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DJ BEHIND" llJ's DJ SCRAF BIRTY OR ECUTIVE COMfI'IITTEE l 4gs-sg 32 Design*d by Rcdini af Maximum Grcfx Design Group b31,.643,4i qO '
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PUBLISHERS: Jutia Beverty (JB) ffi{pgLt10 Chino JB's?ffipgAIl EDITOR-IN-CHIEF: Jutia Beverty (J8,) 16BrrspgiAt2 ITUSIC EDITOR: ADG gUIF{f tuo fillhntos pgr At$t6, BI-tg
CONTRIBUTORS: Bobby Novoa, Bogan, Brian O'Hare, Chris lmani, Cynthia Coutard, Dain Burroughs, Darnella Dunham, Dave Goodson, Fetisha Foxx, Felita Knight, Hasan Brown, lisha Hitt- mon, Jaro Vacek, Jeska Manrique, Jesse Jazz, Jessica Kostow, J Lash, Katerina Perez, Keith Kennedy, K.G. Mostey, Matik "Copafeet" Abdut, Nada Taha, Natalia Gomez, Noe[ Matcotm, Rayfietd Warren, Rohit Loomba, Spiff, Swift, Walty Sparks
SALES CONSULTANT: Che' Johnson (Gotta Boogie tlgmt)
LEGAL AFFAIRS: Kyte P. King, P.A. (King Law Firm)
ACCOUNTING: Nikki Kancey CIRCUATION: zo Mercedes (Strictly Streets) Buggah D. Govanah (On Point) Big Teach (Big ltouth) Efren Mauricio (Direct Promo)
SIREEI REPS I DISTRIBUTORS: B-Lord, Bitt Rickett, Btack, Butt, tr# Chitt, Chitty C, Controller, Dap, Dereck Washington, Derek Jurand, T.l.vcliil'ffip Dewayne Barnum, Dr. Doom, pgrBt2-13 Ed the Wortd Famous, Episode, H-Vida[, Hottywood, Janky, Jason Brown, Kamikaze, Ktarc Shepard, &i,er Slerg Kydd Joe, Lex, Lump, Marco Malt, Music & More, N'Ron, Nick@Nite, Isrs Sucd Pat Pat, P Boy Stone, Phattlipp, p$AI&22 Pimp G, Quest, Red Dawn, Rob-Lo, Sharon, Statik, TJ's DJ's
To subscribe, send a check or money order for 5'l 1 (1 year) to: Irlain office: 1 51 6 E. Cotoniat Dr. Suite 205 Ortando, FL 32803 Phone: 407 "447 -6063 Fax: 407-447 -6064 Web: www.ozonemag.com l(iami office: 555 NE 15th St. Suite 7731 Miami, FL 33132
Cover credits: Terror Squad and DJ Khated photos by Jutia Beverty; Lit' Ftip photo by Dan Higgins; Remy Martin photo by Bogan. OZONE Magazine is Pimpw. pubtished eteven times annuatty by OZONE Magazine, lnc. OZONE does Audd not take responsibitity for unsolicited tselbst lmkrlry l0l: materiats, misinformation, typographi- (MesDbsr cal errors, or misprints. The views pgrAlT contained herein do not necessarity pgr Bl I reflect those of the pubtisher or its advertisers. Ads appearing in this magazine are not an endorsement or validation by OZONE Magazine for prod- h!*rerMhlff ucts or services offered. Atl photos and pg. iltustrations are copyrighted by their Bl8 respective artists. Att other content is copyright 2004 OZONE Magazine, nenimr&mi&es p$ B[$2I att rights reseryed. No portion of this $ Isnr Poffy magazine may be reproduced in any nDR€iliairsp$Bn2 E)qess way without the written consent of klbnlhW{ilirq p$Arg the publisher. Printed in the USA. Vkleo Gon* Re*tr'rrr pgr B?3 pgt 825
OZONE MA@ZINEJULY 2OO4 9 t23 Main sr Atyrh€.q .-**ffi US 123,+j ,iryi., ftrxF* . .:r'jl :"{,,r""". / " tt..r- ,rDoy.,., i1?qa, .! .'i: llifuf;ffi""*",o' :". kj'$lj . '. rrl :J,r lL :ts tgntu;\nt: tl"*n::i:e h*aiilvccis. i.rat:.' -=': :::. :ir-qh. :i:*ir-{i:r./:r :iliJ+{. i,y' :ii*1jf:ir*ilf l-si 5 !iii*r tF\{: h;:r{liai i*tfi *::*;-]*ii*;'t +i}+;} l}K*ijkf', [nat.t;lAt. : ilti:+:':, ?'eii :ilsi n=== ir,::::-r:r:,ir:= *:6d f,::-; *';ked f;li lhe *qh: qili*:ti++i *!tii Sci l*v* i* ih* r*ai :ti*e: *-:. r'la lr*,- :i:] nLlb^ tt.eiqi:i'lijt.srji't ti:*,i' i tu|g i,** :ryl*rldfr I I hl*. L.'" .. | . '* ...- : : ii*ep '5Jo'.. 3i -: ijl ti't*' gi**i liretk. - flerl S+s=*. l_nneirnar* ili-tt*re$i*rE*r:i -+;'r si:ll,: iovs. sh+w Ci:=-leli li: riega f*riM"r'itt**, car {Lr*r:**6:**i.*.*:* fl L} *ir s*!=* tc.,'*. irc= =i= {il{i*art, =i; ci i-*it ai"*:+ilt* real ri:$ st.a=-i J_i*<. : --:=a!'i. y*t <*lI ji*rJi Ft== tne C:C].:l s,-:::-:,]w the ijii-:t'iil s**l* i*ve. ,i=.:ii:aid" y*rur;rrtici* ! i***j ** ili8'{i*** cjirert*rs, ihe Fat {.:ts, and ii;:t s+::iee* ir;rd J l1k* ail t::e rie:. ::c. - l:**i i=:t*, ii*nre+id*tredtt€:joti::+i:.r.*iy.r t* lsi yilt-r e"'*l* :{, kr*ir h*rv r"ud*:-irey l* t"it*. i +*r &iso llt*s+itl at the Lil*, l"*nd:. FL } acii:.-id*o:1n{,r1, ;ifid w** h;ritcrng :tt pror}lcii+nir ,-*rr {*-:. I iiteffiFi*= hi:i:d ,}ntr i* * {i: l': *{ t*e il*t i+l:. ail{i he g!'e*:riil ffie'.,"{.:l;1 a cr:ki sh*ui- Y*, i r,ara: lusl iir my b*ii,:*r:hc= i;:.iil:::' ;== ; ltur+ y'*li maga;ine nnci rJ*r. I unci*r:ialld that he w*: r.,nrk, i:i.:l ..*uau:-1c:i el hs,Jid*'t:**il1 tc *e i:u:y ;rt r*;ld *li ':i lf" l;usi wan:*d tc s=:rd in;:ppreci=i:=-. r.t"tanv l;"1* itir-is. i ;e;;itrecl hirr !ii*t the iD ""vas fre* end l +;asn't eskiflq -1in i* lr*n$s *re'fiilt:* cover ti:s 1c-:i:rn -:-::: icei*. y,aii er+ *:*:.iiilg j it i*t *!e i t'fl{*l'* ij*aI sr *f_:yt_hinq. rr*v* rv*rKeej !* pr*n:*ii*ns imr a l*ng E*:i*r fi:r \.oiln* biy$ ljk* r*e tc k*ovr r:-ei': tr-:::' , ){*r* l-la{*, ii;ns. atrc ha,/* :.':*v*i i:**n :::::::n*d lirat +,*;: " =::. by nni; *ther e*iel:rilj*:,, !u,lli :Ftrb* str{,,th..1er rJrck}.r-tvilt*. "L, tr':aiii*, er avti! a ?ide$ #1:'*ri*t. l{ th* *ppr:rtunitV trver .ine: :lln! iri'{r.$l i* sh**t a vid** in the fi:l',*;'*, }N$ti cs!.} h* d+m* rLlre the i+i il*t: ! j';st r*ad y,:*r "p*ii+:-":iiy v,i.rtijilfi" afajai* on jl.;.ril on wel:::i*" 'r,,ilIl't h* - '.'*::r ciirerii*t it" S**giw {At[*r-:i*, SA] l**': si,ve*l as {a;rk. I{fl*F iJrilppiftg tiat !1*i rhiii - *i3 fr+**** l, di;*c.b{-Syehm*, {*fil I l,Jv* i:l{-}i"fil ir*c*uss'+'al1 h*lri i: *,:wn f*r ih* inrJi* l*|:*i: *i:d q;r,e l*- ri}{ frri'rlii a c!:irlri* ts *:i*f#s: th*:r i*.1*nt, *i:= i:-:ii', c+,.i|. *i*,ae p*:::- i1.**r*ri:€ i:iur: :i:ls iit*nih. The pi+::i:r rn ig.i-,ly Any !,;+s i":.-aF:EiV irtg *::r *.ih*:e *r.il. fif ihe irilnk. ,#h*n *ilr nfx: r,ve,ll n:*,t.= =ib*m =r*p',, :=pr*:::..'*, cfii :;{jilr j+inl *n l:"}€ *rr€ix-i:.r.:d Sanrji: lric!:. !+r;l*n silrr i*.:i lire :iiivfl n ***pi* r"if paq*s i+ *Z*Nf 'cer,::e *.rr on-Frlii:t_. l-j€'i ct"lE *f *:y ai["tine fa'rsiii*i. 1;'*il ;:re ti:* ihit.. ^ &1*i-J*y, *r#nfid# R***rds, Yeiv go** rv*rk and solid r**ient. Nr: i-h:lf. j,.;:l r**ljaytfiillf *y*hs$.rr-:r* {S{i+lei, Fr-i sl:"i,:i:;: hip-h,i;F. Ti€+i wnrk! : T*ny flr:hih*, i==tf; *h!::aia.lft cle!piti*, n*t {{-\rlenfio, FLl i ti,;:t s*,r' i:ilfit y*ijt r**ga:i**:: ri*es +{i*r re;li *rh*t jrtngi* lltlqirt io ii f*kes trr fiurk{t ii Ii: tiriL; ; just pi{lied up the f,4r-r.y 1si,:e r-:'f tf*4" ' i" rl .1, '. ji *l*l'.if fo .rr":r.. r", .t L. .:i. :"'I",ta-qr f**re'l jij;lr o*r. ward !:* de:crih* il: FIR[! Y+i !-1artil4tan u:{l ,v*:-;r iilng*:in* ilti ;tn 1iil:lif;fl l{} **t t]*ys ar* rj*fil-:!:=l'g workirig +jth s*in*tliing h*r*. *'.,vfi pili.lt {t}:i:ai,i}tiri, *r'hsiilr.t it's.:+ *d fs:r: Ke*g: - p lh* g*i:ei nr*:'k. 'i**'ve g*t ft fi€w *L:::* *n:si{ {**},#*t:*r ir j*si a leatu:-e *i: ** a!'t'isi *f *criixri. - F5 tr *.leln-f,.i, eeg*m*it?***l.rom {bVm*t ffHfi'Jl:ve" l"ltr::;c ".,^r*rd: T1efrn :t +:uth lc t::es* *i F*1n: tfrmach, fli-j t.;:; whr} +i*t lryiilS t* nr*k* gr:*ti rn*:i:. We want i= l-i{} {ifit*ri*jfi;n6} i:+ :.1:.*:* wh* ;qr* iisteni*g *;rs::aliy, r*t I wn* jr"r:t li:eii ffiH#ru# ffirymx*r*m ilw$#flv#ffi efu* #ght ** *dfrtr $*mdfu*mfiq s€*fufie.+€sm$mffis 9ffifl **mr*ftg *n RmaryHfu. 10 OZONE MAGAZINE JULY 2OO4 > Chamillionaire o lvtike Jones Pubticity stunt or real beef? Your call > Stupid fashion trends Leaving the tag on your clothes > Mr. [{agic I Boosie & Webbie Same song, same beat, different title >'l]om G > Dirty Stsfes of America Yeah, you need to go cop the DVD > Jadakiss > Music Conferences They're everywhere! > Mike Tyson ls this the end? > Fahrenheit 911 Biased? Yes. Amusing? Yes. lnformative? Yes, > Franchize's "White Tees" FIR- J?IARSHAt-L' 5 AWA*,S OtherHjs€ knolyi as lhe "Toi Many Peotle on Stage Award." SqaC Up wins ihis one easily for iilejr rel*asr pa.ty in New Or-leans *EST ALIIN l,lAPREsSlON :o.ry- i,..1 lust lac easy. , sTsP! AWA** \r I'lcrrr **es J$'ffraine Dupri ge!. o* everyb*dy's r*mix? $HA#HLISS PRS*4*?i*N aw*q* 15 it jrrr'! n'i*, cr **es it seem jnatlp.opriate ts fax a press release to promote a failed murdar attempt? Atlhiphop. ccm poxted a iaxed pres$ release resarding *ana 'em Srirurf {FS Cent'r Lleutenant Lil Boosie & Webbie f/ Mr. Magic "Do it Big" Mario Winans "5o Fine" turfted en€myl that reads: Ee-De Get To lt (The Krunk Love Song)" Ms. B'Havin Action" "A* attsrnpt w&s mad* sn "Let's "Sottle th* life sf Eang 'em Jadakiss il Anthony Hamilton "Why" TQ "Righi On" Smurf .."in Ssuth Jarilaica, Shawnna f/ Ludacris "Shake That Shit" Lil' Scrappy "No Problem" Queens. Sources said,..he DirtBag # Fat Jo€ "Trouble" Lloyd Banks "5o Fly" gave * dap m som*b*cfy"..i andl as soon as he lurned Ghostface f/ Jacki-O "Tooken Back" Clarall Petey Pablo "Goodies" nls nadK ifte K1d rtred a eh*t...thet l*cki[y missed. " FESR}SF {}1#BAHS " *;{iaifl...... ftflui1 Iirrt of alt, J'rrr a Clover 6 Veteran T\ey tell;n' ae tlip 4gned, Slia toot bqt koopa \e ain? tcq. And y'an aheady knov v\o Ii better t\an He ain? dqe tobe f\e nextl v\y \e ain? btevS /'att knov T .L can'+ frrck vit\ ne 1 vent to Nev /ock and 1 nade t rnention of 0J Jccev /oq a teat\eeveig\t yoq don? even veij\ a bqck +i+ty Atl t\e ;ndartry A&Rr va; tookin'at r'e lfr.e, 'DJ U\D?' Nigga you lqcky i\y plane got dehyed Are yoq ftrioqt? 0\, t\at'r t\e rearn I flev up \ere Cawe i voqda knoeked yoqr pqnk a;; oft t\e *a9e 9o you uutd iceat nry cqltqre like a tlea n'acket roqvenier g4es2 /og a reven-firae felon, v\at /04 c?re abotg 4 ltly confidence ra;ned \ece, v\at t\e \eil ?a I doing \ere? /ea\ yoq got octta jail early caqte yott vorUng vith t\e rtate, *itc\ /;n? no c\oppn'or rcrevin'\ere, I knev it vat tcue, it's cleac )oa a bifc\, been ?, !;|g5, rtitt a bitc\ Vhat happened to yor eac2. I ;vear I'nt t\e \acdst ,{nd yealy t\at lePcechaqn suit got ae +ilt\y rtc\ X heacd t\e actbtt you;igned befoce raerT *teac t\ey var garbage I Aoqlda knovn yo.t va, a rnake I'nna be back tike Terainator, and 1 rveac tlrat'; a proaite U\en yoq var at T\e 5oqrc€ p\oto s\oot jwt;rrling at nry face 'Caqte indwtry niggar 90 fo college ja;t fo end cp cetarded Trying to get on t\e '6a,ne 0ver' renix bqt T totd yoq w lea\,7 nid it, retarded. I ended up at kay Stayl crib J rlr'ty do trackr vit\ ni99a, t\at I tlv'nk are dope Ve e\affini \e teltin'rt'e'boqt \ov Aady t\e gane ir /oq n;99& knov in t\e ttreetc I'a t\e \ardst l felt lr'ke I *epped oqt a deeah and into t\e llatrix 5o 9\y in t\e tqck voqtdl disc a 9od actirt kay 5lay var realer t\an t\ea ni99ar t\af claih it I"tr €rott' t\e dirty dicty and I cepretent I+" tl\a^e it'r t\e laraer in t\e Ug\e;t lo4tiots I 9et \ead like t\e rrrqthafqckin'Prerrdent T\e eeal^ ni99ar be :pittrng and t\e laner don? even tirten ioq+Vide and ve ride on 70 irr-let To get 'en' oql is ay rnitfion, aaybe f\t ctart a petrtion X 9ot a nillion dollar; 1'n n* a penny pincher Otay, Ii pcob'ty iart v;rlvn' Holla back f'n' ;traig\t tron, t\e 4reeb Iorget t\at raittion, X.' n trippin' Sanrp oat the jeep vit\ t\e k and the \eat 1 Ut Jcarface on t\e p\one ard \e var giving ne 9ar,e T\t pttt yA la''e in ya tap ya brAn in ya lap And C\art;e Braxton in l4ii'issippi alvayr give nre t\e rarr,e T'aceppin H-tovn J prt t\e clovec on t\e nr?p T\ey bot\ iet ae knov t\at ignocance i; really to blane f got nry niie and hy ,tfap &'ty an id;af don't reatize \e'r tosc\ing f\e tla,te Ererybody pubetter get t\e \ell back Hov crqld yos not feel hy pain3 /os gon'feel it regacdlett Vhen flip pops up I leave ya a* deopgin' dead Record hbet; and t\eir arlittt ate rhetting iike rigar\ortit Suttlvide ve don? +rip over btqe aid red Fcota nrarket to narket, eappev dead v\ece I park it Xll leave ya ctippted vit\ ny pi*ol in ya backend V\;te yoq talk it X1t valk itl and I'a it$t harlang hy tacaet... ltlake ya cl,est do a ftrcUng backbend 'Caure t\ey'll never qndec;tand rrre, t\en, nig9a, ir cotton candy HDlla back X"', trota t\e rfreetl davg T\ey jurt envirion anot\ec GcAaay, don't give a dan'n aboqt nry farnity And J1t tnocX ya ar off ya feet, davg \ov t\at X tlvnk aboqt it, t\e a,ti;/'t are nevec \appy U\at'r beef? Beet ir v\en a nigga like yoqcan'+ eat The;r c4nt cDnvince ne that l"tt nat a pcize,l von? tet 'en, have re Uake qp v;f\ no appetih qnd yoq cant eat Itly bcot\er ean co-rign \ov nany tinetl done c\anged ny nrind Better look but\ vayr befoee yoq valk in t\e rtreetr Bqt f never doved do\iD all t\e tirre I *ayed on n'y gr,nd Cause you don? vant to bun'p \ead: vr't\ a ni99a tike ne T\e p\one ringing ati f\e tine, I p;cX up t\e ot\er tine 'C\airilli0naire, Rqbber nan vrt\ t\af,{k l}vt it'r yoq knov y\0, and ve reatly vant yoq to rign' Firrt atbqh ftopped vrt\ t\at ce9gae lUt - C\ar\iiliohaire, 'T\e I'lixtape llerrial\ ValB' (DJ Snatlz"5oqt\ern itroke 17") Holla back n;99a - l:tl' ftip't tetponie +o T ,L Hcre coner t\e boon', ?ii's 3tn' fip to clear cp t\ere ccnorr I didn'| vant to do it bth f feet t\at f \ave to Hov long yoq tlvnk if'r gon'take ceal ni9915 h cealize Hopefally after yoqf tetrrr cone laag\tec T\ere ain? no *biect rrratter in \alf t\ere lit' gqyr Vegar, conte on,?ull Up's jrrrt a \ot line T *ay uittt a +lar\y look Bq+ Cqto3 T\at f\ere ir a \ot ons Even t\oqgh \alf t\e indurtcy crcnk vith a calc\y \ook Uor;t tUng is,T vas at 5pcing lesl and /o(r ovn people r\oved no tove See, tlre hajorr Vanna rign V\at'r trendy Lyin'to f\e people, telling'er', Pit robbed yoqr d?v9 v\at'r ap? Iqck if X'ntnta vat Ait otrlt Pttl it dovn y;1t everytlvng 1 got in rte Lyin' h }Z}ltE) tetting'err yoq \oilered ?f ;re and Jon, davg, vlrat't up?, 6ot a Cardier vort\ v\at t\ey giving yoq qp +ronf It don't take a geniqr to f;gqre out v\y yoae ron! ain? ptaying 5o T don'+ give a ?ack v\at f\ey giving yoq qp +rorf I'latter of lact, it'; lgite iaple: no one kno\,,r v\at t\e tuck yoc're rtrying /oa c\qnpe ain? a part o{ qr lt1r. Vegar, lookr like at tlre end of t\e day /oq need Sean ?aql X'll gi'teyouay addre*, nig9a, if yoq really \ianna cDhe body q, ,{nd to top if att 0++, f \eard yoqG 9of a glan jav And Tek got nry cell, \e'll gve it to yoa /oq'd be r+raiglrt i€ yoq coqtd break recocd; like t\ey broke yoqj ia, If yoq 1gq||y vant it rJt+\ 0*, ve'll give it to yoq 0\, t"y bad, yoq only riake rcco(dt caqte t\ey broke yoqf jav Xt 7'a putn, nigga/ betfer PrDve it Ve tcied to be gentlelren, bqt nov if" tinre ve bceak yoq off T ctitl co^e f\roq96 1}'. VenetitrD ni994 Prove if | rcen yoqc con,hacl, t\ey pctted yoqr rUrt ap and bcoke yoc ott l4?nt yott actin'tike I'a *Ated - ?;lbqtt 0'1r. VeSar dirr) Nt99a, X travel vi+\ t\q9t Ve tucn G* into ConAirr l''le and ya boy ain't battle, :top lying Enail yoqc 16 bars to Vt\a+ 7 did) lvt \ir \oe or pr',ethin'3 Stop crying '5891 - P.l'l. tree;tyle Of Rob-N/0J ldeat l'leaoriai Day ,"ixtape) 0 Z0NEl,lA6. c0l'l ror conriderarion. 01 - Porn star Vanessa Btue @ Ying Yang Twins ptatinum party (Los Angetes, CA) 02 - Rudegat, DJ Trademark, Chico, DJ Nasty, and Mr Easy @ Tabu (Orlando, FL) 03 - Supa and Lee reppin' OZONE @ Sqad Up's release party (New Orteans, LA) 04 - DJ Prostyle reppin' OZONE @ Tabu (Orlando, FL) 05 - Suave Smooth @ Caribbean Beach (Ortando, FL) 06 - TJ Chapman, Joe, and J-Kwik @ Ctub Deep (Taltahassee, FL) 07 - Prodigy and Jin @ Funkmaster Flex's car show (Ortando, FL) 08 - DJ Whoo Kid (Ortando, FL) 09 . Jacki-O and Houston (Los Angetes, CA) 10 - Free @ the BET Awards (Los Angeles, CA) 1 1 - Tampa Tony and Bitty Rankins reppin' OZONE @ come Together Day (Jacksonvitte, FL) 12 - Fonsworth Benttey gets mobbed on the red carpet (Los Angetes, CA) 1 3 - King, Suga D, Mr. C, andGrandaddySouf@OrtandoMusicFestival (Orlando,FL) 14-PimpGandfriendsinthetimo(Jacksonvitte,FL) 15-T.l.,Lit'..ton, andRyanCameron@Hot107'sBirthdayBash(Atlanta,GA) 16-BigCottenandFutureShock(NewOrteans,LA) 17-E-Ctass,J.R., andLuisDuran(Jacksonvitte,FL) 18-SteepyBrownandBigGipp(Atlanta,GA) 19-VideodirectorLittteX(Miami,FL) 20"Pitbutt @theBETAwards(LosAngetes,CA) 21 -DJCaesarandBigEar[ (Ortando,Fl) 22- StixdaForeignerandGary(Ortando,FL) TASTE TEST With Netly and Lil' Jon each expanding their empires to include energy drinks, we at o?ONE decided to conduct our own live videotaped taste tert {in the intsrest of lcience, of course). Randorn attendcas at TJ's DJ's Tastemakers record pool meeting in Tallaharsee, FL, were each given one can of Pimp Juice and one can of Crunk! Juice to decide which they preferred. Here are the overall results, and a few comment5: pilnp JurcE c*ufH$ t$sF r:i'::#f;,,w7;:;,'y:;x"tr;#{::;:;:;,x::::litr::#Fr:x:::::::,,,. n'Crunkl < "Crunk! Jsice < "Fimp Juire < "lf ydr want < Juice . "Pimp Juke is has kind of a har gnt that nrore impact, go is more energiz- like some sugary Yitamin after- sweet sweetness, with Crunkl ing. Pimp Juice is Fhwaiian Punch. ta:te, tike those This is me all day. Juice, lfyou tm soft for me- " l\lothin'but pure Flintstones chew- ,itix it with a lil' want a smooth sugar. Crunkl ablesycu wed to bit ofthat drank. Cratoradetyp€ '"The Fimp Juice Juice actually hawwhenlrou feel me?" flavor, go with is good, but the has flavor to it." @ werea hd, Pimp @ Pimp Juice." Crunkl Juice got Juice is a pineap- < did a blind m me right. lfeel M < likeCrunkl ffi "l "l piy subrtance," taste test. I don't < "l can't really energized," Juice, l'm about know what they choose one. Pimp to be bouncing < "l gotta go with put in Crunkl Juic€ is s{€etcr, < "Crunk! Jui{e off the walls." Pimp Juice. Juice, but it's but Crunkl Juke woke me up. lt Crunk! i5 a littls nasty. I like the wilt get ya right," tastes like an "l need Crunkl in too harsh for rne. Pimp Juice," energy drink. lt's mysystem!" lil too strong." M @ "Yx.r could mix @ got more kick to ffi & < Pimp < did the "Crunkl Juice 'em@edurrd it, Juice is "lffhat < "Pimp Juice it awful, lt tarter get a crurf( pimp." bo watery like five knuckles say gro€! down a lot like a man! fratorade." to $€ face?" easief. lt's kind of drink. I like the < "Depen& on (piw staps the tike Red Bull Pimp Juice, you the mood. Crunkl < 'This is defi- Pinq Juice ean) witho* leaving could mix it with Juke tastes just nttely Crunk!. I'll 'Smack! I liks the that nasty tittle Lrypnotiq or like the name, corne back in ten @ Crunk! Juire." your M kick M minutes in ffi and K somethlng llke and Pirnp Juie let nrouth." that." tastes just tike p: knowif it < "l've been in the name-" kicked in," love with Crunk! < "Fimp Juice is . "l gofta go with .,luice *nce the ffi much smoother Nelly on this one. < "lt! alt good, I < "l like Crunk! ftrst time I had it. than Crunk! Pimp J$ice i5 could go with better because of Pimp Juice is too reffi Juke." nice rn' sweet." either one." the taste." sweet for me. " M (brushes dirt off ffi m ffi shatlders) < "l'il not eyen from the South, < "l like Pinrp lrnt l'm gonna Juice. This (runk have to go with 4t}Vo shit tastes that Crunkl 2s/o nasty." lOo/o Juice-" & p*F:nnffi punp JurcE @ tfltDgctDF M pnscnnE cRuru$ rur03 Latino rap- (A plane flies by overhead, advertislng Fat Joeis iv€*i.tgtE South Beach. "See that?" he points. "That's.why.thqj';re-''|i;ad:!) :.,1., ,r -: I heard you just bought your wife a new cai?: ., .r:. . , . I stay buying her some shit (laughing) , ' How do you balance your personal and professional lives? , . . ,.- td,:nrce'dude. ljust got this vibe, and my intuition is atways (shokes head) I don't know. lt's hard to balance both, but I try my best, DoUO youyOU have any KIOS,kids? r , ;. :1.- : ,.,. ' Yes, I have two sons: Joey and Ryan. They come and visit all the.time. My -4..1::, -i-- :.- =:. :.: son justiust told me he doesn't have summer camD.camp, so he's cominEcomingto.bb.vdth:riri.:,-;,:: to.'bbwith" iri ,:,r,i: me every day. I totd him I was going on tour, but you know, l've got to fig- . ure it out somehow. We're on the Latin Kings of Hip-Hop il-our. ltrs'mgani{,::.,::,:1.r:,1 a bunch of poputar Spanish rappers. I'm the headtiner, of course. Do you think Latinos get respect in hip-hop? . .r. jr;i : i, !.,::.-:,'i:r : t:'i.1r i...i:.1 Fuck respect. I don't care about that. lt ain't about respect, just hot rT.uF .:. is he one of the reasons you're always in Miami? sic. They never give us our respect though. Fat Joe been in the gane ten ,, ' I . Yeah, this is my second home. My place will be finished in two months. years, setting mittions, yet they still don't consider us. I sotd fo.urmillion ,r, ii1i1i:l'i,.{,t'iea 1 come down here, I stay at Khated's house. We recorded the whole on my own. ,. . [Terror Squad] atbum at Khated's studio, Jerusatem. I love Khated. I can , cpunt atl the peopte I love on one hand. Whenever l'm stressed out and Joe What do you think it will take to get that respect? ..' ,'. _'f:.;.$*lleelstikd the wortd is going wrong, Khated is there for me. We continuousty keep coming back with hits, winning the Rucker, we ther i"-: livest out there. We're making movies and we stilt don't get recognized. I .,',S-b' this upcorning album a compitation album? don't know what they want from us. ' . , ,' l- '.riitiS a'Tgrror: Squad atbum. Remy Martin is on there, Tony [Sunshine] got so- :,los;,Armageddon and Prospect are on there, and [Big] Pun is on there. I got Are you coming out with a solo album soon? ' . " ,aJoint.on lhe atbum with me, Big L, and Pun. lt's crazy, verses from Big L We're working on my atbum and Remy's album. Welye got Khated, Cool & ah{ fun you neyer heard before. lt's catled "Bring 'em Back." lt's sick. Dre, Street Runnerz, and DirtBag so far. I r,roticed.you switch up your flow a lot. Anything else you want to say? At'timesyou have to be inventing stuff. That what hetps you have longev- We love Miami! .jty. !'ve come up with so many names, come back so many times. You have ffto ceme back with a new flow every time. I feet tike I'm the best I've ever t. been. ['rn tetting myself be creative, and tatk about different things. I'm . just expanding right now, and not afraid to take a chance. ,.':(Joe interrupts the interview when his right-hand man lvlacho arrives with :','suntan lotion, "No homo... l4ach, put that shit on my back, please!") .. t'.. :":.tl[ow did you still keep that New York feel to your music when you're .:..,down here in Miami so often? l :. r'l,t'trlr so- New York. I'm the King of New York, nobody else. I know everyone :-: ;:w.ho owns anything in New York, even the guys who own the Frankfurter :ir,stands. l come down here and get that Southern vibe. {sings) "Ohhh, I tike ,::it tike that, Stow motion for me." That shit don't be poppin' in New York a :, ::,"butPUI I beDe upUP onOn it.lf . NowNOW I'mI m startingStarung tofO twistfwlsf rllymy flowltow certaincelLalll ways, so5(J llownow itlL ' can only help me. l've always got that New York hardcore hip-hop vibe. I i.d,::,: am that. That's what I tive and breathe. Being in the South just attows me i.;1, ,;to open up and try some new shit. Are you still on Atlantic Records? ,i.. My soto deal is through Attantic. They're offering me too much moneyfor j,,. me to leave. The Terror Squad album is through SRC/Universal. I love Steve' r Ini*ina]. I never met another rap executive better than Steve Rifkind.: ::'' , He's a real [oya[ dude. When this business is sometime-ish, he looks out.. Are the other members of TS on SRC as solo artists? No, they're on Terror Squad/Universat. I've got a joint venture with them right now, and l'm on Atlantic. So I've got like two joint ventures. ls Terror Squad more like a clique or a label? We function as a [abe[, but it is a clique. What appeals to you about the other members of Terror Squad? Prospect is dope. He's just got to get really, reatly focused. He brings a Pun-like etement. Pun atways [iked the way Prospect rhymed more than anyone etse. He spits that vintage flow. There was a rumor going around that you and Cuban Link had an altercation in a hotel down here in Miami? *' Wow. I haven't heard that name in so [ong. Actua[ty, the day he .q said I did that, I was sitting front row at the Heat game. I'm not s r.1 {ueds & $:sh$: julia hletU - design: mby nCItma} nine, I discovered soul music and R&8. My mother had B-tracks with Ste- vie Wonder, Lionel Richie, and Patti LaBe[te. I fetl in love with that style to sign with Cool & Dre's label, Epidemic? of music and knew that was what I wanted to do. But, you know, growing atbum. I was signed to Loud Records, up in the Bronx is hard. I started getting into troubte, getting off-track 'andwhen thby fotded, it was'hard for me to get signed to another and losing focus. That kept me away from my music for a while, but as I 'bEcause of po$tics and being Hispanic. Coot & Dre seen my struggle, grew otder, listening to Pun and Joe helped me get my life together. Years the5rlvg'lalyrays been there for me. They had their own situation going later, Coo[ & Dre came atong, so here I am. I'm in the gym trying to get physique 1roh Aq:,Jivb,' and they fett that they had to come back and get the kid. I my right for the ladies. I was a littte overweight for a minute. appreciate them and love them forever, they saved my tife. They're Terror Me and Joe got scared, so now I got the gunman Pistol Pete with me. He .'squqd; so'itt9 always important to keep it within the famity. goes everywhere with me, hotds me down, punches people in the face for me. ln every aspect of the game, he's a legend. ls your album complete? .ltlf,basicdtty-wrapfed up. We're in the middte of mixing and mastering, Are you trying to get that LL Cool J physique? aed:l've:got to lay some ad-tib vocals down. I recorded hatf the atbum in I can't get the LL, but l'm just trying to trim down a tittle bit. Not too big ,\eWYo;:k-andthe other hatf here in Miami. lt's definitely an R&B atbum for or butky, I'm just trying to be right for myself and my health. I've got to tadies. But l'm not your regular R&B dude, so of course l've got two or be right. I can't be losing my breath on stage. I rginlsta joints on there for the fettas. So you won't be labeled "soft." lff-hat's your ultimate goal? No, that's what separates me from other R&B singers. Not to say that ,vly defini,tion of success is being abte to take care of my chitdren. As long every R&B singer is soft, I know some who hotd their ground. But I'm the as I can.put a roof over their head and provide clothing, I'm happy. That's onty R&B singer that watks through with goons and gangstas. l'm not [ook- Success for me. Everybody strives for their highest position in [ife. I want ing for other dudes to help me. I hotd my ground myself. to:enjoy money, I want to enjoy nice cars, nice things, but most of atl I lvarit to take care of my chitdren. ljust love working. I'm happy when l'm Do you write most of your songs? I do write, but on this album, I didn't get the opportunity to get down the way I wanted to. Coo[ & Dre did most of the writing and production, but it mostty came from my emotions and feetings. They hetped me write what I was feeting at the moment. They'd ask me how I fett about certain situations, I expressed my feetings, and they wrote about it. lt's crazy. Coo[ & Dre are incredibte songwriters and producers. As far as my career goes, I owe it att to Joe and Coo[ & Dre, man. mthealbuml. Everyone:says l,lm i.he Hispanic R Ketty, i to watk in. R Ketty is incredibte. Right now he's the ite R&B game. . ,6.rF;..1t.I;;,ViCeoJ1 ",rj t-ilrhrlie;do.+os?' vitd, I might bq a party animat, but when it comes to the ladyJay..thatrsay that I've diirespected her,rwitliiiuther. Without thdthe 1a!ies,tadies, I to be. Ladies are the ones who witt spend their money !i .:, lies, I show tnqm ttre utmost respect. eut ltthey wani . .t w the hd some love, that's a different issue. .- ;=f ':,rf'11\i !.':l1r:"::.:::=,jt;j;1::l::-.::::jrr'::"1. : :l . . -.,.-,,,, women disiespett themselves? des that are aggressive and don't have respect. But , ittp.upp.to !otlt-6Y,qrfa*{'e:Yqu'{g€qt'torespecli.ouasetfto tltgY,q{qg'{'e:tlle femate. Ytiu'VeYouive gqltogot to respecrt.iraaetfrespect ) .and.::and nt you ain'tirn'f tryin't*rdiif +^to laabe loose.t^;d:r:t*ti+in lt's up ra,rrnrito you. :-l . 1 r.!!ij!.! ::::..'.: : :::i--::- i:i:..:- r you and Cool & Dre? 1ey were the mixing tinks. After Pun lng time. I didn't know what I was go- goihg to be a rapper. I forgot e to the tabte, they were [ike, Tlrey said I had incredibte tat- ,qleij brothei:s '....'...'. ..;, Are you everCaf iiiiioih I started off :when,:.lr wes; Spanish battads. I sung with a Spanish industry as a ttvords & plptos: julia beveff).::i Fl emember back in the day when there were the cool kids, I{ tn" jocks, the cheerteaders, and inevitabty, the tosers? of I \.orir" you do. But remember how it atwiys seemed that the cool people let a few losers hang around with them because they had Right now, Remy is concentrating on the Terror Squad atbum, which she something usefut? Wett, I hate to make this comparison, but it seems like says is designed to prepare listeners for the upcoming soto atbums from Terror Squad foltows a similar pattern and the loser of the group is Prospect. TS MCs. "The atbum is a ctassic atready," she brags. "We reatly brought.. Lyricatly crafty and smooth in his delivery, Prospect's rap ski[[s don't seem it back to New York." At the same time, she says, the atbum incorporates:' to gain him much respect from fellow Terror Squad members with the ex- Southern and reggae influences on hip-hop. "l feet tike the album realty ception of Remy Martin. Prospect, however, seems complacent just chittin' takes it back to the essence of BX," she says. "lJnless-a couple buitdings . in the hood. fatl on the day of the retease, we're good." Prospect grew up ctose to Big Pun, who happened to be his cousin's best "Everyone is on their own fucking dickl" Remy exctaims when irsked-to.. friend. Pun had formed a [oca[ crew and invited Prospect to join after hear- describe her Terror Squad famity, but there's nothing but love for thQ ing his demo. "l knew he was about to pop off," Prospect recatls. "But that clique. "Everyone's [ike, the same," she giggtes. "lt's tike youlre'deatin! was my man, so I ain't even ask him to help me out. I was [ike, 'Fuck the with yoursetf four times att day!" According to Remy, she's considered rap shit. "' Pun eventuatty introduced Prospect to Fat Joe. the probtem chitd of the group. "l must state my opinion!" she taughs.-i "But, I'm the nice one, in my opinion. I always remember to buy looth- i, Prospect Avenue was where Prospect grew up and eventually drew his name paste for everyone. I'm the one who remembers to buy mitk for the i' from, but this New York MC atso draws from the definition of the word: up- cereat, and remembers that we need spoons instead of forks." Pun, Prospect adopted the word as i coming success. With some input from \l his stage name. Aside from Terror Squad, Prospect is working on some per- Another crew that Remy reps is the Murda Mamis, a group of industry sonal projects inctuding a DVD and compitation atbum with a French group females which includes Gloria Velez and MTV's La La. "The concept of in BK. As far as a solo album, Prospect is more focused on putting together Murda Mamis," exptains Remy, "ls that it's a cottaboration of girls soto tracks. "l'm not realty looking for a deal with a major [abe[ right now," a[[ over." There are DJs, promoters, MCs, and other industry figures he says. "My crew has connects, but you know, it's not easy to get numbers volved. Remy continued by discussing the role of femates in the from everyone tike that." noting that it's never been a probtem for her. When it comes to the new Terror Squad compitation atbum through SRC/ As far as her own projects, Remy has a solo atbum in the works Universal, Prospect offers, "l didn't have much input on the atbum, but she began recording before the Terror Squad album. After the I'm on a couple of joints." You can tett a relationship is a littte weak when is reteased, she fears she won't have much time to record. a whole group except one member goes on vacation. When Terror Squad considered putting out a ctothing [ine, but is waiting for t went down to Miami for Memorial Day weekend, Prospect says, "l was in the "l wouldn't want to endorse it just for the check." We atso h 'hood. I was in the projects, man. The whote squad was there, but I was on the possibitity of her endorsing Remy Martin liquor*"That'tt in the projects. They didn't catl for me, they left me in the hood." He stitl the tine somewhere. I reatty don't know;" she says. \" -' looks at the bright side, however. "As long as they had a good time, it's atl "")" ' ".-'--- good. " Reatty, Prospect? Overa[[, it's ctear that Remy enjoys tife and simpty does v,itl4tFver: sh6 "Nobody but the [ate, great Big Pun," Prospect says when asked about his mentors. "He didn't teach me to rap, but he just totd me how to ptay around with my style." Pun kept Prospect focused on rap and gave him mo- tivation. "He schooted me to the ups and downs of the whote game when he made it big," remembers Prospect. Since's Pun's passing, however, it seems that the distance between Prospect and the rest of Terror Squad has grown. When asked about Summer Jam, Prospect reptied, "l heard something about that. I think we might be out there." Odd, considering that less than thirty minutes ago, Remy Martin was going out of her mind with excitement for the Terror Squad appearance at Summer Jam. lt even seems that Prospect has been financially left out of the picture. He has no car, and mentioned that the videos aren't making him any money. Don't forget the obvious indicator of his tack of Fat Joe weatth: Prospect's home, in the hood, is "stitt humbte." He interrupted our interview briefly to tetl someone to stop and let him out of the car. A Terror Squad MC hitching a ride?!? Prospect seems to be using his thumb to do the "Lean Back. " Maybe one day, another aspiring artist witt be abte to hetp Prospect out by giving him a ride and picking up some of his wisdom. When you barety see your groupmates outside of the studio, are you reatty a part of the group? Hard to say who's fautt that is, though. Maybe Prospect prefers being soto. prom the beginning of our interview, it was clear that something had h 1gr1e1 Squad's femate MC Remy Martin extremety hyped up. ln fact, I "giddy" best describes her state of mind. "l'm mad happy, I'm in a great mood!" she votunteered. lt turned out that she was gushing over Hot 97's Summer Jam., which was coming up the fottowing day. Terror. S_quad was stated to make an appearance. "We're not even showcasing," Rem{''a\ {i. exptained. "We're coming out as a surprise guest with someone eGe." ".ol \ ! With Remy so excited about Summer Jam, the interview was off and run- \. ning. I coutdn't have even stopped Remy if I tried as she excitedty shared \. story after story. One of the stories she shared with lots of vigor was Me- morial Day Weekend, which atso happened to be her birthday weekend. ln good ot' hip-hop fashion, Remy made a trip to Miami, Vice City itsetf, with fettow TS members Fat Joe, Tony Sunshine, and their entourage. she i$t'*:""wl+*rult+#eW4$ffi w 1*-* ** {words:rohit loomh} --}q-t*!k .*ar'-.".!e, what coutd have happehed.' 'knows . .. ,,:.:. ' ln his situation, did he have a certain medicil condi- tion that caused him to gain weight? Yeah, probabty so. They don't even reatize what they're doing to themsetves until it's too tate. I just try to give the best advice that I can. l'r,n training Tony, and Tony is difficult to train because he likes to eat and ;ir, drink. When you're a celebrity, poppin' bottles, Moet it': and Cristat, that's not heatthy. That's one of the most important things I totd Joe: to tose weight, you've got rl. to stop drinking. And he did stop. I hate cigarettes. I've been on Tony about that, but every man can make their iri own decisions. lt's his life, he's the one that wants to smoke a cigarette. lt a[[ depends on the individuat. The most important thing is that we atl get focused. l'm here to train whoever wants to be trained. Howdo you motivate someone to exercise? You've gotta tet them know it's a good thing. it It must be hard trying to find weights when you're on rnakes you strong. Working out is good for you, pe- the road. What if you don't have access to a gym? riod.'You can't atways be mentalty strong, you've We go outside and do a littte calisthenics. Push-ups, got to be physicatly strong as wett. A tot of rappers putt-ups. We take it back to the jait mentality. ln jait, have money and don't take care of themsetves, you don't always have the weights and the luxury of so they wind up with diabetes and high btood a gum. When lwas in jail lwas a bad guy, so if you're pressure. I just try to motivate them, especiatly misbehaving they punish you. I was in a cell atl day, so my farnily. l'm here to support my Terror Squad I had to make the best of it. Keep my stomach right. I famity. Joe's my brother, I love Joe. lf it wasn't did a tot of push-ups, crunches, leg raises, and working for him, I probabty wouldn't be here right now. my abs right. I atso used to meditate a [ot. I used to sit He was atways there when I was incarcerated, on my head for hatf an hour a day. and he's there now. When I was in the hatfway house, Joe :was there for me. You've got to ap- What's the advantage of sitting on your head? preciate those sma[[ things. I stay in contact with I coutd feel the btood rush from the bottom of my legs everybody in jait right now, cause I've got a lot atl the way to my head. lt put me in a zone where I of homies doing life. I send them pictures, I do could be at peace. When you're misbehaving in jait, everything I can for them. they put you on diets to try to make you weak. I'd give my neighbor cake, and he'd give me his chicken. Do you think prison can rehabilitate someone? Onty if you want it to. lt's got to come from How could someone contact you for training? within your heart. Jai[ was a terribte ptace to be. They can reach me at 347 -234-8834 or 917 -703-3903. I wouldn't wish that on my worst enemy. lt's not coot at att. Betieve me, I know. F, 1 ..F How did.you pass the time? Working bUt. I love weights. I haven't eaten meat in fifteen years, so l'm strong as hetl. \{hat kindof physical changes did you see when you stopped eating meat? You lose a tittte weight, you feet better. Nowa- days, the chemicaLs they use for cows to grow, it's terribte. I eat a lot of fish and chicken, but I don't eat red meat. I drink a lot of water and eat vegetabtes and satads. :.. lf you're trying to lose weight, what kinds of foods should you avoid? To [os6 weight, the most important thing is to de- : crease your carbs and get on a high-protein diet. ll i I ii: i ilii. iil:'. $.i*ir'fl} *=..".1,.) ..* .. . ".j.*,. ,..;,i:t?tu:#;1/ wa{Fg j":G#_fi€.f\sffiffWm__6m*m$*Wmd:;"Fu=##"f#U : . usstrF'il@ru$e *{"ry p""ef"eemgk"WMrymqs ffi ep$w ' g** ="_r,=_,Ti-=#s r$€ LAFEL *yanfiqhtylgFi( I {tnvprsat -l Si,t ffit tig NEDrcANON ill' *;d CELEB COLLABORATORS gr , 1i4 +d ${ llli.'.!3$;ii'JJi,iil',1*filt;,f,:x:liP_,xl*j:1"'_*r ii;;;l=.ijfi'l:,cusedffi right l:#;l:*1"tffinow. rwant to be ff ffii$'ffi'%- ffi *.**':,1i,':'r:ir"l+{lt*rttr+si,+**tn,**ri,+}$*:*ii"-,,,i:t - ffi$**Hl-'#frfl1ifrlli{frihtlffifr ffi t=* ffi ','ffi}*gi}i"n$fi',}ffi y K@MWI urllGlJs srvtn ffi" le:e*l i --ii:. MOTIVATION tH' ,!!1r l 'oLocKEo UP'o RSJLL.LIFH EXPERIEHCES ry .!lFl 1*: t*s: for survival' "A reat job wasn't feasibte at the Raised in poverty, 40 atways saw selting drugs as his best option :f--: s€ ,,t of us kids, and even though momma used time,,, he reasons. come?rom u ole,lpare-nt nom". ir,LiJ was tour seemed tike a stupid way'" 40 got ru: to work two or three :our, ii n"u"igot'ui nowhere. Living check-to-check a Federal prison for conspiracy and drug-retated *ilh. caught up in the drug gur" una served I v,v"iiin ffiu "*nluatty proued to be an entightening experience' "l charges. Even though it r""r"a tike a seiback, nls iniarceration ,.lt A person gotta go through some things in found me,,, he reflects. was tike a re-education, a re-conditionihg. tim6 to reflect-on hiiexperiences. "since I've tife to finatty see what they,re meant to see." 4O_ haa pt"ntv of ""ili.{ ,,But it was unadulterated and uncut. The true inner been out, l,ve written a tot oi siuff,,' he says. in'prison, with his own sanity"' lnfluenced by artists thoughts invotving tne struglie within a person s own.mind, wiestting him devetop a unique styte' After hitting W€ tike Tupac and the C"t" e.;ii, aot dennitiue Texas drawt has hetpe-d his debut atbum independentty, titled iCE t] the streets with a steady flow of undeground tracks, +o piuni to retease gl+ got to imass something white I'm here to leave something +d Bury Me Rich. "Weatth lsn;t everythirig, but-l've 40 reflects on his tite, his struggtes' his h.ardships, fl*s behind for my wife unc t*oiior. i'u" g;t to feed t-henr.;'As h,ilf S the past and moved on' "l did my time"' he says #*:i and pain through music, it-'i ct,ear thit he's learned from i*I]?flu ,,Stood get my crown'" Don't worry' though' he's confidentty. taLt tniough it att, and now I'm-ortnll back out here to ;;in to many different stytes"'says 40' trying to ctaim ne's xin"e; t';"-i"rtn- to big, and t-h"r"'i not Beverlv, si: * :;a;;;i ;;bodt ciown ftrems'eiv"i xing or the south." - words & photo bv Julia ib@ozonemag'com :=== :*dj nifilll I LABEL flffift lwshular HUMNL* ATflTUSH # ?' IT{*U$TRY KI'IOWLEDGE ffi' ilULrI-TAIENT*U &r cleavon shuler, better known as."lce" shuter, ts: had a dream. He'd atways envisioned himsetf going from the projects to the basketbatl court, but shuter found that rrit or"amt oiiuJlu*"i'r"r" were doing exactly what he did on the court: fading,away. Everything == happens for a-leas9n rnrr+,;cnB Wett, in shuter,s case, he tg,4 says "the ba[[ bounced off the court anl intdthe streets" or aroor.tyn;ii"uii.grt erolu.t for a very good rea- = son' Shuter believes that he was meant to rap. He was introduced t6 wir H"ttJn in 1992, and they estabtished fli a relationship based on their common goat t'I to become estabtished in the music industry. with the hetp of Helton's record Board of Directors and H-etton's partner ,.We,re tr 'l Nat Etmore, shuter released Here Now.,, New g# York's Hot 97 backed the project'..which eventultty moved over z,ooo ,nii, anJ createo a buzz for shuter. He # atso landed a position at steve Rifkind's tabet sRci ana is now-worti;c;;'; ief for Attantic Records- iniougn =:. his day jobs, he's found unique ways to estabtish contacts within the-music industry that can atso benefit his rap career' He's determined the capitatize =€= on a[[ the opportunities he comes across, and tre,s atreaoy ofenea for artists like 50 cent, Jadakiss, and Digitat Underground..Atong witir nir tong ttt", of opening shuter has appearances, i atso made the mixtape rounds. You l\tr can"hear him ar5pping ve;i"on tn" hottest mixtapes in New ,l York from DJs tike Kay Stay, Ctue, and Koot Kid. one il.'tr of shuferir no*"uur, and down-to'earth. ir!.t?ri.rt"tl, is that he,s humbte .+j He's witting.to work with anyone and "r aon;l nuul to ,,rt,s not my [rap],,, he comments. ': only way out. I choose to do this becauie I have "u.ryon-u.a taient that needs [email protected] to be inj#a." - nor,it-loomou, Who ev er s oid ffiokina tnus,c w $s e?cy ens iv e? abv io u tl1 weilt ts the w r ong" yloc {... ffi@roffiffi-%w@ $tate sf the Art Facility Equipped With: Pro Tools TDM, 22' inth llat screen, Deluxe MlDl Centel, PC's, and many more extra's. Call to schedule an appointment today: 14071 275-6338 gMV lPro"Tool$ TDM Syst€m Conrrol 24 "Power Mac"s 64, Korg Tliton, Mo Fhatt. 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Magazine Tha Hole Magazine Holla Magazine Kronick Magazine New York, NY Chicago, lL New York, NY Huntsville, AL Atlanta, GA LosAngeles, CA 877-366-3482 847-366-8915 1369 lvladison Ave #406 256-652-0804 www. hollamag.com www.kronick.com www.exposuremagazines.com NY NY 10128 www.thahole,com 770-438-0112 Murder Dog Magazine MVP Magazine New Power Magazine Next Level Magazine OZONE Magazine Rude Magazine LosAngeles, CA Jacksonville, FL Columbus, MS New York, NY Orlando, FL New Orleans, LA www. murderdog.com mvpthemagazi ne. com 662-251-0075 thenextlevelmagazine.com 407-447-6063 504-246-1491 707-s53-1 850 904-493-6075 newpowermagazine. com wwwozonemag.com Showcase Magazine Streetz Magazine Strip Joint Magazine Urban Pages Magazine UrbLife Magazine Xplosive Ailagazine LosAngeles, CA Virginia Miami, FL Charleston, SC Montgomery AL San Francisco, CA 510-481-3080 800-770-1078 954-447-7246 [email protected] wwwurblife.com 925-427-9330 www stripjointmag. com 843-747-5131 888-683-0677 finishyourbiz@aol,com Check out other indie magazines online at www.MAGCOALlTlON.com rB& Ir fils $i{ "#-*s:-'ffiffiff"ffi *ffi ffi-ff *rb, nlano wtnans ,"'t- ,- 41,.-t )+, 't$itE P5 I'LY2IT}4 ililliltl llllllllllllltl tilll rt: it;"'i wqt^yake *ot*tl#ttu"ittg" i Give Praise it t efwg.,il= The best way to describe "Sir" Charles Dixon is by using an example. but it doesn't Let me begin with a story from back when I was a young buck, calling mean that you're him as TJ's DJ's Record Pool music director to request vinyl servicing, going to reach a Since he was my contact at Columbia Records, I spoke with him on large audience. several occasions to build a relationship, but one conversation in Take the Lumidee particular stuck out. During our exchange he explained to me the ["Uh-0h"] record, for work that he needed to do on a Sunday, For me personally, I use example, that came that particular day to follow the Supreme guideline and try to r€st. out on Universal. lt was I was curious to find out why a vet in the industry, who's been the one of the most ptayed "GET IYOURI REORD HOT link between some of the nation's largest record labels and DJs, stilt records last summer and IN TIIE SIRTEIS FIRSI, SO needed to grind on a traditionally quiet day, He responded, "Because had over 6-8,000 spins a week, wH Eli everyone else is still sleeping." That captured the personality of Sir but in the end it onty sold about Viiiii/iilCiiiat illbib; Charles. Always working hard to get ahead, but stitl taking time to 30,000 records. So that proves Illff '[1 100K UKE GEl,llUSES. educate, Here, Sir Charles Dixon was willing to take some time to that radio alone doesn't have R'DIO IS USEDTO DISCOVER educate OZONE readers about the politics of the music industry when the impact. You must have a hot RECORDS THAT ARE ALREAI'Y record and it comes to the relationship between artists, DJs, labels, record on the streets through HOT, NOT BREAK REORDS." radio stations. the DJ. When I was on TW and promoted the Li[ Jon "Bia Bia" record, we worked that song for ten What are some of the record labels you've worked for? months! That's why TW is successful, because they take time with I've worked for Columbia, TVT, MCA, and Tommy Boy, just to name a their artists. few. So what is the best way for a record label or an artist to utilize How did you break into the game and begin to work for the major radio? labels? Why run to the radio straight from the studio before there is a sotid I started as a DJ. ln 1990, I teft WPGC, and atthough there have always base? Att radio cares about is their listener base and Arbiton ratings. Get been mixshows, it was a station that created the commercial mixshow the record hot in the streets first, so when they do take it to radio, they format. I had a Saturday 7-midnight, fulty Arbitron rated show in D.C. We took Like geniuses. That's how it used to be. Now A&Rs take the records went from number 22 to number 1 in the market in two and hatf years. straight from the studio to the air, then when the record doesn't test After it went number 1, they put shows [ike mine on 40 different stations we[[ because nobody has heard of it, the station putls it off of the air. inctuding New York's Hot 97. From that background, I was brought in by Plus, radio never goes back on a record because they feel [ike, "You the majors to manage DJs. tricked me once and the record's not hot." When a record takes the time to become hot, they won't believe it because they tried it already How are DJs perceived by tabels? and don't want to be wrong. Radio is about ptaying commerciats, they DJs are perceived as entry [eve[ people to some labels. My first job don't care about the music because they make their money through was being a DJ. DJs are my speciatty. I feet that DJs are on the cutting commercials. lf the same song that's played keeps you listening, then edge and are the doorway to the industry. The key to breaking a record they'[[ continue to ptay it. Radio is used to discover records already is to take it from the streets to the mixshows to create a buzz. DJs hot, not break records. are extremety important in devetoping an artists' career from the beginning. Do you see any artists that are hot on the horizon? ln Orlando, I reatly tike Apotto Kreed. Down in Miami, I think that Why does it seem as if there is little difference between many of Jacki-O is one hit away from being a superstar. She has a tight flow and today's DJs? she's got the body to back up att of her sexy-style lyrics. And Cipha, The prob[em is tatety, there aren't a lot of DJs breaking music. They are I think he's set to become the next don of reggae music. His voice 'is ptaying the same records waiting for someone else to break them. When i ncredibte. I was coming up as a DJ in the earty 80's, we would try to break styles from So what projects are you currently others to find what was different and working on? cover up the records so you couldn't Right now, I've started my own see what we were playing and couldn't marketing, promotions, and production play the same record. Today, DJs are company that's calted 5ir Charles playing records that are onty on the Entertainment Productions, LLC. Having videos. DJs today are being constrained my own company allows me to have by their PDs, consultants, and ptaylists. more of a neutral position to better Radio won't tet DJs be DJs. help achieve a common goal. Today, peopte have sold out on originatity in \{hy is it important for a DJ to learn exchange for a quick turnover. Back in about the world outside of the the 80's, we were originat, but it seems booth? tike the industry works on a twenty year A DJ should know what the PD knows, rotation. What was hot twenty years learn what he learns, and then you'tt ago is beginning to resurface now. l'm have a better of understanding of looking for the new trends that will where he's coming from. You shoutd come from the streets. I'm doing this to learn about quarter hours, BDS, be a pioneer and innovator, not just to Arbitron and ratings so you have more do it. P[us, I also have a live hip-hop/ power. Today, most DJs are lazy and RftB mixshow on Music Choice through just want a show to te[[ their friends Direct TV and Digitat Cabte that reaches and famity. lt's not like it was ten years a customer base of over 35 million ago. BDS and Soundscan have affected tisteners. the playl.ists. lf a record was hot, we ptayed it and weren't concerned with What's the best way for someone to BDS. Labets today are more concerned get in contact with you? with first week numbers. Labels need They can email me at SirCD@ao[.com or to understand that just because you're catt me at 201 -81 6-8607. getting spin, that doesn't mean that you're going to have sales. You can - Keith "1st Prophet" Kennedy, have 1,000 spins on an overnight, [email protected] OZONE MAGAZINE JULY 2OO4 11 When T.l. dissed you at Birthday Bash, ti ls it true that you tried to get on Flip's were you already at the venue? il ln front of 20,000+ people at Hot 107's Birth- "Game Over" remix? My plane got delayed. We didn't tand tit day Bash in Atlanta, T,l. (released from prison Att that shit about me being in his trailer 1 1pm, and by the time we got to the venue for work release) performed a rhyme dissing is absotutely false. Everybody was using that it was 11:30. When we got there, dude was Lil' Flip and encouraged the crowd to chant, muthafuckin' trailer at the photo shoot. lf it on stage. We tried to get out there, but the "Fuck Flip." Show officials soon turned off was his traiter, why was I in there smoking and potice woutdn't let us go. They knew some- T.l.'s mic and announced the show was over. kickin' it? The nigga who produced ["Game thing was fin'a go down. They wouldn't let Here, we asked them both to explain the beef: Over"l, Fury, produced 'l Stitt Love You" us get to the stage. Somebody came back - lnterviews by Julia Beverly (Lil' Flip photo dt left on [my atbum Trap Muzikl. Fury had catted and totd me what was going on. by Dan Higgins, T.l. photo below by Julia Beverly) Jason, my partner in Grand Hustte and atso my manager, and asked Jason if I would put T.l. claims he was responding to com- a verse on there for him. I didn't even know ments you'd made dissing him at shows in Ftip at the time. Since [me and Fury] had Atlanta, claiming to be the King of the South. already estabtished a retationship, it wasn't no big Naw. lf anything, I gave that nigga a shoutout. I had deat. ln the traiter I totd Ft'ip I did the verse, and he was a freestyte that I performed at Music Midtown that went "ALL THAT 'KtHc or tnr being att Hollywood and shit, talkin' about, "l did three [ike, "You know my favorite rappers is Tupac and B. I. / But Souttt' sHrr rs BULLsHrr. THE remixes, one for the West Coast, one for Down South, and I rock 24's just tike T.1." ONLY WAY WE CAN M,AKE IT one for the East Coast." And I'm thinking, man, you ain't DOWN HERE IS BY SHOWING EACH my kinda nigga right there. Shawty, I coutd see it, but Do you think he misinterpreted that as a diss? oTHER LovE." - PtrsuLt- back then I didn't have no probtem with him. just you Man, that nigga is stupid. lf from the street and ttTHE somebody comes and telts you some info, before you re- BorroM L|NE rs, A Lor So when did you start having a problem with him? act to it, go make sure it's true. I guess he got out of jait, OF RAPPERS WERE HAPPY WHEN White I was locked up he was doing shows in Atlanta, seen me on the cover of The Source, and got mad. He's THEY HEARD THE RUMOR THAT asking "Who's the King of the South?" I guess he objects got somebody putting the key in his back. He don't even T.l. wls coNNA sERVE THREE to me catting mysetf the King of the South. When peopte understand what he's gotten himsetf into. YEARS. IF LII-' FLIp REALLY SAID would answer, "T.1.," he'd say, "Oh yeah? Tet[ that nigga WHAT T. l. sAYs HE DtD, HE wAs I say'Game Over."'At one show, [Ftip] was tryna hotta at So do you think you've lost any fans because of this OUT OF LINE. FLIP TTIS ALWAYS some broads that happen to be affiliated with me person- whole incident? HAD BEEF WITH OTHER RAP- atty. They some ghetto broads from my hood, and they Nah, he lost fans. Since he disrespected me, he disre- PERS." - PaulMll was in the ctub getting drunk and kickin' it. He had his spected the whole Screwed Up Ctique, the whole Texas. partner walk over and say, "Ftip wanna holta at you." 5o ''AFTER 'PAc aNo Btccte oteo, they walk over to Ftip and he's [ike, "Why don't you do What about the people who are caught in the middle EVERYBODY WAS QU|CK TO SAY, that dance for me on stage?" They was [ike, "Nah, I ain't between you two, like Bun B, David Banner? 'l'M sonRY.'ANo t-oox row finna dance for you," so he tries to putl his Holtywood Bun B let me know, "Dude is on stage trying some hoe-ass QUICKLY EVERYBODY FORGETS.,, card [ike, "l run the A. I got this on [ock." Everybody with shit." You know Bun is from Houston, and he ain't like - Davro BaNNrn him is [ike, "Hotd up. Tip run this shit." So he turns to his that shit. Don't nobody like that shit. And I knew Banner partners, giggting and shit. He's like, "l got something for way longer than [T. l. ]. T. l. even started shit with Ludacris. "'lF I ArN'T M,AD ITHAT You that nigga, just wait for my show." That's when he did How you gonna start shit with Ludacris, who been reppin' CALL YOURSELF TH-E KING OF his tittle "Game Over" shit, tryna shine for the broads. A-Town? He the onty dude from down South that's sold THE SourH], THEN ArN'T No- And l'm sti[[ locked up at the time, hearing all this shit. three mitlion records. BODY GOT A RIGHT TO BE MAD. ' And now he's denying it, but a nigga can't tetl me shit, Tur's WHAT TRrcK DADDy honestly. And atl that other shit niggas tatking about - l'm 5o you think T.l. just did it to get attention? TOLD ME.,' - T.I. jeatous about this, mad about that shit, that's abso- Yeah, he just trying to get attention. lutety false. He wants to te[ them that Shit, if it took me four videos to go gold, just to gain support. I ain't got no reason I'd be trying to get some attention too. to be jeatous of no nigga. l'm my own But not like that. Man, I would never be man, I stand on my own two, I catt my in his position. I wouldn't be running own shots, make my own music. lf I was around saying, "l'm a seven-time felon, to envy a nigga, it damn sure wouldn't what I care about a case?" He must not be a nigga with as littte respect in the give a damn about his kids, so I see what streets as [Ftip]. kind of mentatity he got. He ain't no real thinker, man. I heard that you filmed a video in prison the night before Birthday Bash? Any chance y'al[ can just squash this? Wett, yeah, it was supposed to be an Naw, ain't no making up now. That dude intro to my show. The camera showed [T.1.] was in my traiter for The Source me inside my celt saying, "l'm sorry I photo shoot, trying to get on the "Game wasn't abte to make it." Then, later on Over" remix. lf the dude had a probtem, in the shot, I'm [ike, "l got to make it, he should have said something back it's Birthday Bash," so then two officers then. We could've did it tike men, cause I walk up and ask me if I'm ready. Then box. I would have knocked his tittte hun- they escort me out and I'm basicatty just dred-pound ass out! I ain't with att that tatkin' shit the whole time. going back and forth shit. I ain't friendty. I'd rather fuck with R&B cats instead of How did you get the film crew in your rappers. So to these rappers: when you cell? be in pubtic, exchanging numbers, I ain't I got authorization from an officer and he (continued on following page) > (continued on following page) > 12 OZONEMAGAZINEJULY2OO4 Srime Mab *Knuek lf Ya BucK' < (Lil' Flip continued) with that shit. lf you ain't fuck wit' me then, don't fuck wit' me now. That's how I look at it. So on another note, you said your album is almost double-platinum? Yeah, almost, 'cause it's a double album. Whatever I se[[, it counts twice. I'm at 780,000, so that's tike 'l .4 mi[lion. What made you decide to release a song like "Sunshine" which is obvi' ously directed more towards the ladies? I mean, everybody tiked it. When I do my albums, I let the DJs tetl me what they [ike, the labet, my homeboys, instead of me just going with what I wanna go with. Sometimes you can lose like then when you go with your ego. I took everybody's advice and the radio just started playing it. 5o you've also got a liquor coming out? Yeah, I got my liquor coming out September 1st: Lucky Nites. We got the Clover G atbum coming out with Glo, Gloria Vetez on the album. A[[ the fans, tetl 'em good tookin' on the support. ,,SCARFACE How do you feel about the Diplomats com- ISTHE ing out with a liquor called Sizzurp? REAL KING OF THE That's good shit. We att trying to migrate and SOUTH." . LIL'FLIP make money. I'm also on Def Jam's "Vendetta Pt. 2," and I got my own DVD coming out. Does your character look like you in Vendetta? Oh, he[[ yeah. I got my big Ctover chain on, tattoos and everything. Yeah, man, it's crazy. What happened with the Sucka Free/Sony situation? l'm with Sony, and l've got my own [abe[, Clover G's. How can I put albums out for a person who doesn't give me money for the atbums? He was taking show money too, and atso my advances. He told Sony to give him money for my atbum, but I recorded my whole atbum in Dattas. So what did you do with the money? I didn't record in Houston. But it's att good, man, I'm ptatinum again. Anything else you want to say? Scarface is the real King of the South. Make sure you print that. < (T.1. continued) said he had to get authorization from his superiors. So I thought it was a[[ a go. Honestty, man, if that other incident never took ptace I don't think it woutd have been a probtem. Then, at the Birthday Bash, [the officers] were kinda backing up and saying, "Nah, I didn't know nothing about that." "I'M THROUGH TALKING ABOUT THIS lt seems tike you have problems with a SHIT. ITAIN'T FOR lot of rappers: Ludacris, Trick, now Flip. rHE puBltc." - r.t. I:'"Tl'r,"1T,i::l',j,,li?3l:l:,,ffii1,1t',iir was on 106th & Park, Trick hit me up [ike, "Man, that old fuck nigga on TV tatkin' about you, shawty." Trick was like, "Man, I told niggas att that King of the South shit don't mean nothin'." Any real nigga can recognize a reat nigga. As far as Luda, that was me and one of his partnas. Since I been out of jait, me and 'Cris sat down and resotved the issue. We ain't got no probtems no more, even though there's a song out right now where he's going at me and I'm going at him. Basicalty I totd the nigga straight up, you ain't really never did shit to me. lt was just people on the outside looking in, keeping shit going. Att that shit has been resolved. I got a problem with one nigga. Onty one nigga in my scope. What about the people that are cool with both you and Flip? Bun B per- formed with you, and then after you dissed Flip he was backstage on his cell lookin' upset. Are you serious? That's you taking what you think and basically making it into whatever you woutd like for it to be. I tatk to Bun B every other day. l'm up here in the studio right now with PautWatt and a gang of niggas from Clovertand. lf a nigga is cool with him and me too, hey, I apotogize if you feet tike you being placed in the middte but the best thing to do is just stay out the shit and tet him stand on his own two feet. So is there any chance of y'all just squashing the beef? Man, man, man. That's between me and him. That ain't nothing to be pub- lished in no magazine. lt'd surprise the hett out of me, but who knows. l'm through tatking about this shit. This shit ain't for the pubtic. Anything else you want to say? My new atbum Urban Legend is coming in November. OZONE MAGAZINE JULY 2OO4 13 There are places where you can rest your head, but Jerusatem is Jerusa- Since you're so well-known as a DJ, do you think people have a hard lem. time taking you seriously as a producer? No. A tot of the artists know me because I'm a DJ. When I tett them I have Who else has worked at Jerusalem? beats, they don't say anything until they've heard it. Then they be [ike, Wyclef, Bounty Kitter, and Timbatand's artist John Doe, but mainty it's just damn, I didn't expect that. I can't read their minds, but I know it messes a Terror Squad studio. That's where I make my beats. lt just so happened their head up to hear that l'm making dope beats. that [Fat] Joe came through when I was recording my beats and he wanted to record the whote album there. Reatty, I just use it to smoke out and Where do you get your ideas from? Do you sample? make crazy beats. Yeah, I am a sampting guy. Most of my songs use samptes. I just add a key- board here and there to beef up the track. My motivation comes from Joe, So what's the advantage of recording there? and me wanting to stay in the game. I [ove making inusic and being in the It's private, I get more work done, and there's just a vibe there. lnstead of studio. lf it was my choice, l'd be in the studio every day. I love it. spending money at a studio, l'[[ just come from the club or something and start making music. That's how it was when we recorded the Terror Squad Do you want to break down the technical aspects of the studio, like atbum. We'd just come home from the ctub, recording. lt was just vibes. what type of equipment do you have? I use an MPC 3000, the btack [imited edition. I use other models, but How long have you been doing production? basically I just use my creativity. I make them street bangers. I use my l've actualty been doing production since I lived in Ortando, back in the creativity to make them hard-core joints. Like Nas' "New York State of Hitmen days. lt's been a long time. I stopped for a littte white. Mind," I make those type of records. You won't hear it on the radio, but everyone likes it anyway. Why did you stop? I was so heavy into my DJ game, I wanted to make sure my DJ game was You don't make radio singles? right in Miami in the ctubs and on the radio. Since I've got that stabte, I'm I want to make radio singles too, but my specialty is that street, hard-core back to producing music. What realty made me get back into it was [Fat] shit. The Beat Novocain. Joe, cause he was on his grind recording the Terror Squad album. I heard a lot of the beats peopte were giving him, and they didn't impress me. So Last time I saw you in the studio, you were working on a compilation. I knew it was time for me to get back in the studio and make these fire Yeah, I did a song for Viotator's compilation atbum. I was featured on joints. I know what Joe wants. there. Me and Kay Stay witt be doing an atbum together on TW Records. How many tracks did you do on the Terror Squad album? ls it going to be a North meets South vibe? I did the intro, "Nothing's Gonna Stop," and a song with Yeah, like the best of both wortds, from a DJ stand- me and Joe, "Yes Them to Death." point. How do you think your DJ experience has helped So is it a mixtape or an album? you as a producer? Nah, it's gonna be atl original tracks. We haven't It hetped me a [ot. DJs know how records start reatty sat down and combined a[[ our ideas yet. and break, and know about tempos. lf you're This atbum is going to be crazy: New York and a DJ and you're a producer, if a track doesn't Miami connecting on another levet. This is come out hot from your drum machine, you going to be the biggest DJ atbum in the game. have to ask yoursetf if you would ptay it. DJs don't like whack records. So as a DJ, being What's the advantage of being a part of the a producer, you know you've gotta make hot Big Dawg Pitbulls? Or any DJ clique, for that records. Not every DJ is a good producer, but I matter, what's the purpose? know one thing: l'm gonna be crazy in the game. The biggest advantage of being a Big Dawg I'm the Beat Novocain. Pitbutl is Funkmaster F[ex. He took the DJ game to another [eve[. When I go to New York, I get Do you feel like it's caused you to scale back on embraced like I'm at home. I go to Hot 97 and get DJing at all? on the radio. Even when I'm not there, I stitl get [ove. No, I could never scale back on the DJing aspect at al[. I New York is one of the biggest markets, and F[ex hetps coutd say that it's a great connection, though. Being a DJ and me out there 100% since I'm a Big Dawg Pitbutt. lf there's a producer is the best way for me to expand my career in the game and road btock, my affiliation gets me through. make sure that I'tt have longevity. There are a lot of DJ cliques, so how did you choose to go with Big Do you plan on ever scaling back as a DJ and focusing on production? Dawg Pitbulls? I love radio too much. I'tt probabty be 80 years otd stitt doing radio. Flex stepped to Joe and was asking questions about me, and then he calted me and asked if I wanted to get down. lt wasn't about choosing a What's your club and radio schedule right now? team, because I've a[ways been on my own team. When Ftex asked me, l'm in the ctubs Friday through Sunday, on the radio Monday through Fri- I was honored. A man with status like that, asking me to be down? That's day, and then I'm in the studio whenever I'm not at the ctub. l'm traveting love. a lot more, too. I just produced a record for Fabolous, it's crazy. Me and DJ Nasty did Camron's song, "Lord I Know." I did two songs on the Terror What other projects are you working on? Squad album. I did a joint for Smitty. He's signed to J Records, he's gonna Wett, there's the Kay S[ay and DJ Khated atbum, Fat Joe's album, the be realty big. Remember that name. I did a joint on Pitbutt's atbum featur- Terror Squad album which is dropping in Juty, the intro to Tony Sunshine's ing Trick Daddy, and a joint with Ja Rule and Ashanti. atbum, and Remy Martin's atbum. Since you started out in the game DJing with DJ Nasty, are you two go- Do you think there's any conflict of interest with you serving as both a ing to do any more production collabos? producer and a DJ? Like, you can produce a record and automatically Definitety. Nasty's my man. Whatever he wants to do, I'm down. When it get it on the radio? comes to music, me and Nasty have this vibe. I'tt be in town or he't[ be in I see what you're saying. But if everyone around me feets like it ain't hot, town and we't[ just knock it out. We don't ever stop working. then it ain't hot. lf it's hot, it's hot. I don't care. lf I make a record and it's a hit, I'm gonna go qazy with it. Do you feel like the production quality of your beats has gotten better since you've been working at it? What if you made a record that you feel is hot and another DJ isn't Yeah, because I made myself step my game up. The more I progressed, I feeling it, do you think you'd second-guess yourself? was [ike, damn. I'm the Beat Novocain. You can't give up until the song is buried. That's just one DJ's opinion. Where did you come up with that name, the Beat Novocain? Anything else you wanna say? When you hear the Terror Squad album, there's a line where Joe says, "l OZONE's the #1 magazine in the world. Don't get it fucked up. picked up a few producers and with Khated, dammit man, we did it again, the Beat Novocain." - lnterview and photo by Julia Beverly, [email protected] OZONE MAGMINE JULY 2OO4 1 5 H H ffi tr I x IT r t I x l E IT. n s a G 0 il cu€Nr< tNtulpe, -\fi-fr Are you rapping on the album, or mostly just So who would you credit with No producing? Limit's success? Just a lit' somethin', somethin'. lt ain't serious. It was a cottective effort from every- 1 8 OZONE A,TAGAZINE JULY 2OO4 Kamikaze '*U Ain't Hard" (Jackson. MS) ffiffi',@@e G'lass Entdrtaifiment DJ q45, otherwise known as "the ladies favorite DJ," has come up quickly in the entertainment business due to his outgoing, friendly personality as well as his DJ skills. Based in Jacksonville, he's re- cently appeared on BET's Rap City, 106th & Park, and Spring Bling. Tell me about yourself? I'm from St. Augustine, FL. I was strange as a chitd, no one liked me. I am stitl a strange, strange man. lt was hard for me. I went to a private school where I was the only black kid, so I had to fend for mysetf. I decided to get into entertainment because everyone in the videos had so many friends. I became a Dj to find friends. Everyone in the videos was hugging Jam Master Jay and having a good time. I wanted that. I started DJing when I was about 18. I wanted to take it to every [eve[: MTV, BET, and right now l'm there. I was the first DJ from this area to be on Rap City and 106th & Park. I was the first, don't get it twisted. The first. I did counttess mix shows, l've done every singte club in the city. I was the first DJ to do a live TV show from a club. I'm proud of the peopte who like "rea[" music and come to see me ptay. l've ptayed for 8,000 peopte, but I atso could have fun with just eleven people. lf you were stranded on a desert island with turntables, what es- sential records would you need to have with you? "Planet Rock," "Peter Piper," "Clear" by Cybertron, and anything by Luke, because his atbum covers have nice pictures of women. I'm stranded on an istand, so I might need those to entertain mysetf. What are your future goals? I want to be a Music Director or Program Director for a radio station. Honestty, though, I want to meet and help as many peopte as possible. I want to start a charity foundation for everyone who doesn't have friends. Now that I'm a DJ, everybody's my friend. Peopte I don't even like are my friends now. Girts that didn't even speak to me give me H-E-A-D. Thanks, Mase (loughing). I'm humbte. But if you ever test me on two turntables and a m'ic, I't[ kitt you. ldon't care who you are; my wrath is deadty. I want to be a Heavy Hitter. Pro, Enuff, hotla at your boy. I'm trying. What do I have to do? For rea[, though, their style is tike mine. I don't want to be a part of a DJ clique that has hke a hundred DJs. I just want to deal with peopte [ike me. Everybody seems cooI at Heavy Hitters. These are not fighting words, it's at[ love. I just want to be a Heavy Hitter, that's att. I'm not worried about anything else. People will hate me for saying this, but it's just friendly beef. DJ e45 WORDS & PHOTO JULTT BEYERLY j T :1 : OZONE MAGAZINE JULY 2OO4 19 << CD reviews will be back in full effect next lionaire is mad at him. He makes a few generic tener a better perspective of where he's coming month. references and mentions that Mike included him from. Moving onto the third disc, which is mostly on the intro to his DVD, "as if I was co-signing Chamittionaire and Rasaq, it's a retief to onty hear B.G. that shit." Sounds petty. When it comes to real a few Mike Jones references. Chamittionaire is at "Life After Cash Money" beef, one or two diss tracks is usuatly sufficient. his best when he's just focused on his own music. Koch But damn, nineteen? Overatl, his ptan backfires, He spits over instrumentats like "Stow Motion," B.G. has already released because it comes across like a weak pubticity "You Don't Want Drama," and "Stow Jamz," prov- an atbum since his de- stunt and in the end he's onty promoting Mike ing that he can compete with the best of 'em. parture from Cash Money Jones. Chamittionaire mostty accuses Mike of There are atso several original cuts, like "Ca[[ Records, but nonethetess, being fake and lying in his rhymes. What rapper Some Hoes," featuring Kanye West and Stat Quo, his newest retease is doesn't? If a listener is guttibte enough to be- and "Platinum Stars," featuring Lit' Ftip and Bun entitled Life After Cash lieve that Mike is moving as much weight as he B. Other appearances inctude Stim Thug, Young lvloney. fo go along with claims, they might also betieve that Chamit[ion- Ro, and Big Gem. Another standout track is "l"m the titte, B.G. utilizes aire is getting as much pussy as he claims. The a Ba[[a," with Far East and Ptay & Skittz. Chamil- his slow languid flow to repeated swipes at "Dyke Jones" eventuatty lionaire gives a interesting vocal introduction to ffi' share his insights about come off sounding chitdish. ln the war against this track, explaining how it atl came together. his former Cash Money Mike Jones, Chamillionaire only scores twice: Chamiltionaire shoutd just focus on running his crew and his falten comrade Soutja Stim. lt's first with the amusing "Tatk Show lnterlude" own race instead of trying to stop Mike Jones. lt's no surprise that B.G. spends more than a few and second with the final track, "The Truth," ctear they're both headed in the same direction. bars on Cash Money, bragging that he'tt "Get it where Chamiltionaire speaks and gives the [is- - Julia Beverly, [email protected] without a nigga." On "Geezy Where U Been," featuring Ziggter the Wiggter, B.G. proclaims, "Everybody Baby teft hanging, l'm comin' back to get ya... Not one Maybach, ten 'Lac's comin' rl through." Hopefutty B-Gizzle atready has the 't,g ten Cadittacs, because I don't think this CD cr wi[[ be abte to fund them. B.G. also touches on Fj 't: Cash Money founders Stim and Birdman on "My {q Life" with lines [ike, "How you play me, I can't g respect that." The first singte, however, the DJ ..1 Smurf-produced "l Want lt," isn't as powerful {i as it shoutd be. The beat has potential for tre- n mendous energy, but its deep horns just aren't q€reEi{rcg rr matched by B.G.'s flow. He predicts, "When it's over, I bet I see a profit," but I think he n might be wrong. The atbum is flawed by simpte an-g $ production, the same rhyme patterns he used rdE 5 on Checkmote, and his nearty lethargic flow. ,€EfF ;J One track that's worth a listen is "Get Witd HEF With lt," where the Ying Yang Twins seem to #E-n s infuse a little more animation into B.G.'s de- tivery. "Street Nigga," featuring T.1., is another rcHH standout track. "l Wanna Fuck," produced by G-Sta, has an interesting beat but is otherwise lacking. One other track you should check for is "Don't Wanna Be Without U," featuring Gar ITH and Reat. This album witt probabty be appreci- ated by Cash Money fans, since they can catch =n: ptenty of Cash Money references throughout ffil; the album. Diehard B.G. fans wi[[ also want rPr#su to pick up this album to get a good look inside .ll;trfidhfl the mind of B-Gizzle himsetf. Aside from that, rF.l[ffi.t* if you're just a general hip-hop fan, I wouldn't r tusd plrdq advise spending too much time sampling this r HgdPlffH$ml at your [oca[ record store. - Rohit Loomba, rSmrd&#th*tlm [email protected] .ll*irto ryqp/ Chamillionaire 3#rasiFsldfi€*h "The Mixtape Messiah" . #Dccilgs Houston has a stew of E independent artists with o massive fan bases, and q from the outside [ook- ing in it might appear o that they're att one F big happy famity. On o Chamillionaire's newest retease, however, he comes out swinging at one particutar target: a Mike Jones. We've all seen double-disc CDs, 5 but this is a tittle unusuat: three CDs in one. 3 The first CD is almost entirely dedicated to diss- s ing "Dyke Jones." The second CD, of course, is screwed & chopped by O.G. Ron C. The third CD E is a mixture of freestyles, original songs, and .g slinging a littte more mud at Mike Jones. After -c hearing more than a dozen tracks about Mike Jones, l'm sti[[ not sure why exactly Chamit- F ; B 20 OZONE A4AGAZINE JULY 2OO4 I 01 - Jwenile, Wacko, & Skip "Nolia Clap {remix)' phylists 02 - Aticia Keys f/ Tony Toni Tone "Diary" ffi : - Lenny "Storm 03 Kravik f/ Jay-Z {remix)" 04 - Cu* Cru-Sho f/ 6 Rob "Lets cet Freaky" 05 - LL Cool J f/ Timbatand "Headsprung' - "Slow 01 Juvenile fl Soutja Slim Motion" 01 - Juvenile, Wacko, & Skip "Notia Clap" 06 - Tony Sunshine f/ P Diddy * Dirt8ag'Oh $ly God" 02 - Lil Flip f/ Lea "Sunshine" 02 - Usher'Throwback" 07 - David Banrer f/ Sky "fop That" 03 - Usher "Confessions Pt" 2" 03 - Nas 'Thief's Theme" 08 - Lil'Wayne "Go DJ" - "6oodies" TJe DJA 04 Ciara fl Petey Pablo 04 - Ciara fl Petey Pabio "6oodies" : 09 - Dirty States (Fiend, LG.) "Fired Up" 05 - Houston f/ Chingy & Nate Dogg 05 - Lloyd Banks "On Fire" , 10 - Ludacris "Oiamond in the BacK' "l Like That" 06 - Triltvitte "6el Some Crunk'in Yo System" : 1'l - Federation "0o Dumb" 06 - Ltoyd Banks "On Fire" 07 - Twista fl R Kelty "5o 5exy" : 12 - Ciara fl Petey Pablo "6ood'ies" "Lean 07 - Terror Squad 8ack" 08 - Janet Jackson "Alt Nite {Oon't stop)" 13 Jody Breeze "AKs & Chevrolets" "lfiove 08 - Nina Sky Ya Body" 09 - Mario "18" 14 " BloodRaw f/ lastor Troy & Grandaddy Souf 09 - Ying Yang Twins fl Trick Daddy 10 - Bonecrusher fl Ying Yang Twins "Take ya 'My Block Burn" "What's Happ'nin!" Ctothes Ofi" 15 - iAike Jones "Got it Sowed Up' '10 - Lloyd fl Ashanti "Southside" 01 - Suave Smooth "Back Up (remix)" 02 - Tha Addicts f/ Snoop Dogg & J Red "What it's About (remix)" ga 03 - TripLe J "Jump" AtOl:. 04 - J Red "Ain't 2 ManY" Yt'/ 05 - Pi and Non-U "Body Rubbin' (remix)" 06 - J Smoove "Can I ChilL Wit You" 07 - 6-8oy "What lAakes You Hot" 08 - C"R.U. "l Love Hip-Hop" ,; 09 - RX "Peeps in the 50uth" !i l0 - Street Smarts "On Da 6rind" ! I 01 - Juvenile, Wacko, &.5kip "Nolia Ctap" 02 - Young Buck "Let Me ln" 03 - Lil'Serappy "No Froblem" 04 - Shawnna f/ Ludacris "Shake Dat Shit" 05 - l-20 "Fightin'in the Ctub" 06 - S$all & MJG "You Don't Want (screwed)" 01 - Akon f1 Stytes P "Locked Up" 02 - De{ "Careless Whiiper" 03 - Kevin Lyttle "Turn Me On" 04 - Kanye West "Jesus Walks" 05 - Lil Scrappy "No Problem" 06 - Luddy f/ Timbaland "Horne Tonight" 07 - Pitbull f/ Lil Jon "Culo" 08 - Terror Squad f/ Fat Joe & Remy "Lean 8ack" 09 - T.l. "Let's Get Away" 10 - Juvenile, Wacko, & Skip "Nolia Clap ii li ln Clinton Sparks rii "When All You Want is the HiB" ii: www,ClintonSparks.corn i,: ii + your CDs (include a 1: DJs, send mix cover) to: 1516 E. Colonial Dr Suite 205 Orlando FL 32803 dvd reviews: Dirty States of America, both educational and entertaining, is essentiatly a cottection of interviews and footage pieced together to te[[ the comprehensive history of Southern music culture. The ctips are orga- nized in a fast-paced, attention-grabbing manner, and even though the DVD is ninety minutes [ong, there's no time wasted. Producer/director FLX uses a simple yet effective layout which clearty shows who's speaking, where they're from, and tites of other relevant clips. Throughout the DVD, we travel state.by- state, exploring the origins of each region's music. We begin in Memphis with the "gangsta watk," where Setect-O-Hits' J-Dawg 'ittustrates the walk for amusement purposes. Moving into Florida, FLX emphasizes the importance of bass music pioneers like Uncle Luke, Magic Mike, and Jam Pony Express. Khia, known for cursing out program directors, expresses her pricetess opinion on corporate radio. Of course, you can't tatk about bass music without ptenty of ass-shaking footage. We've atl seen those amateur Spring Break DVDs, but at least in this case the ass-shaking footage is retevant to the subject matter. However - the stowed-down sequence of a rather large woman dancing naked to a Mike Jones song - I reatty did not need to see that. Anyway, moving into the Texas segment on screwed & chopped music, FLX again does an excellent job of capturing the true influence that DJ Screw, the Geto Boys, and UGK have had on Southern music. PautWalt defines "drank, syrup, lean," while other Texas artists tike Lit' Ftip, Stim Thug, and Chamittionaire throw in their two cents. The Atlanta segment focuses on underground favorites like Sammy Sam as we[[ as the "King of Crunk," Lit' Jon and co. The crunk segment naturatty features some great live performance footage (David Banner throwing chairs Jerry Springer-styte; Bonecrusher and Kitler Mike poppin' botttes and drenching the audience). Lit' Scrappy and Triltville's acapetta rendition of "Neva Eva" is the most visuatty entertaining footage on the DVD. Moving into Mississippi, FLX touches on the KKK, the civil rights movement, and the influence of stavery on Southern cutture as a whote. Finally, we exptore the jazz elements of New Orteans' bounce music. One of the most refreshing aspects of this DVD is that it isn't [imited just to cetebrities; there are plenty of useful soundbites from underground tegends, up-and-coming artists, and just ptain ot' regular peopte. Don't get me wrong, though, there is plenty of star power: Lit' Ftip sips on some drank, David Banner explains where his New York animosity comes from, and other big names like Juvenile, Lit' Jon, Bubba Spaxxx, Ki[[er Mike, and T.l. speak can- didty. Of course, no Southern DVD woutd be complete without a segment on rims. DJs give an extensive explanation of "parking tot pimpin'," fottowed by Petey Pablo's humorous and accurate description of "treal niggas" who spend more money pimpin' their car than the actual car cost. There are a few brief intertudes of artists kicking rhymes: Sean Pau[ of the YoungBtoodz (GA), Smoke D (MS), Fiend (LA), ESG (TX), Chyna White (GA), Chamiltionaire (TX), and Cottard Greens (SC), just to name a few. ESG drops a long and impressive freestyle, which he laughingty dismisses as "buttshit." The onty thing I coutd possibty criticize about this DVD is that sometimes the audio levets vary from ctip to ctip, so you might find yoursetf adjusting the volume a few times. As far as content, though, it can best be summarized by the description on the back cover: "The most comprehensive, in your face, no bultshit fitm on hip-hop ever made. From screw to crunk to bounce, Dirty States gives you the 'trill shit' you need to know as totd by tegends and superstars of the Southern scene." (www.lmage-Entertoinment.com) - Julia Beverly, [email protected] : .r ., : I don't like to knock anybody's hustle, but with this Cornbread Street Heat DVD lvlagazine,l've got to be ,'. honest. Everything - the fitm-quatity, fhe "interviews," the menu layout - is stoppy. From the cover, it ap- .' pears to have some potential, promising "real videos, rea[ concerts, real interviews, reat fights" atong with appearances by "Twista, Aticia Keys, Lit' Ftip, Mike Jones, David Banner, Too Short, Big Tymers, Young- Btoodz, T.1." and more. But, I was apprehensive once I popped in the DVD, since it had a hand-written title on a CompUSA DVD. The menu is extremety ptain and boring, with onty five options. There's no way to skip from one "interview" or "concert" to the next, so it's possible that there was some interesting content on here that I couldn't figure out how to get to. From what I saw of the "rea[ concerts," it was basically just really bad footage of crowds of peopte. Most of the "tive interviews" are actuatty just drops. A[so, when you first ctick on the menu options, you have to watch an entire music video before getting to the actual "content." The music videos - from artists tike D.S.R. and Roscoe - are actualty the hightights of the DVD, but it's irritating to have to sit through a whole video without being abte to skip forward. lf you're gonna put out a product, don't put out a half-ass product. lt irritates those of us who take pride in our work. - Julia Beverly, [email protected] Here we have the sixth instattment of,4ll Access: the DVD lvlagazine, the "Southern" edition. From the be- ginning, this DVD has quality cover graphics and an easy-to-navigate menu. We start off in Attanta, where the atways entertaining Hot '107 radio host Coco Brother attempts to get some dirt out of Timbaland. Coco $#fK tries to find out how much Timbatand hates Jermaine Dupri, if the chemistry with Missy Ettiott extends from the studio to the bedroom, and how much he charges for a beat. Timb drops a few soundbites ("lf I brought Lit' Kim back, I could bring anybody back," when asked about Bubba Sparxxx) and even gets uncharacteristicatly heated when discussing radio potitics. Next, ,4ll Access stops by David Banner's tour bus en route to Lit' Jon's ptatinum party in NYC. Banner emptoys his signature a[[-up-in-the-camera interview styte to express some backstage thoughts on his three favorite subjects: Mississippi, God, and titties. Lit' Jon, Bonecrusher, the Ying Yang Twins, and a few others make cameo appearances. Other features include car segments calted "parkin' lot pimpin"' and a model search for Appte Bottom jeans. It's ctear that this DVD is directed towards men, because there's ptenty of gratuitous ass shots. The camera man seems to have a difficult time keeping the lens on Jacki-O's face while she's being interviewed, but we do get plenty of ctoseup shots of the rest of her body. There's atso a lot more eye candy for the guys during the feature interview with Uncle Luke: slow-mo shots of a girt with two tongue rings, staircase up-the-girls'-skirts footage, and of course, ptenty of strip club action. The segment is titted "48 Hours with Uncle Luke." I'm not sure if this titte is comptetely accurate, but nonethetess, the drawback to having 48 hours of footage is that it moves at a rather slow pace. There are a few scenes (Uncle Luke hocking a loogie out of his car window on l-95, Uncte Luke and Disco Rick watking down a hattway, Uncte Luke watking down the stairs) that seem stow and unnecessary. Sometimes questions are posed as text and flash slowly across the screen, which is lengthy and distracting. After the stow radio station sequence with Tigger, Avant, and Loon, however, Luke gets more comfortabte with the camera and things start to get really interesting. lnside the comfort of his own home, Luke proctaims that R Ketty will become "a hero," but notes, "l'm not eating no stray bitch's ass |ike R Ketty did on that video tapel. That's not clean." After smashing his pimp cup against a wa[[, he has a few choice words for Snoop Dogg. "l don't need no nigga to give me no gtass to put me in the pussy game. This is real pimpin'. At[ them niggas with those cups need to listen to my atbum real close. You do not get a cup and turn into a fuckin' pimp overnight. Don Juan is stitt pimpin': he's pimpin' them rap niggas. Now that's deep, y'att. He started by pimpin'hoes, now he's pimpin'them rap niggas. Theythe new hoes." A[[ Access does a great job of branding, with the togo appearing on screen throughout most of the DVD. They also get points for having a customized, fast-paced introduction and being easy to navigate. The DVD woutd be bettelif it had a little more content, maybe a few more interviews, but I guess that's what the next issue is for. (www.TheDVDA4agazine.com) - Julia Beverly, [email protected] 22 OZONE A4AGAZINE JULY 2OO4 Rockstar is stowly becoming c*e of my favorite develapers. We haven't seen a..wack title from them yetl l and Red Dead REvo[ver is nb exceptiair tc this rule. lnitially hearing about this gamellthoug,hti.]{OK,'h€*CI$ anotheranotner lame attempt atAt a western ga#le"game" but surpriseSurprlse surprfse,Surprlse, I was\{aS wrong.Wf0ng. ?he! he $toryStorl i$.;aheut-,$ed,1,;*ii';i19,;ASSut-,$ed 1;.;iilil ,ffif , .i Fowler a bounty hunter in search cf clues to his past that is spattered in the b{ood of his murders.d , ,,,'i':i gB- ' parents. pi"niv in?-iurn ulo;s1h; irialtorv ti"e [Lep ii eriur6 oiilitil Gt'so t[JC*tt iil ;; tE [cgebdse ;i'vouireclineiiiiit'tecf vour reclinei all fhe *avwav t,ito ittt bulletnuiret riddtedriddtdd end. 5o ifx vou tlinkthink viur-reaeyvour readv i*,[;r,et*,iUike on,c*rneon,sbrne orof -WV^ffi . . the quickest hands in the west, then pul{ on your best boots and your fav*rite'hat and'get r*ady to ride.rdmF"W ,-, There are so many great things about thrs game that I don't know where to start. The ma;or iiiieil't=l.'J"";;;;il?!:T:ii#:9il?,il;'ffiiiY..i.ty^'}"i,-iir;;i;-;;;i'.'"[;;.u;h";'''.,"'wffi toLU tifetilE IJYby several)EYgr Clt elementsgtvilrErrL) inilt thisLilr) title.LrL(9. The,rrs environmentsgrrvilulrilrErrL) areors beautifutuEaulrrui -- rangingrarrSrrrS fromrrur rr .ffi.ffig7 TL--^....,,,,, L-i openooen canyonscanvons fitted with bandits and lndianlnd'ian bushwhackers to dustvdusty tcwntown busvbusy riitd'citizensriitti citizens ffiGry , lnelq wlt #e ;. *ffiFF-.-'l*.19-yltl.ffv?Y. ahdano auttawscultaw5 aiike.attKe. TheI ne most noticeablenOilceaDte andana memorabtememorailre elementiseremen{ }s therne timel*stlmete55 musicmu5rc ..ffi_,;i:;.::..:Tili:es,wnen :::,.1,r_iJ,.-r....:: , "ry vrltl nno yoursetl 1n straight out of a spaghetti western. Rockstar coutdn't have been more on point "ffi withihisaspectoidivetopmenr, treallviiiriiiiipr*vi"iiilitintothe wrirldof Red$,q*;,.,,Jff.?F :,sla'r:.r']:i:fi:€fii*"'.'.. - and a major char- xi1y:fffil;tr$rs*$l::i:iii*?y:nil,';1yf,'j'il'l,tlill*Jxlu,tig::l'is*ffiil;;";; HiJ;;;;r.-;;;;i;iil'ifi;',il;;dvb lelr,nioi,e tnat r'i iust sick. He can srow lir" ftS vou *iin."llpio;;;.i;;t"h?i;i;;iili'I.ir",i'l,ofrejlnr'anav-*rre"iou'i'ejmnuiiri4ffi.*'!?'^T]fl1]-"-'i;[rli{qffiHtral.is; il*i;:,1,"" sll,l$,r'lnixh-'"'" ru:,ri:t*-tffi iu ;il[rdril iioliJ easylttT;^T3:1lf: to master and makes for an even more enjoyabte exp*ri- enee. All that fun in lhe story mcde of the game and four times nrore in the multi- player v*rgicn of the game. Up to four players can face off in an all aut butlet dance to see who's the best. lts jam packed with plenty of weapons, ' levels and players to keep any player satisfied. fach character has their own unique special abitity that adds tc the fun. I've said alt I can about the game without spcil.ing jt for you. lf you're into western games {not that there have been many worth remembering in quite a whil.e) this is definitel.y one ts check out. lt's the best cowboy game since Gunsmoke and is guaranteed hours of fun. I hope this one isn't slept on. I wonder if Rockstar witt tie this one in with the rest of the Rockstar tilles son:ehow { ie GTA,3 & 6TA vice city). Anyways, check this game out, I'm sure you wont be disappointed. ffirffi need Pony The year was'1981, and the streets of Ft. Lauderdale were like any But what made these tapes so hot? Why did everybody a Jam streets in a predominantty btack lower-middle ctass area. Crack cocaine tape? lt was NEW! They'd created a new style of DJing by regutating the was introduced, gangs and crews fought for territory, and this new "hip- records so precisely, with style and finesse. Jam Pony made DJs become hop" phenomenon filted the air. Yep, Royal Patm was [ike any other entertainers, and the crowd wanted to be entertained. For example: 'hood. But you know the saying; there's always that "diamond in the rough," that "chosen one" who had enough tatent to make it out, offer Children's Story by Slick Rick hope, and represent the block. ln this case, it was two friends Regulated by Slic Vic of Jam Pony Express DJs who found their outlet through music, moving the crowd with two turntables and a mic. This is the story of Jam Pony bustin out (not long ago) underground legends who carved their signature in You aint up on the style then you must be (slow) Ftorida's music cutture: Jam Pony Express. The laws were stern Lauderdale where I (stood) "We were just having fun," DJ Stic Vic remi- AII on the mic and nisces, grinning from ear to ear. "M.B. had I'm ridin it (good) equipment, and I had equipment. We battted There lived o little boy (Don't get mis-led) each other, and the next day we was bor- Jom Pony in effect ring records." But borrowing those records This is what we (said) led to rocking backyard parties. After find- llte and you (Vic) we gonna make some ing the right chemistry, Victor Austin and cash Marc Brown started DJing together. Peopte Go to town with Jam Pony you betta (make around the way started to catl them the Pony that dash) Express DJs because they woutd putl up to a party driving the Pony Express delivery truck. Jam Pony Express "had more flavors then Life- "Marc's pops use to work for Pony Express, a savers," Zeke Freak comments. DJ S[ic Vic was mail carrier company way before UPS. I didn't the voice of the crew, atways heard but never tike being catted Pony Express but it just stayed seen. Loc Cool Jock was the ctown, always mak- with us," Slic Vic remembers. Shortly after, Pony ing the crowd laugh, and bodyguard Big Ace (R.l.P) Express became Jam Pony Express. Victor Austin turned was the hype man. Jam Pony became so entertaining into DJ Stic Vic and Marc became Mr. M.B. that promoters woutd book them as an act. "Promoters woutdn't know what to do with us. We had so much control of After a few backyard parties DJ Stic Vic and M.B. decided to battte the the crowd that peopte wanted to see us perform, but we weren't rap- popular CM Express DJs, which stood for the Cash Money DJs. "We didn't pers!" ln the midst of this misconception, Jam Pony Express DJs dropped win, but we got exposure and folks started to recognize us," DJ Stic Vic their first album, Ihe Legend Continues, in 'l 996. With the revenues from explains. They had made a name for themsetves, and peopte began to album sales, Jam Pony linked up with Ski-Bo's Bass Styte DJs in Tampa and notice their unique DJing technique. "We were the first to regutate a formed 2-4-1 Records. The labet reteased Rated R's atbum Ghetto Psychic record," says DJ Slic Vic. "Regutating" a record was unheard of during last year through Universa[, and is currentty creating a buzz with the Eve- that time. When you "regulate" a record, you cut the record down to nin' Ridahz. "lt's two DJs for the price of one: Jam Pony Express and Bass change the lyrics of the song; then you say something and have the Styte DJs," ptugs DJ Slic Vic. record answer you back. lt was this call-and-response technique that had the crowd going crazy (and can stit[ be heard a[[ throughout hip-hop You might have even heard of Jam Pony Express and didn't know it. Just today). After the battle, the parties came by the dozens. Everybody listen to the hooks of some popular Southern songs, and there's a chance wanted the Jam Pony DJs to rock their parties. People looked forward to Jam Pony came up with it first. "To the window, to the watl!" Check out the weekends because Jam Pony woutd set up outside at Sunland Park, the vinyl [abe[ above, copyright 1995, tong before Lit' Jon and the Ying Oswel Park or 6th Street (better known as the Ugty Corner) and ptay the Yang Twins had everybody screaming "Skeet, skeet, skeet, gotdamn!" Or sounds of MC ADE, Beat Master Ctay D, Afro-Rican, and Jiggalo Tony. "lt what about, "Hotd up, wait a minute, let me put some bass up in it." was a[[ hip-hop to us back then: bass music, break beats, and funk," S[ic Jam Pony! "Fee[ the funk at[ in ya trunk." Jam Pony! At[ those "Ooooo- Vic remembers. kkkkk's!" and super-crunk "Yeaaaaah!"s on record? Jam Pony! They're so influential and underrated when it comes to Southern hip-hop, it's ridicu- By this time, Jam Pony had added members tike Spider D, Diamond Dick, [ous. They've been Ftorida's best-kept secret for nearly two decades! Big Ace (R.l.P.), Zeke "the Panty Raider" Freak, Sporty J, Amazing Hot Rod, and Sporty Shawty. lt wasn't until member and party rocker Loc - Felisha Foxx, [email protected] Coo[ Jock joined that Jam Pony Express took their tapes to the flea mar- (lmages provided by DJ 51ic Vic, Felisha Foxx and DJ Quest) kets. Nasty Jeff and Loc approached a man who owned a car and rim shop, who agreed to se[[ the tapes as long as they'd plug the shop. The tapes sotd out of the store on the first day. From there, Jam Pony began taking tapes to different flea markets, or "flirt markets," as they tiked to catl them. Jam Pony tapes began flying off the shetves at 79th Street, Opa-Locka, 183rd 5t, and USA One. "They coutdn't keep a Jam Pony tape in there," DJ Stic Vic laughs, referring to the Oaktand Park flea market in Ft. Lauderdate that sotd the first Jam Pony tape. Peopte simpty had to have their Jam Pony tapes. They were addictive, and people became fiends. Sales became so ri- diculous that Stic Vic's father buitt a door directly to his son's bedroom. "Every time the phone rang, it was for me," says Stic Vic. "Every time they answered the door, it was for me. My mom totd me that as soon as I was old enough, I'd have to leave!" At 18, he moved to the Parkway section of Ft. Lauder- dale. He produced ten tapes a day: specialty tapes, custom- made tapes, and regutar mixes, setling them for S10 to 525 each. He made a kitting in the earty 80's. "l was making about 5500 a week just in Ft. Lauderdate, and 51000 every other week in Miami!" The tapes quickty spread throughout Ftorida, Atabama, and 6eorgia, and even as far as Germany thanks to friends in the mititary. OZONE MAGAZINE JULY 2OO4