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,qllq i*P"; rs 5" VOLUME 30 lncludes bonus DVD featuring over 80 rninutes of footage. INLUDE$ EONU$ OVD FFATURING GHOSTFACE + MOBB OFEP *ffu#'r* *,t*zg? ffi* #H# OAVID BANNER + TRICK DANDY + PITBULL + NORE + MORE tu 6.6.p
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OZONE M.!iri!. Ab: F6cdk:l I l*v* *;$itifl i4agaziil*" I lhink it'r one *f 8.li"L?'ts*"'*,0, I rvanl tc r.!'*!'k rcith y'*l! jilst la h*ip g+:l yr:';r lhe holt*st rnag&:ifies that doesn't just talk !T*E orit ii'r{il *th*r ple{es ih*t C*r;'l kn*vg eb*lit th* s3.ni+ eriistc *v*r and over anct eb*ui *Z*i{t. i ii*n'i w*nt *n-v i-**n*y *r *v*r agaift. Keep d*ing your thin*" - Sh*itra, anything like thfit" I j**t i"+*nn* s** s*rns*ns t*y*t*?** ?,@yah**. {sir'i vglro work: as hard as y*li sn l*p lik* lirey're supp**cd tiJ ile. il*t ki::ing a:s, *ul yo*r inag I g*i a c*py *f ycur rlagazine when ! was eilt ifi i.l*w *rleans f*r ttre is hlel,t*r ihail XXL, anei I iave Tl* *s:urce i* {ieath i:i,jt eyeir ihe'f cai'}'t {h*ppa press jx:nksi" lt was the tirst time I've heard *b*ut G:Ol',if iouch wi:a{. y$tj've cre*led. l've *ni.y i-l"}*i:rflrj. -}S. r::tc*, i:i.:t y*u i*ft nr* bec*use i'm based in l-*s Ange[*s. Anyway, !'vs b*en :-*eriiftfl y*iir with e g6$* ir*t:r*ssiqr* ihat tsriit b* nitlr i".r* f*r a i*r:g tir-l:*, *nd r:nc* the edit*ri*l, Jfl's ? Cents, and { just wanteel t* say, keep d*'ing y*ur thing. r*st cf th* idfirld g*ts i] l**k al y*ur nr*g {'m sure ih*y'il be as n*alled as Ysur edlt*ri*l is a g*orJ read, very enlertainiiig. l{eep ii *p guysi - Jag ianr. Y*ur rnag i3 ih* sliii" - *li*lc ei* Fin'l;:, etrawb*i'rie5*?@a*l.s*i?! jay*@belterstat*c. nst ! reaLly wa:-rt ir thark y*r, f*r $iiilti:rg *"ry s!':*t; [in th* h,,.rsines: pr*fiLe $ZfJl'.lt ir4*ga:iile fittarks and :landerr i*cal artisii" i re*ei:tly read nn *1,'$l*ek't'sear': eEO 5:ax]. i don't think tr've €?er :e*n colnrs ol n:y trics *r-Licl* in *I*t"jf, &Aagazirle lha"r was abo*t scrne rum*r: cf nr* talking lo p;"inted lj{* t.-ai. *ax i-q ais* v*ry :in*;-essed anrl you fafi $s* him tir*s* iXs pn AIJL lnsf.ant ],4*ss*nq*r. Ysu rnLlst r*wr';ts this :iary inrmeeJiai*ly Cay: wal:.1'ing ain,ind b,,it!i tn€ t;Zr:ilf 1"1*g in hls hanrJs everywh*re h* jnac.{Jrate. hecause it's l-l*t accurate at aill These ai{egations ar* very gces. I alsc must say thai iisx dia :,.c:rr j*b Or*nrcting in -Iacirs**, i,iS. i never hacl a converiatisn wiih any magazine edilcir *rilirre, n*r have becaus* recenlL;v everytirne : sh*w up scnewhere wilh a {*irera ! gei ! ever misrepresented nryself by pr*tei'rding tc h* a:ked !f i weri.: ioi *Z*Nf, or r.vhere they {eft g€t a kid that :vjtl kilt himsell or a prograrl direct*r one, becaure ihev lrrani tc eet a ;*p-v. Gr*.at j*i:i cf an'y radi* stnti*n. i-i*wev*r, I think that tne Di - Jaro V*cek, r*ntofixgaoi"csti"! who is supporting these *i.i*gaticns h*s sorne ki*d c{ p*rsor:al .rendetta. lt is *ur *nderstaneling that I'm a f*rmer re:iden: o: Orlando, *rd j lhink y*ur" he spoke *qeinrt th€ Lit' Jon sanrple in ih* ssng maga;ine is ih* rhit. I s€e n l;i *f :*'9 friends and e*titt€d" "SK," and yet he put anoiher group's song c:rLleaques {,,rt-tl i:re Ci'ianCo a:ea :'.1 :'': ::3)i, irt on his mix Cn thet featui"ed Tupac's af,apella vocals. yo*r m*g+zine. Thaniss fer aLl l*e |c,.,'e cn {ar:'i*n & 'it The s*ng "ilK," sid include e Lil' Jon saflpl€, but the S'!pta':rats. Peece - -.1. Ge*rge, *ipi*:"*atifice-A- vras oniy frr demc purposes fbr Lil' Jon to aciuaii;r Feila fr.eeords Hxecutive d"& ft., **i la€i-:ai l"e*:* gel oil the scng" U:"ifortunately, it was nct delivered ta Li[' Jen in tin.]e before it was teaked $ut into fcrrs:fion: t** pfrctc cre*ii.: ** sa- #K#Nffi &{mgmx*m* f,ffs,tr$v#s *fue n*gh* *c ed$t f*Mhm*k sq"ehm*rust*ffi* f#€" *{er:gr *r 9*r:g3*. e#_***. i @#& @4r @ffi :Sif:,-i:"*:'a;i;-; @qffi . W nile / are falkng ahaf." 'The flource llagazine j M/our bi//s. don'tluowrvfiafwu foar lawsaitb iafuttng ,ft/34&.2/ urlewYork Pasf, 4[4/04) % spke&toman TracrT rl4cGregor, respnding lo a qui;tion regardin( & ..slpatuufs isTrh{ effi I galap andgo /o */ Lucas fftafs over slirhslide. //e's a real loser...facfun'donky. / don'tknowlpvnyu don,frespcf lfiisliggared (Trunk nix 6D) & A,ffi; ;;;f;;;;;"r;i:;;"i siii,v, r,,*rs )r,';;"/*d;;;rc-ino na n"y done wrkedTor.' - kck Ras Funk" @ffi ; yu. don'f know wfial lftey fack youTe *A frtafinu'retttqt a gud brar, if.srnply, 're bean btessed lf large dick does noi'.{nen'ut' tMqtcutwq'v'e'' €6 1 iiq,h": i^plyariasleof abigdick.'-Dtta'sCornerOonDtrattlagazine'#17) €# .yhe h@k ror ilasler p's'ttiake'hn say uhhhh' sounds ^ H#,yg;n:tf.r#ilf";g#!;fj,/$f"f,i"iiili#i*WrK&, i @*m i I I *-# i 'lil** 1,:r;r"s ..e*, ern+*:,..,ltir * n+v; i.,ljk*n *r:d * .rill-= -.::ii::i *i br.*;Tii*€ ;l *h+l*g:"3pher, I h****ej 'tS > Rick Ross ,-r.rt 1o ]a:11-:ia i*r il'rs""' i:ln:irig ri ilE i'; {ir:t "5,prir:3 > Jacki-O pil',rv;*d. 3i:;:q." i;n*;-a: i,{efg :r{ii rifi ;1ic: i!1lirijii*d 1* rtr'y Rumors abound when the "Madam of i1 ii:r l3:t *f th*r fiiring nr-r*.. Sn**r; wal irst{rr-:jr-!9, i,,ii:* i Miami" skips her own signing party :*:.;i* b;reiy.e* him.ir'l si+g* ii:r,;l;qh il*-v s;1r*1i i**:" {i*rir* * ir:a1,, i *Filr**{.h** * *h*t*#rn}h*r **ar th* li*g* *nd a:ke* h*'l > Grandaddy Souf ire a pns:. i--le r{a:.iiii;r t;:e *riard* Seiliinei. "*+';i i,le i*.,:i riii? l+s( Mics mysteriously cut off in Tallahassee i:ri-irdfi=*t 5lagjr gefte i*g*tr*r. il.*:nelar*ef i::ei" h* *sii*d. i *i1*":,, *t;t \ right before per{orming "Fuck Da Law" r*crit:d *iryway. "l-hai.': ih* *Lilr ysir ne*d to c*ik l*," t:e t*t: +re, r-Rin:' > Cash Money Reunion iirg, "Th+t's f*b." i t*kl F*,ir i +:as tryi':E * jilb ai a rnaga;ir:* *i:d ! l* A€l Never saw this one coming !-:*e{i*d i*r:n-v **l"ii*lk:" i-l* *i*;:'t s;rir:nuch, jList, "[*ll*"r, *:*." iri*iufe* > 5**r, i rqir* *4.diief*';:iil: fr+* reign. 5;:*i-.3:t*p;:*d *ff ;1a** 'ei'id w*.s q:"*+:*d hy i-hr: t'4ay*r Da Band dismantled? ci i?,e'::i.*;:n. l'l*ii:a lr*Ll.;e* p*st, g*id ?.*ill!: ;li*;il1fit, a:r# sl*pp*C i* $*5* a*f * fe'oj ih+t:. *iii*i; Never saw this one coming, either li:i*i r;;lix*# i:y. **n,,:ir:* '.'r+l:ta*e!jr:q *.jxi i* lTie, sL.;*k1*q *i: ,: i*iii;;** ;rii{ i.*lki*g i* A"i irr:ry: > King Ron l**t:l f*r"il. T**r:" lh*r* wai f r** f**:* a;:* ;i;'i::ks *il, dey" il !."r*: - ! r+*s :r*r.iq*C, * i{i**i Jacksonville's own wins BET DJ battle otve*r Later, i lr+d *r i*giii*:&t* re*!*ii 1,3 r*v*rr $pri*; *ii*9" i :*nr r,JFi*::]i *r-\.'i-r:*ga;:fi€ l* > Uncle Luke ft+* {*ili:fi;ii..u er.,e:'-} irsntir, nn*i wh*il *,:yl*n* ;-*ii.*# are*iir.i" i srn::il** i:i* r,:iir:6 i*r * palr, He's going white and never going back ,.yJs Ftr rr*r'i;;f ii:* rv*+k**d, il -tusi :rr-= e*.i a l;:iiJfut *l *t!r*;'i:h*t*?r4fi:€fs ln Lh* "pii." > G-Unit th*:r--*il ei€e 5rpaiaiiirg {iswd fran: it;l*e" *'r'i&C lii*r*il1;1 r:p-:i*-re anci *ei- inr tie {{r;-y How much limelight do they have left s*n*i .3r:i.:esg.;irh**ti rv*ii** nrrvi-:*sly *nili:i*?* v':iih i:*;'rr.rij-rr::" j:efr:rr h*r .li ri;rr*i::\'-;. before the inevitable backlash? Trearh g:*v* m': a h''.:g" ! +l*lke* {:*.i:k i* ihr *f*ssiif ifl;::'i }i€a r'qith i:"v il,*ii!, .4i i' rr4ir. cl,:\; pi:rnped iii: fisl s*thiisli*st'ically, sf;r:i:ii;:g ": l*r'* ;--y j".:i:i" i,: n* i:rt*,'l;: ;rnri!al'.*r. > Nelty vs. Spellman girls Some offended by credit-card ass swiping i.lor,,', P"ab i: "i:* i*i"!Aer',rith iil€ i*ifip.3fir!" iir.i *IT l*;'i*g 5ii-g i: ri* l=rgei iu*" li's i*gu- iat*i. cc;i:tr,*li,:rj, ;;::d ili:r:fifr. il'5 nc! {v*fr iiii**i at ii:* i:e;eh ri!-ri/lr:r-r€. !i'* * ir:i i"fi4:rf p:':{- lir;ll **r;i*ie ir*fiic ir *+l n: hr:avy in i:i:is i*i;ii*::. a::el ! ***'t hev*:+ i'igiri r*:"*-gl erswd: +t rra;':d, pi*piirg firer: {ii v*u t.*ink i'r e::agg+rali-9" :r.ii hev* -*v'*r i:*** t,:: fi{fi.; i* q*t, ilier+, 3?.it- it's j,;sl ililt lii{r ii us*d t* i:*. Th* telei:rily iii:e** *':' **i-f+rr:er: :night b* 4r-+*1 f*r vi*'+*t:, li',:i ft:i- ihe prrsi ir,l* V{r*f:, r"h* ,'**dia irealrner:i l':a: i".**:n t*rribi*. Til*y't"a1 gr;1- i*i: l,*r l,'i!1. ;il i*rge cril{e}-ts *r ie:livialr. "ir*tlia" *r "Y!F" ph6tn'. 5*ii,,i.rii-t er* *Lt**51 *iv';ay; a rr'**t j*1'.*. Thtfi iricit inis A i#r:}Fi* Sf,F-r*firfs**d },'oLr *rJ*$ a;:y*fi* r**ily e,"*l,:t 1* Eef tilrnkl*g geltir:g :;r-;r*r:lili:rt *pe.r!,,ri, *ui 1l'-q ir*ra iii{* 1v,:i":'i* Ja6g*d Edge; iri {i#*s *f * "*{; " ju;"r,- Lr*:1r:e.l.i-v h+.i:rg iir-;ly. T**'ri: ir::l srtri*ll€ir{i :rJ :ile! ili.}ig'*r. r+€*iii!'A *!:**:9' grii:s ;inr3 cari e:ilrtrci yr:*" ']'h*y'll *iu:*y: *!.ai::e it. ** 3*niliii:J, L:*l th*t': bl.llii:il. Ti:1: ,-ear, ail*r plck!n4 ilf in'y ffi.?.1!a ir+ij*;:- ii&ls, !li'1: 1:r"* i***v',;i r*nl*r* haqs :*{ ih* ii:al;l lJ*tstl{:r *1'f . i'h* s;.,*r"liil;; gL:arC :hrugg*cl. "{i* ai:*a*." []eyi" ! 1{'*: ir::"-:|rn*:i iha: ifir;*dcl* t*.*i: lrJ il:* "rnr,i;e l"*t:i," ex4 !i 9rve: "r-:'.:gl:i" it"r r:rr1r r,;lher;:rra t;ithr:*l * "3il'f r::c'r;-|," ;::-v e:'r:ii+ni1;gi tt*ulti i:* {-{:i-rll-.:iiat*ii *;:',j ! ;r'l;:':irj ';t *:k** l* ii:i.ve h*h,xir*i. 1* il': ir:ci *:* t; I guess you've gotta start somewhere. ip*r-r-fir*;*1y.". =':v {n$i{:ift ireg;-0 rtniiggis r:'; E'capens. as i*:i*:: ii:l'i::,,:'11"t: *fJ t+ ti:* r*Ffrii.i*r ;ri*ri*:* *r*;:t "ieiilrii,",." I ?l=.t=, '-r:t;*v+:. z: a ZZ7-=-=ts- gx6r:ily !",=al: The +.r*dta i+rttr :r r'ici e itl+,:* vill'a: :,: :*e-d ii:a** r + : c, t 6 *+,*, 7{ :.,r. + -qt: *. =-'S rJ*i'*. ilLlt, i:hsf+ is l.+il, ii+ ,: i+r.^: b*S: tttj?:aj** E*+ =-**t-i i:': il* i*r:i if;xt"*i:l *i =a **ii*t* {nipi:, *ni-i *r: iiriRk;;" iiftisi! ihal ui::t, ih* *:*di,: *r** d*i+ri*r-.=*tl1n4 #,* j":'!*i:le iiia ti:*:* ef* *iagqf{i i;::el'. +:-:d l.}r-th *et\veen ili iili{:{visws ail'j ;aeii* *r* pri;*l*** - {*r *:ver'gthirg ir*p:. 'iit*:";" a rli{il** "i}l-!*i+tr;lrh*i':" *;lit i*r p;*:iri*r'l ,,rui:i!.e ih* ari:iri s;,ifii:i ifi fr*ni r:f * tlilT:iqn Lr:r:rii-:q l"r-rr*d. f.lrxt t* ihr "fii*ljie i+::1" is ih* ieaii€,: j:1'}€ "*f ei:ri r+{rffr"' i+nt ;rrr-Fi+te -iV, wllil i*rrt |*+ii:;:r' qc*ches, ierr--:d a*d *ri*k:, * l*rq* :rr**n *::d {*l*l}!-itre..*" 's?it ai* c*nv*r:i*nily rii:,r* *n*lrth 1* 1€* ih* "q;"*en r**;=;. " h;l *ap;-*::l5r ir.rri::rider; ir*in *illdiii !"!9. I ff:utrJ g* *il fu:l*r.*r" *t ih* fiik *i s+i:*r11r:4 ii!-.* *:r *nqr,*iefl;l hji{h, biri. *.::::',:ll. isiili. hed i*n.,*,*'irlv*y',,1!r* i:***s a r-neLjie p*s:, lvh*e-- *atilts *nrmil yrsij ih*ir *wr: pirs i:iioills t+ Lll Jcn!? Uh...ls that Ja Rute? i'lcrcsdes} Ih*i:i: t*: {hr: q**d p**pi* *i SIT rqh:: fci*i'*i** *iy .r::11piffinls. {Photo: \*e'r* ali juai d*ing *r-r j*hs. rig*l? l.i+ri. y*;rr, f**ri a*;l *ri::li: be nire" *,neJ renlemi:*r. p-\*l*gilei-:h*r5 nl* lp*el*i. "'.r,li:!r:f iil* * i*r::tr*pi:*N:]j{ f*r " :'e*S!;: t**ts. " J*l1a *ev*rly. ji:S*x***rr-:*g.e**: Dirty fl Lil' Burn One "That's Why l" Ric-A-Che "Coo Coo Chee Ying Yang Twins f/ Trlck Daddy "What's Happenin"' Youngbloodz "Lean Low" Lloyd Banks f/ 50 Cent "Porno star" Arrogant "Swing on His Ass" Kanye West f I Jay-Z & J lvy "Never Let Me Down" Akon fl Stytes P "Locked Up" Carl Thomas "A4ake it Alright" SBalt & MJG "Confessions" Sean Paul f/ Sasha "l'm Still in Love with You" ilaroon 5 "This Love" The n*w spinfler chains, in ctore* now OZONE MAGAZINE Apnrr 2004 11 ffi3SH&ffiS. Aboqt a gicl ;n nry \ood, see aoct niggar call \er \oe and dig \er l4e uef srtt yuB Ttta+'t ]ft.e celigron \ertqi tcience CAwe ;\e's joyly gcov'n' qP tobe like \ec older rirter PeoPle believe in yoq, fool, bat 1 prove t\at f'n nofe feliairi J\e got a bad cepatation so yoq drln't \old or k rr \er t''lore defiant, kid, yoa letting dovn your pr,de ,{nd aftec one converration yoqptob'ly totd oc tvirt \ec 5o davy betore yoq get anplqggel iike an applianc€ Tt ain'l \acd to tett t\at \oney dqr'b 'Caqre like :trong and orange, t\at cat be barely t\yning Jhe 16 goin'on 2! nr?nr? don? knov V\ere r\e 9et \ec nroney fcon and J a;n? nevec lying, v\o y'att tUnk ir t\e illert? Hoppin'in and oqt of cav, stutled in t\e backreat /oq coqld \ide bott'br qnder tny r\eetr and J rtili voqidnt feel it Lookin'to rcofe bi9'caq* r\e tqck all t\e at\leter ltle, I'rt' rt'oce like acfylig gotta go p* ay rqf+ac€ 5oraet\in9 like a trinc€r, gone Vfong /oqr c\ynrin' ir like 5an Bovie rook e c?lcdcr'caqce t\ey vortNerr ,tec*t 'ER' Lbed iobe a ballerina, nov rhe Pecforn'r'fo f\e'T\ong 5ong' l4y \ave yoq in t\e like *caeonr V\at haPP.n"d to yo(rc p13n5 to enroll in coliegeS Yoq uqldn'+ Jive yoqrglf propr i+ yoq va, rapping in tlvrd perron Nov yoq'd rathec rlide dovn netal Poler +0r dollart f rPit iike a crhPq+er Progfar!;rq'f\lfqckef, f'n' Vord Perfect fingernai]; and yoqc toet is keep talUng and act like Cain and get ?otisted "'ccdeced B,* yoqc brain'; on 4.l.eeze, in ot\er vocdr., fcozen knoyleJge 1 rtrake any tool l''licroott VorktrVersionsr rtop vorKng All yoqr planr ?nd yoql goa)r denolir\ed 1"\ not ceftain that yoq even derefve to ree t\e Eaft\ rPin /oq gr.v ap on t\e Soql\Side, vhy n;9935 knov yoq a \oe in Hollir3... Jo f nrig\t +qck qP yoqr v\ole lite, like yoq Adan and 1'rrr t\e recpent J /1ll ren'enber \ov it ali *acted in rc\ool, cqttin/ {ronr clarr 0\ yea\ and yoqc airl ir like CN$ t\. \ead r"e or"et\in9 nev Evecy boy yoq knev toqc\;n'your arr - Eltiot Tayior, nicca\reane\othail.c0h 1 ain? gonna liet slpttlt f ared to laug\ Hov yoq var t\e nrain hpic in l4at\ 1 a;n? gofta yAill *e,I/nr cl?inng ay orin t\rone J reen \ec in t\e nall AoPPingr nori f'rrr conteraPlating'boqt rtoPPing 16Bar: n 4c!-it's potlqttng t\e 0Z0NE \Caqre tt\at rhe coqld gef rae off, like Cochcane Hold c\ronre 4in:r 1 aint talle'n"boqt cias Back t\en it vas poppin', tPoiled., \er daddy vat pu^pin' See?, pull, pop and pat one in yoqr c\in He probably t\oqg\t Ae'd gcov cp and get nrarried oc rorretUn' Laqderdate is l\e city I'a in Bqt iittle did \e lnog Ur little ?tit\cctt vat t\e cify 1''69 T\ey can rrc t\e voice, no c\o;ce., yoq 90tta lirten to \inr Pretty 0ace, t\e type trolr t\e video Dfr ain? giving he t?i^t qnlett1 P y Dann, t\ir bitc\ t\ick, r\e on that Lit'l("' rUt TUr ganre ir +qcked ap and getr yocre every day 9ee, \ec \air n'ate\ t\e calor o+ \er liP*ick Tlrey sayl \e tay, t\at \e': aiig\t - Lbyd Bankr,'Pocno Stac' He Ay,4te ay, t\at Ur tloy '1951 5\e ray t\ey *aced\caqse \e rorrnl 6r1t1 Lltten,!'rn a 5?' n;99q tryin' to cape and k,tt it 5o t\ey \atel it'r okay'caqre \e gon'fi9;t T\int aboqt honey every five-eig\t\r a nrnrtte I see tle irdwtcy i: r\ady v\en lig\tr ir on T\at'r vhy t\ere n;99qr vant ne 0.0.A. Bqt t\ere can? be any r\ade v\en t\e lig\tr ir gone 'He V\en f co'ae t\roqg\ cockin'9atr t\ey iike, don? Pay!' It't dacl aroqnd the vay on t\e pat\ f'n on And ray niggar rtacUn'cUPr like Frih Lay To Pqt c\alk aroqnd t\e J?ne.1 clt1ls ?lqz l\as u^e Hey, v\o da fqct vanna rqn it todayS - ?lqz V q\ plqzvqne\ofhail.corr ('knock gqlnd's Voice of t\e City') Vhy y'att taggot-a* ni9gar tfying rUct for :lect Tort'rt'y Gqnz'll rock-a-+ella like I'rrr Dirt llcGict ! uar put \ece ar a tavor to y'all in all rr'y glocy Lrte to gazzle Hypnotig gol a t\ic;t for 5riqrf Lett ny rput cereeved in \eaven and travekd t\eorrg\ pq1r1tb,t s?i+li7'' +atet in da \ood in a pqrpie \earre Tapped 5atan on t\e r\oqlder and totd \in to nrove aride 1 knov on'e killaz t\at are ro gorilia And Aortened qp t\e d;rtance perrirfin"tveen yoq and i Have yoq dqcUn'and dodgin'balletr like da l4atrix hotion Pictqre I got angeB on ny r\oqldec; and devilr cpon ny teet Dun'p yoq off i\e bcidge, yoq can fake t\e ocean vit'ya And t\e* cats is diabeiiq t\ey tUnHng t\at r\it is tveet /oq ain? on ny level, dog I'tl let onre \oer coae get y? Hittin't\e concrete apon beatr and acnrs \ave fallen 1 knov ya d;dn? t\inr CityBoy vat t+yte /'an ain? ever reac\ t\e p\one, brt 1'n, auveeing nry c?lling ^y It't a pity boy., rt'y ovn city didn't knov I"tt t\ir vild And nov t\e operator, engains divin. vond"ct - Toa br 'Jntro' (0efinit;on of Hangry") V\ite f'r \aving crnverrationr vit\ 5eils yoqr nnd riqnberr Bett *ay vitUn yoqf cornerc v\ile yoq( deity +eals Itl ,'lre end of f\e vay of t;te ar ve knov it 0r elre t\e vordt'lt trap yout toql and yoq ain? teeirr teleate T\ir is t\e latt strav, George Bcr\'boqt to declare t\e latt var Renro'ii breat\ 'trtobeatc vUle \e'r 6314n9 t\e vofdr dance 5o tell everybody yoq love, yoq *ill love'err VUie t\e tpifitt qpon \eaven and \ell and t\e sqlf\ c\3nt And if yoq 9ot kdt t\en take trr"e to \s9'er" 'Cacre ry vocdr on t\e fqtqre \od a n'aiority of torce X don? ceatty tUnk t\at y'alt knov v\at ni9931 ir tac;ng And t\e day t\at 1 rtop rpealeng/t a hinority report 'lron Ve ace near t\e end of +.vit+ed civilization - Godaaw R\yne Vitt (renix)' 'Intrieate Tl\it i^'t a nation - cqt^ att the raoney toc edqcation (iC0N t\e l'1ic king'r Spectrua W"\ And bOtd hore Pfironr at a rePlacer€nt Hov ir it t\at t\ey can bqild a var againrt teccor and Jn t\e g\etto vs +ill loring t\e var againrt \ero;n3 V\ere aee all t\e t\oroug\ ;,en, t\e l'1artinr, t\e l4atcolrt'r3 Errail yoqc 16 bacr to T\e oner t\at'll lore t\ey life to c\3nge t\e oqtcone? 'kirr - 5ai9on, t\e Babier" ]BEOZON En AG .C0lt1 ." con','.derar,on. ,$fil Hffirffie*sc*g .,1lr.' .-,,.. .t:,€titn -, .- .t; :il%-q+#. 20 OZONE MAGAZINE Aparr- 2004 {arty* Stepfrens #&.s0?*#6r. At,$,&,d, Fsaturins "L:ttl&"'lifhite Lie" 'otrt's a Fityttl . , ' *'Tsk, him maek,* . aFF|:-.a,, # #rh ;ii!aj : :LS: t :-J nr\C + +rj !e i -+ ?- ;i1X:l -il j I ti j !r J+=f E ltft tf: :t :i Gf ::f Fq \: t{tT $tNsLE m/ *WHAT'S =-,RADIO & IIj|IXTAPE $UPPORT IN A NAiIIE, trm' wondering what the ouesrion was.- rn a nip-noi-iniustry $ where most artists f(ffi e;L,"'iji;;fir::Y,'.. on a-slecinc album, ,,Business accomplished witrr niililt"r"t"ur", his soat ot "riti"n"ri u gf,oa Arrogant nas Jieaoy The atbum "tlilg i""ri"g- *i,n i;..i; ;.;;i;; iion. not on'[y showiasesa.'.ogunt', uBiilfi"r-u"hina ,tr""t tracks ro partv tracks. rndependent atbum' the mic, urt u-rro'iri businessman. Arrosant is on ihe lrinJ nirrl#'to prorotu ay'reteasirg an simplv do not know unJiaii ii liolr. ,r,,unv whatio ao withlt wjii'uno"o"l-i"i5i.r.s irl',r.,"ii.liirg MCs have tatent, but combination of determinatjon,,tirunt, ,"i#; ffi"r. However, Arrogant,s wicked "r.-r.;-seem [o roresnac'oiu a rather tengthy stay in the inctuaing;oml o.iii'itv cn,.ago pes radio itaron wccr, ctpros@ar;aneproau.fioilorpany.com+!:l{i!"Jj;Tt'i:,1P"{i:'flifo1*;'*";*s, a[[ across the country for a reaion. - i"trli'i"",.''u", il @ % ffru i{gyqrtnaugh SELEBRIw mEHToRs # ffi I3BEL ll'IDEF Ef'l DEHT H USTLE gf 1; *AIN'T HO LltlillT" HEAVYWEIGHT col.lllBos tr € T H *l 6': (nicknamed for.the prevatence of drugs in the When you're born and raised on 133rd and Gramsterdam lll DarkChiLd/Cash Money/Universal MC ,i neighborhood), tife in Attaniic Litvioof.t reat good. lt t"uri to former ,.', got peace- of mind here," assures the naturat who recentty p.rt.o *iy, *ith his cetebr'ity +ontoit- "l Fats, After doing some time himself born hustter, whose parents often spent time "away" iniorg1touinit'chitdhood. +* when dared him to approach Rodney Jerkins in a '.,H in AC, Fats discovered nls iuirie *fiite at the matt, ifriend just that, and Rodney was so impressed that he music store and spit rvrics. Nuuet one to back down, rais did found himsetf dr;pping u"tt"t ihat *ere featured on Michael Jackson's # invited Fats back to his stuaio. ritisoon with ,,lnvincibLe,,and ,,Heartbreaker." He atso began puttin! in *ot:t on his soto project, doing cottaboriations Brandy and Truth Hurts' But as the saying goes' ; everyone att the way tror'SO C"nt,}r""*uy"unO Lit'Wiyne to and Cash Money have since.parted ways' tt we a[[ know that mo' ron"y-tluni to' pro6l"tr, and Rodney Jerkini With a tatented roster by his side' Fats # Fats afso saw fit to step orit on his own and pursue his own dreams. on the Label include Bathgate, 'qE their own record tabel,, Never Enough. Thus far, artists and his brother taunched Future Records; J. Mathis, a whitJsinger comparable to Justin Timbertake; :E who was once signed to Viigin can combine atl the tessons he .i from St. Nicks projects; li"tui" tupp"i- fiom Phitty' Fats nopes .he work for himsetf. "You can't hold real talent learned from Rodney, euoylnJ".atp"i., lii* unJ put tirlt knowteoge io for hood' I'm my greatest asset'" - Jessica Koslo* frit back. I got a raw talent f6r *nut i ao. I iepresent eve[, E# qEfr [email protected] {t ftl I -tffi?tI |tttpt.S*ry LABEL B€cfi"e HONilETOIi'HTMETOWN FAN , *'.t $lilrrrT}yqrytrl BA$EBASE E,€ * *$TEP SIDE HU$TLEHUSTLE wg. € i : Tyyo'n ilAJOR#OR LABEL $I'PPORTSUPPORT ETE, * Like many other Houston rlppers,.the appropriatety named Stimm Thuq.q gotot his start in the rap game through g ; .* swisha House in the late 90's..with the hetp'of southwest Distribution 6;p;.;tpany, he fottowed the undereroundunderground F c F formuta for regional success. "You start ofi on mixtapes ' - screw iifer - i'n!i'ito*"6rey stowed down in Texas. JustJu-st tike g you got a DJ clue up north, DJ screw and : Michaet watts was tike that oown'n in-itrein the south.South. tt!tt's au Jirr"r"niivp"different typ" . of music, but that's how you break an artist down K L net".'; lrtli.reuiing';'bu=rg a buzz through mixtapes, Stimmstimm € dropped joint indie atbums with. fettow Houston rappers "_ ESG and Lit' K;k;'.l. lrierAfter putting up impressivsimpressive satessales ; numbers throughout Texas, and Lousiana, he caught'the € _ ., attention of suueiui:ra[ ru;ormajor labets. At first, he says, q s he was hesistant to sign. "Being independent is $ ;: t-ovety *rr"n-vor;u" g"iLjgig r.rr."trmarkets around you. you'reyou,re vouryour own.boss' and you can get tike, 58 a disc. lf you wanna drop'a recor"d- iilrri1t no*now and drop another one in six g : months' it works for you." After a white, f, though, he began io .onria"r inruiJrmajor to hetp expand his career. .,1,,1 l, feel [ike I've alreadv conquered att the p[aces ,,tf € *"" ti" inoiu!h";il i;;; r",;/r.v,e," says stimm.Stimm. "lf I had just stayed il.'" [independent], I woutdn't have seen mycareer go forwaid. S 1. I woutda b;". ;i;tastandstitt. standstitt. I neverdroppedasotonever dropped a soto album, so [signing a deat] stitt ain't gonna affeci none H n - -r of the other snit f aor to eetget cash."cash.,, He eventuatty signed t" with lnterscope, and his debut soto;tbum, "Atready pi.tinrr,;;ir ff ri;H;;;for ia Septemberseptember 7.h7,h retease. Stlmmstimm says that the titte' "Atready Ptatinum, isn't j ,' * f,ns , " ust opti mism. " lt ai n't unori tn"the sates,"iates, he says confidentty. ,,lt,s just the lifestvle. € ;-r" I r'm tivin' tike r done sotd a mit atieady, yo, r.no* r - Beverly, [email protected] il;ilh il;r,?,,-sayin'?,' wordsWords & photo by JutiaJulia ", F t n qq*ry5ry4 SsfTtqs:FEmn!':r ffi a ': - 19"- .E - I I i -.- '"€: 'rs : ;" .-- " ry#s: ffiF.F-*"q - iF- "PJ T*r"* '- r :\:-q : ---- : :4.: --F-t SltlGLb w LA,BE; Cr.udf$llF/ltrat?€f Bros' HIT RADIO $UPPORT trg lffil;r ,.HIGH€CHOOL CRUNIK' CELHS COSIGNERS "Knuck.it v9l,eucrl' u99?',5lltJ.'?*t3)t:^'11f.il"oro:;:lY crimeLnme Mob'sMoD s srrrgtssingte : video dropping soon, ff:":l"l?Tillil::tn( *1,ilU?""4'lliii;;;;;'""b"'"1 the-group'l srnete ciugnt i:l.f$;'Tl*:;:wl*:: crime'ffit it-;;;A;J tv S6rious (Lit'scrappv's attention of Def Jam, sJ',tvll"i i" sooet' crunk lnc the ;g*t:e ;iL1v-t1;t"eioth"it iht;ugn Llt' scrappv's manager), so the group ; -ptarito phaie in the crunk movement: 9#i rney usher in u irtoi" n"w and Lit, Jon,s BME necorornli. r'r.r.'C" KittaC' Lit'J' and Diamond ,,high-schoot crunk.,,rn" rir'."rOfr!'lpry.no etu.f,biinJ"it, nlgh,sctt""t.'er-iltl"t graduation, their educational - are att sophomores, 1".,;.,;;";iors-in #;;i:,;#,"d.'114irtpL::^,,?#pnt..*linU:,t,'l;'.'ff Uii:1fl';"'il',?'J"'i::i]:ii to batancl davs I When it comes a"n1i?nlt-nlii nu" ln tire miorninq' some and go straigh'iiJin" r].";i". ii a" the Rise"' homework, rn"i, atuurl'ufprop.iatety named';on teave the studio and g" il;g;il-r.noot." coco Brother first quick t.,r"'i""*=.i'o" t..iio-piuviitts. Ai;,; ilii"'p"""ti.titv exotains their and it quickty became mainstream ,,Knuck vou eucxiion Hli ioi.s'i "rjig it or'ditn-it,'; we oraved if maxe il'it shii' we're voung and '"nci q,roup . o"tr']r'r'i'c' iurniii up 5v tuvi'ie";w! tn" signed [;d''-;?w.i't"'i. in" iiu, cooking beats tike"' crack'" make hits. Head Banger tii#iiiilI';i; - woiat E photo bY lisha Hitlmon *,ft-al HOIUETOVyII suPponT ut DJ $UPPORT ffi' IT.IDEPENNENT HU$TLE W The Tattahassee-based Nappy Headz (not to be confused with Kentucky,s Nappy Roots) first gained regional notoriety with "Robbery" gangsta ,,My the version of the popuiai inii-rll"ro, Neck, Back." Faheim, one of the My six members of lhe groul and atso the producer, exptains, ,,,Robbery, was just a ptay-around song. r had just cteaned-up the studio and ii was rooftn;'empty, like, man, [et's get peopte so we was some rn nere to do a i6ng. " rh,.t ril" nrent, ;ri#uuiv" the ctub, was ptayed in and reached the ears of influentiat record'poot owner rl Enipru,i.-ir.l,, out to everywhere] DJ,s reached [DJs the next day with that recola,', says Faheim. ,,r tove him for that ,cause he made us." Their fottow-up.singtes, "fU,,anA;Whut in"V Oo,;; f"ji"rl.g Totat Kaos, also proved to be successful regionatty..Attend -wrro'u6 any tocal show and it's easy to see that rattahassee love for the Nappy Headz, has r hIAJCIR LABET NHAL LA'HL #0{tlrFry#,- ,_,. tr -1firffi, Rio-A-Chs nAnlo $Rpt*AY tr "csuHluhllcAill*G'n HIT $IT{Gffi tr Ric'A-Che, he totd me to ask Ric to.catl When I totd a Universal executive I was headed to interview their artist native and passed atong nir-. I stighity unusuat - but after I met with the 26-year-otd.Detroit tf,"rgtithir*u, "Lackof Communication'" themessage, heexptained'thJaorOtumeaningof thenameof hisupcbmingatbum: funny, because.during the whote White working on his deOuii"t"ui" tntorgn S-RC/Universat, he says, "lt wis their.minds, tike, 'Where are you??' recording process, I didn't have a cetl pholne or pager, so they weie'tosing sound another way"' lt took from the creative angte, they wanted me to sound this way and I wlnted to Atso, the unique vibe of several years oiprtiu]ig triic independentty uetore he.caught a,break with Ric-A-Che i'ih" come up with ,,Coo-Coo Chee," a women-'s anthem oi sorts. *tot" the h6ok, but she coutdn't Darija,s Women buy in"'u"""t, * ih" t"t r" have it," he says. "lf you can make women happy, you'tt eo a-!o1qyt-av.' of SRC A&R Knobody, who 75% of the coniumerr.i Th" fihisheA product caught the itfention CDs - they,re tike me to irr""ii"i"Vbiought tn" pioj"ii io CEo St"u" Rifkind. "[!teve] Catted me the next dav to welcome betieves in you, he goes the extra mile' And SRC,,, says Ric, who tp"ukJf1irit'ty oinis new Uoss. Steve'Rifkind ."lf record business won't do' They'd rather he showed me the businestuip.i.it too, which a tot of peopte in the ;coo'coo heavy.spins throughout the country look for rob you first and then snow Chee" bi.iling ,p 1iri.;'wiin "Music is what most his debut atbum to hit stor6; on June 22"d, and he promises iou won'i be disappoint-ed. give you at least four, five singtes so you'll artists don,t have. I use my vocats as instruments. I wanna be ibte to n"u"ig"t tir"d of the atbum." - Julia Beverly, [email protected] ( Photo: J Lash) *mE{bcr f,R'T}AYSF * noorrro Rrnrr DJ PROSTYLT, JIT4MY JA}'Z & DJ JASON R&8r H|P-HOP, OLD SCHOOL IOPil ' tan LTDIES 8- frlEt{ 2fr $5 ssFonr' I t $ro rrrsn i $pm Fwwmwsswffi&reTpcffi i'4-d"!*'-. ' :-r r :r::t;)i:!ar::r.::..i-..., l ffirryi; -.':'; i *li$ t,- grN* * 4? --* 'TW push your project .: ::;ui:ii111!air::t:t!]:a:!,r::ar:r:: :.,:,at aa: ::,:tt,..a:::tt :,:aa.arta... iljiiii*iii$fiere's no major artists that really have come outgf;F.€t€l:&d€-i:t,s1,','', ;lit:::]t' you think that will make it harder for you? ;1i;it;*!;;rl*lri,i''-...,,.1::,11::..:,.,:, i}j.:l;1iiii,],. Actuatty, there was, Taytor Boy, Creo-D and L.A.5howi.ilhf€li:6ioke..0tlt&ld*::r,lrl:i i';r"'"- .he-re;:,. i!!i,11Dajsy Duke." That's kinda otd, though. They were tro*'tn,,n.',,""'' . Gtade. But it's a hard city to live in. lf you can make it out of here, you . ,}i ---.cang$'.rut.it:fryi make it tr:om Ci{i;Mliei* 1* AnvwhereAnywhere you so.qo. :6l,fa r a3,,'b.t€nft i.gg.rgco rds i n th i s a rea ? lllirr.,bur r it :r€il!!.r&trf,lc{eq:,!,9,b!p-:hop. It's rndre'Gospet and counffy But you can pick up ttle Palm Beach stations? Yeah, we can pick up X 102.3 and the underground stations overiir-Palm .. ... Beach.88.5 and 97.5.96.3 Ravto and Dem Damn DoeesDoggs station,t:.:iltstation':t:::::*:ri.::::,:::,: :::: ...... -...-...--l lia,.,;;:::11:ir1rt9:?r1ill*f,e$,r?#119;:,,|]f :r'j, What's your plans right noq are you pushing the "Muck City" atbum i,:,'l,:::,:,:rtlof:ar€yEt-:pbnqing:'6ndroitjiiilgji:,solo album? ',-.,--..,: ;alt:,r::::1:::,'tir:PiqbdblV jnthe near future, butlal*his point, the plan is to promote the r::ir:'::;; ii::riir i,r,,:,.:: album eind break the singles offillh4ntbum, "Dirty South" and "Shorty I ::tir::,:::li::: lJaari Al".n' Vr tr About'r ,:1t::il...:r:::i:i- ;i.a:;r,:r.,,,r ,Heard Ya." .aa.t::.:::.,-.:.t..,a .... ,.,_,.,,., "'"t:1:, *i1''lit lt::..,,0o.V"u have a timeframe wtren y1lflre looking to drop a solo album? I woutd say, once we've estabtished a fan base to be abt6 to hotd our own ground, we't[ go out and do soto albums...... - : :.:::a' is the name of the atb($? What:s,th€rname of the groqp, r,:irri.:i::: So production-wise, do you have any other artists,ittidt.,yodp working with currently? Yes, and l've atso received catls from Piccato, Tampa T@!$;:r,Fitbull'5. manager, and Ludacris' manager. lf someone is interested in:S6ats;tlheV can hit me on my cett, 561-644-5704, or at the studio, 561:9:9?:958S' . The studio address is 2405 Patm Glades Dr., Bel.Le Gtade, FLr7fi,A.,;,,'.'.,;,,;,, lf people want to purchase the album, where should they lociKfbt:it?':, ls it in mom & pop stores or online? It's pretty much out the trunk right now. They coutd email us at [email protected] or go on the website, www.decarecords.net. Have you been happy with the response to the album? Yeah, we've been getting a good response. "Muck Cily 2"'is the next atbum we've got coming, that's coming soon. Why do you call Belle Glade "Muck City"? We catt it "Muck City" because reatly, we're surrounded by nothing but muck. But it's the richest soiI in the world. We're more agricuttural than most cities. We supply a lot of the United States with sugar. What's the main products that come out of this area? AgricutturaI products. I see you're all wearing "Muck Wear" clothing. Is that your line? Greg, the owner of Muck Wear Clothing, we're a[[ from the same 'hood, doing the same thing, so we just rep for him. Att us are ctose, good friends, whatever. You can contact him at 850-322-3866. Anything else you want to add? Oh yeah, there's a coupte fotks we want to thank for hetpini:irs-,9ut: Be[[e Gtade the whole (M.U.C.K.), Masterlab, E Ctass, 720, D S.ijaVe'the baddest graphics guy in the whote damn wortdr Gienddaddy;sot4fi.5lh Str, SuaveSmooth, Tripte J, PGB Records, 88;5;rr:Ray Goody,lRuf-flMofld, Dem Damn Doggs, the whole Patm Beach Couitty,.?1:R€ese,"€bLii;,Down South Dope Boys, Konfusion, Btack Beach Records, l'lqnry,;:Filpl,and my brother Eye aka PINT. And there's three of.1$ in'the group; blit d.!e of...uq now - M.D. aka Fuck ain't here right Boy.(i!!g[ .1,1., - Photo and interview by Julia Beverly, [email protected] He's the newest addition to the GGGGGG- two days passed. Three days passed. l'm Unit, and his solo debut "Straight Out Of noticing I ain't seeing the bond of Juvenite, Nashville" is already due to drop in July Wayne, Mannie. I ain't seen them the whole 2004. He's the only MC in 50's crew repping NG time since I had got back there. I was trying the South, and he just might be the most JESSICA to figure out what was going on. Four days talkative. Listen up as dirty dishes about his passed. I made it up in my mind l'm not hard knock life. going to be sitting here like when I was 16. I'm going to head back home. The fourth day I was getting ready to Tell me a little about your childhood in Nashville. leave and Juvenile putted up to the office and he said, what you doing Coming up as a chitd my life wasn't no different than the average ghetto here? Juveni[e asked if I wanted to take a ride. I jumped in the car. Juvie hood n-gga. I come from a famity where it was just me and my sister, and putted up in a Rolts Royce, diamonds and a[[ the riches from the game. my mother had custody of her sister's kids. My father was a crack fiend. He looked like he was doing we[[. I said, last time I saw you, you was in a From day one I had to take over as the man of the house. So I did what I Btue Camaro with brown raiting stripes. He said everything ain't how it's had to do at a very young age to get money. I started selting drugs at the looking. He said Baby owe him money. And I looked at the cat like he was age of 13. I never took to nobody who was younger than me. I always ran the most successfuI at Cash Money. The more that he totd me it added with otder cats so that's where you get the name Young Buck. I was one of up. He said he was starting his own tabet, UTP. He took me by his studio the youngest n.ggas out there trying to get money with the big boys. They to meet Skip, Wacko and Corey C, his artists. He said lcan't promise you respected me enough to at least altow me to do my thing. From there I used nothing but he said I can be heard over here. That's atl I wanted was to to hustte in the very same spot where my daddy used to smoke his sh.t at. I be heard. And let the peopte be the judge of me. I atways fett like I had a lived a crazy [ife. Even before I lived in the projects, I lived in [ow-income story to be totd. I decided [et's do it. At the time Juvenile was looking to houses around the projects. put out Skip. That was his homie. I decided to just rotl atong and be a part of the situation. Juvie put so much time and money into that project and How did you meet Juvenile? it didn't selt so much. And he was trying to get away from Cash Money. By the time I was 16-years-old, I was in the streets, probabty doing a He let me know he was getting a littte bit unstable with his situation. So I little more than the average 16-year-otd. One of my partners, Lit Jimmy, starled preparing mysetf to do other things. He was going back and forth he's in the federal penitentiary right now, he picked up a B.G. Chopper to NY dealing with lawyers at the time. So one day we came to NY and I City CD and looked where it said booking'information and calted. Baby was playing 50 Cent and the bus driver said he knew how to get at dude. [of Cash Money] picked up the phone. They [CM] came to Nashville and I I said I got to meet him. From the beginning me and 50 hit it off. lcoutd didn't make the show but from there, they came back two days later never compare our lives. 50 been shot nine times. I been shot twice. to record in the studio and my homie called me and said come 50's mom is dead. Mine's stitl tiving. 50 don't know his father. I to the studio and I came. Baby said spit something. I ended know mine is a crack fiend. But at the same time I respect we up rapping and he called Turk into the room. Everybody was had some of the same struggles. lt made me feel that we there, Juvenite, B.G., Turk, Wayne. Turk started rapping and coutd have longevity in business with this sh.t. I ptayed we started battting. He catted Wayne in there. We going at it. I records for 50 that I had. One of the records I ptayed for wouldn't say nobody won. l't[ say I left the situation respected. him was later titled "Blood Hound" which was reteased Cause the next day I got a ca[[ from Li[ Jimmy saying Baby on his atbum, "Get Rich Or Die Tryin'." He bought the wanted me to fly down and see about signing me. I left school in record from me and put his twist on it. He just totd me the 9th grade and went straight to New Orteans. I would record if everything happened he woutd come back and holla at songs but none of the songs wou[d make any projects that was me and give me that shot I always wanted. Guess what getting put out. I was getting pushed to the back slowly and happened? He hetd his word. watching their careers take off. I spent two years of my life doing that, back and forth from Nashville to New Orleans. ln What have you learned about the industry from Baby, between that time me and Juvenile became close. Me and him Juvenile and 50? woutd run together when I was there and when I wasn't with I learned never burn no bridges. You never know when you Baby. Most of the time I woutd just ride around with Baby and gotta come back and see that same person again. he wou[d drop Turk and Wayne off at school sometime. I woutd Atways be humble about situations. Don't look for sit around with Baby at his office. I was supposed to be in troubte but handle your business when you do school but I was trying to chase my career. I reatized have troubte. Sometimes everything that look that woutdn't work. I was 18. I didn't have any good ain't good. money, traveting back and forth. From there, I was at square one. I went back to Nashvitte, What can we expect from your solo back to the streets. I ran into Jeff Pringle who debut, "Straight Out Of Nashville?" had his own independent [abe[ catted Next I want to bring that down South feet. Me Level Records. I was rushing the situation and being the onty Southern artist within the ended up jumping into a contract that was group. I wanted to make it a Dirty South/ bogus with dude. Me and my partner D-Tay everything etse type of atbum. I reached reteased a project catted Thuggin' Tit The out to Lit' Jon, DJ Pau[ from Three 6 End. lt sold about 5-6,000. We woutd have Mafia. I worked with David Banner, Li[' had to setl 30,000 to see profit. I did what I Ftip, T.l. I reatty think Southern artists had to do to get out of that contract. I had are more respected for their stang learned a lot but I wanted to do it mysetf. than [yricaI content. I'm [yricat-type I started doing demos, get homies'tracks artist. So I had to cover everything I knew, putting together 12-13 songs, else. There's no "Wanna Get To Know making me a CD. From there I woutd You" or Joe-type records. That wasn't press up 1,000 CDs for 5330 and se[[ a part of my [ife. I left the relationship them for 510 a piece. I turned a CITGO type records out of the picture for now gas station into my record store. Right and gave you a harder edge, more of a by TSU Cottege. I knew a lot of out- ll- street-type atbum. of-towners came to schoot. I did it tike that for a coupte of years. Doing What are your future plans? whatever to make money. Until I was One of the biggest things I wanna do 21, Buck was on the strott. By the time is venture off into acting. I want to start I was 21 I got a ca[[ from Baby again. my own labet. l'm onty one person that He said he wanted to try to make this -?4+4J-4€ made it. I come from a big bubbte. When atbum with me and his nephew catted tr*. you think of Nashvitte you think of country Headbussas. Here we go. I thought, music. But when you get there the hip-hop why not take this shot again? The next scene overshadows a[[ of that. There's ptenty day I flew back to New Orleans. A lot of more Young Bucks where I come from. I'm shit changed. The boys had diamonds just one that made it. I want to present and cars. I found mysetf sitting there, more artists in my area to the game. 32 OZONEMAGAZINEApTT20&l He's the cameo king: Beyonce's "Naughty with different men and going through Gir[" and J-Kwon's "Tipsy" remixes, David their pockets, steating money and jewetry. Banner's "Like a Pimp," Three 6 Mafia's When I watk through the c[ub, they hand "Ridin' Spinners" and more. And now it to Ftip. everybody's yelting his name on his latest hit, "Game Over." OZONE sat down with ffiffi ffi-ffi%ffi ffi What's the name of your new label? Lil' Flip at the W Hotel in Manhattan to rap Clover G Records, distributed through I NIERI/I EW: J ESSICA KOS|OW about his new album, " U Gotta Feel Me, " the Cotumbia Records. reason he's Sucka Free, and what his huge, PH0l0: JULIA BMRIY new diamond-encrusted Clover G Records Was it an emotional split with Sucka neck chain stands for. Flip, Flip, Ftip! Free? Yeah, my partner was friends with my dad and I put a tot of trust in him, Talk about your new album, "U Gotta Feel Me." so I expected more. Out of atl the people I knew, I didn't figure him to do This atbum is a little bit different from my last album because I put a lot something tike that, taking money and stuff. But you learn. That makes more energy into it. I made a lot more tracks for the crowd to participate me real'ize that you've gotta back-track everything. lf a person tetts you with. What peopte don't understand is that not every track you record is something, you can't betieve everything a person says. You gotta go see going to be a track you can perform in concert. So, I got a lot of tracks that for yoursetf. lcan perform at my shows on this album. I got Ludacris on the atbum. I've got a track with Cam'ron. Of course, David Banner, Three 6 Mafia. lt's just Having been in the game for a while, what other lessons have you a big step from the last atbum. I went out and found some more hungry learned? cats. Every album I do, I try to find some cats without a deat, without a You just gotta represent you. Can't nobody represent you like you. And if name, and do some work with them to give them a chance. So, I let some you're in the presence to talk for yoursetf, that's the best thing. 'Cause hungry cats produce about hatf of my atbum. I got two Red Spyda tracks, a a lot of cats get tazy and don't wanna work, and they think it's cool to Neptunes track, Heatmakerz, ya know. have atl kinds of managers. I tike to handle everything on my own, that way there won't be any mix-ups. Did the Neptunes send you a Southern-style track? It's like a smokin', laid-back track. Down South. My flavor. Did your popularity grow after being featured on David Banner's "Like a Pimp?" You recently went through some label drama with your own independent Yeah, 'cause when we did that track I didn't even expect it to do like label, Sucka Free. that. I just thought it was an atright track. And Banner calted me and We[[, I was told that I owned the company, and when I looked at the said they were lovin' it. That hetped me out, that pushed my album to paperwork my name wasn't on there. And show money discrepancies were ptatinum. I onty had one video, for "The Way We Bat[." lwas stitl doing comin' about. So I decided to form my own tabet, that way I coutd know shows off "Like a Pimp," and right after that, [Three 6 Mafia's] "Ridin' everything that's going on. I can be invotved with everything. Because I Spinners" came out. Then I did a track with Fam-Lay, Pharrell's artist. was just doing the rap before, just making sure the atbum was right. I draw I've just been doing features and staying afloat like that. atl the covers, everything. Now I handle everything. I just co-directed my video with Benny Boom, the "Game Over" video during At[-Star Weekend. I read that you had a 50 Cent-like experience with being shot? It happened real quick a couple years ago. I'd rather not discuss that. What's the theme of the video? I was reatty tatking about the rap game. I didn't want it to be a kiddie Did coming that close to death give you a new perspective on life? game video. See, I take themes from movies. When I did "The Way We Yeah, it makes you take advantage of every situation you're in, and Batt," ltook the theme from "Brewster's Mitlion." I had to spend a miltion it makes you pay attention. You observe more. I woutd go ptaces with dottars in one day. And this one is the theme from "Btow." They weigh no security before. But when that happened, it made me more the money up on the scate, and l'm watking through the crowd observant. Like, right now, I coutd tetl you what everyone in and everywhere I go they want F[ip. The women are dancing this room has on if something was to happen. lt makes you g'1 reatize how to treat people, too. That wasn't a probtem ..EVER[ before. ITRYIOWORK 1, WITH WTHOUI A What's next for you? I got my own liquor coming out. lt's called Lucky Nites. I DEA[, AND GIVE did the "Naughty Girt" remix for Beyonce and the J-Kwon "Tipsy" remix. I got a track on NFL Street, "NBA Live." IHET',I A I'm a new character on Def Jam Vendetta Part ll. ln the future, I'm going to get into directing. a + +4 l've noticed that different record labels have different philosophies you explain when it comes to signing and promoting artists. Universal tends to the process that look for regional hits, and it's been said that Universal's philosophy usually happens is to "throw a bunch of stuff out and see what sticks." How accurate with a regional is that? record? Wett, overatl I woutdn't say that's completety accurate. But I do think Wett, I was only that's the phil.osophy of a lot of record companies: sign a lot of acts, put involved in that a lot of product out there, see what sticks, and then they chase it. At situation from certain a .THER['S Motown especiatly, we pride oursetves on developing artists like Erykah perspective. But I think SO IVIANY [Badu] or lnd'ia [Arie]. I think from a Universal side - and I've been here that what happens is WAYS IO GEI YOUR MUSIC for the longest, I was there when it was founded I think initiatty, as basicalty the foundation of hip- OUT THERE. YOU CAl,l STARI a new company, you tend to sign a lot of artists and put out a lot of hop. With a lot of big records records because you're trying to create your niche and dominate some and indie companies, a record OI'TASAN INTERN,AND of the market share. I think any new company that's introduced to any starts off in a certain region, and YOUR DEfl,IO MrcHTWND UP industry is bound to do that initiatty. Throughout the years, they tend a major gets invotved and wants ON SOMEONE'S DESKYOU to become a lot more selective. lf you look at the fact that Universat to take that record and hetp the JUSI HAVE IO BE CR[ATIVE.'' has been in the top 10 or top 5 position in terms of market share, and independent company spread it considering how young they are, you have to commend them on the a little further. lt might have been happening in the Ftorida region in fact that whatever their phitosophy is, it's working. They definitely are the South, and then record companies - not just mysetf, but Etektra, moving more towards artist devetopment, spending a lot more time Atlantic, etc. - they get involved and want to try to take the record devetoping the acts. What happens at record labets is the same thing further. I think that's normat in the record business, to try to break out that happens in society. Sometimes we don't have the money or the of a region. means to stay behind every act, so you have to prioritize. You pick the acts that you feel are going to have the most [ongevity; the most career- How do you feel about all the mergers and layoffs going on in the oriented acts. industry right now? Wett, I feel bad for the turmoil, but 'it's due to the downtoading Have you ever seen a situation where prioritizing one artist has hurt and disrespecting of music in terms of an art form. The artists, the another artists' career? performers, the studio engineers and manufacturers, a lot of peopte No, I never feel like that. Because I think the hits atways - you know, are being put out of work and put out of business. I feel bad because the cream atways rises to the top. lf you take Mario Winans on Bad Boy, a lot of those peopte have families. I feel bad that consumers and a for exampte. Peopte heard about the "l Don't Wanna Know" record on lot of peopte don't see the hurt that they're causing. And from the mixtapes, and Universal heard about it from the radio staff. NoW that perspective of the mergers, I don't necessari[y tike that because'it's record is over a hundred million in audience. My point is, no one has congtomerate business. What tends to happen is that you end up with ever denied a real hit record. Hits surface. lf it's not a hit, it's not a singte entity that's controtting the type of music that comes out. going to rise. Att it takes is one radio station to put it on, and that's Whenever there's no variety, the music suffers. what happens. What tends to happen with some artists is this: the radio station's not feeting it, there's no one asking for it in stores, and Do you plan on picking up any new employees? the artist is tike, "You not pushing it." Listen, it's about getting the Wett, we try to always have the best. We're happy with the peopte that product out there and [etting the consumer react. lf the radio station we have now, but we were one of the first to go through a merger so isn't ptaying it and nobody's asking for it in stores in that region, that's we've already gone through the [tayoffs]. I think we're okay, but if the not a hit record. I do think that there's times where we coutd stay on a market doesn't get better then you never know. I think that whenever record and push it a tit' Longer, but it's hard. The best indication of a hit you have a new format - whether it's the 45 or the Strack or the record is to get one betiever in any format, whether it's radio or video cassette or the CD, now you've got the digitat downtoads - whenever or a club. Or maybe just word of mouth; that determines if that record there's a new format that can't be defined then you'tl have that is a hit. The majority of the time, a hit shakeup. Eventualty it witl get better. happens real fast. How active are you personally in Universal seems to be one of the signing new acts? few record labels that places a I'm very active. I signed lndia, Erykah high priority on reaching out to persona[[y. underground/grassroots publications. Why is that? What would be your advice to an Then that shows you that we do aspiring artist, how can they get the betieve in grassroots marketing and attention of someone like yourself? development. I think that's the Trying to get my attention is part of opposite of just throwing stuff out the process of becoming an artist. But, there. But we have to give credit I think if the artist has the means to get to Wendy Washington and our press their song on the air in their region or department for actuatty organizing in the clubs, that's one way. Another that. Our phitosophy is this: if you're way is to try to hook up with somebody not hitting in your own hometown, that's got a production company that then there's a problem. At[ hometowns can hetp get their demos out. lt's a betong to a region, so your best chance dog-eat-dog world out there. lt's very at having a national record is to break it harsh. But there's so many ways where out of that region. That inctudes press, you can get your music out there - not retail, and radio stations. Then, you just to me but to record companies. just go graduatly from region to region You can even start out as an intern if untiI it's an international record. That's you're trying to be an artist, and your what it's about. lt just depends on the demo might wind up on someone's desk. genre and format. You just have to be creative. There's no real set way, you just have to be a good For our Florida readers in particular, marketing person and know how to get I know that at one point, Universal someone's attention. was considering signing Jacki-O based on a regional hit record, "Nookie." - lnterview & photo by Julia Beverly, Using that as an example, could [email protected] 34 OZONE MAGAZINE Apnrr 2004 What's your official title here at BET? a part of the My name is lmohate Rice, my titte is Tatent Coordinator. I basicatty deal entourage. I've with bookings of signed acts forl06th & Park, 106th & Park Prime, and seen it att. lt's The Center, as wetl as bookings of DJs for Rap City. funny to me, but I don't taugh out toud What's your background? Did you go to college? because I know if I Yeah, I went to Westchester Community College for Communications & wasn't 'in this position Media Arts. But it was kinda broken up, like a semester here and there. I might act like they do. I went there for a semester, went to Leeman Cottege, couldn't afford People do a lot of crazy "IJUSTIOOKII'IY that, went back to Westchester to try to finish up. From there, I just things when it comes to CHANCES COMING DOWN TO took the road of internships. My first internship was with News 12, and artists. The real eye-opener for BEIEvtRtStNGtE DAYTRT- I realty focused on news editing. I wouldn't say that it wasn't fun, but me was when I first went to Spring it was just not for me deating with the reatity of other people's bad Bting, and 50 Cent was out there. ING III GEI AI{ INTERNSHIP.' s'ituations. Then I was offered a job and it fet[ through, so I just took my This girt was completety naked, chances coming down to BET every single day for ['ike two weeks to try danc'ing from her hotet room, trying to get his attention. to get an internship. I was an intern for like a year and a hatf. lt was an unpaid internship, so I was working another futt-time job as a security Have you had an artist that was a real diva, somebody that required guard overnight. I was rea[ty busting my tait. a lot of attention? Actuatly, I would have to say Jaheim. He's a cool guy, though. Basicatty, When you were going to college, is this the job you hoped to get? we have two green rooms. One is bigger than the other. lt was a day I atways knew I wanted to be in entertainment as far as television. Usu- where we had Tyrese and Jaheim on the same show, so obviouslyTyrese atty, cottege students have a minor or something they can fa[[ back on. I is going to have the bigger room because he's a more established art- didn't have that. lt was just tetevision a[[ the way around. I woutda been 'ist as wetl as a performer and actor. Jaheim basicatly took the bigger anybody's intern for however tong to get here, room and we were [ike... uh, okay... But it worked out, because Tyrese doesn't have a big head. He didn't argue about the room. What were your responsibilities as an intern? When I started at BEI I was the 106th & Park intern. I was learning What's the worst part about your job? how to create a format and learning the whole structure of the show. I I love it at[. I realty can't comptain because I think about att the jobs I tearned how they do a cett, how they break it down, how they switch to had before this. I was a customer service manager at the Whiz, an elec- a video and come back, just tittte things of that nature. tronics store. I worked at Modett's in the sneaker department. I coutd stilt be working there, so I appreciate my job. What surprised you the most working at BET? ln other words, what do you think is the biggest misconception when it comes to television? Are there any celebrities that you were really excited to meet? For one, I think peopte get the misconception of how big a studio is. I Yeah, l'm a real fan of Jay-L, I got to meet him, he's real coot. He's real walked in there [ike, 0h.... lt's reatty sma[[. And a lot of my friends think quiet. The funny thing is, before I got to BET I thought I woutd be real that Tigga's reatty shooting a show in his crib, in his mother's basement. excited. The first star I met here was P Diddy, and my whole response It's not Iike that at att. to it was tike, "Oh. He's here. Okay." lt wasn't rea[ty nothing big. Ev- erything after that, I just treat it tike my job. I can't act like a fan even How do you choose which artists to book? though I [ike alt their music. We deal directty with the record labels and their video promotions department. lf an artist has a video out that we're airing, that artist is What's your ultimate career goal? more accessibte as far as getting booked. My uttimate goal is to be a director, and right now I produce my own show out here locatty called "Volume 2: Another Sound of Hip-Hop." I Have you ever gone out on a limb and booked somebody that really don't ptan on staying in television though, I hope to break into fitm. wasn't getting played at the time? But I know that tetevision is easier as Not reatty. I think my first witnessing far as making a name for yoursetf, and of that woutd be B2K, way before they then you can branch off and do differ- were hot. But I don't think that a lot of ent things. peopte outside the industry understand that BET creates a lot of careers for a How do you choose which DJs appear tot of individuats. Hatf the time, you on Rap City? won't see these people on MTV or VHI lf they have a wett-put-together press untess we're hightighting them first. kit with a bio and a mix CD, they go That's just the truth. to the top of the pile. Other than that, as I receive 'em I reatly try to put ev- ls the Top 10 list really based on erytbody on. But they definitety have viewer's votes? to send something in. Even if a DJ has (taughing) I'm gonna pass on that one. already buitt up a name for themselves, I always request a press kit because the What's a typical day like for you? producers want to know more about the I'm reatty the individual who greets the DJs. Especialty if it's a situation where artist, makes sure they're prepped, and they don't have a guest on the show, makes sure that they know what topics they want to focus more on the DJ and are going to be discussed on the show. I a[ow them to promote their CD or radio have to make sure the producer meets station or whatever they wanna pro- up with them, and I have to make sure mote. We don't want the DJs to be bor- they're actuatty in the studio on time ing, 'cause this is their time to shine. I so we're not running [ate. I'm just the don't think there's many outtets for DJs a[t-around guy. to get the shine they deserve, so Rap City is reatty the best show for them. Have you had any crazy fans flipping DJs can send a press kit to: BEI Attn: out on set or anything? lmohaile Rice, 555 West 57th St. 10th Our security team is reat serious. You Floor, New York, NY't0019. not getting past. But, we had a lot of incidents where fans witt try to come - lnterview & photo by Julia Beverly, in the buildting and say that they're [email protected] OZONE MAGMINE Apnu 2004 35 331 I ad a dream," I said, "About who?" l-l he said / "About Wit," I said, "Shit, "Orlando I I tf,ut't reat." he said / The first thing takes i6 I asked was the reason that he's dead / 'Cause word in the O, you got clapped over some bread talent / I catch flashbacks of the night of your wake / for Cause that night was too much for your nigga to take / Takin' slow steps 'cause I coutdn't see grantd' your face / Everybody crying, but some of them tears was fake / As for me, I coutdn't hotd the waterfalls from my eyes / Feeting like I can't proceed without you by my side / Remember the beginning? Max-A-Mi[ heavy on the rise / Took Ortando by storm and the streets by surprise / 95 Live, or that night at The Quest / You put up 5350 to show your team was the best / Hit the One studio for hours til we fett burnt out / But it's fucked up the way that some niggas turned out / Bravo, homie's there, yeah / He sti[[ on his --Year grind, he keeps you in his heart / And you coutd hear it in his rhymes / Southstar popped off, but his partner's a bitch / I recentty found out that Smitez is a snitch / Me and Statty had a fatl-out, l_laten.. we no longer guess friends / I it's onty so long Sonny Chulo rememben his fake niggas pretend / P kept me alive when I friend and mento4 Max-A-Million thought it was over / Hetped me realize I had Records'CEOBigwil two angels on my shoutders / As for me, yeah, you know I'm stitt doin' my thing / Buitding an empire sick enough to change the game / But without you here it could never be the same / So everytime I rock it's in your name / I miss you, nigga. A year after the unsolved murder of Max- A-Million Records' CEO Big Wil, his closest friends and artists Sonny Chulo and Jonny Bravo linked up to perform a live tribute of their verses from DJ June Buhg's "Bigger Than Life" mix CD. A year after Wi['s passing, Sonny reflects on the past and speaks on the future. Wi[ raised me. I was his first artist. You know, everybody screams "famity," but it's not too many people that mean it. Me and Bravo was definitety the first. Bravo lived with him at one time, I stayed with him at one time. Sometimes there was no lights in the studio and we had candles. lt's different when you're just an artist, but we was family to that nigga. Not too many peopte coutd get a hug from his pops or his brother, and that's what it boils down to. And what certain peopte did when he passed - l'm not here to judge nobody. I just keep Wil in my heart with everything I do, and I know that Bravo and P-Scheezy are the same way. lt's like he's helping me. Everything he can't do for me physicatty, I'm very confident he's gonna do for me spiritualty. lf I do pop off, a lot of it is owed to him. I've learned a lot from his mistakes. But I just know that I miss my dawg every day. lt's funny, I see a lot of these niggas out here lookin' like mini Max-A-Mits. Same way you see these wannabes comin' out with mini-OZONEs. And I just laugh. As far as Max-A-Mit as a labet, I haven't heard shit about it. Max-A-Mit, to me, is me and Bravo. I lost a littte respect for Southstar. He didn't show up to the tribute, send his bless'ings or anything. But I guess two bitches belong together. Smitez basicalty just thinks he's hotter than me. I know he's not. And he's a [iar. He shoutd never speak no gangsta shit in his rhymes because he broke rute number one. The first rute of the streets: you never get the cops. I don't care if it's your fuckin' father that's a cop. Basicatty, it was an ongoing thing, but I had seen Smitez and everything was deaded. But I totd him I was gonna get him back for that whack trash freestyle he did on Voice of Da Streetz' mixtape. lt's just my duty. I rep the streets so there's no way l'd let him get the l-20: Setf bplanatory last word. Anyway, a member of his entourage - that homo, Witdchitd, with the big teeth? This Disturbing Tha Peace member stole the show on Ludacris' "Move Bitch," one of 2002's That nigga's a bitch too. That nigga's pussy. biggest hits. Claiming he reps the "Disturbed" in "Disturbing the Peace," he's about to show Print that. He came up to me at the ctub, and us why on his debut, "Self Explanatory." it was a Li[ Jon record on so he was getting crunk [ike, "Yeah, we heard that diss record." What should we expect from your debut? l'm [ike, "That's why I did it, nigga, y'all niggas This is letting everyone know that I've arrived. My songs are atl across the board, I try to make is pussy." Don't step to me untess you ready to a lot of different songs that I feet are a reflection of me. I named the album "Self Explanatory" rock. Besides this rap shit, I'm a man. This nigga because I wanted to exptain myself and let people get a better feel of who I am, what I feel went outside and got the cops - one of the cops about hip-hop, and what my rote is in hip-hop. The basic theme of the album is just me breaking is Smitez brother - then he went and got Smilez. myself down in a tot of different ways. I feel that every song represents my interpretation of Smitez came up to me after the cops did. His Southern hip-hop. brother who looks like the Nutty Professor - put his hand in my face and said some stick How did you hook up with Ludacris and Disturbing Tha Peace? shit. The cops hit me with a coupte cheap shots. Actuatty, I've been cool with Cris since high schoot. We became friends long before we thought It's gonna take more then bitty clubs, though. of the name Disturbing Tha Peace. A mutuat friend introduced us when we were 18 or 19, and l've been hit by fifteen niggas and I'm still we had a common interest in rapping and trying to get in the game. We just became friends and here. Those littte cheap shots ain't shit, but decided it might be easier to obtan our goals if we alt work together. don't hide behind your badge. When you get out of your uniform, we could get shit poppin'. You're on the road now. What are you promoting? That's why Smitez is a bitch. Smitez is a rappin' l'm out here promoting the release of my atbum and l'm on Ludacris' "Chicken & Beer Tour" with name, and he don't get no respect from me as Chingy, David Banner, and in some cities, Knoc-Turn'at. I have my own set within Chingy's set and a rapper, that's why I catt him Rodney. We ain't of course I come out severat times during Ludacris' set. pop, nigga. We don't do that bubbtegum shit. And he needs to talk to his partner Southstar to Do you think people are ready for your solo joint? find out how we get down. I don't know why his Definitety. lt's been a btessing. I've been btessed that people were ready for me to be a solo partner is frontin' like we ain't save his life at artist after "Move Bitch." People have been asking me every day when my album's coming out the D12 concert. And this shit l'm saying to you because that record was so huge, and I was the onty unfam'itiar artist featured on that track. now, I woutd say to their face anytime. That's why it took me so tong to do my solo atbum, because I didn't want to lose the fottowing I was buitding. I wanted to take the time to make the best possible atbum so nobody woutd be Right now, I've got my own labet, GoodFetlaz. disappointed. I feet tike I've done that. I've been doing freestytes here and there, but the conversion from a rapper to an artist is Do you feel pressure being the first artist from DTP to release a solo album? what's going on right now. As far as features Chingy was the first outside of Ludacris to release a solo album from DTP. I feel pressure, but it's for the atbum, we're [ooking at Fat Joe and good pressure. I'm one of those peopte that works well under pressure. I want to be abte to set Tony Sunshine of course, and trying to politic reatistic goats and exceed them. I feel pressure, but it's more tike excitement. Of course, I'm a some shit with Mr. Vegas, Akon, and the singer little nervous. You're atways neryous because when you work on something and put your heart Ltoyd. Coo[ dude. I don't care if he's with into it, you want peopte to love it the way you tove it. l'm anxious, if anything. Murder lnc. or got beef with 50, whatever, it's just whatever could benefit me. The beats is Southern hip-hop is hot right now. Urban Child atl day, my man Shawn Starr. He's When you're from the South - I'm born and raised in Atabama I've been there from the time fuckin' ridicutous. He's a singer too. We got when they weren't trying to hear anything from us, weren't ptaying any records by us. We had hetla joints, we doing our own version of the no videos on BET or MTV. We were just considered country backwards, and two years behind, "Best of Both Worlds." My atbum is basicatty for the most part. So for us to basically be dominating the charts with songs that sound like stuff wrapped up, it's calted "l Promise." We gonna we've been doing for ten years, and even hearing other cities try to imitate us, I feel my role put out a singte near the end of this month. l'm is to just continue that and broaden the idea of what Southern hip-hop is and just continue on gonna have a listening party to decide what the with that movement. single should be. We just trying to capture the streets first, 'cause peopte look at Orlando like Would you say that you've learned a lot from Ludacris? it's a pop city. We learned together. We came into this game together. One of the things we learned is that doing it yourself is the best way to go, and to be patient and take your time. Stay true to what We kinda shied away from the battte scene, you do. lf you are you, that makes you originat because nobody's gonna do what you do, the way 'cause I got nothing to gain no more. I feet like you do it or the way you see it. The biggest thing we learned is to be originat, I won every battte that reatty counted. I won take your time, and learn as much about the business as you can. The Quest, I won the lnterscope battte. Mad shouts to Kevin Black, too, that's my nigga. And What would you like to be doing in two or three years? honestly, I took my time with this atbum. You Not just in two or three years, but for as long as I can I hope l'm stitl might feet like you're ready at one point, but doing hip-hop because I love it. I tove the music. I love you're not. l'm not better than nobody now, doing it. I think l've got the best job in the wortd. ln but nobody's better than me either. We doing two or three years, I hope to be reteasing another al- this without the Just Btazes, the Kanye Wests, bum. I hope the first one is successfut. I tried out for without the cosigners, and we stitl rockin'. We a coupte movie rotes, too. Hopefu[y, l'[[ be acting. gonna see, though. lf Ortando chooses to be Who knows? The biggest thing for me is to try and biased and not accept it just 'cause l'm from stay positive, make the best possibte music I can, here, that's on them. They'tI appreciate a and keep praying. New York artist before they'll appreciate this. Niggas witt look at me different just 'cause l'm Being on the road so much and being in this shady from Orlando. Honestty, though, l'm different business, how do you stay positive? from a lot of cats. They out here tatking about Because l'm doing what I [ove. There are a lot of shotguns, and when I see 'em they weigh like other people out there that are less fortunate that forty pounds. lf they really btasted off, that shit woutd kitt to be in my pos'ition. I do maybe thirty min- would knock them backwards. Rea[ recognize utes of work a night and get paid what some people rea[, though, so if you don't come from that make in a year. And that's a btessing. A lot of peopte daisy shit you'[[ appreciate my music. Ortando strive every day to do the one thing they [ove, and takes its talent for granted sometimes. And if maybe they do it and don't get paid for it. I'm get- anybody knows that, it's you. I can't betieve ting paid we[[ to do something I'd do for free. you stitl givin' these mags out for free. - As told to Julia Beverly, [email protected] - Jessica Koslow (Photo: Raandu Avion) OZONE i AGMINE APRIL 2004 ffi?pcffiffiffiffiffiffi srffi Phone: 407.354.2375 Fax 497.t94.2374 4{t77 W. Oakridge Rd. Orlando, FL 32809 $o 1% Hm{nGnr sm-Hcr A}ITIHG lTf;lvts luTt{Tlffi WTTHT}[S coLp(ill gOtFOltl Who erle? said ffi&kina tnusxc w os exy efisiv e? obvipurlg w ef,t fothe wyong"pl&{{.... m@ffiffiffi*%wm $tate af the Arr Facility Equipped wirh: Pro Tools TDM, 22' inch flat screen, Deluxe MlDl Center, PC's, and many more exrra's. Call to schedule an appointment today: l407f 2Zb-6838 lPlo"Tools TDM System Conlrol 24 "Power Mac"s G4, Kor0 T.iton, Mo phatt, Roland 3080XV gxpanded, EMV Proteus 2800, MpC 4000XL, MpC 2000XL, Midi Timepiece, Alesis Adat, ocnon MiniDisc Player, HR824 Mackie Monitors, oigi Design 888 l/O, Digi Design tf.zz vO, Neuman ,.eold Series" Micl { \(" -'. :\.:l ' i'1 :* \ **j ' '- Jt 1 :: L \ .i, 1J t : '\ C , *ti VING '$illNS' .:F_.+f !L * " HXfi H ? ??.tt'ffi*1,*rlJ'ff#i*{*ijl[ D-Roc, the taller half of the Ying Yang something different, it's like hold on now, looka ; .,. Twins, responds to my questior wlth a, here. lhat'i why I just make my own ptate. I iii1;1l" ::,loua snort. lt's mid-2002, and w6'ie iii the don't tike my food all mixed up, I tike mine one :i.. ,.:,:.t:,t,rnidst of an impromptu int€rvieW ou!$de at a time. So if they just put atl my food and,, ::: ,r .::,::.::f,l::l,Atlanta's Club 112. The hiiper,i{!:ive"C!roi'9. stap it att together... attention span is limited and my patience rhin,quickrv' .:, ,r::ri:r. "":i'i'....irir,i:Rvoocl 1i;11;;,*ears il.il,riffTxl Hj!:T""::i""r#ilLr. ;';',t,,,,:,':fw.o-ye'diilllater, I'm standing in front of She gotta clean up. And shE gotta go to wor[. il,,::.i:;:..,':,169i;ihotel with their road manager Der- She gotta get out the house, 'cause that's what :l11.:', ,:t,r'1; rickj,flThey:aren't dumb," Derrick pauses makes a retationship stronger. lf she just sittin' ,1r,,,,,; ,':,':::rllii--1i ht a,cigarette. "Despite what people there tooking for something to get into, you ",lr:,:.,. ,. . fight think, it's just enteitainment." gotta give her something to do. lf she just sit- ;::l::l::::,:;,,1;, r . r tin' there, she gonna be tike, "l wonder what he ::! ii:!ltlF.&Aiffiia,,O,U-c.l1', more mellow D-Roc and doing now... what he doing now... what he doing :1ii::':ri:iiil$,lieetEg,gfffing,into their hotel rooms af- now?" She gotta go to work. Come in with your 1:;i;1| ieett$d&l*i[!*$tD-Roc teans back against ends, too, so you don't need my money! Whoo! rititli$!.it9eld llicks through stations on :il*rti:::!&ii&r$*g$9!$i!.qe gn_the Disney Channel. You make a lot of strip club anthems. What's *:::?:i:,1eSi:*:ra&tgirb6ait$!'nt where the "twins" the best strip club in Atlanta? in got l;::t:ill{r6$":tig!lfiig,gi{$inance,atana.,::.-44..:t.-aa-a:aaa-,a.aaa.::E:a:..-4...:a:ra..a,,a-at-- mode.' - --' D-Roc: The best strip ctub Attanta? oh, I several of 'em. You know, Pin Up, Magic City, ft]i::,.::li:a:,$FiieaG*p'q;,Elt i working on now? Do you Body Tap, Jazzie T's. They got different days. in progress? Kone: Wednesday is Pin Up's, Jazzie T's is lllj1lQi&oc''!@ii{tinna start working on it, but Sundayls:i,Body Tap, they be off the chain on ,, ,,,l,ijililW,?, just 0$i'.:ing to get [our last atbum, "Me Saturdail,r' ,,,.t:riiti&: y Brother,"l ptatinum. We atready gotd, D-Roc: Preach on! we about 150k away from platinum. We're l..,]::]:t:,l,pretty- excited cause we ain't never got that What's the best way for a stripper to get big- far.{^- Gotd,a^l A we,^,^,,,^- was happyh-^^,, about-k^, ,+ that.+k-+ Buta, ,+ ptati-^l -+i ger-^, tips+i^- froma,^r you?,,^,,) :l.,,.r::-: ",num??! And we've got Don Yute's first singte, D-Roc: I dunno, I just go in the ctub and have " 'r:.. he's a Jamaican dancehall cat on Stip-N- fun. That's my fun time. lf I'mma spend, l'mma Stide, we got Bonecrusher's first singte "Take spend. lf I'm feeting like it that day. Ya Ctothes Off," and then we got a joint on Kane: Our album sales are a direct reflection Britney Spears' atbum. We on Nick Cannon's of the strip clubs. So it's not that we go just to new atbum, and we got a tittte came on the go, we go because the money we invest in strip movie sour Prane' :l'i:',5;."JIffi"r?:'i#;'Jr;ff fll;f.'i; Britney Spears and Nick Cannon ,nrru"l the weekend, but they onty making thalrtype of collaborations. How did you hook"." that up? money when songs tike ours are being ptayed. D-Roc: They folks catted us, so, BOOM! lt was We went from being nobody to being the fa- tike, aight. Britney atready had the song, we vorite group in the X-rated ctubs, so what you just went in there and put the Ying Yang on see in our sales comej'from when we keep put- there, so it came out FIYAH! ting out music. That'i lhe Same reason we out here chittin'. We sett a[[ our singtes to the strip You just shot the video for "What's c[ub, we don't setl 'em to the wortd. The world Happnin"' with Trick Daddy - who came up comes into it. They wanna dance again, yeah, dance, dance, keep dancin'l So isn't "What's Happnin"' a crunk song? Kane: Yeah, you could say that the way we make music and act might make'someone put us you rn a ,in the "crunk" category. But the diffeience is, we rap about something tike, (raps) "She a reat freak, tryn'a make those ends meet, don't and we stitl humbte artists. People find this hard be tryna mu'fuckin' tease me." But this is to deal with, hard to betieve that we're at the crunk: (screaming) "YOU GOTA POCKET FULL [eve[ of the game that we're at. We're at this O' MONEY BWOYYY??? I DON'T GIVE A FUCK!" [eve[ because btessing comes from work. Btess- That's crunk. ings don't come when y'att just sitting on your .:,.:.. rlru.r:..,biitt begging. f #F '-*'*ts.F Rico Wade commented that you are more D-Roc: Hard work and making good music. 3,:3 talented as a rapper and freestyler than That's the two things we do. ' .t Li people think. Do you'rrth,ink, people.'re.ipect Kane: We aiways knew we was gonna make it. . {.r_ \ your talent? D-Roc: Marna,said if you work hard for it, you \!r\ Kane: They:havrii,!o.:rg!peet it 'causq ritli.:got,",,could ge! it too. (taughing) l\ the game at a :standltitt;. We,rdonlt think.they:' , ' ,;:. : . _,-1 futty respect it;'bitir:i4e goJ',the,:garne:ilbcked:r:,, Soire y'alt really brothers? down. Peopl0 haven't eV€rii:reeO the who[e'.::O'Ro€: Nahh... group. Th'is ain't nothing. Th€::dodtf,r'just go,!,,. Konq: The questions that we get asked.. some- opened so we,can put in:WhAtr'Wgire,,t0tq{y1,,'rl'9ne]:i€atty needs to get us on Behind the Music, capabte of. My brother, D.Roc, is.',,nioiiti,tj[g.:j:1r1111;5 6 person that coutd better explain us as crowd pteaser. l'm a lyricist. And'6ne of these a group to the peopte woutd be Smurf. Every- .days'y'att gonna see. thing that's come to pass with us began with the peopte, but you have to see it first before it 5it.do.,!,tbu feel like your album "Me & My happens. Smurf saw it before we saw it. Me and " represents your skills completely? D-Roc, we dropped an atbum in 1997, with no ;Lll.a person listens to our atbum, you't[ hetp, no hetp. D-Roc and the 2-Time Ctick, "Tru .kiiOW, we got skitts. 'cause the whote Dawg." But we had no representation. ;..rye':{Ap. We don't just have booty rgSr.iri .::r. So the album caught Smurf's attention? b,6pt*.dnn't understand the fact that Kone: Yeah, 'cause we were 17. No dudes had ,11o.ur,riV.diEds as inStiuments. You know, did that as young as we were. And we had came or ptaying an instrument is part of up with "Get Low" then. 'rllQ9.--&:lq!9l- ne.&l}9l'll:PqL::0::I9!,rr, . llf:.{Olc€ oll :,',...::i.. . :of,:,ihqit l{: ili't!:d th€i:inrtfdment. Ar:,:Didn't,:iihe ':Get Low" hook originally come tot of people try to come up with some kinda from a fraternity chant? ..:::igfta:tije:!vsi!d,nbt'ilori'Ofiryhat typ6 of music Kone:,:W6,dJiilt neVer bEen to,cotlegdilq',ltieatty we doing or why it ain't tike everybody etse's. coutdn't tett ya. We came up with that one just lliJ8S:ltieiads6:we'itudied out future. Whatever sittin' at thd crib. Wherever"iit4rnei.tfolil:.jt:r .ir:'.::::t::..r::::i:: D-Roc is good at, he studied it to get tike camefromonevoicetoanothervoiceanditgot that. Whatever I'm capable of, to the best heard from around the wortd. I mean, that "Get of my abil,ities, I studied it to get tike that. Low" shit is otd as hett. lt didn't come out untit When you tooking at the Ying Yang Twins as we turned 25, cause we gave it to Lit'Jon when awhole, lror;'re lookirig.at.entertainers. Werhe,agked.fqf it.,.Therels.alotof stuff that'sold ain,lt.grunk iappers.'Ct.uiili.:is:rour way of be:':,,4i helt bti{jt'wqn'tcoiiirii''out now. ing::iFhat'inea6;, before'W€rf Eirie.,gq!, when r.,':i:::t:.,: Master Pi€din€.,6rt with the N0:Limit:soldiers, 5o,dq you have any more hidden hits? we useal'tO U6.,il the ctub. ma *hen thg.ttuU. fanEililliigleah.,,We ain:f t gonna tett you nuthin' was too packed we'd be in the middte of about 'em though, you gonna have to hear for the street in our van, rockin' the'ritiii.::in.thd yoursetf. You gotta'hear 'em. l:l'middl€pf the street. We crunk. TheOnly art: ;:$f,ihetilteppjn' that right now is Litf Jon, no Being on the same:',!a'bel,a5. Lil Jon, has there that crunk side. We dOn't been any friendly C.qfnFltjlion belWe,e-n y'all? ':0theiiiitigt'lhirtrtted ,,want:nobildy'to take it wrong when w_e-have D-Roc: Nah, Lit' Jon:ibeentn..:al!:..Xtgt'b.A9:A.l: to.speakon it;,:h€fs,just the overseer.of the bums, so we atw whote crurt!,,:erA :The peopte of Atliihta],own When he was at $|*'&q[hg:g,e{.,i$!i<li{&ii&!i:,:il]'li:,rr,', that crunkness, he tiked it, so he put that on pitation, "So So Def Bass Att Stars Vo[, 3," thgt a worldwid€::5!ii{dril';lt,r:: was the nrst majOiltlili ,i.l:.' ,.q.ll Where do you come up with song ideas? Why did you call the Kane: Just deQ!$gtwj,t!*eth other. We don't er" if you aren't brotheiglliXil*,:t,i.1':;nliiiil*:,1iit::,|l: deat outiid€,qft:liitlii(rinade us what we are to- Kane: 'Cause that exptdriiiili;lli*iiiiiffgigfislliaa:|fi:1]:i day. Wq.,ldellikewi$ shoutd say what the next When he nighttime, t'm Aiy!!$6{1fi&gif€eI!$!i$ia$::: persqn.r:W0illdn't say. We atways wanted to ,goo{, I ain't feetin' good..lf:IfFC-.t$C&!$i,lll9]e!l.{$lialiilllii:ia say ass" or "bounce that liihik€tyqur booty" feetih'good. ,,.i .x, , ' r without saying those words. A mittion peopte caii.m,Akdt$iii,idi:lh-a! say "shake" or "bounce" How did you p6sfJ:l:lli: in it, but a tot of peop[e can't fit other types Kane: Juit watkin' down the of words around it that mean the same thing. walkin' down the street, he wa .r:5o if tfi€i1drlril!,lafq$l!:,gqq1!q!S.hAd..fsr,.,,.hq6q*tt9sald, 'i5hawty!" and Ii ':::them ro.rii&ista6.ll:t]lt:.tl .f€qitge0.p!elld0ilt:::i:.!eii.eid;::i:l€E3dci,i!1Isaid, "Lel i{i.Ftg:lI Jrl.:a :::::ii::,ri il: 'understaiiiliitr,makSi:it:,ea$€iifpi'thm!: toiti:b€€ri:ri]nr'ever,Sndiililve were prot ih&i$ts,',$;l$;,,, :::rrrrl:.i:atl:ti:i,: t:i;atll::a:i:r. ''..', :::rr::i::1.rli:rri:l . . . ]'1'rrjlliilliflil:i,'...i..j:i::i:t.i:j:tr::ii, and.,eriticize and:stahe.:E:lli$aniFEllili:,.dii_fiii)iii,:i;,rHevei:tou .alwajii wanted to:iap? , . aa,vihy this shoti1dt',li:bgl.fh.e::i€*sotiit{hirte D-Roc::Oh, yeah. We atways did. lt's entertain- df6 being is ment that's atways my btood. Being a industry it's the great ones, high demand know what 'em what the most {s?s ffipg*sx {x"*sffi*fr FA*l\ff -HS nV p*{*?ffiffi\ITr*VlffiV* # ISX F*ffi*mr€ F*$$? S. m$lf pAtrx sffis trY" Sf*L?S*r SL sfia$*1w ?sLlstH1ffiffi, FL ffi.fffffid*ffi ffi**ffiffi fid ffiesfrrtt rhffgmffi ffi.trmnfiffiffi "FffimFnfffi stfiffid' sffift?*I *wffi MW health & fitness: push, push, push by James Gaspard, CSCS ou've peeped those pecs on 50 and LL. Wett, even if you haven't, you know some girl has. Ever wonder why your chest doesn't look like theirs? Wet[, it's about time you caught up by taking the classic push-up to the next [eve[. Push, push, push, and you'[[ have a cut and tight chest region. lt's as simple as using your own body weight and some stuff you have lying around the house. You can use a chair, a park bench, or the steps of a staircase. Etevating the feet during push-ups not onty increases the intensity, but the angte atso places more emphasis on the upper chest. > Simpty'tind grab a chair, bench, C-m@fC or some steps and "'""'{' """ begin in the regutar push- up position with your feet together and flexed. Your back should be straight, abs tight, hands around chest [eve[ and a litter wider than your shoutder width with fingers spread, pointing straight ahead. Have the chair, bench, or step a full body-tength away but a few inches away from your feet. Raise one foot up and then the other, extend your arms and reset your back. Make sure you and your equipment are stable and secure - trust me, you don't want a chair sliding on you in the middle of o repetition. You should be close to paratlel to the floor at the top of the exercise. Keeping your body straight and your head neutrat, take a deep breathe and lower your chest towards the ground. Pause when your etbows are at a right angte, hold for two seconds, and push back up by straightening your arms, exhating through difficutt points. Keep it nice and controtted. Repeat for three sets of 1 5. - For Consult your physician before beginning ony exercise progrom, more information visit wwwencorefitness.net or contact James Gaspard, [email protected] Results not typicol. lndividuol resuLts moy vory. Best results are ochieved through proper nutritionaL and exercise plon. PASTOR TROY seryes a purpose. lt's a tittle call-and-response has decided to drop "Capicu" / "Out Da Box" first, "BY ANY MEANS NECES. track, easy to remember and sing to. The CD but you can overtook the R&B formula when it SARY" even comes equipped with the BET Uncut video works. Tony is at his finest on both production and Universal for "Don't Catl Me." - ADG, adg@tmai[.com DJing on "Just Be Good To Me," with hetp from a Without resorting to pop, MC Lyte vocal sample from the classic, "Poor Geor- it takes time for an art- LAURA DIAI,iANTE gie." With a few exceptions, each song deserves ist to bui[d a fan base "STYLES UPON SWLES'' its own review. I believe l've given you enough nationwide. With that in lntros are important be- to go by, and l't[ end this piece by describing this mind, atl of Pastor Troy's cause they set the stage hip-hop album in two words: CLICK BANG! - ADG, prior independent albums for the album. Laura [email protected] had that gritty Southern settles with the overty- flavor that he is known used phone catl intro. lt SAIGON for, specificalty designed wouldn't be that bad, but "WARNING SHOTS" to ptease his regional four and a hatf minutes of SURE SHOT RECORDINGS fans. On his first major retease he switched up hearing cetebrities hotla A warning shot is a shot a littte to appeal to fans nationwide, and I must at you is a [ittte ridicu- straight in the air in order admit Timbatand's hard-hittin drums had me lous. Seconds into the to draw attention, or gain cuttin'l But it's a new year and a new atbum, second song, "My DJ," control of a situation. But and we hear a littte less of Mr. Revetations and I see that her intention why does Saigon feel like he much more Mr. Universal. "Ridin' Big Yo" has was good, but short is sweeter sometimes. has to buck a few shots be- hetped him get a tittte exposure, but there's no Virtuatty unknown artist Vortex spits a few lame fore his debut? Saigon takes ctear-cut radio singte on this atbum, with the bars and kitls the feel of this banga. The produc- you through freestyles, possible exception of "Crazy," a diamond-in- tion of Nick Fury on "Move With Me" is just as streetbangs, and songs from the-rough. 8Bat[ and Juveni[e drop so-so verses sotid as his other three songs ("My DJ," "MCs," his upcoming album. "This on "Nice Change" and "Boys to Men," which and "De-Ja Vu"), but the menacing production W copy is intended for promo- 'is a big let-down, especiatty since both come of Btackout on "Da Bounce Track" atlows Laura tional use onty. (pause) Do not get your ass beat. equipped with very decent hooks and equatly to demonstrate her lyricat abitity, kicking tyrics (pause) lt's not worth it. Promotional use onty." decent beats. A few filler tracks are expected at Twista speed. On "MCs," Laura spits bars that Saigon follows this ctip with the Julia Andrews-in- on any atbum, but the DJ Mars-narrated, Taj Ma- can easily compare to a Remy Martin or Lady spired "Favorite Things," where Sai specificatty in- 'is hat-produced "Benz" just ptain awful. Using Luck flow Six of the eight songs could easity be forms us what his favorite things are. We[[, except the worn-out Whodini sample from "Friends" promoted as a lead single, but since the album for his favorite groupie, because, "Um, there's a to drop a song dedicated to whips woutd have is only ten tracks deep, it's hard to rate this whole bunch of them!" Atthough this is a simpte been better as an excusabte intertude or skit. album on the same scate of a fut[-tength atbum. concept, homie pu[[s it off nicelyl lf you're [ook- Throughout the atbum, it seems like Troy is Laura comes with a comptete product, but if 'ing for more intense wordptay, tune into "Sticking about to drop that heat, but never quite comes you [ike that Skitttes Pop that has been saturat- Cap" or "We Want ln," where Ati Vegas, Mekka through. White trying to make that awkward ing urban radio for a minute this might not be Mi[2, and Sai ride a guitar riff driven track to per- change to appeal to national playlists, Troy's for you. - ADG, [email protected] fection. On "Papi (35 a Gram)" we hear sai's tales lost some of his appeal to loyal fans. - ADG, of hustling, cooking, wheeting and deating drugs. [email protected] TONY TOUCH Midway through the atbum we see the human side "THE PIECE MAKER 2" of Saigon's character, with tracks like "Huh Mama" DRIFT Koch Records and the potitical "Kiss the Babies." He also flirts .,RIBS IS TOUCHIN'" When you pop in a CD and with the idea of Big Brother's responsibitity for BRICKHOUSE/LIGHTYEAR the first thing you hear is drugs and guns in Americ and "Pop Quiz" Unconventionalty, Drift a toddler saying: "Warn- are two more comptete songs, but I believe Sai put atlows P-N-C Chynk ing, the Surgeon General the most effort into "1f," a dedication to his moth- Showtime to btaze his of Brooktyn, New York, er. The last four tracks are freestytes courtesy of intro first, with bars [ike, has determined ONCE Kay Stay, DJ Shok, DJ Absotut, and Whoo Kid, the "Dawg, I'm att about AGAIN that the sounds latter of which raises a few questions inctuding business and I don't re- you're about to hear the current trend of NY artists dickriding Southern atly care about sendin' can be devastating to artists, and the lost art of hip-hop in complete four shots at the witness your ears," you probabty albums. These warning shots definitety got my at- pffi / You on my hittist, watch think it's nothing more tention, but there are no gold or platinum singtes ya lip bitch, I got a clip than a simpte intro. By the end of this effort, on this album. He won't setl 8 mittion retail and earty you can get before however, you understand that this warning was won't have a world tour with this release. ls that Christmas." Drift then one-ups him with his own realty necessary. Tony Touch has been a ground- good or bad? A few years ago, KRS-One stated, "l'd braggadocios verse. The atbum then moves from breaker on the mixtape circuit for years as a rather have a hundred-thousand real heads buy a gangster feel to a tittte ctub ditty, where Motty DJ as wetl as venturing into different aspects of me than one mittion of your fake fanatics behind hetps with the catt-and-response infected hook. hip-hop. With atmost a four-year gap since the me." I think Saigon feets the same way. - ADG, You might want to listen to this one a few times original Piece Maker atbum, we see that Toca [email protected] carefully, because it's easy to nod your head has gotten a littte more invotved in the pro- to the beat and miss the wordptay. Drift spits duction and stepped his game up a bit. Other GHOSTFACE metaphors tike "Taking ya ptace like Loon did beats are provided by the likes of RZA ("Rock "THE PRETTY TONEY AL- Mase" and "Hit you with a shotgun like Etmer Steady"), Beatnuts ("Capicu" and "A Beautiful BUM" Fudd or Jayson Wittiams." We get a bonus with Day"), Erick Sermon ("How You Want lt"), Sean Def Jam "Don't Cat[ Me Pt. 2," where Remy Martin drops C., and a few others. Most, however, can't be Wu-Tang this, Wu-Tang that. a pretty credible verse which clarifies, "Niggas compared to the beat Pete Rock drops on "Out "ls the Wu coming with an- is dumb and bitches is dumber." The atbum is Da Box." You can almost taste the cutture, with other atbum?" "Where Sha- onty twetve tracks deep, keeping the focus on Large Professor, Pete Rock, Masta Ace, and Toca olin's finest at?" So many the music. There's no skits or needless mate- sprinkting their updated otd-school flavor. Doo peopte are asking these rial, just the meat! Other notable tracks inctude Wop returns to once again give us that Diaz questions. On the intro to the solo cuts "We Coutd Do This," "Att I KnoW" Brothers' duo on "Ctick Bang." Atmost atl the Ghostface's fourth solo and "Where They At." On the titte track, Drift artists entisted for this atbum exemptify hip-hop release, "The Pretty Toney exemplifies his flow to perfection. His wordptay in its purest essence for the past decade. Na- Atbum," he te[[s us that the on this song coutd be compared to that of Jay- ture, Sean Paut, G. Dep, and the dead prez hotd Wu witt have another album Z, Jadakiss, and Eminem. Fitter material on the it down for the newest generation of artists. On together as soon as atl the individual projects are atbum is kept to a minimal. The weakest track his last atbum, we saw Toca come together with reteased. This atbum revisits Ghost's soul vibe. on here is the single, "Don't Ca[[ Me," but it some of Total for a radio singte. This time Toca lnstead of using beats with sped up vocal samptes, OZONEMAGAZINEApnu20@l 45 Ghostface uses vocal samples at original tempo on tracks like "Save Me Dear" and "Hotta." Pro- duction on the album is provided by Citvaringz, No lD, K-Def, Minnesota, and RZA, whose styte is ctearty evident on "Kunta Fty Shit." The drums and trumpets at the beginning of this track are ctearty RZA, if you coutdn't tett by the name atone. No lD comes with the track for "Metal Lungies," one of the best tracks on the entire atbum, which is rerniniscent of Wu-Tang in its heyday. Production is sotid, and features inctude Trife, Sheek Louch, Missy El- liot, Jadakiss, Jacki-O, Musiq, and K-Fox. This diverse group is a testament to Ghostface's versatitity and experimentation. "Biscuits" is a track which seems to capture Ghost's very es- sence. He doesn't lock himsetf down to specific delivery patterns, and thus can motd himself around the beat. He comes strong on other tracks like "Be This Way" and "run." "Love," a rather unique track, features the vocal finesse of Musiq and K-Fox. lt doesn't sound like some- thing you'd necessarity hear from Ghostface. He detves into his definition and questions about love on this track, proving that he didn't teave substance at the door with this release. "Tush," featuring Missy Ettiot, is a radio-friendly track which shou[d draw praise from the crossover au- dience. lf you're a fan of either Missy Eltiot or Ghostface, you definitety want to check for this track. Both MCs do a wonderful job of adjusting to the production, and Ghostface drops some hot vocats. Att in att, "The Pretty Toney Atbum" is a good buy. lf you liked Ghostface's eartier works, you certainty won't be let down with this release. With solo LPs tike this on the way, it witt be easier for Wu fans to be distracted from thoughts of another group retease. Quatity atbums such as these make the wait a whole lot easier. - Rohit Loomba, ctpros@arcaneproduc tioncompany.com CORMEGA "LEGAL HUSTLE VOL. 1 " SAMPLER Koch Records "What up wit' Cormega, .: i! did ya see him, are y'alt i: together?" lt was with these words from Nas that we were introduced to Mega Montana in the early nineties. Ten years and a few solo projects later, Mega brings us " Legal Hustte Vot. 1 , " with confi rmed songs fea- turing Legal Hustte artist Dona, Brooklyn's own M.O.P., Wu's Ghostface, the legendary Large Professor, and West Coast G's Jay-O Fetony and Kurupt. The lead single, "Let it Go," has been bubbling on mixtapes for a few months, and word is than an animated video has atready been created for it. The sampter is onty five songs, but hits hard with the first singte steat- ing the show. M.O.P. and Cormega's chemistry mash great over the lackidaisy beat for "Let it Go." On "A Beatiful Mind," we're taken through Cormega's train of thought, onty to come out at look the most "official." F.A.T.S. presents us features Freeway, F.A.T.5. drops a few memorable the end more lost than we were before. New- with nothing more than a stim jewel case with bars [ike, "Yo, I got a bag of chips in my hand, and comer Dona drops some hot bars on "UFO," but a scotch-taped list on the front and a handwrit- slabs of nicks in the bag of chips in my hand." The her status is reveated on "The Bond," where ten name on the CD, so l'm not expecting much. Harlem rapper might not have the South's atten- the seasoned veteran's tongue is just too fierce. The name sounded famitiar, but if you can't re- tion yet, but he's enlisted Lit'Wayne and Truth - ADG, [email protected] ca[[ where you've heard it before, don't feel Hurts for "Maria," the smoker's anthem paying bad. This former Darkchitd artist got a chance tribute to Maria, Marie, Mary, as in Marijuana. F.A.T.5. to share the stage with none other than the Hotta! - ADG, [email protected] "Finally A True Story" currently indicted King of Pop, M.J., on Mike's sampler "Unbreakable" album a few years ago. But it's Usualty when I go to the 2004, and Mike is nowhere to be found on this office to pick up poten- disc. lnstead, we have a variety of tracks with tial reviewabte materiat, the likes of Lit'Wayne, Brandy, 50 Cent, Truth human nature forces me Hurts, and Darkchitd himsetf, Rodney Jerkins. to first pick up CDs that On the tentative lead singte, "Stand Up," which 46 OZONE A AGAZINE Apnt 2004 ?J'c *J': playlists i"tuli+N:e*=**. fll*; l?)$3 G;xj**rr Hpnrf trffid 01 - R Ketty "Happy peopte,' 02 - Baby Cham "Vitamin l-., -?f '*f'5y" rr**li*e *-?}?N.?zyr-:r:. 03 - Nina Sky "Move vour ,T..g-5.ggf "**':,1 {*F,l I'l#S* r'qi: TV {tdjas:li" ioav" F}.} 4+*v'y F,s.r$*t** Drama 01 - Mario Winans f/ Enya & p Diddy . 01 - Chingy "One Call Away" i,Xi{ "l Don't Wanna Know' 06;i - Mystikal[#*iq?:ii#,li,"Xo "Oochie poo,' € 02 - Etephant ir{an f/ Twista & Kiprich ',Jook 02 - Usher "Burn" Gal. 07 - Ditated peoptes f/ lianye 'This 03 - tknye West fl Sylenna Johnion "All West Way" 03 - Usher fl Ludacris & Lil'Jon "yeah,, Falls Down" 08 - Joe Budden "ya Body Hot" 04 - Lil Flip "Game 0ver" 04 - D12 f/ Eminem "My Band" 09 - Big Tymers t Jazze pha -Beautifut - Vegas "putt / Life" 05 - Beyonce "Naughty !l f. fl Wayne Anthony Up. 10 - Kevin Lyttle *Tirrn Girl." 06 - Outkast "Roses" i,le On* 06 - Twista "OVernight Celebrity', 11 - Cam'ron "Hey Lady" 07 - T.l. "Rubber Band tdan" 07 - J-Kwon "Tipsy" 12 - Ying Yang Twins fl Trick Daddy',What's 0B - Twista fl Kanye West "Overnight ,,Hoiet Haoonin,,, 08 - Lit'Fiip 'Game Ovel' Celebrity" 13 Cassidy f/ R Ketty &. Trina 09 - Jay-Z "Dirt Off Your ShoulderJ' lremix;'i" 09 - Petey Pablo "Freek-A-Leek" il 14 - Choppa "Hot piece'. 10 - J-Kwon "Tipsy" rku#nc4i\!".' ,,Gets 10 - Kanye West f/ Syleena Johnson --W;M 15 - Cassidy f/ Mashonda No Better,' "A[[ Fatls Down" ,:$$E&ffiT _ ..q is. ., 1'l - Jay-l "Oirt Off your Shoulder" 12 - Chingy "One Call Away,, W}4SX L*{+:i L*t, {W'**t Fal::r. flL} 01 - Batlers Ktub "Stitt Soinnin"', - Bahs" 33 . |$yf","fanu #g 04 - Lit'Rock Dogs "6et Loose" 05 - Rempage "Gimme Some More" 06 - Dutch "Get Money" 07 - PS & Non "U/Shorty" 08 - Lit'C "l Got Love" 09 - 6o Gettas "Get Loose,, 10 - The Messenger "Don't Watk Away" i'.;=z;'€z*ez T:t' Fi*yi!*t i"l"**r::*. fL! 01 - tit Ftip "Game Over,' 02 - Petey Pablo'Freek-A-Leek,, 03 - Dirty f/ Lit' Burn One That,s Why l" 04 - RZA "Grits" 05 - Erick Sermon "Retenttess', 06 - GangStarr "Same Team, No Games,' 07 - Koot G Rap "Gutty" 08 - Ghostface f/ Missy "Tush,, ',:1+ V=:-:::* ?::::,. ;.7a7-,-u. 7,-'.7=* i-iz+= 01 - Daddy Stro "Low Low. 02 - Tom G "Get Loose" 03 - White Boy "Do Oat Oance', 04 - Jody Breeze "Wh.ite Tee" 05 - Dem Boyz "Hottywood Ride" ''iz4u€" *f, *fu* re#ffigg= iii i1 !l ,:i :i :l 11 E =:= ,i; a= = DJ D-Strong :i= "HeadBangerz pt. 8" = www.OJOstrong,com OStrong€0JDstrong. com i;.r*ii:rj*s d? . tsx*;r* V{+tt "V{${k'eit Fa=." FS ' fisfi**fff elc}* f:. irr$s'* ""kel *ti., lil i - #s**,-fi {f*p***i }di:,:, ljj j*r: * ri*., "fitry ,,!'**ii ?":..*g 4'd*: 1?*r*r.rJ.' - ,,i*;ry" #iJ *lrriii* *j*** fi .:"r::re" Fr-r* .IJ-t."ind your mix CDs {include a cover} to: 1516 E. Colonial Dr Suite 205 Orlando FL 32g03 The 2"d Quarter 2004 Tastemakers Only Sqad Up / Naw What I'm Talk'n Bout - Money Yung'n hetd on Aprit 14, 2004 at the Moon in Contact: Lee Anderson - 61 4.37 4.1636 Tattahassee, FL was a monumental success! Known mostty for their underground freestyle mix CDs, Li[ Over 800 music industry professionats, Wayne's former prodigies, Sqad Up are now taking grown artists, DJs, retaiters, tabets, journat'ists, man steps on their own. Reppin' the Crecent City of New video shows, producers, and others Orleans, Sqad Up wants to know if rims, showing love in attended the event. Veterans such as Kashif (author, different cities, and getting your grind on is on your mind, "Everything You'd Better Know About the Music Business"), then you know what they are tatking about. lf you speak Don Cody (CEO, Moses Media), Jazze Pha (producer, "Sho the same tanguage, then you shoutd dig this track too. Nuff"), James Eichelberger (A&R, Univesat Records), Earl Little (CEO, Ear[ Littte Entertaintment), Ricardo Spicer Beelow / lt's Whatever - Ballin Music Group (retait, Def Jam), DJ B-Lord (Petey Pabto's DJ, radio Contact: Cory-A - 504.780.8088 syndicated), and DJ Demp (Lit Ftip's DJ) were among a few Beelow may be remembered as the guy who tinked with of the Tastemakers in attendance. The educational panets, networking, Juvenile on "Big Body" to tetl us how he tiked his cars. Today, he uses the and ideas discussed wit[ lead many of these Tastemakers to return with traditional New Orleans bounce track complete with horns reminiscent new converts to the next meeting on Juty 21, 2004. For more information, of the French Quarter jazz bands. This song is to let you know that if pictures, video streams, and to utitize our message boards, join the 10 you want to get it down, "lt's whatever, however you wanna do it." lf mitlion others who have visited www.TJsDJs.com or catt 850-877-6090. you're lucky enough to see his performance make sure you check out the "Whatever" dance. lt is sure to light your ass on fire! TASTEMAKERS ONLY XCLUSIVES (2"d Quarter 2OO4 - April 14) Disc 1 Chitly C / Get This Money - Make-A'Do[1ar Bloodraw f. Pastor Troy & Grandaddy Souf / My Block Burn - Bloodraw Contact: Chitty C - 228.474.2796 Contact: Charles Wakety - 352.246.4495 Much like 50 Cent, Chitty C is about getting this money or die trying. This This song featuring the Georgia crunk sotdier, Pastor Troy and O-Town's is his story to let folks know that it's not easy getting dough selling snow Grandaddy Souf was produced by Get Coot. The hook witt have you shouting or rapping. But, through perseverance and a heavy piano driven track, through the rooftops ofyour ride and ctubs across the land. Very setdom wit[ Chitty C is breaking the bonds of the hood and stepping out to carve a you come across an artist that has got "it." When you listen to Bloodraw niche for himself. spit, you get that sensation. Not to mention, with his phenomenal stage show he stote the Tastemakers Onty Showcase! Don't be surprised when FlaGa Bois / Burn One - FlaGalistic you see him painted on the landscape of hip-hop in the near future. Contact: Miraculous 229.561.3110 Fottowing the lead from the world's favorite Aqueminis, the F[aGa Bois Suave Smooth / Back Tha Fuck Up - Headquarter get their name by merging their home states, Ftorida and Georgia. "Burn Contact: Jermaine Watson - 561.389.5525 One" is a mid-tempo ode to canibus that exptains the best situations to Suave Smooth turns in another ctub stirring jam with "Back Tha Fuck Up." burn one with your boy. They like to burn when on a tate night creep, No matter where you're from this track is fire, but if you hait from Florida, trying to retax, or hanging out with women. lf smoking is one of your it'l[ have a special appreciation for you. He gives specia[ attention to favorite pastimes, then you can understand what they're talkin' bout! the counties in the Sunshine State such as Duval, Potk, Dade, Leon, and especiatly his hometown of Patm Beach, bitch! But, what sets this song off Mista Dunn / Everybody Batlin' - Black lce is how he exptains life in the F-L-A. "Ftorida is similar to lraq/These ki[[ers Contact: Gwendotyn Ferretl - 404.246.6842 will attack." Suave is doing a great job putting South Florida on the map. This is a party tune reserved for peopte trying to hang out for the evening. "Everybody Battin"'uses the same clap pattern as 50 Cent's "ln Da Ctub" Tocka / Down The Way - Garnett to get booties moving. Don't worry if you're a batter on a budget. Contact: GT - 513.233.1270 Tocka has reached atl the way from the Nasty Natti, known to most maps as Lil Rock Dogs / Dirty South - D.E.C.A. Cincinatti, OH. The thing about this song is that it describes a dance that Contact: A.B. - 888.577.3322 has the Natti burning like a race riot. To do the "Down The Way, " "First you The Lit Rock Dogs coming straight from Bette Gtade localty known as Muck feel the beat / Then you start to move your feet / Your head rocks a little City for the richness of its soit. This high tempo track is a wetcome from / Yeah, you got the rhythm." The good thing about this dance is that it's the Dogs to life in Ftorida. This is where they have gotds, smoke btack & unique to each individual, but when it is done correctty, it looks a tittte like mitds, and bust gats first. Look for the Li[ Rock Dogs to continue the proud the "chicken head" on a wet floor. Muck tradition of good music. Zay f. Lil'Jon, Bloodraw, & Kamikaze / Pump Ya Brakes - Bombshell Uncle Head / Bump - Bottom Lyne/So Phatt Contact: Nikki - 912.898.3726 Contact: Head - 850.980.2725 Zay recruited the officiat king of crunk to lace a track that features Bay Patm Beach, bitch! native, Uncte Head jumps on a phatt track that County's finest in Btoodraw and the Mississippi monster, Kamikaze. For borrows from 2 Live Crew's "Shake lt" for this party tune. Atthough those that don't know, when somebody is stressing you or invading your he is an ex-member of the tegendary Sptack Pack, don't be footed into space, te[[ them to "pump ya brakes" and stow down. Otherwise, you may betieving that his career is over. With this cut, Head proves that he can have to decrease the peace. After alt, Zay is "from the crib (Miami), where hold it down on his own. they live by the streets and not the fucking industry." Kimillion / Jump On lt - Rough World Big Wynn f. Lil' Jon & Rasheeda / Shake 'Em Off - Real Money Contact: Ray Goody - 866.768.4491 Contact: Tish - 352.378.9901 Finatty...a hook I can tive byl Kimiltion may not mean it the same way I This song is dedicated to the winners of the Hater's Bat[. For atl the jealous perceive it, but l't[ stitt "jump on itl" From the beginning of the tune, people that sm'ile in faces and tatk in the back of others. Big Wynn tags it feets like Newcleus'hit song, "Jam On lt," sprinkted with "uptown with Lit' Jon and the crunk queen Rasheeda who rhymes the sentiment best soldiers and down south chicks." There is nothing like hearing a female when she admonishes, "Stop pointing fingers/others ain't the reason you artist rep for the women AND the men. "Jump On lt" is a definite pre-club a'in't shine. " By the way, Big Wynn is a 6' 4" 250 pound professional boxer, get right track. Also can be used for parking lot pimpin'. so ifyou sti[[ hate, don't be surprised if paramedics get invotved. The Xtremists / Words Of Broken Souls Vol. 2 - Harsh Reality Marc Decoca I Off Da Muscle - Silent Partnaz Contact: Mass - 561.541.3260 Contact: Juts Vern 404.488.8931 The Xtremists are checking in once again with a remix to their very "Off Da Muscte" is an ode to the street strong arm tactics of urban gueretla poignant "Words of Broken Souts." This version is more upbeat than the warfare, with [yrics [ike, "l'mma leave you some beauty marks with these original, but stitt has the same presence of social uprising. But, can you diamonds on my knuckles." ThisAttanta native tries to show that living as btame them when a[[ they want is "in the words of my dead ones, this an ATLien is tough when people try to "test your nuts." When you have money, power, l'm out to get some. " lf they keep dropping fundamentatist nothing but your ba[[s and your word, Marc demonstrates that it is best if truths combined with powerful beats, then they'tt be there soon. you break them for nobody. - Keith Kennedy, [email protected] 48 OZONEMAGAZINEApnu2004 /t#GEsfurc ffq"Ktug" #"&ffiffi Ea##ffi qffi &" w&gH€ru# &gaffi,& =rE;i;jie'ry{flflL}.q ffiAffiffiHga$ rrF,'6 s{",s {a.a*. "qflW{&gg$ :':\ft'+: '_.f{!}t,, i!i! x ,qv,qgt&n$il il ;J:i!.i" For more info call 4#7-523-9292 4{xl N. Pine Hiltu Suite I Orlanda Ft 32811 U€NK ftlcutpe, .4fu?1/R€ psN#4 -TAT< teu -rf-tqAL q€/.F. 4{filqa Frp - t+€/1Fq€11& lllustration by M.Kaos Street Corner Media 917-806-5079 ru '"*:# :";Jrtffi#5 "'". f E: L#tr5#ffi#4ft. ffffF fajffi# E,"{ffftE*gr e