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OZONE MAGAZINE BETCHA CAN’T DO IT LIKE ME JUNE 2006 YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE

20 TRICKTRICK ESSENTIAL SOUTHERN DADDYDADDY STILLSTILL THUGGIN’THUGGIN’ UGK DAVIDDAVID BANNERBANNER IS NOT RICH, B*TCH IS NOT RICH, B*TCH BLOODRAWBLOODRAW & MORE CLASSICS BEATSBEATS THETHE FEDSFEDS JACKSON, MS: WHYWHY ISIS SOUL OF CAM’RONCAM’RON THE SOUTH ATAT RIKER’SRIKER’S ISLAND?ISLAND? DADA MUZICIANZMUZICIANZ GHOSTFACEGHOSTFACE TOOTOO SHORTSHORT YUKMOUTHYUKMOUTH LILLIL ROBROB PIMPPIMP CC B.H.I.B.H.I. YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE

R.I.P. DAVID BANNER IS NOT RICH, B*TCH BLOODRAW BEATS THE FEDS CAM’RON’S IN RIKERS ISLAND STILL THUGGIN’

D-ROC & GHOSTFACE DA MUZICIANZ BROTHERLY LOVE LIL ROB 20 B.H.I. ESSENTIAL SOUTHERN ALBUMS UGK, OUTKAST GETO BOYS, THREE 6 MAFIA & MORE CLASSICS

jun06contents PUBLISHER/EDITOR: Julia Beverly

MUSIC EDITOR: Maurice G. Garland

ASSOCIATE EDITOR: Matt Sonzala COVER STORIES COPY EDITOR: Carlton Wade Trick Daddy pg 60-63 ADVERTISING SALES: Che’ Johnson (Gotta ) Da Musicianz pg 58-59 Gary LaRochelle

LEGAL AFFAIRS: Kyle P. King, P.A. (King Law Firm) INTERVIEWS MARKETING & PROMOTIONS: David Banner pg 74-77 Malik “Copafeel” Abdul Bishop of pg 24 SUBSCRIPTIONS MANAGER: Destine Cajuste Yukmouth pg 82-83

ADMINISTRATIVE: Too Short pg 78-80 Ashlee Brathwaite Cam’Ron pg 66-68 Cordice Gardner Nikki Kancey Ghostface pg 34 CONTRIBUTORS: BloodRaw pg 26 ADG, Amanda Diva, Bogan, Charles Parsons, Chuck T, E-Feezy, Edward Lil Rob pg 42 Hall, Felita Knight, Iisha Hillmon, Jaro Vacek, Jessica Koslow, J Lash, Jason Cordes, Jo Jo, Johnny Louis, Kami- kaze, Keadron Smith, Keith Kennedy, FEATURES K.G. Mosley, , King Yella, Lisa Jackson, MS pg 70-72 Coleman, Marcus DeWayne, Mercedes (Strictly Streets), Natalia Gomez, Noel R.I.P. Proof pg 20 Malcolm, Ray Tamarra, Rico Da Crook, Robert Gabriel, Rohit Loomba, Shannon A Bad Day in P.A. pg 28 McCollum, Spiff, Swift, Wally Sparks, Wendy Day

STREET REPS: Al-My-T, B-Lord, Big Teach (Big Mouth), Bigg C, Bigg V, Black, Brian Franklin, Buggah D. Govanah (On Point), Bull, C Rola, Cedric Walker, Chill, Chilly C, Chuck T, Controller, David Muhammad, Delight, DJ Dap, DJ Marquis, Dolla Bill, Dwayne Barnum, Dr. Doom, Ed the 20 ESSENTIAL SOUTHERN ALBUMS World Famous, Episode, General, Haziq Intro pg 85 Ali, H-Vidal, Hollywood, J Fresh, Jammin’ Jay, Janky, Judah, Kamikaze, KC, Klarc As Nasty As They Wanna Be pg 86 Shepard, Kuzzo, Kydd Joe, Lex, Lil D, Lump, Marco Mall, Mr. Lee, Music & ATLiens pg 87 More, Nick@Nite, Pat Pat, PhattLipp, Pimp G, Quest, Raj Smoove, Rippy, Comin’ Out Hard pg 88 Rob-Lo, Stax, TJ Green, TJ’s DJ’s, pg 89 Edwards, Vicious, Victor Walker, Voodoo, Wild Billo, Young Harlem Get It How U Live!! pg 90 DISTRIBUTION: pg 91 Curtis Circulation, LLC pg 92 To subscribe, send check or money Mind of pg 93 order for $11 to our NEW ADDRESS: Ozone Magazine, Inc. Mr. Is Back pg 94 1310 W. Colonial Dr. Suite 10 Orlando, FL 32804 Ridin’ Dirty pg 95 Phone: 407-447-6063 Fax: 407-447-6064 Soul Food pg 96 Web: www.ozonemag.com Southernplayalisticadillacmuzik pg 97 Cover credits: Da Muzicianz photo by MONTHLY SECTIONS The Dude pg 98 Ray Tamarra; Camron photo by Roger Erickson; Atiba photo by Malik Abdul. DJ Profile pg 32 3 N’ The Mornin’ pg 99 OZONE Magazine is published eleven Chin Check pg 22 times annually by OZONE Magazine, pg 100 Inc. OZONE does not take responsibility JB’s 2 Cents pg 17 TRU 2 Da Game pg 101 for unsolicited materials, misinformation, typographical errors, or misprints. The Industry 101 pg 30 Untouchable pg 102 views contained herein do not neces- sarily reflect those of the publisher or its Feedback pg 12-14 We Can’t Be Stopped pg 103 advertisers. Ads appearing in this maga- CD Reviews pg 108 zine are not an endorsement or valida- When The Smoke Clears pg 104 tion by OZONE Magazine for products or Mix CD Reviews pg 112 services offered. All photos and illustra- www.thug.com pg 105 tions are copyrighted by their respective Photo Galleries pg 19-41 artists. All other content is copyright 2006 OZONE Magazine, all rights reserved. No Patiently Waiting pg 46-54 portion of this magazine may be repro- Groupie Confessions pg 18 duced in any way without the written con- sent of the publisher. Printed in the USA. CARA PASTORE FOR F22STUDIO.COM CARA PASTORE 10 Things I’m Hatin’ On pg 17

OZONE 11 feedback

Julia, I gotta say thanks for your 2 Cents in the April issue. I once had* a mag, and your words were very inspiring. You’re the shit, keep up the fantastic work. – Victor Walker, [email protected] (Jonesboro, GA)

JB, I just read your 2 Cents for the May 2006 issue. This really hit* home: “Sometimes you get so caught up in the daily grind that you forget what you were working towards in the first place.” I don’t usually write or respond to editorials (in fact, I never have), but your words inspired me to pick up my blackberry and just start typing. Your words also forced me to reflect on my daily grind and accom- plishments over the past few years. I too stand a different person and for me it’s not about the end result of the money or the fame, it’s about the process of getting there! Keep pushing and remaining true to your grind. There will always be setbacks and obstacles in the way, but remember, it’s about the process of getting there that makes it all worth it! – Albert “Big Al” Sye, [email protected] * Man! Great interviews with in-depth questions? Insightful and straight-up answers right back at ya? Tight photo shots? Good busi- Thanks for your 2 Cents in the four year anniversary issue, where ness info and opportunities? Yo, XXL and , OZONE’s a real *you said it’s not about being rich it’s the process of getting there. I problem for you right now! You got the block on lock, true story! was going through some real hard times, questioning my career path, – Frosty Flakes, [email protected] my goals, my dedication, and my decisions. I was thinking about just giving it all up. Your words helped mea lot. Keep doin’ it, I’m ridin’ Your magazine reached my reservation, the Blood Reserve in with you. *Southern Alberta, Canada. Yes, I’m Native American. I saw this maga- – Eddie DeVille, [email protected] (Houston, TX) zine and thought, Yes, something new and fresh! I have the April 06 issue, and have only read to page 20, but I can tell you for sure I’ll be The mag is hot. I know you guys will go a long way. And to JB, reading this book forever. So keep them coming. thanks* for giving the real game up on publishing your own mag. I’m – Kinty Tailfeathers, [email protected] (Alberta, Canada) not going that route but your 2 Cents was what I needed to read at the time. It helped me a lot when you said, “Don’t be afraid to start Wendy Day is one of my biggest influences, and I’m so glad that you small.” You’re right, I think folks should focus on their hometown if have* her monthly column Mathematics in your magazine. Thanks for the market is there. When you get a cool buzz there, then you branch the magazine information that you put in your 2 Cents; I will take that out. The things you were saying made me think, Damn, I’m on the to heart too. Any information that can help me do my business right right page. So thanks again, JB! And to the whole OZONE staff: You is strongly appreciated, so thanks for the whole magazine. OZONE is guys are the shit! really what hip-hop is all about. – Mico Chisolm, [email protected] – Raze, [email protected] * I loved your new interview with ! He was running all around the When are JB and Benzino getting married? I know a lover’s spat questions you were asking about him being a school ! He is the *when I see one. You’re cute for a slut monkey, though! Congrats on true definition of a studio gangsta. If you want to sell magazines, do putting out a good magazine. I collect good hip-hop shit. I’ve got ev- an article on rappers who rap about lies. Plies was a high school grad ery Source, XXL, Rap Pages, Blaze, King, FEDS, and Don Diva. You from Fort Myers High School with AB honor roll. Then he went on a know, real shit. I love rap. I study the whole shit. I watched every mag football scholarship to University of (Ohio) where transferred come out and try to grab my couple dollars. I used to cop The Source to USF in Tampa. His older brother was in a Federal prison for three cause they had good features and youc oudl trust their rating system. years while Plies (Algernod Washington) was living in Tampa going I guess you want a mag you can trust and depend on. I fucks with you, to school part time and promoting parties. When his brother Ronnell JB. I read about you in the mags, papers, and on allhiphop.com. You came home from Federal prison they started with this company Big seem sincere and put together a good mag. The website is cool too. Gates Records, that’s in some white chick’s name – Kimberly Knorr! It’s funny how all the mag owners are beefin’. First, XXL’s YN went at Plies was never indicted. He never sold drugs or anything like that. the “Sauce” ala style. Then it’s you and Benzino. What’s going He was a college boy, and that stuff he said about him having , on? It takes away from putting out a good mag, if you ask me. Don’t eight cars is so bogus. His brother was the d-boy and had a car or get me wrong, I like the editorials, but it seems more like a publicity two, but never like that. He might not do another interview with you ploy than anything. You figure there are no beefs to report on to sell now that he’s been exposed! And ask him how he got off a Federal mags, so let’s call out the champ. This brings me to my final thought: indictment? That’s the most bogus shit I’ve ever heard in an interview. since the East coast music dominance is over, the South is reigning Come to Ft. Myers and go to the hood and ask around about Plies due to a couple of factors. Philly and New York niggas are too, too cool or “Nod,” that’s what we call him. People are gonna laugh so hard, to make the type of records that run the charts. You would never see because everyone will tell you that he’s a school boy about niggas in a cipher spittin’ “I be on that kryptonite” or “Wait til you see somebody else’s life but surely not his. Man, there are some really my…” Niggas would think they was gay. But that’s the culture. Nig- good rappers in Ft. Myers, but Nod is not one of them. People won’t gas down South are more laid back and like to fool out and have fun. even take his CDs for free here because we all know he is a liar. That’s what the club is about: having fun. Nobody cares how many – Jessica Freeman, [email protected] (Ft. Myers, FL) packs you’ve moved or how many niggas you banged in the club. Nig- gas are trying to have fun, get high, and get at the opposite sex. I ain’t I read your interview with Plies, the fakest nigga rappin’. Look, you sayin’ the South ain’t serious and real: I love slept-on Field Mob, T.I., can* call me a hater or whatever, but real niggas from Ft. Myers are , Shawnna, Outkast, ‘Face, , Trick, and Trina. The East sick and tired of holding their tongue about this nigga Plies. Do your coast are crabs in a barrel. New York fucked up when they let 50 Cent research if you wanna know about Plies. Plies was never a dope boy defect. The East needs another artist that embodies what the greatest at all. He’s never sold an ounce, trust, and he’s certainly not a killer. had: lyrics, wit, humor, flow, charisma, and confidence. I guarantee you, not one nigga in Ft. Myers will vouch for one thing – Rhashima Brown, [email protected] gangsta that Aljernod Washington has done. Come on, man, look up his arrest history. This dude doesn’t even have speeding tickets. It’s funny how hypocritical some people are. Benzino got on Mar- Don’t get me wrong; niggas fuck with his music because he accu- shall* Mathers for talking about Kim and violence towards her, and then rately speaks on what happens in the city and his brother is g-code, I hear dude threatening you. What a mixed up dude. but Plies is the exact opposite of what he says he is. Take it from a – [email protected] nigga who came up with him. Come on, OZONE. Does “My brother

12 OZONE OZONE 13 feedback

took a charge for me” sound believable? Does “I’ve survived seven I’m the program director for 96.3 WJIZ in Albany, GA. We’re a indictments” sound believable? He takes this street shit for a joke and *100,000 watt hip-hop and R&B station that reaches South , it’s disrespectful to the niggas who have bled on this turf down here North , and Southeast Alabama. Our listeners love your maga- and are doing a hundred years. He shoulda been on some hoe shit, zine. We give them away on the air and at live remotes. We’ll con- because Plies always has bitches. But made niggas don’t give a fuck tinue to support your magazine, because we find valuable info about because he’s only as raw as his brother made him. Any money he had, groups and artists. There are groups that have songs that seem to his brother gave him. He shoulda been on some shit, grow on their own. OZONE has helped me connect with a lot of these talking about dropping out of college. Speaking of college, he went to artists who we’ve read about in your magazine. Thank you a million, two: Miami of Ohio and USF. If you want to know more details about OZONE. Keep up the good work! this, come down to the streets of Ft. Myers and we’ll give you the most – Jammin Jay, [email protected] (Albany, GA) interesting story you’ve heard. It’s guaranteed to move off the shelf. – Madagascar Jenkins, [email protected] (Ft. Myers, FL) I received the March and April issues of your magazine and I’ve never* seen anything like it before. All the interviews are up front, no * When is the Midwest gonna get our turn? Y’all are doing your thing. B.S.ing. I loved the All Star special edition. It was fly. I’m a I like everything about the magazine. But once again, the Midwest full-fledged Houston fanatic, and to see them get the attention they don’t get no love! I don’t know if you ain’t looking, but let me put you deserve (especially ) is great. Keep doing what you’re doing up on some game. There’s more to the STL than Nelly, there’s more with your magazine, because it sure is working! I can not wait to get to than Kanye West and , and more to Cleveland than my next issue. Plus, this may not mean much to you now, but with all Bone Thugs. Just because we snap when we spit does not mean we the rulings in court, I don’t think you need to worry about Ben-ZiHo all sound like Bone or Twista. The mad-ass Middle, we’re tired of being no more! He is out of The Source for good, which is a good thing, ignored! cause honestly I’m ready for The Source to be a good read again. – Jesse James, [email protected] (St. Louis, MO) And you don’t even need to worry about any competition, because you’ve pushed your magazine so far ahead of that they can * I just copped my first issue of OZONE today and I see that y’all are not touch you. I would love to see any of those New York magazines doing y’all thang for real! Keep that success coming! Y’all gave me a get the exclusives you get. Just thought I would drop you a line and lot of motivation seeing the artists you have in this mag, because I’m let you know how great you are doing (like you need someone to tell a young entrepreneur running a and I also make beats. you, I’m sure your pockets runnin’ deep now are evidence enough). But the main reason I’m emailing y’all is replying to ’s inter- Thanks for the good interviews. Make sure they keep coming! view. That nigga was telling the truth on a lot of shit, for real, as far – Shannon Gleason, [email protected] as the black community and what we need to be doing to make a (Bloomington, IL) change. Big ups to that nigga! You got a lot of respect from niggas here! OZONE, y’all keep getting rich. I read your April 2006 issue. Maurice Garland did an excellent job – DJ Slim Smoove, [email protected] (Saginaw, MI) on* covering and giving the Bay area some exposure. – Dennis, [email protected] (Orlando, FL) * JB. I just read your interview on allhiphop.com. I remember see- ing your magazine years back and being like, Damn, this is definitely Every event I go to, JB and OZONE are working hard to bring hip- South and dirty dirty! And then seeing the white girl running shit and hop* and R&B to the forefront. Also, I would like to thank JB for taking a doing her thing and making me proud. I think you’re really holding picture of me and my group Street Villanz and letting me get a picture yourself down and taking all of the proper steps, especially with this of her at Da Splitta party in Daytona. Out of all the magazine editors Benzino thing. It’s been really beautiful to see where your mag came I’ve met, she was the only one to ever do that! Crazy, isn’t it? When from and then to see repping for you in ! Con- are you gonna do a spotlight on Tampa Bay? We got heat too! grats on the mag. – Ernest Mingo, [email protected] (Tampa, FL) – Samara Goldhecht, [email protected] (Las Vegas, NV) I read your article about pimps and hoes in the 2005 sex edition. It’s time* for all responsible representatives of our culture to reach out to * Your mag is the shit! You’re really doing your thing. I remember it our confused children and educate them concerning one of the great- from when I was in West Palm to Miami and back to . This pub- est misconceptions affecting black communities across the country. lication has grown tremendously. Congrats and keep it up! The glamorization of pimps in movies, radio and curbside is a great – Lori Hall, [email protected] (Atlanta, GA) injustice to young society. A pimp is nothing more than a leach that preys on our women and children, so let’s stop promoting these buf- * I’m in love with your photo spread in the May issue. I’m almost in foons in now-and-later gators. I’m concerned about the truth. tears. You’ve really inspired me to keep shooting and never stop. - Queen Jullia, [email protected] (NYC) – Duane Johnson, [email protected] * The OZONE Awards are a good look for Orlando. All them cats * Congrats on the distribution deal! It’s well-deserved. Benzino tried that be talking about how you don’t help Orlando are just hating. I’m to put an end to OZONE but that kicked him in the ass. I wanna thank happy for how far the mag has got. I remember when Pimp G first y’all for the DJ issue and for putting both of my squads in it, Bum gave me an OZONE in 2003 and I was like, “Cool, some new shit Squad DJz and the Hood DJs. Even though I’m a NY cat, I still fucks from Jax,” only to find out it was based in Orlando. But now I don’t with OZONE. It gives a lotta insight on Southern artists, established have to travel to New York or ATL to attend an award show like I did and upcoming. Keep up the good work! for the SEAs. Hopefully it can blow and BET or MTV starts showing – DJ L-Gee, [email protected] (NYC) it, or fuck it, OZONE just gets their own channel/network. I’m still a subscriber and I see you getting with New York and Cali. That’s cool, * OZONE is a wonderful publication, and I look forward to getting cause when the Awards go down you gonna bring all them mutha- the new issue every time it comes out. The articles and interviews are fuckers to Florida. always on point and really cover what people want to know instead of - Flydcgi, [email protected] (Jacksonville, FL) things a lot of other writers just use as filler to make a story. – Brandon Porter, [email protected] (Mobile, AL) Corrections: The photo of on page 115 of the May 2005 is- sue was taken by King Yella; the photo of Sam Quinn on page 52 of * Yo, just wanted to reach out because I picked up the latest URB the April 2006 issue was taken by Joey Colombo; and we incorrectly Magazine, with the Power 100 in it. Lo and behold, what do I see? labeled a photo of So So Def’s SunN.Y. with his labelmate T Waters’ OZONE, one of the top publications to check for! Big congrats on that! name on page 37 of the May 2005 issue. Also, what happened to the “caffeine substitutes” in this past edition? Didn’t see that in it. Hope that doesn’t turn out to be a monthly habit, Hate it? Love it? haha. Anyway, keep up the good work. Send your comments to [email protected] – DJ Southpaw, [email protected] (Ft. Myers, FL) OZONE reserves the right to edit comments for clarity or length.

14 OZONE

jb’s2cents

“I get knocked down, and I get up again/ You’re never gon- na keep me down,” corny, I know. Some old Top 40 joint, by Chumbawumba (I had to look it up). I’m sure none of you are Chumbawumba fans, and neither am I. But at 5 AM in this particular Wal-Mart, buying toothpaste and socks because some fuck broke into my truck and took all my shit, this cheesy pop hook coming over the intercom seems 10 Things I’m Hatin’ On strangely appropriate. By Roland “Lil Duval” Powell When the little Benzino incident happened, a friend sent me Disclaimer: This is really what everybody else is say- this book called The 33 Strategies of War, which I’ve been in’. I know I’m dead wrong, but I’m hating anyway. slowly reading on my flights. Great book, but I’ve come to realize that most of the strategies are ones that I already use on a 1. Myspace.com daily basis. I’m built for war. I don’t have to read a book to know I went to R. Kelly’s page and there was how to win. nothing but 13 year olds in his top 8. LOL (It’s just a joke.) But here’s the problem: the most destructive “battles” we fight aren’t against one specific person or enemy that we can look in 2. Red Monkey Jeans the eye. The book correctly points out that we are our own worst There is no way in hell I’m gone pay enemy. But aside from ourselves and our own weaknesses and $900 for some jeans when I can get two vices, the biggest struggles we face are lack of funds or lack of for $50 at Old Navy. Tampa Tony and I @ Fuel in Daytona Beach resources, racism or stereotypes, and other vague unknowns. Our real enemies are the credit bureaus, the repo man, the landlord, 3. Anybody Hating On The South the cop that won’t give you a break, the bitch that your live-in boy- I hate to be the bearer of bad news, but friend cheated on you with (on your birthday), the roommate that all that its-just-our-time and it-will-come- didn’t pay the utilities bill, the hard drive that dies for no good rea- back-round-to-y’all shit ain’t happening. son, Sprint PCS customer service, and other unknown assailants You arrogant niggas never realized that like the previously mentioned fuck that robbed me. When you can’t we were the ones buyin your records be- stare down your opponent one on one, it’s an unfair fight. So what fore. We got tired of y’all not showing ap- can you do but get knocked down, and get back up again? preciation to us. Now that we’ve learned the game, we don’t need y’all. Y’all need Although a stolen laptop can be replaced, my SXSW pictures are us. So keep hatin’; we really don’t care. Me, DB, and the entire Duval County @ Kartouche gone. DJ Khaled’s video shoot pictures with damn near every rap- per in the South are gone. The exclusive pics from T-Pain’s remix 4. “KILL YO SELF!!!” video (with R Kelly, Pimp C, Paul Wall, MJG, Twista, etc) are gone. Everybody knows I’m the one that got all But even if I lost every material thing tomorrow, I’d still have my y’all saying that. And if y’all don’t know name and my relationships and my experience, which are really that, kill yo self! the most valuable things l own. So God forbid I ever have to start over from scratch in this business, I could. Although I’m not sure 5. Bullshit Clothing Lines I’d want to. Just ‘cause you put and rhine- stones and paint on a shirt, that don’t The point is this: see, you can try to rape me, or turn off my power, make your clothing line different. There’s Lex is always hitting or disconnect my phone, or break my car window, or key my truck, a nigga like you in every city. me up for a loan every or drill a hole in my Tahoe, or break into my Suburban, or steal my time I come to Miami luggage, or spill a drink on my camera, or cash fake checks in my 6. Niggas Wearing Thongs company’s name, or sue me for some bullshit, or call me a “slut If I catch any nigga in Miami for Spring- monkey,” or refuse to pay for your ad, or borrow money from me and disappear. You still fest or Memorial Weekend in a thong wit can’t stop me. Keep trying to fuck with me – yes, I’m mad, and I’m talking to all of you - and they shirt off, I’m gone personally slap you’re only helping me become more focused, more driven, and more efficient. In fact, you the shit out of ya. might fuck around and inspire me to add two more SUVs to the OZONE/CRUNK!!! fleet, move to a bigger office, add four more special editions, and create a magazine for Camron 7. Deal Or No Deal - like I did this month. Oh, I’d also like to point out the fact that OZONE had more pages last Where does this TV show get their con- month than The Source. And as for that other little magazine trying to play editorial games testants? They have some of the dumb- with me... LOL. No free pub for you til you get on my level. Get your weight up. I rule. est people on there. I was watching it one night, and they offered this girl $900,000. And yet amidst all the craziness and the threats, I only have one fear: I’m always afraid I’ll She said “no deal” and ended up leaving run out of things to write about. And yet it never seems to happen. This, my friends, is the with $13,000. greatest issue of all time. Anyone who tells you differently is a liar. And for once, I didn’t do it all myself. We got a lil’ squad now. Shout out to Maurice who orchestrated our 20 Essential 8. Movie and TV Execs Southern Albums list. I’m slowly subtracting myself from the equation so enjoy my brilliance I’m hating on them for sleeping on me. while you still can. :) The reason why a lot of their shit flops is because they don’t know what people - Julia Beverly, [email protected] find entertaining.

9. Lil Kim Am I the only one wondering how she looks in jail since she can’t have a make- “Beatin’ Down The Block” up artist in there? E-40 f/ “Tell Me When To Go” DMC f/ Sarah McLaughlin “Just Like Me” jb’splaylist 10. Kimora Lee Simmons Ricky Fante f/ Isaac Hayes “It Ain’t Easy” I never did like her. Any real nigga could f/ Trae “Ridin’ Dirty (remix)” Lupe Fiasco “Kick Push” see that she ain’t shit but someone who Bohagon f/ D4L & “Wuz Up” Plies “Bid Long” manipulated her way into the right nigga f/ Ludacris “Pop You” Natasha Bedingfield “Unwritten” and came up. But then again, I shouldn’t f/ Pimp C “Like Dat (remix)” Trae “Swang” hate the player; hate the game.

OZONE 17 groupieconfessions

Disclaimer: These “groupie confessions” are anonymous, so we cannot verify if they are true or not. All details (cities, club names, hotel names) have been removed. These stories do not necessarily represent the opinions of OZONE Magazine. These stories did not necessarily occur recently, so if you are currently seeing one of these fine gentlemen, no need to curse him out. These stories are from different women.

If you have a celebrity confession, send an email to [email protected] or call 407-447-6063 to tell your story.

Slim Thug thing. He’s just right, not too big and definitely not too small.

How did you meet Slim Thug? Did you stay in contact with him? I was invited to come to [another city] for a Nah, we never talked after that. That was just a one time thing, I was concert with my friend who was talking to trying something new. I don’t think I will ever do that again! I don’t . We got on the road and once we consider myself a groupie. I did not try to holla at him, he approached got there, met them at the hotel and checked me! into the room. From the jump, they tried to VOLUME 11 hook me up with Mike’s lame-ass friend Mel- lo. I definitely was not feeling him, but I was Plies trying to be nice so I talked to him. We went to the lobby to talk to Mike and his crew, and How did you meet Plies? when we got on the elevator it stopped on the I met him when he came to [my city] and did a show. I was on stage floor below us and Slim Thug got on with one of his friends. So we got when he was performing. After the show, he had security come get me off the and waited for Mike and them to come down. When off stage and I went backstage. they came down, Slim Thug got in the limo with us. Were you into him before you met him? So you were feelin’ Slim Thug? Yeah, I been knew of him before but I never knew him, knew him. I Yeah, when we got in the limo we were talking and he was obviously went to a couple of shows that he had did before. flirting. But then came Mello talkin’ about, “Come sit next to me.” So I went to the other side of the limo and sat with him and tried not to Once you got backstage, did you talk to him? talk to him or look at him the whole way. When we all started drinking Naw, he was just chillin’ cause the cameras were on. Then he asked if – except for Mike who doesn’t drink or smoke – I finally got to talk to I wanted to go back to his room. Slim and he was flirting with me. Do you like him, or were you interested mostly because he’s a Doesn’t he have a girlfriend? rapper? I asked him about his girlfriend, the singer LeToya Luckett. He said Oh, I like him. that they’re not together anymore. I think he was lying, but I didn’t care! So once you got to the room, you kinda knew what was about to go down. Did he tell you why he was interested in you? Yeah. When we got back to the room we were chillin’ at first, but I Well, he was like, “You see these girls all on me. They all tryin’ to come stayed the night with him. to the room, but I don’t want none of them. I want you.” He whispered his room number in my ear. So, you know, Plies always has a lot of female fans tryin’ to grab at him at his shows and stuff like that. So what’s the word on What made you decide to go? Plies? Well, like I told my friend, “I ain’t never done nothing like this before, Oh, he’s good, he’s a ten. He don’t try you. If you don’t want to, he and I would hate to be a groupie.” She was like, “Girl, do whatever you don’t make you. He didn’t come off at me in any kinda way. I really want.” So I kept thinking about it as I sipped my fourth Grey Goose. have nothing bad to say about him cause he’s not like that. He’s kinda We all rode back to the hotel, and I remembered I was supposed to laid-back, he don’t try to make you do nothing. be staying with Mello. But I decided to go with Slim. He was sitting at the other end of the limo and as he got out he gave me this look, like, He’s a short dude though. “You better be at my room!” Yeah, but he was actually big. I didn’t think he was gonna be like that.

How did you get away with that? So do you kick it with him on the regular or was this a one-time Everyone else decided they wanted to get something to eat so I thing? played it off as if I was tired and was gonna go to the room to lay I went to see him for the weekend after that. We talk all the time. He down. Mello gave me a key to the room and I went to his room and don’t treat me like, I’m gonna call you whenever I want some. He don’t called Slim. I was so drunk I forgot the room number, so I called a few treat me like that. He real cool. I thought it was gonna be different at different rooms before I got the right one (laughing). first. But he’ll have somebody come get me and bring me to them, and I’ll be chillin’ with him and his people. So what did he say when he answered the phone? When he answered he was like, “What are you waitin’ on? Come up Did you ask him if he has a girlfriend, or you didn’t talk about here.” At first I was kinda offended, like, he knew I was gonna come to that? his room so maybe I shouldn’t go. But I didn’t want to get stuck with We don’t really talk about that. He just told me that he has a baby this lame-ass nigga so I got my stuff and went up to his room. mama and that was it.

What happened once you got in the room? Is there anything unusual that he does in bed? He answered the door in his boxers and as soon as I got in there I Plies got his own thing going on. He likes the lights on. He likes to see started taking off all my clothes. I don’t know why, I guess it was the everything and look at everything. Before he about to nut he take his adrenaline rush or maybe the Grey Goose. He threw me on the bed condom off. Every time, he always take it off so he can see it coming and that turned me on even more. We fucked for like an hour, and it out. He do it every time. was a good hour too. That brotha surprised me. I thought it was go- ing to be like two minutes because I’m sure he gets some often, but Did he tell you why he’s into you? actually it was good. Plies said that I’m real pretty and cool, and I can hang with the fellas. Some girls wanna be all up on him, and I don’t be doing all that stuff. I Okay, so what’s he working with? just be chillin’. I’ll be in the room while he goes to do whatever he has Yeah, he’s tall, but that doesn’t mean he’s mandingo warrior or any- to do, and I’ll stay in the room til he comes back.

18 OZONE 01: and DJ Drama @ Visions for T.I.’s King release party (Atlanta, GA) 02: Plies performing @ Icon (Orlando, FL) 03: Voc, J-Bo, Latrella, Jap Nasty, and Chris reppin’ OZONE @ Action Pak car show (Ocala, FL) 04: Triggastate Trendset- ters @ Firestone for DJ Nasty’s bday (Orlando, FL) 05: DJ Dap, Keith Ken- nedy, Too Short, and TJ Chapman @ The Moon for TJ’s DJ’s (Tallahassee, FL) 06: Yogi, Greg G and Spi- der @ Icon (Orlando, FL) 07: PBG and Jay Love @ Icon (Orlando, FL) 08: Ryno and @ SXSW (Austin, TX) 09: Lil Shawn and Sir Knight Train @ 95.3 car expo (Orlando, FL) 10: Webbie @ Jackson State (Jackson, MS) 11: Sandman and Talib Kweli @ The Masquerade (Tampa, FL) 12: Pat Nix and Mercedes @ Whispers (Orlando, FL) 13: Owen B, Wicked D, and Krazy Yogi @ Fires- tone (Orlando, FL) 14: DJ Demp and his sister @ Kartouche for David Banner’s birthday party (Jacksonville, FL) 15: and DMC @ celebrity football game (Miami, FL) 16: Young Cash and DJ Khaled @ DJ Nasty’s birth- day party (Orlando, FL) 17: Smoke D, David Ban- ner, and Aziattik Black reppin’ Da Sipp (Jackson, MS) 18: Reppin’ OZONE @ The Roxy for Upstart Record Pool meeting (Jacksonville, FL) 19: Big Tuck, guest, Tum Tum, and DJ Tantrum @ The CORE DJs conference (Houston, TX) 20: Disco, DJ Khaled, and DJ Nasty @ Firestone (Orlando, FL) 21: Tony, Anthony, Lloyd, guest, Dominique, and Jas on the set of Pimp C’s “Pourin’ Up” video shoot (Houston, TX)

Photos: Ashlee Brathwaite (12,13); Bogan (15); Bright Star (07); Destine Cajuste (02); Greg G (06); Jaro Vacek (10,17); Julia Beverly (01,04,05,14,16,18,20); Kead- ron Smith (21); Kool Laid (19); Malik Abdul (03,09); Matt Son- zala (08); Sandman (11)

OZONE 19 r.i.p. by Wendy Day

Proof That He Was Alive

he headline on AOL’s main screen read “’s Close Friend Killed.” As I clicked on it I said to myself please don’t let it be TProof. Proof was so much more than a close friend of Eminem’s that was killed.

Proof was one of the first artists in this industry that I befriended. I met him through some friends who worked at Tommy Boy. It was around 1994. They wanted to sign him because of his charisma, but they were afraid to take a chance on a rapper from , in my opinion. I liked Proof very much as a person. I can’t say that about many rappers.

Proof was energetic, outgoing, and spoke his mind. He reminded me of a little Muppet character. Always happy, always entertaining, always moving—especially when everyone else around him was tired. He was always so alive and energetic.

With the success of Eminem, I lost touch with Proof. Tommy Boy never did sign him, but he had a better gig as Em’s right hand man. He was down for Em—stayed true, even when there were rumblings in D-12 about this or about that. Proof was always by Marshall’s side, through the good and through the bad. I imagine Marshall’s feeling it the most because it’s impossible to replace loyalty and years in. Especially when you are a household name. He was Marshall’s best friend.

Proof and I spoke by Blackberry, a few lines here and a few lines there. We spoke often when he put out his CD independently. It didn’t do as well as he had hoped, or maybe it didn’t do as well as I had hoped for him.

I saw Proof in July in Atlanta. I was backstage at the Anger Manage- ment Tour meeting with his cousin Trick-Trick. Everyone was sitting on the tour bus, tired as hell. Proof was the energetic Muppet running around entertaining all of us, clowning for the Shade 45 interviewers. He was having a good time, but I think that everywhere he went he had a good time. I wondered if he would have any energy left for the stage. He did. Proof’s casket at his funeral (above) and obituary (below)

When Proof first saw me he gave me shit for not returning a call to him months earlier. He had an old phone number for me so I never got his message, but that didn’t stop him. After he was done scolding me, he hugged me for what seemed like hours. We had a good time, but everywhere he went he had a good time.

Except maybe last night. He was gunned down in an afterhours club on Eight Mile in Detroit. Yes, that 8 Mile - the one his best friend made world famous in a film by the same name. More senseless violence. More Detroit shit. Apparently they caught the dude who shot him. That’s a first.

I remember a story Trick-Trick told me in September while we were in NY shopping his deal. He dropped Proof off at home early one morn- ing after they had been recording at the studio all night. Proof got out of the car and without Trick knowing, he ran across the yard, jumped a fence, through another neighbor’s yard and ran along side of Trick’s car and banged on the window shocking the hell out of him. When Trick pulled over and asked him “What the hell are you doing man?!,” Proof just laughed and ran off through some bushes and across an- other yard. All Trick could do was pull off laughing thinking about how crazy Proof was.

We lose too many rappers to violence. We lose too many young Black males to violence. Now we’ve lost a Muppet to senseless violence.

Wherever he is, he’s in a better place. I want to say “rest in peace, dear friend,” but I know that’s not possible. I know he’s running around with incredible energy, entertaining everyone. That’s just Proof.

- Wendy Day of Rap Coalition ([email protected])

You can read more of Wendy Day’s ranting and raving on her blog at www.WendyDay.com. You can also respond to her insane ramblings.

20 OZONE 01: Da Musicianz stop by the OZONE office (Orlando, FL) 02: Trae, Lil B, and Hawk @ Back Room for SXSW (Austin, TX) 03: Treal @ Firestone for DJ Nasty’s birthday party (Orlando, FL) 04: On the set of Smilez & Southstar’s “U Know” video shoot (Orlando, FL) 05: June, Christina Clark, and Omar Sharpe @ Whis- pers (Orlando, FL) 06: T-Pain and Karen Douglas @ Southbeat Records (Miami, FL) 07: Young Cash, DJ Dr. Doom, and TJ Chapman @ David Banner’s birthday party (Jacksonville, FL) 08: Lil Boosie gets some love backstage @ Fires- tone (Orlando, FL) 09: Erykah Badu and Big Tuck @ ATL premiere (Dal- las, TX) 10: World Fame, C-Pone, and Puerto Rican Mike @ SXSW (Austin, TX) 11: Jean Grae and Money Waters @ SXSW (Austin, TX) 12: Greg G, Legacy, and @ Icon (Or- lando, FL) 13: G-Money and Julia Beverly reppin’ OZONE @ Firestone (Orlando, FL) 14: Jxclusive and DJ Sosa @ So So Def (Atlanta, GA) 15: finds Ms. New Booty @ Stanko- nia (Atlanta, GA) 16: Paul Wall celebrating his birthday with his cousin Gu (Houston, TX) 17: David Banner, Pas- tor Troy, Big Kuntry, DJ Toomp, and Lil C @ Vi- sions for T.I.’s King album release party (Atlanta, GA) 18: Ashanti, Irv Gotti, and Ja Rule (Miami, FL) 19: Ladies on the set of Smilez & Southstar’s “U Know” (Orlando, FL) 20: Obie, guest, and Lil Shawn @ 95.3’s car expo (Orlando, FL) 21: Janky John and Smackabatch @ TJ’s DJ’s (Tallahassee, FL)

Photos: Charles Reece (09); DJ Sosa (14); Edward Hall (10,11); Greg G (12); J Lash (18); Julia Beverly (01,02,03,04,07,17,21); Karen Douglas (06); Keadron Smith (16); Mercedes (05); Malik Abdul (08,19,20); Shannon Mc- Collum (15); Young Cash (13)

OZONE 21 chincheck by Charlamagne The God

o I’m in Puerto Rico this past weekend throwing it up with my radio aunt Wendy Williams and Question Mark Entertainment. I was hosting the concert that was held on Saturday night in the resort’s ballroom, and one Sof the performers was Keyshia Cole. Everybody knows Keyshia Cole makes music for angry, bitter women who have been dogged by a man. And obviously, Keyshia herself has been seriously hurt by some dude. After her performance, I get on stage and say to the crowd, “Keyshia Cole is an angry woman. Somebody needs to eat her pussy so she can calm down!”

Well, Keyshia Cole runs on stage, grabs the mic and says, “Who the fuck does this nigga think he is saying I need my pussy ate?! I’m a woman. You don’t talk to me like that or disrespect me like that!” Now Keyshia, the reality of the situation is this: as Ghetto, Hood, and Real as you claim to keep it, I KNOW that you have told one of your homegirls, “Such-and-such ate my pussy!”

It’s been rumored that you were dating Young Jeezy, and now Tyrese. If one of them dudes go down on you, you gone call one of your homegirls and say, “Tyrese ate my pussy” or “Jeezy ate my pussy!” It’s not like you’re going to be politically correct and say, “Tyrese performed oral sex to my vaginal area.....”

Keyshia, you’re one sophomore jinx away from being back in the hood, so don’t go getting all proper on us now. I understand you had to thug it out, showcase the whole Keep-It-Real persona the media has given you. I actually loved our little misunderstanding on stage. It made my radio aunt Wendy Williams’ concert that more memorable. The females in the crowd loved seeing you act like the hoodrat next door.

In closing, I wasn’t trying to insult you, Keyshia, by saying you need your pussy ate. That’s just how I talk. If I was trying to insult you, I would have said how your hair looks like Wile E. Kitten off the Thundercats cartoon. Keep doing your thing, Keyshia. You really do rep for the women who have been scorned by a man, and you are like a young Mary J. Blige for the simple fact she couldn’t sing live when she first started either.

ere’s another one from my lovely weekend in Puerto Rico....I’m a Wu-Tang Clan fanatic. My favorite emcee of all time is , so when I found out he was another featured performer at my radio aunt Wendy Williams’ concert, I was amped like, “Oh s**t, I’m gonna Hmeet the god Big Ghost!” His album Fishscale just came out this past Tuesday. I’ve been bumping that heavy. I even let my ears taste that before T.I.’s King album. Anyway, I didn’t see Ghost before he came out on stage nor did I introduce him, so when he came out and I saw him, I was a little confused.

No Liberace-style robe, no 6-foot bird on the arm, no trunk jewelry like Slick Rick. In reality, Ghost looked like your 50-year-old uncle who still wants to dress young but doesn’t know where to shop. He had on what I think was a Southpole polo shirt. First off, who wears South- pole? We all know that is the Surreal Life of clothing. When you wear Southpole, you might as well admit to yourself that it is the end of any fashion statements you plan to make in the history of your life! If the shirt he was wearing was not Southpole, then it was one of those cheap polo-styled shirts you can buy for $30 in any local mall. He had on some dingy looking short pants, with some blue socks pulled up to his knees. And his Wally B Clarks - I think they were Lugz! I hope not because all Ghost fans know he said he would never rock Lugz; he’s way above!

I was so disappointed. If that’s what Ghost wears under his robe, then he needs to permanently staple and superglue his robe to his body. I’m hoping he lost his luggage at the airport. I mean Ghost got a superhero, Superman swagger, but someone must’ve had krypotonite in the crowd or he couldn’t find a phone booth to change in. That’s just the beginning.

As a Ghost fan, it’s certain songs you hope to hear at a Ghost con- cert. Ghostface came out and did his verse off of “Summertime” by Beyonce. What the fuck?!? Why not come out to “Apollo Kids” or the record off your new album produced by “The Champ?”

Ghostface did every record that has ever brought him any type of commercial recognition. That’s cool but not when you got hardcore fans like me who want to hear authentic hood classics like “Fish” and “Daytona 500.” Ghost, the reality of the situation is this you will NEVER cross over to the mainstream. You will never sell a whole bunch of records, so don’t cater to that audience at your shows! Cater to the fans like me who will still buy your records even when you end up on Koch. Ghost, Koch is in your near because Def Jam is definitely going to hot potato you at any moment.

MEMO TO ALL ARTISTS: Image is everything, and song selec- tion during a performance is next to Godliness! Seeing Ghostface perform this weekend was disappointing like have sexing with Be- yonce and realizing the pussy’s wack, her panties smell like Cap- tain D’s, and you go to urine the next day and your dick’s burning.

- If you would like to tell Charlamagne The God that he is an idiot, email him at [email protected].

22 OZONE 01: , Joy Enriquez, Malica, and Atiba @ Power 95.3 car expo (Orlando, FL) 02: Ebonix, Plies, and Cedric Walker @ Club 238 West (Gainesville, FL) 03: Calvin Richards, Birmingham J and Chris Pat- terson @ 95.7’s Teen Jam (Birmingham, AL) 04: The Texas Untouchable DJs with Yung Joc @ Club 1919 (Dallas, TX) 05: TJ Chapman, Julia Beverly, and Young Cash @ Kartouche for David Banner’s birthday party (Jacksonville, FL) 06: Acafool and Kid Money KG reppin’ OZONE @ The Moon for TJ’s DJ’s (Tal- lahassee, FL) 07: DJ Khaled, DJ Nasty, and Krazy Yogi @ Fires- tone for Nasty’s birthday party (Orlando, FL) 08: Xtaci @ Visions (At- lanta, GA) 09: Big Chief’s video re- lease party @ Club Stress (Dallas, TX) 10: Fantasy World calen- dar model Ashlee @ The Moon for TJ’s DJ’s (Tal- lahassee, FL) 11: Kamikaze and crew @ Jackson State (Jackson, MS) 12: Ramza and Brad @ Firestone (Orlando, FL) 13: Guest and Citty @ Up- start Record Pool meeting (Jacksonville, FL) 14: David Banner and Big Bodie @ Kartouche (Jack- sonville, FL) 15: Ruben Studdard and @ 95.7 Teen Jam (Birmingham, AL) 16: Magno and Money Waters @ Rapid Ric’s studio (Austin, TX) 17: Noah, Ray Daniels, and the Bishop of Crunk @ Visions (Atlanta, GA) 18: Slim Goodye, Greg G, and Southstar @ Icon (Orlando, FL) 19: Tampa Tony, Tom G, and Luc-Duc @ Fuel (Day- tona Beach, FL) 20: Spiff, D-Money, Greg G, and DJ Maestro @ Icon (Orlando, FL) 21: Tosin, Hawk, and Jason @ Back Room for SXSW (Austin, TX)

Photos: Greg G (18); Edward Hall (09,16); Jaro Vacek (11); Julia Beverly (05,06,07,08,12, 13,14,17,19,21); Malik Abdul (01,02,03,10,15); Mercedes (20); Promotivation (04)

OZONE 23 mystory

A-Town Down: The Bishop of Crunk Speaks On The Accident That Killed His Girlfriend, Legion of Dymes Model Brianna “Chyna” Bowen

On March 3rd, 2006, Atlanta’s channel 11 Alive TV news reported, They never read me my rights. I never knew I was going to jail. I was “An accident in which an SUV flipped, killing a 21-year-old woman being treated unjustly. Let’s blame it all on the Bishop of Crunk, cause on I-75 southbound in Fulton County early , is linked to a we’ve got other rappers out here thinking they’ll get away with stuff. triple shooting at a nightclub on Marietta Boulevard.” Twenty min- I don’t know who was involved in the shooting [at Body Tap]. Every- utes after three people were shot in the parking lot of Northwest body in the A knows that I don’t have to carry no gun. My reputation is Atlanta strip club The Body Tap, a Toyota 4-Runner flipped over on what it is in the streets. I’m a people person. This is the South, South- I-75. 11 Alive’s report continued, “The driver of the Toyota, Jarreau ern hospitality. This is the new A, this is a revolution where we work [a.k.a. “The Bishop of Crunk”], has been charged with homi- together, not against each other. cide by vehicle in the second degree, failure to maintain a lane, driving with a suspended license, and possession of marijuana.” [The police thought I was driving] because somebody in the car was Here, the Bishop of Crunk tells his side of the story: in the wrong. It was basically somebody trying to stay out of jail. When the car ain’t yours, it’s your parents, and you think that somebody’s ’m the Bishop of Crunk, from the Streets of the A. I don’t have a job gonna get arrested and be gone forever, you’ll say whatever you need title, cause a job is something you have to work at. I love what I do. to say to get out of that situation. While I was in jail God brought to me II do it for the people, my home, the A-Town. I’m a one-man promo- Luke 17, and he calmed my nerves to understand the situation. Luke tional team, a manager, a producer, a rapper, a radio salesman, an 17 says, “If thy brother rebuke thee seven times in the day, forgive him actor, a comedian; you have to be multi-talented. seven times seventy.” See, that’s a lot of times to rebuke somebody that’s hating on you. So I had to forgive them. I work with [WHTA] Hot 107.9 on 80’s night every Thursday, and that’s where I was the night of the accident. My business partner Chyna, who At first I was charged with vehicular homicide in the first degree, which is also my lady, was with me. I didn’t know nothing about the shooting is a felony. When you’re charged with a felony you can go up the [at Body Tap] until after I was incarcerated. I was in a car accident that stream for it, for a long time. Then they dropped it down to second de- night. My girl was driving, and we didn’t get a chance to say anything. gree vehicular homicide. As far as the charges , my lawyer is handling I got arrested while I was in the hospital, heavily sedated. The police all that. I haven’t even got a court date yet. never came to the scene of the accident. I wasn’t told anything. I was told to shut up. [After I went to jail] my lawyers came in, and I went God is walking with me in this situation. I don’t have nothing to do to the courtroom four times. Each time I got [to the courtroom] my with any violent situations. I’m crunk, but I don’t get drunk. That night, charges were less than the first time I got there. By the fourth time, I I didn’t drink. That night I wasn’t even smoking. I heard rumors that I walked out on a signature bond. was doing a lot of other things, but that’s not my thing. I don’t pop pills, I don’t snort, I don’t do none of that. [I heard rumors] that [the police] [On the night of the incident] we had left Vegas Nights and went to found cocaine on me. You can’t find cocaine on the Bishop of Crunk Body Tap, which was a pre-planned situation. By the time we left, Chy- cause he don’t do that. Bishop is crunk. He exuberates energy at his na was the only one up enough to drive, period. The car flipped over. excellence, but he’s not ignorant or stupid. I don’t even know exactly how I got out. I guess it was by the grace of God. Everything just happened so fast, you can’t really explain it. I still I lost my mother and my father when I was young. They were won- get flashbacks. By the time I realized that the car had flipped over I was derful people. Sometimes God does things in your life to make you out of it. I rolled maybe five or six yards, just tumbling. It wasn’t just me, stronger. My girl meant a hell of a lot more to me than anyone else in but the three other people that were in the accident. this world will ever know. Chyna was the mirror image of the Bishop of Crunk. We could walk into a party and crank it up, without being By the time somebody came up [to help us], I was walking across heavily sedated. This is where people get it twisted: we can come in the highway with my socks all bloody cause I’d landed on my feet. the club and people are gonna instantly have a good time. That’s what My shoes came off, and my seatbelt had popped. I don’t know how it we do to the game. We bring good times to the club. We don’t bring happened. So I’m outside the car looking for Chyna and I realize that or violence to the club. Getting crunk is like catching the Holy Chyna’s in the middle of the road. I got picked up by somebody that Ghost. From promoting to entertaining to hosting parties to catering went to school with me and we went straight to Piedmont Hospital. parties to catering fashion shows, me and Chyna are non-stop. I can understand how a person could point the finger at Bishop. But when When I got to the hospital [Chyna] was breathing. I had gave her CPR. you point the finger at Bishop, how many fingers point back at you? They took her out of my arms and started running questions at me. By that time, I was gone. It wasn’t much I could tell anybody. I’m look- At the end of Luke chapter 17, God says that when a life is lost, an- ing at my girl on the table and I’m in a situation that I can’t have full other life is preserved. So in this situation, my life was the one that was understanding of because I’m not in control of it. They pull me out and preserved. It’s hard when you lose somebody and you’ve lost a part of try to strap me to a bed. The only thing wrong with you. You love your momma and your daddy for being me is my feet, but I guess they figured I could’ve had the ones that teach you and help you develop, but a broken neck or something. The nurse is slamming when you lose somebody that you love and are com- my head into this neck brace. They put me on this mitted to, it’s different. Sometimes I wish he would’ve bed and heavily sedated me with gas. So as I’m going took me. How could you take somebody like Chyna? down there’s a police officer working at the hospital, But he told me, “I’m the Alpha, the Omega, I heal, I and I ask him, “If this is against my will, or if I refuse, make better. There’s no death in my Kingdom, there’s is it against the law for them to do what they’re doing eternal life.” So I can’t do nothing but accept that he to me?” He said he didn’t have nothing to do with that took her and not me. and walked out. It’s hard for me to walk out in the public eye and be By the time I came to, I realized that my pants were the Bishop of Crunk and crank it up. Crunk is the exu- cut off, my ID was gone, my cell phone was gone, beration of energy, but my energy isn’t the same as and my camera phone was gone. They billed me for it was in the beginning because somebody’s trying $1,300 and told me I had to be transferred to Grady to suck the life out of me and put me in a situation Hospital, and my girl had just died. I sat there for I’ve never been in. I just lost somebody really close to two or three hours in a wheelchair, waiting on a car. me, and I don’t understand why I’m always targeted. I thought I was going in an ambulance, but they put Maybe it’s because I do what the Lord asks me to do. me in a squad car. When I got to Grady they strapped me to a bed and I found out that my foot was cracked. - as told to Julia Beverly

24 OZONE 01: Baby D and Frank Ski @ Visions for T.I.’s King album release party (Atlanta, GA) 02: Webbie, King Yella, and Lil Boosie (Baton Rouge, LA) 03: PK, KC, and Southstar @ Firestone (Orlando, FL) 04: Guest, Plies, and Cedric Walker @ Club 238 West (Gainesville, FL) 05: Bobo Luciano and Pimp C @ Nexxus Media Studios (Dallas, TX) 06: The Product @ SXSW (Austin, TX) 07: Oozie, Alex Gidewon, and a friend @ Visions 08: Choppa @ SXSW (Austin, TX) 09: Ms Cherry and Big T @ Visions for T.I.’s King album release party (At- lanta, GA) 10: Big Teach and DJ Nasty @ Firestone for Nasty’s birthday party (Orlando, FL) 11: Skai and Hutch Daddy Dollars reppin’ OZONE @ The Moon for TJ’s DJ’s (Tallahassee, FL) 12: Pupp and Keith Ken- nedy @ The Moon for TJ’s DJ’s (Tallahassee, FL) 13: David Banner and Stax @ Birdland (Jackson, MS) 14: DJ Buddha and his namesake (Orlando, FL) 15: and Baby on the set of DJ Khaled’s “” (Miami, FL) 16: Erica Morton and @ Studio 7303 (Houston, TX) 17: Jon Caramanica rollin’ in the OZONE/CRUNK!!! truck (Houston, TX) 18: Julissa and DJ Prostyle @ Metropolis (Miami, FL) 19: PK, Southstar, Smilez, and Tony on the set of “U Know” @ Icon (Orlando, FL) 20: Eddie DeVille, DJ Quote, Michael Watts, and Trae @ The CORE DJs conference (Houston, TX) 21: J Kelly, Dela Candela, and Young Cash @ Kar- touche for David Banner’s birthday party (Jackson- ville, FL)

Photos: DJ Quote (20); Edward Hall (05); Jaro Vacek (13); Julia Beverly (01,03,07,09,10,12, 15,21); Keadron Smith (16); King Yella (02); Malik Abdul (04,11,18,19); Matt Sonzala (06,08,17); Mercedes (14)

OZONE 25 mystory

Second Chance: BloodRaw Acquitted Of Federal Drug Charges In Panama City, FL

Representing Panama City, FL, Bruce “BloodRaw” Falson spent was on my mind, the whole time. I had a very peaceful three months most of his teenage years in and out of prison and served a six [awaiting trial]. I never had a restless night in jail. year sentence for drug trafficking. Released at age 21, he decided to turn his life around and pursue a music career. He generated a I asked God to let my lawyer be my vessel. During that whole period heavy buzz on the underground circuit with records like “Repre- of time, I never even discussed my case with my lawyer. My lawyer sent,” “ Burn” featuring , Grandaddy Souf’s [Clifford Davis] and my sister [Mya] and my manager Charles Wake- “Gameroom” with Three 6 Mafia, and Zay’s “Pump Yo’ Brakes” ley got together and came up with a strategy that was real powerful. featuring , landing a deal with Young Jeezy’s CTE label. In They showed [the jury] that I was a guy who got in trouble with prior addition to his solo deal with CTE, BloodRaw is a member of the drug offenses, but turned my life around and really tried to do some- group USDA, which is signed to Def Jam. thing positive. Coming from a negative background, I made my life into something positive but still did hang around the guys doing what BloodRaw was acquitted of Federal drug charges on April 5th, I used to do. They were still my friends, feel me? I didn’t turn my back 2006. Here’s his story: on where I came from, but I turned my back on what I used to do.

was arrested the day before I was supposed to leave to go to Europe When I decided that I just wanted to do music, God took me through [on tour with Young Jeezy]. Me and my brother Slick Pulla stopped a phase of taking everything I ever had. He took all my material things. Iby the passport office. When I went to the passport office and pulled He took all my cars and all my money, and told me, “If this is what you into the parking lot, being from the streets, I watch my environment. As really wanna do, you really gonna have to struggle. It ain’t gonna be I was getting out of the car, I saw three different strange vehicles, and an easy ride. I’m gonna take your pride away from you. I’m gonna take all the vehicles had four people in them. That ain’t common. everything of the world away from you and see if this is what you really wanna do. I gave you this blessing, and you really do touch people As I’m walking up the stairs to the passport office, a lady comes out- with your music, but I’m not gonna allow you to have the things of this side and she’s acting all nervous. She’s like, “Are you here for your world and still try to live this lifestyle. You gonna have to struggle.” passport?” and I told her my name. As I’m talking to her, I see the U.S. Marshals get out of the car. I open my phone and get ready to call During that period of time, things started vanishing. The money and my sister. As I’m calling my sister and walking in the door, they walk jewelry started leaving. I started selling my cars. [My wrapped van] in, grab my phone, shut the phone off, and ask me what my name is. got repo’ed. Feel me? I got evicted out of my house [in Panama City], They took me into custody. I went to the Atlanta penitentiary, and they which was another reason for me to go to Atlanta and do what I have told me what I was charged with. It was a charge in Panama City: con- to do in this music shit. God started taking everything away from me, spiracy to distribute five keys of cocaine and fifty grams of crack. They and it was a blessing that He did because that was a big part [of my had been investigating during a five year period of time, since 2000. defense at the trial]. Looking back at it now, that means He was work- ing back then. So on my behalf, my was the best thing I was transported to Tallahassee, where I stayed until a week before going, and I had people that took the stand and spoke on my behalf. my trial. I went to trial on Monday [April 3rd, 2006]. They used some They’re not used to that in the Federal system. They’re used to niggas of my song lyrics during the trial; they used some names I mentioned being dumb and not being able to account for what they have. and tried to say that they were my co-conspirators. On one song, I had named 20 names, and they picked out three names. They just took the I feel like this situation really wasn’t for me. I went through this trial for a names that they wanted to take and said them to the jury. They also lot of dudes who are in my same situation; dudes who are really tryin’ tried to use the lyrics to some of my other songs [like “Indictment Pa- to put their heart into this music game. Maybe my story will touch a pers”] against me, but they couldn’t use them because it hadn’t been lot of people. A lot of niggas say they’re “real,” but can you imagine presented as evidence when the trial first started. having ten niggas on the stand testifying against you? But regardless of what [those ten guys] did, I still don’t have no problem with them The names that I said in the song were supposedly my co-conspira- dudes. If they get out or whatever, I wouldn’t talk to them, but I don’t tors. [The prosecution] said, “These guys that he named in this song hate them at all. Even though they were trying to take my life away were part of this conspiracy.” Ten dudes got on the stand [and testified from my family and my son, I still don’t hate them dudes. against me]; some of them where the names I said in the song. My lyr- ics are real; I don’t rap about nothing that’s fake. There was a point in I feel like I was spared in this situation because God has a plan for me. my life when I really did [the things that I rap about]. But I wasn’t guilty My [music career] is finna be so big it’s gonna be crazy. I’m about to of the crime they were charging me with. I never said that I never sold drop this called Indictment Papers, and we gotta finish up this drugs, but I’m not guilty of the things they charged me with. USDA album and film the video for “Burning Up” real soon.

I would’ve never done a song called “Indictment Papers” if I didn’t feel - as told to Julia Beverly (Photo: Big Cee Jay) that in my heart. I knew there would come a time I would have to go through something pertaining to my past; in the city where I’m from, they don’t want to see you make it. When I did the song, I didn’t know that I had indictments coming. So it had to be God who put that on my heart. Anytime you’re dealing with a situation that no man can get you out of, you have to put your trust in God, and that’s really what I did.

I was facing a minimum mandatory life sentence because I had two prior drug convictions. I didn’t even know until after the trial that they had offered my lawyer a twenty year plea bargain.

I put my trust in God with my whole situation and gave him my career. It wasn’t even about me. Whatever time I’m facing, I could do. But my family can’t bear it. My sister can’t bear it. of people’s lives during my time of coming up in the rap industry, and I have a lot of people depending on me. I prayed to the Lord and I told Him: “You BloodRaw (center) after his acquittal know my heart. You know what I’ve really been doing. You know my with manager C. intentions and everything I’ve been working hard for. If you want me Wakeley (left) and to do time, that’s no problem. But if I’ve got another chance, and you lawyer Clifford know my heart, then deliver me out of this situation.” That’s all that Davis (right)

26 OZONE 01: Smitty and his wife @ Firestone for DJ Nasty’s birthday party (Orlando, FL) 02: DJ Princess Cuts and Bingo @ The Moon for TJ’s DJ’s (Tallahassee, FL) 03: Juan, Chino, Adept, and Garfield @ Metropolis (Miami, FL) 04: KC, DJ Nasty, and Krazy Yogi @ Firestone (Orlando, FL) 05: Mr. & Mrs. Skip Cheatham with Mic Mood- @ ATL premiere (Dallas, TX) 06: E and Marcus. @ Bird- land (Jackson, MS) 07: D, Big Hurt, DJ Khaled, Orlando, and DJ Chris- tion @ Bahama Breeze (Tampa, FL) 08: Plies and Teka @ Club 238 West (Gainesville, FL) 09: Bandit and Z-Ro @ SXSW (Austin, TX) 10: Young Cash, guest, and Lil Hen @ Kartouche (Jacksonville, FL) 11: Ray J and Jill Strada @ Power 95.3 car expo (Orlando, FL) 12: Jock Smoove @ Club 238 West (Gainesville, FL) 13: , Swift, and Julia Beverly @ Back Room for SXSW (Austin, TX) 14: Tony C and some of his calendar models @ Volume (Orlando, FL) 15: OZONE on the set of Smilez & Southstar’s “U Know” video shoot @ Icon (Orlando, FL) 16: DJ Drama, guest, Em- peror Searcy, Felli Fel, DJ Irie, Cool, Bibi Guns, DJ Prostyle and Jonny Bravo on the set of DJ Khaled’s “Holla At Me” (Miami, FL) 17: Tony Draper and Pookie @ Rapid Ric’s studio (Austin, TX) 18: Tampa Tony, So South, and Great @ Club Fuel (Daytona Beach, FL) 19: Owen B, DJ Nasty, DJ Chino, and LVM @ Fire- stone (Orlando, FL) 20: Tarvoria, Sir Knight Train, and TJ Chapman @ 95.3 expo (Orlando, FL) 21: Bishop of Crunk @ Visions (Atlanta, GA)

Photos: Charles Reece (05); DJ Christion (07); Edward Hall (17); Greg G (14); Jaro Vacek (06); Julia Beverly (01,02,10,15,16,18,19,21); Luxury Mindz (13); Malik Abdul (03,08,11,12,20); Matt Sonzala (09); Mercedes (04)

OZONE 27 mystory

A Bad Day In Port Arthur: Pimp C’s Bentley Takes A Hit

Jacktown Paparazzi getting the exclu- Mike Jones and sive in TX? Yes, that’s right, our trusty Pimp C on set minutes before visual reporter Jaro Vacek was on the the accident scene when it all went down. Here’s his report from the front lines:

t’s Wednesday, April 19th, 2006. I’m in Port Arthur for the last set of the video Ishoot for Pimp C’s single “Pourin’ Up,” which features Mike Jones and Bun B and is directed by Boomtown.

Around 5 PM, after signing many auto- graphs and taking photos with young fans, Pimp C left in a silver Bentley, fol- lowed closely by Mike Jones in black Bentley.

Within moments of their departure, the policeman present on the set said something about a shooting down the street and raced off in pursuit of the shooters. Later, he found out on the police radio that Pimp C’s car was involved in an accident caused by the shooting.

Five blocks away from the set, Pimp’s Bentley was smashed on the rear driver’s side when a maroon Impala ran the red-light. The Impala was being chased by another vehicle, whose occupants were shooting at it in the proximity of Pimp C and Mike Jones’ Bentleys. Even though there were many bullet holes in the Impala, no one appeared to be hit. There were no bullet holes in Pimp or Mike’s Bentleys.

Pimp C’s bodyguard the 7’4” giant J.T. and his rela- tive were taken to the hos- pital with minor injuries as a result of the crash. Pimp C, who was driving, was unharmed in the incident.

The shooting was not related to Pimp C, Mike Jones, or the video shoot, Bullet holes in as some rumors may have the windshield of indicated. It appears that the Impala that ran into Pimp C’s Pimp C was simply in the Bentley! wrong place at the wrong time.

- Jaro Vacek www.jarovacek.com

28 OZONE 01: UTP and Juvenile reppin’ OZONE @ Vi- sions for T.I.’s King album release party (Atlanta, GA) 02: Slim Thug ridin’ big (Houston, TX) 03: Big D and 8Ball @ Vi- sions for T.I.’s King album release party (Atlanta, GA) 04: Greg Street and @ for Bubba Sparxxx’ Charm lis- tening party (Atlanta, GA) 05: Southstar, KC and friends on the set of “U Know” (Orlando, FL) 06: Kunsistent-C and Plies reppin’ OZONE @ Club 238 West (Gainesville, FL) 07: Shife and crew reppin’ OZONE @ The Moon for TJ’s DJ’s (Tallahassee, FL) 08: and Tim- baland (Miami, FL) 09: Chris Turner and Jay Love @ Firestone (Or- lando, FL) 10: Mike Jones and a video model on the set of Pimp C’s “Pourin’ Up” (Houston, TX) 11: Tampa Tony, Piccalo, and TJ Chapman reppin’ OZONE @ Club Fuel (Day- tona Beach, FL) 12: Jermaine Dupri and DJ Envy (Atlanta, GA) 13: Mercedes and Greg G @ Icon (Orlando, FL) 14: Jen and friends @ Firestone (Orlando, FL) 15: Z-Ro and Cory Mo @ SXSW (Austin, TX) 16: DJ Demp and David Banner @ Kartouche (Jacksonville, FL) 17: The CORE DJs confer- ence (Houston, TX) 18: Jean Grae and Rae- kwon @ SXSW (Houston, TX) 19: Lupe Fiasco and Gabe Tesoriero @ Fader SXSW party (Austin, TX) 20: Nick Cannon and Izzy @ Power 95.3’s car expo (Orlnado, FL) 21: Mello, Iceage crew, and Reggie reppin’ Krim- inaltized Jeans on the set of Pimp C’s “Pourin’ Up” (Houston, TX)

Photos: Ashlee Brath- waite (09); Bogan (08); DJ Quote (17); DJ Sosa (12); Greg G (13); Julia Beverly (01,03,05,07,11,16,19); Kead- ron Smith (10,21); Kool Laid (02); Malik Abdul (06,14,20); Matt Sonzala (15,18); Shannon McCollum (04)

OZONE 29 industry101

Chad Brown ()

What’s your job title? I’m the Southeast Regional Mixshow Manager, based out of Atlanta, GA. I handle mixshow for both of the Carolinas, Georgia, Florida, Ala- bama, and Tennessee. With all the mixshow pri- ority records that we have, we try to build it from the ground up from the clubs and the . We basically try to break records. When I get a record I try to stay unbiased and keep my own opinion Do you only deal with DJs or are you involved with other forms of out of there. There are a lot of records out there that have worked that promotion? I didn’t think were gonna work, beyond Jive. You never know what’s My job title is basically just based off mixshow, but I take it to the next gonna work unless you try it. level because I’m dealing with a lot of street teams, club DJs, and websites out here. I take a different angle besides just the mixes, be- Do you have any role in finding new talent? cause a lot of these records are built before radio. It’s a combination Jive has an open-door policy, so when I go to conferences I get a all together, so by the time I do take the mixes to the radio I’ve already bunch of demo CDs and I try to find one that’s hot. I don’t wanna be in got a street buzz on those records. Hopefully the mixers are on it so mixshow forever. I wanna move up in my career, whether it’s with Jive the record can get that break. or another company. I would love to find an artist, mold an artist, and break an artist. If I have to work for somebody, I’d like to be an A&R. How long have you been at Jive? Somebody that I respect as an A&R is Mark Pitts. He’s , Ciara, About nine months. I was a part of the BMG group before they merged and ’s A&Rs. He’s molded careers. Eventually I want to be with Sony, so I got laid off at the top of last year. But before I got laid able to mold a career. off, there was a cat named Noah I’d known since I was younger. I was working in the mailroom for BMG, and I started working with a lot of You’ve even got your own catchphrase, “What can Brown do for mixtape DJs, club DJs, and websites to pump Noah up. Noah actually you?” Is that part of your goal, to market and brand yourself as a got his deal off of the buzz I helped create. So when I got fired I stayed young executive? with Noah, kept building his buzz. Jive had so many artists signed Yeah, I’m only 25, so I look at myself as a young exec. I am a brand. from the South that they needed a mixshow dude in the South, and When I say, “What can Brown do for you?” I’m saying, “How can I help I already had the relationships from BMG so I got the job. Jive kinda you, help me?” I already know I deliver results, because I stick to my created the job for me. word. Chad Brown is the brand. I also say that I’m the “#2 mixshow rep” in the South. I started positioning myself as #2 because I got tired Is it hard for you to be based in Atlanta rather than being in the of being overlooked. Being #2 gives me a challenge: whoever the fuck main New York office? thinks they’re #1, stay on your toes cause I’m right on your ass!” It’s actually kinda better that way. They need somebody that’s on their team but in the streets as well. A lot of people that are in New York sit Which DJs are the highest priority to you? Does it depend on their in their office and don’t go in the streets. So they kinda need a person radio affiliations or their market? like me. I don’t think I could work in an office like that. All these artists Anybody that fucks with me, I fucks with them. The reason I like the need a person in the streets that’s gonna represent them, and that’s position I’m in is because I feel like an underdog. DJs are the under- where I come in. The South’s got a crazy movement right now and I’m dogs of the whole music industry, and you always wanna see the un- kinda like a guinea pig. With the Chris Brown record “Run It,” a lot of derdogs win. Some DJs think they are bigger than life, but then some the people in the South didn’t fuck with the record and we kept grindin’ are real humble. I’m a real dude. I have personal relationships with all with it for a while until it broke. my DJs, and I don’t treat no DJ better than the next DJ. I just treat them like friends. If they’re down with me, I’m down with them. They take Back in the day, artists like UGK had problems with Jive, and felt care of me and I take care of them. like the label didn’t understand Southern music. Do you think that’s changed now that people like yourself are at the label? What are the most important places for a DJ to go? I think that’s one of the reasons the position got created, because they You gotta go to all the conferences, The CORE DJs, TJ’s DJ’s, the saw the movement the South was making and didn’t want to drop the Power Summit, you gotta be in the mix. You gotta network to create ball. Niggas didn’t see the South as a big player in the game at one your brand. Go to all the DJ conferences and industry events, because point, but eventually, if you can’t beat ‘em you gotta join ‘em. Jive at the end of the day this whole business is off your relationships. I try was built on pop music, but as a whole, hip-hop is the most universal to be at all the events and would advise all the DJs to do the same. music right now. If you listen to a crossover station all they play is hip- hop. So Jive realized the importance of being in the hip-hop game and Having worked your way up from the mailroom, what’s some ad- decided to step their game up. vice you could give to someone trying to get into the industry? Never give up. Just keep going. The difference between success and With a record like T-Pain’s “Sprung,” for example, how difficult is it failure is less than one minute. The second you give up, you could’ve to market to both the hood clubs and the crossover market? succeeded. Some of the greats came from the mailroom. Clive Da- The crossover part is easy. The crossover kids like what the hip-hop vis came from the mailroom. Puffy was an intern. Kevin Liles was an kids like. You just have to get the streets and the hood behind you to intern. You can be at the bottom and rise to the top. There’s more sell records. Most people try something and when it doesn’t work, they motivation because you’ve seen people come from the bottom to the stop trying. But me, I try to knock down doors in ten different direc- top. Success is obtainable. tions. If you don’t fuck with the record now, you’re gonna fuck with the record label. If they give me a record to work, somebody thought it Anything else you want to say? was a hit, so I don’t give up on the record. I keep pumping the records Look out for Dre. Bonecrusher’s back on the grind. Kelis is about to and give 100%. I believe in all the artists that are here, cause at the end expose herself to the world with a new look. We’re about to do some of the day if their records don’t pop, I’ll still have a job but they’ll be out things with Too Short and Noah. I’ve helped break records and now there hungry. I got a personal relationship with some of these artists so through the coalition of Fear Factor Music Group, I’ma break some I do the best I can on my end to get them poppin’. more records. Check out www.fearfactormusicgroup.com or hit me up at [email protected]. What can Brown do for you? If you’re asked to work a record that you don’t like personally, do you still push it as hard? - Words and photo by Julia Beverly

30 OZONE 01: DJ Quote and DJ Drama @ The CORE DJs Conference (Houston, TX) 02: Money Black, JT, and Pimp C @ Nexxus Media studios (Dallas, TX) 03: DJ Nasty, Tony C, and DJ Infinite @ Blue Room (Orlando, FL) 04: Ray J and Atiba @ 95.3’s car expo (Orlando, FL) 05: Mr. Blakes, Tum Tum, and Black Mike @ Rapid Ric’s studio (Austin, TX) 06: Gator Boys @ 95.7 Teen Jam (Birmingham, AL) 07: Germaine Martel, Churd, guest, and Destine Cajuste @ Icon for “U Know” video shoot (Or- lando, FL) 08: Lin Ye Yuan and Matt Sonzala @ Fader SXSW party (Austin, TX) 09: T Biles and @ F4 children’s toy giveaway (Nashville, TN) 10: Disco and DurteRed @ Firestone (Orlando, FL) 11: K Paul, Point Blank, and KB @ SXSW (Austin, TX) 12: DJ Khaled and DJ Drama on the set of “Holla At Me” (Miami, FL) 13: Avant and Shoeb Malik @ Universal (NYC) 14: Barnard and Camron @ Kartouche (Jackson- ville, FL) 15: Sweetz, Pastor Troy, and David Banner @ Vi- sions for T.I.’s King album release party (Atlanta, GA) 16: , Trick Daddy, Baby, and on the set of DJ Khaled’s “Holla At Me” (Miami, FL) 17: , MIke Calderon, and Cubo @ Firestone (Orlando, FL) 18: Young Cash, Derek Washington, and Citty @ The Roxy for Upstart Record Pool meeting (Jacksonville, FL) 19: Bubba Sparxxx and Rico Wade @ Stankonia (Atlanta, GA) 20: Baby D and DJ Jelly with 95.7 The Beat ladies (Birmingham, AL) 21: Pimp C, Boomtown, and Bun B on the set of “Pourin’ Up” (Houston, TX)

Photos: DJ Quote (01); Edward Hall (02,05); JoJo (09); Julia Beverly (07,08,10,12,14,15, 16,17,18); Keadron Smith (21); Malik Abdul (04,06,20); Matt Sonzala (11); Mercedes (03); Shannon McCollum (19); Shoeb Malik (13)

OZONE 31 djprofile

Mr. Mauricio (Miami, FL) crazy. Where are you from? How did you get started DJing? My folks are from New York, but I’m born and I just moved to the beach tryin’ to get a regular job, and my homeboy raised here in Miami. got me a job at some club. The promoter did a party on the beach. I never showed my interest in wanting to DJ, and no one really knew Where do you currently DJ? that I DJed. This was back in 1996 or so when hip-hop was in the I’m on the radio every day doing the 5:00 traffic mix on 103.5 The Beat small room. Hip-hop was never in the big room in the 90s. One day and I’m in the clubs six nights a week at Mansion, Opium, and Prive. the resident DJ was sick, and the owner asked me at the last minute I’ve also got my own separate radio show on Friday nights from 10- because my boy told him that I DJed. I was like, “Hell no.” It was a big midnight. club, Madonna owned it. It was the spot to be. It was called Liquid. Anyway, I went in there and rocked it, and once I played they were like, What’s your strongest quality as a DJ? “It’s your night, every Friday, from now on.” So Miami Beach is just like Other DJs are one-sided. I’m working six nights a week at the top three anything else. Once you become a hot commodity, everybody wants clubs in Miami. I’m on the radio every day during peak hours. I’ve trav- you. I was a nobody who came out of nowhere, and all of a sudden eled all around the world. I’ve played in Vegas, New York, everywhere. they wanted me to come to their clubs. The ball started rolling and The difference with me is that most of the spots I do are high-end. that’s what got me here. That’s what I focus on. On the beach in Miami, if you wanna make money you gotta be at the high-end spots. That’s what it is down here. How did you get hooked up with your radio gig? That’s what I do; Mansion and Prive. It’s not the same as playing in the I’ve been on the radio for four years. I used to travel four or five times spots I grew up at. a week, and that’s how the radio came about, through the regional guy with Clear Channel. He wanted me to come do a pop station out When you say “high-end,” what kind of audience are you talking here called Wild 100 because Clear Channel didn’t have The Beat yet. about? WEDR was the main hip-hop station at the time. So the regional guy White, Euro-trash, models and stuff like that. That’s what Miami Beach went to a club I was doing and asked me to come do my own mix at is known for and how it’s portrayed on TV, and that’s basically what I the crossover station. When Clear Channel finally opened up The Beat, do. I do all the big parties, like Paris Hilton and Scott Storch and stuff I’ve been with the station from day one. It just came out of nowhere, like that. To me, it’s kinda corny, but it is what it is and I accept it. Bot- man, so I’m really blessed to be in Miami and be in the right place at tom line, that’s where the money is, and I’m trying to make money. the right time. I’m grateful for everything. A lot of people in Miami don’t That’s what I do and I do it better than anybody else. When I’m in New play their cards right and don’t take the opportunities that are offered York I do the high-end spots too and spots with Enuff and Camillo and to them. A lot of people are like, “You do the bourgeois clubs, you do the other Heavy Hitters up there. It just depends on which market I’m the white clubs,” but the people that grew up with me know I’m still in. I do stuff with Felli Fel in L.A.; I do high-end stuff. I try to balance me, man. I’m still Mauricio from down South. I just do what I gotta do myself out just so I can branch out, not holding myself to one market. to get my money. Nobody does as many clubs as I do and that’s what I think that’s the problem with the majority of the DJs; they just stick to pays. I don’t give a fuck if it’s black, white, Hispanic, whatever. Where one thing. I try to do everything and I try to corner the market. I’m at pays the most, and I’ll play for whoever.

Why do you think the “Euro trash” at the “high-end” spots you How did you become a part of the Heavy Hitters DJ crew? spin at want to hear hip-hop music? That came through DJ Camillo. Me and Camillo have known each Me, I’m 27. I got my first album when I was 17 or 18. I remember when other for a minute. Camillo and my homegirl Beverly Bond have been I first started out, and it was unheard of for a club in Miami Beach to coming down here for years. Camillo does all the hood spots and Bev- play hip-hop. There was one or two hip-hop spots but they were in erly does the trendy shit. I had no affiliations down here and they were the hood. All the big clubs like, “Have you heard of were playing house, the Heavy Hitters?” My techno, trance, crazy family’s from Queens, so shit, and it’s just evolved I actually have an apart- since then. Hip-hop’s so ment up there. I grew up commercialized now. It’s listening to Kid Capri and funny. I’ll play Rick Ross Funkmaster Flex, so when in a club that’s honestly they approached me to completely full of white get down with the Heavy models and French and Hitters, I just felt blessed. German people, and they I’ve been with them for know the words to every three years now, that’s like song. That’s how hip-hop my second family. is evolving. To me, it’s crazy the money that hip- What are the advantages hop brings in. Anybody of being with the Heavy can tap into it, whether Hitters? you’re a hip-hop produc- It’s not a big crew of 800 er, DJ, clothing designer, DJs, it’s only 18-20 DJs. radio station, artist, A&R, In this industry, it’s good or anything in the urban to have affiliations with market. Everybody’s somebody that can help cashing in right now, you out. It’s difficult to get because regular people in places just based on and rich people and Eu- your skills. I see so many ropean people can’t get artists and DJs in Miami enough of it. They wanna that are talented or better wear chains and walk than the people that are around with our clothes on, but they haven’t had on. They just wanna live the same opportunities. the life. For the last few You’ve gotta learn to take years turned away; now those opportunities and they embrace it. It’s just make the best of them.

32 OZONE 01: Big Neil and Michael Watts @ Matrix (Houston, TX) 02: Kamikaze and David Banner @ Birdland (Jack- son, MS) 03: P$C’s AK and his sister @ Visions for T.I.’s King album release party (Atlanta, GA) 04: Disco, Chino, and Juan @ Firestone for DJ Nasty’s birthday party (Orlando, FL) 05: Nubreed Entertainment and R-Senal @ The Moon for TJ’s DJ’s (Tallahassee, FL) 06: DJ Chill and Michael Watts @ Fader SXSW party (Austin, TX) 07: Duval County Rock Stars @ David Banner’s birthday party (Jackson- ville, FL) 08: George Lopez and family @ ATL premiere (Dallas, TX) 09: DJ EFX and Smitty @ Firestone for DJ Nasty’s birthday party (Orlando, FL) 10: Yung Joc and Chad Brown @ The CORE DJs conference (Houston, TX) 11: Big Boi reppin’ M8n- geez (Atlanta, GA) 12: Smilez and a video model on the set of “U Know” (Orlando, FL) 13: T.I. and Omar Sharpe @ Whispers (Orlando, FL) 14: Pimp G and his daugh- ter reppin’ OZONE @ The Roxy (Jacksonville, FL) 15: Paul Wall and Pitbull on the set of DJ Khaled’s “Holla At Me” (Miami, FL) 16: Basswood Lane reppin’ OZONE @ Back Room for SXSW (Austin, TX) 17: The Runners, Adept, and Chino @ Metropolis (Miami, FL) 18: Rohaun’s body paint models @ TJ’s DJ’s (Tal- lahassee, FL) 19: Pimp C and , Jr. on the set of “Pourin’ Up” (Houston, TX) 20: Kamikaze and ladies @ Jackson State (Jack- son, MS) 21: Roland Powell and Big Kuntry reppin’ OZONE @ Visions (Atlanta, GA)

Photos: Chad Brown (10); Charles Reece (08); DJ Sosa (11); Jaro Vacek (02,20); Julia Beverly (03,04,05,07,09,12,14, 15,16,21); Keadron Smith (19); Kool Laid (01); Malik Abdul (04,17,18); Shoeb Malik (13)

OZONE 33 q&a

Ghostface

How you doing? I’m chilling right now, promoting this album, doing it big. This album Fishscale just dropped in stores right now. Just finishing up these shows right now.

How have things changed for you? The Wu was like a bunch of greats but at the same time it was a lot of us. It’s a lot different when you on your own. You ain’t got anybody to hold your hand. It’s like the com- ing of man. You learning the business on your own and you’re making your decisions on your own and how you want your album to sound and what direction you gonna go with it. It’s just living on your own.

How do you engage people in your shows? I don’t know, I always had a lot of soul and emotion in me. Over the years I learned to mingle with the crowd. When you first come in you don’t what to do because it’s just a lot of people there. I know how a lot of brothers who just get the mic and stand there and rhyme all day but the crowd want you to make them feel so I just want to grab them and make them feel how I feel while I’m do- ing it even if I don’t catch them with my words. But I do catch them with my words so I give them the best of both worlds, give them my energy and my vocal.

What can we expect from the album? It’s refreshing as far as the sound. The game has changed drastically since when I came out with Wu. Just expect the same old Ghostface. “If it ain’t broke, don’t fix it.” I just do what I do and I went with a lot of underground producers. I just wanted to bring a nice vibe. When I do albums it’s based on the vibe.

Even the women are feeling you. How’s that? It’s all good because I’m here for women too. They can go ahead and dig my joints like the joint I got with Ne-Yo. I want to appeal to everyone - male, female. All races from I write is not a good rhyme but I just do me and what sounds good to all sides of the board. It’s all love to see more women. As I go along I’m me. I do need more practice though. And when I practice things are going to do more music for women because they can help us reach going to go crazy. When you exercise your art you definitely get better. the babies more quicker than the men because there aren’t a lot of men in the households these days. I’m going to go ahead and throw What are some standout tracks to you from the album? the darts for them too. “My Strap”, “Crack Spot”, and “Underwater”. Those tracks really show my emcee skill. I like to go with different aspects. Even “Bus Stop” is a A lot of artists don’t show a softer side. How do you do it? nice one. These are different drug topics. I don’t know. I’m just not afraid to express what I feel inside. When I go to my shows I got shows in my head lined up that I can go to Did the album take a while? Broadway and do what I do. I just like to create what I see in my head. I flew through the album. As long as I’m locked down I can go ahead With other brothers maybe the swagger ain’t there or they scared to and do it. This album took me four or five months. I don’t smoke weed let it go. I really can’t tell you though because it’s just me. I just like to no more and this is my first album without being on weed. Sometimes do my music. weed opens up a closed door and sometimes music sound better on weed. I could have taken a hit and gotten some lines but then it would There’s seems to be an absence of substance in music today, not make me forget sometimes. Plus I’m a diabetic so the weed used to like the soul music. Speak on that. make me sluggish and it’d take me a long time to do things. With weed Cause it’s a whole new generation of fans. When I was 18 I had my first I’d have taken a different approach with the album so I don’t know child and I know that as a parent they wasn’t even playing that kinda which way is better but I’m doing what I need to. music around their children. When I was a baby my parents were play- ing that. Everything new now. In the late 80s is when the parents lost It seems like some maturity is coming back to the game. How do control and that stopped children from knowing who God was cause you feel? we didn’t even want to . Everything shut down so that’s That’s peace right there. When I hit 40 I can’t keep rhyming about why everything is all off balance now. There’s no guidance. I’m scared crack, guns, and murder. It’s gotta be a time when you go ahead and that if something happen to the older generation, what’s gonna hap- start rhyming about real life. We can save the world through our music. pen to soul music? Even if you selling drugs you got your radio with you and people love music. I just feel like as we grow we need to watch what we’re saying Your lyrical abilities stand out. How do you make sure you stay and be a lot more positive. We’re caught in a devil mentality and it’s on top of it? not amounting to anything and there’s kids believing what we saying Nowadays I need more practice. I need practice because I’m not prac- on the records when they should be getting their education. They go- ticing as much and I find myself getting stuck and sometimes it takes ing to mess up and get locked up. I want to start getting at everyone. I me a long time to write a song. It depends on the zone I’m in, some- gotta start delivering the message to them. times I can just see. Even if I like it too much it becomes hard because I don’t want to mess up the story. I used to use a mirror when I was - Rohit Loomba (Photo: Scott Schafer) younger but now that I’m older I just take my own time. Every rhyme

34 OZONE 01: hyping the crowd @ 95.3 car expo (Orlando, FL) 02: Tampa Tony, Greg Frankel, and J-Shin (Day- tona Beach, FL) 03: Milk, Ted Lucas, and Dre on the set of DJ Khaled’s “Holla At Me” (Miami, FL) 04: Treal reppin’ OZONE on the set of “U Know” (Orlando, FL) 05: Smackabatch and crew @ The Moon for TJ’s DJ’s (Tallahassee, FL) 06: Duval County reppin’ OZONE @ Kartouche for David Banner’s birthday party (Jacksonville, FL) 07: Michael Watts and Kot- tonmouth @ Fader SXSW party (Austin, TX) 08: Gates and Plies @ Club 238 West (Gaines- ville, FL) 09: Cat Daddy interviewing T.I. @ ATL premiere (Dal- las, TX) 10: Corey, Nic, Yung Joc, and Nitzo @ Club 1919 (Dallas, TX) 11: Malica and Atiba @ Firestone (Orlando, FL) 12: Dela Candela, Stacey, and TJ Chapman @ Kar- touche (Jacksonville, FL) 13: Doc Holladay and G-Money @ Firestone (Orlando, FL) 14: Kinfolk Nakia Shine and his wife @ Visions (Atlanta, GA) 15: David Banner, Bigga Rankin, and Demp @ Kar- touche (Jacksonville, FL) 16: JC, DJ Chill, and @ SXSW (Austin, TX) 17: Pimp G, Tom G, and Haitian Fresh (Daytona Beach, FL) 18: Smitty and DJ Khaled @ Firestone (Orlando, FL) 19: Akon, DJ Jelly, and Devyne Stephens @ Teen Jam (Birmingham, AL) 20: Smilez, TJ Chapman, TV Johnny, Southstar, adn Haitian Fresh @ Icon (Orlando, FL) 21: Tarvoria and Feel Good crew @ Fuel (Daytona Beach, FL) 22: Raw, Shot Out, and Hoe Tester @ The Roxy (Jacksonville, FL)

Photos: Charles Reece (09); J Lash (03); Julia Beverly (05,06,12,13,14,15,1 6,18,20,21,22); Malik Abdul (01,02,04,08,11,17,19); Matt Sonzala (07); Promotivation (10)

OZONE 35

01: B-Legit and Z-Ro @ SXSW (Austin, TX) 02: JoJo, Tim Spider Webb, and Terry reppin’ OZONE (Nashville, TN) 03: Treal reppin’ OZONE (Daytona Beach, FL) 04: Smilez & Southstar, Treal and crew on the set of “U Know” (Orlando, FL) 05: So South, Tampa Tony, and J-Shin @ Club Fuel (Daytona Beach, FL) 06: Derek Washington and friends @ Upstart Record Pool meeting (Jackson- ville, FL) 07: Dolowite loves the kids (Nashville, TN) 08: Malica and Greg G @ Volume (Orlando, FL) 09: DJ Miami and Kaspa reppin’ OZONE @ The Moon for TJ’s DJ’s (Tal- lahassee, FL) 10: Point Blank Entertain- ment @ The Moon for TJ’s DJ’s (Tallahassee, FL) 11: Atiba and Tarvoria @ 95.3’s car expo (Orlando, FL) 12: Smitty and Young Cash @ Firestone for DJ Nasty’s birthday party (Orlando, FL) 13: Julia Beverly and Fidel Cashflow @ DJ Slique’s studio (Orlando, FL) 14: Smilez and Jermaine on the set of “U Know” (Orlando, FL) 15: Cool, C-Ride, and Dre on the set of DJ Khaled’s “Holla At Me” (Miami, FL) 16: Southstar, Chaos & Order, and Smilez on the set of “U Know” (Orlando, FL) 17: Pookie, Lucci, Big Ben, Uncle Pauly and crew @ SXSW (Austin, TX) 18: Tosin, UZ, DJ Bounz, Oscar Garcia, and James Dean @ SXSW (Austin, TX) 19: All Pro crew @ Me- tropolis (Miami, FL) 20: Guest, Cedric Walker, Bigga Rankin, and Tyte Wurk @ Club 238 West (Gainesville, FL) 21: Treal, Jay Love, and Malik Abdul @ Icon (Or- lando, FL)

Photos: C-Ride (15); Destine Cajuste (21); DJ Slique (13); Edward Hall (17); Greg G (08); JoJo (02,07); Julia Beverly (05,06,09,10,12,14,19); Malik Abdul (03,04,11,16,19,20); Matt Sonzala (01)

OZONE 37 38 OZONE 01: Rick Ross and Tampa Tony @ Club Fuel (Daytona Beach, FL) 02: The Runners @ Metropolis (Miami, FL) 03: Lil Boosie and Webbie (Baton Rouge, LA) 04: Tony Draper and Money Black @ Rapid Ric’s studio (Austin, TX) 05: Akon @ 95.7 Teen Jam (Birming- ham, AL) 06: Raekwon @ SXSW (Austin, TX) 07: Lyfe @ King of Clubs for Young Buck’s birthday bash (Nashville, TN) 08: Bobby Valentino @ UCF Arena (Orlando, FL) 09: DJ Jelly and Baby D @ 95.7 Teen Jam (Birmingham, AL) 10: Kurupt @ youth football game (Miami, FL) 11: DJ 151 and DJ D-Money @ The Moon (Tallahassee, FL) 12: Eye Candy and Too Short @ TJ’s DJ’s (Tallahassee, FL) 13: Tomar of Carnival Beats @ SXSW (Austin, TX) 14: Stick 3K and DJ D-Strong @ Firestone (Orlando, FL) 15: Olmann, Rapid Ric, and Chalie Boy @ SXSW (Austin, TX) 16: Alex and Flava Flav @ Whispers (Orlando, FL 17: Young Joc @ Club 1919 (Dallas, TX) 18: Bedo @ Firestone (Orlando, FL) 19: DurteRed and Dela Candela on the set of “Chevys Ridin’ High” (Miami, FL) 20: Dolowhite and Scooby @ King of Clubs for Young Buck’s birthday bash (Nashville, TN) 21: George Lopez @ 104.3 concert (Austin, TX) 22: DJ TDK and DJ Big @ Stress (Dallas, TX) 23: Chaos & Order on the set of Smilez & Southstar’s “U Know” (Orlando, FL) 24: Ray of Legion of Doom @ Visions for T.I.’s King release party (Atlanta, GA) 25: Balance @ SXSW (Austin, TX) 26: Papa Duck @ Citrus Bowl for 95.3 concert (Orlando, FL) 27: Tony and DJ D-Strong @ Icon (Orlando, FL) 28: Big Tuck and Tum Tum @ 104.3 concert (Austin, TX) 29: Deville of Partychaser.com (Dal- las, TX) 30: DMC @ youth football game (Miami, FL) 31: Chingo Bling and Magno @ SXSW (Austin, TX) 32: Malik Abdul and Tuesday @ TJ’s DJ’s (Tallahassee, FL) 33: G.r.i.T. Boys @ SXSW (Austin, TX) 34: DJ Br’l @ Piranha Records (Austin, TX) 35: Cruna @ King of Clubs for Young Buck’s birthday party (Nashville, TN) 36: Eddie DeVille @ SXSW (Austin, TX) 37: JoJo and Jellyroll @ The Kut (Nashville, TN) 21: DJ Black @ SXSW (Austin, TX

Photos: Ashlee Brathwaite (14); Berto (17,29); Bogan (10,30); Destine Cajuste (27); Edward Hall (04,06,13, 15,21,22,34,38); JoJo (07,20,35,37); Julia Beverly (11,18,19,23,24,26); King Yella (03); Luxury Mindz (25,28,31,33,36); Malik Abdul (01,02,0 5,08,09,12,15,32); Mercedes (16)

OZONE 39 40 OZONE 01: @ Canal Room (NYC) 02: Cadillac Don & J-Money @ WZLD (Hattiesburg, MS) 03: Talib Kweli and Devin the Dude @ SXSW (Austin, TX) 04: TV Johnny and his wife @ Me- tropolis (Miami, FL) 05: DJ Irie @ Metropolis (Miami, FL) 06: Chamillionaire @ 104.3 concert (Austin, TX) 07: Young Buck @ King of Clubs for his birthday bash (Nashville, TN) 08: Trae and Lil O @ Back Room for SXSW (Austin, TX) 09: 211 and Young Jeezy @ Fires- tone (Orlando, FL) 10: Kool Laid and (NYC) 11: Triple J and DJ Dap @ The Moon for TJ’s DJ’s (Tallahassee, FL) 12: PKT and DJ Chill @ SXSW (Austin, TX) 13: Camron and Dukwon @ Kar- touche (Jacksonville, FL) 14: White Dawg @ The Moon for TJ’s DJ’s (Tallahassee, FL) 15: @ King of Clubs for Young Buck’s birthday party (Nash- ville, TN) 16: Jason Geter and Ric Ross @ Visions for T.I.’s King album release party (Atlanta, GA) 17: Grimlock and Too Short @ The Moon for TJ’s DJ’s (Tallahassee, FL) 18: Boo @ Visions (Atlanta, GA) 19: Eye Candy @ The Moon for TJ’s DJ’s (Tallahassee, FL) 20: Gotti on the set of “I’m In Luv Wit’ A Stripper” remix (Miami, FL) 21: Red Dogg @ Icon (Orlando, FL) 22: Paper and All Star @ King of Clubs for Young Buck’s birthday party (Nashville, TN) 23: Playaz Circle @ Visions for T.I.’s King release party (Atlanta, GA) 24: Devyne Stephens @ 95.7 Teen Jam (Birmingham, AL) 25: Julia Beverly and DJ Grip @ Back Room for SXSW (Austin, TX) 26: Coach K and Coach @ Firestone (Orlando, FL) 27: Rasaq @ SXSW (Austin, TX) 28: Rob G with Play & Skillz @ 104.3 concert (Austin, TX) 29: Hawk @ Back Room for SXSW (Austin, TX) 30: Ray J @ 95.3 car expo (Orlando, FL) 31: K-Rino @ SXSW (Austin, TX) 32: Strippers (Dallas, TX) 33: DJ Quote and DJ K-Tone (Denver, CO) 34: Lil Boosie @ Firestone (Orlando, FL) 35: Steve Austin @ SXSW (Austin, TX) 36: ESG @ Back Room for SXSW (Austin, TX) 37: JoJo and Roachkiller @ Club Sweetwater (Murfreesboro, TN) 21: Rodney Jerkins @ 95.3 car expo (Orlando, FL)

Photos: Ashlee Brathwaite (26); Big Brd (02); Destine Cajuste (21); DJ Quote (33); Edward Hall (32); General (01); JoJo (07,12,15,22,37); Julia Beverly (13,16,17,18,23); Kool Laid (10); Luxury Mindz (03,06,08,25,27,28 ,29,31,35,36); Malik Abdul (04,05,09,1 1,14,19,20,24,30,34,38)

OZONE 41 q&a

Lil Rob

You have ties in both San Diego and H-town. Where are you origi- nally from? I’m from San Diego, born and raised and still live there. The record label is based out of Houston, Texas.

How did you hook up with Upstairs Records? They were putting out another group and came to San Diego one day, and we went out to lunch. They invited me out to a show and saw the reaction of the crowd when they said “Lil’ Rob.” They started checking me out on Soundscan and wanted to work out a deal with me.

You put out several albums before you got signed. Would you say you’re a good businessman? I never was a really good businessman. Throughout the years I’ve got- ten burned a couple of times. We were doing it ourselves, got a little bit of money together, went into the studio, hooked up with another rap group from San Diego who pointed us in the right direction. was still talking the same stuff. “You got me now but I’m gong to get you back.” Nowadays, I don’t want that drama. I don’t understand How did build such a strong fan base early on? why I was doing it anyways as a kid growing up doing the same thing We ordered tapes, back in ’92. I was 15 years old. Putting together my brother did and my uncle did. I got caught up in the mix. The neighborhood raps and taking them to the indoor swap meets and day I went to the operating room, they said I wasn’t going to talk the selling them under consignment. Go back next week and see if we same or that I could be paralyzed because the bullet was lodged in sold any- getting paid that way. It took a while. But back then, there my spinal chord. So to be walking and talking and rapping and doing weren’t that many rap artists. Just a handful were out. It was shows- it’s different for me. I tell these little homeboys going down the a good time to put my name on the streets. It all happened to work out wrong path, 13 and gangbanging, “take it easy.” There’s no future in for me. I was actually done when they came to me. it. I wouldn’t have listened, but hopefully, they’ll take (in) what I say. They’ll find out there’s a bigger world out there and other places to You mean you had actually hung up your mic? go. I’m in Philadelphia now. I never thought I’d leave my town. Some I didn’t want to rap no more because I’d been burned so many times- people won’t change. bootlegs. Now, I look at it different. If they weren’t out there making bootlegs of my music, a lot of places wouldn’t even know who I was. Do you have any songs about your accident or about changing So it’s a good and bad side. your life? “Ain’t No Future In It” (is) about drugs. These kids experimenting with What made you want to be a rapper? drugs think it’s cool. It’s just the beginning. It’s time for a change. If Just the music alone. Back in third grade I was break dancing. My you ain’t doing nothing but wasting time, you have to figure out what brother was DJing. He had all the music: Afrika Bambaataa and the you’re going to do with your life. Soul Sonic Force, LL Cool J, Krush Groove. My dad used to be in an oldies band. My grandmother used to sing Mexican music. Put all the The independent scene is big on the West Coast and in the South. elements together and you got . Do you feel a lot of local love? I look at it different. I rap and do my thing. But I remember radio sta- What did you bump coming up? tions saying we don’t have Mexicans here. We don’t play that kind of Back in the day, I was listening to it all. When LL Cool J came out with music here. I went through that. Me and the label are doing our thing. Radio, Run DMC, NWA, Two Live Crew. When I was 12 years old, my Trying to make people understand where I’m coming from and how dad wouldn’t take me to the parties, so I stayed home and wrote raps we do it. Just like the South does it. They have their own style. It’s us about the neighborhood and put them on tapes. It’s been a long time. against the world and making them feel what I do. It’s hard work. Since the beginning of rap. I was born in 1975, and ever since then… I used to like Michael Jackson, “Pretty Young Thing.” Off The Wall was What makes Lil’ Rob stand out as a rapper? off the hook. Nowadays, I’ll listen to SOS Band, Gap Band or Zapp & I’m the only Chicano on radio right now. It’s different. When we do Roger before I listen to today’s rap. I like old school and oldies. shows, I walk out with a bandana, all creased up. I might take a little break and put on mariachi music and walk out with a serape. It’s a How did you get the name Lil’ Rob? different look. I’m not all hip hopped out, with bling and my hat to the I was break dancing in third grade, and back then you had break side. I say I don’t need a watch because I know what time it is. Ban- dancer nicknames. I was Lil’ Roc. So the “c” tuned into “b” because danas and a t-shirt and I just go rock it. I feel like I’m opening the doors my name is Robert. But it’s been that for a long time before I knew a little bit (by) being on the radio, making videos. Get people to see about Lil Bow Wow and all these little people. I never heard of them where we come from and making it OK to be Mexican and rap Mexi- before. can. You don’t have to use everybody else’s slang. Do it your way.

Do you rhyme in Spanish? “Summer Nights,” the first single from your latest album Twelve It’s in English, but I throw little Spanish words in there. They call it calo. Eighteen, went Top 10 on Billboard Monitor’s radio chart. What It’s Mexican slang, Chicano slang. I throw a little bit of Spanish in there has changed with this new success? too. It’s English with a Chicano accent. More travel and more shows. I can’t go shopping like I used to at the indoor swap meet. That’s where I go to get my clothes. Everybody At 18, you got shot in the face. How did that change you? wants autographs. People ask “what are you doing here?” And I’m like It took a little while to change me. I got shot and then I stopped rap- “I just came to buy t-shirts.” They’re like, “keep it gangsta, homie.” I’m ping for while. I got shot in the mouth and my jaw was wired shut for the same dude. I go to the same places. seven weeks. I got home and I saw my mom crying, figuring out how to pay the hospital bills. Whenever I left, she was scared I might not What is the greatest achievement of your career so far? come back. I was still the same guy. I wanted to take off and hang Being able to make the payment every month. That’s the main goal. To out. I didn’t change right away. As time went by and I saw some of my take care of the family. I take it day by day. And I work on getting the homeboys not going anywhere, getting locked up, I didn’t want to be respect from other people for doing my thing. that guy. I have family to take care of and house payments to take care of. That’s why I do this. I’m changed now. But right after I got shot, I - Jessica Koslow (Photo: Dustin Pedder)

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patientlywaiting

Atiba Orlando, FL

NAME COMES FROM the Bible, means “understanding the need of a man” BACKED BY über-producer Rodney “Darkchild” Jerkins ROOTS Born in Brooklyn, Raised In Jamaica

WORKING WITH DARKCHILD “Dude believes in what I can do. He can make the music that can help us get somewhere and create something good. I know there’s a lot of stigmas out there because producers, they’ll put out artists regularly and they’re not very success- ful doing that. But between his and my hustle and the other people that we’re probably about to team up with it’ll be a great thing.”

LET THE RIDDIM HIT ‘EM “My father had one of the number one sound systems and discos in Jamaica. We had Beenie Man, Professor Nuts all of them so, it was like I grew up around Reggae naturally in the business and the creative end. I used to do more R&B and stuff like that but I went back to my Reg- gae roots the last two years and ended up being good enough to get signed to a cat like Rodney Jerkins after one year of working it.”

SWEEPING THE NATION “Down in Miami, DJ Khaled just started spinning it my song “One Wish.” He’s actually hosting my new mixed CD that’s coming out called “The Birth of A Rebel.” Melbourne’s spinning it, in Minnesota it’s getting spins, really awkward places you wouldn’t think reggae would have an im- pact.”

A LITTLE DIFFERENT “My music is a mixture of cultures, it’s a mixture of style. It’s like that Brooklyn part of me, that kid that went to Tilden high school, and that other kid that went to Wilma, and was chillin’ at the park playing ball. It’s like a mesh of sounds and cultures, kinda like how Born Jamer- icans were doing it. It’s not over Reggae riddims, it’s over hip-hop and R&B. I’m using the real stuff from the yard but at the same time I’m spitting it in a hip-hop way.”

ONE MORE WISH “A lot of people don’t know that Rodney actually produced and wrote that ‘One Wish’ joint for Ray-J. He hit me like, ‘I have this ill idea, what do you think?’ I’m just like, ‘Let’s just do it!’ So he banged out a track in like five minutes and me and my sister Malica wrote to it and banged out [the remix to ‘One Wish’], and the radio’s lovin it right now, so it’s cool.”

- Words and photo by Malik Abdul

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B.H.I. Atlanta, GA

GROUP MEMBERS K-Rab, Skeet/A/ Wee, Hard Head (originally from ) and Young J HEAT IN THE STREETS BHI (The Sig- nature Edition), BHI (30318 Edition) and the 30318 Compilation LABEL Strictly Business/Warner Bros. HIT SINGLE “Do It (The Poole Palace)” BOLD STATEMENT “K-Rab is the origi- nator of the music.” - Hard Head

DON’T FIGHT THE FEELING [Skeet-A-Wee]: “The success of us and feels good because it looks like other guys have to use our sound to make it. So it don’t make me feel like they biting, it make me feel like these niggas gotta be like us to compete and get in the game.” [Hard Head]: “I wouldn’t hate on another mans opportunity, though. What ever you can get out of your opportunity, get the best result you can get.”

DID YOU HEAR THAT? [Skeet-A-Wee]: “I remember when K-Rab did his first snap beat. We was chilling listening to music. I’ma old school/new school fool. I put on some O’Jays and it had some snaps in it. K-Rab went in the back and next thing I know he made a beat with some snaps in it. I thought that shit was hard as hell. Then we hooked up with D4L for a minute and did the ‘Laffy Taffy’ thing. And we just went from there.” [Hard Head]: “Keep in mind that this was way before the snap movement that you see right now.”

LET THE GOOD TIMES ROLL [Skeet-A-Wee]: “That’s what we try to do, make folks have a good time. All of us came from the hood. I used to rob and steal from people. People expected me to come out rapping hard. But I’m rap- ping about having a good time. I’m try- ing to change my image. I’m not trying to be that old fool no more.” [Hard Head]: “Being from New Orleans, I came to ATL to escape, but it was the same thing. The hood is universal. But it ain’t all about killing and fussing. Why would you want to hear about it con- stantly if you’re living in it? We trying to help folks escape.” [Skeet]: “Plus that shit is incriminating [laughs].”

BEST OF BOTH HOODS [Hard Head]: “New Orleans is known for so I bring that influence. Me and K-Rab came up with the “Do It” song and that has a little New Orleans Hip Hop on it. I had to bring home with me, 7th Ward all day. It’s new New At- lanta for me.” [Skeet]: “Naw, its still the A [laughs].”

- Maurice G. Garland

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Cadence Nashville, TN

BORN IN Memphis TOURED WITH Three 6 Mafia, Uncle Cracker and Kenny Chesney MUSICAL LINEAGE Musician Father Played in both Rock and R&B Bands CONTACT www.cadenceonline.com

WEARING HATS “I kinda hate that we as artists have to pick a genre and promote ourselves that way. I don’t think I’m a rapper all the time. Sometimes I’m a poet, an activist or a comedian. Bottom line is when I go in the booth, I’m Cadence. I think I’m well rounded. I grew up listening to Hip Hop so that is my strongest influence. But I can get to the country fans, too. I hit col- lege campuses and just talk to the kids, too, through college radio. I feel like the kids are looking for something.”

FATEFUL DAY “There was a decision I made to prepare me to go all the way and quit my day job to rap. It was the day I wasn’t afraid to fail. Failure doesn’t scare me. But not doing what God wants me to do terrifies me; being someone I’m not scares me.”

IS HIP-HOP DEAD? “I understand where people are com- ing from when they say it’s dead, but I also feel there is a lot of amazing stuff out there. I think they assume what they hear on the radio is what’s going on in hip hop. That’s not it. That’s what’s going on on the radio. There is amazing people that just don’t get heard.”

NEXT MOVE “Majors have been knocking, but I like being independent since what I do ain’t commercial. But the labels talk to me and tell me how to dress and that they gonna hook me up with and this and that. But no one has come to me with a deal that I feel is fair money wise or freedom wise.”

COMIN’ FROM WHERE I’M FROM “Hip-hop is two things. It’s music and from the streets. It’s from a marginalized people. It has a strong scene in Nash- ville, but they can’t get the national atten- tion they want and deserve. When you hear an artist coming from Nashville, hip- hop just don’t come to mind.”

COLOR BLIND “To be real, sometimes it’s hard for me to get people’s respect. People think if I was to become successful, it would be because I’m white, which makes me marketable. But people show me love everywhere. I’ve never been somewhere I couldn’t go because I was white. To my generation, race is almost a non-issue.”

- Maurice G. Garland (Photo: Pinky Gonzales)

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then. Plus when I moved back to Miami in 2003 there was like 30,000 C-Ride more rappers now. So I started focusing on saying things to make you Miami, FL rewind and listen again.”

REPRESENTING Carol City THE AGENDA GREW UP LISTENING TO Luke, No Limit, “I want to unite Miami. Rick Ross got everybody down here trying to CURRENT HEAT Coming From Da Bottom w/ DJ Ideal see who’s next. I’m trying to make Miami like Houston and Atlanta. I CO-SIGNERS Cool & Dre/Epidemic Records wanna bring unity to Miami and Florida, period. Like, we didn’t sup- port Plies and T-Pain when they was blowing up because they weren’t MOVE AROUND from Miami. But Miami don’t really get out; we stay among ourselves. “I got in some trouble and had to leave Miami and move to Atlanta in I want to change that.” 2000, when Pastor Troy was running shit. By staying in Atlanta, it at- tracted me to dark 808s. In Miami, they speed everything up, just like WORKING WITH COOL & DRE how niggas Houston slow their shit down. So when I got to Atlanta, I “I recorded a CD with another company, and they packaged it up and heard the crunk shit slowed down with niggas yelling, and I loved it. gave it to a lot of people. A DJ gave it to Cool & Dre, and they kept That’s not what I do, but I love the style. I’d rather listen to Lil Jon over calling [and[ asking about me. Then, when they saw me, they [were] Pharrell.” happy to see I wasn’t looking like a monster (laughing). So it was on. I got with them in the beginning of ’04 when Dirtbag first got signed to OUT OF THE NORM Epidemic/ Jive. I was having a lot offers with just three songs. Noth- “Rappers say the same shit because they around the same shit ev- ing has really came out yet, but I know I everything happens for a eryday. So I just wanted to separate myself from the average by using reason.” different metaphors and words. After the first rhyme I ever recorded, some people threw a contract in my face. I knew I had something right - Charles Parsons

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Jiggalo Thomasville, GA

LABEL Suave House II

INFLUENCES , Dr. Dre, Timbaland, Neptunes, Andre 3000, Jay- Z, T.I.

CURRENT SINGLE “26’s” featuring Paul Wall and Bun B

WORKING WITH Clipse, Pimp C and Too $hort

THE START “I had an older brother who used to fuck with some dudes on the production tip. That’s what I wanted to do too, so I started doing it. I used to fuck with a lot of other niggas. I produced and rapped too. I’ve been producing since I was 12. I’ve been rapping since I was 15.”

WORKING WITH TONY DRAPER “When I moved out to Phoenix, Arizona I started working with this dude named Roc. We was going through Draper for distribution. Then he actually heard it and was like let me take you through Suave House and make it official. I have respect for him as a pioneer and what he did back in the day. I grew up on Suave House. None of what went down years ago is any of my business, he ain’t did nothing to me.”

JUST BEING ME “I’m innovate, creative, funky. I can keep on going. The album is called Since 1983. Every song on there is something that I’ve experienced or been through. Everything right now is everybody is hard and wanna chop an nigga head off, that’s cool, do you. But I once heard ‘Pac say you get money doing songs for the ladies, so I’ma do that too.”

THE FUTURE “I look forward to opening up doors for other artists. That would be a beautiful thing man, just opening doors for nig- gas I love and know. I’m trying to create something so colossal.”

SURPRISES “I think my music is gonna surprise peo- ple. I’m doing damn near all the produc- tion too. I think people are really gonna be impressed. I’m just hoping that peo- ple really embrace it and feel it.”

MY NAME IS “Jiggalo comes from one of my niggas in GA. His daddy was named Jiggalo and I’m a ladies man so it just stuck.”

PREPARATION “I haven’t learned from any mistakes be- cause I ain’t really made a bunch of mis- takes yet. But I know they coming.”

- Maurice G. Garland

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Going Solo: -Boney

First question everyone wants to know: are you still down with Grand Hustle? I haven’t left Grand Hustle, but I am starting my own label, which is called Mad Face Entertainment and doing a little partnership with Cy- ber Works. Just trying to show everybody that it’s not just T.I. and we all make moves individually.

I heard that you were upset about how the P$C album was pro- moted. Was this true? I definitely was upset about it about how the P$C project was promot- ed, but what can you do? That’s why I’m steppin’ up now and starting my own thing. I can get a little more hands on than dealing with major labels. It turns away from things that you are used to doing. I’m used to packing up my own CDs. I’m used to hollering at the distributors sick records. I did a song called “Dope” and it’s really hot. It ain’t about myself, going to the stores myself. When you dealing with big compa- drugs, though. It’s about me; I’m calling myself dope. nies, they put everything out for you. With these companies and street teams, you never know what they doing and you don’t really know if Speaking of dope, what you think about all the artists whose whole they on their jobs or on their grind like how you do it. It’s all about be- subject matter is about drugs? ing more hands on and that’s why I’m concentrating on this here. I’m I’m glad you asked me that, and I just really wanna put it out there. If from the block, so I got no problem with getting out there anywhere in you never sold drugs, then it really don’t make any sense for you to the USA. If I need to be there, I’m there. talk about drugs because you sound stupid. People who really do it and do it on a daily basis are listening. When you say the wrong thing, From what I was seeing, a lot of people thought that you left be- people become frustrated. I’m in the hood like a DVD and some of cause you came out with your own track. these cats I don’t be seeing them there like that. I done been around a Definitely, the new T.I. album is coming out March 28th and I’m on two lot of real hustlers across the country, so I know, man. tracks - “Bankhead” and “Undertaker.” What you think of the ATL hip-hop scene right now? How did you link up with Cyber Works? A lot of things that I am seeing in the perspective of me just growing I have been working with Sapp over the last few years (on) side proj- and just being in the business and also as a consumer, it’s real differ- ects and mix tapes. We decided to set it up this year and make it big- ent. If I wasn’t a rapper, I’d take things a lot differently. You never know ger. I definitely wanted to be the first artist to emerge off of it. what’s going to happen, whose gonna sign with who, whose gonna start beefin’, whose gonna start running their mouths. You never know Tell me more about the label you’re putting together. what’s going to happen to be honest. Mad Face is serious, man. I got few little groups signed to me right now, and I’m still looking. Right now, I’m the feature artist to come out A lot of people are getting fed up with snap music. What is your on Mad Face. I feel like I got my business level up to where I can re- opinion on it? ally do this and profit. This what I’m doing out here, man, trying to get I think that snap music is beautiful. I’m from the Westside and snap them dollars and stay underground for a very long time. I know how music comes from the Westside, and I love it. It ain’t nothing but a to sell these CDs. new age booty shake. It’s a dance. The scene done bust wide open, and you have a lot of young people having fun with the videos. Back Let’s talk about your solo project and the single you dropped. in the day, it was more of the rugged videos, guys hanging in the alley, The album that I am working on right now is called Should’ve Been with his homeboys rapping and all of that crazy shit. It just got a lot There, and the street single out right now is called “You Ain’t the Only different and a lot more fun. It’s making the areas more fun, making One.” And it’s real. I’m talking about a lot of street stuff. You know, you money for the community, and I’m down wit it. Not everybody can do ain’t the only one with a Benz. You ain’t the only one with Impalas. You it, though. I can say that. Everybody tries to. There’s a lot of groups ain’t the only one with fancy cars. You ain’t the only one. That’s the out there. When you go to a lot of talent contests, you gonna see a lot bottom line. I got a lot of hot music coming. My album will have T.I. on of people trying to snap. Every song got a snap to it now. There are it, of course the other P$C members, and a lot of my other friends that certain people that can do it, and there is a certain way that it can be people may not know about. done. There’s only a few groups that’s out doing it how it’s supposed to be done at this time. You got any mixtapes dropping before the album? I got one coming called Processing Fee. The reason that I named it When growing up, what made you decide to rap? Processing Fee is because a lot of artists (are) sending in their demos I don’t know, man. I guess that I always been in the music since I was to these record labels (and) they tell you that you need a processing a kid. The first time that my brother brought in an NWA CD, I was six fee before they get heard. I’m just giving y’all my processing fee before years old. I heard it, and I went out of control. Since then, it’s been y’all hear me. something that I wanted to do.

For a person that has yet to hear much Mac Boney material, what How did you and the rest of the P$C meet? can they expect? We actually all met one at a time, and its crazy because we all was I ain’t out here trying to put on an act and act like I got more than what from the same area. Me and Doug Peterson played tee ball together I have. I ain’t trying to disrespect the next person, but I’mma give to ya when we was four or five years old. C-Rod is my cousin. Big Kuntry is real. I’mma give you every part of the game- how it’s seen from a child my best partner. I met him around when I was 14 years old. I got a lot all the way up. Most dudes that come out don’t give you history. I’m of partners, dealers in the streets, and that’s how we all came together a teach you why they rep the Westside. Some of the things going on on one block - Campellton Road. back in the day are still going on today. Anything else that you want to get out there? Tell me about a couple of tracks that you got on the album. The hustle don’t stop. Look out for that new Mac Boney because I’m I got a couple nice ones. I am working with a producer out of California keepin’ it street for all those that know me. For those that don’t know named Caviar. We got one called “We the Streets.” Its real dope; it’s me, you gonna find out more. I’m always keep it underground and intense. It gives you the whole feel, that vibe of how I am when I leave make sure I maintain for the hood. my house and get out there when I’m on the block. I got a couple that I did with DJ Toomp. You really just gotta check it out, man. I got a lot of - Leon Bailey

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BROTHERLY LOVE D-Roc of the introduces his brothers, Da Muzicianz Words: Maurice G. Garland Photo: Ray Tamarra

Just in time for the warm weather, D-Roc of the Ying Yang Twins Mr. Ball: We just wanna make good music. Make you dance, not fight. is testing his skill as a CEO and releasing the first group from We don’t even have no fight music. We’ll probably make you have a his newly formed label, PUNNN! Entertainment (pronounced like baby before you have a fight. We wanna have fun. a speeding car). The label’s name stands for People United Never Da Birthday Boy: We got a whole ‘nother vibe. We Da Muszicianz. Ying Negotiating Negatively, and he is living by that motto in putting Yang partied in the strip club, but we partying everywhere. We party on out Da Muzicianz, a trio comprised of himself and blood brothers the porch, the shower, I-285, everywhere. Mr. Ball and Da Birthday Boy. With their debut album slated to drop this summer through TVT Records, the group discusses their Tell us about the album you’re dropping. childhood, brotherhood and coming from the ‘hood. Da Birthday Boy: The album is put together already, but we still work- ing on the title. Everybody pretty much knows about D-Roc and Kaine’s story. Mr. Ball: We got heat on the album. Stuff for the club, the block, any- What is yours? How long have you been in the game? where you wanna be. We got a song called “Crazyman.” Yeah, I re- Da Birthday Boy: We’ve been in this game for a minute. We ain’t just acted the same way when I heard it, but I’m with it because my brother come out of nowhere. This wasn’t spoon fed to us. It didn’t just fall made that shit up. It’s a dance. out the sky. We’ve been through the hard times and all that. Ball been Da Birthday Boy: We got producers like Big Cheesy, Midnight Black, through it all too. He on all the Ying Yang albums. Mr. Collipark. And we got Fabo of D4L on the album, the song is called Mr. Ball: I started rapping back in 98-99 when Ying Yang was whistling “Girls I Know.” And we have on our song “Go Dumb.” and twurking. We started rapping together as Da Muzicianz after I got The first single is “Camera Phone,” we telling the girls to pose for the out of jail in 2004. camera phone.

How would you describe your style of music, and how does it dif- Were you two trying to rap before D-Roc got a record deal? fer from Ying Yang Twins? Da Birthday Boy: I ain’t gonna say I was trying to rap before he got on. D-Roc: Basically we make party music for the girls in the club and the I was little when that happened. But when I saw him get on and saw guys watching them. what he was doing, and started feeling the love for music, I wanted to

(l to r): Mr. Ball, D-Roc, and Da Birthday Boy)

58 OZONE do it too. Da Birthday Boy: To stay humble, keep your head up. Don’t let the bullshit get to you. I learned to not worry about what people think and So the both of you are younger than D-Roc? say about you. Stay on that straight path. Yeah, we D-Roc little brothers. I was like 10 when D-Roc was starting rap- Mr. Ball: You gotta be business minded. You won’t make it half step- ping, so I’ve seen this for a long time. I’ll do this for free. That’s how much I ping. love this. I ain’t never had a job; music always been my job. And now? Man, D-Roc: I don’t really share advice; I show it. I show it through being a this shit feel good getting paid for it, the paychecks is lovely, baby. But you good artist and businessman. As a CEO, I’m not gonna hide nothing gotta keep up with that business shit. You gotta stay on top of the publish- from them. We all gonna learn how to make money at the same time. ing, and best believe Da Muzicianz are on top of ours. How has your brother’s experiences molded you into the artists Talk about working with family, is it better or more difficult? that you are today? D-Roc: Working with family is easier. The things I griped about not doing in Mr. Ball: I’ve seen D-Roc and Kaine go through a whole lot. Even Ying Yang, I can do with this group. There are no limits. We going to China, though they got spit in the face, they didn’t spit back. And that’s what Japan; we doing shows everywhere. kept them in the game. That’s what gonna keep us here too. Because Da Birthday Boy: We get to be us. Ball and Da Birthday Boy is who we are. can take a whole lot of shit, but there’s only so much we gonna take. We always can be us because my brother is CEO. We having fun; we ain’t We ain’t concerned with the petty shit; we looking at the bigger picture gotta worry about nobody bitching or complaining. We get to do us all day. of success. We got families to think about. We ain’t got time to worry We ain’t gonna say nobody can’t tell us what to do, but my brother is CEO about everybody in the street who want us to rap about selling dope right now, so we having fun. and shooting niggas. We don’t sell dope. We ain’t never had no job, Mr. Ball: I know I can trust my brother more than anybody out there. Before but we don’t sell dope, though. Da Muzicianz was on the plate, I was trying to do my own thing. I was on “By Myself,” but then I got locked up. I never saw this vision, though. I never Do you think they’ve gotten the respect they deserve? saw the big picture. I never thought we’d be a group. Mr. Ball: I think they get respect, but they deserve a lot more, espe- D-Roc: I had to look out for them. You always got your people saying “I can cially in Atlanta. We see things that everybody don’t see (that) they did rap.” Well, I wouldn’t want them to go out and get a deal with anybody else a lot for the A. Them two alone have been here since ‘99. D-Roc been if I can put them on. They had the drive, so I wanted to help them. here since ‘95. Kaine too; it’s just an ongoing process.

Now that you’re a group, talk about how you have to really take advan- All three of you come from the Inglewood area of Atlanta. Not a lot tage of this chance. You said this wasn’t handed to you, but you still of things to party about over there. Why is it that you make party have a head start. music coming from a ‘hood like that? Da Birthday Boy: I’m just staying humble. I’m cherishing this shit. This shit Mr. Ball: Nobody wanna hear all that shit. How bad you can hurt a ain’t handed to us. We been going through it like every other nigga on the nigga and how you gonna chop a nigga head off. Hell, you can go to street. We just stayed at it. When you stay at it, you gonna get it. When Ying jail for chopping a nigga head off, too. Once people hear a beat, they Yang was in the studio, we used to write in the studio just to do it, just to wanna know what you can do to that beat. We trying to make music show that we want it. and history. Mr. Ball: You just gotta watch yourself, in whatever you do. If you out of Da Birthday Boy: We trying to show kids form the ‘hood that it ain’t pocket personally, then professionally you out of line too. If you ain’t doing always cool to go around killing and selling dope. right on your terms, then you ain’t doing right on somebody else terms. I Mr. Ball: I mean look at Akon, he from the ‘hood. But he making music know I’m on D-roc terms right now cause we working. If they want me in a to make people feel good. I love that “Pot of Gold.” clown suit, I’m there. Talk about growing up. Did you guys ever see D-Roc go through a On that note, Ying Yang Twins is looked upon as a novelty act to many; lot dealing with his handicap? just some silly guys. Talk about having to dispel that notion. Mr. Ball: We never got to see his trials and tribulations with his hand. D-Roc: I wanted to start this label two years ago, but I wasn’t ready. So I When he came home from school, he was big brother. We had to lis- just started setting it up and let Ying Yang do what it do. Then Ying Yang got ten to big brother. His hand wasn’t shit. Growing up, we had to listen successful to the point where I could do it. Folks didn’t think that I could do to him, and today we still have too. it, so I’ma show them that I can be an artist and a CEO. Within Ying Yang I’m Da Birthday Boy: He been taking care of us since we was small. Nine the party animal, the uplifting side. People didn’t really take me seriously as years old, he on the bus with us. That’s pretty much my daddy. a CEO because they haven’t seen what I’m about to show. I’ve been talking Mr. Ball: I remember him cooking sausage patties in the morning. about my label and my little brothers for the longest. Now look; we signed. In 2005, I set a goal to be signed by 2006 and I did that. And I’m doing it Ball, you’ve mentioned that your career was put on pause because the right way. of jail time. What happened? Mr. Ball: Armed robbery, being with the wrong person at the wrong Was it easy for you? time. But I started taking music more seriously in jail cause I saw my D-Roc: Well, no, but I already had a group to start with. I didn’t have to go brothers elevating. I was in jail when “By Myself” came out, and I was out scouting. My brothers were my inspiration to start my own label. When on that song. They went and put Mannish Man and on the I started making money, I went and bought studio equipment to work at song and made a video to that bitch. If I was out of jail, I could have the house, and I ended up with a lot of music. I wanted to do it with Kaine, been in it…giaaat daayum. but he was dragging his feet. So folks was like “you can do it yourself; you know what to do.” I studied for a whole year and boom it came. What did you guys tell him when he got out? Da Birthday Boy: Let’s party. What did you study? Mr. Ball: When I was in jail, they used to call me talking about we D-Roc: I just looked at the game, I be in the game 24/7, so I look at what to smoke nothing but purp now. I’d just be like “damn.” do here and there. I looked at Russell Simmons’ tactics. 50 Cent, Jeezy, Dr. Da Birthday Boy: We just told him when he get out, it’s on. Dre. Looking at them is what drove me. A few months ago, you guys were caught up in a little turmoil with Now Muzicianz, are you prepared for the same type of attitudes that the Bay Area. People were claiming that your song “Go Dumb” Ying Yang has had to encounter. Like when you go on talk shows and was their style. people just expect you to act crazy? Da Birthday Boy: Everything was all good. They was mad a little. It Da Birthday Boy: I’m a crazy dude, so I might just act crazy. wasn’t no bad blood. They was just like “why you steal our dance.” We Mr. Ball: If somebody trip on me, I’ll just trip with them. Sometimes I’m calm, ain’t steal nothing. We went to the Bay a couple times and saw what but I’m never just over energetic. But I don’t see nobody coming at me like they was doing and we liked it. “c’mon do this.” I don’t have no “HAAAAANH” or “AYE YUP.” But we ready Mr. Ball: They was mad, so we went and got The Federation on the for all that. That don’t even matter to me, as long as they talking about song to make it even hotter. me, we doing good. Because I already know our music is gonna stand for itself. Cool. What else is in store for you guys? D-Roc: Be on the look out for the album and mixtape. As far as Ying Outside of the brotherhood, what have you learned from D-Roc profes- Yang, we still shooting our movie. We’re doing a comedy. And we sionally? starting our own clothing deal.

OZONE 59 “I want to bring you, corporate America, across the bridge, into my world. Not to put fear in your heart, but for you to respect me. Just so you understand why I think different, why I dress different, why I do different things.’’

60 OZONE TRICK DADDY WORDS: JULIA BEVERLY

hen we were talking earlier, you sounded frustrated. only difference between hip-hop and rap is that rap stays in the hood. I just wish muthafuckers the best of success. I don’t wanna Sometimes rap doesn’t get past Orlando. Sometimes rap doesn’t get Wtalk bad about nobody. My beef ain’t with no label. My beef out of Florida. Some people that rap are only big in their city or their ain’t with no single individual. My beef is with life, with the game itself. state. But hip-hop is worldwide, and that’s the difference. The differ- My beef is with rap music cause a lot of rap music that’s getting put ence between good hip-hop and bullshit hip-hop is that good hip-hop out there is for this week only. Next week you won’t listen to it. My beef has a meaning. It always tells a story, whether it’s negative or positive. is not with the artist, cause you can’t blame an artist if they come out There’s always a beginning and an ending. But these days when you with a one-hit wonder and people fall for it. My beef is with the major listen to the big records on the radio and on Soundscan and you really labels that are putting this bullshit out and packaging this shit up. But break ‘em down and analyze the lyrics, they’re not talking about shit. when people open that package up, there’s nothing in it. You never win no prize. It’s like the little games at the youth fair, where they push Do you think Southern rap is hip-hop? the quarters. It always looks like the quarters are gonna fall, but they All of it is music. What makes your music “hip-hop” or “pop” or “cross- never fall. That’s who my beef is with, those types of people. But any- over” just depends on the different markets that your music travels body who’s getting money, I don’t have beef with them. That’s why a in. If you can’t get spins on crossover or mainstream or pop stations, lot of niggas on record don’t have beef with me and a lot of niggas in if you can’t get those sales, you’re just a rapper. There’s millions of the streets don’t have beef with me. And if they do, fuck ‘em, cause it’s rappers. some undercover shit. It ain’t legit. When you talk about these problems in the rap game, don’t you think So what do you think is the problem? Radio blasting too much gar- a lot of the problems come from the artists themselves? bage? Right. It’s our problem. This is what we do. When I talk about “us” To me, the problem is money. You’ve been seeing a lot of that lately I’m talking about me, too. So nobody get it twisted; don’t say no fuck – people getting in trouble for paying for certain records to be played. shit about me and get busted in your muthafuckin’ mouth or get your I think if they investigate even further they’ll see that people are get- brains blowed out or get me misunderstood. When I say “us,” it’s all ting money for videos to be played. I’ve seen a lot of hot videos in the of us. We have to stop falling for everything. We have to stop rapping last two or three years of my career, but I’ve also seen a lot of bullshit on every track. We have to keep coming with the hits. Remember, the videos. And even my videos could be taken up another notch. But I’m people only listen to what we give them. So if I ain’t putting out no not that type of dude. I’m not the pretty boy, I’m not what you’d call a good records, then why the fuck am I gonna get mad and go around “stunner.” I’m not gonna fake it til I make it. I am what I am, and that’s hating on D4L? A lot of niggas be hating on the “Laffy Taffy” record, what my videos represent. [In my videos] you might see a Phantom but D4L is D4L. D4L will never be Trick. D4L does their kind of music. in the background but you’re not gonna see me driving in a Phantom I do my kind of music. But I’m not gonna knock them. And I’m not a cause that ain’t mine. I tried that shit with “Dro .” They had big 50 Cent fan, but I’ve got more respect for 50 Cent when it comes me driving a Bentley in the video. But that ain’t me, man. I’m for the to his business. It doesn’t matter if I don’t buy his album. The point is, thugs, I’m for the streets. I think the problem is the money aspect of I respect him cause he’s a businessman and he’s keeping hip-hop the game. It’s the same problems in music as there is in sports. In going. I’m not gonna like every song he does or every group he puts sports, the younger NFL and NBA owners are not concerned with the out, but he’s putting them out. And until I do that, I can’t say shit about well-being of the game itself. Younger people are getting money and this man. That’s what the problem is. I think niggas should pay more getting out of control, and they’re using their money to have power attention to being successful ourselves, and maybe we wouldn’t have and they’re taking away from the game itself. It’s all about what they so much to say about the other people that are successful. can take away from the music and how much money they can make. It ain’t about what they can instill, or give to hip-hop. Hip-hop has been Speaking of 50 Cent putting out his groups, you have your own group. around for a long time, since the 70s. Now it’s 2006. I want hip-hop What’s going on with the Dunk Ryders? to be here forever, because once hip-hop dies my whole legacy dies. See, my niggas are hungry. They’re working. I’m not handing them That’s all I represent. nothing. They ain’t get no advance, none of that. But they’re gonna get the important shit: recognition, publishing, royalties, a good law- You think rappers are making too much money? yer, good managers, real publicity. They’re gonna get the important No. It’s just that in this music game, every year there’s somebody shit that I didn’t get. See, I got the money, but I ain’t get the important new and hot. Once something is done or said in the industry it trav- things. I want my label and my artists to be successful because once I els around and once it gets back, it might be taken out of context. stop doing this music thing, I have no income. This is all I do, and the It’s all one big circle and one big family, so eventually we got to get money I got won’t last forever. My kids are still young. They still have together and say, “Let’s do this for hip-hop.” Whatever happened to to go to school, go to college, eat, and be clothed. My bills still have the Stop The Violence movement? They had the East Coast All Stars, to be paid. I can’t count on what I’ve got, I got to keep my circle going. West Coast All Stars. We’re all in the same gang. These days, you call The Dunk Ryders understand that, so they come with real music. I’m niggas for features and they tell you, “He’s working on his own project. not looking for crossover songs or pretty boy songs, I’m just letting He can’t do it right now.” And nine times out of ten, it ain’t the nigga. them be theyself. If they can’t sell just being theyself, then they won’t It’s the management or the label. So that’s why we have to go out and sell, cause I don’t know how to be fake. communicate with each other. Now Julia, if you call me and ask me to do an interview and I tell you I don’t want to do it, then you can blame What impressed you about the Dunk Ryders? me. But if you go through Atlantic or Slip-N-Slide and can’t get to me, Lyrically, I ain’t heard no young niggas like these niggas. Iceberg, he’s you can’t say “Trick is hard to deal with.” And that’s what’s hurting a a young nigga, 16 years old. But he’s coming out hard and when you lot of people in the music game. They’re being blocked out and they listen to his shit and hear the way he uses words, you’ll say, “Damn, looking like the bad guy. It’s the same thing with these fake promoters this nigga here knows a lot.” One of the other dudes in the group, and these fake shows. They’ll falsely advertise that I’m going to do a Soup, that’s Pearl’s son also. If you don’t remember, Pearl is my party. All that kind of shit is hurting music, deeply. mama. So I already know his background and I already know what he’s talking about. So I decided, let’s see how much he really wants With all this talk about bringing back real hip-hop, you’re sounding like this. He shows me every day when he comes to the Dunk Ryders an East coast artist. studio and puts down music that he really wants this. They’ve got First of all, the word “hip-hop” is just another form of saying “rap more songs than I’ve done in the past year, and that’s what I keep music.” To me, hip-hop is a more professional way of saying “rap.” I telling them: you’ll never have enough songs. Another dude is Fella, wouldn’t say that I’m a rap star, I would say that I’m a hip-hop star. The he’s a young dude out of Opa-Locka. Opa-Locka is one of the most

OZONE 61 black. I tell the white boys the difference; there’s certain things you don’t say as a white boy, even if you have black friends. And vice versa. It’s certain things you don’t do as a black boy with white friends. Now, this has got nothing to do with how I feel about separate ethnic backgrounds. This has to do with something that went on a hundred years before I was even born, in the slavery days.

Sounds like an interesting concept. I want to bring you, corporate America, across the bridge, to my side, into my world – not to put fear in your heart, but for you to respect me. Just so you understand why I think different, why I dress different, why I do different things. When I’m talking on the show, it’s like a Tricktion- ary. I give Trick’s meaning for the words so they can understand how I use them. Like if I say “What they do?” I explain to them on the show what that means. And if I say “That’s my nigga,” that don’t mean my homeboy who’s black, that means he’s my dawg. When I say “crack- as,” that don’t mean you cause you’re white, that means the police. (above): Trick Daddy’s proteges, the Dunk Ryders It’s just like the song “I’m A Thug”: “Could it be my baggy jeans and my gold teeth that make me different from y’all?” It’s nothing different respected inner-cities in the . From Carol City all the way between me, the ultimate thug, and a corporate America white collar to Florida City, they gonna respect Dade County. Opa Locka is one of guy. It’s nothing different from what I went to prison for and what Mar- the few neighborhoods that I fuck with because I know what type of tha Stewart went to prison for. The only difference was that she was a niggas they breed. He has a strong presence, a strong voice, and all multi-millionaire and I was a broke-ass nigga. That’s what I’m trying to of them have a good head, a solid heart, and a solid mind. show them in the show Thug My Guy.

What types of things should we expect to hear from the Dunk Ry- It’s been rumored that you have problems with your label Slip-N-Slide, ders? but you’re still signed to them, and you’ve never spoken publicly on And all of them know that two years from now you can’t make the mu- any issues you might have. Have you come to some type of agree- sic about selling dope no more, cause obviously if we successful now, ment? we ain’t selling no dope. Can’t make the music about the strip clubs My agreement with Slip-N-Slide is the contract that I signed. For me no more cause obviously we want to be more advanced than the strip to talk bad about Slip-N-Slide or diss them won’t help me, it’ll only clubs. Can’t make the music no more about the jewelry, the gold, and confuse people. Nothing can ever happen to a grown man without the diamonds, cause we’ve realized that everybody can’t relate to that. the grown man letting it happen, unless it comes through the power So the only thing we have left is our heart, our mind, and all that is true. of God, and you know that’s an unstoppable force that can’t be con- So the Dunk Ryders are gonna be around for a long, long time. trolled. All I can do is fulfill my contract and turn in an album to Slip-N- Slide every year until the contract is up. At that time, we’ll renegotiate While we’re on the topic of lyrics about selling drugs, weren’t you go- on whether I sign again or sign somewhere else. ing to sign BloodRaw? We were going to sign BloodRaw, but he signed with [CTE] already. I I heard someone make the comment that since you’ve been kinda like his style cause he ain’t tryin’ to sound like nobody, and that’s the quiet lately, Plies is taking your place. How do you feel about him, and main important thing. some of the other artists coming out of Miami like Rick Ross? Plies is my nigga. Plies is Plies, I’m Trick, and Rick Ross is Rick Ross. He was tried on Federal drug charges recently, and they used some Everybody says, “Rick Ross is the new mayor of Miami.” Nobody can of his lyrics about selling drugs to try to prove that he committed the be voted into the House of Representatives til after the final counts crime. are in, baby. Those are very, very talented dudes. Rick Ross and Plies But he beat the case. I’ma tell you something about a Federal case. He are both on my new album and I wish them the best of success. But beat the case because for one, the law protects you the same way the remember, every man is his own man. I could never be Plies and Plies law will hurt you. Be careful with whatever you do and whatever you could never be me. say, because it goes a long way. But rap music should never, ever be entered into evidence at no trial, unless I’m giving names, times, posi- There’s a lot of big things happening in Miami right now. Do you see tions and all that. Rap music is music. Some music is just about pleas- 2006 as being the beginning of a new era for the city? ing the people. But in my songs, I say I’m an “ex-con” and an “ex-dope If you do the math, music has been coming out of the state of Flori- dealer.” I don’t never say that I sell drugs now. I’m not no drug dealer. da for almost twenty years. There were big records from Luke and 2 That’s why my real true fans respect me and listen to me, because I Live Crew and JT Money. When you listen to groups like H-Town from would be lying to my fans and lying to the world if I told you that I am Houston, they got their vibe from here. If you listen to how Missy El- a drug dealer. Being a drug dealer sent me to prison. I think that’s why liott’s music has changed and transformed, she’s got the Miami vibe. BloodRaw won his case. [Lyrics] are not solid evidence. Everybody’s got houses in Miami now. Everybody’s doing movies and videos in Miami. Everybody had their time. The East coast had their What happened to the cooking show you were working on for MTV? time and the West coast had their time, but the South is here forever. Cooking is something that I wanted to do, but now all of a sudden other dudes want to have cooking shows. Reality shows are taking At one time, there were complaints about Miami radio not being sup- over TV. I thought people would be interested to see a thug-ass nigga portive of local artists. Do you think the scene has become more sup- like me who grew up in the projects with a mama with eleven kids that portive of its own? knows how to cook. I went to prison on my fifteenth birthday. Damn, I know for a fact that people like DJ Khaled and Papa Keith support how the hell does he know how to cook? How did he learn how to local music. I appreciate them niggas. I appreciate Cool & Dre and Jim cook collard greens? How can he make macaroni and cheese from Jonsin and Big D and the Iconz Music Group. I appreciate everything scratch? But I guess that don’t really enthuse nobody, because half that Miami is doing for Miami. We’ve got to give back. We’ve gotta rep- of the muthafuckin’ places I go they can’t cook anyway. So they don’t resent for us. When niggas come down here, niggas got to deal with remember how important food is to people. So I guess that’s why the us. No nigga should be shooting videos in Miami or recording songs cooking show ain’t take off. in Miami if I don’t know about it and other niggas that represent Miami don’t know about it. If real niggas don’t know about it, you ain’t got no Are there any other TV shows you have in mind? business ‘round here and you need to see us. Me and Russell Simmons spoke briefly about another reality TV show we’re supposed to start shooting soon. It’s called “Thug My Guy.” I Of course everyone knows that last year’s hurricane season was pretty take dudes out of totally different backgrounds whose wife or girlfriend devastating, so with hurricane season coming up again – doesn’t think they’re capable of taking up for theyself. [The wife or girl- Yeah, Miami Hurricanes, that’s the only season I worry about. I don’t friend] doesn’t believe that if somebody disrespects them, their man worry about no other hurricane season. The rest of them hurricanes will be able to protect them. So I try to take those niggas and teach come and go. You put up plywood and it either knocks your house them the game. I show the white boys that they ain’t gotta try to act down or it don’t. FEMA don’t give you no money, insurance compa-

62 OZONE nies set you up, everybody else price gouges and rips you off, and older and my career went on, the label seen me mature. I got married gas prices go up. Fuck a hurricane. We’re used to that. The only thing and they said, “Trick got soft.” Naw, Trick ain’t gone soft. Trick’ll still that’s gonna do is make us want to go get money harder. fuck a nigga up. So that’s why I came back with the Book of Thugs Volume 2. When you hear “Let’s Go” and “” on the radio, don’t What went through your mind watching the Katrina coverage? get it twisted, nigga. I’m off probation and I’m ready for some more I really, really feel bad about New Orleans, because that was one of the whenever a nigga gets out of line. very few places you could go and really feel like you at home. 95% of the whole town was negros. There ain’t too many cities like that in the You know, normally the sequel doesn’t do as well as the original. Why world. Atlanta was like that; now the Asians are moving in slowly but do you think this sequel will be successful? surely, not that I have anything against them. Detroit is like that – a lot I never change. I keep it real. I don’t do no pretty songs and I don’t of black people. Miami, on the other hand, we’ve got a lot of Cubans, put nobody on my album if I wouldn’t buy their album. I won’t do mu- Colombians, Haitians, Jamaicans, Trinidadians, Guyanese, Chinese, sic with niggas cause I’m tryin’ to get their fan base or sell a record. Japanese, we’ve got all ethnic backgrounds. As far as Katrina, I heard I do a record with a person cause that person fits on that record or that a lot of entertainers and athletes and superstars have been do- deserves to be in that type of environment with me. That’s how I know ing a lot of songs and pledges, donating and raising money. But I’m the sequel ain’t gonna be a big downfall. The sequel has got to be saddened for two reasons: one, it could’ve been prevented, and two, successful cause that’s what the streets need and want. That’s what it wasn’t dealt with like it should’ve been. On top of that, we did our they asking for, and goddammit, I got it for em’. part as American citizens. We donated money, we supported, we did free concerts and telethons and all types of shit, and I don’t see where When you talk about lack of promotion, do you think part of the prob- all that muthafuckin’ money went. And I’m real concerned about that. lem is that you don’t like to leave Dade County? I’m real concerned that we can go to other countries and start wars, No, I love to travel, but I ain’t going to Wichita, Kansas for no $5,000. but we can’t fix our own problems that we got right here in our own If that’s the case, for $5,000, man, I did more time than that. My prison backyard. That scares me. sentence sunk in. My prison sentence showed me that out of sight is out of mind. I didn’t have nowhere to call home collect, let alone did Maybe you should run for President. I have somewhere to go when I got out. When you get out of prison Naw. I have an extensive background. I have a drug and drinking prob- they make you fill out papers giving your address, and I didn’t even lem. I could never be President; I don’t even want to be the first cousin have an address to give these crackas. So ain’t no way I’ma sell my to the President cause I don’t want him to start watching me. But any- soul for $5,000. My thing with the promotion is, you do your part and body could be President. Bush’s daddy was President and then he I’ma do my part. When something come up and I don’t go, yeah it’s was President twice, so shit, anybody could be President. I believe my fault, but you gotta make something come up. I can’t be the shoes Hillary Clinton has the strongest chance of being the next President and the shoe salesman. Have you ever gone to the store to buy a pair of the United States. You remember this, and make that when your of shoes and the shoes walked up to you and said, “Hey, man, try magazine is the top magazine in this shit, you reprint this quote: Hillary me! I’m a size 10, I’m new!” You wouldn’t buy that shit cause it don’t Clinton is the most fit person to run our country. sound right. Your shit gotta look professional and organized from top to bottom. Why do you think that? You’ve gotta understand what she’s been through. I watch Court TV, Is your album close to being finished? A&E, and the Discovery Channel. I know the background of the world Yeah, I’ve got one more song I’m working on with Pretty Ricky. I’ve got and the people in it. I know about other countries, I know about roy- Bun B, Juvy, Slim Thug, and a couple more dudes on this one song alty, I know about loyalty, I know about doing time, I know about life, representing their own state. I’m trying to get E-40 and Game and the and I know she’s been through a lot so she’s a strong woman. When Diplomat niggas and Camron on the record too. I like your husband is in a tough situation like Bill Clinton was and Hillary and I like Beans but out of all of them, I would like to do a still stood behind him and had his back, that’s the sign of a very, very record with Jay-Z. Jay-Z is the only last big artist that I haven’t done strong woman. That’s the sign of somebody who wants something in a record with. life. And she never stopped smiling, she never stopped caring. She’s a people person. You can look at her and she’s got that look, the op- Are you still mad at Ricky Williams? posite of me. I’m just an ugly-ass nigga. She looks the opposite. She’s Actually, I’m trying to get Ricky Williams a good lawyer to get his little got the look, the personality, the spirit, and she’s already been heart- case overturned. I could see if the man had some kush or some crip- broken. Her business has already been exposed. She’s already been pie in his system, but the man had some Tylenol cold or Tylenol PM in put in a situation where she had to choose, so she can only get better. his system. It’s so hard for athletes, that’s why I believe they deserve She can only make life better for us because that’s what she wants. the money. You can barely do any muthafuckin’ thing without getting in trouble for it. So I’m not mad at Ricky no more. I was kinda mad at Speaking of Bill and Hillary, how is married life treating you? him, and I guess it was immature of me. Remember, it takes a man to My family is doing great. admit that. It was immature of me to have been so angry and turned My household will never on Ricky so fast, but I’m such a loyal nigga that when me and you fall be like Good Times, out, nine times out of ten it’s cause you did some fucked up shit that “Good hip-hop where everybody’s hurt me. I got the Ricky Williams jersey on my wall, I got the bobble laughing and smiling head in my room, and he just jumped up and said he quit. I done been always tells a story, but nobody’s happy. on damn near every drug there was and I aint never quit. And you gon- When we smile, it’s na tell me you wanna quit and go take pictures in Africa? Nigga, I don’t whether it’s negative cause we happy in this wanna even go back to Africa, let alone leave my job or my money or or positive. There’s household. When they everything I worked for and trained for and dreamed for all my life, just tell me that I’m getting to quit. I think that was selfish on his behalf, to his true fans. I’m not no always a beginning fat and my cheeks and bandwagon nigga. I’m a real, true fan. I don’t like the Dallas Cowboys, my face are filling in, I don’t like the Buffalo Bills, I like the Miami Dolphins. It don’t feel right and an ending. But that’s cause I’m eating liking nothing else. So I just hope Ricky comes back this year. If not, good. So there ain’t no Ronnie Brown, that $30 something million we gave you, you’re gonna these days when problems here. All the have to run for it. We got Daunte Culpepper now, we picked up a few kid’s grades are up, DBs, a linebacker here and a linebacker there. I think we’re a force to you listen to the big and all the adults act ac- be reckoned with in the AFC. If we get Ricky back, we’re in the playoffs records on the radio cordingly. automatically. and on Soundscan What’s the name of your Any last words? next album? To all you niggas across the world that’s reading this magazine, if and you really analyze The Book of Thugs Vol- you’re trapping and hustling or doing anything in the streets, just be ume 2. I don’t know what careful out there. The streets are watching, listening, and telling, and the lyrics, they’re not chapter or verse it is yet. they coming to get you. Remember, the dope game, the street game, talking about shit.’’ I put it in the mindframe the pimp game, and all that shit started right here in Miami. Do your like the Bible. As I got homework, nigga.

OZONE 63

“Rap is the new street game. It’s the new drug game. It’s the new way of not having to get up and go to work and make money for other people, so that’s why it’s so much hate. The only way you don’t get that much hate is if you put on a business suit and get up early in the morning and go to work downtown.’’

66 OZONE CAM’RON WORDS: JULIA BEVERLY PHOTO: ROGER ERICKSON

’m sure everyone’s been asking you about the Jay-Z diss. I know this is all over? Feel me? So that’s why I keep my deals so short and y’all never really got along when you were at Roc-A-Fella, but what my options open, because it’s just a strategic game of stress up here Iwas the final straw that made you decide to put out a diss record? on the executive level. But if I really thought it was a threat, I wouldn’t We was never really that cool. Even when we were on the label he have did it. trust me, before I did this song I had every angle covered, never really showed love, period. When he became president [of Def from the streets to the business to the response. Every angle was cov- Jam] he was tryin’ to holla at us to get us signed to the label, but I ered, that’s why I did it. really wasn’t feeling that move. The final straw that made me do the record was his “I Declare War” concert. He was supposed to be diss- What has the response been? Do you think it’s pretty much 50/50 with ing everybody he had a problem with. It’s no secret Jim [Jones] takes people split between the two of y’all? little shots at him, slick rhymes and all that. So he got everybody in I don’t really care how people think. People say it’s a diss record, New York on point for about a month, sold out the concert, and never but I don’t think it’s a diss record. I call it an “exposing you” record. did anything. So now you’ve got a bunch of people with ammunition Anything I’m talking about on that song is the truth. I didn’t lie about ready, and I just let one of our bombs go. nothing. When I said I get fined $100,000 every time I diss Def Jam, that was part of my deal to get off Def Jam. If I diss Def Jam or any So you were preparing for war the whole time. of their artists I get fined $100,000 and I gotta keep it a secret. That’s Yeah, we were definitely preparing. If you’re doing a concert saying some bullshit. I’ll take the $100,000 fine just for people to know. When you’re gonna diss everybody you got a problem with, then everybody I say that [Jay] loved , I was there! He loved her! He you got a problem with is gonna be ready. If you’re bluffing, then what loved her and then him and Un started beefin’ over her. When I say are those people gonna do? Sit at home with all their ammunition? he doesn’t own the 40/40, he doesn’t! I’m not lying. So that’s why I don’t call it a diss record. I call it a “tell-you-what’s-goin’-on” record. If But didn’t he flip the script at the concert and end his beefs by reunit- people don’t like it, it’s cool. I wasn’t tryin’ to diss him I’m just telling ing with Nas? Did you have any respect for him trying to calm some of you what’s going on. the beef down, or do you think he had another motive for doing it? I don’t really know their motives. I know that it’s a good move busi- Are you frustrated that he hasn’t responded? nesswise for both of them. Stepping out of artist mode for a minute, it’s No, cause that’s his business. That’s like taking a slap in the face. I just a business move. Nas has probably had a regular artist deal forever on caught him off guard. He responds to everybody, so for him not to say Sony. He ain’t ever had a label deal over there. So he’s always been a anything, I’m telling you it’s bigger than that. It’s the streets. regular artist over there, and the deal is up. I been over there at Sony, and I could testify that they don’t know what to do when it comes to Do you think he didn’t respond because he didn’t want to give you rap. SO why not go to where they know what to do with rap? LA Reid any publicity? is real good and you’ve got Jay-Z over there [at Def Jam], so they Publicity? I get that anyway. I don’t need publicity to make money. It might promote his record. I don’t know what kind of deal Nas signed, wasn’t for publicity, cause my album wasn’t even coming out nowhere but why would you sign a regular artist deal again? You’ve been a near the time of that song. We did the song right after the “I Declare regular artist for twenty years. But still, being a regular artist on Def War” concert. We were waiting for the concert and he ain’t do nothing, Jam is probably a million time sbetter than being a regular artist on so we put the song out. He created his own publicity with the whole “I Sony. So businesswise, I would say it’s a good move for both of them. Declare War” concert, but it was all a stunt. If it was me, I wouldn’t do it cause there’s too much personal feelings. Nas called him a camel! I got that from Nas, feel me? And at the same When does your new album drop? time, Jay boned Nas’ baby mother. So, they’re men. If they can get The album comes out May 9th, and the DVD Killa Season comes out over that shit, cool, that’s on them. But businesswise, stepping away April 25th. from all that, why not? Why do you think New York has been so quiet lately in the rap game? It seems like people, especially in New York, really worship Jay. What I had that conversation with somebody the other day, and I don’t really made you confident enough to go at him and expect to win? understand why people are saying that New York ain’t doing nothing. I think this’ll show that we can expose people. That’s the perception The number one artist in the world is from New York. Nobody’s sell- of Jay, yeah, and people need to stop that shit. Stop thinking that this ing more records than 50 Cent. He’s the number one selling artist, dude is God, because he’s not, walking around with a hundred nig- and he’s from New York. The number one movement in the country gas everywhere he goes. He’s not God. People really needed to see – G-Unit – is from New York. The number two movement, Diplomats, is that. With him and Nas, [Jay] probably didn’t think he would ever get from new York. Ain’t no other team around the country right now that punched in the face. But you can’t really say that about us. You don’t got a better movement than G-Unit or . So I don’t know really know what’s gonna pop off when you see us in the streets. If it why they say New York is falling off. Maybe at radio or whatever, the was that simple, I’m pretty sure a record would’ve already been done. South does get a lot of spins and everything, that’s true. But don’t get People think this dude is God and they need to see that it’s simply not me wrong, I love the South. I’m a South fan. I been fuckin’ with the the case. We’re the new kids in town, and they really don’t care. Don’t South since “What Mean The World To Me.” get it wrong, though. I got so many people that love me and , it won’t even have to be me [that steps to Jay]. I be in Def Jam all the Some New York rappers are complaining that the labels are looking time. I go to see LA Reid. He gotta go to work every day, feel me? for talent down South. Of course, of course. But that’s why you’ve gotta create your own lane. Even though you deal with LA Reid at Def Jam, Jay is still the presi- We don’t get a lot of radio play. But that’s why they love us too, feel dent. Since Juelz is signed over at Def Jam, you weren’t worried about me? People love The Diplomats cause we’re street. If you’re a crybaby the beef affecting your bottom line at all? you just gotta create your own lane. So I understand what they’re say- Not really. If I really thought it was gonna be a problem, I wouldn’t have ing but as far as I’m concerned, New York is doing just fine. And we’re said it. LA Reid is cool, so if I wanted to get Juelz off the label I could. still growing. We’re selling enough records. Juelz is at 700,000. Jim He’s cool. LA Reid’s my man. But Juelz is selling records over there. has sold 700,000 between his last two albums put together. I just sold Juelz said he’s comfortable, so if Juelz is comfortable I’m comfortable. 600,000 on Purple Haze and I didn’t do nothing but the Kanye West I don’t trust nothing that goes on in this city. A lot of people don’t know single. The album before that sold a million and a half. Then when you that Jay-Z hangs out with Kevin Liles every day. Kevin Liles is over at look at G-Unit, the person that sold the lowest was and he Warner now. Jay-Z only got a three year contract at Def Jam, so after still sold 400,000. So I don’t understand why they’re crying. I think New his three years are up who’s to say he wont go over to Warner when York is doing great. And I don’t see nobody else that’s moving like G-

OZONE 67 Unit and The Diplomats. regular basis? “I just got off Riker’s There was Cash Money Nah, not really. Everything’s still the same. I had about 25 or 30 people and No Limit and Wu- with me [the night I got shot]. We had a seven-car envoy. There was a Island for the last Tang and whoever else, cop right behind me when I got shot. That’s the reason nobody really but right now, I just know reacted. So after the shooting, the cop starts chasing the other car, three weekends. I about G-Unit and The and three of the cars that was with me started chasing the car. The cop Diplomats. If I’m wrong, is right behind the [shooter’s] car so my niggas couldn’t get to them. gotta go back in this then I’m wrong. They made a left and by the time they came around the corner the car was flipped over and nobody was in it. The police never let my niggas weekend because I Let’s talk about the shoot- even get to the car. They seen the whole shit, and then they wanna won’t even cooperate ing incident in D.C. You fuckin’ tell me they want me to be a witness? Y’all seen it yourself, feel implied in the song that me? Why the fuck should I participate when y’all was there? So now with the police. I’ve the shooter was some- they say, “Oh, you don’t wanna talk? Well, you shouldn’t have been in one affiliated with Jay-Z. D.C. anyway. You’re on probation, so you’re gonna have to go to jail if been going to jail I didn’t say that, first of you won’t talk.” Well, take me to jail then, cause that’s fucked up. Y’all all. It got misconstrued. seen what happened. If you want a witness, talk to that fuckin’ cop that on the weekends The dude who was in the was right behind me when they was shooting at me. because I won’t give passenger seat with me, Huddycombs, seen [the Let’s talk about the album Killa Season. As far as features and produc- the D.C. police a shooter] throw up some- tion, what do you have on there? body else’s sign. I put it Besides The Diplomats, the only features I have on there are Lil Wayne second of my time.’’ in the song cause that’s and . I kept it pretty in-house. ’s project is com- what he seen, but I didn’t ing out so I featured Hell Rell on a few tracks. JR Writer’s on a couple see that. Huddycombs tracks also. I did it mainly by myself. I spread it out to make sure every- ain’t gonna make up no fuckin’ lie. He don’t give a fuck about Jay or body from The Diplomats got on it. But I got so many other Diplomats nobody else over there. So I put it on the song cause I’m co-signing projects coming out, I don’t need to put everybody on everything. I with what he saw. I heard people say that we’re snitching or whatever, just wanted to do an album basically by myself. But when I do it by but I just got off Riker’s Island for the last three weekends. I gotta go myself, everybody from the crew wants to be on it. I really didn’t want back in this weekend because I won’t even cooperate with the police. too many people on there unless there’s some singing parts. I can’t I’ve been going to jail on the weekends because I won’t give the D.C. sing, of course. police a second of my time. So for a nigga to say that we’re snitching, get the fuck outta here. Nobody on their team is going to Riker’s Is- What’s the content of this album? land. None of them niggas did more than a day in jail for a suspended It’s Cam 2006, updated Harlem. The last couple albums, I did a few license. So they don’t even know about not snitching or testifying or personal songs on there. I did a song about my stomach condition. A being in jail. lot of people were feeling that. It’s kind of a touching song.

Why do you have to go to prison? Contempt of court? Your stomach condition was the reason you lost a lot of weight? The D.C. police wanted me to make a statement and I never went to Yeah, I did a song about that. I was on a certain diet but my stomach make a statement. So they called up my probation department and was still hurting, so I just started eating what I wanted and the doctor said, “Why was Cam in D.C. anyway?” Even though I was down there prescribed medicine for me to cope with it. promoting Juelz’ album, they said I didn’t get permission. So they violated men. They said, “We won’t violate you if you come give us a So it’s pretty much under control at this point. statement about the shooting.” Well, you just gonna have to violate me Yeah, but there’s still no cure, and they don’t know the cause of it. But cause I ain’t giving no statement. I got to spend my weekends in jail. they have stuff that can control it. If I get a stomach attack it’s like a woman having contractions times twenty. What’s your definition of snitching? My definition of snitching is telling on anybody to get them incarcer- Going back to the Jay situation, now that you’ve gotten whatever you ated. You gotta handle your own business. If you doing anything to get had to say off your chest, do you think we’ll ever see a Jay-Cam col- anybody else incarcerated, you’re a snitch. That’s that. laboration in the same way that he united with Nas? Nah. It ain’t gonna be no Jay-Cam nothing. It’s Cam-Diplomats. It don’t Even if that person is trying to kill you? really make no sense to reunite. That stuff is corny. Nobody wants to Yeah. That’s what happened to me! And I’m going to jail for not tell- see that. For what? We worked together before and that was that. ing. That’s a perfect example. The way I was raised, that’s the way it goes. How does Dame feel about the whole thing with you and Jay? I didn’t tell Dame I was putting out the song because I knew he would You would rather handle it on your own and risk the consequences. try to talk me into not doing it. He’s got mixed emotions because him Yeah, you know what? This is the new streets. Rap is the new street and Jay made a lot of money together. But, you know, Jay did a lot of game. It’s the new drug game. It’s the new way of not having to get slime stuff. Dame doesn’t say it, but I know how he feels. Dame keeps up and go to work and make money for other people, so that’s why kinda quiet about it. He don’t wanna say nothing bad about Jay, so I’ll it’s so much hate. The only way you don’t get that much hate is if you say it for him. put on a business suit and get up early in the morning and go to work downtown. Anything you’ve got goin’ on, people will hate. That was What about the little rumors that keep up that you and Jim my own fault. I got caught slippin’. I usually move like I’m the presi- aren’t getting along? Even though you guys are close, do you think dent, understand? your partnership with Jim could ever turn out like Jay and Dame’s? Nah. When I hear rumors like that I just learn to laugh and realize that Is it true that your fingers are paralyzed? our lives are that much more important than other people’s lives. It’s Right now I can’t move the pinky finger on my right hand, but I got my like a big deal for them to want to create that much gossip about me nerve repaired. The doctor says that hopefully a year from now it’ll be and my nigga that I’ve known since I was five years old. We speak a back to normal. hundred times a week. You gotta realize that people have no lives. Our lives are that much more important that they’d rather talk about Is that the first time you’ve been shot? us. As long as they talking about us, that means we important. So I Yeah. I seen myself bleeding, but I knew I wasn’t shot in my chest or don’t think that’ll ever happen. I’m such a fair dude that it don’t make nothing vital. I just knew that one of my arms was hit. I didn’t know the sense. You can ask anybody from Juelz to Jim to Hell Rell, and they’ll other arm was hit til I got to the hospital and saw it bleeding. The only tell you that everybody gets what they’re supposed to get. So what- thing I really wanted to do was just to get to the hospital before I bled ever anybody wants to do, they’re able to do it. If Jim ever wants to do too much and lost too much blood. anything, I’m supporting it. If he comes out with the Jim Jones Sock Collection, I’m gonna be there modeling the socks, feel me? And vice Did the shooting make you rethink anything as far as security? Are versa. That Day and Jame shit is a fight about a name and a whole you changing anything about your routine or the things you do on a bunch of bullshit.

68 OZONE

MISSISSIPPI RISING Jackson, MS: the soul of the South Words by Jacinta Howard Photos by Jaro Vacek

throughout America. In Mississippi, the history is etched into the very Lift every voice and sing, till earth and Heav- landscape. One of the poorest states in the nation, it also has the larg- en ring, Ring with the harmonies of liberty… est black population.

ississippi is the birthplace of the blues, the cradle of black “Mississippi is the birth place of black folks in the south,” says veteran spirituality and a symbol of oppression in the U.S. Think about Jackson rapper, Kamikaze. As half of the rap duo, Crooked Lettaz in it. What’s the first thing you associate with the state where the the late nineties he played an instrumental role in introducing the state M to national rap fans alongside David Banner. “That’s why we call it Confederate flag still flies high over the capital? That’s right, slavery. The thought of plantations, racism and systematic subjugation still little Africa.” haunts the state, hovering over it like a dark cloud before a summer rain. The spirituals later gave birth to the blues—an art form which is largely credited with directly inspiring jazz, rock, R&B and yes, Hip Hop. Nestled halfway between Dallas and Atlanta lies Jackson, the state’s capital. With a population slightly over 520,000 the city is small enough Let our rejoicing rise, high as the listening skies, to have the welcoming, down-home feel most southern states are Let it resound loud as the rolling sea… known for, but big enough to have one of the highest crime rates in the nation. By and large, Jackson is a smaller reflection of Mississippi ip-hop may have been formulated from the blues, thus perhaps itself, boasting an intriguing mixture of spirituality, poverty, repression making Mississippi the original birthplace of the sound that and hope. Out of these elements has come a sense of unbridled hustle Hdominates the world today by default, but it’s rarely mentioned and of course, irrepressible creativity. when the genre is brought up.

It started with old spirituals, songs that slaves used to sing sometimes “When you talk about slaves, gospel and blues music with Mississippi as encouragement, but often as a mode of communication. If you lis- being the birthplace, we formulated Hip Hop,” Kamikaze contends. ten to the soft wailing of the music, the unadulterated emotion that’s Jackson is only six hours west of Atlanta and six hours east of Dallas, poured into every syllable uttered it’s impossible to go unaffected. but it might as well be on the other side of the planet for the attention it Drive through certain parts of Mississippi and you can still almost hear gets. For the most part, heads still haven’t latched onto the movement the spirituals drifting in the air, blending in seamlessly with the breeze, that’s been brewing there since the early nineties. a natural soundtrack to the heartache and suffering the people have experienced for hundreds of years. Contrary to popular belief, David Banner was not the first rapper from the state to make noise on a national level. Back in 1995, the rap group Slavery may have ended in 1865, but its effects are still prevalently felt Wild Life Society landed a deal with Blunt/TVT (which was also home

(l to r): Stax (Block Wear), Bra (Queen Boyz), Benz (Queen Boyz), Twizzle, Red, Gutta, Janky (1 Life 1 Love), Big Nose Jew, Seneca, Greedy (1 Life 1 Love)

70 OZONE to a then unknown Ja Rule), propelled by the single, “Homie Love.” “Banner came up with the name and concept,” Kamikaze remembers. But even before that, in the early nineties, rapper Smoke D had made “We were in a crew called the Stowaways which was a bunch of differ- a major move. After meeting Bun B and Pimp C at a local club in ent cats from across the country that met up at Jackson State Univer- Jackson, he moved to Houston with intentions to be the third member sity. We realized Mississippi didn’t have representation in the Hip Hop of UGK. world so he came up with the idea to form a group.”

“That was in 1991 or 92 when I left to Texas and was stayin’ with [Pimp Named for the chant kids sing when learning how to spell the state’s and Bun],” he recalls in his slow drawl. “I left and came back to Jack- name, Crooked Lettaz seemed destined for success. Intelligent, aware son for a couple of weeks and ended up getting in trouble.” and spiritually grounded, Banner and Kamikaze’s release was full of raw creativity. But then, industry politics reared its ugly head. That trouble landed him in prison for six years. While Smoke D was still featured on “Front Back, Side to Side” from UGK’s sophomore album, “We had a manager that robbed us of six figures and a label that Supertight, and on the Ridin’ Dirty interludes, Jackson had missed out didn’t know what to do with southern music,” says Kamikaze. “This on a key opportunity to introduce themselves to the rap world. was before the south took over the game so the label didn’t know what to do with a southern group especially one that was talking about It would take nearly five more years for Wild Life Society to drop and something. Crooked Lettaz was a movement, we were trying to reach a couple more after that for rapper Boo the Boss Player to begin mak- people and deliver a message. We didn’t come in the game talking ing waves nationally with the Concentration Camp alongside No Limit about the standard things people talk about it was difficult for them to standout, . market what we were doing.”

“I think Mississippi has always been overlooked and underestimated,” Eventually the duo was forced to disband and begin hustling indepen- says Kamikaze, his voice laced with annoyance. “Even presently I get dently to make ends meet. Of course, Banner was the first to blow. real frustrated with how Mississippi gets looked at because people When Mississippi: The Album dropped on Universal in 2003, he blew think that Banner is the only representation of the state. It’s all good, the scene wide open and put the entire state on his back. but there’s so many other artists here that are talented. We down here makin’ good music and we been doin’ it for years.” Sing a song full of the faith that the dark past Banner agrees. has taught us, Sing a song full of the hope “Even back then you had so many groups that had talent,” he says. that the present has brought us… “When there’s a place where nobody has really done anything from a major perspective it makes the artists and the city a lot more hungry. David Banner has definitely been a door opener for Mississippi,” There were so many groups that had to do it, sell records and get says DJ Sweat, who recently dropped the mixtape, Puttin’ Missis- radio play without anybody to help them. You had groups who really, “sippi on the Map. “He’s educated and he’s not ignorant. He’s very really were learning how to build corporations. Even with my first un- respected by me and I really appreciate the stuff he does.” derground album, we wrapped them, we got the barcodes on them, we had in-house graphic work, we pressed up the CDs, we did the art From his numerous charitable efforts, including the Heal the Hood on the CDs, we got them in the stores. I actually was in the sweatshop concerts he put together immediately following Katrina to his speak- myself putting plastic on the CDs, so you know we put together our ing engagements and willingness to bluntly talk about the political and own shows. People wonder why southern rap groups are able to do social issues plaguing his people, Banner’s commitment to the com- so much that’s the reason why.” munity has made him one of the most well-respected artists in the business. While other artists like Reese & Bigalow and Mississippi Mafia were gaining regional recognition in the mid-nineties, the doors to the state “Nobody really gives to us as far as historically, “ he maintains. “Mis- swung wide open with the emergence of Crooked Lettaz in 1999. sissippi has always been pushed to the back as far as America is Comprised of David Banner and Kamikaze, the group’s album, Grey concerned. Even if you look at Katrina and what happened it’s like Skies (released on the now defunct Tommy Boy Records) offered a southern states are the ghetto for America, that’s what they look at us glimpse into the tormented history of Mississippi, while simultaneously as. We learned that if we don’t do it, nobody is gonna do it for us. Even providing a soundtrack to the gritty streets of Jackson. with Katrina, Mississippi got put on the back burner.” Talk to virtually any producer, artist or DJ hailing from Mississippi and you’ll find the same philanthropic nature that Banner has. Given the

(l to r): Donnie Money (Mississippi Mafia),, Young Shad, Aziattik Black, Kamikaze, Sweetz (b.i.G.f.a.c.e.), David Banner, Marcus., E, Twa (b.i.G.f.a.c.e.), Tambra Cherie (Admission Granted TV)

OZONE 71 state’s poverty-ridden conditions and son and throughout Mississippi. rich spiritual background, it’s not sur- prising. “It’s shocking to me that more cats from our city have not gotten deals,” the rap- “Living in Mississippi gave me an under- per says. “Every time I go back to Jack- standing and respect for what I have. It son I just look around and see cats with keeps me humble from the standpoint of true talent—they got the story and the knowing where I came from and all the background, the A&Rs just gotta get up struggle and the pain that came from and see what’s poppin in the Jack.” Mississippi as far as slavery is concerned and the discrimination,” Banner relays. Kamikaze is not quite as diplomatic “It definitely put God in my life. Me be- Other Jackson, MS-based rappers include Smoke D (left) and J Records’ recording artist Boo da Boss Playa (right) about Mississippi’s struggle to be rec- ing able to go back to Mississippi to my ognized nationally. family helped save my soul because this music industry will suck your soul out of you, easy.” “We just don’t get the respect that we deserve cuz the industry is full of dick riders,” Kamikaze breathes, frustrated. “If these A&Rs would DJ Sweat, who’s originally from Tchula, a small town located right get their head out of the ass of Atlanta and Houston they might be outside of Jackson has an outlook much like Banner’s. able to find some new talent. We know they got they thing goin’ on and much love and respect, but we doin’ it in the same way. I’m takin’ “There are 2,100 people in Tchula and probably 200 got jobs,” he this whole state on my back, and if I gotta piss some people off, that’s somberly relays. “People don’t have running water in their houses. what I gotta do.” That’s why I know since God’s blessed me, I gotta do something

about this.” Indeed there’s a wealth of talent throughout the state. From Boo who’s soon releasing a project on J Records to J Money & Cadillac Don and It’s that common integrity that most Mississippi artists share that led Shad & Jewman, Mississippi is poised for greatness this year. Kamikaze to start M.A.P. (Mississippi Artists and Producers) an orga- nization dedicated to enlightening artists about the intricacies of the “I want my album to represent help,” Smoke D says of his pending industry and help them prepare for the future. It currently has over project that will be released on his imprint GSM (God First, Family 250 members. Add that to DJ Sweat’s continued efforts to build up Second, Money Third) Records. After 10 years of waiting, he’s reunit- his immediate surroundings and Banner’s recent decision to drop a ed with Bun B and Pimp C and is currently living between Houston mixtape exclusively featuring all Mississippi artists, S.I.P.P: The Missis- and Jackson. “I ain’t holier than thou, but I wanna head in that direc- sippi Mixtape you have a powerful alliance that’s capable of change. tion now that I’m a little older as opposed to doing everything that’s out there in the mainstream. I wanna help whether it’s from listening “People look at my triumphs as Mississippi, but then if I fuck up, that’s to the music or from me doing what I can do.” Mississippi too,” Banner says, his voice heavy. “That’s the reason why it’s so important for other artists to come out of Mississippi and repre- When all is said and done, Mississippi artist simply want the chance sent too, because it’s so much more than I represent.” that their state too often was not given. Like the lyrics to James Wel- Facing the rising sun of our new day begun, don Johnson’s classic spiritual, “Lift Every Voice and Sing,” their Let us march on till victory is won… story is a powerful one that needs to be told. “I think Mississippi has the potential to be the next Atlanta, New ne of the most well received albums of the year has undoubt- York or Texas,” Banner contends. “The difference is that it’s a state- edly been The Product’s One Hunnid. While Scarface’s group wide movement and we got the stories from our grandfathers to tell. Omay not be doing Jay-Z numbers, the respect the project has There’s a lot of things that’s been going in Mississippi for years that garnered in the street is undeniable. Young Malice, one third of the haven’t been spoken about and it’s coming back through the eyes of group, is a crucial part of the new movement that’s brewing in Jack- our children and grandchildren. It’s going to be historical.”

(l to r): Cory Thomas (Admission Granted TV), J, Tony B (Our Glass), Birdland Sean, Mobile Mike (MSB), BP (MSB)

72 OZONE

“The artists that are successful are the ones that get off their ass and do it themselves and hire their own radio teams and street teams and stop complaining about what [the label] isn’t doing. I’m not gonna complain no more...I take full responsibility for my life.’’

74 OZONE DAVID BANNER WORDS: JULIA BEVERLY PHOTOS: JARO VACEK

hen you originally got signed to SRC/Universal, there was a do. My album dropped the same week that Katrina happened and a lot of hype around your “$10 million dollar deal.” Was that bunch of other shit happened. But for the first time in my career, I’m Waccurate? free. I’m not dictated by an album. I’m doing movies; really, really big It was very misleading. That’s not what you get in your pocket; no- movies. I’m back in the production game. One thing I’ve been blessed where close to what you get in your pocket. That $10 million is over with is the fact that this rap shit don’t run me. I’m able to do so much. five albums: every flyer, every video, every rental car, every radio ad, God’s blessed me with so much that I’m able to dictate my own career. every poster, everything you do during those five albums. So I’m really happy with the results because it did damn well.

So who perpetuated that hype? Who’s idea was it to put out that “$10 What are the “big movies” you’re speaking of? million” figure? I’m auditioning for some big movies. I’ve been offered a couple big That’s not really important because I don’t like to bring other people things and I’ve got a really big movie in the works. But I really don’t into it. I think it was a mistake, and at the time, I should’ve stopped it. like to talk about stuff til it’s actually happened. There’s a lot of po- So I take full responsibility for that. People have a tendency to treat tential, but you should never brag on stuff because it might not come you differently when they think you have all that money. When I look at true. That was one of the problems I had; there was a lot of things I Dave Chappelle, I feel for him. I feel so bad for the shit he went through counted on happening that didn’t happen, and people are waiting on when that “$50 mil” got thrown out there and the pressures that came you. People believe in you so you’ve gotta keep your word and don’t on him. And folks don’t care if you say, “Nah, bruh, that ain’t true.” If say shit til it’s actually ready to happen. I don’t blame nobody for noth- they read it somewhere, they gon’ believe it. One of the reasons I want ing now, cause it ain’t nobody’s fault. It’s my fault, every time. I’m the to talk about this is because I don’t want these young rappers to be man, this is my career. Mississippi is my state. I don’t expect no help throwing their money out there and talking about what they’re getting, from nobody. Ain’t nobody your friend. As long as God gives me air especially when it ain’t true. There’s a certain level of responsibility that to breathe, it’s on. comes with that. Not that anybody should be counting your fuckin’ money anyway, but it’s a lot of responsibility that comes with saying A few of your labelmates at SRC, like Remy Ma and Grandaddy Souf, you’ve got that amount of money. The pressure comes from friends, have been pretty vocal with the issues they have with the label. Have family, whoever. It’s a lot of pressure for one person to handle. you experienced any similar problems or do you feel where they’re coming from? So at what point did you decide you wanted to dispel that idea that you Hell yeah. I’m pissed off. You gotta really think about it: I made SRC. I had millions of dollars? started SRC. Nobody gives me credit for that. Nobody cut me a check. It wasn’t ever my idea to put it out there like that, but I didn’t stop it If it wasn’t for me, SRC wouldn’t have got on its feet at all. So I feel like when it happened, and that was my fault. It’s bad when people stop I deserve a little bit more, but it ain’t up to no other man to make my looking at you as a person. It’s just like Dave Chappelle said on TV: career. Steve Rifkind doesn’t make me. I was a success before I met it’s sorta like Bugs Bunny when they were stranded on the island, and Steve Rifkind and I’m gonna be a success after Steve Rifkind. I’m not folks started looking at each other like they’re food. That’s sort of the trippin’ on him. It’s not his fault. I’m not blaming him for nothing. If they feeling I had. I want the young cats to know: bro, keep your personal don’t do what they need to do, I’m gonna get off my ass and make a business out of this rap shit. It ain’t nobody’s business what you’ve buzz myself. But yeah, I was mad. I can’t lie. Hell yeah, I was mad. got. Keep it to yourself, feel me? Mad at what, exactly? If you don’t want people to have that perception of you, why buy a Mad at the way my shit was handled. But I’m not trippin’ about that Bentley? Why show your house on MTV Cribs? because you gotta think about it, Julia. Me and you are similar in a lot That’s my business. That’s the problem. People get into an artist’s life of ways. Since the day I first met you, we always ran our own shit. And too much. I can buy a fuckin’ Bentley if I want to, but that don’t mean that’s something I want you to put in this magazine: don’t stop run- I’ve got ten million dollars. I can look good and buy a chain if I want to, ning OZONE the way you run it. You delegate your business to other but that don’t mean I got ten million dollars. people, but run it the same way you ran it when you started. You just cyberspace the shit; upgrade your pimpin’. I’m not gonna stop doing Speaking of that, why don’t you wear jewelry? what I used to do. It’s up to me to make my shit hot. It’s up to me to I don’t wear jewelry because my mission is a lot bigger. I still like going get out there and make my shit happen because record companies into the hood. I still want to be able to go hood to hood, and it’s sorta don’t do it no more. hard to do that when you got $10, 20, 30 thousand dollars on your wrist and people can’t eat. But this year, I’ma bust they heads, straight Do you think any artist – not just on SRC but in general – is happy with up. I’ma shine on these muthafuckers. I’m gonna give folks what they the way their project is handled? want. Watch. Watch David Banner this year, quote, unquote. And you You’ll notice that the artists and the labels that are successful are the need to put in your magazine, “Most phenomenal feat of all mutha- ones that get off their ass and do it themselves and hire their own radio fuckin’ time.” The beginning of a new era starts right fuckin’ now with teams and street teams and stop complaining about what muthafuck- this interview. So read it and get prepared for the fuckin’ future. ers are not doing. I’m not gonna complain no more. This is my fault. Put that in bold writing. It’s my fault; I take full responsibility for my life. So out of your five-album deal with SRC/Universal, you’ve released Watch what’s about to happen in my life. You keep this magazine run- three so far? ning and watch what David Banner’s about to do. Watch me. Sit back Right. The fourth album is gonna be straight street shit, what people and watch this shit unfold and you better be ready to write a mutha- expect from David Banner. I experimented and let people know my fuckin’ book about me, I’m telling you. depth and my range, and now it’s time to get back to that Mississippi: The Album. It’ll be my first album, multiplied by ten, with the experi- Hmm. What’s the plan? ence that I have and the knowledge that I have. My beats are ten times I’m not gonna lay the pimpin’ out. I just told you, you don’t talk about better and my rhymes are ten times better now. Honestly, I think I’m stuff until it’s time. It’s not time yet. It’s just starting, and anything can better than I give myself credit for. Most of these muthafuckers in the happen to stop it. A lot of people don’t want to see me successful game can’t fuck with me, and I’m about to show that. because I’m a threat. I’m a walking corporation. I don’t need nobody to make my beats for me. I make my beats. I don’t need nobody to How do you feel about the response to your last album Certified? write my rhymes for me. I write my rhymes. I don’t need nobody to Aw, man, I feel great about it. To me, it was like, God puts you through go get radio for me. I got friends in radio. DJs are my homeboys and certain things and allows you to see what you have the potential to homegirls.

OZONE 75 “I don’t wear jewelry because my mission is a lot bigger... But this year, I’m gonna shine on these muthafuckers. I’m gonna give folks what they want. Watch David Banner this year: quote, unquote. The beginning of a new era starts right fuckin’ now with this interview. So read it and get prepared for the fuckin’ future.’’

Why is that a threat? What options are readily available to our kids? When you look at TV, It’s a threat whenever you have too much power and too much influ- look at the roles we get and the situations they place us in. When you ence. There ain’t too many rappers out there that I haven’t worked look at television, you don’t see positive black people moving and per- with. That’s power. When anyone is able to call upon people and they petuating. You don’t see that marketed and promoted. So, you answer come, it’s a threat. Look at our generation; it’s not too many people that question, and put it in your magazine. Tell me what these young that can call on people and they listen. Look at the power you have kids can see out there that’s readily available. Like I said, if you can with your magazine. Look at the power I have. And we knew each show a thug another way to make money, they will. other before. That’s power. But we don’t use our power like we should. None of us do. Look at the power that rap has. Look at the millions Well, you’re intelligent. You could be a doctor, lawyer, teacher, any- and billions of dollars that we’ve made for shoe companies and man- thing you chose to be. You could show kids other career options. But agement companies, but how many of us have made those billions you chose to be a rapper. for ourselves? We gotta empower ourselves. That’s why I don’t bicker I chose to be a rapper because I know that I can touch people and and talk about no other man. I know who I am. I know what I’ve done help people. And am I doing it? Does it affect my community? Haven’t in the past. I don’t gotta talk about no other man. That’s why it’s just I made people recognize my state? Haven’t I opened up the doors for business to me. It’s all business, and we’re waking up. That’s what people who never felt like they could do something positive? Have I Katrina did for us. not stood up in the eyes of adversity and done positive things? I’m asking you. Answer the question. What’s the big picture for you? Are we talking politics? To establish power and money. I used to be into politics and all that, Yes, you have. But let’s go back to what we were talking about as far but I can’t build communities without paper. I can’t get people to come as rap lyrics. The other day we were talking about BloodRaw’s trial, places if I’m not popular or famous, or people don’t like my music. It’s where they attempted to use some of his lyrics about “moving weight” about hit muthafuckin’ songs. It’s about making money and distribut- and “indictments” as proof that he committed a drug offense. Do you ing that money and doing what you’re supposed to do. think it’s dangerous to take rap lyrics literally? That’s not fair. They only do that with black people. When Steven I’ve heard people say, “David Banner sounds intelligent and he talks Spielberg makes a horror movie or Steven King writes a book about about positive things, but when I hear his music all he’s doing is curs- kids being demons and stuff like that, they don’t hold it to them. They ing.” So either they’re not understanding, or your goals are not trans- say, “It’s just a movie,” or, “It’s a work of art.” Just look at Three 6 Ma- lating through your music. fia winning a Grammy. They give props to the actors who acted like The thing is, it’s music. The problem with rap music in general is that pimps in the movie, but won’t give props to a group that raps about the we have allowed people to make it “real.” Everything’s gotta be “real,” same thing the movie was about? and that’s not the case. We write songs about the things we feel and see. Those same people who talk that shit are people who are not in Do you think it’s because there is so much emphasis on “keeping it the streets. People haven’t been through what we’ve been through. real” in rap music, that people assume it is reality? Even you, being a young white girl walking through the most hood Well, regardless of what people think, movies can influence people clubs in the world, people ain’t been through what the fuck you been more than music because they can see the visual images. It’s the fact through, so they can’t worry about what the fuck you write about in that young black people are making money and establishing power your magazine. The truth is, regardless of what people say, when I put off the same thing the establishment has made money off all the time. out “Cadillac on 22s” how many people rallied behind me? But when I That’s true power in the hands of young cats who know how this es- put out “Like A Pimp,” look at my career! Anytime I try to do something tablishment has taken advantage of us. And I’m not scared to die. I’m that mean something, do people rally behind me? No! But when I talk not scared to step up and do the things that I gotta do as a man. I’m about “like a pimp” or “play with your pussy,” what happens? I get that hesitant sometimes, but I’m not scared. muthafuckin’ paper. If you’re performing a song every night called “Like A Pimp,” do you That’s true for pretty much any form of entertainment. Do you think ever question the line between reality and what you’re rapping about? that’ll ever change, or is it just human nature? Do you ever start to believe that you are what you rap about? Or were It won’t change in my lifetime. Maybe I’ve started a change. When I you what you rap about from the beginning? perform my music in concert, “Cadillac on 22s” is usually the song I’ve been through a whole lot of things in my life that people will never, that my true fans rally to the most. Most thugs want to do better. Most ever know about, and I’ll never talk about it on a muthafuckin’ song thugs, anywhere in the world, if you give them the option to do some- or in a magazine. The only way a person will find out what’s real is by thing better and they could really see paper in it, they’ll do it! testing me. So I don’t wanna show people what’s real. I don’t want to be what I used to be, but I can talk about it. That’s my prerogative. The Why do you think that a lot of kids see entertainment, sports, or hustlin’ truth is, regardless of what a person talks about, it’s only fuckin’ talk. as their only career options? The problem is that America is not raising our kids. We’re not taking

76 OZONE responsibility for our own kids in our own households. But I’m not ple felt like the South wasn’t hot and they wouldn’t get with the South, taking responsibility away from rappers, either. I think we should take and then what happened? They got left behind. responsibility amongst ourselves. We gotta get together in a room, with no record players, no cameras, no radio. And you have to un- Do you ever have to check yourself to make sure you’re not smelling derstand that a lot of these cats don’t know nothing but heartache. A your own shit? lot of these young cats don’t have nobody to teach them better, and Hell yes. Every day of my life I have to check myself. That’s why I say they’re making money doing what they’ve been doing, so why should God is so good. Sometimes God checks you. He gotta slap you up they change? We have to educate each other, because nobody else and bring you back down in order for you to realize you’re here for a gives a fuck. The establishment makes money off us being the way purpose and a reason. Yeah, I gotta check myself. If you don’t check we are. It’s crazy, but the truth is that nobody’s gonna hear us if it ain’t yourself, that’s the problem, when you feel like you ain’t doing nothing jammin’. And the truth is, right now, what we say and do is jammin’. wrong. I have fucked up. I need to be checked. That’s why you need It’s proven. When I go away from the David Banner that everybody people around you to tell you when you fuck up. talks about, what happens? Be honest, Julia. You say it. When people become successful, do you think it’s the money that You flop. changes them, or other people’s reactions to their money? Exactly! So I’ma keep it thuggin’. Fuck ‘em. Niggas can talk that shit, It’s all of that. It’s people in your ear all the time. It’s people not telling but everybody does it. Look at America. C’mon, America came up off you “no.” It’s the fact that everything’s at your discretion. It’s people slavery, pimpin’, and killing. Murder, bloody fuckin’ murder. How can lying to you, telling you, “Yeah, dawg, that’s jammin’,” when it’s actu- muthafuckers sit up in their big-ass houses that were built off murder ally not. People change towards you. And all the stuff I’m learning and criticize me? Not that that makes it right or wrong, but we have to from this music shit, I’m implementing to the movies. I’m gonna try start dealing with the truth. not to make the same mistakes. Please put this in bold writing: Tell these young cats to read. Read anything. I don’t care if it’s a Playboy And throughout all the things in American history, a lot of those things magazine, just read something. Read. Find out about your money. have been done “in God’s name.” That’s the biggest thing I’ve learned. Get a good accountant. It ain’t God is watching. That’s one thing I’ve learned in this music industry. about our talent with black people. We’ve got the talent. Look at how Music ain’t shit when it comes to God. We will have to eternally deal we make billions of dollars out of nothing. We have to learn to keep with all the things that we say and do. This time we’re living in ain’t our corporations. nothing but a second to God. What made you decide to put out DA SIPP mixtape? With the tsunami and all the hurricanes and earthquakes and every- I’m just tryin’ to give a lot of the local cats at home some national thing going on in the world today, some people speculate that we’re shine. Before, there was just a lot of stuff I didn’t know how to do. Now living in the “end times.” that I’m learning, I’m trying to come back and give back. We’ve been Everybody talks about the end times and this and that, but actually, giving the mixtape out at all my shows. For the next mixtape that I do, from my understanding of the Bible, the end is actually when it gets I’m gonna give cats the CD and let them press them up and sell them peaceful. When there’s too much peace, that’s when the end is gonna theyselves; give them an opportunity to make money. come. I think God is reminding us that he does exist, and that all this could be taken away in a matter of seconds. That’s why Certified Any last words? was so important to my career. We gotta be slapped up. We gotta go I want to thank everybody that’s helped me throughout my career, and through hard times. That’s what keeps us being men and women. all my fans that stuck with me. And I want people to know that we do One thing you could say about Julia Beverly and David Banner is that make mistakes, and we’re not perfect. People swear that we’ve got it nobody made us. Ain’t no man made me. Ain’t no woman made you. together. That’s why I always give praise to God, because I don’t know People have helped us, but nobody made us. Nobody got out on the how I did what I did. All I know is that I get out there and bust my muth- streets passin’ out those magazines with you, and nobody slept in afuckin’ ass. That’s why people should watch what they say to these that muthafuckin’ van with me. God has put us through all that for a rappers, because we came from nothing. Muthafuckers look at us on reason. When Mississippi and New Orleans come up, we’re gonna TV and get it mistaken. I am not playing. I am dead serious, dude. be the strongest people, ever. And that’s through the grace of God.

You’ve been in the rap game for quite a few years. Having seen a lot of producers and rappers come and go – what do you think separates the artists who last from the ones that fall off? I think the problem peo- ple have is that they start smelling their own shit. You gotta continue to lis- ten to what’s hot. A guy named Freddy Young, from Jackson, MS, once told me, “If you listen to the radio and you don’t like nothing that’s on the radio, there’s something wrong with you.” People criticize all the new mu- sic that’s coming out. A person will be like, “Aw, snap music is whack,” this and that. But snap music is jammin’. Kids love that shit. You better get with it, nigga, or fall behind. Or Artists featured on DA SIPP mixtape include (l to r): Smoke D, Gutta Boy, make something better, if Sweetz, Twizzle, David Banner, J-Dub, Roy, Aziatikk Black, and Marcus. that’s how you feel. Peo-

OZONE 77 78 OZONE TOO SHORT WORDS: MAURICE G. GARLAND PHOTOS: SHANNON McCOLLUM

Love him or not like him that much (you really can’t hate the man), great underground record in the Bay is an entire song of ebonics, just everybody has a favorite Too $hort song. Whether you liked the jibberish slang. Its funny as fuck. These niggas don’t say one straight baseline on “I’m A Player,” the stirring lyrics on “The Ghetto” or sentence in the whole song. The shit is crazy. the sexual exploits on “Freaky Tales,” you’ve got at least one shin- ing Too $hort moment. Crunk was the most popular thing going at one point and then it died down. With the movement being around for almost Being in the game for twenty years like he has shows you a lot two decades, do you see it meeting the same fate? more than a magazine page can hold. But peep game as $hort I don’t think so, but it has changed. Now all the kids wanna get a deal. speaks on the origins of the hyphy movement, why women are the They didn’t want record deals at first. They didn’t care about that, but real pimps and sound advice from DJ Red Alert. He even reveals now they do. But it ain’t gonna die because it’s still spreading, and some of his hidden formulas for his success. Read on. people are embracing it. They getting hyphy in Seattle, Portland and any where close. Then, you got the slang. That’s as much a part of it Being from Oakland, being that you put the Bay Area on the map, as the dancing. If you really from the Bay, you gotta put some slang being that you’ve been in the game for this long, how do you feel in it. It’s some songs on the radio that kids love because of the slang. about the new found attention the Bay is getting? Plus, you got songs that are hyphy and still get on the radio. You don’t It’s really about the mood the fans are in right now. The reason why have to go dumb to it. I know I’m not. I’ll sit here and tell you that I got crunk was winning was because in the past 10 years, people have just songs that you can go dumb to but ain’t hanging out the side of no car. been about having a good time. So the music has just been about hav- I don’t think 40 plans to either. ing a good time, nothing but dancing and having fun. So the energy that crunk provided made it more appealing than the New York rap- With this new movement coming about, has anybody hinted with pers who were being super emcees with the complex rhymes. People the notion that it’s time for you move on, that it’s their time? like it more than gangster, gang-banging stuff the West Coast was It ain’t never been like that. The kids that’s 17 years old know my coming with. The crunk shit was just having fun. It’s something that words, and they wasn’t alive when I made the record. Even the slow people would rather do. So with the Bay’s new sound- the hyphy- it’s shit I was making. I get kids coming up to me all the time saying “Short, all about dancing. Its high tempo and that’s one thing that similar with you know my mama. Short, you went to school with my daddy.” hyphy and crunk. It’s not the real deal if it don’t make you dance. Go- ing stupid and dumb is dancing to them out here in the Bay. Its fun Talk about how the Bay area not only had an impact on the style of to kids and some of the young adults do it. People in their 30s don’t hip-hop but the business of it as well. wanna do it though. They look at it the same way that folks in Atlanta We are the originators of the independent movement. We embraced look at “Laffy Taffy.” They looking at “Laffy Taffy” saying its junk. Funny independence. We celebrate 20,000 in sales independently. There are that these are the same people who used to shake it off and dance to guys that’s been out there doing their thing like no one else. From ‘96 Lil Jon and Youngbloodz. to ’06, regardless of if it charted or not, there’s a lot of people in the Bay making money off music. Some of these guys are selling 50,000 With the hyphy dances, people are quick to point out that it’s more records. They selling in Seattle, Portland, Wyoming, Colorado, Phoe- than dancing. It’s a way of life that’s been around for years. If you nix, throughout the Midwest. If you sell 50,000, you good. 10,000 to look closely, it looks like people were getting hyphy in the “Life Is 20,000- you straight. And if you having a good day, selling 100,000. Too Short” video. We celebrate that in the Bay. If you do that in the A, they laugh at you. If you look at that video, we was in our 20s. What we was doing in that But in the Bay, you’re rich. video was the side show. There was only one place that you could do that, and that was the Eastmont Mall in East Oakland. On Saturdays, Whenever something gets popular, people usually start biting. people would be out looking fly with cars in the parking lot, girls just What’s the attitude towards the eventual copying by others? hanging the streets. So with the side show, people in Oakland always The youngsters tell me they don’t care who try to copy because unless put racing engines in their cars. We called it high performance. In Oak- you’re sitting in those streets, they ain’t gonna fuck with you anyway. land, you got to put the high performance in the car. You gotta have The people out there get their stuff on the radio and the streets be- a loud engine, pipes and all that shit. The engine gotta be so strong cause people support them. They got artists they love out there. Even that when you burn rubber, the car goes sideways. It can’t go straight. though the people near and around the Bay embrace it, they still can’t That’s what we did in the late 80s. We’d do donuts. Cops might chase do it either. It’s something about the dudes from there; only they can us but we didn’t care. Fast forward to now, and the side show has do it. Them Richmond, Vallejo niggas, only Bay niggas can do it. It’s been going on the whole time. Now niggas do it everywhere, not just a certain thing; you can pick it up, but not as an outsider. The videos one place. You can drop a hat and it’s a party. These are the kids don’t show you. There ain’t gonna be no instructional DVD. You can’t of the side show in the late 80s. They took their parents’ wild nature be an outsider and completely get it. Just like my career. I always felt to another level. Just like how hip-hop has emceeing, DJing, break- like rappers absorbed the rapper before them. I was never threatened dancing and grafitti, hyphy has elements. First, you got the cars’ part by other rappers trying to do that pimp shit because they ain’t got where you do donuts and ghostride the whip. Kinda like how Texas be the game like me. Even if you say you every pimp in the book. Even swerving, but we do it at high speeds. A lot of people in the bay hate with Texas, see it’s a lot like the Bay. You talk to them and they’ll tell that hyphy shit because it’s dangerous and it causes injury. The car you they lived and bought big houses on independent sales. They part of the hyphy movement is like when the crunk had the fight shit. sold 150,000 off mix tapes. The Texas boys are near Atlanta and New They had certain records by Lil Jon and Three 6 Mafia that the club Orleans but never tried to make crunk or bounce because that ain’t owner said “don’t play that shit.” You got the hyphy train that’s also them. in that. Just like Texas but high speed. Then you have the music part of hyphy. It’s uptempo most times, not all of the time, but it just has a Why do you think you’ve been able to stay in the game so long? certain sound. Very hard to explain. I been watching it develop for the I think if you just go through different circles of people and ask if past five years. It’s like if you from Atlanta and know what Crunk is and they’ve ever had a Too $hort experience, you’ll get hella stories. I’m you go somewhere else and someone comes to you and says they mean look at my story. Just rolling with a trunk of tapes going from got a crunk song. Yeah, you might bounce to it, but it ain’t crunk. Hy- block to block and coming up and getting a record deal and videos phy just can’t be up-tempo. Then, you got the rapping. Just like when and notoriety off being underground. That’s just legendary. You can you motivate people to throw elbows and stuff in crunk, the hyphy picture it in your head without seeing it with your own eyes. It’s the DJ got certain chants too. Whether he’s talking about smoking purp kind of story that I don’t even feel like I’m a part of. Sometimes I step or popping pills, whatever it takes to make you go stupid. The latest outside of myself, and I can’t believe it. I be looking like “wow, he went

OZONEOZONE 7979 platinum and never got embraced by the mainstream?” No other rap Pimps don’t be doing that shit. Pimps just say “go.” Go get my money, artist has ever did my numbers with no support, not even other plati- go out on the track, go work them tricks. Just go. Outside of that, it num artists. I was going platinum the same time LL was, and I had no ain’t much being said. Pimps just send. They just send hoes out and kind of machine behind me. What if I had Def Jam’s machine behind they comeback like a boomerang. There ain’t a lot of pimping in rap. me? Where would I be then? Think about that. I did real good, but I These rappers can’t even get into it because they don’t know what it did the shit on the underground. I always told myself when I retire I’m is. In rap, pimping is just a sport. That’s the context that they use it in. gonna do it independently. To them, pimping is buying bottles in the club and shit. The truth is the girls are the real pimps. They straight up ask niggas “do you wanna be Why don’t you think you ever got embraced by the mainstream? my friend? Alright pay up.” Everywhere you look, niggas always ask There have been plenty of rappers with explicit content that have how much it cost to be some broad’s friend. been embraced. I never had a publicist to tell me that I’m supposed to do certain things. How do you feel about the influx of balling on records? Do you still But then again, I never cared to have a publicist. I’ve argued that I hear struggle in the music? never wanted to be famous. I just wanted to be underground to the Everybody is going to the end of the story now. They just going straight fullest. I never wanted videos. I’ve been approached so many times to the jewelry store. But that’s just a phase. But Hip Hop always been by people saying things like “let me give you a new look…you’ll be so on some show-off shit, though. But that’s what I like about the Jeezy’s hot.” I’ve been told so many times “let me be your publicist.” I’ve been and T.I.’s. They show the journey. Niggas be running into brick walls told that I need to stop making ghetto shit and start making pop shit trying to be like these rappers because they don’t see the journey. like Hammer. A producer once told me that he couldn’t work with me if Shit, Jeezy motivates me, too. I’m an O.G. and even I’m like “damn this I didn’t make pop (music) like Hammer. I never wanted to do that. I just nigga out here doing his thing with these mix tapes.” wanted to make records for one person- the Too $hort fan. Just that one person. Every rap I’ve ever wrote sounds like I’m talking to one In other interviews, your story always starts off as you saying that person. That’s how I write. I write as if I just see one person in front of you only made the dirty rhymes because people said they liked me and I’m talking to them. That’s been my formula all these years. them and was buying them. What were you rapping about before you found out that the dirty rhymes worked? You’re obviously known for your explicit lyrics and pimp tales. [Laughs] The first raps I did was silly rhymes, just partying and shit. I Truthfully, how do you feel seeing all these new rappers emulating was just learning how to get on beat, but then I heard [Grandmaster your stories? Especially since it seems like an overabundance of Flash and the Furious Five’s] “The Message.” It hit me immediately. them? Do you think they are glorifying the lifestyle? I can still remember. I was walking with my radio and was like “he’s I hate to tell you this, but the real pimps and hoes in the street don’t describing New York,” so I wanted to describe Oakland. So I did those don’t recogize that shit in these songs. There ain’t that much real types of songs with cursing in it, and I did the X-rated stuff too. I no- pimping in the music. I can’t name any rappers that just get into it. ticed those types of songs would get the reactions. I found a partner Pimp C has a heavy hand, 8Ball and MJG do too. They never play the that thought like me. So for four years, we just flooded the streets with role of the trick. But if you really listen to the niggas out now, they say dirty raps. When I got in the studio, the owners would say I couldn’t they a pimp, but they talk about buying a bitch a car in the same song. do dirty raps. So the first two albums I recorded, I did clean records, but on the third I lost my fucking mind. But I when was doing clean albums, I really explored social issues. I went into a different angle and wrote something that meant something. My formula on the first three albums, since they were tapes, was to make Side A clean and Side B dirty. All the videos I did were songs that were positive. But no one noticed that, though. They just know me saying “bitch” and the X-rated stuff. The first dirty video I did was “Cocktails” and the other ones I did when I moved to Atlanta. But all my videos, my image period, has been influential though. A lot of the Texas shit comes from the image of me riding in that burgundy Caddy in the “I’m A Player” video. Shoot, you can even look at the first Outkast cover. Dre got a pimp hat on.

What are you working on right now and what do you have planned for the future? I’m putting 100% of my time into my independent label. This next al- bum, Up All Nite, is my last album on Jive. I named my label after that too. I don’t want no major labels knocking at my door neither. I just wanna parlay my independent label into movies too. I just wanna finish my career independent. I never did fit in with the system. You never saw me at the Grammy’s and the award shows. I never wanted to fit in anyway. I don’t wanna get an outfit every few months just to sit in the front and hope I get some camera time.

That being said, are you ever going to retire? I don’t even know man. I got a lot of music in the can. I can’t put a age limit on it. I see how Hip Hop keeps expanding, so I can’t leave yet. When people can say I’m 40 years old with a successful record, I might think about it. Yeah, when I make my last record and you can say $hort had a hit when he was 42, I can see it. I want to inspire a nigga that’s 28 years old at the crossroads of his life not knowing what he gonna do. I want people to be able to tell him, “Nigga you 28, why you tripping? $hort had a hit record at 42 years old, you can still do it.” Plus, I remember what DJ Red Alert told me when he heard I was retir- ing back in ’96. He told me that jazz musicians, who were the weed- smoking rebels back in the day, never retired. That you supposed to keep going until nobody likes you. So that’s what I’m doing; I’mma keep going until people say I’m wack.

Do you have any parting words? Tell everybody to stop kissing ass for record deals. The deals are cool, but this environment right now is good for independent sales, espe- cially in Atlanta. Every day should look like an opportunity to make money for yourself.

80 OZONE

YUKMOUTH WORDS: MAURICE G. GARLAND PHOTO: BARRY UNDERHILL

Yukmouth has shown many faces in his ride through the music didn’t have that access. I stayed in other markets besides the West industry. He’s been everything from a lyrically inclined goof-off Coast. In every city, you got to hit niggas in the city. Every city has to a fighting mad emcee with a big on his shoulder. But now a nigga who’s running shit. So every time I go to a city, I scour the with the Bay Area catching its second wind, Yuk wants to show yet streets and I link up with that nigga and do shit with them. I do things another one of his many faces. Read on to see what he’s looking that other artists don’t do. I plant seeds so if I don’t run the city, I got like nowadays. niggas there that do. I keep my name in the loop. A lot of niggas don’t fuck with the streets. They got managers and police around them all Guess we’ll start off taking about the Bay’s resurgence. How does the time. I fuck with everybody; I don’t just act stuck up or act like I’m it feel seeing this? too good because at the end of the day, we all started from an inde- It feels good just to have people paying attention to the West Coast pendent level. So you got to look out for those niggas. When you look period. It’s good to see that since we lost the spotlight ten years ago out for people, they fuck with you. My shows be packed. when ‘Pac died. Why do you think some artists don’t take that approach? During the Bay’s down period you continued to release albums I don’t know. I think it’s because when you get to a certain status like rather consistently. How did you keep your name out there? platinum and get awards, you can’t go in the public and not get ha- My advantage was being signed to Rap-A-Lot, so when the West fell rassed. The big artists ain’t scared, but its more of a consequence to off, I was in the South. At the end of the day, a lot of West Coast artists go out in the public. And it don’t help if you got security all around you.

82 OZONE If you from the streets, you don’t need all that. I’m from the ‘Jects where place. Like, that’s one thing I liked about DMX. He stay focused in the we got our own police. If you claim you from the hood, you should be streets. He goes to Houston, Phoenix, wherever but he still stay in the able to go out without the security. If anything, surround yourself with hood. Some niggas don’t even come out. They stay in the mansion, niggas you know , some goons. Who gonna protect you so of course they make candy-coated shit. You can’t rap about ‘hood better than your guys and goons? Ain’t no police gonna protect you shit if you got waiters and shit. I think niggas get too comfortable. I like that. Security ain’t doing nothing for you. ain’t saying you gotta move back to the projects, but you gotta stay up on the latest shit. That’s what makes your songs. Nobody lives in the How did you end up hooking up with Rap-A-Lot? ‘hood. Not no successful mu’fucka. You leave. Even back in the day Rap-A-Lot came and got me. When I was working on the stuff, when we was slanging, the big nigga don’t stay in the hood. You want we was both on Virgin. So it came to a point when me and ‘Face to leave, but you can’t forget the hood. That’s what I’m saying. was working on our albums around the same time. J Prince and them noticed it was me in the studio more that Numbskull. They was like When you dropped Thugged Out: The Albulation and started do- “damn man, you working by yourself all the time. You should come ing the United Ghettos of America series, it resembled what 2Pac get with us.” Then, J offered me a solo deal. Nobody I was fucking was trying to do with the One Nation album before he died. Did with at the time offered me that, ever. Not C-Note, not Virgin, nobody. that inspire you to start U.G.A.? So I took it. That’s exactly where I got it from- One Nation. I was like “damn, I fuck with these different niggas,” so I wanted to get them on one al- What kind of strain did that have on you and Numbskull’s relation- bum and call it The Albulation. That mu’fucka about to go gold now. ship? Needless to say, we didn’t see anymore Luniz albums until That album separated me form the one-hit-wonder shit. That album two years ago. sold form word of mouth. I went gold cause niggas like me. I had no Oh, I can’t even lie. It had a strain. It was choose to loose or get a solo promotion, no BET, no nothing. U.G.A. is just me traveling. So I was deal. My executive producer had it in my contract that if I had signed like let me film this shit. I was watching DVDs that really got me, like solo, I had to give up my right to be one of the Luniz and I was mad Rhyme and Reason. Niggas really want to see what goes on in a rap- that Numb agreed to that. Luniz ain’t break up. They made me break pers’ life. The videos don’t tell the story, so I did a DVD about hip hop up. Then, a couple years passed, and we reconciled. We dropped Sil- independently. ver and Black. But without Yuk there is no Luniz. I came up with name of the group. I made me and Numbs’ names. I created the whole shit, Together, both sets of the CD and DVD have sold 150,000, so you can the whole concept. I sat there and did all that shit in juvenile hall. add that up. That’s why I ain’t put out a solo album in two years. I was getting paid. So fans waiting on Yukmouth, I’m sorry I was getting my Now your first album, Operation Stackola, was everybody’s favor- guap. ite back in 1995. To this day, do you think that album is appreci- ated enough? What are we gonna hear on the new album Million Dollar Mouth- That album was the last album to go platinum in the Bay Area. Pe- piece? riod. Everybody was going gold. We the last niggas to go platinum There is a lyrical growth and a combination of styles. On my first al- in the Bay, even to this day. When that album dropped, it was always bums I was doing grimy shit to separate from me Luniz. Niggas com- Hammer, 40 and $hort. We was the new generation at the time- us plained, so on Godzilla, I blended the grimy and smooth shit. They still and 3XKrazy. Nobody came after us (or) since us. And when fans talk complained, so I’m just doing me. about Bay Area music and history and don’t mention Yuk or the Luniz, it’s very disrespectful. I got fans all over the world, and I rep this Bay Well, since the Luniz albums, the last couple of years actually, shit. I go over seas every year. You can find a Yuk CD all around the you’ve sounded mad as hell on the mic. Are you still going to be world. I’ve been repping in markets that the Bay ain’t never been. I’m screaming mad on this album? talking Alaska, Africa, Switzerland, Germany. I’m doing shit the aver- [Laughs] Niggas kicked me out my group. Niggas was hating- say- age West Coast artist can’t do. I’m the only voice overseas. You got ing I was a one-hit wonder, so yeah, I was mad. Plus, I was popping Hieroglyphics, but they doing Hip Hop; they ain’t doing the gangsta X. I don’t do that shit no more, though. That first album, I called it the shit. I take this shit everywhere. Half these niggas ain’t been out the X album. A lot of that shit was emotional cause of that X. I was dead West Coast. I got passports. So when they don’t mention Yuk and fucking serious. A lot of niggas rap to rap; I rap to save my life. We all Luniz when they mention hyphy and the Bay, that’s disrespectful. We human. I’m sticking to reality rap. Reality sells. Look at Jeezy. I gotta created the only anthem out the Bay, and we did a remix with every- watch what I say, and , no more beefs. That’s my new motto- body on it. After the “I Got 5 On It” remix, Richie Rich got a deal with no more beefs. Def Jam. A lot of niggas got put on. So when niggas talk about the Luniz they better look at us like Hammer and Too $hort. What nigga For a minute beefing was your claim to fame. Why the change? you know got anthems that still get played 10 years later? A thousand The change is me getting tired of this shit. Niggas was getting signed niggas done made remakes of “5 On It.” A lot of niggas can try to ig- off dissing me. [mocking] “Oh, he dissed Yuk” and now G-Unit wants nore me and Luniz, but real fans know we contributed. to sign him. Then, you got niggas on big labels controlling the air- waves. They doing shit like black balling me. I’m like fuck this. I’ve Do you see the hyphy phenomenon dying down in the near fu- been on Oprah, Jenny Jones, all that shit. Plus, how can I do U.G.A. ture? and then shit on niggas? I didn’t have beefs because I wanted to. But I don’t think hyphy [is] ever gonna die down. We been hyphy. Keak because I got to defend myself, I had to do it. In this game, if you don’t was on my album saying he hyphy back in ‘97. Hyphy is about having reply efficiently, you’re ruined. If you don’t respond within a certain fun and wilding out; its always gonna be fun in hip-hop. Crunk is still amount of time, niggas forget about you. Look at what KRS-ONE. (He) popping. Even if ain’t on every song, its just a different style. Just like ruined MC Shan because Shan didn’t reply efficiently. 50 ruined Ja step music in Chicago or go-go in D.C. All this shit has never went Rule because Ja didn’t reply efficiently. Same thing goes for Dr. Dre nowhere; its here to stay. and Snoop versus Eazy-E. LL against Kool Moe Dee. The fans gonna hop on the next nigga. So when I did the shit with The Game, I proved On the Luniz’ 1997 album Lunitik Muzik album, you and Num that he couldn’t fuck with me. I knew everything about him so I could squashed whatever beef you had with Too $hort, and you had a come back on him efficiently. Same with 50. Instead of whining about lot of features on there. Talk about what was going on while you 50, I went to his hood and got Domination and Bang Em Smurf. If you recorded that. trying to end me, I’m trying to end you. But no more beefs. Let’s com- That was a hot ass album; we felt good. When you got money and pare real estate. Who got the most businesses? shit, you feel good. You can think of amazing shit. But when you’re struggling, you can’t get a lot of shit done. But sometimes being broke Go ahead and shout out your business. works. That’s how we made “5 On It.” We had our first piece of big UGA Vol. 3 is coming out this summer right after Million Dollar Mouth- money. Being comfortable has a lot to do with making good music. piece. I’m doing it all, my nigga. Getting all the paper. I’m putting out Jamal formerly of Illegal and and . And me and That’s interesting because many would argue that artists getting C-Bo working on a new Thug Lordz album. And I wanna shout out comfortable is exactly what’s hurting the music, the loss of that all my hyphy niggas- Fab, Keak, 40, $hort. All my young niggas like hunger. Hoodstars, , and the Team and peace to and to Rick Well yeah, don’t get me wrong; you can get too gotdamn comfortable. Rock. Let’s rep this Bay shit. And yes, you can and lose track of what the goal was from the first

OZONE 83

OZONE MAGAZINE PRESENTS 20 ESSENTIAL SOUTHERN ALBUMS

he idea of coming up with OZONE’s 20 Essential Southern Albums was birthed out of neglect and necessity. All too often when various music magazines and/or websites come up with a “Greatest Of All Time” collection, the South is severely overlooked. Albums like Outkast’s TSouthernplayalisticadillacmuzik are either hardly or never mentioned when naming the “Greatest” albums. Lyricists like Scarface often wind up on the “Honorable Mention” list when naming the “Greatest” emcees.

Well, we solved oversights like the latter when we compiled our 25 Greatest Southern Artists of All Time list with MTV Jams (April 2005, issue #33). But the job isn’t quite finished yet.

With Southern hip-hop growing stronger and stronger, it’s important that people know of the albums that existed prior to the 2002-2003 explosion. People need to know just why so many fans rallied behind Bun B when he pleaded “Free Pimp C.” People need to know why icons like Dr. Dre jump at the chance to work with Devin the Dude. People need to that Three 6 Mafia were already stars before they won an Oscar.

Most importantly, people need to know that the South’s reign is not some fly-by-night shit.

These 20 albums were agreed upon by a group of Southern DJs, artists, writers and culture critics. By no means does the list suggest that the albums not mentioned are not relevant. We just feel that these are the ones that played pivotal roles in shaping the phenomenon that is Southern hip-hop.

So relax and enjoy as Your Favorite Rapper’s Favorite Magazine presents Your Favorite Rapper’s Favorite Albums (in alphabetical order):

OZONE 85 “As Nasty As They Wanna Be is a fuck- in’ classic. That’s when women started getting loose in the videos. Everything started to change. It wasn’t all about the paper anymore. It was more like Sex 101. This album showed you how nasty Miami is.” - Pitbull

“” This single is one of the greatest rap songs ever, because it packaged something so raw and so profane that it should not have made it to TV or radio.

“THE FUCK SHOP” When me and my homeboys were teenagers, we used to rent rooms and say we were gonna find some girl in the street and take her to the fuck shop. It never worked, though. We’d just end up sitting in the room getting drunk. Girls used to be like, “I’ll fuck one of y’all, but I ain’t fuckin’ no 20 niggas.”

“PUT HER IN THE BUCK” People always talk about “doggystyle,” but down here in the country we like to put them in the buck. I’m a Southerner, and we get wild down here. This is one of my favorite sex songs.

“IF YOU BELIEVE IN HAVING SEX” Say hell yeah! Luke was like Doug E. Fresh. Luke could run a crowd for 15 minutes just doing call and response. And they weren’t just rocking small clubs, they were rocking coliseums and arenas like N.W.A, Run-DMC, and LL Cool J did. AS NASTY AS THEYWANNA BE - 1989 “MY 7 BIZZOS” This album came out before the sampling laws were passed, by Killer Mike and this song used the sample from Jimi Hendrix’s “Voodoo 20ESSENTIAL SOUTHERN ALBUMS Child.” Back then, rappers weren’t afraid of using guitars in their beats. Stop hating, let us sample!

ith this album As Nasty As They Wanna Be, 2 Live Crew made broad vision from the start. You couldn’t look at them as just a South- the world realize that people like sex. They made sex buy- ern group. Two of them came down from California through the mili- Wable in rap. There was no sexual awareness in hip-hop be- tary and Luke has a background. They took it worldwide. fore them. They told you to put a rubber on, they talked openly about masturbation and jacking off. They showed people that there was stuff 2 Live Crew was also the first group to understand that people wanted going on outside of what we were seeing in the movies. They told you to ride in their cars and bump the music. They knew that niggas was things your mama was scared to, that teachers couldn’t, and what you getting speakers hooked up in bootlegs places. So the EQ’ed it and yourself were too afraid to read about. tweaked the music for that specifically.

I think you really see the genius of 2 Live Crew on “Dirty Nursery With “Fraternity Record,” see, this was before Kanye West came out Rhymes.” They really showed something with this record. They were with the whole College Dropout thing. They were already mocking the able to make people not take a serious subject so seriously. This was college scene and making them party. You can go on college cam- a way to get people to talk about sex. puses to this day and hear this record. And let me tell you, you’ll never believe what this song makes white girls do. At the time this record came out, they were fighting to let us as artists say what we wanted to say. No disrespect to the old school G’s that Number 17, “Mega Mixx III.” Whenever you mention DJs you gotta have gotten arrested and have had their own run-ins with the law for mention Mr. Mixx. If you a B-boy you can get down on the floor and fighting for what they believed in, but nobody defended our rights like break to it. If you a Southern playa you can stand back and let a hoe 2 Live Crew. No one else had their nuts on the line like Luke when it grind on you. At the skating rink, shit, when the DJ was finished or came to this music shit. So when you mention the greatest, please wanted a break he’d just throw this on and let it ride. mention Luke. Rap is about what you say and what you do. What Luke did in fighting for freedom of speech is like what Larry Flynt did, but he 2 Live Crew’s As Nasty As They Wanna Be is not about saving the did it for us musically. world. It’s just about having a good time and enjoying life.

I remember the first time I met . I couldn’t say nothing This was to me one of the last real bootyshake/bass records too. Peo- to him. All I could do was rap “My 7 Bizzos” to him. I recited the whole ple think bootyshake and bass music are the same thing, but they got verse in front of him. And he was probably looking at me thinking, it all wrong. Miami bass made girls shake their ass but you still had “Why is this guy on my dick? That part of my life is over.” I always rapping over it. It was real rapping about everything going on in the remembered the time they showed his face on the news when they ghetto. Bootyshake was call-and-response and dancing. Luke is the shut down one of their shows, and he held up a Playboy magazine. person that stamped that call-and-response in your brain, and boo- The news camera tried so to switch away real fast but we still saw that tyshake evolved from that. white titty. When I met him, I told him that what he did was important. He helped us be able to express ourselves freely. Brother Marquis, I gotta give a lot of respect to , Luke Skywalker, or he’s one of the greats. as some of you may call him, Uncle Luke. If it wasn’t for him and Lil J [Prince] at Rap-A-Lot Records, there would be no Southern hip-hop When I first heard this album I could not understand why “Reggae scene. They were the first to make a business out of this. Luke is a Joint” was on there. Looking back, it showed that 2 Live Crew had a true genius.

86 OZONE “Outkast pushed the lines of creativity on ATLiens. At the time, a lot of artists were not speaking their heart due to fear of being dropped from their labels or being scorned in the hood.” - David Banner

“ATLIENS” If you like fish & grits and all the pimp shit, this one’s a clas- sic.

“JAZZY BELLE” The popularity of this song is evidenced by the fact that the term “Jazzy Belle” is still used today as slang for girls that go both ways.

“ME & YOU (TWO DOPE BOYZ)” Redefining the term “dope,” this might as well have been Outkast’s theme song.

“BABYLON” While the eerie intro, coupled with Dre’s vivid lyrics, reminds you of your first time “hunchin’ with all our clothes on, until we felt excited,” and the melodic hook puts it all in perspec- tive.

OUTKAST “ELEVATORS” If you don’t believe that Andre 3000 is one of the greatest ATLIENS emcees of all time, listen to this twenty more times. LaFace - 1996 by Julia Beverly 20ESSENTIAL SOUTHERN ALBUMS

lthough Southernplayalisticadillacmuzik introduced the unique ATLiens is one of those albums you can play all the way through; no sounds being crafted in The Dungeon, it wasn’t until their sec- filler. Each track merges perfectly with the next but still has its own Aond album ATLiens that Outkast’s Big Boi and Andre (now Andre unique sound and concept. Utilizing common noises like a helicopter 3000) truly mastered their lyrical capabilities and used their talents to flying overhead, someone diving into a pool, or the neighborhood ice really say something. The significance of this album was not only its cream truck, Organized Noize provided a perfect backdrop for Dre remarkable consistency, but its refreshing honesty. Outkast is argu- and Big. Other notable contributions included Big ably one of the greatest, if not the greatest, hip-hop groups of all time, Rube’s Biblical spoken word on “13th Floor/Growing Old” and Cool and ATLiens provided a front-row seat to their growth during the criti- Breeze’s masterful storytelling on “Decatur Psalm.” cal sophomore stage. The nearly indecipherable female vocals on the intro “You May Die” set In today’s microwavable music society, where one-hit wonders are the the tone for the album without Big and Dre even spitting a single lyric. norm and the line between hip-hop and pop is becoming more and But next up is an Outkast classic, “Two Dope Boyz (In A Cadillac),” more blurred, it is rare to find such an exclusive look at the process of where Big Boi assured listeners that “the ATLiens ain’t changed.” At reaching the top, rather than just life at the top. And they articulated it a time when hip-hop was dominated by the East vs. West, Outkast so well. It was too early for them to be celebrating. “Tricks be lookin’ introduced the world to Southern slang. Big name-dropped places at me like I’m their way up out the projects / Can’t put you on my like Bankhead, Decatur, and SWATS, while Dre blended philosophy, payroll, and no I ain’t got no Rolex,” Dre rhymed on “Two Dope Boyz.” reality, and theology so beautifully in his rhymes that you had to listen Although they’d “come a long way like them slim-ass cigarettes,” they repeatedly to catch the meaning. were still “neck and neck” with the average working man. Drawn in by the extraterrestrial soundtrack which provided a pleasant escape from “God works in mysterious ways, so when he starts the job while speak- the routine, the bored 9-to-5er could still relate to the things Dre and ing through us we be so sincere with this here / No drugs or alcohol Big were going through. so I can get signal clear, as day / Put my glock away, I got a stronger weapon that never runs out of ammunition so I’m ready for war,” Dre “It’s a decision to be successful. It doesn’t just happen,” says Outkast spit on the title track, summarizing the group’s mission. Indeed, AT- protege Killer Mike. “You have to plan, plot, strategies, and be driven Liens managed to give plenty of props to the man upstairs without to do this shit. It seems to me that during the making of ATLiens, that’s coming across as preachy. Big and Dre blended spirituality and ac- what they’d become determined to do: make their mark in the game. countability flawlessly with real-life, weaving tales of drug deals gone This album set them up for history. It’s a testament to artist develop- sour (“Decatur Psalm”) and good girls gone bad (“Jazze Belle”). ment.” Other album highlights included the hypnotic beat of “Mainstream,” For any aspiring rapper, hearing Dre reminisce of “riding the Marta the vivid imagery of “Babylon,” and the introspective vocals of “13th through the hood” and “doing the hole-in-the-wall clubs” just a few Floor/Growing Old.” years earlier was inspiration enough to work harder and perfect their craft, as these two had obviously done. ATLiens highlighted the musi- “We makin’ the crowd move, but we not makin’ no G’s,” Dre lamented cal abilities of not only Big Boi and Dre, but of the entire Organized on “Elevators.” But thanks to the success of ATLiens, and the following Noize camp. Everything was in-house, no radio-friendly guest appear- albums which solidified their spot as one of the greatest hip-hop duos ances or $100,000 tracks from big-name producers. of all time, making G’s is no longer a problem.

87 OZONE OZONE 87 “Coming Out Hard was the first inde- pendent record from the South to make major noise. It was gutter, Southern, country, and gritty, but in the midst of that there was some real rapping and MCing on there.” - Thorough of South Circle (former Suave House labelmate)

“ARMED ROBBERY” To this day Ball & G remain one of the most well-suited duos in rap, and this song is the introduction to their natural chem- istry. They compliment each other perfectly and this track served as a prelude to their other classic tag-team efforts.

“9 LITTLE MILLIMETA BOYS” As the first song on the album, this song would come to de- fine Southern hip-hop. The style was fresh and innovative and helped serve as an introduction to crunk music.”

“PIMPS” Though this song dealt exclusively with women, pimp ideol- ogy is a theme of all of Ball & G’s music - whether they’re talking about manipulating the system, a situation or life.

“COMIN’ OUT HARD” The title track solidified what Ball & G contribute to rap. It demonstrated what they were capable of and where they were going on subsequent releases like On Top of the World and In 8BALL & MJG My Lifetime Vol. 1. COMIN’ OUT HARD Suave House - 1993 “MR. BIG” 8Ball’s superior story-telling abilities are highlighted on his by Jacinta Howard solo song. The catchy chant, bouncy drums and synth bass 20ESSENTIAL SOUTHERN ALBUMS make this track one of the most memorable on the album as Ball weaves a tale of ambition and street smarts.

ut simply, Southern hip-hop wouldn’t be what it is today without The pimp (MJG) and the gangsta (Ball) told tales of hustling, pimp- Ball & G’s Comin’ Out Hard. In 1993, while most rap fans were ing and striving to maintain from a perspective that was different from Pstill riding high off The Chronic and Snoop’s classic Doggystyle, what had already emerged from California and New York. It seemed Ball & G were quietly building a new dynasty - one that started out of a little more honest, feasible and believable, and people related to the trunk of their cars. Taking on the hustle mentality that Bay Area their stories whole-heartedly. Propelled by MJG’s stellar production artists like Too Short and E-40 were perfecting, Tony Draper’s Suave (he produced all but two tracks), the album did exactly what the title House Records began a grassroots movement that permeated the claimed: it came out hard. hood faster than CIA crack. Even without an official single, from city to city, Suave House was gaining momentum, propelled by these Mem- “Now I was clicking at my barrel just to see if it was loaded / Checkin’ phis natives. out my bullets to make sure it won’t explode this, hand around the handle of a snub-nosed steel / I must be for real in the procedure for a Although the Geto Boys had established a national presence and Flor- kill…” – MJG, “Armed Robbery” ida’s bass music was bubbling in Southern clubs, no one had quite yet witnessed what Ball & G had to offer. Influenced by the blues and soul Though the entire album itself was only nine songs deep (eight if you music that Memphis is most known for, the two combined that musical don’t count the intro), Comin’ Out Hard has undoubtedly become a history with the realities of their everyday life to create a vivid image blueprint for independent southern and still stands the that reflected the mentality that dominated many Southern hoods at test of time. It’s the reason why when you ask virtually any Southern that time. A hypnotic mixture of raw soul, funk, blues and hard kicks rapper to name their influences, Ball & G’s names are almost always combined with pimp-laced tales of hustling, Comin’ Out Hard rede- mentioned. Although MJG has labored in Ball’s shadow throughout fined what southern rap music had the potential to be. much of their career, even on this album he concretely exhibited his lyrical prowess. At the end of the day, MJG is arguably one of the best “8Ball will come out hard with the gangsta /gold smile for the wom- emcees not only in the south, but in rap period. en that be jockin’ the green…” - 8Ball, “Comin’ Out Hard” “1 to the muthafuckin’ 2 to the muthafuckin’ 3 the sound of a boom, Ball & G’s bold style caught on like wildfire and has been mimicked in- sweating you hard like a mystery / Could it be the pimp that ruled the cessantly over the past decade. From the slang (“cheese” and “playa nation in ’93…” – MJG, “Pimps In The House” hater”) to the swagger and content, they established themselves as innovators on this release. Fulfilling the pimp dreams of many young- From Atlanta to Houston to Jackson and everything in between, no sters, at the time you would’ve been hard-pressed to find a dude be- Southern rapper has gone unaffected by the duo’s signature Tennes- low the Mason-Dixon Line who did not have the lyrics to “Mr. Big” and see sound. Even beyond the music, the album influenced the very “Pimps” memorized. image of culture, setting the stage for everyone to start using Pen & Pixel graphics. “My job at Mickey D’s was fuckin me with no grease / I worked so damn hard, but the money, it never increased / I quit my fuckin job, I had no At the forefront of Suave House’s talented roster, Ball & G helped carve job, nigga / Put on the mask, get the glock, it’s time to rob nigga…” a new sound into the South’s musical landscape, one that is still firmly – 8Ball, “Mr. Bigg” etched there today.

88 OZONE “When I made 400 Degreez I was 21 years old and full of ambition. Person- ally, I never thought it would blow up like it did. Looking back, it was a bless- ing in disguise.” - Juvenile

“BACK THAT AZZ UP” This song is pretty much the same party-starter now that it was when it was first released. Even my mother knows how to back that azz up.

“HA” This record turned New Orleans slang into a full-blown cul- tural phenomenon.

“RICH NIGGAZ” Everything about this record was perfect: the beat, the rhymes everything. It’s ’s Mona Lisa.

“400 DEGREEZ” The title track of a classic album, this joint clearly defined the movement: “If I ain’t a Hot Boy, then what do you call that?”

“JUVENILE ON FIRE” This one is another Mannie Fresh and Juvenile masterpiece, JUVENILE proving why they compliment each other so well. 400 DEGREEZ Cash Money/Universal - 1998 by Wally Sparks 20ESSENTIAL SOUTHERN ALBUMS

ate in the winter of 1998, there was an unseasonably warm heat there is just as much to be said for the rest of the album. Many fans wave that was running crazy through the music industry. Cash and followers of Cash Money Records regard 400 Degreez as the de- LMoney Records had become one of the most successful inde- fining sound of the Cash Money Millionaire movement. pendent labels in the history of recorded music, and in doing so man- aged to broker one of the most lucrative distribution deals ever. Music connoisseurs and production enthusiasts also regard it as Man- nie Fresh’s production masterpiece. The production on this album can After scoring the infamous 30 million dollar deal, the pressure was on be described in one simple word: outstanding. Mannie Fresh took the Cash Money Records to deliver a product that would justify a deal of art of the rolling drum pattern and created some of the most infectious that magnitude. Boy, did they ever come through with their end of the music ever heard. For example, the song “Rich Niggaz” (which I con- bargain. That heat wave I mentioned earlier, it was really hot. Some sider Mannie Fresh’s best beat ever with “Real Big” coming a close may even say it was 400 Degreez. second) has such driving momentum that it seems as if Juvenile, Lil Wayne, Turk, and Papa Reu were all trying to play catch up with the That was the title of the Cash Money’s star artist Juvenile’s third solo groove. Mannie Fresh clearly knew he was creating something special album and the first album to be distributed nationwide through the all- with that beat because song itself went in excess of five minutes - very new Cash Money/Universal Records. Thanks to the lead single “Ha,” rare in today’s microwave music society. which was basically a manual on to speak with a New Orleans hood accent, 400 Degreez skyrocketed to the top of the charts. Everyone When 400 Degreez was released, there was large void to fill. There and their mama was playing ghetto Jeopardy, asking questions like, really wasn’t any really gritty street music available to the masses. Of “When you gon’ come around and pay your rent, ha?” course you had fellow New Orleans hustler-turned-entrepreneur Mas- ter P and his No Limit empire supplying their own brand of ghetto The single turned into a phenomenon that carried from the winter all dope, but for the majority of the nation, Bad Boy and their shiny suits the way to the spring. The song itself became such a huge hit that Jay- had everyone’s eyes blinded. Z, the artist who the industry looked to when determining what was “cool,” decided to hop on the remix. 400 Degreez’ gritty street anthems exposed the streets of New Or- leans’ and life inside its now infamous Magnolia Housing Projects When spring came, the real monster record off the “400 Degreez” al- to . Songs such as “Run For It” featuring a pre-teen bum was let loose on the public: “Back That Azz Up” still holds up Lil Wayne, “Gone Ride With Me,” and “Rich Niggaz” all gave clear today as one of the greatest club records of all time. If you are ever in insight on what it took to be a hot boy. The overlooked gem of the a club and you hear those opening strings, you automatically know album “Ghetto Children” provided real gangsta street music with a what time it is. It’s time to hit the dance floor and back that ass up. That message. record also served as an education in New Orleans bounce music. Bounce music was a hip hop sub-genre based on call & response Overall, this album was a gift and a curse for Juvenile. It made him type crowd participation, made popular by artists such as DJ Jubilee the star he was born to be, but it also left huge shoes to fill. Alhough and DJ Jimi. This 1998 version of bounce music packed dance floors he has been consistently dropping solid material since 400 Degreez, worldwide. it’s only now with the release of his latest effort Reality Check that he has produced anything remotely close to the quality of this magnum Even with the success of the commercial singles from “400 Degreez” opus.

OZONE 89 “Get It How U Live!! was very impor- tant for the South because the New Orleans rap scene was just getting off the ground, and that album opened the door for Cash Money as a whole and for B.G., Juvy, Turk, and Wayne as individual solo artists. It was four young niggas with four different styles that was real, real hungry. We wasn’t in it for the money; we was doing it from the heart.” – B.G.

“INTRO” This is one of the few albums in hip-hop history to have a song titled “Intro” that was worth a shit. This one introduced the world to the Big Tymers, Baby and Mannie.

“WE ON FIRE” The true introduction to four of the hottest lyricists in the South. It was lyrical and jammin’ at the same time, a rarity in modern hip-hop. It also repped New Orleans to the fullest.

“NEIGHBORHOOD SUPERSTAR” B.G. had been a household name for Southern rap heads for some time before this disc was released, but this song solidi- fied him within the ranks of hip-hop as a whole.

HOT BOY$ “GET IT HOW U LIVE!!” GET IT HOW U LIVE!! The title track set the tone for all things set to come from Cash Money - 1997 Cash Money: Get your money, get your fame, and do you. by Matt Sonzala 20ESSENTIAL SOUTHERN ALBUMS “SPIT N GAME” An incredible closure to an incredible album, these four young boys from one of the hardest hoods in New Orleans spit it real talk for their people.

hat makes a city a great music city is not that it has a huge real live reality rap, with a heavy dose of flossin’ thrown in to keep number of musicians cranking out tune after tune, night after your interest. Wnight, in club after club. It’s when that large number of artists somehow captures their city’s essence and brings it to life with an en- “What kinda nigga be sparkling like silver? / Little bitty soulja think he tirely original sound. In hip-hop, generally the lines are clearly drawn. playin’ with a million,” Lil Wayne spit on “We On Fire,” their anthem of In DC it’s the go-go sound. Atlanta and the Southeast are crunk. Miami sorts. It’s classic hip-hop, a straight up boastful jam that introduces is bass. Houston has the slowed down vibe. New Orleans has bounce you to each member of the crew. But then on “50 Shots Set It Off,” he (and jazz, and blues, and funk, okay, but we’re talking about hip-hop says, “I’m jumpin’ out a tree with a camouflaged AK / I size my target here). then I let him go in the wind, bullets fly by / Blow in the wind, one after another and another how them come.” It was quite an introduction to Bounce music represents the emotionally charged party vibe of a city one of today’s top emcees, barely of high school age. that truly never sleeps, and takes its listeners from their hard streets to a hopping dance floor. It’s a fun music, an escape of sorts. One Later on “Neighborhood Superstars” a slightly older Juvenile raps, that brings people together in choruses of sexually charged and “Juvenile is reality / Bitch I write my own checks, bitch I pay my own dance floor rocking rhythms. salary / You want business with me? Boss playa you have to be / I’m a million dollar nigga, these bitches run after me.” And it gets worse. New Orleans lays claim to some of the countries toughest neighbor- Cash Money took money raps to a whole ‘nother level. Way before hoods. Huge projects sprawl from block to block where many a hard they signed to Universal they were stunting big, showing off anything knock story has been written. and everything, but in a more creative way than many of their contem- poraries. Enter the Hot Boys, four teenagers from New Orleans’ Magnolia Proj- ects – Juvenile, B.G., Lil Wayne and Turk – under the tutelage of Man- This record led to the label’s signing to Universal Records. It preceded nie Fresh, Slim and Baby, each with enough real life stories to fill a 400 Degreez and many of the subsequent records you are now fa- book. miliar with from the label. But it certainly wasn’t the first Cash Money release. At this point, Cash Money were veterans of the independent Get it How U Live!! wasn’t the first appearance on wax for any of these game and had finally found the perfect combination. artists. In fact, Juvenile and B.G. were already fairly well established throughout the South. The Cash Money brand was on fire in the streets After this album, plenty changed in the rap game and all eyes started and this record set the standard for things to come at the label. The to turn towards New Orleans. and No Limit had infected the beats were bouncy, but not just bounce. There was a purity to them streets of the entire nation, but when Cash Money finally got their that harkened back to hip-hop’s earliest days. Simply looped beats chance to be heard they captured all those fans and brought in some that just jammed would play like the best part of a song over and over who were still walking the fence. While some of No Limit’s output was again. And if you paid attention to the lyrics you recognized that you too harsh for a lot of the mainstream, Cash Money found a way to were witnessing the birth of four of hip-hop’s most potent emcees. balance their reality raps with just enough bounce to bring in all the This wasn’t “Where they at girl?” looped a thousand times, this was party people.

90 OZONE “Ghetto D is the Michael Jordan of our catalog, hands-down. Even though it was a Master P record, it was the first record where everybody was in the studio together. It showcased all the No Limit artists. This is also one of those rare Southern albums that sold over four million records – and we had fun doing it.” - KLC

“GHETTO DOPE” This song is straight crack, no pun intended, giving detailed instructions on how to whip, flip, and distribute that Peruvian flake. I wouldn’t recommend doing this type of song nowa- days because the hip-hop police are everywhere, but it’s definitely a way to grab your listener’s attention.

“BACK UP PLAN” The chemistry between Master P and stands out to this day, and hasn’t been matched by any other male/female duo.

“I MISS ” Anyone who’s lost someone can relate to this song, and if you haven’t, Master P, Pimp C, and Silkk make you feel their pan. No matter how hard you claim to be, this song is going to make you softer than wet tissue. Tear-jerker of the century.

“BURBONS AND LACS” MASTER P Whether you had a Pinto, a Honda, a Ford, or a beat-up Lin- GHETTO D coln, this song was bumpin’ in your ride all summer. No Limit/Priority - 1997 “MAKE ‘EM SAY UGH” by DJ Chuck T 20ESSENTIAL SOUTHERN ALBUMS One of Master P’s only songs to get heavy radio and video play, this song was also the start of his downfall. After this track’s success, he started to really go commercial.

hile some may tend to disagree, Master P’s Ghetto D had a Damn near every No Limit soldier appeared on this CD: Mystikal, revolutionary effect on hip-hop and rap music. It sparked a , Mia X, C-Murder, Silkk, Mac, , Sons of Funk, The Wmovement in the hip-hop world that not only influenced us , and even Kane and Abel. Unfortunately, this would musically, but economically as well - not just throughout the South, be one of the last albums that the original No Limit camp would rep on but throughout the entire rap world. Today, almost ten years after its together as a family. Shortly after this album’s release, the members of release, Ghetto D’s effects are still felt in the music business. the No Limit army started going AWOL, one by one.

From a musical standpoint, Ghetto D was Master P’s best album. It “This was the first album where everybody [on No Limit] was in the was the pinnacle of his rap career, and it dropped at a time when his studio at the same time and put effort in,” recalls KLC of Beats by the label was the strongest indie label in the industry. His production crew Pound. “Just because you hear P on the hook, that don’t mean he Beats By The Pound brought an innovative style to the game and cre- wrote the hook. A lot of the hooks came from Fiend and a lot of the ated the No Limit sound. ideas came from Mac. Everybody just put they all into this one record. It wasn’t no egos on this record, and P wasn’t acting like a bitch. He Master P’s lyrics were also a whole lot better than they are now. If you was open to any ideas. We didn’t waste no time. Whatever came to pop the CD in, you can definitely tell that there was something there mind, we recorded it right then and there. That’s how people fuck up that he no longer has. From start to finish, this is a complete album. records, they think too much.” Master P puts it down for the thugs on songs like “We Riders”, “Throw It Up,” and “Come Get Some,” but also reaches out to the ladies on Ghetto D was not only a handbook on how to put together a musically joints like “Tryin’ To Do Something” and “Gangstas Need Love Too.” and lyrically complete album, but a handbook on how to properly mar- P even drops knowledge, speaking on the ills of the dope game on ket, promote, and distribute one also. First and foremost, P damn sure tracks like “Only Time Will Tell” and “Eyes On Your Enemies.” He let you know that this album was coming out and it was going to be dropped something for the weed smokers (“Pass Me Da Green”) and one of the biggest albums in hip-hip history. Everyone can remember the niggas ridin’ in candy painted ol’ schools (“Burbons and Lacs”). the six pages of ads in The Source, Rap Pages, Vibe and XXL that ran to promote their albums. If not, you must have been Tracks like “Stop Hatin’” and “Captain Kirk” give the niggas layin’ their blind from 1996-1999. Ghetto D always had its own full page and was pimp game down something to listen to, while the amped-up, crunk advertised for almost a year in advance. And with “Make ‘Em Say Ugh” heads get more than their fair share of ig’nant fight music from “Make getting heavy radio and video play all over the country, this album was ‘Em Say Uhhhh,” another certified Southern classic. almost guaranteed commercial and mainstream success.

Ghetto D also touched on a subject that many hip-hop albums today Without a doubt, Ghetto D changed the face of hip-hop music. Some fail to address: the loss of a loved one. “I Miss My Homies” is a South- East coast heads may argue over my claim that it’s musically one of ern classic that will still bring tears to even the hardest thug’s eyes. I the greatest hip-hop albums of all time. But nobody can argue with the specifically remember not being able to listen to that song with a group significance that it had in helping to shape the hip-hop culture. This of people for fear of breaking down in public while thinking of the many album played an extremely-pivotal role in putting the South on the friends and family members I’ve lost over senseless bullshit. map and marked the beginning of a new era in rap music. The colonel of the tank did more than just put out a good album with Ghetto D: he This CD covers every aspect of the streets, from the roota to the toota. changed the world!

OZONE 91 “Kings of Crunk was some shit that covered the whole globe. It was some- thing for everybody on that album. It had plenty of crunk, but it had a lot more: from house to East Coast shit to West Coast shit. It was like a pot of gumbo.” - Bohagon

“GET LOW” featuring the Ying Yang Twins When you make a song so lewd that even potty-mouthed comedians like Dave Chappelle and Chris Rock insist that it’s too much, you know you’ve done something big. For the spring of 2003 Lil Jon & ESB and the Ying Yang Twins had the whole country under their skeet, er, spell.

“NOTHING’S FREE” featuring Oobie This song took over every strip club in the South when it dropped. It gave the DJ a chance to talk more shit and em- powered the dancers to get more money from their clientele.

“REP YO’ CITY” featuring Bun B, 8Ball, E-40, and With explosive performances from all the guest features, this record helped usher in the “New South” sound.

“THROW IT UP” featuring Pastor Troy Lil Jon and Pastor Troy on the same song can give you a heart attack if you’re not careful. Troy gives a clinic on how to rap over a Lil Jon track. LIL JON & THE EASTSIDE BOYZ “I DON’T GIVE A FUCK” featuring Mystikal and KINGS OF CRUNK On paper this combination raises doubt, but the result is BME/TVT 2002 perhaps one of the crunkest songs ever recorded. Rapid-fire lyrics about kicking ass and taking names coupled with three 20ESSENTIAL SOUTHERN ALBUMS by N. Ali Early other grown men screaming. How much crunker can it get?

hen Lil Jon & The East Side Boyz set out to make Kings of USA, even ones with “blunt monkey freaks” scurrying about. Crunk, they were clearly on a mission. “I wanted to make a Wdown South Chronic,” Jon says of his fourth album. So the The East Side Boyz take their turn at leading the call and answer theme universal appeal that came from it was no mistake. For his efforts, Jon that Lil Jon has all but perfected on “Nothin’s Free,” featuring Oobie. yielded similar results as Dr. Dre’s ’92 classic. With over a handful of If nothing else, this mid tempo softer version of crunk illustrates Lil radio hits and street slump combined, he became the very definition Jon’s ability to cross genres, as he-dips into the pot of “Crunk.” He in fact became a phenomenon whose likeness would for inspiration. The impending results are easily manageable for either dominate three episodes of “Chappelle’s Show,” effectively turning the an emcee or a songstress. Similar songs include “Nothin’ On” (Oobie, page from down South commodity to worldwide phenomenon. His Chyna White and Bo Hagon) and “Play No Games” (Trick Daddy, Fat coin catchphrases would resonate on the streets of Daytona Spring Joe and Oobie). Break and then the world, sending everyone from college students to young professionals into hilarious cries of “Yeeeeaaaaahh!!!” Aww skeet, skeet, got damn!! “Get Low,” featuring the Ying Yang “Whaaaattt?!” and “Okaayyy!!” In essence, Kings of Crunk resembled Twins was an outright commercial success, and was likely intended the perfect union of personality and production. The beginning and to be. A tribute to the strip clubs and the women that make them as the end of Atlanta’s sonic crunk movement will forever have Lil Jon addictive as purp, Kaine and D-Roc impart their familiar element. Their and this illustrious ensemble of characters to thank for it. sound, oft times translated through comedic outpours associated with cartoons and/or nursery rhymes, this XXX rated track is a how-to for With appearances from hip-hop legends like Bun B, E-40, Trick Daddy, exotic dancers: “Twurk som’n baby / Work som’n baby / Pop yo pussy 8 Ball and Too $hort, Kings of Crunk solidified itself in the streets as on the pole / Do yo thang baby…” much as it did with the monsoon of media outlets that dared critique it. On the commercial side it blended as well, at times blurring the Since taking Atlanta’s crunk phenomenon to a near metoric level, Lil lines between the club and the block. A prime example is “I Don’t Give Jon has seen his once devout followers fall off faster than Craig Mack. a Fuck.” Led by Jon’s enticing hook, “You got a pocket fulla money Once hailed as the “Ambassadors of Crunk,” BME’s own has nigga / I don’t give a fuck!!! / You trickin’ off with them hoes bitch!! / since decided to brand themselves “trill.” And perhaps that’s a good I don’t give a fuck!” Mystikal adds similar credibility through rhyme thing for Jon. He effectively set the bar so high and so far out of reach – “I’m a bastard / Nigga I’ll fuck over me / You know what I’ll do to that no other entertainer could compete. these rappers!! / Come in here huffin’ and puffin’ and screamin’ and cussin’ and bussin’ these verses / Nigga you betta calm yo ass down “Everybody makes music to get crunk to because that’s been a cul- unless you excited to see me in person!” Easily one of the album’s ture of Atlanta,” explains the Ying Yang Twins D-Roc. “That’s a culture most memorable and celebrated tracks, Krayzie Bone rides it off into of Atlanta. If I been gettin’ crunk since I was a baby, Atlanta been get- the sunset. tin’ crunk since before I was here. When a song come on that you like and you get crunk, and you like ‘Yeeeaaahh!!’ that’s gettin’ crunk. It’s In a similar vein comes “Rep Yo City,” featuring the ambassador of not just what you do on a rap. Crunk is culture. We get crunk off situ- the Bay Area and noted slanguage samaritan E-40. Bun B and 8Ball ations. If somebody finna fight, we finna crank it up. That’s crunk. It offer further lyrical fervor, while Carolina representer Petey Pablo does don’t portray with music. Crunk and music is only Lil Jon.” his best not to drown in the midst of some renowned hip-hop heavy- weights. Still, “Rep Yo City” proved a convincing anthem for Any City, Okkkkaaaaayyy!!!

92 OZONE “When I first heard Mind of Mystikal it was because of “Here I Go.” His energy and delivery was so crazy that next thing you know a lot of cats was trying to be like him. But beyond the music, I can relate to him because he served in the military like me, so we’re both sons of Uncle Sam. I loved that album.” - Citty

“HERE I GO” From the corner to the locker room, from high school pep ral- lies to college step shows, this was THE anthem! To this day, there’s just something about the smooth 70s-style pimped out track that can get anybody hyped.

“Y’ALL AIN’T READY YET” Most new artists couldn’t pull off the feat of telling their fans and foes alike that they can’t be fucked with, and immediately backing those words up. But Mystikal did on this joint. And even though he’s repeated those two opening lines through- out his career, his fans have never gotten tired of hearing it.

“I’M” The perfect balance of Mystikal’s hyped flow with a laid-back track. And even though the subject matter – I’m a drug dealer and a gangster – is one of Hip-Hop’s biggest clichés, “I’m” makes it almost sound like new territory. MYSTIKAL MIND OF MYSTIKAL “THAT NIGGA AIN’T SHIT” Big Boy/Jive Records - 1995 Showcasing Mystikal’s storytelling ability, this joint almost seems like his own version of “.” by Tai St. Louis 20ESSENTIAL SOUTHERN ALBUMS “SMOKE SOMETHING” The simplified beat lets Mystikal’s wordplay shine.

efore Master P and his No Limit Soldiers put New Orleans on record “Here I Go.” Word for word, start to finish, he maintained the the map on a national level, before the Cash Money Millionaires same level of potency and energy; spitting barbs like: “Your heart Btaught us how to stunt, Mystikal was making enough noise down jumping like a base line bump / You bad enough to meet the alligator in the Crescent City to capture the attention of New York-based Jive in the swamp?” Records. The label offered the Desert Storm war veteran a distribution deal, which allowed him to re-release his already “hood platinum” self- The second was shown on the albums first single “Ya’ll Ain’t Ready titled indie debut. Yet” with lines like: “These outside niggas that run to the mic better come clean / Fuckin’ with that Saudi Arabian Desert Storm veteran With five new tracks added to the original ten, Mind of Mystikal intro- 12th ward offspring.” duced us to an artist who combined the wordplay of the East Coast, the laid-back swagger of the West, the rapid-fire flow of the Midwest And he made his third point on “Out That Boot Camp Click” with a and the flavor of the South. But he never came off sounding like he little assistance from Black Menace. The Black Prince of the South was biting anyone’s style or trying too hard. captures the essence of the song when he spits: “All you dying on the battlefield strictly for survival, I hope you got your Bible / Cause bitch Mystikal created his own sound, which still remains unduplicated. That I got my rifle.” unique sound easily captured your attention whether he hit you with a roaring “Y’all muthafuckas ain’t ready!” or a low rumbling detailed The subjects rarely stray from those named. And yet somehow Mys- description of just how adversaries get dealt with. tikal made the repetition work. Even when he attempted to make his own hot lines into hot songs, he kept his audience wanting more. It Mystikal used his voice, flow and sense of timing as creatively as he may be his ability to say the same thing 30 times without saying it the uses his words. Who else could make a threat sound so serious, even same way twice, most of the time. Or it could be the production which though he delivered it in the form of a punch line where you could not only complemented his vocals, but also carried on that New Or- almost hear the laugh in his voice? And who else could manage to leans tradition of Jazz-infused Soul. balance typical tough talk and braggadocio with references to Zsa Zsa Gabor and Captain Caveman without losing an ounce of credibility? But beyond the lyrics and beats is the fact that Mystikal possessed the rare skill of radiating stage presence even on wax. His larger than Mystikal came in the door knowing he was “that nigga,” and let listen- life persona was just as strong on Mind of Mystikal as it was when he ers know that from the very first song, all the way to the last. If you became a certified MTV superstar with “” and “.” don’t get anything else out of this album, you can be certain of at least To say that an artist with Mystikal’s longevity and commercial success three things: remains unchanged would be a negative for most. But those of us who were fans way back then understand why he’s never really had to. 1) He’s not to be fucked with – hell, he can’t fuck with his damn self! 2) He’s armed and ready for war. Mind of Mystikal is one of those rare gems you can listen to from start 3) He’s reppin’ the “Boot Camp Clicc.” to finish with no skipping. Ten years after its original release, the album still sounds fresh and relevant – even to those of us who have memo- He illustrated the first of those three claims on the album’s flagship ries from when it first came out. How else would you define a classic?

OZONE 93 “The first Scarface album was just an introduction. By the time this album came out, Rap-A-Lot had more noto- riety and Scarface was more than just a local artist. Mr. Scarface Is Back kicked the doors open for Southern gangsta music. It made me feel like I can rap the way I want to rap, and I don’t have to change my ideas and my style.” - ESG

“I’M DEAD” That’s a cold-ass song. He rapped over a beat that Heavy D had rapped to one time. He’s rappin’ about how he’s dead, but he don’t know he’s dead. He walks up to his people and they walk right through him. Then he goes to the cemetery and looks in the casket and it’s him, man. That shit is live.

“MURDER BY REASON OF INSANITY” This record had that sample on it. That shit was jammin’ like a muthafucker.

“MR. SCARFACE” This was the single. I remember hearing it on the radio and it was jammin’. Niggas down here in Texas couldn’t wait to get their hands on that muthafuckin’ album.

“GOOD GIRL GONE BAD” SCARFACE This one’s about a drug dealer that’s goin’ South and niggas MR. SCARFACE IS BACK are tryin’ some other hoe shit. Rap-A-Lot - 1992

by Pimp C “MONEY AND THE POWER” 20ESSENTIAL SOUTHERN ALBUMS This got that Barry White sample from “Love Serenade.” That’s actually the same record we sampled “Take It Off” from, it’s just a different part of the record. This song is jam- min’, though, it’s time for me to remake it.

he Geto Boys already had their position when this album Mr. Scarface is underrated as a lyricist. The truth is, he ain’t never gonna Scarface Is Back dropped, and it wasn’t a surprise that ‘Face get as much shine as the clone shit. As hard as he is and as true to Tcame with this album. Based off the Geto Boys, everybody knew this shit as he is, by him not even considering going pop, he’s always that ‘Face was finna be something special. But they didn’t know it was gonna play the background. But he’s got a fan base that’s gonna go gonna be that special. out and buy all his records regardless. I’d rather have 800,000 true fans than four million muthafuckers that might be down with me this I still don’t know what the fuck they’re doing on that cover, but I know year and might not be down with me the next year. it looked gangsta. You could see [Bushwick] Bill on there, all the Geto Boys niggas is on there. All of them got guns and dope. It’s some real Over the long run, all ‘Face gotta do is keep dropping albums, and gangsta shit. I had never seen a cover like that up until that point, and he’ll still get this money. He’s got respect in the streets, and street I don’t think I’ve seen one after that. credibility is something you can’t buy. It’s the same thing as UGK. A lot of people ask if we’d like to have sold a whole bunch of records Down here in the South, ‘Face was one of the original niggas rappin’ and went triple platinum. Of course we’d like to go triple platinum, but from a hustler’s perspective. So I guess that would make him the pro- would I trade that for my fan base of 500,000 or 800,00 people? No, I totype for all the rest of us rappin’ about drug dealing. wouldn’t. It’s all about pleasing your fan base.

I remember the first time I heard the single “Mr. Scarface.” I was in Do you realize that some artists have no fan base? That’s some dan- Port Arthur, fuckin’ around at my DJs house. I was in my car going gerous shit, because if you don’t deliver a single that makes BET and to his spot and that shit came on the radio and it was jammin’ like a MTV they’ll flop. But a nigga with a fan base can drop an indie record muthafucker. and still sell, because their fans are gonna break their neck to get that product. That’s a beautiful thing; that’s something that ‘Face has. You know, back then it wasn’t no thang for a nigga to pop a cassette tape in and tape a radio show. I remember being hot ‘cause I couldn’t This whole album is a bad muthafucker. Down here in the South if tape that muthafucker. Back then, it was all about who had the shit first. there is such a thing as a “classic” album, this album is it. Really, Scar- Everything wasn’t major distribution like it is now. Songs didn’t hit ev- face ain’t dropped a weak album yet. Mr. Scarface is grimy, but it’s still ery city at the same time like they do now. It’s a whole new ballgame. full of soul samples. What we do down here is a hybrid of what New I might have had a song on my tape that the next muthafucker don’t York rap was based on. But without those samples and break beats have on his, and vice versa, and we’d swap songs. I remember hear- in the record, this shit ain’t real rap music. This album is full of break ing that song and thinking, damn, I should’ve been at my boombox. beat records and samples, and it’s funky. If you wanna make a classic album, you need a sample budget. Scarface had already established himself with the Geto Boys’ Grip It On Tha Other Level, but this album right here let everyone know that This album is pure, man. It’s like what Nas’ first album was to them he was a special muthafucker. He wasn’t just a run-of-the-mill rapper. niggas in New York. It’s pure to us like that, it’s stripped down to the Anyone could see that he had more lyrical skills and more swagger very last compound. than the average rapper.

94 OZONE “Ridin’ Dirty had a major influence on the sound of Texas music. It didn’t have the major label song formula. It wasn’t polluted by major label politics or top 40 radio hit records. Ridin’ Dirty repre- sents Texas rap in its rawest and purest form.” - Chamillionaire

“ONE DAY” This song displays the soul of Southern rap, showing the introspective side of UGK.

“MURDER” Heralded as many people’s all-time favorite UGK song, Pimp C showed that the Kingz’ movement extended from N’awlins (“holla at Master P cause we got money to make”) to the West Coast (“just got back from California, kicked it with B-Legit”).

“FUCK MY CAR” A middle-finger to every gold-digger, this is one of those rare songs where an artist speaks on behalf of everyone that can relate. Harsh words were said, but all of them very true.

“DIAMONDS AND WOOD” This slow-rolling classic had Pimp C crooning on the hook and Bun admitting that he rolls a fucked-up blunt once in a while. The most memorable moment is Pimp speaking on the all-too-familiar broken relationship where “she says she loves UGK me but all we do now is fuck and fight.” RIDIN’ DIRTY Jive Records - 1996 “HI LIFE” Sometimes 16 bars just won’t do. Pimp and Bun shared so by Maurice G. Garland much of themselves on this song. 20ESSENTIAL SOUTHERN ALBUMS

ou could easily argue that 1996 was the year that the Southern didn’t fall prey to none of that pistol play / But who is to say that tomor- takeover officially began. With the fabled East Coast vs. West row they won’t be blastin’ this a way” and “But still the fact remains YCoast conflict in full effect, Hip-hop’s soil was primed for the it’s all about the ‘caine / Swang and back, peace to ESG and all the South’s seeds to sprout up and grow into the fruitful tree that it is to- victims of the game, mane.” day. Outkast’s ATLiens, numerous No Limit and Suave House releases and a host of other albums that the South was on the UGK even went as far to have pictures of themselves getting carjacked rise. But, the most powerful record to emerge from that groundbreak- inside the album cover to show that no matter how hard you may think ing year was UGK’s third nationally released album, Ridin’ Dirty. you are, anyone can get caught slipping. But, as they told listeners how much they hoped to escape the entrapment of their ‘hood, UGK With more than a few anthems already under their belts, Chad “Pimp also let it be known that they’re weren’t going to stand by and get vic- C” Butler and Bernard “Bun B” Freeman were already looked upon timized either. Songs like “That’s Why I Carry” and “Touched” served as rap royalty below the Mason-Dixie line. Which meant to some that as warning shots to anyone under the impression that they were sitting Ridin’ Dirty was probably just a continuation of the brash shit-talking ducks. However, unlike their previous releases, UGK slipped in a hint that fans had grown to love and expect from the duo. But when you of responsibility. They used the commentary of convicted criminals popped the CD (or tape) in the deck and heard a smoky voice say, who were indeed speaking “live from the muthafuckin’ pen” to remind “Live from the muthafuckin’ pen…” you knew that this effort was going new jacks (and old fools) that there is a consequence for living the life to change a life or two. of a gangster.

Straying away from the popular trend of starting an album on an up- Lyrically, this was also UGK’s strongest effort to date. Pimp C used his tempo and/or aggressive note, the Kingz opened with the somber pen like never before to illustrate an accurate portrayal of life in Texas. reflection “One Day.” It featured the original creator of the song, 3-2 As for Bun? He practically used this album as a coming out party and (Blac Monks, Convicts) and showed a side of UGK that many did not delivered one of the most mesmerizing versus in hip-hop history on know existed. With perhaps the illest Ronald Isley sample ever serving “Murder.” That performance, as well as his nimble wordplay on “Pinky as the soundtrack, both of them opened up and let listeners into their Ring,” had every aspiring rapper trying to mimic his now trademarked personal lives by speaking on the loss of loved ones and the realiza- syllable-based flow pattern. tion that their lifestyles may lead them to dreadful fates. Bun hit it on the nail with perhaps one of the realist lines ever spat: “My brother Musically, this was again UGK’s best. They introduced a large part been in the pen for damn near ten, but now it look like when he come of the country to Screw music with “3 In The Morning” and the liter- out, man, I’m going in.” ally syrupy “Diamonds & Wood.” They also showed their deep music knowledge in sampling Wes Montgomery’s “Angel” for the title track Vulnerability was also displayed on “Hi Life.” The usually invincible which closed the album. Pimp C started the song saying: “I’m tired of living fucked up, tired of living bad / Tired of my grandmama telling me, ‘When you gonna go Due to record label politics and bullshit, the world would not get to to church, Chad?’” and later admitting: “I never wanted to be a G, but hear another UGK album for six long years after this release. Fortu- niggas depend on me.” Keeping in that tone on “Diamonds & Wood,” nately, Ridin’ Dirty was put together so well that it actually kept hungry Bun B spoke as a hustler thankful for making it home, still knowing that fans satisfied through all of those years. Now that, my friend, is what his situation has not changed with lines like: “I lucked up today and you call a classic, timeless record.

OZONE 95 “We wasn’t trapping or riding hard or blinging. We was just some regular young cats putting it down on wax. Be- ing from the South, a lot of ears wasn’t tuned in so we tried to make it as true as possible. When people tell me what we said kept them in high school or college, I’m surprised because we was just airing it out.” - Goodie

“GUESS WHO” This song hit me real hard because of the frankness of how they spoke about personal things. A lot of us grew up with our mothers being a very big part of our lives, and to see somebody just stand up and give thanks to her, that hit me hard. It was about their moms, but you had to guess who they were talking about. I thought that was dope.

“DIRTY SOUTH” came through and coined the phrase that we still use today. That phrase is so important to hip-hop, and this was the album that really introduced the word “dirty” South.

“SOUL FOOD” This song was just like your granddaddy or your homeboy on the block. It just spoke to your soul.

“GOODIE BAG” This is one of my favorite beats, ever. It’s the essence of a Southern 808, just a simple hit. Cee-Lo kicked the longest SOUL FOOD freestyle ever recorded on a major album; that was so fresh. LaFace - 1995

by David Banner “CELL THERAPY” 20ESSENTIAL SOUTHERN ALBUMS That song was jammin’ like a muthafucker, but talking about the New World Order. Cats would be jammin’ to it in the club and getting some knowledge at the same time.

oodie Mob’s Soul Food changed my life. This is a marquee going through the same thing you’re going through. album because of its content and its soul. For them to speak Gabout the New World Order but to do it in a way that cats straight The beat for “Goodie Bag” was jammin’. The whole album was jam- from the hood understand, that was unheard of. For me personally, at min’. Organized Noize was doing beats unlike anybody, not just in the time this album came out, I was deciding which route I was gonna the South, but in the world. You had some young musical cats: one take in life. The Soul Food album actually provided food for my soul, member of Organized Noize was straight soulful, one was a hip-hop and I think it did the same for a lot of people. head, and then you had the head just bringing it all together. For me, that was big. Then you had Big Rube coming out with some poetry. It When this album came out, I was really fighting with what direction I was just the perfect product. was gonna go in life: the bad route or the good route. I knew that a couple of these cats in Goodie Mob had been involved in the streets, The New World Order that they spoke about on this album is a story for real. These were some trill dudes; they were gettin’ it, but they within itself. To sum it up in one sentence is impossible. They just choose to spoke about something different. spoke on things like the gated communities, chips in the skin, differ- ent things that the government and people who have real power are This album showed me that even though Goodie Mob had to do cer- doing. There’s people who’s names we’ll never know, trying to control tain things in life, they also chose to speak some knowledge and teach everything we do: the Big Brother idea. This is what they were speak- the kids and their brothers and sisters a better way. I respected that so ing about. much, and it showed me that I could take my music and do something positive with it too. Even though I still speak on some of the things This album was so important because it brought a conscience and ac- I’ve experienced, I still try to give a shining light to the truth and show countability to Southern rap. These were some young hustlers, grind- people that they can make it out of a bad situation. ers from the street that could’ve been talking about anything just to get that paper. But they chose to take the route of God. That’s putting Starting off with the intro, “Free,” Cee-Lo spoke on a lot of things that your career on the line; that’s putting everything on the line for what we as young African-Americans may think about as far as spiritual- you believe in, to help raise these young kids in the street who don’t ity. He spoke on personal things that we might think about but don’t have fathers. speak about. For those young men to really step up and say, “I want to take some responsibility,” that spoke a lot about them. When you There’s always been accountability and a conscience in Southern rap, look at the era of music and what was coming out at the time, for some but you just didn’t have a whole album of it. Goodie Mob’s album was young street cats to drop an album dealing with the New World Order exactly what the title was: food for the soul in a musical form. I think and speaking about God, that really speaks a lot about them as men. there’s a little bit of Soul Food sprinkled all over Southern rap today That was a big step that they took. – just listen to a T.I. song like “Still Haven’t Forgave Myself” or a David Banner song like “Cadillac on 22s.” I think all Southern rappers got a In hip-hop around that time, Soul Food was just a breath of fresh air. little bit of Goodie Mob in them; a little bit of God in ‘em. That’s one You had so many cats who had to do negative things, but they wanted thing that separates us from everybody else: that soul, that feeling of to do positive stuff. Sometimes you just wanna hear that somebody’s regret.

96 OZONE “When we made this record, me and [Andre 3000] were heavy on that Tribe Called Quest and the Native Tongues movement. But we was also on NWA, Luke and Geto Boys real hard. Each record is a time capsule. Southernplay- alistic was the time from when we were born to being teenagers.” - Big Boi

“PLAYER’S BALL” Originally recorded for a LaFace Christmas compilation (peep the sleigh bells in the background), this hit morphed into a song for all seasons. It’s the musical gift that keeps on giving.

“GIT UP GIT OUT” f/ Big Gipp and Cee-Lo On this inspirational song, instead of preaching, Big Boi, Dre, Gipp, and Cee-Lo shared the keys to life by talking about real situations. This song kept a lot of black males out of jail.

“AIN’T NO THANG” Hearing a young Dre cocking pistols and rapping about putting a “3-5-7 to yo’ fo’head” is almost unbelievable when looking at the entertainment maven that he has become.

“CRUMBLIN’ ‘ERB” Up until this point, rappers smoking weed was nothing more than a pastime associated with violent behavior and foul language. But ‘Kast managed to let the green leaf open their OUTKAST minds and speak truths that only the mind’s eye can catch. SOUTHERNPLAYALISTIC... LaFace - 1994 “SOUTHERNPLAYALISTICADILLACMUZIK” When people first saw this title track they could’ve sworn it by DJ Jelly said “Supercalifragilisticexpialidocius.” Mary Poppins they 20ESSENTIAL SOUTHERN ALBUMS weren’t, but their performances on this song made the little kids sit down and think twice about grabbing a microphone.

hen Outkast introduced themselves to the country in 1994 with were dropping knowledge. This song, and “The Call of the Wild,” their debut album Southernplayalisticadillacmuzik the South helped introduce Goodie Mob. This song in particular showed that Wwas nationally recognized for two things: the Geto Boys and both of these groups were the point guards to a new movement. Hear- Luke. Atlanta was associated with bootyshake music, the driving force ing them was refreshing, because at the time G-funk was dominating behind its popular strip clubs. Because of that misconception, South- the charts. ernplayalisticadillacmuzik was and still is one of the most slept on and most well put together hip-hop albums, period. “Player’s Ball” was an introduction to the whole Southwest Atlanta (SWATs), from Campbellton Road to East Point. Again, this was a good Big Boi and ‘Dre (he wasn’t “3000” yet) used “Myintrotoletuknow” to representation of the Organized Noize movement. You can’t separate bring people into their world. No rappers in Atlanta had been able to Organized Noize from Outkast. With all the success that ‘Kast has had do that yet, at least not on a national scale. They talked about the Red over the past ten years, people don’t realize just how important Orga- Dogs, the police officers that kicked in doors down here. ‘Kast intro- nized Noize was to that movement. duced everybody to the code that ATLiens lived by. “Funky Ride” provided a soulful feel to the album. It was a prime ex- They followed that with “Ain’t No Thang,” a hard-core, aggressive song ample of just how musical ONP and ‘Kast was. Sleepy was on the that had an entirely different sound to it. It did a good job of showing hook. A lot of people don’t know that he is the third member of Out- the swagger of the ATL. ‘Dre and Big Boi put on a great display of kast. They’re inseperable. Southern lyricism. It was specifically for people who didn’t understand where they were coming from and for those that thought that we were “Hootie Hoo” was the A-town anthem as far as identifying Atlanta in just some country bumpkins. Outkast and their production team Orga- the hip-hop game, and it had a break beat in it. ONP showed how nized Noize (Rico Wade, , Ray Murray) articulated that. they could flip a break beat. People that didn’t have anything do with Together, ‘Kast and ONP helped formulate the phenomenon that is Georgia couldn’t quite understand it. Southern hip-hop. “Crumblin Erb” further displayed their musical talents. The combina- The title track it showed Big and ‘Dre on a whole ‘nother level. The way tion of ‘Kast’s Southern slang and ONP’s production was like a plate of they went back and forth on this song was the Southern equivalent of gumbo. It displayed the maturity route that Hip Hop could go in. Yeah, Run-DMC used to do. This record breathed new life into the hip-hop they was talking about getting high, but it had a social consciousness community. Even though hip-hop music had spread all over the world, to it. a lot of heads couldn’t understand it at the time because this was the first Southern articulation of it. The intro to “Southernplayalisticaddil- I think what’s important to realize about this album is the teamwork lacmuzik” had 808 sounds in it, and that was appreciated by a lot of of ONP and ‘Kast. It was phenomenal at that time and this album will people down here in the South. The production brought an organic always set them apart from their peers, forever. The things that you feel to hip-hop. People were not used to Atlanta niggas being able to heard here will never be duplicated. express themselves like this. I’d like to see them work on some more projects together because this “Git Up Git Out” was another song that shocked people because they shit was incredible. I thank God for Outkast and Organized Noize.

OZONE 97 “I was always drawn to Devin’s humor and charisma from the Odd Squad stuff, but The Dude was what really made me a believer. Listening to that album was like chillin’ out with that bugged out cousin of yours that you only see once a year at the family re- union. It still sounds fresh after all these years.” - Phonte of Little Brother

“WRITE AND WRONG” Here Devin gives a lesson on how to write a dope rhyme, one that most rappers these days would do well to follow. This song aptly demonstrates the Dude’s ability to rap about anything, even writing a rap.

“BOO BOO’N” One of the best lines uttered in the past decade was on this song, “Got a east cast flow, west coast body language, don’t know nuthin’ bout the south but tryin ta find someone to hang wit/man whenever you finish flowin or whatever the fuck you doin, holla at me, I’ll be in the bathroom boo boo’n.”

“SEE WHAT I COULD PULL” This little ditty was catchy and funny. It adequately displays Devin’s laid-back humor and penchant for talking about amusing sexcapades.

DEVIN THE DUDE “DO WHAT YOU WANNA DO” On each of his album, Devin makes at least on song where THE DUDE he croons all the way through. They’re always insightful and Rap-A-Lot/Virgin - 1998 sometimes funny, but mostly they ring true to life. by Jacinta Howard 20ESSENTIAL SOUTHERN ALBUMS “MO’ FA ME” Devin takes the requisite weed and sex song and turns into something new with his unique swagger and storytelling.

sk the average rap fan (the people who get their daily Hip Hop simpler things in life - like weed, family and some good lovin’. He even fix from the Top 8 at 8 or 106 & Park) who Devin is and you’ll managed to weave in some old-school life lessons here and there Aprobably be greeted with a blank stare. If they do happen to throughout the album. recognize The Dude’s name, it’s probably because they had tickets to Dr. Dre’s Up in Smoke Tour. “Now everybody’s got elders and you should respect ‘em / They been through similar shit but then again you can’t let ‘em / Put they hands on The point is, Devin is one of the best rappers you’ve never heard of ya life like a remote control / Have you travelin’ down the same bumpy and his self-titled debut unquestionably explains why. Like most of the tore up road…” - “Do What You Wanna Do” albums that drop on Rap-a-Lot, The Dude received little promotion, but its impact has been felt throughout the game over the past eight The Dude was completely different from what was dominating the years. Devin’s charm, wit, uncanny storytelling ability and down home charts at the time (P. Diddy) and while Devin certainly didn’t stray far humor have made him both an industry and street favorite. It’s why from the mundane topics most associated with rap music, he was so he’s worked with everyone from Nas to Dr. Dre and gets love all over creative in his scope and approach that you barely even noticed. the country, regardless of coastlines. In actuality, this album was probably ahead of its time and even now, This album also laid the foundation for both of his subsequent re- almost a decade later is still better than most of what’s currently be- leases, Just Tryin’ Ta Live and To Tha X-Treme. Just as importantly, it ing released. Devin managed to capture the attention of the streets established him as a versatile emcee and, well, singer (that was him without shooting up the block or bragging about being a gangster singing the hook on Scarface and Ice Cube’s classic “Hand of the or dope boy. His sincerity and ability to laugh at himself and life in Dead Body”). Starting out with the Odd Squad and later joining the general made him tangible and familiar to people. Add that to superior original Facemob, Devin’s charisma and voice has always made him production (most of which he produced) defined by candy bass lines, stand out. mellow organs and soulful riffs and the result is a project that defies comparison. Taking everyday things, like struggling through writer’s While some people have attempted to typecast him as the Nate Dogg block, and putting an entirely new twist on them, Devin’s perspective of the south, his lyrical ability simply won’t be contained by such a couldn’t be denied. generic comparison. Whether he was in the bathroom booin’ booin’ to avoid dealing with ghetto women, trying to see what he could pull on “Now just be real with what you say and put some feelin up in it / And an unsuspecting chick or encouraging folks to do whatever’s right for since everybody’s dyin’, put some killin’ up in it / I be right here by your them, Devin was always crafty, clever and candid. side smokin’ kill until you’re finished / And if you get writer’s block, then nigga, chill for a minute…” – “Write And Wrong” “People always gettin’ mad at me bein’ like this / Drankin’ alcohol keeps me peein’ white piss / Parents I’m not tellin’ your children to smoke, ya Paving the way for other innovative artists like Field Mob, The Dude see / Cause if they just say no it be mo’ fa’ me…” - “Mo’ Fa’ Me” didn’t have to sell millions of copies to make a bold statement. A rare gem in the midst of monotony, this album is a certified classic and At a time when the bling era was just growing wings, The Dude was helped re-open the doors of creativity not only for the South, but rap like a breath of fresh air to rap fans who were interested in enjoying the music in general.

98 OZONE “3 ‘N The Mornin’ is an essential Southern album cause it’s full of real freestyles, straight from the dome, and it was jammin’. We represent freestyles real tough out here in Houston.” - Mike Jones

“PIMP THE PEN” Throw this record on in any club in Houston and watch he dance floor explode - not with people bumping and to the beat but with people singing along with the lyrics. This song kicked off and defined an era in Houston rap history that continues today.

“SAILIN’ THE SOUTH” This is one of the first places the world got to hear ESG. He breaks down the Southern, specifically Houston, culture that has shaped everything people expect from Houston right now.

“SIPPIN’ CODEINE” This Big Moe cut let the world know how they do it in Hous- ton. Way back in the mid-90’s they were repping for that syrup, which is now oh-so-trendy.

“SMOKIN’ AND LEANIN’” This Botany Boys classic repped for the very beginnings of Screw’s movement. They were one of the first groups to come DJ SCREW up under Screw and are still standing to this day. 3 ‘N THE MORNIN’ Big Tyme/Priority - 1994 “WHY YOU HATIN’ ON ME” This classic from one of Screw’s tightest partners, Al-D, broke by Matt Sonzala down the streets explicitly. From drinking Cisco to living like 20ESSENTIAL SOUTHERN ALBUMS a madman, Al-D wrote about what he had been through and gave it to the world real.

ome may dispute the inclusion of DJ Screw’s 3 ‘N The Mornin’ “Get High With the Blanksta,” a Houston underground classic. in our 20 Essential Southern Albums list for the simple fact that Sit is a compilation and not really relevant to one artist in particu- “Around the time 3 ‘N The Mornin’ came out, that was the time Screw lar. And the fact is, while this is an official DJ Screw release, it wasn’t was real popular,” Tosin from thescrewshop.com says. “This release nearly as popular or as genre-bending as many of his homemade elevated the game and took it to the next level. Most of the people on tapes were. that album like Lil Keke, Big Moe, Botany Boys, ESG, 20 to Life, Point Blank, Al-D, got their first bit of national exposure. These guys were This, however was the first official major label release that was like the originators of the Houston sound and you see where it is right “Screwed,” and made noise. (All Screwed Up and Part 1 are classics now. It’s huge.” as well, but Part 2 features mostly all Houston artists – save for Kansas City’s Mass 187 and a couple other artists). “Most of the people on this album are still putting out albums,” he con- tinues. “Keke is signed to Swisha House, Point Blank is still dropping, Okay, many small labels released slowed down “Screw” CDss through- and everybody’s still active.” out Texas, with or without the help of DJ Screw. But 3 ‘N The Mornin’ Part 2 was released on Big Tyme Records, with distribution through Screw’s impact on Texas rap, and Southern rap as a whole, is im- Priority. Priority was having major success with artists like Ice Cube measurable. The effect he had on the sound, simply by slowing his and Snoop Dogg, and decided to give a chance to this revolution- mixtapes down to a slothful pace, is one that astounds and inspires. ary DJ, and independent label from Texas. Big Tyme Records brought His place had been etched out in hip-hop history as one of the most the world the first UGK release and to this day releases underground, innovative ever to touch the game. Now in 2006, every major label has Texas music and DVDs. a screwed and chopped version of at least one of their records, and everyone from white scholars on the East coast to hood kids on the This was the first disc on which much of the hip-hop music buying West coast has at least a passing curiosity about the format. public could hear talk of drinking codeine cough syrup, ’, and much of the Houston slang and culture that eleven years later has bled Sadly, DJ Screw passed away in November of 1996, so his legacy is into the mainstream. It was also the first place people outside of Hous- forced to live on through the hands of other DJs doing their own thing ton got to hear pioneers like Lil Keke on his classic “Pimp the Pen,” with the slowed down sound. Swishahouse, Beltway and Street Phar- which is the song that provides the hook for Bun B’s “Draped Up” and macy are just a few of the crews currently carrying Screw’s torch.

OZONE 99 “Trap Muzik really took people on a journey. It talked about every aspect of the game, from getting shot at to the fruits of hustling. That’s why so many people that were really in the trap felt it. With the skits, we set it up like Ice Cube’s Amerikkkaz Most Wanted or Death Certificate. Its most definitely a hip-hop classic.” - DJ Toomp

“TRAP MUZIK” f/ Mac Boney T.I. traded turf stories with P$C comrade Mac on real life hustling in the “trap.” This album opener immediately set the tone for the memorable disc, which quickly let listeners know that “This ain’t no album, this ain’t no game, it’s a trap!”

“NO MORE TALK” On one of the most thought provoking songs on the album, T.I. addresses political issues affecting young African Ameri- cans in this country, referencing the incompetence of George W. Bush and the speculation surrounding Osama bin Laden.

“T.I. vs. T.I.P.” T.I. stretches his creative parameters on this song as he trades rhymes with himself in this clash of personalities.

“BEZZLE” f/ Eightball & MJG and Bun B This song was T.I.’s opportunity to rhyme alongside some T.I. living legends of the south and he passed the test with flying TRAP MUZIK colors. A memorable performance from everyone. Grand Hustle/Atlantic - 2003 by Jason Thompson “LONG LIVE THE GAME” 20ESSENTIAL SOUTHERN ALBUMS The album closer showcased a T.I. with enough vivid story telling prowess to wow any B.I.G. fan.

efore Young Jeezy popularized the term “trap” and made it a made both producers the most expensive and sought after beat mak- universal undertone for street activity in the hip hop community, ers in the game. The Kanye West produced “Doing My Job” would be BAtlanta wordsmith T.I. introduced the world to the harsh realities one of the most recognizable songs from the album and a favorite of of the neighborhood drug trade with his 2003 release Trap Muzik. many. His tales of struggle and responsibility at a young age would prove to be a song that many listeners could easily relate to, making Trap Muzik came at a time when the crunk era was budding into full T.I. a favorite in many peoples’ opinion. blossom and the likes of Lil Jon and David Banner were in high de- mand. Overlooked by many, T.I.’s sophomore album made way for “Let’s Get Away” was the grown up record that turned out to be a some of the most common trends and sounds that are sought after in sexy single in the spring of 2004 thanks to the master craftsmanship today’s evolving landscape of Southern hip-hop. With a bulk of pro- of . A fun record to say the least, T.I. had already won the duction handled by then Grand Hustle in-house producers including vote from loyal followers in the streets but now he had an even larger DJ Toomp and Sanchez, Trap Muzik had crafted a sound that was far female fan base as well. ahead of its time compared to what dominated the airwaves in the summer of 2003. Unlike the King Of The South’s more recent releases (2004’s Urban Legend and 2006’s King), T.I. had disclosed a more personal side to Unlike produced single “I’m Serious” from his debut al- listeners on Trap Muzik, very similar to how he expressed his inner bum bearing the same name, T.I. went with an authentic Atlanta record turmoil on I’m Serious with the song “Still Ain’t Forgave Myself.” Trap for Trap Muzik’s first single, “24’s.” An infectious track accompanied by Muzik’s “I Still Luv U” and “Be Better Than Me” both served as honest lyrical wordplay resulted in a summer anthem for the artist who up until testimonies to those near and dear to him. Where on “I Still Luv U” T.I. that point had been keeping his name relevant by flooding the streets touched on the complications involving his relationship with a certain with his praised mix-tape series In Da $treetz. T.I. would follow up with woman in his life, on “Be Better Than Me” T.I. delivered words of wis- another DJ Toomp produced record with “Be Easy,” a single intended dom and encouragement to young men fixated with the dangerous life for the streets, but it wasn’t until his third single “Rubber Band Man” style associated with the “trap.” that T.I. would get the national exposure he was craving for. T.I.’s growth over the span of four albums in six years is evident in the A David Banner produced single that would undoubtedly catapult him material he has recorded. An Atlanta rapper who rode the crunk wave to a level of celebrity he had yet to become familiar with, T.I. was now with Bonecrusher on “Never Scared” but still kept it “Dope Boy Fresh” considered by his fans and peers as a true heavyweight hailing the with his alma mater Attic Crew, T.I. has evolved into a worthy con- South. The “Rubber Band Man” video also helped further prove the tender for hip-hop royalty. With Trap Muzik being partially responsible theory that T.I. was indeed the truth with a slew of worthy cameos for this newfound stardom T.I. has acquired (i.e. ATL), the influence including the memorable scene where him and P. Diddy were caught that Trap Muzik and its hustler antics has had on other artists cannot trading poses in front of a then fabled Rolls Royce Phantom. go unnoticed. With baby T.I.s getting record deals left and right using a patented delivery and persona that the King Of The South created, Trap Muzik would also feature the works of two producers who would it should be interesting to see if T.I. will return to his emcee battling later have explosive years in their careers. Jazze Pha and Kanye West roots and address his challengers in similar fashion to his Lil’ Flip and both made huge contributions to T.I.’s second release, which in return Ludacris bouts.

100 OZONE “TRU sent the tone for the independent movement, the unity that made a lot of people proud to be from the South. I literally saw people with TRU tattoos on their back, stomach, and neck. TRU had a huge impact; I could see it every time we hit the stage.” – Mia X

“NO LIMIT SOLDIERS” Really, what else can be said about this song? It put No Limit on the map and had every teenager with more than $20 to their name buying fake No Limit Tank medallions in the middle of the mall.

“POP GOES THE 9” While it’s hard to fathom now, was a lot of people’s favorite rapper at one time. His verse on this song is proof as to why as solid cameos from Kane & Abel make this track an all time No Limit favorite.

“SMOKIN’ GREEN” If you didn’t buy this album when it came out you are SOL if you want this song. Because of sample clearance issues this song was removed from album on the second printing. But hey, that’s not a problem that the internet can’t solve.

“FREAK HOES” This was the ultimate grind-on-the-dancefloor song until Ju- venile came with “Back Dat Azz Up.” Sure, P and Silkk talked TRU their shit, but they got checked by Mia X who repped hard for TRU 2 DA GAME the “ladies” (for lack of a better word). No Limit /Priority - 1997 “SWAMP NIGGA” by Maurice G. Garland It was something about P’s flow on this record that made it 20ESSENTIAL SOUTHERN ALBUMS stand out. Listening to it reminds you that P was a damn good rapper at one time.

After an attention-grabbing 1996, No Limit Records pretty much strong- hustled their way from the underground to the storefront. With that armed the rap game in 1997. They released the introductory albums of came responsibility and P touched on that with songs like “Ghetto their now antique catalog that year by giving us works from Mia X, Mr. Thang” where he spoke on the rap game and truthfully offered: “You’ll Serv-On, Mystikal, the West Coast Bad Boys II compilation, as well as never see P on MTV, top 40, but niggas ya’ll know me / Number one in the I’m Bout It and I Got the Hook Up movie soundtracks. every mom and pop and billboard record store, so fuck y’all playa ha- tin’ hoes / Gimme a pen, a pad, and I’ll make a hit, show every nigga in But anyone with a good memory can tell you that the Soldiers’ ‘97 take the ghetto how to get rich / ‘Cause ya’ll don’t know what go on behind over officially began that February with the release of TRU’s double- closed doors, white folks pimp niggas like hoes.” album Tru 2 Da Game. It was the follow-up to the 1995 door-opener True which featured their landmark anthem “Bout It Bout It,” however it TRU continued to keep listeners thinking on songs like “FEDz” where also served as a notice to the rest of the world that No Limit was about P & Co. warn aspiring rappers and D-boys about the police and gov- to steamroll their tank from coast to coast. ernment tapping their telephones and keeping them under surveil- lance. Which dares you to ask, did TRU warn us about the Hip Hop Fittingly, the first song on the album is the “No Limit Sol- cops nearly 10 years ago? diers.” Featuring verses from TRU members and blood brothers Mas- ter P, Silkk The Shocker and C-Murder as well as femme fatale Mia X, While fans already knew that Beats By the Pound was perhaps one this song echoed through every neighborhood, parking lot, school- of the tightest production units below the Mason-Dixie line, Tru 2 Da yard, night club and house party. It spawned No Limit’s string of trade- Game was easily their most cohesive and consistent effort up to this marked “Soldier” songs and it showcased just how dope Mia X was time. They fiddled with samples, er, interpolations including Aaliyah’s when she boasted: “My shit so tight, it’s more correct than right.” The “If Your Girl Only Knew” (“FEDz”), Levert’s “Goes My Mind” (“Pop Goes military-minded drums and pledges of allegiance changed the dynam- the 9”) and ’ “Summer Breeze” (“Smokin’ Green”). ic of the hip-hop crew record and established the formula for every No However, the strongest compositions came via original beats. “What Limit record to be released from that point forward. They Call Us” stayed on repeat in every Caddy, Cutlass, and Accord. No matter how loud or weak your speaker system was, it still made That formula was to hit you in the head with the “Soldier” song and you sound like you had some knock. “Swamp Nigga” was perhaps the follow it up with the single. In this case it was the Rockwell Gordy- most distinct song, with its hard-to-finger sound effects. “There They borrowed “I Always Feel Like” featuring in-house hook man Mo B. Go” served as the mandatory ride-to-the-club song. Dick. This song caught both die-hard No Limit followers and novices off guard because this was the first No Limit song/single/video (other Once you did get to the club, though, you it was damn near guaran- than “Bout It, Bout It”) that did not sound or look like it was recorded teed to hear the DJ spin Tru 2 Da Game’s only club record, “Freak in a basement. The quality of the record and the concept of dealing Hoes.” While the song title may be offensive to some, females couldn’t with paranoia shook the misconception that No Limit artists could not help but to “bounce their ass and let their knees touch their elbows.” attack a topic outside of pistol popping and package dropping. While Master P’s Ghetto D is considered No Limit’s best album, Tru 2 By the time this album came out P had already garnered respect as Da Game held that distinction when it first dropped. This album saw a CEO and was loved by many as a rapper. That being said, he was the label as a whole make the transition into the mainstream’s periph- now in the company of other CEO/rappers like Eazy-E and E-40 who eral view, making it perhaps the label’s last “underground” record.

OZONE 101 “The way that Scarface told the truth on Untouchable made me feel like he was talking about my life too. He talks about everything from crooked cops to family to the streets. If folks ain’t mentioning his name with the greats like and KRS-One, they ain’t talking about nothing.” - Z-Ro

“UNTOUCHABLE” With one breath ‘Face proved that as an emcee you could be street, clever and cultured at the same time.

“SMARTZ” featuring Devin the Dude Always capable of dropping knowledge, ‘Face got into Malcom Farrakhan King mode on this song. He meshed political aware- ness with spiritual alertness, urging young black males to wake up, read and find something to believe in and fight for.

“SMILE” featuring 2Pac and Johnny P When this hit the radio, many thought that this would be the last time they’d hear 2Pac’s voice (boy were we fooled). Be- yond that though, this poignant song ranks as one of the best posthumous-Pac appearances and easily became of the most important songs of the year, if not the decade.

“MARY JANE” This well-thought and fact-laden ode to the sticky-icky is most people’s reason for owning this CD. More than just a typical SCARFACE “get high” song, ‘Face successfully tried his hand at personi- UNTOUCHABLE fication and showed that he is indeed a poet. Rap-A-Lot /Virgin - 1997 “MONEY MAKES THE WORLD GO ROUND” featuring Daz, by Maurice G. Garland Devin the Dude and KB 20ESSENTIAL SOUTHERN ALBUMS This song was so laid-back and so truthful that years later you have to consider that this might have been a freestyle or a late-night smoke session that just happened to get recorded.

997 was a challenging year in the world of hip-hop when Brad narrative of his growth from a high-schooler to an O.G. Songs like “No Jordan b.k.a. Scarface gave the world his fourth solo album The Warning,” “For Real,” and especially “Ya Money Or Ya Life” captured 1Untouchable. It was three years after his monumental The Diary ‘Face doing what he does best; presenting the motive, action and con- album where he balanced ultra-violent visuals with soul-stirring para- sequence of every situation labeled as “some street shit.” bles and created what many people still consider his “best” album. While ‘Face would not be expected to do anything less than provide However, in the spring of ‘97 when hit the shelves and relevant lyrics via storytelling or warning-laced advice, he decided to streets, things were changing. Hip-hop was in its beginning stages of mix up things on this album as well. Unlike his other releases, the syr- being mass marketed and cross-promoted with anything within arm’s upy, dark feel of this was coupled with a heavy West-coast influence reach. Rappers had begun to invest more time into their business af- thanks to ‘Face splitting the bulk of the production between himself, fairs and image than their lyrics and it showed. The voices that defined N.O. Joe, Mike Dean and Bay Area veteran producer Tone Capone. the fading “Golden Era” of years prior were either switching their tones (i.e. everybody wanted to rap fast like Bone), switching professions The concoction reaches its apex three times. Firstly on the South (i.e. making movies), falling off the map or unfortunately, dying. meets West smoke-session confession “Money Makes the World Go Round” featuring Daz, Devin the Dude and KB. Secondly with one of In between the time The Diary and The Untouchable were released the albums instant classics “Mary Jane” and thirdly on “Smile.” Eazy-E, 2Pac and The Notorious B.I.G. had left us, creating a gaping void. With expected leaders like Nas, Snoop Dogg and Wu-Tang strug- When you finally mustered the strength to get past the two earlier gling to recapture the rawness that birthed their careers and Jay-Z still mentioned songs, your ears got snatched again by “Smartz” featuring taking baby steps, hip-hop was in need of a solid and familiar voice to Devin the Dude where ‘Face spoke vehemently on government cor- stand out. While we may not know if he purposely took on the respon- ruption and how Black people need to smarten up and get back in the sibility, ‘Face provided the sturdiness that hip-hop needed, making a race of life. He stayed in preacher mode on “Faith” throwing a Baptist- title like The Untouchable both a declaration and a testament. preacher attitude on lines like: “We got these politicians running their game to regain power/While our whole black community sours, Crime Coming out with an album that only had twelve songs in an age where rate towers, plagued by white powders/And they claim to be helping releases with 18-plus tracks and double-albums were the was a us to clean up our community/But ain’t no open opportunities.” statement in itself, ‘Face wasn’t about hopping on a trend. He opened the album with the title track where he displayed incomparable com- The album ended with a crescendo of sorts where ‘Face invited Dr. position skills, totally throwing the concept of 16 bars out the window. Dre, Ice Cube and Too $hort to appear on “Game Over.” All being The well-deserved arrogance he had on this simple-drummed track legends in their own right, the song was a toast to longevity, indepen- showed that even though he was becoming an elder statesman in the dence and straight up clout. game, he could still spit with the fluidity of youngster. Just after one listen, The Untouchable had a lot of us scratching our Never known to waste a second or a thought, ‘Face bottled years of heads thinking “damn, did he just top The Diary?” That debate that frustration and rebellion into a two-minutes and thirteen-seconds track could go on for hours, but one thing has to be agreed upon about this on “Southside.” The beat dripped with funk and could tell a story with classic. This album showcased the ‘Face that the world has embraced no words on it. Fortunately though, ‘Face lent a straight-to-the-point as THE torch-bearer for Southern hip-hop and reality rap.

102 OZONE “I have to say We Can’t Be Stopped by the Geto Boys was the first official album to give a view on the down south way of life. It gave every young nigga down here that loved rap something to hold on to, something that we could call our own. We all owe the Geto Boys for that one!!!” - Smitty

“MIND PLAYIN’ TRICKS” One of the biggest hits to ever come from the south, this tale of these three maniacs metal deficiencies/brilliance brought the laid back mellow, however chaotic and crazy, sound of Houston to the world.

“FUCK A WAR” This was written during the first Gulf War and many of the group’s observations can be echoed today. It is a timeless track that relays a message the whole world needs to hear.

“AIN’T WITH BEING BROKE” This song was a precursor to the South’s obsession with get- ting it how you live. breaks down all the reasons why one should work to not be broke.

“HOMIE DON’T PLAY THAT” A catch phrase culled from the work of Damon Wayans as Homie the Clown on In Living Color, “Homie Don’t Play That” was another boastful Willie D-esque joint that showcased the GETO BOYS fire that burned deep inside the Geto Boys tortured souls. WE CAN’T BE STOPPED Rap-A-Lot - 1991 “CHUCKIE” by Matt Sonzala While not the most prolific song ever penned by the Trigga 20ESSENTIAL SOUTHERN ALBUMS Happy Motherfuckin’ Geto Boys, this Bushwick solo track brought big screen macabre to the small, silver disc.

ack in 1990, throughout the south, before the national emer- his eye out. The cover was a shocking piece of macabre art, one that gence of No Limit, Cash Money and countless other labels who perfectly represented the psychosis of these three tortured gangsta Bused selling cocaine as a metaphor for life itself, a revolution geniuses. It was the perfect intro to an album full of tortured, gangsta, was brewing. New Orleans was seeing the early days of bounce. At- genius gems including the mega hit “Mind Playin’ Tricks On Me.” lanta was developing as a business center and a haven for experi- mental artists not afraid to bring new and exciting sounds to the table. “I guess I would say that one of [my favorite Rap-A-Lot albums] would Memphis was getting buck, and Houston was fast becoming the most have to be We Can’t Be Stopped.” J. Prince remembers, “And I say infernally gangsta city in rap. that because ‘Mind Playin’ Tricks On Me’ did so much for the South, period. It was the song that got the South our respect, and [it] made The Geto Boys’ fourth album, We Can’t Be Stopped, hit the music people start listening to us and reckoning with us from radio to every- world like a hurricane. I had the distinct pleasure of interning at the body. So if I had to pick one, I would say that one because of what it studio where they recorded this disc, their Swan Song, from start to done for the south.” We Can’t Be Stopped kicked the music industry’s finish. To this day, I am amazed it ever came out, as the Geto Boys door down and introduced the world to a whole new coast, one where were hands down the most disjointed group in hip-hop history. the pace was a little slower but the fire burned just as hot.

It’s no secret that this trio of misfits was put together by J. Prince, In addition to “Mind Playin’ Tricks,” the title track was a lyrical onslaught founder and CEO of Rap-A-Lot Records. The Geto Boys were his vision on an industry that until then barely gave a nod to hip-hop from out- and a brilliant one at that. These three distinct voices and personalities side New York or L.A. When Scarface said “Better fuck with somebody meshed well on record, but in real life, the Boys rarely spoke. In fact, else before you get popped, because we can’t be stopped,” he wasn’t throughout the entire recording of We Can’t Be Stopped, they were talking to a random foe on the street. He was lambasting the entire rarely in the studio together. In general, each member would come to music industry and the government for their attempts at silencing his the studio separately, lay their verses and then leave. It wasn’t until the work. final period of the process that I really saw them all working together. Believe me, this album was a piece of work. With every song, just Regardless of all that, We Can’t Be Stopped is the album that kicked when you thought the Boys couldn’t take it any further, another wall off this entire Southern revolution we are currently enjoying. Back would be smashed to the ground. Politically correct? I think not. then, there were no magazines like OZONE. The only hope a rapper in Texas had of getting any publicity whatsoever was to spark major But even with much of the record leaned toward the reckless and pro- controversy, and the Geto Boys had already done that. Their previous fane side, it wasn’t totally devoid of a message. On the classic song album, the self titled release on Rick Rubin’s American Records that “Fuck A War,” unloads on a war many saw as unjust. His was really just a re-mastered version of Grip It! was denied distribution words still ring true today. “Motherfuck a war, that’s how I feel / Sendin’ by Geffen Records and made waves throughout the industry as one of a nigga to the desert to get killed / They put niggas on the front line / the most offensive records ever released. But when it comes to getting ahead they put us way behind.”

The cover of We Can’t Be Stopped continued in the same tradition. It But the Geto Boys did help pull up a lot of groups up from behind, showed Scarface and Willie D wheeling Bushwick Bill down a hospital and now, fifteen years later, the South is holdin’ and it still can’t be hallway on a stretcher, just days after the diminutive rapper had shot stopped.

OZONE 103 “‘Sippin’ on Some Syrup,’ ‘Weak Ass Bitch,’ and ‘Tongue Ring’ was all heat- ers, but the track that really did it for me every damn time I heard it was ‘’! The beat was so infec- tious that it fully captivates you. You might lose focus while driving through a school zone and risk getting a speed- ing ticket!” Grandaddy Souf

“WHO RUN IT” Pay attention to this one. This is how we do crunk music in Tennessee.

“SIPPIN’ ON DA SYRUP” This Texas-Tennessee connection had the whole nation on lean.

“WEAK AZZ BITCH” When I say “WEAK ASS,” y’all say “BITCH!” No other explana- tion needed.

“FROM DA BACK” This song displayed at her rawest. This is easily THREE 6 MAFIA one of her best verses. WHEN THE SMOKE CLEARS Hypnotized Mindz/Loud - 2000 “WHERE DA CHEESE AT” We all know isn’t the greatest rapper ever, But by Wally Sparks I bet we know all the words to all of his verses. 20ESSENTIAL SOUTHERN ALBUMS

Long before Oscar decided he wanted to take up residence in North sic “Tear Da Club Up.” Memphis, When The Smoke Clears: Sixty 6 Sixty1 stood tall as the crowning achievement in the stellar 15 year plus career of Memphis, In what I have to believe was a strategic move to showcase what had Tennessee rap collective Three 6 Mafia. After producing underground been going on down South for the years we had been ignored, the fol- anthems that tore up clubs all over the Southeastern United States and low up single and breakout hit from the album “Sippin On Da Syrup” racking up independent sales at a rapidly increasing pace with each of featured another well-touted and highly respected southern act, UGK. their album releases, When The Smoke Clears: Sixty 6 Sixty1 was Three The song was an ode to a Texas phenomenon of sipping on a home- 6 Mafia unabashedly kicking down the mainstream door. made potion of codeine and promethazine prescription cough syrup and your favorite fruit flavored soda. Much like the music they had become famous for making, their infor- mally formal introduction to the Great Plains states was aggressive, That song gave fans something they had been clamoring for: a UGK brute, and in your face. Nothing fancy about it at all. and Three 6 Mafia collaboration. It was the epitome of a country rap tune. The hypnotic sample meshed with the slow Texas Every song on this record was so brutal and vicious that the average drawl of Bun B & Pimp C, and the perfect hook from Three 6 Mafia person would cringe or maybe even be intimidated by it. The interest- cohort , made for one of the most infectious songs of the ing thing about it was how so many of those same people embraced year 2000. the music and gravitated toward like they had been to a special gang- sta walking and buck jumping class. In what may have been the turning point in the legacy of Three 6 Mafia, I would be remiss if I didn’t point out that this album - which has been At a time when music from the southern region of the United States their most successful to date - was the last to feature all six original had just began its chart dominance, the long time suppliers of what members of Three 6 Mafia. DJ Paul, Juicy J, , Crunchy today some refer to as “crunk music,” Three 6 Mafia already had the Black, Gangsta Boo, and were all present. Even the respect and support of their region. But now, they were aiming for Hypnotize Camp Posse affiliates and Project Pat were there to the big time. They had their scope set on world domination before put their stamp on this album. When The Smoke Clears: Sixty 6 Sixty1 and after it was let loose on the masses they achieved just that. Who knows whether the success of this album was the catalyst for the bitter breakup between the remaining members of the group and The lead single from the album, “Who Run It,” was designed to let ev- those who parted ways for greener pastures. There has been much eryone know what time it was. It was time to get the fuck out of the way. speculation about that for years since it went down, and everyone It was done in classic Three 6 Mafia/Prophet Posse/HCP style, with all seems to have a different story. Whatever the gospel truth is, before six members of the Memphis rap super group hopping on a menacing they all separated they got the very best out of each other and made track and laying down the law in all of their trademark styles. It showed one of the most highly respected albums in Southern rap history. A the same great chemistry that was evident on their underground clas- true classic indeed.

104 OZONE “www.thug.com made people really respect T-Double-D. The album started off like a computer, when computers were first taking over. We took that to another level. It’s real Miami, real thug shit. I was never trying to be nobody else, I was just tryin’ to be a thug. That’s why people love and respect that album.” – Trick Daddy

“NA’AN NIGGA” This record is the ultimate battle of the sexes, with Trick and Trina battling for sexual superiority.

“SUCKIN’ FUCKIN’” ...and he’s still a freak.

“BACK IN THE DAYS” An ode to how it used to be, when times weren’t so compli- cated.

“HOLD ON” On this song, Trick offered a testament of hope.

TRICK DADDY “LIVING IN A WORLD” WWW.THUG.COM I’m starting with the man in the mirror. Slip-N-Slide//Warlock - 1998 by Carlton Wade 20ESSENTIAL SOUTHERN ALBUMS

hoever would have thought that the dark-skinned, gold-toothed digits by the end of the song. baldee from Luke’s 1996 club smash “Scarred” would have Wcome back like this? While Luther Campbell has been cred- Then, there’s “Suckin’ Fuckin,” the story of a low-class girl who wants ited with supplying the blueprint for the south’s premier independent to do “me,” “you” and “my whole crew.” labels as well as introducing the rap world to such breakthrough artists such as the old school, Bronx-born trailblazer MC Shy D, controversial But www.thug.com was more than just about getting drunk and hol- quartet 2 Live Crew and raunchy R&B crooners H-Town, Uncle Luke’s lering at girls at the club. Aside from the flawless production, Trick’s A&R expertise had never handpicked any artist with the verbal dexter- lyrics were like well-sharpened swords. In his own hood ity equal to Trick Daddy (or Trick Daddy Dollars depending how long persona, the rapper born Maurice Young showed many different sides you’re been up on him). of himself - from lighthearted club hopper to hardened street disciple to socially conscious newscaster, this album was an insightful guide to Even after Trick’s fluid delivery, visual lyrics and rapid, stop-and-go the not-so-sunny streets of the MIA. flow on the popular regional hit, he never inked a deal with the very well established label CEO. Instead, the young Trick hooked up with On “Back In the Days,” Trick rewinds the hands to Father Time to an upstart Miami indie label Slip-N-Slide and dropped the mildly success- era when life didn’t seem so complicated. Over dark, winding produc- ful Based On A True Story the following year. Although the album didn’t tion seasoned with looming, intimidating bass, he took us to a time receive much attention outside of Trick’s region, history was on the when cats wore afros the size of record albums, sported bell bottom horizon for the quickly rising star. pants and the most feared disease was gonorrhea. “But not no more,” Trick testifies in the hook, “Niggas don’t twisted up the ‘fro / Quick to Riding off the popularity of the sizzling, sexplicit single “Na’an Nigga,” go to gunplay ‘bout that flow / What? Nigga, you don’t know?” Trick’s sophomore effort www.thug.com was Trick’s most shining mo- ment to date. With Trick attempting to win over the affection of his fe- And on “Hold On” and “Living In A World,” Trick shows that thugs do male nemesis Trina over a quirky drum track, shimmering steel drums have hearts too. While Trick would be better known for sentiments and 808 chest pounds, he steps to the unsuspecting ghetto queen in like “” and “Ain’t No Santa Claus,” T-Double showed a the crude way that only a thug can. broader side to his musical reaches early on. Trick knew that babies go to bed hungry at night, that the jails are constantly overcrowding With rants like, “Hoe, you don’t know na’an nigga who’ll represent and the graveyards continue to swell with the bodies of young black like me / Who’ll say some shit like me / Who’ll lay the dick like me” men. He wasn’t afraid to hold a mirror up to ourselves then and still and “You don’t know na’an nigga who’ll run up in your house / Blow isn’t afraid to reveal vulnerability today. your mu’fuckin’ brains out.” How could a girl not fall in love? But Trina proves that she ain’t just your average little hoodrat. Trina back doors Overall, www.thug.com was a work of art. From the very first logon Trick in her signature sauciness with lines like “You don’t know na’an until you leave Trick’s world of thugs (compete with computer voice on hoe who can spend the grands that I spend / Fuck ‘bout five or six best the beginning and the end of the disc), not a single chord could have friends” and “You don’t know na’an hoe who done tried all types of shit been redone to make it less groundbreaking. Even if the album had / Who quick to deep throat the dick / And let another bitch straight lick been released in 2006, it would still be just futuristic as is it did when it the clit.” Needless to say, Trick definitely makes sure he gets her seven hit stores eight years ago.

OZONE 105

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T.I. B.G. CADENCE KING THE HEART OF THA STREETZ VOL. 2 SONGS OF VICE & VIRTUE Grand Hustle/Atlantic Koch Paperweight Records

After receiving criticized acclaim for 2004’s Urban B.G. is not an artist known for surprises. Per- Up until Young Buck screamed Legend, T.I. still found himself trying to prove haps that’s how he’s managed to keep a con- “Cashville, Ten-A-Key,” Hip Hop heads to people that he was indeed “The King of the sistent following throughout his nearly 15-year saw Nashville, Tennessee as breeding South.” However, whether you believe he earned career; his people know exactly what to expect ground for Caucasians, county music the crown or just created it for himself, KING. is from him. With his latest effort The Heart of the and little else. Well, Memphis-born definitely an hour and ten minutes of a man rap- Streetz Vol. 2, B.G. fans are sure to be satisfied Nashville-bred rapper Cadence is obvi- ping from a throne. by his tried-and-true formula of unadulterated ously white and has toured with country street shit. music artists. But his album Songs of To set the mood for the rest of the album T.I. Vice & Virtue is far from Honky Tonk Hip opens with the Just Blaze-produced “King Back.” As with his previous releases, the lead single Hop. This is not some Cowboy Troy shit, With trumpets blaring T.I. is at his shit-talking best stands out since it’s the only song that’s this album is down right dope. when he boasts that he “takes orders from no one specifically made for the radio. “Move Around” but God.” reunites B. Gizzle with his former Cash Money “Comin’ Back” opens the album with a cohort Mannie Fresh and gives a glimpse of resounding smack as rolling piano riffs But to just to show that he still has respect for his what could happen if they were ever to work and hard drums play a good backdrop elders he turns his ego down a couple notches on together exclusively again. for his playfully boastful rhymes. The “Front Back, ”his Mannie Fresh-tweaked remake energy, confidence and creativity rises of UGK’s “Front, Back, Side to Side” where Pimp The remainder of the album has B.G. slip- another notch on “Squeaky Clean” C and Bun B willingly let their student act a fool in ping into his comfort zone, giving listeners a where he raps about washing up for class. smooth ride with very few bumps or landmarks a rendezvous, using a squeaky voice to remember. On songs like “Real Nigga” and effect to sing the hook. But Cadence’s The humbleness takes a twist as he swiftly gets “Living Right” he continues to flirt with fact cleverness reaches its pinnacle on “So back into bad-ass mode on “I’m Talking To You,” a that he’s been able to survive a career without Original,” a sarcastic criticism of the con- clever finger-pointing that has him dissing people CMR. “Kill or Be Killed” has him spitting his oft- tent and behavior of popular rap music. by process of elimination. Lines like “I ain’t talking heard narratives about street life (think “Clean to Jeezy ‘cause that’s my brother, I ain’t talking Up Man part 3). “Whateva U Like” plays the Cadence also shows a more serious to ‘Face ‘cause that’s my father/I ain’t talking to role of the standard “sexy” joint with the usual side to his music with tracks like the Bun ‘cause that’s my uncle, I ain’t talking to ‘Kast female sing-songy hook routine. open letter “Falling Apart” and “All Fall ‘cause them niggas my partners/I ain’t talking to Down.” On the latter he puts himself in Jigga ‘cause he the real President Carter” and a At moments, B.G. does manage to get out of the shoes of a person who drinks their third verse that names a who’s who of Southern cruise control and give some ear stimulation. problems away, hops behind the wheel Hip Hop narrows it down to a few, but he lets the “What I Need” featuring Conrad has Gizzle and meets the ultimate consequence. listeners figure it out themselves. spitting over crisp synth production, juxtapos- The albums most potent cut “Untitled ing his gangster methodology with lines like 7/15/05” has Cadence furiously express- T.I. also keeps the formula of his previous album “my plans and dreams get bigger everyday, so ing his religious views without being by supplying at least one sentimental song. This every night I gotta get on my knees and pray.” blasphemous. time its “Live The Sky” featuring Jamie Foxx where He also shines on “Bout Mine,” where he sinks T.I.P. shows a seldom seen vulnerable side speak- even deeper into his gangster element with From start to finish, Songs of Vice & ing on everything from losing loved ones to the quips like: “I see them looking at me like they Virtue is a solid hip-hop album verbally embarrassment of being in jail with a hit record. the police, I know they ain’t the police because and musically. But the funny thing is that the police work for me.” the best song on it is actually a jazz/R&B While its nice to see T.I. broaden his horizons with record. “So Alone” to this album is what songs like “Why You Wanna” and the Pharrell and This album also has B.G. stepping out his shell “Quik’s Groove III” was to DJ Quik’s Common assisted “Goodlife” its songs like “Bank- to collaborate with artists outside of his click. Safe and Sound. Cadence’s coffee head” and “Told You So” that capture the Rub- VL and especially Webbie give leave a mark on house crooning flows perfectly over berband Man in his true element. In addition to “Ain’t No Bitch,” with Mr. “Gimme That” bring- the live instrumentation and he does it saying he saw Kriss Kross get jumped in school, ing his unique brand of enjoyable vulgarity. again on the comical Blues ditty “Find and helped the new wave of Houston artists get However, “Dueces Up” with Paul Wall and Yung Me Some.” on, he goes on to spit “if only L.A. [Reid] would Redd sounds too gritty for its own good. know how wrong he’d be.” It’s completely wrong to lump Cadence Not as refreshing as Life After Cash Money and in a category with Eminem and Bubba The only thing KING. may suffer from at times is not as strong as the first Heart of the Streetz, Sparxxx. He sounds like neither, but some- a sense of T.I. just rapping to pass the time. Then this album shows that B.G. is talented enough times sounds like he’s mimicking Kanye again, this king’s worst is still better than a lot of to rap in his sleep. Unfortunately at times, it West. Regardless, Songs of Vice & Virtue other joker’s best. sounds like he’s doing just that. is a preview to a bubbling trendsetter.

- Maurice G. Garland - Maurice G. Garland - Maurice G. Garland

108 OZONE

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1a - DJ Scream (hosted by D4L) - Kings of Snap [email protected] 404-540-5000 4e - Struggle Wear - Kruel Ntentions 3 [email protected] 601-454-5802 1i - DJ Barry Bee & Nitram Knarf - Got Beef 3 252-758-1122 DJBarryBee.com 4f - DJ Coolbreeze - Ecstasy 9 [email protected] 2a - DJ Tantrum - Respect My Grind 832-606-4592 [email protected] 4g - DJ Dutty Laundry (hosted by Bohagon & Donnie Cross) - Leaders of the New South 2 2g - DJ Mr. King - Respect Royalty Pt. 2 330-701-8327 [email protected] 4h - DJ Bounz & Luxury Mindz - Mindset LuxuryMindz.com Myspace.com/Bounz07 2h - DJ Spade (hosted by the Youngbloodz) - DMS Street Edition DJSpade.com 4i - DJ Shon G - Streetz Is Callin’ [email protected] BumsquadDJz.com 2i - DJ Lady Bullet & DJ Spaz - Feel The Vibe Pt. 2 786-262-8286 [email protected] 5a - DJ Quest - Southern Fried Gumbo Vol. 2 DeejayQuest.com [email protected] 3a - DJ Jukebox - Snap’n & Trap’n PlanetJukebox.com 5b - P-Cutta and DJ Thoro (hosted by Raekwon) - Taking The Industry by Storm PCutta.com 3b - DJ Menace & DJ Dynamite (hosted by Smitty) - Street Muzik 5 [email protected] 5c - DJ Cease-Fire - We Run This 1 [email protected] 3c - Clinton Sparks - Smashtime Radio Blends ClintonSparks.com SmashtimeRadio.com 5d - DJ K-Tone (hosted by Meez) - From 303 to 816 DJKtone.com 720-404-6767 3d - Christopher Truth (hosted by ) - Kick In The Door [email protected] 5e - DJ Mars & DJ Bobby Black (hosted by Young Fell) - There Goes The Neighborhood 3e - DJ Chill - 18 Soft Volume 1 [email protected] 6a - DJ Princess Cut - UGQ: Underground Queens [email protected] 3f - DJ P-Money - Ear Candy Vol. 1 [email protected] 910-297-3184 6c - DJ Young - Detroit Takeover Myspace.com/DJYoungMase 3g - DJ Ryno - Back to the Basics 713-269-2909 DJRyno.com 6d - DJ Frogie (hosted by KLC) - The N.O. Strikes Back II DJFrogie.com 3h - WordofSouth.com - Round My Way Strike 2 [email protected] 6e - DJ Sir Swift - All About The “A” [email protected] 615-513-5850 3i - DJ Fresh - It’s A Celebration Pt. 1 [email protected] Myspace.com/DJFreshinc 6f - DJ Centipede & DJ G-Spot - The Rivalry: Cleveland vs. Chicago DJGSpot.com 4a - DJ Dutty Laundry (hosted by Trillville) - Not Guilty 914-316-5307 [email protected] 6g - DJ Impereal & DJ Devro - Best of the Bay Pt. 2 TheDemolitionMen.com 4b - DJ Noe Doubt - Respect The Grind Pt. 3 585-721-5452 [email protected] 6h - DJ Dutty Laundry (hosted by & Roam) - Ten Keys to Georgia 914-380-2488 4c - DJ Spair - The Mackin’ Mixtape Myspace.com/DJSpair 6i - Big Dave & DJ Lex (hosted by Grafh) - New York State of Mind DJBigDave.com 4d - DJ Chill - Confidential Heat 713-261-2799 Mix2ColdDjs.com

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