his boss or
anybody else don’t play his enemies music in front
of them.” – DJ Epps
“Only if the artist and DJ are best friends or if the
beef is between the group and another group.
Most DJs I know, including me, don’t want any
beef. They just do what they do and keep it moving.” – DJ Magic Mike
dj issue
“If I got a personal relationship with somebody,
I’m riding until the wheels fall off.” – DJ M.O.E.
“If you and that artist have a real friendship
outside of the business then yeah, you have no
choice but to be involved. Other than that, if your
relationship is strictly business, then I would say
no you shouldn’t get involved.” – DJ Unity
Name at least 2 records you’ve broken
and explain how you can claim credit
for breaking them.
“‘Step In the Name Of Love’ by R. Kelly. When the
bootleg of Chocolate Factory hit the streets, the
original stood out. It was unmixed and unmastered, but I played the shit anyway. After that
happened, cease and desist letters came but it
was too late. The phone lines blew up at every
station in Chicago forcing Jive to move quickly to
get Kels’ joint finished. Also, Lupe Fiasco. He had
his underground following but I exposed him to
my commercial audience. No other radio mixshow
cat in Chicago would fuck with him until I started
playing his heat.” – Boolumaster
“‘Still Tippin’ – I got Paul Wall to host my Gorilla N
Da Trunk 4. It was just starting to move out from
Texas at the time and he gave out his number
on the CD. Young Dro’s ‘Shoulder Lean’ - It was
already starting to bubble in Atlanta at the time
but when the CD I did with him dropped, his buzz
went through the roof.” – DJ Burn One
“Mims’ ‘This is Why I’m Hot’ and Rick Ross’ ‘Hustlin’. With Mims, I got the record from DJ Blackout
who works with me at the station and he produced
the record so I wanted to help him out. With Rick
Ross, we were always good people so he came to
my local love show and brought ‘Hustlin’. I had to
play that record like four times.” – DJ Dady Phatts
“I’ve broken plenty of records in my region from
outside artists. As far as local artists in Austin, I
was mainly responsible for breaking Hood Soul’s
record ‘Down In Austin Texas’ and Basswood Lane’s
‘Thug Pimpin’.” – DJ Grip
“I was on Crime Mob’s ‘Rock Yo Hips’ early. I forced
it on people until they liked it. I also played a big
hand in breaking Casino’s ‘Game Time’. I would
play it on campus, at all the college parties and at
all the basketball games.” – DJ Hella Yella
“I know I was the first down this way to rock the
Mims joint ‘This Is Why I’m Hot’ back in May 2006.
Next thing I know it was all over the place. I was
also the first to get behind Crime Mob’s ‘Rock Ya
Hips.’” – KD aka Han D Man
“Mims’ ‘This is Why I’m Hot’. He brought me the
song fresh out of the studio and I was the first to
play it on the air on Wild 98.7. I knew it was a hit
from the go. I also think I helped break Acafool’s
‘Hatablockas’ record.” – King JB
“‘You’ by Lloyd. My partner Stix Malone and I
played this record on the air, in the skating rinks
and in the clubs for months in Atlanta. Lloyd
thanked me personally for being the only one to
play this record in the beginning.” – DJ Nabs
“Trae’s ‘In Da Hood’ and Tum Tum’s ‘Caprice Music’
are doing good in Japan with the help of Bout to
Blow Vol. 2 hosted by Trae and Tum. I want Japan
to feel this Texas movement.” – DJ Princess Cut
“I played a part in Rick Ross’ “Hustlin”, as well
as Dre’s ‘Chevy Ridin High’. I was the main DJ at
Diamonds and I used to abuse those records in
there, along with DJ Khaled’s ‘Holla at me’. I’m
known for breaking records, that’s what I do.”
– Sam Sneak
“Radio is real crooked but there are some good
people in good places. The only thing I don’t like
is someone telling my PD what to play, in South
Florida, when he lives in a different state.” – DJ
Dady Phatts
“The two most recent songs I have broken are ‘I
Got Money’ by Stix feat. Young Buck and Hi-C and
‘Pop, Lock, & Drop It’ by Huey. I was the first DJ
in the city to play these songs at the club and on
mixtapes.” – DJ Sir Swift
“I’ve never experienced anything too crooked or
corrupt. Artists have to understand the process
and politics of getting your music played on the
radio and they have to exercise that process to the
fullest or else they don’t stand a chance, no matter how good their song is.” – DJ Grip
“Mims’ ‘This Is Why I’m Hot’. This was on my
Southern Swagger Vol. 3 tape which was released
in early October. At this time no one had placed
this song on a mixtape, that I saw, and I played it
in every club I DJed in and got a good response.
Plies Ft. Akon ‘I Wanna’ was the same thing, except
it was on Southern Swagger Vol. 2 which was
released in July.” – DJ Spinz
“A lot of people don’t know this, but I was the
first DJ to break 50 Cent’s ‘How to Rob’ record. I
wasn’t supposed to have it, but I did. I also broke
Cassidy’s ‘I’m a Hustla’. When I was on radio in
Connecticut, I had it first and was killing it.” – DJ
Suss One
“Joc’s ‘It’s Goin Down’ and Ciara’s ‘Goodies’. I was
one of the DJs with these records fresh out of the
studio. I had them banging in the club while everybody was asking who they were and how could
they get it.” – DJ Blak
“I broke ‘Dutty Wind’ in Club Bada Bing. There were
two girls called Attitude Girls that knew the dance
and they helped the whole club learn it. I played
T.I.’s ‘Bring ‘Em Out’ 20 times in one night because
it was so dope.” – DJ Boz
“‘Rap Will Never Die’ by M.C. Shy D and ‘Ghetto
Jump’ by Krush 2. Back when these songs came
out, Miami music was not known in Orlando yet
nor was Hip Hop big in Orlando at the time. I had
the only mixshow on the radio and I played in
some of the biggest clubs in Orlando so I could
let people know what was going on with music
outside of our area.” – DJ Magic Mike
“I only claim credit for these records because at
the time I was playing them, as far as I know, no
one else was playing them. Back in the day it was
Luniz ‘I Got Five On It’. This record came straight
out the record pool box and onto the turntables,
literally. I immediately played it that night and
haven’t stopped since. More recently was Ebony
Eyez ‘In Ya Face.’ I still get requests for it from
time to time from the ladies.” – DJ Unity
“Bump J ‘Move Around’ and Nas ‘Oochie Wally’.
I took both of these records and played them
everywhere I spun. In order to break a record, you
have to play it every time you spin. I even played
them at a wedding reception. I really believed in
the records.” – DJ V-Dub
“I don’t personally believe one DJ can break a
record. A DJ can introduce a record but it still
takes a movement of other DJs to break a record.”
– Wiz Hoffa
Is radio as crooked and corrupt as
people make it out to be?
“I believe so but only to a certain extent. Payola,
relationships, barter. That stuff goes on in radio as
it does in other industries. I mean, that’s just what
it is.” – DJ Bounz
“Nope, radio is all business and supply and
demand. Artists need to study their demographic.
Just because Tampa is Jook City doesn’t mean you
have to have a jook record; you gotta be yourself
and create something for the masses to feel.” – DJ
Headbussa
“Radio is supposed to be a music listener’s best
friend, not worst enemy. Unfortunately, radio and
music are suffering due to conglomerate ownership. They have homogenized the whole format so
we all hear basically the same thing. Where’s the
creativity in that? This has become an investand-return operation for people who don’t even
listen to our music and could care less about our
culture.” – DJ Don Juan
“People make it out to be corrupt but it is a system that gets the bills paid.” – DJ Hella Yella
“I don’t know. ‘Corrupt and crooked’ is a lil harsh.
It’s more or less who you know. That’s in every
business.” – DJ J-Nice
“Yes, it’s very corrupt. How many DJs do you know
that would play the same 20 songs over and over
without getting paid? You have to be paid to be
tortured like that everyday.” – Jane Dupree
“Not at all, at least not the one I work for. People
get the wrong impression of radio.” – King JB
“I don’t think it’s so bad besides the payola situation. But I do think radio stations need to hire
more mixtape DJs. We are the streets. We know
what the audience wants to hear.” – DJ L-Gee
“Not with the FCC hawking everybody. It’s cleaner
than ever.” – Mac Payne
“That’s what I hear. I prefer to be able to spin
whatever I feel like, cuss words and all, the
screwed version at that.” – DJ Princess Cut
”Not really. There are just some PDs who are pricks
who weren’t shit in high school but now have
power and they abuse it, in my opinion. Other than
that, it’s pretty cool to me.” –Sam Sneak
“I don’t think radio is crooked; some people in
radio are crooked and they give the entire radio
community a black eye. The one thing I would
change is there should not be a playlist for mixers.
Give the DJs a little more freedom to do what they
do best.” – DJ Shakim
“I’ve been on underground radio since I was 14
years old. I tried working at a corporate radio station and it wasn’t nothing like what I was used to.
All I can say is we have fun on our station. We are
not controlled by a group of super rich folks that
control everything we play.” – DJ Slym
“Nah. You just gotta understand the business.
Some people in the radio business are crooked
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and corrupt, but I deal with the radio and I see the
business part of it, too.” – DJ 3
“I use Pro-Tools to record all my mixtapes.” – DJ
Sir Swift
“Radio is worse than Congress.” – DJ Who
“Serato changed my life. It’s the greatest tool ever
for a DJ. Any DJs that aren’t up on Serato, step ya
game up.” – DJ Suss One
“It’s just like everything else in corporate America.
I don’t know if that’s a good or bad thing.” – Wiz
Hoffa
“Every business is the same. Politics, relationships,
talent and money. Deal with it or be broke.” – DJ
Suss One
How do you use technology as a DJ?
“Technology is everything. Vinyl used to be a new
technology back in the day. Now with Serato and
the Internet, artists and DJs are able to exchange
project files with ease.” – DJ Bounz
“The MP3 game has helped me a lot with keeping
my music selection fresh and new. I hit up DigiWaxx and New Music Server all the time to get the
new shit.” – DJ Dady Phatts
“As a DJ that loves to engineer electrical components that transmit audio and visual, I get down
with it. From the 1200’s, to Pioneer CD-J 1000,
mixed with CPU processing and anything else in
between that will assist me in rocking a set.” – DJ
Deliyte
“I’m a little old fashioned. I still don’t have the
Serato program and I barely use CDs. I still carry
my crates. However the Instant Replay machine I
use when I’m on the road with Buck is definitely a
wonderful piece of technology because it allows
me to travel light.” – DJ Don Juan
“Emails blasts are big with me. I get daily emails
with new music. I also share new music or mixes
I’ve created. It’s cost efficient; I can upload a
whole mixtape and sell them on the internet. I
save money by not paying hundreds of dollars on
CD’s, cases, etc.” – DJ Headbussa
”MP3s might be the best thing to happen to the
DJ since tempo control. You can have any song
emailed or downloaded in a matter of seconds.”
– DJ Hella Yella
“I use Serato. I’ve been through the hard times of
carrying 8 flight cases up spiral staircases. These
new DJs didn’t have to go through that; they just
hook up to a laptop and that’s it. Being able to
benefit from Serato is a blessing. It still doesn’t
make you a good DJ though.” – DJ J-Nice
“Serato. Need I say more?” – King JB
“Serato is a good look and a 360 Shortcut, but
don’t go crazy with the effects. I like to let the
music play.” – Mac Payne
“I use a Mac laptop, Serato. I do mixes on Adobe
Audition. I can’t travel anywhere without my USB
drive.” – Mick Boogie
“I use my laptop from time to time. Mainly I use
CDs. I love to interact with the whole moving back
and forth from CD players to CD books. It gets me
crunk for some odd reason.” – Sam Sneak
“I’ve just switched over to Serato and it is a lifesaver. I used to carry six or seven crates of records
to the club or to the airport. Now I can bring a
backpack and carry as many crates as I want in my
back pocket.” – DJ Shakim
92 // OZONE MAG
“I use Rane and Serato. Those are the dopest
inventions since pussy. Word up.” – DJ Boz
“Technology has taken over the DJ game by storm.
I fuck with Serato now. I still use two pieces of
vinyl, but we play off the laptop.” – DJ Camilo
“Serato and other software programs have made
it a lot easier, but I like keeping it real with two
turntables and a mic.” – DJ D Lowe
“I use MP3s and CDX CD turntables mostly. I’m
not quite sold on Serato. Using high bitrate MP3s
allows me to carry a much smaller crate and play
new music much faster. I also recently started
using automated software to calculate and tag my
song BPMs. I still beat match by ear but the BPM
tags keep my music more organized. I email new
MP3s, too.” – DJ Who
“Technology never ceases to amaze me. I just
roll with the punches. Coming from the days of 4
tracks and 8 second samplers, this new generation has it a lot easier than we did. Over the years
I have just adapted. As long as I still have my
creativity, I’m good.” – Wiz Hoffa
Do you drink while you spin and if so,
what’s your drink of choice? Do you mix
better drunk or sober?
“I drink Grey Goose & Cranberry. I don’t like to be
stone drunk but the Goose allows me to do shit
that I wouldn’t do sober. Kids, say no!” – Boolumaster
“I might have a sip or two while I spin. When I
hit the spot kinda tired, I’m on that Red Bull and
Vodka but when I’m thirsty it’s about those Long
Islands. I wouldn’t say I spin better while drinking
but I may get in my zone a bit faster.” – DJ Bounz
“I like Cranberry & Vodka but I don’t drink anymore. I got so drunk that I couldn’t DJ the rest of
the night. It almost caused me to lose my job.”
– DJ Headbussa
“I drink when I spin sometimes, but mostly it’s just
Cranberry and Red Bull. When I get on the Red Bull
it hypes me up. I think I still mix the same but I
have more fun and get more interactive with the
crowd.” – DJ Hella Yella
“Yes. I drink Grey Goose. Either or drunk or sober it
doesn’t matter.” – DJ J Hustle
“I drink Grey Goose and cranberry and Corona. I DJ
better when I’m drunk.” – DJ J-Nice
“I spin better with a lil extra juice but I try to keep
it professional. I’m sure you wouldn’t want to do
business with somebody drunk.” – Jane Dupree
“I’m not a drinker. Water is my drink of choice.”
– Jeff Da Illest
“When I’m doing a gig I prefer Crown and Coke or
straight Hennessy. I do not get drunk but I believe
I attempt more things when I have a little alcohol
in my system.” KD aka Han D Man
“Vanilla Vodka and Coke. I’m pretty dope either
way.” – King JB
“Hell yea I drink when I spin. My drink of choice
is Henny and Coke. I tend to mix better live when
I’m drunk. It takes a lot of the pressure off.” – DJ
L-Gee
“I ain’t turning down nothing but my collar, but
I will take a vodka and cranberry please.” – Mac
Payne
“I barely drink at all. Mix me some Redbull and
orange juice though, and I’m good all night.”
– Mick Boogie
“Yes. 211. Either way I’m good.” – DJ Burn One
“Yeah, I drink and it has to be some Henn and
Coke or Crown and Coke. I do mix better when I’m
buzzing. That’s how I got my first radio gig. I was
drinking at the club in Nashville and the PD of a
radio station was digging my style so he hired me
for his station.” – DJ Rob Storm
“I do drink but I don’t get drunk. I like to get a
nice buzz. My choice of drink is Grand Marnier and
Coke. I mix the same drunk or sober.” – DJ Dady
Phatts
“Yes, I drink Patron, Bacardi 151 or Hypnotic with
Malibu and pineapple mixed together. It doesn’t
enhance my performance much, other than me
talking a lot more shit.” – Sam Sneak
“Yes, I drink Swamp Juice. The only place to find
it is in Bay St. Louis, MS. I come ready to rock the
party whether I’m drunk or sober.” – DJ Deliyte
“I do not drink, nor do I smoke. Strictly water.”
– DJ Shakim
“I just recently quit doing everything. I never was
a big drinker but I was never sober at parties and
I’ll leave it at that. The thing that we all need to
recognize is we have one body and we need to
take care of it as well as we can. I honestly feel I
mix better sober.” – DJ Don Juan
“Yes, I always drink Jack Daniels. I mix better
drunk.” – DJ Freeze
“Yes. I mix better sober but my overall show is
better if I’m sauced.” – DJ Fresh
“I love drinking while spinning at the club. If I
can’t sneak my own white cup with something
muddy in it, then I’ll take a Corona with a shot of
Patron.” – DJ Grip
“I be on that Hen dog when I’m DJing. I think I DJ
about the same drunk and sober. I used to think I
DJed better a lil tipsy but I was probably feeling it
more cause I had been drinking.” – DJ Sir Swift
“No, I don’t drink when I’m jamming. I’m not the
best at my craft when I’m drunk so I keep drinks
far away when I’m in the booth.” – DJ Slym
“I gotta drink to get crunk. Crown and Coke or a
couple shots of Patron do it for me.” – DJ Smallz
“I drink Grey Goose and soda, maybe a couple of
shots. From the response of the crowd, I think
they like me a little tipsy. I tend to play old school
a lil bit more.” – DJ Snake
“I can’t tell you because I’m underage.” – DJ Spinz
dj issue
“Not all the time but when I do, I drink Hen and
Coke; it hits the spot. I guess I’m better when I
drink. It makes me more confident.” – DJ Stilo
“I don’t drink.” – DJ Suss One
“I drink Corona mixed with grenadine syrup. That’s
my crunk juice. Lil Jon owes me for that plug.”
– DJ Teknikz
“Yes, I drink Tanqueray when I spin.” – DJ 3
“Yes, I drink when I spin at the clubs. It relaxes
me and takes away any inhibitions I might have.”
– DJ 007
“No, I don’t drink at all.” – DJ Blak
“I mix better drunk. I’m a drunk master. I drink
Long Islands.” – DJ Boz
“Yes, I drink Grey Goose. It doesn’t matter if I’m
drunk or sober.” – C-Wiz
“I never drink to get drunk but I always have a
drink. I always hit that Grey Goose. I mix better
sober. I always like to be in control.” – DJ Camilo
“Sometimes I drink Grey Goose. I can’t really tell
the difference if I spin better drunk or sober.” – DJ
D Lowe
“Yes, I drink Hennessy. I mix when I’m nice, not
drunk.” – DJ Epps
“Black Label, Moet and buds. I’m a master of my
craft either way.” – Freddy Hydro
“Since I’m only 17, I’ll keep it clean and say I don’t
even drink.” – DJ M.O.E.
“I like to be buzzed but it don’t matter. I drink
Henny and Coke.” – Statik Selektah
“I drink a shot of patron and a Grey Goose and
cranberry. I spin better tipsy, not drunk or sober
– right in middle.” – DJ Trauma
“I used to but not too much anymore. I spin better
sober.” – DJ V-Dub
“Yeah I do, a couple of Long Islands and it’s a
wrap. I wouldn’t say it makes me better, but it
does loosen me up and brings out the vulgarity.”
– Wiz Hoffa
Is Hip Hop dead? Why or why not?
“Hip Hop isn’t dead. I think it was just in a loop for
a bit. The same beat here, same rap there. It just
sounded recycled.” – DJ Bounz
“Yes. Lyrics really don’t matter anymore. If the essence of Hip Hop is based on freestyling and lyrical content then it has long passed. It’s evolved
into something else now.” – DJ Burn One
“Hell no, it’s not dead. It has changed and now
it is for everybody. There are so many different
forms of Hip Hop. People from all over the world
can tell you what’s going on in a city, which I
think is great.” – DJ Dady Phatts
“No because DJs are still spinning & mixing;
lyricists are still spitting; club hoppers are still
hopping; independent and major artists are still
moving units. During our era we will and have
influenced the evolution of Hip Hop. Hip Hop is a
way of life; I am Hip Hop.” – DJ Deliyte
“No. We need to stop saying that. Music is life
and it evolves based on what you feed it and do
to it. What we are seeing is a by-product of what
we have done to the game. The real problem lies
in providing a balanced platform for all artists’
opinions to be voiced. Hip Hop is more alive now
then ever but it’s about to bite your head off.”
– DJ Don Juan
“Hip Hop is dead to the masses. Amusing beats
and catchy hooks are the latest craze now.” – DJ
Freeze
“Real Hip Hop is in the dark. Music is too trendy,
watered down, too much bling and there’s not
enough content in the lyrics.” – DJ Fresh
“Hip Hop may be dead but rap music, screw music,
crunk music, hyphy music and others are very
alive if you ask me.” – DJ Grip
“No, Hip Hop isn’t dead. How can a culture be
dead? Hip Hop is a business now. If a label invests
millions into an artist, it’s looking to see how fast
it will get its money back with interest. Unfortunately, it doesn’t care what type of music the artist puts out as longs as it sells.” – DJ Headbussa
“No, it’s just a new generation of music. I feel you
have to give the people what they like to hear. It’s
a different type of hip hop.” – DJ J Hustle
“No, it’s just taking some time off to make things
better than it’s ever been – like fine wine. Jay Z,
Nas, Jadakiss, Common, Kanye West are just keeping the plates warm.” – DJ J-Nice
“I think Hip Hop is going through a rebirth. In the
80’s, Hip Hop and house music were getting their
start around the same time. Both focused on the
DJ, dancing, and vocalists/MCs. For a while both
were making the same progress towards commercialism but around 1990 they split and went their
separate ways. The Hip Hop community seemed to
be afraid to dance and to me Hip Hop was meant
to move your soul. During the 90s Hip Hop took on
a darker edge. There were beefs, etc. But recently,
since the southern explosion, Hip Hop seems to
have life again.” – Jane Dupree
“Yes indeed because the culture has lost its way,
especially musically.” – Jeff Da Illest
“I remember when Hip Hop first came out and my
dad said it would not be around in five years. Last
year I reminded him about what he said in 1979
and he said Hip Hop just lasted a little longer then
expected. When Nas came out with ‘Hip Hop Is
Dead’, I called my father and he said I told you so.
But Hip Hop is not dead; it’s just relocated to the
South. A lot of people are angry about that.” – KD
aka Han D Man
here we hustle different, speak different and bang
different. Just like the West coast bangs different.
All I’m saying is, if you don’t understand it don’t
knock it. We the Best.” – Sam Sneak
“I don’t think hip hop is completely dead yet. We
have to go back to originality and broaden our
horizons as it pertains to writing songs. There is
no balance in Hip Hop. For every gangsta song
there should be an uplifting song or a cautionary tale about the dangers of the streets. Hip Hop
gave us a voice to speak out on certain issues that
normally would get passed over by media. Hip
Hop is not dead yet, but it is on life support.” – DJ
Shakim
“It might be dead in some regions but come down
South and you will see that Hip Hop is alive and
breathing. Finally it’s our time to shine so Stop
Hating.” – DJ Sir Swift
“No, Hip Hop isn’t dead. It’s just evolving. There
are hundreds of thousands of hungry cats like me
who aren’t going to let it die before we can get a
chance to make a lasting mark in it.” – DJ Slym
“Hip Hop is here to stay. Nothing stays the same;
the music will change again. It’s just haters out
there that can’t stand to see the South blow the
fuck up. Get ya game up and stop hatin’ on us.
Better yet, keep hatin’ – we cool with that too.”
– DJ Snake
“I don’t feel like it’s dead but it’s definitely not
the same. It’s always changing. Back in the day,
Hip Hop was more a state of mind, a feeling, a
lifestyle; now it’s more business.” – DJ Stilo
“I agree with Bun B – Hip Hop might be dead,
but rap music is alive and well down here in the
South.” – DJ 007
“No, it’s in the South. Hip Hop is not just music. It’s
clothes, shoes, the way we talk, what we drink.
It’s a lifestyle.” – DJ Blak
“No, because Hip Hop is about being young so if
you feel Hip Hop is dead, you need to get out of it
because you’re too old for it. You weren’t saying
that when the Beastie Boys were out.” – DJ Boz
“Never that. Hip Hop is just going through a
phase. It’s come to a point that it’s stagnant and
redundant, but we’re at a point where Hip Hop is
checking itself and saying we got to step it up.”
– DJ Camilo
“The era of the lyrical MC is dead but Hip Hop as
a whole is not. The culture is stronger today than
ever before. You got kids in Asia listening to Lil
Jon so you tell me if Hip Hop is dead.” – DJ D Lowe
“Hip Hop ain’t dead. It’s just going through a
transformation. Hip Hop will never die. It will just
endure changes as the time passes. That could be
good and bad.” – DJ L-Gee
“Nope, not at all. I agree with Luda when he says
it lives in the South. I’m from Harlem, NY and it’s
just the sound that’s different. Jay-Z, LL, Nore,
Snoop, Jim Jones are still Hip Hop, still making
noise. Just understand that as long as NY held
on to the crown, the South may hold it for just as
long.” – DJ Epps
“Naw, I believe it’s still here; it’s just that a different coast has it on lock. Most rappers in New York
want to bring it back to life supposedly. I mean,
when niggas was rapping about Timbo’s and different ways of wearing their fitted caps, niggas
in the South was feeling it, ya dig? But as soon as
we get some shine and we speak with a country
accent and real grimy, it becomes dead. Down
“Hip Hop in the state we grew up with is dead and
it’s sad. Nothing is being said anymore, whether
positive or negative. Back in the day if we wanted
to say something positive then we would throw
on some KRS-One or Public Enemy. If we wanted
the other end of the spectrum, we could listen to
N.W.A. Now most of the choices are limited when
it comes to personal listening. There will be a
OZONE MAG // 93
dj issue
change soon though, mark my words.” – DJ Magic Mike
“Hip Hop isn’t dead until all the elements of Hip Hop are dead. We’re not at
that point yet. Hip Hop is dying but not dead. I figure after 25-30 years of
being the same, something’s got to change.” – DJ Who
“Hell no. Every time the East Coast is not number one on the Billboard, they
start claiming that bullshit about ‘Hip Hop is dead.’ Hip Hop is a way of living. It’s not really a black thing. It’s the way of the streets. The East Coast
did that shit 10 years ago with the West Coast.” – DJ Wildhairr
What is the most money someone offered you to play their
song at a club? Did you take it?
“$2,500, and it was an okay joint.” – DJ J-Nice
“People have offered thousands of dollars for me to play their records. I
don’t feed into that. If I like a record and think it will work for the crowd,
then I’ll play it. If not, then it won’t get played.” – DJ Suss One
“Someone from a professional boxers’ camp recently offered me a measly
hundred dollars to play a song in the middle of my heat set. Of course I
didn’t take it.” DJ Nabs
“$100 and yes I took it.” – DJ J Hustle
“$100. No, I’m not for sale!” – DJ Don Juan
“$100. Yes I took it.” – DJ Freeze
“I usually don’t take requests and I’m known for that. But if someone really
wanted me to play their track, I would consider it for $100.” – Jane Dupree
“$100. I didn’t take it.” – DJ Princess Cut
“$100. Yeah, I took it. The record was straight but I would like to let artists
know something: If you have a shitty record, don’t think money is going to
get it played all the time, especially by me. It has to be bumpin’ for real.”
– Sam Sneak
“$100. Hell yeah, that’s a phone bill.” – DJ Slym
“A couple of stacks. Hell no, I didn’t take it. It wasn’t hot enough.” – DJ
Smallz
“The most I have ever been offered is $50. I didn’t accept it, but I did listen
to it and would have played it if it was a good record.” – DJ Bounz
“$2,000. Hell yeah I took it! I was a starving college student.” – DJ Blak
“$50, I didn’t take it.” – DJ Hella Yella
“I’m pretty non-flexible about just dropping in random stuff I’ve never
heard. My reputation is worth more than that $1,000.” – Mick Boogie
“$50. Of course I took it.” – DJ Spinz
“$1,000. No, I didn’t take it because I never play anything I never heard. That
is a rule I live by.” – DJ Camilo
“$50.00. I took it and played it on my headphones. It was horrible so I
played it at the end of the night. Needless to say, it cleared the dance floor.”
– DJ Stilo
“Back when Jeezy blew up in the A, some dude offered me $100 for every
Jeezy song I played. I played 10 Jeezy songs back to back and had the dope
boys going crazy.” – DJ Teknikz
“Probably about $50. I don’t take money to play songs because I usually
don’t take requests. If it’s a good song, it will get played anyway.” – DJ
Magic Mike
“$500 and I didn’t play it ‘cause the song was whack as fuck.” – DJ Dady
Phatts
“$20. I don’t ask for it, but if someone wants to give, I’m not gonna say no.”
– DJ Headbussa
“$500. I didn’t take it because I feel that if I like the song I’m going to play
it anyway. I feel as a DJ, your job should be to find that next record that’s
gonna blow and give it that push. Too many whack records have made it big
through the payola route, not the talent route.” – DJ Shakim
“Probably no more than $20. If the club was packed best believe that price
goes up. No, I didn’t take it. I’d hate for someone to waste their money
thinking one spin in the club will break there song or career.” – DJ Grip
“$500 and yes, I played the record.” – DJ 007
“Cats in my area would never offer you money to play a song. They hit you
with the, ‘Show some love’ line.” – Wiz Hoffa //
“$500. Hell yes.” – C-Wiz
“Some cats tried to slip me $400 to play a song in the middle of a large
event. I don’t play records on the fly like that, so you can pretty much keep
your money while I’m spinning.” – DJ Who
“$300.00. Hell yeah, I took it. The song was pretty good, to my surprise.” – DJ
Snake
“$200.00. I didn’t take it. I don’t have time to get caught up with snitches
and tax evasion.” – DJ Deliyte
“$200. No, I did not take it. The song was terrible.” – DJ Fresh
“$200. I didn’t take it.” – King JB
Do you prefer to receive
music on CD, vinyl, or MP3?
14%
Prefer Vinyl
“$200, and yes, I did take it. At that time that was more than the club was
paying me.” – DJ Rob Storm
“$200 and nah, I didn’t take it.” – DJ 3
“$200. Hell yeah, I took it.” – DJ Boz
“$200. No, I didn’t. I don’t like to take money from artists.” – DJ D Lowe
“$200. Hell yes.” – Freddy Hydro
“$150. I have had artists offer to buy me drinks, give me weed and even offer
female companionship for the night. I have never accepted any of the female
companionship; my wife is a bangin’ Georgia peach.” – KD aka Han D Man
“I have been offered $150 and yes sir, I took it.” – DJ Sir Swift
94 // OZONE MAG
66%
MP3s or CDs only
20%
All of the Above
20
dj issue
Most Influential DJs:
ff
1. DJ Jazzy Je
2. Kid Capri
r Jay
3. Jam Maste
rt
4. DJ Red Ale
5. DJ Screw
er Flex
6. Funkmast
7. DJ Clue
Ice
8. Mixmaster
9. OG Ron C
10. DJ Jelly
atts
11. Michael W
r
12. DJ Premie
13. Uncle Al
ey
14. Cash Mon
er Flash
st
a
15. Grandm
Express
16. Jam Pony
e
17. Magic Mik
ch
u
18. Tony To
et
19. Greg Stre
20. DJ Pharris
Top
10
We quizzed this year’s DJ panel to come
up with these telling statistics:
Next Artist to Blow up in 2007:
1. Mims (NYC)
2. Rich Boy (Mobile, AL)
3. Plies (Ft. Myers, FL)
4. Lil Boosie (Baton Rouge, LA)
5. Gorilla Zoe (Atlanta, GA)
6. Foxx (Baton Rouge, LA)
7. Tum Tum (Dallas, TX)
8. Huey (St. Louis, MO)
9. Vawn (Atlanta, GA)
10. Papoose (NYC)
Honorable Mentions: Amanda Diva (NYC) | Attitude (Birmingham, AL) | Baby Boy (New
Orleans, LA) | Basswood Lane (Austin, TX) | Big Kuntry (Atlanta, GA) | BloodRaw (Panama
City, FL) | BOB (Atlanta, GA) | Bohagon (Talbutton, GA) | Boo Da Boss Playa (Canton, MS)
| Brisco (Miami, FL) | Carol City Cartel (Miami, FL) | Da Great Yola (Atlanta, GA) | Flo Rida
(Miami, FL) | Jewman (Jackson, MS) | Jody Breeze (Atlanta, GA) | Joell Ortiz (NYC) | Kinfolk
Nakia Shine (Memphis, TN) | Kyle Lee (San Antonio, TX) | Money Waters (Dallas, TX) |
Pimpzilla (Augusta, GA) | Rasheeda (Atlanta, GA) | Remo Da Rapstar (NYC) | Saigon (NYC) |
Smitty (Miami, FL) | Spark Dawg (Killeen, TX) | Supa Chino (Jacksonville, FL) | Wes Fif (Orlando, FL) | Yo Gotti (Memphis, TN) | Young Sean (Atlanta, GA) | Young Twinn (Houston, TX)
Party Records of All Time:
1. C Murder f/ Snoop Dogg & Mr. Magic “Down 4 My Niggaz”
2. Notorious B.I.G. “One More Chance”
3. Luniz “I Got Five On It”
4. Slick Rick “Children’s Story”
5. Jay-Z “Public Service Announcement”
6. Lil Jon & The Eastside Boyz “Who U Wit”
7. Lil Keke “South Side”
8. Crime Mob “Knuck If U Buck”
9. Lil Boosie & Lil Webbie “Bad Bitch”
10. Bell Biv DeVoe “Poison”
Honorable Mentions: 8Ball & MJG “Lay It Down” | 8Ball & MJG “Mr. Big” | Afrika Bambaattaa “Planet Rock” |
Akinyele “Put It In Your Mouth” | Crooklin Clan “Be Faithful” | Eric B & Rakim “Eric B Is President” | Fat Pat “Tops
Drop” | Jay-Z “I Just Wanna Love You” | Junior Mafia “Get Money” | Juvenile “Back That Azz Up” | Juvenile “400
Degreez” | Khia “My Neck, My Back” | Lil Jon & the Eastside Boyz “Bia’ Bia’” | Mystikal “Here I Go” | Michael Jackson
“Don’t Stop Til You Get Enough” | Notorious B.I.G. “Hypnotize” | Notorious B.I.G. “Juicy” | Pastor Troy “No Mo Play in
GA” | Slick Rick “Mona Lisa” | Snoop Dogg “Gin & Juice” | Strafe “Set It Off” | Trick Daddy “Can’t Fuck With the South”
| Tupac “Ambition Az A Ridah” | Webbie “Gimme That” | Young Buck “Shorty Wanna Ride”
Worst Song Requests at
the Height of a Crunk
Party:
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
“Bunny Hop”
“Cha Cha Slide”
“Chicken Noodle Soup”
“I Wanna Sex You Up”
“Step In The Name of Love”
“The Electric Slide”
“The Macarena”
Britney Spears “Toxic”
D4L “Laffy Taffy”
MC Hammer
“Pumps and a Bump”
Prince “Do Me Baby”
Sir Mix A Lot “Baby Got Back”
Vanilla Ice “Ice Ice Baby”
Whitney Houston
“I Will Always Love You”
Young MC “Bust a Move”
OZONE MAG // 95
TJ Chapman
Florida Force
O
Words // Eric Perrin
nce upon a time, TJ Chapman lived in Detroit. Hard to believe, huh?
Maybe that’s because through years of concentrated hustle, the
founder of TJ’s DJs — known for its quarterly Tastemaker’s Only
Conference — has turned the FLA into more than just a summer
home for Hip Hop. Rap is now a full time Florida resident and
trusty taxpayer. And Chapman is a dominant force behind both
rap’s relocation and the resounding heat that has radiated from the Sunshine
State’s musical scene. As an advocate for all DJs nationwide, TJ is helping to
change the way the world views turntable technicians.
It seems like more people are starting to realize how important DJs are to the
culture.
They have no choice. It’s advanced to point now where they can’t get [on the]
radio, since it’s so corporate, and without being able to depend on radio, you
have to depend on the DJs. If you don’t acknowledge DJs, you’re not gonna
get any damn spins.
Even people that aren’t involved in the music industry seemed to have acquired a greater respect for DJs recently. Why do you think that is?
DJs are now coming together. It started through things like the Mixshow
Power Summit and some of these other conferences. Now you’ve got the CORE
DJs retreat and the Hittmen do their own thing. The Bumsquad DJz have a
retreat, and even on my end, you have the Tastemakers Conference for the DJs
which allows DJs to get together and network and understand the power we
have in numbers.
Record pools and music conferences in the South seem to be much more successful than in other parts of the country. Why is that?
There are a lot of pools out there that don’t handle their business, but there
are a lot of pools that do. The reason the South may be ahead of other
regions is that, first off, we can come together without being ignorant. And
that’s a testament to the Southern rap game that I don’t see happening on
the West coast or the East coast. Also, the labels have traditionally been in
the East coast and on the West coast, so as artists, the labels were always
right in front of you. You could always walk your music right in and hand it
to whoever you needed to get it to. But in the South, we never had that; so
it was about us coming together and creating this on our own. It’s about us
supporting each other. It’s about us having to grind our music out because we
didn’t have the machine in our backyards to grind it out for us.
DJs are starting to emerge in the spotlight more often nationwide.
For a long, long time, a lot of DJs just didn’t think that they could do more
than spin records. Now, say, with the CORE DJs, we have weekly conference
calls, and we talk about all this stuff. Tony Neal will stress to folks that you
can’t DJ in the club for your whole life. You gotta use this as a stepping
stone to open more doors while people are checking for you. With somebody
constantly in your ear telling you that, and you see your comrades doing
the same thing, it kind of inspires you to get off your ass and do it yourself.
These DJs understand the power they have with this family thing we got, so
now DJs are branching out and taking more control of the game, and they’re
not limiting themselves to just spinning records. They’re starting labels, doing
production, TV shows, movies, major marketing, and all kinds of other things.
Do you still think that DJs are somewhat underappreciated?
We are still underappreciated, definitely. Even though now we’re starting to
get recognition, DJs still don’t get what we deserve. Club owners are the biggest pimps in the world. It’s the DJ that brings in the crowd, it’s the DJ that
entertains the crowd, and it’s the DJ that fuels that bar money that they make
every night, but they wanna give the DJ $200 and treat him like shit.
Is there any solution to that problem?
I don’t know if I ever see the club issue coming to an end because even
though these DJs are coming together, we’re not coming together enough. No
matter what, even if we go to the club owners and say, “I’m going on strike.
96 // OZONE MAG
I’m not gon’ spin unless you pay me properly
and give me a raise,” there’s still gonna be
another crab-ass DJ that comes in and does
that same club for no money. And he doesn’t
understand that he’s fuckin’ up the game.
You’re known as one of top record-breakers in the industry. How do you
choose the songs you support?
I support when it’s about the music. The music has to be there; the artist has
to have some kind of sound, some kind of style that separates them from
everybody else. But even more important than that is a relationship. It’s up
to these artists and these record labels to build relationships with us as DJs.
These folks forget that we’re people, too. Don’t call me or step to me because
you want me to play your fuckin’ record; step to me cause you fuck with me.
If you fuck with me and I fuck with you then it makes me wanna support you.
It makes me wanna go ahead and slip you in and give you a spin even if your
record may not be that hot.
So, how would an artist go about building a relationship with you or any
other DJ for that matter?
I don’t do nothing for nobody I don’t like, and that’s real. As an artist or as
a label, you should work first on getting the DJ to like you as a person, and
then come give me your record. I know what you’re shooting for to begin
with, but appease me; you know what I’m saying? Humor me or something.
Give me something. You ain’t gotta pay me to play a record. I ain’t on no
shit like that, but damn, buy a nigga a drink. Take me to lunch, I love to eat.
Shit, I’m smoker; slip me something in my back pocket. I ain’t tripping, but
do something to show the love because at the end of the day, it ain’t about
take, take, take; you gotta learn that you can be able to extend yourself, so a
mu’fucka will reciprocate and give you something back in return.
A lot of DJs do accept and even expect payment to play records.
I don’t believe in that. I don’t mind supporting somebody that supports me,
but I don’t ever think you should pay a DJ to play a record, because if he
don’t support the record and feel the record in the first place then it ain’t real.
So, I hate all the pay for play DJs. If that’s how you get your hustle on, then
do you, but I feel like that wrecks the game and its so many other ways you
can get your money then charging somebody just to play a song.
What’s the best way to break a record?
For me, it’s about building a foundation for a record. Say you have a house
and you go ahead and start with the roof; the roof can’t do nothing but fall
because there’s no foundation to build it up, and it’s the same with these
records. If you try to go straight to radio, you’ll have a real short lifespan. If
you look at the records that get broke from the street level – from the clubs,
strip clubs, mixshows and mixtape DJs — these records can have a lifespan
of a year or two years or even become classic songs. It’s all about how you
break the record.
What are your plans for the rest of 2007?
My future plans are B.O.B., that’s what it’s about. He’s an artist that I’m
managing with my boy B Rich. I think this kid is the future and I’m putting
everything on him. He’s only a senior in high school, but if I didn’t tell you
that, you’d never know from hearing his music.
What other CDs are you looking forward to this year?
I’m looking forward to the new Outkast CD. They need to come out and
redeem themselves. That’s my favorite group of all time and I was disappointed with that last album. Another album I’m looking forward to is USDA:
Jeezy, BloodRaw, and Slick Pulla. I’m a big fan of Blood’s and I’m ready for
him to finally break out and blow up. Another album I’m waiting on is T-Pain.
Everybody thought he was gonna be a one-hit wonder. I can’t wait for his
new album, cause all these people are gonna have to pull their big ass feet
out of their mouths. T-Pain is the truth. //
Entrepreneur
Miami KAOS
:H
2006 SEA A ardcore Design CEO //
ward Winne
2
r “Best Mixta 005 Justo Award Win
ner
pe Graphic
s”
T
he artist and mastermind behind some of your favorite mixtape covers,
Miami KAOS has taken Hip Hop art to new extremes. He was worked
with virtually the entire industry. If you don’t know who Miami KAOS is,
you know his work. As the CEO of Hardcore Design, KAOS is drawing the
portrait of success everyday.
How did you get started with Hardcore Design?
At first I was just trying to get on, like most people. I worked at The Source
before, and I tried to reach out to the record labels. It was almost like the
whole Jay-Z-Roc-A-Fella thing; no company would hire me, so I said, “I’ll do
it myself.” Then I had Tigger, who luckily was in my corner.
How did you first meet Big Tigger?
Before they moved [the show] downtown, 106th & Park was really 106th &
Park - the Graffiti Hall of Fame, and my niece went to school there. She liked
Tigger and I was airbrushing a drawing of Tigger and she got it. He saw it
and was like, “Yo, who did this?” and she was like, “My uncle,” and he asked
her for my number. One day I was at the crib and dude actually called me
while I was watching Rap City. I didn’t believe it was him. I was like, “C’mon,
you’re on TV right now. How can you calling me?” He was like, “Yeah, this is
me. I’m gonna put you on. I’m gonna make you famous.’
What has been the single biggest moment in your career?
I met Aaliyah once. I had done a picture of her and when she saw it, she said
it was breathtaking. She called my work “breathtaking.” For that quick minute
or two that I spoke with her, I was literally like one of those cartoon characters that start stumbling on their words and can’t speak. A few minutes later,
I was walking away like, “Thanks, I like your music, too.” Literally, I couldn’t
say anything in her presence. She was so humble and everything, she never
gave off that “I’m famous” type-vibe. She had an amazing spirit.
How long have you been doing art?
I’m 32 years old, and as far back as I can remember I’ve been drawing. I’ve
been drawing at least 27 years, every day.
Why do you think your company has been so successful?
Well, first, it’s the cats that I got on my team; my man Kurt McGurt, Ali, Ben
Jacobs, all my dudes got original styles. We don’t look at other mixtape designs, because if you look at something else, you’re gonna be influenced by
it. Our goal is never to let our stuff look like anybody else’s. I don’t care what
it is, if you put of our work next to anybody else’s, our work always stands
out. If you just need a picture of Young Jeezy standing in front of a car, then
you don’t need us; but when you need a picture of Young Buck smacking
somebody in the face with AK in his other hand, that’s something we’ll draw.
How long does it take you to design one of your cartoon covers?
It depends on the concept. If it’s just one character on the cover, it would
take me about eight or nine hours. But when it’s like two or three people on
the cover and each of them is doing something, then it takes a lot longer. It
could be about two or three days.
How many projects do you work on in a month?
Flyers, logos, DVD and Mixtape covers combined, I do about 40 to 50 projects
Profile
a month. We do everything; we’ve done designs for clothing lines, furniture,
jewelry, tattoos, pretty much anything you need custom designed.
Who are some of your biggest clients?
Where I’m at right now, honestly, at some point every cat in the industry has
reached out to me. But I turn down a lot of work, too. If you come at me the
wrong way, or if I don’t like the idea, I’ll turn down the job. By me being a
Christian, I don’t do things that portray people like Christ. People ask me to
put them on a cross and all that, and I’m like “No.” I’m not doing that. Just
cause some cat is hating on you, that’s not equal to being crucified.
So what is the hardest thing for you to draw?
Hands, and a woman’s hair. The hair is very detailed, and you’ve got to make
all the strands look real. Sometimes I’ll spend hours just working on the hair.
The hands are the same way.
What’s your favorite thing that you’ve ever drawn?
I haven’t done my favorite yet. Honestly, it used to be more fun when I got
to freestyle a lot, but now it’s gotten so precise that people tell me exactly
what they want. In the old days it was more fun, but back then I didn’t really
charge the way I do now.
What is the average price of the mixtape covers you design?
The average price starts off around $250, but that’s just with one person on
the cover.
That is still pretty affordable for the quality of work you do.
It’s affordable for the South. That’s why I really embrace the South so much.
The average DJ in New York can’t afford that price, because the market is
so oversaturated that it doesn’t make sense for them to pay $200 just for a
cover.
You’re originally from New York. How did you get the name Miami KAOS?
Like most cats, I used to be out in the streets and I used to make runs to
Miami all the time. I made a little money back then, and I always dressed
fly. One day one of my boys said I looked like Miami Vice and it just stuck,
people just started calling me Miami. My crew was called KAOS, which was an
acronym for Kick Ass On Site, so I would write Miami and then KAOS to big up
my crew. People started calling me Miami KAOS. I would always correct them,
but my manager Isis was like, “Miami KAOS sounds kinda fly.”
Now that you own your business, what is the best part and worst part about
being an entrepreneur?
Well the best part is that I get to make my own hours; I get to come and go
as I please. Being the boss, I could go on the beach and work with my laptop
if I want to. The worst part is that I have to set an example. I can’t blow stuff
off or be irresponsible because I expect a high level of professionalism from
everybody I work with. Another problem is some of the clientele.
How can people get in touch with you?
They can reach us at (917) 806-5079 or at miamidesignz@yahoo.com. //
- Eric Perrin
OZONE MAG // 97
Purple
Ribbon
is Still On It
T
wo years ago the city of Atlanta was giving birth to yet
another record label But, this one was different. It had a
balance of new talent and industry veterans. It wasn’t run
by a successful artist simply trying to create jobs for his
homeboys. This one had a team of people with proven track
records, good reputations, years of experience and platinum
plaques already hanging on the wall. No, this was not going to be another
run-of-the-mill independent record label. It was already major.
bring that shit up then. We hungry around here, we trying to eat. We ain’t
gonna go through this like some New York shit, this ain’t no beef. Why you
gonna talk shit to a magazine? Just call me like you used to.
The name of the powerhouse in the making is Purple Ribbon. The owner, Big
Boi, is half of the most recognized rap duo outside of Run-DMC: Outkast. The
flagship artists Bubba Sparxxx, Killer Mike, and Sleepy Brown had critical acclaim, while new acts Janelle Monae, Scar and Konkrete had personality and
potential.
Big Boi: [Killer Mike] never says anything out of the way in person. It’s all
good whenever he is around. He’s the nicest guy in the world, always smiling.
He called me on Christmas to wish me Merry Christmas. But for the record, it
ain’t no beef. If it was, we would handle it. At first I wasn’t gonna talk about
nothing but since I know you, and you know me to be a stand-up guy, I’ll let
you know what’s going on. It’s nothing. If Mike has a problem, it’s with Bone,
but Mike won’t step to Bone. I’ve seen it with my own eyes. I’ve diffused the
situation many times. Tell the people about the night at 1150 when I had to
keep [C-Bone] from getting on [Mike’s] ass. But if there is a problem, come
talk to me. Don’t get in a magazine and pop off.
“I’m building a new LaFace,” boasted Big at a Purple Ribbon launch party in
November 2005.
It seems like everything started last year at Birthday Bash with the “one
monkey don’t stop no show” quip. Why did you make that statement?
Months after teasing the streets with the Got That Purp mixtape the label had
the world shouting “Ay! Ay! Ay!” with the infectious single “Krpytonite (I Be
On It).” However, the label’s first official release, Got Purp? Vol. 2, was met
with mixed reviews. The same story for albums from Sparxxx and Brown. Add
that to in-house conflict among artists and personnel changes, and the Ribbon looked to be withering away.
C-Bone: Yeah, I said the shit out of anger. When you go to play as a team,
and you don’t have your starting guard, you’re like, damn. If you going into
battle you gotta go as a team. So I guess when [Killer Mike] ain’t show up, I
was kinda frustrated. It was silly; maybe I should not have said it. But it really ain’t worth all this attention. We ain’t in New York, we ain’t beefing. That
shit is lame, to me at least. I’m just getting used to this because I wasn’t no
rapper. If it weren’t for Big Boi, Mr. DJ and Carl Mo I wouldn’t be rapping, so I
developed myself into a rapper. It’s funny. I woke up one day, like, damn, I’m
battling, I got me a diss song, hell naw! I’m really in this rap shit now, it’s for
real. This is what they be talking about. Niggas in the street took to it though.
Controversy sells, but I’m not gonna get into doing that.
But in 2007, they’re coming with a new sac of that Purp and plenty of fire to
keep it burning. Big Boi will be releasing his solo album, Lucious Leftfoot,
through the label and trio Konkrete will be coming with their long-awaited
debut. Superstar in the making Janelle Monae plans to release the first piece
of her four-part opus Metropolis this year and newly signed rapper Savvy is
recording as well.
With a lot going on, and even more being said, about Purple Ribbon, Big Boi
and Blackowned C-Bone, Lil’ Brotha and Supa Nate of Konkrete want to set
the record straight and let the world know they still got more Kryptonite to
package up and ship out.
Well, let’s start with the obvious. In the February issue of OZONE former
Purple Ribbon artist Killer Mike spoke candidly about his experiences at the
label and his quarrels with C-Bone.
C-Bone: When I first read that shit, I laughed. First of all, me hating on him?
How silly do that sound? Second of all, he talking about something that
happened eight years ago. You got something on your chest from eight years
ago? That’s lame to me. I read that shit and laughed. I’m still trying to figure
out why people keep bringing my name up in his articles. Just keep my name
out of your mouth. I’m not a part of your career, I’m not in your gang. That
“Snappin’ and Trappin’,” I co-wrote that shit. I got a percentage of that song.
I don’t even remember what he’s talking about. That shit was eight years ago.
I don’t even know why I would be mentioned in his interview. You saying you
trying to get on your feet, talking about me ain’t handling business, that’s
just envy. We done been on seven tours together since then, and you ain’t
98 // OZONE MAG
Big Boi: All this Killer Mike shit ain’t about nothing, it’s no beef. If there is, he
need to lay it down. He’s all smiles when I see him. I still don’t know why he’s
talking like that, knowing that I’m going to see it. We get [OZONE] magazines
by the box at Stankonia. If you got something to say, come tell me.
With Killer Mike and other artists leaving the label, people have questions as
to what’s been going on at Purple Ribbon.
Big Boi: Let me clear something up. Artists aren’t leaving. A couple of them
got dropped. I’ve introduced my artists to as many situations as possible
in the industry. If none of the labels want to pick it up, I’m not gonna keep
pumping my money into it. I’ve learned from people like L.A. Reid and Clive
Davis that it all boils down to having hit records. You can’t say shit if you ain’t
got hit records. I’m not one of these niggas that’s making songs just to make
them. I’m into making bonafide shit.
I
n the eyes of Konkrete, they’ve been making ‘bonafide shit’ for years. It’s
been a struggle for the street-skewered group to get recognized, coming
from a family typically known for eclectic music and personalities. But
after years of cameo appearances and putting out music below the radar
Konkrete seems to finally be on the verge of national recognition. Their Beat
Bullies-produced “What’s That Smell” has become a favorite of high profile
radio DJs Greg Street and Felli Fel. With Big Boi hopping on the remix, the trio
hopes the song’s growing popularity can give them momentum going into the
release of their untitled mixtape and debut album.
What is the latest with Konkrete? You guys are the only original rap act left
over from the original Purple Ribbon roster.
Lil’ Brotha: We patiently waiting like y’all say. Everybody else done had their
shot, so we in the lab banging them out right now.
Being down since the Aquemini days, has it been more frustrating or motivating having to wait so long to be put out?
Lil Brotha: It’s been both because you know what you got and you have to sit
on your songs. It gets kinda frustrating because people ain’t getting to hear
them.
C-Bone: People try to make it look like when you ain’t drop, that you mad at
another nigga. I ain’t mad, I just want my chance too. Niggas running around
saying, you can’t do this or do that. We thebackbone of Purple Ribbon, people
know us because we put our own shit out in the streets. United Streets of
America and Cut The Check, we put those out. I’m a real nigga, I’m not gonna
just say “blah blah blah” because I ain’t out yet. I just appreciate a nigga
knowing who I am anyway. People wouldn’t know me if it wasn’t for Purple
Ribbon. So you gotta take the good with the bad and realize some people
can’t do certain things. Plus, I know we gonna shine because the music that’s
out right now, we been making that shit.
With so many people rapping about the Atlanta underworld now, how do you
plan to stand out?
Lil Brotha: When we was talking all of that trap shit years ago, people wasn’t
on our level, and they still aren’t. Real niggas always knew what we was
talking about, now these new cats are doing it and getting the credit for it.
missing the championship every time, you gotta check the roster and make
changes, so that’s what I did. It was time for me to make changes and it had
to start with the music first. If you’re not bringing me nothing I’m going crazy
over, things need to change.
You kept Sleepy Brown, Janelle Monae and Konkrete. What stood out about
them?
Big Boi: It’s about the music, they really been putting out jams. With Konkrete,
all that “they his homeboys” shit needs to stop. That means nothing because
Killer Mike was my homeboy too. You know how I am, I’m a loyal nigga. If I
mess with you, I bring you in as family.
This is the first time you’ve spoken on the questions surrounding Purple Ribbon; disgruntled artists and Killer Mike’s disenchantment with the label. At
the same time, we never heard you complain about anything artist-wise as a
member of Outkast. Why?
Big Boi: I learned that it all starts with the music. If your records are jammin’,
you’re gonna win, period. If you’re making hits, you’ll have nothing to complain about. As far as disgruntled artists, me and Dre took [Killer Mike] around
the world. We put him in front of people. We’re taking this man on Jay Leno
and got him a Grammy. When you start so high on another nigga’s coattail,
it’s gravy. But when you gotta do it yourself, it’s not as easy. You gotta have
the heart to do it. He got his Grind Time thing now, so we’re gonna really see
how you grind. I don’t run a daycare, I run a label. I’m not holding your hand.
If it’s not working out, it’s not working out. If niggas got any problems with
me, holla. We can handle it any kind of way. That going-to-the-press shit is
nonsense. I don’t even get down like that.
Right now how is your relationship with him?
Big Boi: Right now there is no relationship. He’s doing his thing, and we’re
doing ours. As far as Dre goes, he don’t fuck with him neither.
C-Bone: Listin to my verse on “Gangsta Shit” from Stankonia. “Rap by day,
nigga, trap by night.” All that trap shit, we been that. At the time, niggas was
like, What the fuck? But after all these years, the scary thing is that we got a
following already. We call our shit “reality rap.” We ain’t bragging or boasting,
people fuck with us anyway. The songs we make will appeal to different ages.
Everybody we come across be saying, “When they gonna put y’all shit out?”
That’s what we gonna name the album [laughs]. That shit be hurting when
people ask that some time [motioning a dagger to the heart]. You be glad
people care, but you kinda don’t wanna hear people ask that anymore.
What are the immediate plans for you and the label?
Have you been tempted to ride the current wave of music coming out of
Atlanta, just to get hot real fast?
You and Dre both have been popping up on a lot of remixes lately, some of
them unexpected.
C-Bone: “What’s That Smell” might be the first song that we did like that. But
what I try to do is and mention Konkrete on every verse, like how I did on
Yung Joc’s “Dope Boy Magic.” But why give up when things ain’t going right?
We ain’t at the point where we don’t think it ain’t gonna work, but I’m true to
myself. You can’t give up, and you can’t cry neither. It’s my fault if I take what
I wanna take. We upset, but we trying to rebuild this muthafucker. I’m a down
ass nigga, I’m riding until the wheels fall off. Just because the rent ain’t being paid, I ain’t gonna move out the house. I’ma try and pay the rent.
Big Boi: Yeah, we been hopping on hood classics, but I am a hood classic. I
am all of that. Southernplayalisticadillacmuzik is still a hood classic. I stay in
the streets, ain’t no if, ands or buts about that. I don’t care what it is, if that
shit is banging, I’m with it. I am an emcee first and foremost. With songs like
the “Walk It Out” remix, DJ Jelly called me. Plus, Big Oomp is my homeboy. Me
and Dre walked it out on 106th & Park. That’s some A-town shit. Everybody is
getting their shot. That’s an example of the hood love we got. When niggas
say Dre ain’t rapping no more, that kills me. It’s like niggas have forgot. Dre
is on the “30 Something” remix with Jay-Z and I’m hopping on the “Hood
Nigga” remix with Gorilla Zoe. Man, niggas have forgot. It’s kinda like when
your parents used to go out of town and you throw a party at the house, and
you forget that they coming back home. We hear what niggas be saying and
read what niggas be writing, but ain’t none of that about shit. //
How have you guys dealt with the “oh, they just Big Boi’s homeboys” attitude,
especially with Lil’ Brotha being Big’s younger sibling?
C-Bone: James is James. He ain’t Big Boi. They act the same, but they different. We catch hell about that shit. When we first started it was another guy in
the group, Country CP, he locked up doing Fed time now. So I was by myself, I
didn’t think I was ready to go for a solo career. I chose James, and Big chose
Supa Nate, so we had a group. But folks was looking at us like, aw man, those
just his homeboys fucking around. We can do what we gotta do on our own,
though. That nigga don’t give us shit. It may look sweet, but God bless the
child that can hold his own. We ain’t never got no advance money, but we still
riding, got our own houses.
R
unning his own real estate business and record label, Big Boi knows
what its like to have his own house. He proved it late last year when he
cleaned house, completely restructuring Purple Ribbon. With both artists
and staff members being dropped and replaced, Big is aiming to take his
company to a new level in 2007 and beyond. Now that his movies and outside
projects have been handled for the most part, the focus is back on music.
You’ve made major changes at Purple Ribbon, personnel-wise. Why?
Big Boi: Yeah, I changed my whole staff. If you keep going to the playoffs and
Big Boi: Right now I’m working on my solo album. I’ve been working on it for
three or four years; it’s all me. I’m into that funk thang. My thing is putting
together a quality album. That’s what I do, produce music. Running a label
takes away from my own musical career. Of course we have Konkrete coming
out, Janelle Monae, my new artist Savvy and I got two acts that I ain’t even
gonna tell y’all about yet. In addition to that me and Dre are doing a new
Outkast album.
- Maurice G. Garland
“IT ALL STARTS WITH THE MUSIC. IF YOUR RECORDS
ARE JAMMIN’, YOU’RE GONNA WIN, PERIOD. IF
YOU’RE MAKING HITS, YOU’LL HAVE NOTHING TO
COMPLAIN ABOUT. AS FAR AS DISGRUNTLED ARTISTS, ME AND DRE TOOK [KILLER MIKE] AROUND
THE WORLD [AND] GOT HIM A GRAMMY. WHEN YOU
START SO HIGH ON ANOTHER NIGGA’S COATTAIL,
IT’S GRAVY. BUT WHEN YOU GOTTA DO IT YOURSELF,
IT’S NOT AS EASY.” - BIG BOI
OZONE MAG // 99
ozonesports desmond
CHICAGO BEARS’ TIGHT END
Words // Rohit Loomba & Prateek Sanan
W
hat about Hip Hop makes you want to get into it now?
I’ve been doing it for a while, since 2003. I was just doing the shows and
then a couple of guys I met out of Denver thought we should just do the
whole thing. I’m not working with them no more but when I signed up here I
built a studio in Lakewood, Florida and started developing my artists. I have an
artist out of Florida named Fly. I haven’t been in tune with anything that’s going
for the last couple of months though.
How do you focus on everything that you’re working on while concentrating on
the football season?
I got good people alongside of me. My brother kind of overlooks everything
that I do, he’s the Vice President of my label. I got a guy out in Denver who also
works with the label and I do a lot of real estate so my broker helps me with
that. I also have property managers who help me with my property. I have my
family here too, my wife and kids. I balance it all because I have good help.
The mindset is real different down South, it’s more of an independent mindset.
How’d that affect your development as an athlete?
Once I left the house I left the house. Once I went to college I was on my own,
I was a man. I never called back and asked for money. Anytime I could work I
was working. I got married when I was 19 so I’ve been on my own since I left
the house. Like you said, down South you gotta get it on your own. My parents
always told me, “If we’re not here what are you gonna do?” When it comes to the
music and the label we’ve tried different approaches and none of them really
stuck but this time we’re just going to go out there and get it ourselves. We’re
not going to have a lot of companies involved. We’re going to have one other
company on our side and try to concentrate on Orlando and Tampa. Fly has a
mixtape with DJ Drama which we’re putting the finishing touches on and then
we’ll push that. Really everyone is waiting on me. All the promotional materials
are ready and sitting in the office right now. I don’t want to do anything until I
get there so I know we’re doing everything right this time. Before we were trying to do a little everywhere, and that really didn’t get anything going. You can’t
just throw money at it; nothing’s gonna happen like that. I want to make sure
we build it up and make people take notice in a smaller area first and then let it
spread like that. We kinda taking it back to the basics and we’re gonna start over
from the ground up and concentrate on Central Florida.
You got a lot of negative press before the NFC game.
Yeah, what’s up with that? Almost everyone picked the Saints before the game.
That was just an everyday slap in the face. Someone was on there saying the
Saints were the best team and that they were gonna win the game. They state
this stuff like it’s fact and then when it don’t they flip their stories. Now people
be saying the Bears gonna give the Colts a physical game, where was all that
before? We’ve been doing that. Even the local media has been giving us some
bad press. When we lost a game I remember they had this thing in the newspaper where they had an image of a palm tree leaning away from us trying to
say we were getting farther from Miami. They talked about Rex Grossman all
year, they dogged him all year. I heard some people say they don’t even want
us to go the Super Bowl if Rex is our quarterback. It’s good that we won to see
what everybody gotta say now. Lovie talked about that a little but we used the
negative press more at the beginning of the year. As we heard it week in and
week out it got old. You can only play off that so many times. If you listened
to the radio after the victory against Seattle in the first round you would have
thought we’d had lost the game. The next game we win and they start saying all
different things. It’s crazy but there still are people who have been with us the
whole time. Those are the people you don’t really hear from them much. Even if
you do, though, you tend to hear the negative stuff more.
How did the playoffs from last season and losing last season affect you?
When it came to this year and the playoffs, that Carolina game from last season
didn’t come up unless the media brought it up. Last year we expected to make
the run to the Super Bowl. We were the number 2 seed but it didn’t happen.
Carolina came in and smacked us like we smacked them the first time we met
them last season. The way that we lost was disappointing, Steve Smith just put
a show up against us. It was like a one man wrecking crew. Just to hear all the
backlash after that and deal with that for a whole year before we could actually
get back was tough. Myself, personally, I had to hear how I suck all off season.
All I’m saying the whole time was, “I’m doing what they tell me to do.” It was
100 // OZONE MAG
clark
a day after we lost and I hear on TV that the Bears need to get a new tight
end and how I dropped a lot of passes and I’m thinking, “I didn’t drop a lot of
passes.” If people who didn’t know about the game just listened to the commentators they’ll be really messed up about what’s really going on. You have to
watch the game yourself and do the analysis.
You’ve been making some key blocks.
If you go back to last year we wanted to run the ball so I was the blocker. It’s
the same thing this year. People weren’t trying to hear that last year. The team
stuck with me even though I was a little upset that no one actually came out
and said, “Desmond Clark is our tight end and we’re not going to draft another
tight end.” I was a little upset about that but there wasn’t much I could do about
it. I was thinking that maybe they were really thinking of getting rid of me
because they weren’t saying that they were going to keep me. I didn’t think they
was gonna get rid of me but I thought they were going to bring in another Tight
End. People have to understand that this is our job. We’re just not on TV playing
football, this is what we do to eat. We go to work and put in hours a day.
How has the team reacted to Tank Johnson and his situation?
Tank’s situation had to be real tough for him. Some of the stuff that was said
was warranted but some of it wasn’t. He had unregistered guns. They were
registered in his home state but not here. Granted, it’s not safe to have loaded
guns where kids at, it may be poor judgment, but a lot of the stuff that was said
was out of hand. How can you question his character if you don’t know him? You
can’t judge a person just because you know he had unregistered guns that were
loaded around his kids. Does that make you a bad person or is that just dumb?
A lot of sportscasters were talking stupid stuff. Tank lost his best friend. On the
radio they were talking about how Tank was still grieving and they were like “I
don’t know why he’s grieving? He’s grieving for a piece of trash.” How can you
say that about someone’s best friend, regardless of what you thought about this
guy? Sure, he had a criminal record but I don’t know a lot of people who don’t
know someone with a criminal record. Does that make them bad people? Naw,
that just means they did something bad in their life. They can change. A lot of
stuff said about Tank and his friend was out of hand. A lot of it crossed racial
lines as well. On the radio I heard one dude who kept saying, “Black athletes
and their guns.” How can you paint with such a broad brush? A lady was giving some update on Durant Williams getting shot and he’s in the background
saying, “Black athletes and their guns.” If an athlete were to come out and say
something like that we’d get killed. But then you got this guy and no one says a
word. The toughest thing about that Tank situation was hearing all the fallout.
Some of it was deserved but some of it wasn’t.
When it comes to Hip Hop what’s the difference between Chicago and Florida?
It’s real different. It’s two different styles, two different lingos, two different
moods. Up here in Chicago they more into sampling and just into a different type
of music. Down South music is more aggressive. In Chicago it’s less aggressive
and more lyrical. You have your guys like T.I. and Lil Wayne in the South that are
lyrical but I think there’s more of an emphasis here on lyricism.
What kind of style would you use for yourself?
I’m not going in trying to use no style myself. If my artist go in there, especially
if it’s Fly, I like that aggression and that’s what he brings. For me, myself, I only
record if somebody asks me to. I’m working with Mark Sparks up here in Chicago
and we did some songs together. I don’t know if you know my story, with my
father being on drugs and all that, I wanted to tell the story myself after it’s
been documented all over the NFL. It’s recorded but I’m not really playing it yet
until I get some time. I’m not trying to be a rapper. I like to go in the booth just
so I can be relevant to my artists, so they understand I’m just not telling them
how to do things without knowing anything. If they call me and tell me how to
run routes on Sunday I’m not gonna listen because they don’t do this. So I try to
keep the perspective going that I have some sort of knowledge of what they’re
doing. I go in [the booth] every now and then.
Do you plan on doing a mixtape at all?
I thought about it before. I got a couple of songs I’ve written with my man Mark
up here but it’ll be a long process. I have too much stuff going on personally to
have the time to sit down and write. If I do it I need perfection and that takes
time. //
Slim Thug and
Boss Hogg Outlawz
S
ince entering the rap game, Slim Thug has
referred to himself as Tha Boss. And in the
rap game, a boss is a CEO of his own label.
Slim Thug meets this Boss criteria, with his Boss
Hogg Outlawz label. With the release of Boss Hogg
Outlawz album Serve & Collect, featuring Slim Thug,
PJ Tha Rap Hustla, J Dawg, Sir Daily, Chris Ward, Killa
Kyleon, Young Black and R&B singer, Rob Smallz,
only a few weeks away, Ozone caught up with Tha
Boss and his Outlawz to find out what this new
Houston record label has in store for 2007.
How did the Boss Hogg Outlawz come about?
Slim Thug: Me, PJ, J Dawg, we been together since
Swishahouse. A lot of these niggas I’ve been knowing for years. Chris Ward, we hooked and we ended
up working together, clicking up. And he brought
through Killa. And it all came together like that.
Everybody else fell in place while we been grindin’.
What’s the difference between the Boss Hogg Outlawz and the Boyz N Blue?
Slim Thug: Boss Hogg is the whole label, that’s everybody. The Boyz N Blue only consists of like three,
four dudes. The Boss Hogg Outlawz is everybody.
We got Young Black, he’s a Young Hogg. We got Rob
Smallz, he’s a R&B dude, so it’s the whole click.
You’ve had a lot of independent success but your
album didn’t do as well. Why’d you choose to put
out the Boss Hogg album before releasing your next
album?
Slim Thug: Really the Boss Hogg Outlawz Serve
& Collect shit is just some street shit to keep the
streets feed. We got my shit coming out April 24th,
Boss of All Bosses. Then we gonna drop Boys N Blue.
It was like, we didn’t put nothing out, so we had to
keep the streets feed.
They are a lot of members in the group. Was it to get
everyone some shine?
PJ Tha Rap Hustla: It was really simple because
like in the way we work in the studio people come
and go, so it’s like if it’s a hot beat or hot song
we’re working on whoever jump on it first, that’s
who makes the cut. If you participate that’s what
determines whether you get put on the song or not.
I was simple for me cause during the making of this
album I stayed in the mix. I stayed in the studio.
So every song that was jamming I hopped on, you
know what I’m sayin’. So it was real cool, the process of making it.
Slim Thug: I just let niggas do them. Everybody got
solo songs on the motherfucker, know what I’m
saying, where they gotta stand on their own two
feet. I’m a big part of the record, I did at least 12
records on there. It ain’t just like I’m just putting
my name on the shit, trying to sell it to people. I’m
really a big part of this project. These niggas have
been down with me since day one, they’ve been
making a lot of noise out here. So it’s just time for
them to get their shine on too.
Chris Ward: There are a few [tracks] that I just fall
back from. Between me, PJ and Slim, we don’t really
tussle over who’s gon’ get on what. We kinda almost
know what was for who. And sometimes though,
what we did with a lot of them, everybody writes
a verse. But we don’t have no problems as far as
laying a verse, it’s nothing. If the song is just super,
super jamming, everybody lays a verse. And you
know how that goes, you go hard or go home.
102 // OZONE MAG
Tell me about the Boyz in Blue.
PJ Tha Rap Hustla: A lot of people think we’re Crips
but on the Northside of our city we ride blue cars,
candy paint, candy blue. That’s where the group
Boyz in Blue [got our name].
What are we going to get when the album drops?
PJ Tha Rap Hustla: You gonna get the rap hustle, you
gonna get PJ The Rap Hustla raw and uncut. I ain’t
no lyricist or nothing like that. I just get straight
to the point. I’mma groove wit’ the beat and I’mma
give you some good game. I might get a little street,
a little fly, whatever. You gon’ get PJ to the fullest. I
got my own little style, real simple wit’ it. That’s just
me, I’m a simple man. So you gon’ get straight PJ
Tha Rap Hustla talking about some money or talking
about grindin’, talking to some chicks, having some
fun, that’s about it.
Killa Kyleon: I ain’t gon lie my dude, you gon hear
lyrical. I’mma give it to you live and direct. One
thing I know, it’s a bunch of real dudes over here.
We real stand up guys. We bringing real rap, real
music back into the game and we’re bringing a side
of Houston that ain’t nobody seen. It ain’t nothing
but hard hitters over here. It’s five Barry Bonds,
that’s what it is over here.
Chris, what do you bring to the Boss Hogg Outlawz?
Chris Ward: I bring a whole other swagger to it.
Cause we all do our own thing and everybody stands
for something different. As a team we kinda like
Voltron. We all connect in a different kind of way.
I kinda just bring the flyness to the table. They
always say I’m fly. I guess I bring some of the flyboy
swagger to the table. But at the same time I still
give it to them raw and gutter.
Tell me about the album.
Chris Ward: The game right now is real crazy. I don’t
know if a lot of people look at it like that. I know
about of people in the industry do…I think we’ll
bring a whole nother look to Houston. If we get
the right action and the correct timing on this here,
we’re going to bring a whole ‘nother look to Houston to where they’re going to be like oh I ain’t know
it was like that. They actually been looking over us,
but I guess sometimes you save the best for last.
It’s not just no one track album. We all have alter
egos. You gonna have bout 4 or 5 personalities, that
all got a double personality which is gon give you
about 10 people, you feel me. Slim gon do his boss
thing. PJ gon’ do his rap hustla thing. I’mma do my
flyboy thing. Killa gon do his thing. It’s just gonna
be a flipside to everybody.
Killa, as a solo artist. How hard was it to do the
group thing?
Killa Kyleon: I always have considered myself a
chief. I’m an Indian in the group but a chief by body.
I wanna lead cause I always felt like every powerhouse group should have a head. Every big label,
they always had the front man and the second in
command. When you seen Jay, you seen Beans. When
you Jeezy, you see Slick Pulla. When you’d see NWA,
you’d see Eazy then you had Cube, you know what
I’m sayin’. I always wanted to be the man behind
the man but at the same time instead of just making
it the regular thing, why can’t it just be two Jay-Zs?
Killa, what have you learned from Slim Thug?
Killa Kyleon: I learned that the rap game
got its ups and its downs. I know Hip Hop done
took a whole toll out on everything. They’re trying
to really fuck Hip Hop up. I learned what to do and
what not to do from Thugga. I learned how to hustle
from Thugga. I learned how to take this game and
really get the money out this game. The main thing
I can really say I learned from Thugga is the hustle.
The dude is a genius with the hustle. Ain’t nobody
out here got the hustle like the youngster got the
hustle. Dude been a millionaire before he even
signed a deal and I know that for a fact.
Killa, a lot of artists have already come out of
Houston, what are you bring new to the table to
represent Houston?
Killa Kyleon: I’m going to do for Houston what Jeezy
did for Atlanta, that’s what the fuck I’m going to
do. I’m going to do for Houston, what Game did for
L.A.. I’mma do for Houston, what Jigga done for New
York. I know that’s putting myself on a high pedestal but if you don’t think you’re the shit nobody
else will. I think everybody think Houston is so onesided. I don’t think they’ve seen the real streets of
Houston, the real lyricism of Houston, man. I wanna
bring that Face shit back to street. That Geto Boys
shit. That hardcore, lyrical, jamming, street music.
Cause I ain’t wit’ all that telling a nigga I’m ballin’
every five minutes cause everybody in the streets
ain’t on that level. Everybody think a lot of Houston
niggas cat and a hat rappers. I’m one of those niggas that’s not a cat and a hat rapper, check my track
record. And shit, my resume is impeccable.
Young Black, you’re the newest member to the team.
What do you think they saw in you that made them
want to add you to the team?
Young Black: I think they really just like my swagger
as far as consistency with the music, man. Actually
they put me on some underground shit first to see
how I would do. Bottom line, I did it so I’m here.
What are people going to say about you?
That boy’s cold, man. I’m a force to be reckoned
with. If I don’t see nothing on this album, I’mma see
my name get bigger. I’mma really try to give the
people what they want and try to represent the H.
Slim Thug, what do you want the fans to take from
this album after they hear it?
Slim Thug: I want the fans to know it’s bigger than
Slim Thug. It ain’t just me with the talent, everybody
on my label got talent. I don’t fuck with no trashy
ass niggas. If they don’t got as much talent as me,
they probably got more and they’re serious about it.
So it really ain’t no shit I’m just putting out there,
it’s some real G shit. //
- Randy Roper (Photo by Mike Frost)
B
ack in the day, B.G.’s unhappiness with
his label Cash Money Records and the CEO
Baby was well-documented. But today,
B.G. is the man behind the artists, calling
all the shots at Chopper City Records. And
the Chopper City Boyz mark B. Gizzle’s first official
executive producer credits. The group consists of
Sniper, VL Mike, Gar and B.G.’s younger brother,
Hakim. The Chopper City Boyz, which inescapably founds itself compared to the Hot Boyz, has
appeared on B.G.’s last four albums but the time
for the group to stand on their own is upon them.
Is the group ready? And is B.G. prepared to handle
the position he once criticized Baby for mismanaging? OZONE chopped it up with these N’awlins
boys to get these questions answered and many
more.
How do the Chopper City Boyz compare to the Hot
Boys?
B.G.: I’d be pretty much out of my character trying
to compare them to the Hot Boys.
You really can’t compare nobody to the Hot Boys.
They got the ability to be as big as the Hot Boys if
they just follow their heart and do what it takes to
get where they’re trying to get. When motherfuckers be asking me to compare them to the Hot Boys
I feel like I’d be disrespecting them and disrespecting the Hot Boys. I’d be putting expectations
on them and I ain’t really trying to do that.
As a CEO, what are you doing differently with
Chopper City then what Baby did at Cash Money?
B.G.: I’m letting them all be men. And Baby, he
was lying to us. He caught us at a young age. He
had four young niggas at a young age that really
loved to rap and he capitalized off our love for
music. When we came in the game it wasn’t really
‘bout no money. We ain’t really understand none
of that but he did. All we wanted to do was rap. So
we was blindfolded to the business side of things.
I really just keep it real with them. We friends first.
I just want them to understand this game: what
you put into it, you get out of it. When you go
corporate it don’t be real no more, so you gotta
balance shit off. Man, it’s a whole bunch of things
I do differently than how Baby and Slim did things
but to sum it all up, I just keep it real with them.
Some groups are not as successful as the artist
that brings them out. What are you going to do to
help the group reach a higher level of success?
B.G.: I can only do so much. Like I said, I already
put the stamp of approval on them. They just got
to follow up and do what they got to do. I got
solid fans that’s going to open their ears to them
just cause I say open their ears to them. So once
they got their ear, they gotta keep their ear. Their
character and their personality are gon’ determine
their longevity. I believe in them but they gotta
get the people to believe in them.
“Make ‘Em Mad” is your single. What are some
things that make you all mad?
104 // OZONE MAG
Chopper City Boyz
Sniper: These old bitch ass niggas out here bootlegging shit. That’s the main factor that’s making
me mad. And you know what else making me mad?
Niggas nowadays ain’t talking about shit. They
ain’t teaching me nothing, you feel me? It ain’t
nothing new that they’re telling me. Everything
they’re telling me I already knew or been through.
So that kinda shit makes me mad too.
Gar: The government, man. How the government
just don’t give a fuck about us, ya heard me. And
Katrina really exposed they muthafucking ass, you
heard me.
How are the conditions in New Orleans now?
Gar: We shake up, we building up brick by brick.
We’ll be back. Everything is everything, ya heard
me? People coming back slowly but surely. They
can’t take New Orleans out of our heart. Although
a lot of people moved, New Orleans ain’t the city,
it’s the people. I could be staying in Russia, I don’t
care, New Orleans gon’ still be in my heart.
Sniper: Everything is still under construction. Everybody is still building. A lot of places, like where
I’m from on the east, it’s a disaster right now. A
lot of abandoned houses, cars that was left during
the storm and they got flooded out. It’s just a lot
of debris everywhere.
VL Mike: I stayed for Katrina whil the rest of you
niggas left. I live in this bitch, so I’ll hold it down
by myself.
Hakim, can you describe what it was like growing
up as B.G.’s brother?
Hakim: My experience growing up as BG brother
was good. I got to travel a lot with him when
he was with Cash Money. And when he opened
his own label I was his hypeman. I learned a lot
and saw a lot. Being around my brother helped
me with my rap and I got better with time. And
I learned to rap on all different levels, not just
gangsta rap.
Does B.G. treat you differently or is he harder on
you because he’s your brother?
Hakim: No! My brother isn’t that type of man. He
treats us all the same. The only difference is that
I’m his blood brother. We all love one another as
family. Me and Gar grew up together and Snipe
came in when the label opened. My brother and
I both grew up with VL Mike so we like brothers
from other mothers.
Sniper: It’s love. It’s four dogs and we all hungry,
you feel me. We all come together as one.
What have you picked up from B.G. since you’ve
been with Chopper City?
Gar: He groomed me, dawg. I watched his do’s, I
watched his don’ts. I just studied the whole rap
game. He personally watched me through this shit
for a few years.
Sniper: Loyalty and honesty is a must.
What’s the best piece of advice he’s given you?
Gar: Just keep it real, man. Don’t never fuck over
nobody. Keep it real and you’re going to last long.
With all of you being solo artists first, how difficult
is it for everyone to shine within the group?
Gar: Coming from where we come from, and the
upbringing we have, it’s just like that on the block.
There’s competition everywhere but it don’t do
nothing but make you better. It’s competition when
we in the booth but when we out the booth it’s all
love. [We] make each other step our game up.
Why have you decided to go with Black Wall Street
instead of Chopper City on your solo project?
VL Mike: It ain’t like I’m putting it out [on Black
Wall Street]. [Game] is just helping me on it. He
got some input on it and [B.G.] got some input
on it. And I’m doing what I do by me being a
thorough street nigga. And Game, he ‘bout one of
the rawest mutherfuckas in the game doing his
thing right now, besides my homie Geezy. A lot of
mutherfuckas, they rapping it but they ain’t out
there busting niggas in the fuckin’ mouth when
it’s necessary. You know, I get off on that type of
shit. That’s just me, I’m raw and uncut. That’s why
they compare me to Soulja Slim. We lived the same
life. That was my homie too.
Can you tell me more about your relationship with
Soulja Slim?
VL Mike: That was my dawg. I knew him before
he was Soulja Slim. I know Slim when he wasn’t
no Magnolia Slim, wasn’t no Soulja Slim. I knew
him when he was cutting it on his mama porch.
He tried to get me to fuck with his label a couple
of times but I was still living it in the streets so I
wasn’t taking that shit serious. When I try to get
on the Hip Hop page, they be like, “There ain’t no
difference [between being] gangsta and rapping,”
But there is, though. Especially when you’re a real
person and you really live that. I don’t lie in none
of my raps. I’m not living nobody else’s experience. Me and Slim was locked up together a lot of
times. I ain’t proud of a lot of the shit me and him
done but I’m glad to say we finally made it.
A lot of artists left New Orleans because of Katrina. How did that affect the rap scene in the city?
Sniper: The affect was major because Cash Money
and No Limit, they the founders of this shit. They
had it poppin’. They brought light to New Orleans.
So they were always two of the hottest labels in
New Orleans. Now it’s upcoming artists trying to
make it in the game but it’s really no marketing in
New Orleans. So it’s kinda hard for everybody to
get on. Chopper City and Cash Money are the only
two majors down here.
Tell me about the Chopper City Boyz album.
Sniper: The album is giving you just what you
want. It’s a lot of different topics. It’s real life shit,
the struggle, what niggas got through. They got
shit on there for people to party to. //
- Randy Roper (Photos by Earl Randolph)
OZONE MAG // 105
YOUNG BOS
Do you wanna introduce yourself and explain where you’re
from?
YB: Well, I’m Boss, from Milwaukee, Wisconsin. It’s about 45 minutes or an
hour from Chicago. I’ve been rappin’ for about 3 years now. Came down to
Miami, got my mind right and now we ready to do it, take it to the top.
So you came down to Miami to start rappin’ or you happened to
end up there?
YB: Yeah we been down here in Miami. It just so happened that Miami is the
spot. It’s the spot where we came up at. It was a good lick, and we just did
what we did with it and made it happen.
I know Milwaukee is known for pimpin’ and Milwaukee has its
own flavor. Is that something that comes out in your music or
your flavor?
YB: I mean, I’m comin’ with whatever you wanna hear. I could spit it fast, I
could spit it slow, I could chop and screw it. I could spit it East Coast, I mix it
all together and that’s the way it came out. So if you like it, you like it. If you
don’t then…hell, I ain’t gonna force you or put a gun to your head.
How do you think you’re kind of Miami in your rap sound?
YB: Man, Miami put me on to a whole ‘nother lifestyle. Coming from the
Midwest to Miami, Florida is like winning a trip while you in the hood fryin’
chicken and they’re like, “You just won a trip to Cancun, Mexico, free everything.” And it really do happen.
RL: We went down to Atlanta first before we came down to Miami though.
What’s your relationship with Reality and the FUP Mob? How did
you get hooked up with them?
YB: Well, the godfather of the FUP is my father. So I learned from the best,
I learned from the streets and I learned from self experience, but I also have
a wise man guiding me everyday and I thank him for that and I thank God
for that.
Is that how you started rapping. You just hooked up with them or
did they noticed you?
YB: I was always in the streets. I was bad, acting up but when I came down
here and I was stayin’ with them and was locked down, I was in the studio
for ‘bout 2, 3 years, no bed, no nothing. But before the studio there’s an
actual studio where there like a bathroom, it’s an office, it’s an actual room
with a T.V. and a couch. And the other side of the studio closed off and I
stayed in there for two years.
Locked down in the studio, basically.
YB: Not locked down, just focusing on the vision. Everything happens for a
reason and it’s been a lot of things that I been through. For me, what’s happening right now is a blessing. People say it takes jail and it takes a lot of
stuff. But if you just sit back and look at it and think of right from wrong and
how to get money and how to avoid the stupidness, it’s gonna come to you
sooner or later. I learned that at a real early age. I was shooting guns since
before I could really walk on my feet or ride a bike. Bangin’, ridin’ around
with pounds, heroin, all that. I been duck-taped when I was a baby, I almost
drowned three times, it was crazy. But I’m still here today and I just gotta
take life slow but never take it for granted.
Like what?
What do you have going on right now musically? Do you have a
single out or a mixtape?
YB: Coo Coo Cal and Baby Drew are major
to me. It takes someone to get up out of Milwaukee and see different things and then
bring it back.
YB: Yeah I got a single out called “Hol’ Up” featuring Dakari Black and “Mo’
Money.” Everybody need mo’ money, ya gotta have mo’ money, “Mo’ Money”
is the new hit single.
When ya’ll say FUP MOB, is that a group or is it a label?
YB: Naw, it’s not a group, it’s more than that. It’s family. MOB isn’t Money
Over Bitches, it’s family. It’s Money Over Bitches too, you already know it’s
Money Over Bitches around here but it’s family.
Do you think it’s time for Milwaukee to be put on the map?
YB: Aw yeah. Milwaukee’s on the map but it’s time for Milwaukee to take
over. It’s a lot of promises and a lot of broken hearts that I got to put back
together in Milwaukee. It’s a lot of wrong that been done in that place of
mind so I gotta do right.
106 // OZONE MAG
YB: Like my mama, keepin’ things tight with
her. My auntie, she just got started on crack
and she’s been on and off. My uncle, he’s
doing his thing and it’s a lot of niggas on
the block doin’ their thing that I ain’t forgot
about.
Why do you think Milwaukee hasn’t
had a major rapper yet?
You’ve spent time in Milwaukee, Miami and Atlanta; what’s the biggest
difference between those cities?
YB: You see different places everywhere
you go, different cities, different climates. I
look at gettin’ money and people and family
more. In Milwaukee it’s cloudy, always
snowing. It ain’t too many bright days. Ain’t
too many fine girls. Ain’t too much money
being made, but you got niggas killin’ over
crumbs and shit and it’s kind of hard. So
you go to Atlanta and this is what you hear
on the radio with Ludacris and JD and fine
girls and gold teeth. So you come down
here and you amazed ‘cause you see girls
with phat asses and niggas ridin’ around on
24’s and candy paint and all type of shit I
ain’t never seen in my life. Nigga, we stand
around on the block pointin’ at cars like
that, even you see it all the time and it’ll be
6, 7 niggas in the hood with the same car
and every year a nigga get killed for that
same car. In Atlanta, everybody like that,
everybody gettin’ money, the girls gettin’
who knows how much money. Comin’ from
Milwaukee, you know how to work with
what you got so when you do get money
you know what to do with it.
Is your goal to get a major deal or are
you just trying to be independent?
What’s your major goal as an artist?
YB: The ultimate goal for me as an artist
is to get money and build wealth with my
family. Anybody in the way is gonna get
crushed. That’s the bottom line. If you in the
way you gonna get crushed, if you not in
the way, you won’t get crushed. You could
make it easy or you could make it hard.
Can you explain how you met each
other? Do you go way back or how
did you form this CORE DJ’s/FUP Mob
alliance?
RL: Well, me and T. Neal both from Milwaukee. I was fuckin’ with this shit early.
I had a record store and anytime rappers
would come in town they would come to
my record store, Real Deal Records. And
after that shit I started my record label,
Revolutionary Records in ’91 and T. Neal
was my DJ at my first show that I did with
Twista. Back then he was Tongue Twista
and had a little different image back then
and it was MC Breed. So me and T. Neal
go back far as a muthafucker. Back when
I started he was just starting DJing so
we got a real extensive history. I left and
went to Atlanta and he stayed down and
kept doing his thing. And we ended up
bumping into each other again and makin’
history.
When we see the CORE DJs logo
with the FUP Mob logo, what’s that
mean?
TN: It’s that with his situation he had and
the manpower we got, we just get the
music together for The CORE DJs album
and run it through FUP. We got a couple
different situations but with this situation
right here, we gonna run The CORE DJs
album, and we gonna run Young Bos’
album. So we gonna run The CORE DJs
album through that independently and
distribute it through Universal.
People know of CORE DJs as a DJ
crew, but do you think that people
will accept them as an “artist” or
how do you plan on presenting
that?
TN: Well, once we start the marketing
plan of it, it’s a lot of DJ’s saying, “It’s my
album.” And once you got that many DJ’s
in their markets saying they got an album
out - you got a DJ in Virginia and Milwaukee like, “Get my album, get my album,”
it’s no reason why it shouldn’t sell.
Is it fair to compare it to Khaled’s
album or the album Drama’s working on? Is it a lot of compilations or
does it have a mixtape feel to it?
TN: Yeah, it’s gonna be a compilation, but
we want it to be something that people
are gonna play. I don’t want it to be like
people have to go back and take Khaled’s
voice out. We want it to be an album, it’s a
CORE DJ/ FUP album.
RL; We tryin’ to do the numbers like Clue,
you know, platinum.
TN: Yeah but with Clue, I don’t want
nobody to have to go back and do a
no-DJ album. Like we can do the skits in
between to let people know. We gonna
have the names of the DJs on the side
of the album, it’s like one big unit. It’s like
one album but it’s 300 DJs. We feel like
if you’re a DJ and you sell 1,000 CD’s in
each market, that’s 300,000 CD’s right
there.
With all the record label contacts
that you have, what made you confident to work with FUP Mob?
TN: Cause that’s my family. You work with
people you trust. I don’t trust no damn
label. I trust the people that work at the
label but I don’t trust the label.
RL: It’s a lot of muhfuckers in this shit that
make a lot of money but don’t get paid
cause they get fucked.
TN: They do a lot of frontin’, buyin’ this
and that on the outside but niggas still
broke, live with they mamas, be havin’ like
4 or 5 roommates. It’s some bullshit.
RL: This FUP shit is about niggas eating
for real. I been in this music industry for a
long time. I moved to Atlanta 7 years ago,
and I seen everything. Niggas I looked up
to and I still look up to, I just realized that
this shit is a lot of smoke and mirrors. And
a lot of fugazi shit. So at that point I was
like, damn, do I really want this shit? I’m
sellin’ my soul and I ain’t fuckin’ with my
son. Me and my son ain’t spent one summer together cause I’m out here chasin’
this dream and this shit is just some fugazi ass shit. So I said I had to get some
real money, get my life together and get
my shit together so when I fuck with this
shit, I can do it like I want to.
TN: Coming from Milwaukee we had to
REALITY &
TONY NEAL
work twice as hard because it’s a bigsmall city, you understand?
What does FUP Mob stand for?
RL: Fuck you, pay me. FUP is about
niggas eating, niggas coming together.
TN: Fuck anybody blocking FUP, fuck
anybody blocking The CORE. Fuck
you, pay me.
What’s The CORE DJs roster look
like nowadays?
TN: We cleaned it up. It’s still about
306 niggas in the Core but I did some
house cleaning the other day and cats
that don’t never get on no conference
calls, cats that we don’t hear from until
they get fired from they radio stations.
We got offices in Miami now. We at
a point where we just trying to put it
all together, not only for The CORE
and not only for FUP but for all of
Milwaukee.
Do you have other artists on the
label?
RL: Yeah. At the same time we gonna
launch this Young Bos campaign and
this CORE DJ campaign. The Core
DJ’s project is going through a major
label. We got Young Bos’ situation. We
also got an R&B thing, this nigga Tony
just sent me so I guess we bout to be
fuckin’ with him.
TN: But The CORE DJs, FUP Mob,
we just trying to get Milwaukee some
respect, you know? Everybody knows
that Reality is the shit in Milwaukee,
that he was down, making the city look
good. He never tarnished the town,
when niggas look in the history books,
everybody gonna know that. Just like
in ATL, everybody know that the nigga
who moved 160,000 out his trunk, and
collected a million dollars and was
living of a million dollars out selling
CD out his trunk. And muthafuckas
don’t want to accept the facts but,
Milwaukee County. And we got some
bitch niggas from the town too. I’ll call
a spade a spade and I don’t know
anything else about any other city but
mine and from the radio station, all
these niggas tryin’ to go around it but
you ain’t gonna be able to go around
me. I ain’t lettin’ niggas that in the
industry go around me so why I’mma
let some local nigga go around me
and throw salt. If you gonna try to go
around me do it the right way but if
you hate, trust me it’s coming back this
way. I’m just waiting.
That’s about all the questions I
have for you. Do you have anything else you want to say?
RL: Fuck you, pay me.
OZONE MAG // 107
Devin The Dude
Waiting To Inhale
Rap-A-Lot
Devin The Dude’s newest album is filled with comical adventures with members of the opposite sex (“Sell Me Some” and “Sick of This”) with a few pit
stops for the sticky green along the way (“Waiting To Inhale” and “Til It’s All
Gone”). Devin has a masterful way of making the most serious topics sound
soulful and enjoyable. Devin’s been perpetually slept-on throughout his
career, but if fans sleep on this one, they’re missing out on one of the best
albums of the year. – Randy Roper
Pretty Ricky
Late Night Special
Atlantic Records
No girl in her right mind should fall for an overzealously hyper Baby Blue,
an overly smooth Spectacular or an inappropriately crunk Slick ‘Em and their
corny pick up rhymes. At least the group’s R&B crooner Pleasure makes Late
Night Special worth playing for the ladies after dark. Although Pretty Ricky
would like to believe they’re being 21 about things, songs like “Peer Pressure” and “Make It Like It Was” won’t appeal to the grown and sexy or even
adolescent girls. – Randy Roper
Slim Thug and Boss Hogg
Outlawz
Serve & Collect
Boss Hogg Outlawz/Koch
Records
From riding slabs and candy cars to doing it big, Slim Thug and his Boss
Hogg Outlawz represent Houston to the fullest on Serve & Collect. When most
rappers introduce their artists, the star usually outshines his protégés but
the Boss Hoggs surprisingly hold their own. Serve & Collect proves Thugga
and Boss the Hogg Outlawz Records have more than enough talent to be the
next premiere label coming straight outta Texas. – Randy Roper
DJ Don Cannon & Bobby Creekwater
Anthem 2 Da Streetz II
The first Anthem 2 Da Streetz was dope, but this one is straight fie. While he
did a good job of showing critics that he wasn’t a Andre 3000 clone the first
go-round, Creekwater develops his own style on this CD with songs like “I’m
On” (which also appears on Eminem’s The Re-Up). Bobby Creek’s laid back
confidence on the tracks “O.J. Simpson” and “Acid Rain” are two blaring
examples that lyricism is far from dead in Atlanta. While his voice sounds
great on every beat, “King Kong” showcases Creek at his creative best. He
also gives a clinic on beat jacking when he freestyles over Gnarles Barkley’s
“Crazy” and reworks Kanye West’s “Heard ‘Em Say” to make “Ain’t Nobody
Bussin’,” where he challenges his Georgia peers to come correct. - Maurice
G. Garland
DJ Smallz & B.O.B.
Cloud 9
With “Cloud 9” garnering attention with each passing day, B.O.B. uses this
mixtape to show that he’s not a one-trick pony. Something like a cross between Shawn Jay and Cee-Lo, this Decatur-bred lyricist comes with it on every song. Don’t let the basic song titles fool you, “Gangsta” is not a bragfest
about guns and drugs - instead he calls out the fake ones in the booth and
the record label offices. “Haterz” featuring Wes Fif takes a worn-out subject
and breaths new life into it. On “My Story” B.O.B. reveals that he wasn’t a
straight A student, but his prowess on the mic compensates for that. Even
though he commands attention on every track, he does a good job sharing
the spotlight on “B.O.B. & J.O.E.” featuring fellow up and comer Willie Joe.
While most mixtapes feature an artist practicing before he gets called up to
the big leagues, this one lets the world know that B.O.B. is already a star.
- Maurice G. Garland
Sean Price
Jesus Price Supastar
Duck Down Records
As a Boot Camp Clik member and one half of the rap duo Heltah Skeltah,
Sean Price hasn’t been considered a rap star in years. But Price could out
rhyme most of today’s so called rap superstars with the witty punchlines
and rhymes skills he possesses on his second album. While at times Price is
seemingly babbling about nothing, Jesus Price Supastar is vintage BCC and
embodies what the roots of Hip Hop are made of. – Randy Roper
Chopper City Boyz
We Got This
Chopper City Records/
Koch Records
It’s hard living up to expectations, especially when your CEO is a livin’ legend
himself. On We Got This, the CC Boyz fail to live up to the Hot Boyz comparisons through 16 tracks of fight music (“Knuckle Up”) and murder themes
(“Flatliners”) while proving chick songs aren’t necessary on every rap album
(“What I Like About Her”). Through all the chaos in New Orleans over the
past year and a half, the Chopper City Boyz could have used their platform to
voice of their city’s ills instead of redundant threats to up the city’s murder
rate. – Randy Roper
108 // OZONE MAG
JR Get Money & Don Cannon
Tha New Breed
If A-Town newbie JR Get Money never makes it rapping, at least he’ll go
down in history as one of the last artists to have a mixtape hosted by
Don Cannon pre-RIAA Raid. But judging from the sound of Tha New Breed,
JR shouldn’t have to make that his claim to fame. Songs like “Deep In Da
South” and “So Emotional” are evidence that JR shouldn’t be a hit-and-run
rapper. – Randy Roper
P Stonez & Dow Jones
I’m Da Shit
Mr. Collipark’s new artist P. Stonez is only 18 but his skill level is superior to
many rap veterans with years of experience. He’s the shit in his own mind
but the after listening to this mixtape, the anticipation for his forthcoming
album The Takeover went from “who is P. Stonez?” to, worth copping when
the album drops. – Randy Roper
Poe Boy Entertainment and DJ Obscene
We Run Miami
On We Run Miami, Rick Ross sounds like his success in ’06 wasn’t enough as
Ross goes harder on “Career Criminal” than most tracks from his solo album.
New music from Flo-Rida (“Birthday”), Brisco (“I’m Into Dat”) and the Triple
C’s (“Lightning Strikes”) are more reasons Poe Boy has a right to boast about
running Miami. – Randy Roper
Block & DJ Smallz
Welcome To My Block
With the emergence of Yung Joc and Boyz N Da Hood, Block and his Block Entertainment label have become a formable Southern force. Block’s new mixtape
hosted by DJ Smallz, Welcome To My Block, is a reminder of what the Eastside
Chevy Rider and his label are capable of. While Joc and Boyz N Da Hood make
minimal appearances, the primary purpose of this mixtape is to introduce the
label’s newest member, Gorilla Zoe. – Randy Roper
Deuce Poppi & DJ Frank Luv
Florida’s Most Wanted (2 ½)
Having spent his career under the tutelage of Trick Daddy and Trina, you’d
expect more from Deuce Poppi. But the few high points on this mixtape are
saturated by sloppy freestyles, remakes and pointless commentary. Not even
Deuce’s Steve Urkel catchphrase-influenced single “Did I Do That” featuring
Trina could convince listeners otherwise. – Randy Roper
Ice Mizzle & DJ Scream
Frozen Water
You should never judge a book (or an album) by its cover, but you could draw
an accurate conclusion that the music might not be up to standards from the
obsolete No Limit Records-style artwork for Frozen Water. Although most of
Ice Mizzle’s content is money, hoes and clothes, songs like “Don’t Know If
You Love Me” and “Don’t Take Your Love” are worth a listen. – Randy Roper
Sy Scott & Don Cannon
Sychosis The Street Album Vol. 1
The Aphilliates have an incredible track record for hosting mixtapes for dope
artists. Rowdy Records artist Sy Scott does come across as a lyricist but Sy
is seemingly rhyming to hear himself rhyme. Sy’s rap style is equivalent to
reading an essay full of run-on sentences, thus making it difficult to pay
attention. – Randy Roper
Roam Bad Daddy & DJ B-Lord
Death Before Dishonor
On B-Lord’s new mixtape series Trojan Man the South Cack Kingpin hooks up
Roam Bad Daddy to show the streets what Pure Pain is about. On Death Before Dishonor Roam reps his indie Pure Pain label (“Don’t Want It”), poursout
his heart (“Kill Me”), and keeps his enemies close and friends even closer
(“Fake Niggaz”). Although some of Bad Daddy’s freestyles will have you hitting the skip button, his exclusive music will bang from Savannah to Texas
until Roam’s album Say Hello To The Bad Guy drops. – Randy Roper
C Ride & DJ Ideal
Get Right or Get Left
C Ride is bringing more M-I-Yayo music to the rap game. While many tracks
on Get Right or Get Left sound the same, C Ride still manages to put it down
for his city on tracks like “Represent” and “Florida Boyz.” And when the music
starts to get monotonous C Ride effectively smooths it out on for the ladies
on tracks like “Walk Different” and “Strokin’.” But his tale of a NBA player’s
sexual perils (“Virgin Part II”) is C Ride at his best.
Pitbull & DJ Ideal
Chapter I
Pit’s newest mixtape is 24 tracks of the harder side of Mr. 305. No dance club
“Bojangles” or “Culo” style tracks on this one. This time Pitbull delivers that
pure Miami street music that put him on in the first place. – Randy Roper
Ray Cash & DJ E-V
Bitch I’m From Cleveland
DJ E-V brings Ray Cash and fellow Cleveland emcees, Chip Tha Ripper and
Fat Al, to represent for the streets of Cleveland. The underrated Ray Cash is
as impressive as ever but Ripper, Al and the appearances from other rappers
(excluding the two random features from Lil Wayne) add little to the Cleveland takeover. – Randy Roper
Tru Life & J-Love
Tru York
From the cover down to the mixtape’s content, Tru Life is clearly at war with
the DipSet as tracks like “The Dips Is Ova” made enough noise to get Cam and
Co.’s attention. And when he’s not taking aim at the Diplomats, he’s showing
why Jay-Z signed the newcomer to Roc-La-Familia. – Randy Roper
Little Brother & Mick Boogie
And Justus For All
9th Wonder threw up the deuces to Phonte and Rapper Big Pooh but the two
Justus League emcees still have what it takes to carry on as a duo. Their Mick
Boogie mixtape features production from Nottz, Khrysis and a few tracks
from 9th, as well as guest appearances from Rhymefest, Ray Cash and Talib
Kweli. Although LB flunked in the commercial success department, they’ve
never had issues in the critically acclaimed category and this mixtape (even
with few contributions from 9th) is grade A work. – Randy Roper
OZONE MAG // 109
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YoungBucklive
Location: Memphis, TN
Venue: Plush
Event: Trapper’s Ball / SEA Pre-Party
Date: January 27th, 2007
Photo: Julia Beverly
112 // OZONE MAG