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]X}H'T BELIEI'E THE RU]I'IORS!

IHffiRESNW
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1O OZONE |r1AC'AZINE FesnuARY 2004

 > Janet Jackson's tit
l*o eplanation n€cessary
> E-Class v5. A4r. Charlie
Poe Boy's CEO (3OO+ tbs) jumps hb former
partn€r (10O lbs) @ TJ's DJ's Pool meeting.
> Uncle Luke w. 99 Jamz
uncb L*e csn€t to the aid of local artists
jtst in time to prornote his nerv album
> Justin Timberlake
Gfietto pass en the verge of being revoked
> Mike Jmes
Who? lr{ike Jo{!e*l Who? lAike Jonesl
> 50 Cent @ $e Grammla
'How to be Robbed"
> Def Jam
Def Jam - Lyor - Frevin = imminent d€mis€?
> Kanye West
> Big Sty
> Stat Quo
> lilaybach
New required rhyme vocah.:lary

:::,1:::ii-t-i:;.- a::I i--;-.i:_:: j:.!.:i:i-ri: |::i]+| iia {,Ii-ii-: +:i}::.:.

Something here just doesn': ic{k .:gii

: a;,:r i i :1:.i:r: i r -1:r:ii :1. ... .: '

PUBLIC SER/ICE
:

ANNOUNCF},IENT
: :: :

. :.:::-:r ti:r- :.':t:,:: l::i:r i-:;ii: :l:

Juvenite f/ Soutja Stim "Slow Motion" Bohagon fi Ptayboy Tre "l Recommend" Warning! lf you are a liar, a con artist, a snitch, a
Anthony B fl Wyclef "Sotdiers" White Dawg "Chevy 8oy" cheap asshole, a fake promoter, or just full of shit,
Kamikaze "U Ain't Hard" Kanye West "Through the Wire" you will be exposed! Our PSAs have been known to
"lf I Ain't Got You"
Aticia Keys Wyctef f/ Sharissa "Take Me as I .Am" destroy careers, Today's recipient is Tallahassee's
David Banner f/ Marcus. "My Lord" G-Unit "Stay on the Grind" Justin Proctor (Promote the Vote). I'm glad some-
Usher f/ Lil'Jon & Ludacris Obie Trice f/ Nate Dogg "Set-Up (remix)" one warned me, "Don't believe a word he says!"

OZONE MAGAZINE Freau,anv 20M 11

 REORDT9
#3S&&KS.

Ii't eitlrer faP of ,ell dope, t\ore t\e c\oicer 1 got I ray tlck t\e pol;ce, t\at'r \ov f tceat'ern
Bct any \ay yoq vanna pat iilT st'lt 9et \acaged by t\e copr Ve bqy oqc vty oqt of iait, bat ve can? bay treedon

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bell roqndr, 1 nrake
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 ry
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,:.:: fl Boo and John reppin'lLife lLove

@ Freelon's (Jackson, MS) 02'Darryt, dead prez,&. Buggah reppin'OZONE @ NTZ (NYC) 03
--, reppin' OZONE (Tattahassee, FL) 04 - Da Sick One and Viper @ their video shoot (Ortando, FL) 05
.lo..lo McToy, Zay, and Btood Raw
:;:, - Grandaddy Souf and David Banner @ TJ's DJ's (Tatlahassee, FL) 06 - Da Sick One and Futt-A-Hits (Orlando, FL) 07 - Keith Kennedy
;: and Pee Wee Kirktand reppin' OZONE @ The Moon (Tattahassee, FL) 08 - Kamikaze's "2 Broke 2 Batt" retease party (Jackson, MS) 09
-i.: -DJRajSmoovereppin'OZONE@TheMoon(Tattahassee,FL) 10""Barbershop2"releaseparty(Tampa,FL)
. 11 -Teach,Pitbutl,
..= DJldeat,DJEFN,TonyNea[ @TJ'sDJ's(Tatlahassee,FL) 12-Wyctefvideoshoot(Miami,FL) 13-Twa,B.P.,andb.i.G.f.a,c.e.fam
'Fi (Jackson,MS) 1,+'E-Class,Timbaland,andSebastian@Hush(Houston,TX) 15-DJKittatoneandNoet reppin'OZONE(Ortando,FL)
: 16 - Suave Smoove and J-Kwik @ Upstart Record Poo[ (Jacksonville, FL) 17 - DJ Mentatity and Bitty Rankin @ Upstart Record Poot
+:c,,^.,^c*^^.,^-^f,ttl,,,;l,att^-+^-!D^^^-f,h^^l/l--1,-^^.,ill^Et\4ahttl^^+^l:+.,^^lD:il.,n^-t.l^^n^-^-ln^^t
(Jacksonvitte, FL) 18 - Elora Mason and Fetisha Foxx @ The Roxy (Jacksonvitte, FL) 19 - E-Class @ Hush (Houston, TX) 20 - Nicote
Wray reppin'0ZONE @ Ctub Crunk (Houston, TX) 21 -DJ Christion reppin'OZONE @ "Barbershop 2" tistening party (Tampa, FL)
01 'Pitbul.t and Lit'Scrappy @ DJ Nasty's birthday party @ Firestone (Ortando, FL) a2 - Boo and Gotti pimpin' @ the 'hood Mardi
Gras parade (New Orteans, LA) 03 - Garfietd, Btack Profit, and the rest of Brimstone reppin' OZONE iOrtando, FL) 04 - Cottin Mouf,
Southstar, Bonecrusher, and Smitez cottect easy money backstage @ the FCAT Jam 10riando. FL) 05 - Trjttvilte, Mami Chuta, and
Jazze Pha @ Trittvitte's retease party (Attanta, GA) 06 - Sharissa and Wyctef on the set of "Take Me as lAm" (Miami, FL) 07 - Gitbert
(if you see him, make sure you tett him you saw him in OZONE) poses with Money Mark @ the FCAT Jam (Ortando, FL) 0B - Smilez &
Southstar @ Firestone (Ortando, FL) 09 - Lil'Scrappy pisses off Orlando police by showing his ass crack @ Dr. Phittips HS (Orlando,
FL) 10- lt's a[[ about the Benjamins (Orlando, FL) 11 -Freeway reppin'OZONE @ Tabu (Ortando, FL) 12 - Sky, PtayboyTre, and
Bohagon@theVetvetRoom(Atlanta,GA) 13-BME'sRob,Sloane,andVince(Attanta,GA) 14-DavidBanner,h'iscousinSweets,and
FLX rep OZONE (Ortando, FL) 1 5 - Roy Jones @ Mardi Gras (New Orteans, LA) 1 6 - Youngbloodz reppin' OZONE (Atlanta, GA) 1 7 - Mr.
Vegas (Ft Myers, FL) 1B - Crime Mob reppin'OZONE @ the Vetvet Room (Attanta, GA) 19-Tatiana reppin'OZONE (Tampa, FL)
 ..
'
i...J.] JT]LIA BEVERLY J JAROVACEK
John Tierre least here locatty. My company reatty wasn't ready
Miller, otherwise to start serving out-of-town accounts, but now l'm
known as "Stax," ready. I have a regional retail store that carries it
founded Block throughout Texas, Louisiana, and Mississippi. Here
Wear clothing in Jackson there's three retail outtets, and the
in 1999 and it website - www.blockwear.com - is booming. Now
quickty spread l've got bittboards, the whote marketing scheme, so
as a regional it's growing and l'm ready to attack other markets.
phenomenon. I promote it just like a tabel woutd promote rap
Just walk into music. The t-shirts are the foundation. lt's rea[[y
any club in Mississippi, like the random photo like a lifestyte t-shirt [ine. We've got the John
above, and chances are at least half the Tierre cotlection coming out atso in the Falt.
people you'll bump into are wearing one of
Stax's designs. There's so many celebrities that have clothing
lines, how do you plan to compete with them?
How do you feel about clothing lines that Oh, I'm ready. Most of them just have licensing
charge $200 for a sweatshirt, etc? deats. I just catl it tike it is. Most of them aren't
lf you ctaim you're doing it for the streets, for hands-on, they not catting the designs, they not
us by us, give us affordabte prices so that a[[ picking and choosing, just using their name and
of us not just some of us - can have it. Block getting a check off it. Me, l'm in. I can appeat.
Wear is priced so that you don't have to steal
and kitl to get it. Where do you get the ideas for your designs?
Most of my ideas come from everyday [ife, but it's
How did you get started? put in a way where it's not corny. lt's stytish and
I started out of my trunk. I started with the the designs are clean-cut. I tike to write a [ot. I do
streets, I put it in the hands of the drug deaters, a lot of short form stories. I thought I coutd hit the
the actors, the entertainers, anybody who was streets with a design that woutd get their attention
somebody. I wanted them to wear it, even if by putting a message on it. We've atso got the
I had to give it away. From there, it caught 5100 bitt, we've got a pint bottte, we've got "Got
on. lt started appeating to a younger market, Work?" we've got designs for the smokers, NBA
because the same guys who were known for designs, there's so many. We've atso got jeans and
jumping out of the 600 wearing Gucci and jerseys. The "Mississippi" t-shirts sold out in six
Prada, they were wearing Btock Wear. lt got weeks. Texas and Lousiana are next.
so hot on the streets
that I wasn't serving What are the keys to a successful business?
atl my potential You've got to know your customers. Get out, be
market, so I amongst them. l'm young, l'm eager, l've got
was forced nothing to [ose. I ain't married, no kids. That's
into retait, at why I wear [my Btock Wear chain] around my
neck. Every day I get up in the morning with it on
my mind. I don't ever accept "no." No failure, no
nothing. Just get out of my way.
How long do you think it will take before you are
in stores nationwide?
I t won't be Long. Actuatty, at this point,
I'm really looking for a major retait
outtet a Foot Locker. a Foot
Action - someone who witl buy my
product jn butk and push it as
wetl. The chatlenge is that the
large companies want to buy a
"Stat''
Blod(Wbar
Ff
lot of product, but they want to lowball you
on the price. They want to set the price and
set the amount and set the time in which
they pay, so that gets complicated for a young
entrepreneur.
Someone in the streets see how popular
your clothing is, but how do you translate
and explain that to corporate suits?
Technotogy is so advanced now with audio and
video that I can actually take it to them and
let them see if for themsetves. But my product
is so hot, believe it or not, that atl generations
are wearing it, so they reatly can't get away
from it. lf they're here in this region, there's
no sates pitch. They atready know.
Aside from clothing, what are your goals?
The ctothing is a vehicle. Actuatty, I wanna
act. l'm not onty setting the company as Block
Wear, I'm selting myself as Stax.
Describe your character "Stax."
Street smart. Very sharp. You're not gonna
beat me. I've got the performance to back it
up, as far as the corporate wortd and these
streets. I done seen it atl. I do my business with
a smite. These are att my customers.
Did you go to college?
I have a degree in Business Administration from
Jackson State University. Book knowledge gave
me the toots. College equipped me to play the
game, but the streets taught me how to make
it happen, how to mingle, sell my product.
It seems like this region is very supportive.
David Banner reatty kicked it off, tetting
people know that we here. As far as reppin'
this area, I was the first to do it in fashion.
What advice would you give to other young
entrepreneurs?
Do it. But don't get it twisted, I started with
t-shirts. Whatever your niche is, find it, start
sma[[, get your money back and just keep it
going. Hip-hop is headed with a bullet, you
can't stop it. Whatever you wanna do, you
can promote it thorugh hip-hop. Hip-hop is
wide open. We're setting records in spending
every day.
 BME/WB Orlando
recording Potice
artist Officer
Lil' l Richard
Scrappy Bailey

What were the show restrictions? Officer Bailey declined to comment on

I did not curse not one time, I was bleeping
out the songs. Onty time I cursed is when
that muthafucker put his paws on me. I am
the prince. You don't put your fuckin' hands
on me.
Okay, so tell us your side of the story.
First of att, let me tetI you [ike this, shawty.
I was out there doin' my thing like atways.
I jumped off stage, the crowd got crazy,
got back on stage. Somebody snatched the
mic, I didn't even know it was a cop. I was
What do you get when you mix a big-headed
rapper and a big-headed cop with a room full
of high-school girls? That's right: damn good
footage. This concert at Orlando's Dr. Phillips
High School turned into a BIG fight. Luckily, no
one was seriously injured, although Lil' Scrap-
py's manager, Serious, spent the night in jail.
(Remember, I'm just an objective observer, so
why hate me for reporting the news? - JB)
I
the incident. The following is the arrest
affidavit filed for Tommy "Serious" Phil-
lips, Lil' Scrappy's manager.
The undersigned has probabte cause to
believe that the above named defendant,
[Tommy Phittips], on the 28th day of February,
2004, at approximatety 9:15 PM, did commit
the above listed crimes: [two counts of Bat-
tery on a Law Enforcement Officer and one
count of Resisting Without Viotencel.

H
watkin' off, [ike, whatever, it's coot, it's over. [My White working off-duty at Dr. Phittips High School
manager Seriousl was teltin' [Ofc. Wittiams], "You (6500 Turkey Lake Rd.), l, Ofc. BaiLey, observed the
can't snatch the mic from him, you need to be doin' Defendant Tommy Phittips lV grabbed and pushed
something about the crowd, you ain't doin' shit." Ofc. Kevin Wittiams off the stage. Ofc. Baitey and
So the cop did Serious wrong, he just bowed him Lt. Wittiams ran to the stage to arrest the Defendant

F
(demonstrates a punch) like that. The cop hit my for Battery on a [Law Enforcement Officer].
manager. So my manager turned around [ike, "Hey,
man, you can't be doin' shit like that, shawty, I'm Upon our arrivat, several peopte were trying to re-
a grown-ass man, I ain't did nothin' to you." So strain the defendant as we tended to Ofc. Wittiams.
he bucked on Serious, and I see 'bout, a hundred The Defendant and two juvenites began grabbing at
police get on stage. I'm teltin' em, naq it ain't officers trying to get to us. I grabbed one juvenite
like that, chill out. I told [Ofc. Baitey], don't put backwards and off the stage to remove him from

E
his fuckin' hands on us. He tried to throw [my hype the fight. The Defendant continued to resist and
manl off stage, but he hung onto him, [ike, I ain't grabbed me from the side after I pushed the juve-
goin' nowhere. lf I go, you goin'with me. 5o I had ni[e off the stage.
[Ofc. Baitey] in front of me, and I'm thinkin' tike, if
I coutd get away or hit him, it'd be coo[. As the crowd continued to push, we went back
down to the corner and I went to arrest the subject.
What was going through your mind when you The Defendant continued to resist and not comply
were pushed off the stage? with the orders that he was under arrest and to put
his hands behind his back. The Defendant continued

rc
Lawsuits, nigga. Big ass lawsuit. That's what I was
thinking about. My back hurt, nigga. Ouch. Then to resist until put under control and taken outside
they sprayed me. They pulted pistots out on me, in to the patrol
the schoot, and they tazered me. They put the littte vehicte.

T
red things, put beams on my head and shit. And you
know what I totd the muthafucker? God honest
truth. I said, "Dawg, what, you gonna shoot me? You
can't shoot me for talking." Then he put the gun
away. That's right, you bitch. And we can't be [ike,
"The white man...." NaW it was the black mutha-
fucker. That's why it hurt so bad. Can't say nothin'
about the white dude, he wasn't here this time. ffixr"
'---1 ;: ;=**"
It was the black muthafucker, the nigga that look
just tike me. Nah, he ain't look like me, he ugly.
He btack, and he ugty. You need to get your shit
fixed, nigga, turn your teeth into Six Ftags, nigga,
they could use it. Then they arrested my manager,
they sprayed him for no reason. He was just tryin'
to handle business and they had a hundred potice
and shit. That's why the crowd bucked on y'at[.
Y'at[ hate on any black mate that watks this earth.
That's why y'att be gettin' kitted, nigga, y'alt don't
understand that. Use your laws right. I know [aws. I

know I can laugh at you straight in your face and if

you hit me, l'm suing. l'm going atl the way with it.
I don't want your money. I want your badge, your
house, I want your life to turn to a living hett. Y'att
this shit in court
might ptay-but
on6 Ojy, give a (1.) Scrappy starts performing "Head Bussa" and (2) dives into the crowd. (3) As Scrappy
';causeI don,t ctimbs back on stage, (4) there are no barricades between security and the stage so the
damn, th.is islrue- (5) Ofc. Wittiams takes the mic from Scrappy and
This is reat fuckin, tife crowd stams into the stage repeatedty. police
nigga. lt's not the fuckini an argument ensues between several officers and Scrappy, his manager Serious,
(6-7) Scrappy and Ofc. Baitey
movies, so when you put and his hype man. Scrappy's bodyguard hotds him back.
your paws on a tiving teg- argue while the others try to separate them. (B-1 1 ) Ofc. Baitey shoves Scrappy back-
end,yougetsued. wardsoff thestage. (12) AsecurityguardcatchesScrappy. (13-14) Poticeandsecurity
corner Scrappy and Serious as the crowd runs up the gym bteachers to get a better view.

20 OZONE MAGMINE Franumv 2004

 Fffi*EF€*:$'# g
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LABEL N/A
Itl*titr?;
POSITIVE OUTLOOK
PERSONALITY
tr
El'
'.ALI PURPOSE" CELEB COLLABORATORS
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Georgia, is an unsigned artist reaavlo
major [abets' he's remained
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tlaup"nolnil'r"l;lilrfie that a deat-r's J,ioiir*'iir".tion approached by
to retease his arbum. "Gradv aabf
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southeast' His atbum orovides titi"n"ii
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*iit' in"'opionr'itv i.g", .*rii.i"ili'*i,t, buzz throushout the
it-i;;i'i;; il;"k""r ngril 6,lii,-i.'1, supastishun, who-describes
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snow",,ino iniri'ilt;'i#,r,;
srick Rick, outkast, Gobdie
ll*$l,"9ytkast,
praise
c"'"oi" ,u"o,l,a
for Banner' "He n'u",ru
ruoo, ana i<it"
r'auir";;;h;Jil;1t ^-.
jh?T:;,illd".*ll1*:tli
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ri,:r"'iLL;H,l:':1',.'":li.;:',.rff._Til
have io do.'r];;;;;,
to the futlesr, even tho-ueh.he feer;inli'nii|"ii.,""'i'j"rn,, #J,
peopre.,, supa reps the S-outh
people from the west of-the.Easthave g"t u"! iilii','''"?"!ig, country. ,,N,or ioo
love ro-i thJiortn,io,. *nii"""i r*
l""ro'i] ,*ilr take care or nome n."nv
i:1,,:-,",ilil9:;"ixll|:Ll,:3;il*,t,gmli;il t;i,;':,ffi";:ji::il nrst,
Souf shit tnat you,rioe_roving

s
q
SERIOUS STREET B,UTJZ #
gl'
e,i $tat Quo .,COUNTDOWN''
MAJOR LABEL DEAL
MIXTAPE SUPPORT er
%
€

* on the grind, making sure that his time was

He did it the way hung lrtists are supposed to do it. He stayed
e wett-spent and his music *ui n"uit. lttnbugn he's been rhyming since
he was,eteven, at first Stat wasn't reatty
E]
to get inio in" gut". nalpping was just'a hobby.. N.gry, it's his promising future' Three years
focused on trying
third-degree rhymes' Both.votumes of his
t;
ffi ago, he began mastering his craftl teaving mlxtap"t J.ot.nlng with
Miiwest, earning him airptay on major stations and
mixtape cotlection were hiti tnio,jgnort tfie Soutireasiind
##
a buzz that t"rt p""pi" n"ungw iot more.,the respect he-gained landea hlm in the same room with
i@ creating
of 6ef Jam South gave Stat Qu9 the go-ahead'
Scarface. Game recogniz" gi.i" - tf'"?u'p icon and the;Pr;sident
s:€
a demo to Def Jam South' and atso
#fi encouraging him to focus;;;;p;t;;;reer. Shortty after, he submitted
keeping the underground
shopped around to otner ta'ueGl Gt euo started afta;[ini the streets retenttessty,
# for Stat to come work with him' and once
tnt
fire burning, and eventuatti triio"n- tiu.hed Catifornia. Drl Dre sent
on a contract signing him to Shady/Aftermath
the doors were open, Stat Quo's government name was scribbted
F€
pta."ioi!=ut this point in ttre gime. io how has Stat's tife changed since signing his deat?
Records, a very good
t ,,Nothing,s changed," he says, "l'm stitt on the grinJ, stitt working, trying-to.make sure I come out with hot
,,ei6Uiems,,,from Greenlaniern's "UnderfioundATLVotume 3" mixtape, is spreading
music.,,His new singte, life and the things
w
ef quickty throughout tne couniilliiit tu.tutit"t his upcoming atburi as "my interpretation of stereotype' we're
*iiiv no*t gritty irairsltrying uTq?n.d the Southern
gB t,ve been through. I .orn" *iin and i9
Armageddon'" - Noel Malcolm' noel@ozonemag'com
stitt iust buitdin-g our roster uf . lt's a countdown to
*#
14
tu
gl
,i LABEL lfife.$enRu./Tomers 4 t;fe
Picealo
i
isl HOMETOWN SUPPORT El/
iil
rl
I

NNWE GATCHY HOOKS Er

GON'MAKE IT' IHDEPENDENT HUSTLE ET

Juvenite hatl is usuatty more tike juvenite hett for those who are
forced to go, but doing dirt and getting pun-
ished for. it.was actuatty one of
,the be-st things that happened to vido r.l""ii.r,"
juvenite hatl brought them together and Des Loc. Their stint in
-Coirectea
as Piccatoi Proressio'nit rnt"tiig"ni caih
Godl rhat's their acronym forwhat.they're bringingto tr'. r"p Advanced Lyricat oh my
commercial radio stations yet, but the itreets hivibeen suppoiting
giil".-v* p.-uuotv
won,t hear their music on
them ?oi years . ln 1999, their singte ,,Big
Money Batters" created a buzz and ted them to a deat with
was poputar in the region, their tabet was unable to convert
the now-derunct rri
Records. Even though the song
'interest in signing the group, the buzz into reiord suter. ,r,ruioi riu"ri"rpr**a
but EKG was more interested in a deat roitneii'entire roster. No major
terested 'in the whote roster, so when EKG went out of business, pi;;ut" was in-
putting,out music through their own lnfested Records/Townerii *ut'*itnort a home. They continued
a month they put out a setf-produced mix cD. "We gon'grind'tir
rli"l r..rrirg'on exposing themselves. once
tn! *n""iifatt off,,,brags vido No shake.
Proudly representing their 'hood.of overtor,,r'n, they'r-e.the"orili.it"itli
Fo'.tife!" Like many unsigned artists, they took forward to having
ii"
popurar Miami phrase, ,,Towners!
a major labet finance and market their music
to the masses, but in the meantime,. th-ey're preparing to retdase uicorn^r:ng
favorites Jacki-o, Dirtbag, Pitbutt, Luke, int cbgnito. ihe good cottauorations with hometeam
hope ative," but according to Des Loc, "we been-in tn11
R"rJ"rt J;;"" Jackson atways says to ,,keep
g.am! ro tonitn"i" ui,iit no tire for hoping.,,Jadakiss
described the Piccato mentatity best: "we Gon' Make lt.; -
o.-"liidrnnir,'i"."elladunham@aol.com
 CELEB CO-$IGN €
LABEI +que+ii&/9qw
HOMETOWN SUPPORT IF
,.FA.MILY TIE$'' AUTHENTICITY tr

ffingabouteXcess'5omethingthatreve[sinVutgarity,depraVity,and
.""d?*v klep',those uppliii"iin check
for the sake of appearances
grit witl ruffle
decadence. The human "'tJ
pr"j"u""'io'i.o"rie'" y"rr qui"t ;:;;; *jii xonxr"t"' Their
witl' earn,them permanent
or civitity, but you .un 'rut
tr'"it il"i"r.n"ry
feathers, their edginess *itt ;il
;;;l?o'i"rry, tratnanial "supa Nate" Et-
Dracement in vour cD 'n";;"T?;;::biq'rtiii*a l:;;;;il;;;ivi'
der. and James,,Lit,erotnu?iiluiii
aJprcttneir reatit-"V-i" giupftit teims'
As a.resutt' the mustc
the case of these
ti'u to the hearts' titdt:";f;;;s & woment-tn
roams from the trap to tn! i.a*a pla'i*-a inter-e::1n9,.:dutts' The grimv
three Attanta natives, o''rfr.iii .nlanil; h?,i9
up running an obstacte
streets of Attanta's 'o"n
uiu'invit'ine nut u pilveio'nd' Growing
rtot.their past' c-Bone cites
course fitted with drugs
'li" iinrr"t" at'Ji-i'itpiiuti*
".;'ilty;;;V,
tneir muse: "We ontv write
rii" as their
rire
ub".'!Ylil^y:"f i.Y,"T1"Y:.::*;f# Ii:..J#tXtl';
'itY"H:'.T#:i:;'ii"'"$.;;;:;;i.;;; ihis.isn',tsangster-fantasv'
who sisned Konkrete
*"' eviaent-io-6ut-rast;s eig Boi'
lY:?,ti'ff;i'::"T"??i''ifti:l',i.*liiv "We've ;ltl in music"' muses Big
it;vs"vailJ the grain'
to his own Attanta-based
^ii'it1"i'n"t"ids'
,,There,s a rot of pr",'J;;'i;';i;"--h;pilgnt no*- roiii"t" *un.g"s.to so aeainst
members is Big
Boi. froui
rrr fl:lHtt
lil make rncrearDt'
stlr maKe
and stitl incredibte records!" qf
';:;ii; tJr"tii"tt
:gif-"^','^t
Iurr> i"
l*"o.i{:1,::
Lrre famitv' - Kiera Lytle
the
'r * Boi's younger brother' Apparentty' f,a(errL '

,li/'

I-ABEL 503\eaaz HOMETOWN SUPPORT {

CodeRad
*DO IT YOURSELF' CON$IgTENCY ur
DEDICATION w
codg Red began when MC Et one and reggae artist Junior Dread began throwing parties
together
in 1998. They later formed a hip.-hop supergroup with producer watii, oi q,
Dirrratic, and Man-
fred, an MC formerty of the Schitzophrenikl crew. Their mission is to never"compromise,
regard-
less whether.they get paid,or nor..They heqd up their own independenii"b"i;
502 Headz, and
plan
.to
keep it that way. A distribution d-eat didntt work out, ., on" grdfr"rder exptains, ,,i 01
Distribution is having a tot of problems. They were in att FyE,s uni'cot aropp"a,
now tney owe
u.s.money and they're doing shady business, io fuck them." lf there'ione pn'r!t"
tnut represents
this group, it's "do it yoursetf." wjth no major-tabet backing, ittii" .ol"
group still continues to ptay to sett-out crowds and push thiir riL"v,-and no video, the
tatest r"r"li",',Since Forever Tit
Forever." However, E[ One realizes, "You can't hustie out the trunk forever.
At some point you
have to run with the machine." They reatize that they're upprouininftne
foint in their career
where they'[[ have to either put.up or shut up. Ratheithan trying to gli uig
ur.r., rro, a major
labet, they're doing att the. production, advertising, promotion, ana-viaeoi for
album in-house' "Good MCs lower their skitls for major tabets, out our sti[i never
theilp.oring
decrease. we,L
never go bubbte gum. we made a vow to oursetvesio just do us, and if we
oio* *e btow. If not,
that's fine. Music needs more creativity. Everybody is singing the same tonl:; Coo"
Red promises
they'l[ never selt-out, but for now, they are fatientty wa-itiigl _ Darin Gloi

ISBEL F,flonl4.wwDetJam HAJOR IABEL DEAL g

Jinx da JUW STREET CREDIBILTTY w
.,PER$PECTIVE'' CELEB COSIGH V

only 19' bui n-rv ri;inc is ol'ler-"This line also applies

on Mobb Deep,s "shook ones Pt. 2," Prodigy boasts. "l'm
atlacking hjs cat**n ni-'h lt"e maturity and pas-
to 18-vear-otd Jinx da Juvy, who, despite his age, ls steadity *i
:,f,i:i'; ";#;*d";iiuiouui his tatent. when Jinx $,'as {rotci*i""n*
in t'he music lnorttrlili.i
fer tte
anrd signed bv Def Jam's Russetl
->egnc lii:l'e in a potice shootout,
simmons, who was irpr"ri"J*itn
where he'd grcuTr .rp.,signed a record deal, and became
a
simmons moved him out oiin" iti"ets of Brooktyn his music' After [eav-
pr"uunnng ni- frdm be:ng fu:i1'fccrsed on
father. The streets were a distractjon for Jinx. -ito"'' a Y.ot'rig C'iFers'*c-';'re-' Jinx mentions that
ing Brooktyn, Jinx was uUt" i" ."t pi"t" nlrt"Uut atUuni'
,,just having an album,,is enougn tlo sarislr r'r,ir. o'"-n",.. Lr',e aLbunr truiy reflects Jinx's life
the mere thought of
hip-hop routine oi rrris- r'romer-' ani cash' "l think my atbum
as a whole instead of just focusing on the usuai of tiobb Deep's "lnfamous"'with
speaks for itsetf," Jinx H-is stor-v and music ;;;;;;;t."*isc-jenr
""priini,
H" mentions that ne'c io"e to wcrk vn-'Jr 'r-\obb Deep' but prefers to compare his
a straisht East Coast rtyta. -Project Haltw'avs-" rs current[v heating up on
l[i]fr=a","ii".L"rsJ,;,n"*onuoi" oouut." His firsrsingte. many have had to become famitiar
the mixtape circuit throughoui in".ornt.l and,it's the fi'r'st oppor-tunity
'at*ayt been running into [the
with Jinx. He recently beat an attempted murder .nuig".-ioi;g with a powerful' detivery promises that
that he's
poticel.,,Despite nis youtn, i,ir rt*ggi"t una"*p"ri"n.ii'comUirieO
indeed become a street ctassic' - Rohit Loomba'
his upcoming album through Teflon Muzik/Def Jam coutd

'zz::+2=**
=--+:=4?--=
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Sacramento, CA
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West Palm Beach, FL
Independent Crunk Magazine Da Streetz Magazine
Atlanta, GA New York, NY
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 -i:: :'?,:: :.i3
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r-:,++32',:,i1;.,:;t;:.;,;;1;;.;a..,ra'=,::-:::,i.:.aa::.1::.::.:::a::::.t:t.:_,.:::::...::..::...:':t'::....:.t. .:

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a:::.:':.:=a:::a:. a=.::=',.::::,.i'::.:i::::;:::i,:::J:i,.:,.:.:,4::...a,:=':-a:::..::..:::,.:.:=:a:a.:.:..'

featuring

reggae/daqcehall vibes that music lovers ?gttlFthe

wortd cqn appreciate. ln his thick Jamaican qfnt, he-
why the time is right forAmerica 6arembracQ
Ftffitil::
, '
={:'

*.,',
?
 How many albums have you already re-
z. Video after video, rappers just can't seem to
get enough cars. But the truth is, most MCs
o
leased?
This is my seventh album, but this is my first don't own the cars they show off in their videos,
atbum that wi[[ cross over into the interna- they simpty rent them. One artrst who doesn't
tional market. Like Bob Martey.

How will it be released?

tr
\J
have to rent his cars is Wyctef. The former
Fugee has a car cottection that is home to over
twenty cars, inctuding a Ferrari 360 Modena, a
l'm signed to Togetherness Records, they are
lrl V1 2 Pagani Zonda, a McLaren Fl, a Maybach 62,
the ones that have seen the potential in An-
thony B's music. We are trying to get distribu- J two Benttey Azures, and a Hummer H2, among
tion from someone who can come in the game J others.

and put in the work, you know? We hoping

that this witt hetp pay off, they come in and
change the game.
o
U
Ctef's Ferrari 360 Modena boasts a VB that puts
down 395 horsepower at a beastty 8500 rpm
and 275 [b.-ft. torque al 4750 rpm. This ltatian
masterpiece wit[ take him from zero to sixty in a
After being in the music business for
long, why do you feel like this is the right
so
d, scant 4.2 seconds. The top speed is 189 mph.

time to make that transition? Wyctef's coltection onty gets more exotic after
i
:

,
Because after watching and working the
music for years, it's given me maturity. We \J the Modena. Atso jn his garage is a red V12
Pagani Zonda, a rarity among cars in the wortd.
understand what it takes to rock an inter-
nationa[ audience. I think our music has VI The trademark rear of the Zonda betches out
- the exhaust from the V12, which generates 394
grown to a [eve[ where we can make it more
appealing than coming from a younger and L horses at 5200 rpm and can take C[ef down the
straight-aways at 185 mph when he puts the
inexperienced Jamaican artist just getting in lrJ pedal to the floor.
the game. I think the market has been there J
for reggae, but it's been ctosed and opened
again. I woutd say that the medium is open
since 2002, 2003, peopte like Sean Paut. lt's
tJ The true flagship of Wyclef's cottection is his
dark btue Mclaren F1. With a resate value that
passes the mitlion dollar mark without breaking
tike hip-hop music was in the 1970's until Dr. a sweat, the Fl is perhaps the most wel[-known
Dre and others gave it a different push. Puff member of Wyctef's cottection. lt's a three-
Daddy come atong and give it a push. For our seater, with the driver commanding the 627
generation and our time, this is what we consider to be the new generation. Bob Martey horsepower F1 from the driver seat located in
is considered a pioneer. =
the center with the two passenger seats on the sides.
With a btistering top speed of 240 mph and a 0-60 time
What is the message that you're trying to get across to the American audience? of 3.2 seconds, the Fl is one of the fastest street legal
We are trying to show people that we are more than just music. We're tatented people cars in the world and in Wyclef's driveway.
from the istand of Jamaica.
The sports cars are a must, but sometimes artlsts v/ant
Would you consider yourself a traditional reggae artist or a dancehall artist? to sit back and enjoy the ride v,,hile thev surround
I consider mysetf a chanter, a person with a message. For me, dancehatl music is the themsetves in and indulge jn the exiravaga^l ire-ies
beat, reggae music is the beat. Reggae is laid-back, dancehatl is more up-tempo riddim and amenities their car possesses. F:r- :ri: :-'i::=.
dancing. I do both of these types of riddims. ln order for me to get to the vibrant youth, Wyctef makes a Maybach 52 rirc.:,.:e: .:--.::.., a-<
you have to chant off those dancehatl riddims, and for the authentic peopte who love My-bacht pa't or - s .: .=.'. :--. --.r 'i =.:.:' :'.--i
the soulful old styte, I have to chant on that riddim atso. I don't try to be any one styte, as a legendar';, :"-:-::-- ---:- :--=i '--- ,:-': :--
I try to be a universal artist.

What topics do you discuss on your music?

My message is a wortd of peace, harmony, unity, and [ove. I represent what my label
says: Togetherness. Because to us. music is the universal language. The logo is two
hands: awhite hand and a btack hand hotding together. rep!'esertirg unity'. To us. -:usjc
is a great instrument of influence. We are taking the tile t: s-cv, :e::.e -.:+ :: at-
preciate the culture and peopte of Jamaica. and R.as:ara-.

You have several collaborations with Wyclef, who is Fiaitian" on lcor$f i-ryornnra aL-
bum. What is the retationship like between Jamaicans aftd Haitiars?
-i-rere': a
We are two different languages, but of the same people. _a-e::: i. -EiE 3-E
a ghetto in Jamaica. We both learn of poverty, Living in a ci:e-to€- s:,a3* - ::rrrr: --f*
poor to rich. We share the same cutture, so we retate easii-y. 'sFrcre.
= = !t-en: senn: ::,t i r ' L

artist, and it was a great experience doing music with him. i!,l q[ii "

r i1.il i il
Wyclef is a guest on "Soldiers." Can you explain the message of that song? Ift
What we are saying in "Sotdiers" is that we shoutd stop and look at the peopie h.o a.. lli.Jlr-l"i 'jl l'!i ' ri:A,,,,;
dying. lt's mostty the sotdiers. We're tatking about active soldiers, but we're atso tal,{-
ing about we as the common people. We're talking about the people who work 9 to 5
who never can get away. They want to take a vacation or get away but they can't quir.
Even when you have the opportunity to get away, you can't. lt's so broad what I tatk
about. lt's not even just the sotdiers that fight a war out on the batttefield.
::-.:r- *.ta u* ::1 : r:rn,,it : ;
Do you plan on working with other hip-hop artists in the future?
Wett, bringing artists together, it's not just about hip-hop and reggae. lf we can show :'a^=': -- :-: '. -=----: :: .'.- i -- .:
people that we in the industry can come together, then even people of different cu[- Sl tJi. ,: -=- : -:: :i --:": :-: :-: -.: : -:, ::-
=
tures can make it easier to come together. lt woutd make it easier for us to understand dt tt"tr: I :
each other. We we start it, it's when peopte witl fottow.
This is orty a::::=:'r-:.:-: ::' -: =":- -::
When will the album be released, and what singles should we be listening for? to offer. 1 w'[. 33 -::'::-. -; .: _.:: -:- - - ':,.
The album is catted "Untouchable," and the release date is yet to be determined. The acquis'tion witl be.,', :^ ::-::'. : :- t: :-: :--. -::t:-
first singte was "Someone Loves You Honey," and the current singte is "Lighter," fea- Flex show getlirg:rlo'e :":-.: =.:- ::' ---'-1-
turing Bonecrusher and Wyctef. The third singte witl be "Sotdiers," featuring Wyctef. count on Wyclef to come ai:. ::---: - F:-': -c,:-:a.
- Photos & interview by Julia Beverly, jb@ozonemag.com poombster@ao[. com

OZONE AAAGAZNE Faru.lnr 2ffi4 29

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I:; :r::;1,;r
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l ...q jF-L,4. E$f,lGltrila
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i-t:f:1*:l: a;tEii| i,:aj..,:;iiii ;i::t:;.e.i +i':*: : on in ihe :ilduEt;-y, bui at th€ :ail* ti:E€, ynu'i+ beeling wilh Pre:?
it:, t::::;n iiP.z: ?i.:i:;. ..
"
To understand wal you've got to come from war. To bring peace, there
first has to be war. lt atl started with "Fake Ass Pras," and when I did that
:.-:))i.i"r2 ilt{:i!, I :r€= !.r.:;:t['::, i,it'; Ft:,}*a= :;*;+ ::-aZ.::. '- "{\A ' ;r '') song, I reflected to myself, and my man Buggah was [ike, "Yo, you can't
=!r,::rr
.,.,::-1 a.1-.ea!.i: fiat;i!-r- r,ii:i.i ia.t.:'.:.,. t!,-ia::,a, ta.:h ta.-:.:,,a:::.:,;::L---' .- -: '':::,:,:.:'l; be like that, you atways that nigga, that p.eacher's son." Then I caught
ta:::;i': mysetf. That's why in the song I say, "Sometimes when I steep, when I

lrnean, by now lreatty shoutdn't have to say. With att the music that's wake up / I kinda hope the Fugees didn't break up." So from a negative, I

come out since, you shoutd reatly be able to figure out by now what
Wyctef did in the group, what Lauryn did in the group. I'm trying to see
another Fugee atbum, so I don't want no comptications. Me and my cousin
Jerry Wonder, we dealt with a tot of production. Me, you know I'm the
hook man. How many mics do we rip on the daity, catl Mr. Martin.
l-:,:: ttlt-i +:ea.t !i;;;1 3.,-11;;1' a:.: tl.::i. 1-:|:tc.l4
When they see me, peopte atways ask, "Witt there be another Fugees
atbum?" I say I don't know, but I hope there's another trio. I wanna do it,
so [et's go.
i!a.:*:r::i, i;4:1!=:-14:-lt,ii;-r.: L.;r'!tr'.,'r:;:::*
I reached out tetepathicatly, we've got a Littte
Fiii jLili t;-:;:+:;,!i,::, !i.:i,: t):-:':.iJ !i;r:x lnii.;=gr::1.: I ;il;:,ru il": .4:ian:i.
tt's att haltucination. When we sit back, we hatlucinate. l'm saying it's
just a hatlucination because my battle rhyme is just that: a battte rhyme.
He went at me and whatever. I ain't say that he didn't write what he said
he wrote, I was just clowning him on the record because it was fun. And
when I catted him Mitti Vanitti, I don't mean that he lipsynched, or that
he didn't write his tyrics. lt's just a battle, so I brought it to the block on
some freestyle shit, that's atl it is.
';:-:,1.;"rf, ?ltr. ::h::; i.'r;ii :t:,ii=..,1, "il:il-.ii-rj,"
was able to flip it into a positive.
1,*i*+ p=**!e hav*:r:l-i *i blarr:*ri .1rs;t{*r t-e Fugees Lrr*akinq *p, a: iar
.1::j=ri i:ei ?c:*g {o!}sid*:-ate f*r Lai:;yii's fe*itng: cnd things like:h*i"
Basicatty, you saw me in "Making the Band," right? You coutd either make
the band, or not make the band. You could either make the song, or you
tar=+:1i.1:-j- could not make the song. lt's that simpte. Being in the studio, I was defi-
nitety a dritl sergeant. I don't have time to ptay. lf you gonna come, be
ready for it, cause there's a bitLion trying to eat in your spot. That's how
I attack the studio, and once I leave the studio, I'm grindin', l'm buggin'
out. So I didn't have no problems with Lauryn at at[, because she's a drill
llra; ic rii-ti'i-* !;r*!:e th:ri \1e:;rS"ari? sergeant hersetf. We got atong because atl we liked to do was the music.
ESP thing going.
A 1*i +f peopl* arc wrnd*ring ai:c,..:i l-auryn'5 stiltc !{ rnind :-ight n.:x'
I just think that a person's work shoutd be judged by their skilt. Not by one
atbum, not by two atbums, not by just one year. I think that with Lauryn,
you're going to have to review the butk of her work in a twenty-year span
before you can make an accurate observation. I think what's dope about
her is that she describes what she's going through on her up days and her
down days. She expresses things for a crowd that doesn't have a voice. ln
generat, I think Lauryn represents everyone because "Miseducation" was
a serious atbum, and the acoustic album was another deep album, but it
stilt sold a mittion copies. 5o there's a lot of peopte that search for that
,:+:;,:=,:C-;i!:g iiii iil*: i:,.-::f; i;ainq kind of music.
. : - assuming that your new album is dedicated to your father?
::-. 'i's named after my dad. I took a year and a half mourning the death
:- -_' 'ather, so "The Preacher's Son" is a resurrection. After a dark day
:- ::ihave a bright day. lt's just taking a[[ the positive stuff my dad
:.:--iri me. The atbum's gonna manifest itsetf. When the music is good,
":'- :on't have to say much. All I got to say is, it comes out November the
-:,-ir.
-; ,:: rvon't be gone 'til November.
',:-. nah, I'm backfrom November (taughing).
' -: i: featured on the album?
': got Scarface, Redman, Rah Digga,
Patti Labette, Cartos Santana,
,',:-'ca, Buju Banton, Etephant Man, Wayne Wonder, so it's tike "Carnival"
:,:-i iwo to me, it's so musical. We got the joint with Missy, "Party Tit
l:rascus," that's ripping through the industry right now.
-: * did you come up with the concept for the "lndustry" video?
--it the concept of being in a cab back before you had anything. And I usu-
:.r;r be tatking to the cab drivers, and them muthafuckers don't be hearing
.-:: I be saying but I stitt tatk. So I've got an a[t-star cast for the video, and
:'e interesting part was that everybody showed up.
'::i. you did have qu'ite a variety of characters.
: s just my famity, man. I just put in a catl to the whote industry! I put in
a call to Russetl Simmons, Whoopi, Queen Latifah, Heather Hunter, and it
.':s atl good! (taughing)
', iaI do you plan to retease as the second single?
-':er the "Damascus" joint, we've got a lot of vibes going on. We got a
-:int catted "Baby Daddy" with Redman, that's hot right now. The whote
:roum is about conversations within a community. Another joint is with
Fatti Labette, catted "Celebrate," and there's a joint with me, Etephant
',ian, and Wayne Wonder catted "The Doctor." My favorite is "Ctass Re-
-nion," with me and Monica talking about when we were in high schoot.
!: ;,,9x l'r6r7s a Nabel called Clef Records, right?
reah, I mean, the first thing coming off my [abe[ is me. I know I'm gonna
:ell at least a mitlion records, so that's 513 mittion to soLidify us as a record
.3mpany. Once we do that then it's on, you feel me?
'rihat kind of arrangernent do you have wlth J Records?
i have a 50/50 merger. l'm gonna eat this year. You know how I'm going
out, baby, you know I ain't ptayin'l
=;-ue. Enough money fc'r the kids to eat too.
/aah, I don't have any kids yet but l'm gonna have some kids next year.
I want one boy and one girt, because with two kids I can monitor them
and take care of them. I don't want to have kids that are att fucked up on
drugs. I want them to be whatever they want to be, whether they want to
be a star or not. Listen, I'm straight up from Haiti. I'm just gtad I'm here
and speaking Engtish. I'm fortunate for whatever I get. l'm gonna make as
much paper as I can, get on a ptane, and go right back to Haiti.
ilovv do you feet about the state of hip-hop right now?
Man, I miss 1989,1990! You atways knew PE was coming with somethin',
Koot G Rap came with the street sh'it, and Rakim came with that street sci-
entist shit, you feel me? LL, you know he'd rep for the girls, and of course
with KRS-One you had to watch what you said or the nigga would come
to a show and murder you! That shit don't exist no more. Everybody tatk
about the struggle, but the minute they make a ti[' money they talk about
the bting. And this is my shit right here: nobody shoutd take the credit for
the bting-bting. Give that shit to Third Eye, ptease! (singing) Who's that
with Supercat? Third Eye! Third Eye! Don't get it twisted.
A,few weeks later, after Wyclef gave us the grand tour of his own
Piatinum Sound Studias in NYC, we finished our canversation..."
i hear you've been working with Jin?
Yeah, I'm working with a tot of people, because I'm a producer too. I wear
many hats, that's the best thing about this industry. I was one of those kids
that was fortunate enough to flip hats whenever I wanted, so I love work-
ing with artists that got the grind from the start. Jin is one of those kids.
We just did the joint "Speak Chinese, " that joint is vibing hard att over the
place, the video is kitting BET. This cat's buzz is just crazy. He's a foreigner
tike me, so when I was watching him on 106th & Park, the way he uses his
metaphors, I coutd relate to certain shit he said.
Are you tooking for new talent to work with?
Right now I'm in the process of buitding the new Refugee CampAtt Stars.
I'm on the streets finding the newest, hungriest tatent. At one time I had
John Forte, you know he's away, then I had Canibus, Canibus went to the
army. I've been on the streets a tot right now, and I think l've found some
kids that are going to bring a new vibe to the game. I spent years looking,
cause I can't just sign somebody cause they the illest spitter on the block.
That never did it for me. I'm finding these kids that have an attraction to
hip-hop, and their stories are imaginative. lt gotta be something beyond
the ice. There gotta be a deeper story than that, but stitl keeping it sexy.
We talk about the watches and alt of that, but then what else? You gotta
be abte to have more information for the pubtic. My name is Wyclef, so
"ctef" stands for the music. I'm trying to buitd my label. Everybody is do-
ing they thing in they own way, but for me, I'm not that producer who's
record is in the ctub every week. That's not what I do. When I write them
songs though, them songs be hitting for centuries. 5o whether it's singers,
rhymers, rock and rott, whatever, I'm looking for something that's gonna
move me and make a difference in the game. The change that I'm talking
about is real simpte. When I was coming up, you had Run-DMC, Koo[ Mo
Dee, Pubtic Enemy, hip-hop totd from three different perspectives, feel
me? The Fugees, we looked up to Tribe Calted Quest, De La Sout, Nas, Big
L, so it was a lot of different flavors to choose from in hip-hop. Noq I feel
tike if you try to be intellectual and lyrical, they say it's not gonna sell.
The average hip-hop today, that lyrical continuity doesn't matter. Nas'
"lttmatic," that was back when it mattered, you know? Where's the new
Common at? Where's the new rvlos Def? I know there's some young kids out
there spitting murder like that. Where's the new Wyctef? Where's that kid
in the hood playing guitar and rhyming? Att of that is out there because
we influence a tot of that. I was influenced by other cats, and now I just
found these kids out of the Bronx. The youngest one is tike twelve years
otd - shorty came up and was singing straight R&8. But it was his point of
view, what he was saying, I ain't never heard a kid at the age of twelve
come with a hood point of view tike that before. I'm tooking for sexiness,
perspective, but not the preachy shit in any sense. When I selt a record,
my intention is not to make a track just for the radio. I do songs. A song
encompasses everything. lt's so funny how the hip-hop audience changes
every two seconds. You've gotta atways be on top of the game. That's
rea[ty the beautiful thing about hip-hop, and that's why I never see hip-
hop dying out, because just when you think it's over you'll hear some kid
come fresh with a certain lingo. I heard this kid, fifteen years otd, Gunz.
Tariq's son. Crazy shit.
Do you ever plan on getting to the point where you exclusively produce
for other people, rather than being an artist yourself?
I'm not sure. I mean, the game needs me because I'm infamous on stage.
I don't know who can take me out on stage yet. When I come through,
you know you gonna get a reat stage show. Doing records is one thing, but
doing the live etement is another thing. But, of course, when I get older,
l'd love to pass my stage baton to someone. But everyone knows if they're
doing a show with me, they can't play. lf Ctef is on this show, they tike,
"Who's gonna go on before him?" And they could have bigger records than
me, but it don't matter, because I'tt get up there and do your record bet-
ter than you can do it. I tearned from watching Run-DMC, Pubtic Enemy,
them cats. When they was doing a show, the shit was an event. You got
the big budget, you got the big money, so you shoutd be able to do some
big production shit.
Have'you sDoken to Pras lale,y r:,:-., i: ---- ---i'q5;'
I mean, I can't mend nothing. because I ain't reaity have no beef with
him. lt's tike, l'm a tyricist. and if you say some stick stuff about me on a
mixtape then l'm gonna just devour you on a mixtaF. ln hip-hop it sounds
so cruet, but it's just boxing. When niggas are boxing, they boxing. I think
he realty took it beyond what I said. lf you're gonna take it b€yond that,
you shoutdn't have said what you said in the first place cause you know
where l'm from and you knowwhat ldo. lf you see me on the street and
you're on some, "Yo, what the fuck is up, nigga?" that's st.eet b€et. He
ain't do that. He just said some slick shit on a record and I heard the wax,
so I returned my shit on wax. I don't have no beef with him tike that cause
it's att lyricat. He was with some kids and they said a few things. and i just
ended his career. Pras can't put out a rap record no more. And it's not
my fautt. He know he never wrote "Ghetto Superstar," so unless there's
another "Score," there ain't no coming back.
5o will there be another "Score"? Last month :vc.j ii c \.r : ieacned
out telepathically tc Pras and Lauryn for a Fugee-.
respond telepathically?
Actuatly, Pras has been trying to get in touch with me. I'm gonna call him
back, but things are on my time now. Things are sticky out there right
now. Everybody is tatking about how they don't have no money, and this is
the worst time in the industry right now, but it ain't affecting what I do at
att. lt's Like, people shoutd have ptanned ahead. But I'm definitety gonna
return his catt, though.
iiilt€
i:..ii'.1
''._

ffi"{*@
#
:.: € I t's a beautiful afternoon on south Beach in tate January; comfortabl'y
I .;"t J";t" iire zun srrtnlne overhead. stip-N-Stide has finishedjustsettling
a few
an office
I i"a1]';;il tocation, a cdtorfut home converted togreeted a f-ew new
blocks from the beach in an affluent area. lnside, I'm
by
iu.ut Uufotu being ted into CEO Ted Lucas' office' a smatt yet c-omfofaf\e
adorned with Trick Daddy
,"", *itt i privite bathroom. The waLts are for.him
unO ftinu ptaques and magazine covers' l wait to finish his phone
right
conversation before comm"enting, "Your name is att over the streets
no*.; wlinout missing a beat, h1 responds, "That's a good thing"' ln
the
v"ui,inl" live Last viiited, the tabet has.endured its share of controversy.
Capitat/
Most recentty, the news of their new distribution deat through
tracks from
Priority Records was overshadowed by various rumors and diss
aitgiriti"Jurtists. Stip-N-Stide is ctearty at a crossroads' Even though many i;;i;;; project, which l E- i / El
i.JiUa"ats invotved with the tabet's earty successes have left on bad theY i I,
"iif," was never reteased, Rl
ierms, Lucas does have several promising projects ahead' served as ghostwriters, E]
hype men, and alt-around I
i , n,
' El
DebbieBennett,aformeremptoyeeofLukeRecords,wasonceStip-N-Stide's
after slip-N-sliae reps. "c.o H
U"rrinJ-in"-t."nes backbone. Aicording to sources, Bennett resigned showed Trina how to raP,
u h"ui"J utgutent with co-worker' ' Debbie is atways going to be at Slip- t Ei
how to pronounce words.
a
,,1
N_Siia"-,; iu"cis insists, might put her in the next video
just to prove she's -" r'' :r trl
business"' I was writing her tYrics. {" { ""* El
stitt here. Debbie's just taki;g a tittte time away from the music
Jrit ou"t the bridg; tess
behind a desk at the lconz
thai five
Music
minutes
Group,
away,
declines
Debbie
to
Bennett'
comment'
working
*.
fr:"','TJ"."lj"#:?:T':
put in," MoneY Mark saYs, \
i F
H
t?,1tJ:I"j:l:t "We're just peopte, so 6.-,i".,. - . , I G
lnterviewing Ted Lucas is a battte of wits' He responds l"
ouestions o-otit"tv' quietty, catmty, with a poker face and a stlgnt smlLe'
il;;; ii il.iiv'i",i,"ttioie to cjtcn him off guard' Even underneath the ili rilir,3l,,l"frli,lili
were jl
€
least made sure we .:. ;.:++r.--4: ffi
trainedexterior,yougetagtimpseofbothofLucas'spersonatities'Accord- breathing and eating." :i*+i'{-.:r1+:;i'
- the hustter'
ing io hit, g'"re;s re-o Lucis - ihe businessman and Touch6' €
"Every nigga I knew [at Stip-N-Stide], the ontv thing we f"ultv Y,1i!"-q Y:
Ted Lucas - the businessman - doesn't elaborate when it comes to the to gef oif-tle streeti," Mark continues. "l don't wannabe l-'ut!!llg-utt-ty
ffi
,o".in.t of his mutti-mittion dottar deat' "l'm not the type.to brag about qul- H
tirJ.,, wno is to btame for the missed opportunities? c.o., by
'']i;.-"uJ phone,
it't the tvpe of deat I've been waiting to get for a ffi
h" jnstigator' "l don't bliT:
etty exptains that he's a politician, not an i?X;
iong t1;n".,, ";;i.i;t':ert
ln'contrast to their eariier loint venture with Atlantic Records, I tl H
deaI for several body except mysetf. I learned a lot from the situation,' and hopelutty S
stip=_r.r_siia",i deat with capitat/priority is a distribution with other younC ar,tt:.t:
neil artlsts, inctuding Don yute and Duece Poppi' Trick Daddy and Trina's
have the opporiunity to share my experiences ,1
l.d-ld' ffi
manager' a lol- want to show them the ropes so they won't fatl into the same traps ffi
ZOO+ pt"Jllti *itt t"-tuin distributed by Attantic' Trina's
himsetf from the labet' Money Mark points out that atthough Lucas is responsible tor att
finat 5tlp G
r"t Siip-'fl-StiOe employee, resigned and djstanced t'{-Stide Oeciiions, many decisions are influenced by lawyers
who are only E
;;;*;i;c trr"ots tnlt rrini wou-to be handted directtv by Atta.nli:t "That's concernedwiththebottom[ine...lblamelawyers,toacerta]nextent.x
artist,
iimpLv n"ot true,,, Lucas says, emphasizing that Trina is a stip-N-Slide Mark says, "But the bottom tine is greed. Greed, greed'
greg.d:l?tl:
;;;'fi"6;tt6one catts duiing our interview regarding her studio time' T: X
titte of this muthafuckin' articte: greed. I can give you a tist of.peopte N
a 'fro) by Greg who witt tett you that Ted Lucas is greedy' He suffers from
greed.''
lntroduced to dancehatt artist Don Yute (think sean Paut with X
iti""tl Lu.ut signed him after hearing his singte with the Ying Yang Twins'
"l'm gonna put it tike this," Lucas says firmty. "Trick owns i ?"?'-tilYi
lizooq, Lucas [tans to retease six a[bums: D.on Yute' Trick Daddy' Trina' housel Trina'owns a beautiful house. I'm in the music busjness,
I arn t X
x
or"i" i"ppi, Loit Trib"t, and a Stip-N-Stide 1 0 Year anniversary compitation in the babysitting business. lf you can bring me a.hit record' ,'- care.ol
991i1
itor.. ri'it( Daddy's cotliUoration with Tupac, "otd Schoot"' and Trina's gonna take
X
do what t've gotlo do for you to be successful'.1'm X
controversiat "aig bt' Dick," atready have the streets buzzing' you. ffit r.".or-d, sotue everything. Diss records don't sett',",,So f::i:llY; !
stable of young 6u"ryon" got what they deserved? Lucas smites potiticatty' "l'Y.",991 111 I

,ffi
After ten years, you'd expect a tabet with two superstars' a tove for 1i.O., rVtoney Mark, and Rick Rossl, and-that s wh] I signet-:l:T
to an air of anticipation' But some- i
in the fir;t ptace. There's no love [ost, no beef' God btess '9t; l.X1nl
iit"nt, un? six upcoming reteases hav€
ii jrit J"esn't feei that way. The future feets uncertain. Perhaps it's "llo I ?ll !
wrsn
t
"*, to be successfut. Good tuck." Money Mark is a bit more cynicqt'
therumorsthatthetabetis"broke"(whichLucas'sassistant Stip-N-Slide the best?" he taughs incredutously, "Hel[ no'",He
p-a"-"j-,,] I fr

,, ungritv denied
"ll,3xtxirlli;l?li;J.iT'13llij haven'tevengotattmyptaques! I'mmissingfour,five,sixptaques' lnat's I
iif." rny Super6owt rings! Tl'rat's some buttshit' How you gonna not
give a g

rig!. liit pi"qres?l Buihe wishes me the best, right?" Money Mark laughs' !
,,irlt tut b care of the niggas around you making sacrifices. They leaving I
tf.r"V *1f", kids, sick mom-ia at home just to make sure
you eat' " I

R ick Ross, who was signed to Stip-N-Stide for over two years' says' I
P ;TT"JL;.asl ain't tp"id no money' He gavehowever' me a littte weed' but no I
I \tdui .on"y."' From a CEo's perspective, Lucas points out

'WruW
I
the costs that a tabet incurs on berratt or an artist. "l put a lot of money
'into production. Jazze Pha produced a song for. Rick Ross' That wasn't
I

free. I flew Rick Ross around the country to sit down with different
pro- I

Jr."tt. Lutt give me that one hit record' That's att I need' I can't retease I

an atbum jusi because y'att think it's done"'

Ross says that initiatty, he was happy to be. a.part of the Stip-N-Stide fam-
iii. irt tix"iilme to ieatty judge a person's intentions' But I watched mv
-7?dk/cc i
,_,E
e\ri..%,
*:cn%.*_
 t#"-,i*ttP'dudu{,
'iiiiii,;'a*'.ry:!^
Tf#,w;6ffi.
rffiii**sd'u
Lrw -'fufu?€Y/YM

-'
t:-:.'it=i++...{.{..i.}+:.i:::+.q+
.:: _i+ :_
=
't r ! +i1r:: Jr,..

:-o,Tigdgr, who were commirted and

tatented. work hard, and
their shit j
went dnr^rn rx^ ;-^.- l' ).
y::t-^q9*?., rhe drain.,, ouui
,.r itr", -* *e_,%% ,*"
l:::,:uu', came i; ; p;;i *1J""'
:,reallzeg thar Mr. Lucai is not realty
tter. He doesn't want rn ho . m,,r+i _i,,:a hus_
u ti' nii t i on a i re' He's com rorta
;i; il;'i""'Tlt,l'ff : !;, l''' ij: t t
b te wit h
sn o,io n ave,ei;; ;i ;;,1"".::1r1ff J;'#*.,exp toi ted rr"r,iiu'nu.ol-c,. n
"
were opened. They
eot tirecl of hpina ^;_^^_ ..
"At Stip N-Stide,,' C.O. says, ,,lt
Lucas' business pracrices
get some of rhe hottest
f;Srlt$::il:':.t!^-:-.:. :'^g ro Money Mark,
was tike a waitinp ori
waitins ror? A miracre?,, According ".oJ*, ..:;=i- ,:l:riil::r;;l
:i+Xiif:lirt
to
li?i:uqi,rl,l"1,.lr;Jlc. d. :' ;;;; Tii"yi- Mark sighs, David srrr"r "ir"'
,.Asi<
;r.-_- _., _
ifr:J
lilllo.i,.,ratins the tracks.
"lt Hlr;l'- lrt"',,'""ir"c;",.,
nusttea ." ,.["'i"fij,;i^t^t:-t::dt to-capitatize off the momen"t.
nappen' There's a difference ;-" ;;; #".iX:J"Tii_1,'iL',""J,::1,""i#
Ylng Yang Twins and Lit
j",",J-.::,-.-:tJt;ii*
Jon. but ...:-:
and opportun:st-s:"wi'";ilg
Det Jam had quit when the
betwe;n nrr,t"it he said tr-e.. ::: ..._:c....
topl i'iti"ifsiril;il"t s a suuiti" soy;;J;-J;
hustter, but [Ted Lucas] rs not a hustter.,, y]lh |hg detaits of Tre,6 16.9. & Mone, ,.,:-. ., ':.:a:a
tir" ..rj, _,..'l_'-j= '- -:-::-s:..t-eS:eCi
tlated_, Lucas says, ,.Reauy. !,ejng nego.
Lucas [aughs at the accusation. ,.Trick is posltron, because if
a thug, Trina,s the baddest t,o been ;L;;., -).- _.-= ,::.. their
:t11".\5J: :i:iHlT.freve tnal iJui', iJ,'"i money in niggas hands bitch, own atbum reteased ,O "n
fu"t tij"r1."",i1^." =-: :.-.: nad mv
"-: ':: :. ::,: --- -_-- -..lSiC
f

truth. I got the lconz a deat.,, 1,1:l ciyg thg pubric whar tn"v *."t"t."i _*
Ross,diss tr*i,'h"i"r).'rjHt llt"
ne atteges that Lucas ,,blindfotded-,:ih" on Rick oone." Mark and C.O. plan '3::-: :-: -_*e deal is I

btindfotdeJ tf,",f ."rri;.li .-"...':.1 to .nnria. -_: :-: - --:'::a--rS and

ranticj. They conrrotted ,111:tu'gr't' "l gave the lconz aP&D deat [with At-
f

:::t:*IilTg_ other a rtis ts. *

i"r *iit
and-C-.o.'s,iatent,
i:.., ; :--j :-:: \',:.e,' rr,,,ark
iust anvuoJi;;;;;';:; : ,TirryftT,Hf i",or"ty n:,ss::
='". :: ! .:.. :.':: ".---- ---:'S aeW-
i]i:Ff;":i"rr ",.i Jo',,'l rili :_ ,^:{ iold
'Ted reatty shoutd stoo w; ;ilrfl{{i:ry't%yJ'i:1,"?1,}:,;i;,,_-..;
;;it"-,.;;,.i.
=.
,j - ::..-! _.:,... Rick
,,. =.,, :: ::-:---E: -,::.-g
ruckin'TommyMottota.,,illln-g ut9'no with his chest out tike he the btack lo-1s,.toos.efv arritiaiec
streets with mixtapes and
undergro;: :he
:l:
j,t";r:t[:TiH,x:,i14:iii#iF:: jfi
l:U*:h::::ur: ,-.,..
don't reatize the shit,hu;[:f,tik" Trick Daddy u,id,,r,n.. A loi
of oeopte
t he sou i
.
[ ]t ni';,, ; : i i,rl: ; if i;.XT:,,,ri;: 1[^i,".,," :ln ;:j : I
j:.ii;
l:rlX'.t;t*".:l.5ilI:.f:I "'l seern r",!"J.li:,
to agree on is-rnc< )as3,. ...-rq,
- .i ri r.:-:
ri L;;, H,i :; :; :
yonev,vra ;"":
ffi
l*{l{i
ne's no tonger with Stip-N.slid"
e_ven issuing a chattenge
to Trjck,s,RLrr
i .?-
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Urban Arts Film Festival

Urban Fashion Show
Entertainment lndustry Job/lnternship Fair
Career Development Fair
Spoken Word Showcase
Awards Ceremony
Local Artists Showcase
Panel Discussions
Basketba I Tournarnent
I

College Recruitment Component

High School Conference Promotional Tour
Dade Public School Student Participation
Hip Hop Elements All-Star Weekend
& Muclt more to be announced...

{954} 34S-2192
Miami-Dade Brancl: G 'ce :.:f
wkrrw, H i p H o p E I em e nts. co m
denim jacket in the cold tobby of a rundown hotel
near downtown Jacksonvitte, Florida. Roughty a
Klrc OF
thousand locats are streaming in and out of the
batlroom amidst amateur security guards with
metal detectors. An unfortunate Christmas
tree with some hatf-assed decorations lies
on its side in the middle of the room, but no
one notices. A forty-something man missing
a tooth eyes me hungrity, until his gaze is
distracted by two ghetto-fabutous women
with neon pink sitk flower arrangements
stuck in their weave, matching their see-
through neon pink dresses. The Ghetto
Grammys truly lives up to its name.
lnside the battroom, the semi-sober attend-
ees watch the overhyped crowd and place
bets on how long it witt be until the mass on
the grinding dancefloor turns into an atl-out
melee. ln the midst of dirty South/reggae
btends, the DJ occasionatly cuts the music low
to announce Ghetto Grammy winners. The drunk danc-
ing crowd pays littte attention until the award for Record
Label of the Year. Psycster, of Jacksonvitte's
Longterm Records South, an intimidating man
with long dreads, easity cuts through the thick
crowd and rises onto the makeshift stage to 'uJll A clowil:.s
accept his award rhe
""J:,T;5ii'1,11;
acteristicatly quiet as he t ;a6 PAIllrED,
about time Jacksonvitte had a real gangsta in
charge," he declares with an air of authority, CA]S llHltER
daririg anvone to voice
sneaks. and in this ouick**:ln"li,"*: -PgFEf,gt-
" it's crear YQU-
if,:li:fft"'ll,llli,uoil*il:?il: cAt nEltER, SEE HIS
rhree weeks rater,
I teather chair
psycster sinks into
" TRIrE lllTEIlTlOilS."
at
behind a large gtass desk
I the offices of CTP/LongtSrm- Records South, carefully setting down a ated the ctown, which is our [ogo.
large paper sack from a nearby bookstore. He methodicatty removes each of
the dozen or so books inside, taying them in rows across his desk with a look
of satisfaction. Thumbing through tittes like "Guerilta Pubticity," "Execu-
tion: the Art of Getting Things Done," and "VIBE's History of Hip-Hop," he
exptains that this is his ptan to educate the 7+ staff members of Longterm
Records. Psycster is corporate America's worst nightmare: an ex-con who
learned from his mistakes, an educated thug who's motivated, efficient,
and organized.
After a tour of Longterm's extensive facitities, it's clear that this isn't the
typicat fly-by-night local record labet. There are no matching iced-out
chains to be found - instead, they've invested their funds in two futt-size
state-of-the-art recording studios, computers, CD dupticators, and shrink-
wrapping equipment. The front of the buitding is in the process of being
devetoped into a storefront, carrying CDs, jerseys, and other misceltaneous
items. ln addition to the tabet and studio, they've also teamed up with
Ortando-based Ctientetl radio and brought Jacksonvitte's first pirate radio
station to [ife.
ver dinner, Psycster asks everyone their birthdate, and using his
knowtedge of the Zodiac signs and the Chinese horoscopes, predicts
everyone's personalities and future. As much as we hate to admit it,
his anatysis isn't too far from the truth. His partner Kash, obviousty accus-
tomed to this rituat, sits back calmty and observes. Next,
it was my turn to interrogate Psycster.
How long has Longtern Records been around?
Four years. lt's atways been ptanned, but it's just
starting to take effect.
Did you study other record labels, the indies
like Cash Money, Master P?
Yeah, I studied most of 'em, the indies and
the majors. Most of my ideas actually came
from the majors. I'd go into their estabtish-
ment and see how they operated, and how
dependent they were on other things. I
etiminated atl the outside elements that
they were dependent on. They need some-
one for CD duplication, distribution, but we
can do those things ourselves.
How do you distribute your own product?
We called atl the stores and buitt up relationships
with them. lf you persuade them enough, they'tl
put it in their store. Right now we've got 1BB stores,
atl throughout the Southeast, that carry our records.
What's the first release that you've put out through Long-
term Records?
"Psycster, Freestyte Fanatic of the South."
We sotd 2,000 copies the first week. Our un-
derground radio station hetps, because every-
YCD[, $:#::fiKiil'lll];:'ff:[?,*""?:1
SEE HIS need for a radio station here in racksonvirre.
vou got
Hi:',ilffi:iJffl:[:::i^'berore
w"ii l;;-;ustrer, a street hustrer. r went
to prison, and I got this tittte idea white I was
ilil::l'ffl;?iT?:::il'iuo",. Icame up
with the whote idea, the concept, and cre-
What does the clown logo mean?
The ctown is a powerful statement. The history of the btack ctown
invotves the infittration that caused btack people to fa[ into submis-
sion. The painting of the face was a reptica, it demanded that people
shoutd laugh and be happy at atl times. They teft their guard down and
that's when they were infittrated, putted into slavery. With a ctown's
face painted, you can never see his expression, you never see his true
intentions. That's the reason for the yin and yang symbot, and his cot-
lar is actually a map of Africa, Asia, and Europe. There shoutd be green
on this map, but the green doesn't come until the money comes. That
symbolizes the incentive that we've got for this record labet. We've
been tricked out of a lot of thinqs in the past with the music industry, so
I've based myself on this. Me personally, I went through some difficulties
with an album I put out a while back, and the ctown symbotizes a certain
point in my life that I went through.
Was that album also distributed independently?
I went through Southern Music Distribution.
Why was it such a bad experience for you?
Mostty it
was a manager I had hired and this guy named Gary Wade out
of Houston. He fucked me out of 550,000 for radio play. Him and my
lAG MLLE
manager were in cahoots. And the manager, he was just a reatly arrogant
tittle fettow. but I didn't know at the moment. Tim Chapman was my man-
ager, Gary Wade was the one that was supposed to handte my radio play
throughout the Southeast but he fucked me royatty. Tim Chapman was
supposed to be managing me, handting everything, but he was so arrogant
that he burned a tot of bridges and it got us to a point where we coutdn't
go a lot of ptaces. Plus, the distributor who was responsible for putting
our product on the shetves was mad at him, but didn't exptain 'it to me. lt
was just a whote bunch of garbage.

Why did you hire him in the first place?

Because he knew what he was doing when it came to the music business.
But he was a greedy guy, and the arrogance and the probtems started to
come when he was supposed to be promoting Longterm. He was promot-
ing other artists at the same time, and I was spending my money.

How did you regroup from that experience?

I v'isited a lot of other companies and went into their establ'ishments to
observe. I noticed everything, showed them my capabitities, and came
back and set up this studio.

I see you've got the studio, CD duplication, CD wrapping, graphic de-

sign, what else did I miss that you have here in-house?
Movie editing, we film commerciats here and everything's done in-house.

What is your relationship like with other artists in this area? ls there a
jealousy factor there?
There used to be jealousy. There ain't but one record company in the
sicatly me and him expressing what kind of person we can be at a[[ times.
whole city. lt's easy to say that you've got a labet, but here we've got a
I
real company. Everybody knows their position. So, we don't realty have
: How would you describe yourself as a person?
probtems. lt's more of a respect factor now that didn't used to be there.
Very intettectual. l've been through a lot of street drama. I just tell it how
We've done att the things that we're supposed to do. We atso do a lot of
community activities, we throw free shows, a carnival, a big show in the
it is, I came up rough.
cotiseum, stuff like that. We've got a truck that turns into a stage, so we
Do you regret the upbringing that
use that to throw shows.
you had?
There really aren't any major artists that have come out of the Jack-
No, actualty I loveit. lt was
sonville area, so do you think breaking out of this region is going to be
hard, it was rough, but I

th'ink it was a necessity.

difficult for you?
At first, yes, I thought that way. But now, the way that the CDs have I was an honor student,
and I went to college but
been selting, we sotd over 12,000 copies of "Street Wars" in two months.
I didn't graduate. Basi-
"Street Wars" was something I started to kil[ the jeatousy among [oca[ art-
ca[[y, I'm kinda smart,
ists. I ca[[ them a[[ into the studio and totd 'em, if you've got beef, just
let me know. You can rap for free right here in our stud'io. Whatever you
so books don't even
say about the other person, we're gonna bring 'em in, let them hear what
matter to me. I run
you said, and let them respond back. But we don't want no conflict after
right through books.
this. Y'att get to say what you have to say, and move on. Everything ran
=- Do you think your
smoothty after "Street Wars."

Jacksonville is a pretty rough city.

Probabty the roughest one in the market.

Commercially, how do the corporate radio stations react

towards local artists? Are they open?
At first they wasn't, but I think it's coming to a point where
they really don't have a choice. They can't hide from it.

So your upcoming project is a collaboration with your

partner Kash, correct? Can you break down the rest of the
artists on the Longterm roster?
CC Soprano, he's basicatty an OG. He'tl give you a story or two.
Serious L, he's got a :'ttle love in him but he's more of a gangsta
singer. I'd cornpare hrm t: ',,late Dogg crossed with Jagged Edge.
Big Baby, he's got a big i'3';g. le can sing and rap. TYS: Tortured
Young Souls, that's a grrrLr: :-,3: -'- :'re younger crowds. They ex-
press real [ife frwn a yiuJ-rg arJ, . :e.::e-; -e. Then. the fi rst singte
off the Psycho & lGsh a.llrr, s "d,'-er: r'n^?a B€." which is ba-

WORS & PlfTCI5: lruA BErIERLY

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Phone: 4$7.3542375 Fax 4!87.3,54.-23'7&
#I'F7 W- Cakridge Rd. (}rIandc, FL 32&tlg

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MAGOO INTERVIEW >>
What subcategory of hip-hop would you classify your music as?
l'd categorize it as ectectic hip-hop, because my views are ectectic
when you look at the things everybody else is doing. I could be a little
more lyrical than I actualty have been, though. I coutd be a tittte more
potiticat. ldon't put who lam as a person into my music, ljust leave
it as entertainment. I just try to have fun, I don't take mysetf too
seriousty. When I first started, though, I took everything real seriousty.
I had the advantage of being around Jodeci, and I stitl thank those
dudes to this day for giving us the opportunity to be around them and
learn the business. I've been fortunate to be around the game for so
long that even before I came out with my own record, I was [ike, "You
know what? I'm not even going to take my stuff seriousty." lt's almost
like a game. lf you look back ten years ago, who was the hottest dudes
then? Who was the hottest femate rapper? Who was the hottest what-
ever? You can't even reatty remember. Whether you're a rapper, or a
pop artist, or a rock artist, or an R&B artist, your time comes and goes
in this business. So you can't take yourself too seriousty. Please! Just
try to have fun with it. I'm not saying that l't[ never do an album by
mysetf, as a soto artist, 'cause l've been thinking about doing that, to
be honest with you. But l've got to be able to get out of my contract to
do it, because me and Timb are signed as a group. We can't do nothin'
untess it's within the parameters of our contract. lf I ever do a soto re-
cord, I would probably do something a littte different because Timb &
Magoo is what I do with my best friend. What I do as a soto artist woutd
be something comptetely different, peopte woutdn't even recognize it
from the Timb & Magoo stuff. lt would be more personal.

What new projects do you have coming up?

Right now, I'm behind the scenes. I started a production company,
and I have some real tatented producers that l've started working
with. I chose to remain more behind the scenes, because I don't need
attention. I just want to make music. I never wanted to be a star, it
just happened because I did the right record at the right time. Before
everything started, I was chiltin' with God rest her soul Aatiyah,
Ginuwine, Nicote Wray, we had a lot of great, talented people around
us. Peopte know who I am through my association with Timbaland,
Missy, Ginuwine, and alt the great peopte I've been abte to work
with. Other people like Tweet came atong the way. But I never reatty
wanted to be a huge celebrity, I never even dreamt about it. lt's not
something that I ever thought about. I just wanted to make the music. process of what we're going through right now. From rire cutside lookin'
I messed around and got lucky, I guess, or was blessed, rather. I look at it in, you would think, "Okay, maybe they don't reau;,,t;ke each other," or
as a blessing because for some peopte, that's a[[ they think about. I know "Why they only put this many records out?" lt's ire\,e:- Deen a probtem
some entertainers that have atways wanted to be stars, I run into kids all between me and Timbaland, we just had oroller.s y'.jr iie label. 5o they
the time that rap or sing. They want to be stars more than they want to get a misconception of the reatity of the gal::e a:. ,,."ra:'s feaily gojng on.
make money. They just want the attention, they want peopte to see them They think, "Timbaland got so big. h€ dolr't ia,,e.c ceai ,.^;iih Magoo no
and know who they are. I don't want that. Stitt, to this day, I trip off the more." No! lt ain't that! Timb treats me.ike a l-.::er. Bur rve are in a
fact that peopte know who you are just because of a record. But they do. business together. That's the hard thing abcut bei:g fisrcs. rve're stitl in
business together. The good thing is tnat we don't inier:\.ijre the busjness
What's the hardest part about being in the music industry? with the friendship. The fans don't reatty understand the'rruti.
The hardest thing is the business aspect of it. Here's what I wish, but I

know it wi[[ never happen: I wish that MTV woutd create a music REALITY
show. I think "Making the band" was a great show, but it wasn't reatistic.
They onty show the parts where there's a fight or an argument. They
should get more up-ctose and personat and tet kids see the real things
we have to go through. Like for
us, peopte don't reatly under-
stand what the deat is with
Timbatand & Magoo and the
What do you wish the fans would understand?
The music is easy, but the music gets complicated inside the business. You
send your music to the record company, and they're [ike, "There ain't
no hit records up in here." Shit! When's the last time you've been on the
street? No disrespect to them because it is their company, but they are
confusing. Next thing you know, you're making songs that don't make no
fuckin' sense, because you don't know what the record company wants
to hear. You shoutd just be making music for the fans or for yoursetf, but
you end up confused and half out of your damn mind because you're so
worried about what the [abe[ is going to think. I wish that fans could see
that part of it, cause that's the most difficutt part. I wish that kids were
more educated about the music business, before they decide they want
to get into it, even in 6th, 7th grade. Some kids jump out of high school
for music. lf they could tearn the music side of the business before they
decide they want to be singers or rappers, it woutd be beneficial to them.
I know Britney Spears and Justin Timberlake and 50 Cent look like they're
happy, but for most kids it's a pipe dream. lt's a promise that can't be
kept. That's what I think these kids wi[[ never understand. I think too
many kids come into this business in their teens or earty 20s, and they
come out disappointed. I know a lot of peopte that recorded albums that
never came out. lt's their dream, but they've never reatly been taught so
they don't know how to conduct themsetves and they don't have a back-up
ptan to protect themselves from sitting on a shelf or getting dropped from
a labet. They also need to know how to get the right lawyer, they need to
know about pubtishing - the business is the fucked up part of this game.
You either win or you tose in this game, it ain't no in-between. - Mikhale
Richards (Photo: JB)

OZONE MAGAZINE FrenuaRY 2004 39

x,i:i",
 ou don't even have to meet Choppa to realize the influence he's
had on his hometown of New Orleans. Just go to Mardi Gras.
Two blocks away from New Orleans' Canal Street, the music and
chatter of the crowd drifts down the street from the annual Mardi Gras
parade. Broken strings of beads cover the street. A group of ten girls
approaching the parade route, slightly drunk, begin singing in unison,
"Choppa style, Chop-Chop-Choppa style!" giggling and dancing at the
same time.
After spending the day with Choppa in his own backyard, the West
Bank of New Orleans, OZONE had the opportunity to find out why
he left Master P's New No Limit, formed his own [abe[, and signed
with Roy Jones' Body Head Entertainment. With his new single, "Hot
Piece," gaining momentum quickly throughout the region, he is
preparing to release "The Real Choppa" in May 2004.
What led you to strike out on your own? You left Master B started your
own label Street Balla Records, and signed with Roy Jones Jr's Body
Head Entertainment?
l'm trying to change, and I want to do what's right by rappers. What I
mean is that there's a lot of labels out here eat'ing off rappers. At the
same time, I feel that if you have tatent, you should show the wortd. lt
don't make sense for you to eat by yourself. There's a lot of peopte out
here that know how to rap, and instead of thinking, "This one's gonna be
bigger than me so I'm not going to deal with him," I feel [ike, "This one
coutd reatty btow up and hetp our record [abet." You never know. A lot
of peopte are scared to take chances. That's what l'm trying not to do.
Whatever it is, if we have the money, we gonna do it.
What kind of artists are you looking for?
Al[ artists. lt don't matter what kind. On my [abe[ I have a cat catled
Brown Cass'ius B, Money, Tim Smooth, Baby Boy, and Freeze. That's my
starting five that l'm working with. Most of them are my boys from the
West Bank, but they've got tatent. I was somebody's boy with tatent and
look at me. You never know what can happen. I'm going to start making
it happen for me and my peopte to eat for rea[.
How did you end up signing your deal with Roy Jones' label, Body
Head Entertainment?
Just being hot out here in the streets. I just kept doing my thing. l'm
happy right now, reatty satisfied with the position that i'm in.
40 OZONE MAGAZINE Franumr 2004
Te[[ me about your upcoming album, "The Real Choppa."
Att of the songs say something. You may be in the mood to hear this one,
or that one. On this atbum here I show my versatitity for reat. I show that
I can do more than two or three things. You won't listen to this album and
say there are two nice songs on it. I didn't rush it. I took my time and the
chemistry with the songs just came right there.
What's the first thing people are going to say when they hear this
album?
They going to say, "l didn't know that boy coutd rap like that." That's
what I want them to say. Everybody's thinking that Choppa's just "Choppa
Styte" and that's atI they going to hear. A lot of peopte think that's atI I'm
about. They saw the video. I don't want to be classified as having one
styte of rapping. l'm reatty versati[e.
What producers did you work with on your atbum?
From New Orteans, I got Soutja, Precise, and Sinista, and in Pensacota, I
got Perion and Timmy Fingaz, that's Body Head. I kept it home. You know
Pensacota has adopted me now.
Master P picked you and now Roy Jones signed you, what is it about
you?
It's that ambition that keeps me going. lf that many are peopte looking
at me and seeing the potentiat, there;s something there. I need to keep
going and keep that drive. You know I got mysetf hot from the beginning,
from day one. I a[ways worked the streets at first with no management.
Nowadays l'm just gtad, working with Master P and Roy, that I'm abte to
work with different artists.
What was it like the first time you saw yourself on BET?
Oh man, I just thanked the Lord. I was [ike, I finatty did it. But that stil(
wasn't enough for me. I want more. That was just the beginning. The
dooor was finatty open for me and I have the chance to do what I want
to do and I don't have to answer to nobody. I don't have to work no 9 to
5. 'Cause I coutdn't keep no job, from the matl to fast food. God blessed
me with this tatent, so I'm going to make sure I use it to the best of my
abitity.
A lot of New Orleans rappers get into trouble, like Mystikal's situation,
Master P's bankrupcy. What's going on with New Orleans rappers?
We're from the streets, so we speak what we see. A lot of them don't
 {ftt

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want to look at it from a bigger perspective. Look out the box. I betieve that iEi;"'"
if the right people would have got on top in New Orleans first, we atl woutd've uj-f,.&i t
been atright. But you've got peopte on top first that wasn't about seeing i.:;ff
nobody etse make it. They just wanted to keep it atl for themselves. Now this i'..'i
time around, if everybody survives, we'tL be atright. 'Cause we reatty coming
together and I respect it. The chemistry with me and Juvie, when we did our
song, it just came like that. When I work with 8.G., it atways come out tight. A
lot of us need to get on that page as far as working together, instead of hatred.
It's not about that. The peopte in the streets respect you being reat. They don't
respect nothing fake and the streets let you know. That's why peopte fatt, because
they not showing love back to the streets. As long as you give back, you atways
going to get back. You've gotta make sure you pay your dues in the streets too, not
just in the industry.

What does being from the West Bank of New Orleans mean?
The Mississippi River divides the East Bank and the West Bank. l'm from the West Bank,
from Bishop to Kennedy Heights. Across the river you have Magnotia, Caltiope, that's all
you hear about from New Orleans. But we from the side that's reat country. Everybody's
reat family. We stick together.

This business isn't the easiest to be in. What keeps you so passionate about this
industry?
It's a risk to take, but at the same time, good things come to those that wait. The rappers
out here from New Orteans, we're atl getting together finatly. Like ATL's doing it. Down
here, there wasn't that for a long time. I'mjust gtad that everyone's getting on the same
page.

Ten years from now, where do you want to be?

I want to be sitting up, enjoying [ife. I have a 17-month otd son and I just want to raise him
right. I don't want him to go through what I went through. I want to show him a better tife.
I want to have enough money to take care of my famity.
='a

ASYOII * lFi
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YOII '*-
AI,IATYS
IT'DGDT ,,
--
OZONE MAGAZINE Feanunnv 2004
 JUST LT5TXN

l?
-1

The HIT SIHGLE

€hturing LIL' WAYNE.PASTOR TROY.JT MONEY
QUE BO' GOLD.GRILL'ENil UP TI{UGGS BALLA, CAII'GSTA"
THRILL DA PLAYA.CENTRAL BOYZ
GRILL & More! W LIL' WAYNE
F.9

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JUVENILE
.JUVE THE GREAT"
CASH IAONEY/
UNIVERSAL
After Juvenite's highty
publicized sptit with Cash
Money, he formed his own
UTP Records and spent
the majority of his time
producing - uh, warrants
for cocaine possession
and faiture to pay chitd
support. With no visibil-
ity, he was in danger of
fatting off the fickle rap map completely. His
recent tess-than-triumphant return to Cash
Money feets tike a hatf-hearted attempt to gen-
erate some income and remind fans that he still
exists, and the album reflects this mediocrity.
The lead singte, "ln My Life," is decent, but
nothing in comparison to classic Juve like "Ha,"
"Set lt Off," and "Back that Ass Up." Mannie
Fresh does come through with a few bangers,
including "Bounce Back" and "Cock lt," but
they're interrupted by a few pointless skits
and forgettable tracks. Producer Slice T drops
a few nice cuts, including "Head in Advance"
and "Fuckin'With Me," featuring Juve's UTP
family Wacko and Skip. Make sure you listen
the whole way through, because the standout
track is easity the [ast cut - "S[ow Motion,"
an extended version of a song featured on a
previous Soutja SLim (R.l.P.) atbum. Juve spits
nicety, but Slim straight kitts the track. Even
though Jwe boasts, "l've got my money right,
mind right, tife right," on "Fuckin' With Me,"
he just doesn't sound like he's in that zone.
Baby actually sounds more comfortable flowing
on "Bounce Back" than Juve, proving that prac-
tice does indeed make perfect. Juve stitt has
his trademark drawt, but his voice has changed
stightty and it's obvious that his time off wasn't
spent honing his skitts. Lyricatty, he addresses
his drug problems on "Bounce Back" and wan-
nabe-baby-mama drama on "lt Ain't Mines"
("You be scheming alt day, hoe, take a day off /
Find another target, this one you need to stay
off / You looking for a reputation? I'mma give
you one / Far as I'm concerned, that baby could
be from anyone / ...Saw the grin on your face
the moment I saw you in court / Wish I woulda
saw your face after the test was exposed"). l'm
actually a Juvenile fan, but this album isn't a
good demonstration of his tatent. Hopefully he
can "Bounce Back" from this btand effort and
get back into his element. I do hope this album
selts some units, though, so Abebe Lewis can get
a royalty check for mixing "ln My Life." Things
must be rough financially over there at Circle
House studios, since they're taking so long
to pay their OZONE invoice. - Julia Beverly,
jb@ozonemag.com
CEE-LO 'CEE-LO GREEN
IS THE SOUL MACHINE"
It's been a long journey
for Cee-Lo Green. As a
member of the unforget-
tabte group Goodie Mob,
he made a truly soulful
contribution to hip-hop.
With atbums like "Sou[
Food," "Stitt Standing,"
Dungeon Famity's "Even
in Darkness," 'World
Order," and his intense
verse on Outkast's "Liberation," Cee-Lo has
46 OZONE Fsrumr 2004
^,IAGAZINE
never been afraid to use his lyrics and unique
voice to soothe your mind, body, and soul.
ln 2002 he stepped out onto the scene with
his first solo project, "Cee-Lo Green and His
Perfect lmperfections." Now he's back, and as
soulful as ever with his sophomore soto proj-
ect. He's from the South, the "A" to be exact,
and he's not scared to take you to church and
preach. On "Evening News," he lets you know
what reatly goes down in the evening, and
entists Pharrell to explain the art of music on
"The Art of Noise." Cee-Lo poses phitosophical
questions throughout the album: "Think about
it - are you sure you're really tiving?" Despite
his intensity, he manages to have some fun and
play around in the process with the melody
white throws in some animated vocals. "Some-
times" is a gift to spoken word lovers, and while
he's at it, he throws in a little something for
the battle rappers. The Sou[ Machine offers a
little something for everyone - the onty thing he
doesn't do on this album is fuck around. - lisha
Hillmon, doopyakal 0@aol.com
KANYE WEST
"COLLEGE DROPOUT"
ROC-A-FELLA/DEF JAM
The producer behind
tracks tike Jay-Z's "lno"
and Ludacris' "Stand
Up" expresses his views
over the phenomenal
production we've come
to expect from him. "Cot-
lege Dropout" is simpty
not a normal atbum.
The concepts are amaz-
ingly fresh, unique, and creative, as Kanye raps
about life, family, and the near-fatal car crash
which left his jaw in need of reconstructive
surgery. His lyrics provide a clear insight into his
struggtes and successes, over refined production
with his distinctive habit of using soul samptes.
Very few artists are successful when it comes
to serving in the dual rotes of MC and producer;
often, their strength lies in one and is lacking in
the other. Kanye, however, does both with tact-
fut abitity and precision. The first singte, "Stow
Jamz," featuring Jamie Foxx and Twista, has
become a radio stapte. Severa[ other standout
tracks inctude "Two Words," featuring Mos Def,
Freeway, and the Harlem boys choir; "Atl Falls
Down," which borrows its hook from Lauryn
Hitt's "Unptugged" CD; and "Through the Wire,"
an intriguing track that seryes as a testament
to Kanye's dedication. He recorded this track
literally through the wire which hetd his jaw in
place after his car accident. "College Dropout"
is a must for hip-hop CD cottections. - Rohit
Loomba, poombster@aol.com
TRILLVILLE & LIL'
SCRAPPY
BME/WARNER BROs.
Over the past few years,
Lil'Jon has proven him-
self as the King of Crunk.
Now, after securing a
tabel deal for his own job of mixing up the tempo with a number of
BME Recordings with War-
ner Bros, he presents us
with a sptit atbum from
his artists Trittvitte and
Lit' Scrappy. Most of the
tracks, of course, are produced by Lil' Jon, so
you could either criticize the album for its lack
of tyrical content or you could appreciate it for
,:
what it's intended to be: a high energy atbum futl
of ctub bangers. But with one producer, the beats
tend to become btand and repetitive. lndividuat
songs lose their identity, weakening the album.
With the exception of a couple tracks, most of the
songs feel [ike sequels or revamps of an originat.
On Lit' Scrappy's half of the CD, he presents us
with a tittte over 25 minutes of songs that are
alt possible anthems, especiatty the ATL banger,
"F.|.L.A. (Forever I Love Attanta)" where we see
ctassic Lil' Jon production and song structure
married to Lit' Scrappy's raw description of the
"A." On the tritety titted "Diamond in My Pinky
Ring," we hear a different flavor, with producer
Bingo's dark synths. Scrappy atso entists the hetp
of Casket, Nod, and Grip, who atl drop that heat.
As we reach the end of Scrappy's attotment, the
most shocking moment of the album comes with
a guitar-driven track produced by Lit'Jon. This
uncharacteristic beat is a spit in the face to any-
one who tabets Lit' Jon as just a beatmaker, truly
proving his musical skitts. Moving onto Triltvitte's
section, after riding out to the popular singte
"Neva Eva," the album takes a major dip. Songs
begin to become monotonous and basicatly just
fitter materiat. The uninspired production on
"Bitch Niggaz" and "Some Cuts," combined with
the many obnoxious skits throughout the atbum,
lowers the quatity of the album overall. - ADG,
adg@tmail.com
TWSTA 'KAiAIKAZE"
ATLANTIC RECORDS
It was the determination
and passion of the Japa-
nese that gave birth to the
kamikaze. Day after day,
Japanese pilots woutd bid
farewell to their family and
friends, take off, and fly
themselves into the decks
of unsuspecting American
warships during Wortd War
ll. They were so dedicated to their cause they
were witting to die for it. Twista, clearly dedicated
to his own cause, is back to prove himself with
this foltowup to his previous retease, "Adrenaline
Rush. " Spinning headfirst into the industry Twista's
flow should land him in the Guinness Book of Wortd
Records as the fastest rapper. "Kamikaze" atlows
lwr_.sta to take his flow to a new [eve[. The tracks
on this album are consistentty good. "Get That
Doe (Ain't it Man)," is a banger. Twista spits it for
the ladies on "Stitt Feels So Good" and "Drinks,"
a verbal seduction, but he comes off best when
he switches up his flow, alternating speeds from
fast to stow ("Badunkadunk" and "l Know"). Too
much of his rapid-fire flow tends to sound re-
petitive ("Kitt Us Att"), and when he rhymes at
regular speed he sounds like an average rapper
("Get Me"). Ludacris' flow is a nice complement
on the coltaboration "Higher," and of course by
now you've heard the massive hit, "Stow Jamz,"
where he is joined by Kanye West and Jamie Foxx.
Twista's unique style is a nice change of pace for
one verse, but a whole atbum of tongue-twisting is
a bit much to handte unless you're a diehard fan.
l'' He reatizes this, however, and does an admirable
stow tracks, soulful hooks, and col[aborations to
balance it out. I woutd have appreciated Twista
and Beenie Franks' flow on "Shows Over" a lot
more if it wasn't for Freeway's standard off-key
shrieking at the beginning of the track. The atbum
ctoses out with two more impressive guest appear-
ances, "Hope" featuring Cee-Lo and "Lovely Day"
featuring Anthony Hamitton. - Rohit Loomba,
 poombster@aol.com Rhymes, M.O.P., and Kay Stay. Even though this Wood's Jamaican heritage is apparent on "Ghetto
ROYCE 5'9" atbum has a few fitler tracks, Pitch Black has Jump," which has that istand feel but deserves a
"DEATH lS CERTAIN" entisted some of the heavyweights like DJ Pre- faster tempo track. The production on "Time" and
With this titte, Royce mier, Foxy Brown, Swizz Beatz, and the newest "Cowboy" is weak. As a whole, the album is aver-
reminds us of a fact of addition to Dre's army, Busta Bus. The only age. There are a couple great tracks, four or five
tife. But throughout the drawback is the latter part of the album. DJ solid songs, and the rest is fil[er, at best. - ADG,
atbum, he ensures that Premier and Foxy Brown lend some nice talent adg@tmail.com
death is onty physical, to these men, but don't fulty utitize the poten-
reteasing bravety hon- tial of these tracks. lt's easy to overlook this, KILLER MIKE & GTO
..DAT
est tracks that hip-hop however, when you get to tracks like "Are You CRACK VOL. 1''
fans wi[[ be listening to Hard," the Wyclef-influenced "l Shot the Sher- GRIND TIA4E
for years to come. His iff," and the mixtape banga "Go Hard." Overa[[, Kitler ,\{ike and his Grind
album is loaded with the album's tyrics fit the tracks, with the occa- Time Official family lock
truth and reality instead sionatmisstepon trackslike "ToBetheBest." ln down the btock with this
of the usual sex, drugs and rims. Throughout ctosing, the last atbum that truly embodied the underground mixtape that's
the fifteen tracks, he shares his wisdom. This rawness of hip-hop tike "Pitch Btack Law" has to packin' straight heat. Most
album wasn't recorded for the radio or the be Screwbatl's "Y2K: The Atbum." Word! - ADG, listeners should atready be
fans, it was recorded for Royce. lt's a reinven- adg@tmail.com familiar wrth Mike iron his Killer verses on cuts
tion of himsetf, a real atbum with real meaning, like Outkast's -Whcie Woftc." Jay-Z's "Poppin'
a rebirth of a tatented MC with knowtedge to J SUPER & ROB FAiAE Tags." and his o'n':r "A.D.:.].A.S." The Ying Yang
share. These tracks feel like an epiphany, laced "PEOPLE GET READY" Twins. L:i' icr. ;.1.. Bone C,.rrsher. and Bun B of
with anger, rage, and an acknowtedgement and SUPERSTANG ENT. UGK stop by fcr gr"esi ap33arances. This retease
advisory. The "parental advisory" sticker on lf I had to summarize Su- proves that Ll]e fesi of ris 5TO fam (Jackpot, J,
this album shouldn't be for expticit content but per & Fame in two words, SL, Rocky Dennls. liarc. ;r;.psrooter, Pitt, Zack,
rather for expticit truth. Some listeners might I'd say: "Comin' Up!" The GG, Tae, ancj Lji' !'ij.(r 1es skiils to match. Cot-
not be ready for this. Musically, the produc- duo shows a lot of poten- lectivety. they snox' i,5 ae,1cs lh.ey've got that
tion throughout the album is perfectty fitted tiat with this release, and good shit wilh scn:s ,'*.: -GTO Anthem" and
for Royce's styte and message, provided by a the production is incred- "Trap Check." wilne.e ,ia.{:rt yeathes Life into
variety of producers inctuding Cartos "6 Juty" ibte. From the menacing the overused 'Make :: Cia:- ':s:runental, giv-
Broady, DJ Premier, and Asar. Standout tracks viotins in the intro to the ing Kitler a run for iis r'one.- =re 2*i-'r,.ack album
inctude "l & Me," "Beef," "Something's Wrong," low-end synth used on inctudes skits and CroDs *!^ai ,.:': : r:nape flavor
and "Death is Certain Paft7." Hip-hop is bleed- the Mississippi anthem to it. We aiso get -ic ie'*-sr::'ew'eeional hits,
ing, and Royce has put together a solid album to "Where You From (601 )," tike the stre€t ba-g.. -i=::s.i,,rr r=nixr. '' - ADG,
heat the wound caused by a lack of concepts. each of the etements implemented throughout adg@tmail.com
By abandoning the concept of creating radio- the album serves its purpose welt. The soutful
friendty commercial tracks, he focused on the sampte used on "Peopte Get Ready" witl have a D t=i-q

raw strife and struggle of life. - Rohit Loomba, certain Roc-A-Fetta producer/rapper hittin' the - Jtr.5-.u5' :3'lOl-. l "
poombster@ao1. com rewind button. Halfway through the atbum, we Cr.,-E-Ar-3GiACUTl
take a tittte detour and get hit with four or five rd'r::::e5 :-c - lelendent
RAN ROVER straight fil[er tracks. With a guest appearance :-:--: :-: :*::-'^g mofe
"RIDE WIT'YA BOY'' from Orynda on "Freaky," we reach the weak- : .' ,'- -: - *lLlllll
BOTTOM GROUND est part of the atbum, where everything from r^-: ^-:--,:.: ::'--..r:-; as a
Ran Rover's debut album the flow to the production sounds unmotivated. ,t:-. --- l- :-:i-:: :::ea nis
is fitted with a variety of The subject matter throughout the atbum is = - ::lgllL

subject matter, ranging varied, and for the most part Super and Fame direction. in Pitoutr's ci,s+ :.:- :'::- -
::..::.:rat-
from the expticit "She's seem to be focused on the good in life and the ing with several majcr a::5- :-,: t:-'-g : riom-
a Freak" to the sticky- possibilities that tie ahead, like on tracks like ising deal wrth TVT Re--:':: -+. :: -: -:: ring
icky-influenced "Smoke "Strange" ("1'm sorry for the way my brain op- his presence in the stiee- :'---e l'15 :j :::.lsing
With U," where Snoop erates, waitin' on the better day, but right now the third mixtape ir -'s ---.:-.-rr' -<-:i. '^" lh
"the non-smoker" takes I feel strange / And I don't want to feet strange the hetp of DJ Rob-l... )---:-.. -i::E.-tj : *-i- ix.
a second to give us yet no more / Man, l'[[ tetl you, I can't live this way ctusive Pitbull freesl,.:s :-: -:s::.:-+:'j :-]ps
another verse 'bout no more"). With the exception of a few tracks, taken straight from :-acic i--3:,lrs. .i:r::r":ri. ard
that ganja. Atthough this is Ran's atbum, the this is a good, solid atbum. Good lyrics, sotid mixtapes. The real bea-:-. :'--::s :-;: -':-€,:-. js
whole Bottom Grounds camp shows up repeat- production, and nice detivery from both MCs. the several original Htb':l- 5:,-rgs. -'e
edty, especialty Chad and G-Stimm. The atbum's Guest appearances are kept to a minimal, [eav- with the Diaz Brother' -l':'- : !::': :-': ::..- a
=*,* -s :ack
production isn't credited, but it's basicatly ing J Super & Rob Fame with plenty of time to story told over an upterir: :-a:r :;: -,= . '::TO
hit-or-miss. Production on "Oooh" and the titte shine. - ADG, adg@tmail.com feel to it. Next. Pii caLs :'- -s 'a- ]-r:': :-c
track seems unfinished, especiatly compared to Skope, who flow ove' a :e:: :: ---e :.;;:
''-':--,_si.7:
blazing tracks from JT tike "Ridin' Heavy." We DIALECT 50 "Reatest" trac<. C- :-€ :-:-+-
also see solid production on the hightight of the "MUSIC OF A CULTURE" "Hustler Withdrawa..- :-€ :-€-::_. -' --:
=-':
atbum, "Drama in the Ctub," where Juve the ONE LIFE ENT. his producers the Da: B'c::'e": l: :i:i:-:r- i-i: ':
Great lends 16 but Ran outdoes him with spit- When most artists form a proves that he's a mcre s€-scriea s:rs*ar3' ---,1-
fire lyrics and delivery. Appearances by other group, their album repre- you might think. He a53 .::3::s --'s :xq- !;r'qs
members of the camp (Krush, Big Chad, Dean, sents the group as a whole over some wetl-kno'n'n :Ti-r---er=i --:::fi ..rs
G-Stimm, and Mika) uttimatety hurt the album's and sti[[ leaves that fine with "Represent." -Sa.5-:.:- -=- : -- E:.-i:€
flow - ADG, adg@tmail.com tine between members cut "That's Nast.v. " a-c --s :--=-: ;;.-;*- '-- :. -
to accentuate the flavor As the atbum comes io a :-:s: f€ :s- : :..a-e'
PITCH BLACK they bring to the group. view of Ht as he acc:-p:-'*'.:::-,: :-:':E :.:-:
"PITCH BLACK LAW" ln the case of Burns, knowtedge on Jonr Le^-:-': :.:r--.: ' -,:i-:-'
UNIVERSAL RECORDS Jenkins, & Wood, these - ADG, adg@tmail.com
ln 1995, D.G., Devious, tines are rea[y bturred.
Fast, G.O.D., and Zakee, Most of the time this works for them, but oc- JOi\ -l3E
cottectively known as casionatly it hinders the atbum. On the jump-off
Pitch Black, graced us track "Gettjn' Bent." the production seems to rr::--1_)-A)) r CC

with an EP that stayed overshadow the skitls of atl three artists. About C^ar --.-
lrlLt:=::gUll
under the radar. They a third of the wav iirouqh. ho.,vever. with songs i-e '-:-: -l-g-e: l,lY ass
haven't stopped hustt'ing [ike "Fuck Shit" and "Riie.' lne Deats of Steph. L --- - :- r,lr -llC td>L
since, getting the at- Jenkins, Fred Freeman ani Saini Denson slart :'-: .-:-:-3: *- le listen-
tention of artists tike to fit Diatect the majoriiy oi :ie i':ie. rri :x-ee
ju..:s:. lJ: irg :c r-rs Cl. This mixtape
Wyctef, Koo[ G Rap, Busta members claim Dade Cor"i, ic :\: 's :acra3ed !ery welt, even

OZONE MAGAZINE FrsnuA,R/ 2004 47

 coming with a Busta Rhymes audio sample from
Hot 97. John Doe, Timbaland's newest artist,
has a very versatile voice and is abte to cre- fl) lpleye* t*!s f*{Jr firde.s !x a row, a*d *cw f'va g*t ihe dai*}i &i}sk siurk &y &Bad. }Js fteed $i*. :r1

ate a presence for himsetf on virtuatty a[[ these
tracks. He's mastered the art of pimpin' his
voice. His voice has a slight resembtance to the
late B.l.G.'s, but if you're a true hip-hop head
you can tetl the difference immediatety. With
the majority of these tracks "jacked" from oth-
er artists, you get a good idea of what his skitt
is, first bangin'it out on the DJ Muggs/RZAIGZA
,igi fig*t * fe*v m*rc piagback* axd it'l{gra*v on nro.
S Average. I}tc *ctig w*e go*d, b#? * didn't $r*b ny attcxtion ehd 4e*'t r€r66isb*r lto* ii goee. a
@ **t impre**ed yei. So ba*k t* i** lab.
G **pefully, i vsill ncvar, evsr &evg t* flaar tfiis *org *gain"
i€ ,ij,*:g_Q*{*_ljgy:ry:11_gg1y1erA!''a43'"
-t;
iJaase }lairas*x+a*1, szl-E4c'57131*3

track "3rd Word War" and then flippin' it to last 1(T: e r. i; Sppuo-- * lsrhlou*nuLoou.n 6rodf,rrcp"t-354.rr+,e40aft
year's "What Happened to That Boy." R&B? Like
I said, he comes fulty equipped. JD manages to t{*
i___
* {t) 'S ] riuru* "!{ U ,,waka" {81*ck kai}t Reeard*" ?lg-95.e-4s**: #e
*?g
give us an att-star remix of Mya's "My Love is i {'S
c'"5)
-
f tt) €i G)
tt} €i wlita n*r'rg '*&avY sov" {0lie*telir'bawgnax €hta.tai;4r*d*i}
G} ] waita €hta.tai;**d*i}
_-_,,----_*_**...,--,-+
tike Whoa," making you question if this was al} r€} i
the originaI or the remix. lf atI else faits to grab
Gi a-D {f f.nrsre.r* f,r faxy *r*i,rr* "f'feHe Wit,1 l,!e ir*ex}" {Sott! Reearrxs, f,l?-g44-gcl*l ?
your attention, the cover artwork witt. - ADG, {4} .Jt r3; I {S Lrdr $t-ph "*tact.r;irt" {e#;t.tt, ssi"q+s-siozi - - -- -*
adg@tmail.com
#)-€)
CURTAINS
..YOUNG BROOKLYN
| l1,. t'.s)
(*i:
€
Atbum mixtapes are a
#1" {3i abl. i+ Fieyf*y $lia:re i/ i-il" Flip "Vrlai ih* *nr* $*" {*ei!!{:wg *ec., 5r}l-3?S-6?l!) Q$
I

dime a dozen: take an- 1A) {_a:) * ili {c)

other artist's beat
freestyte over it, add a
and G .!,- ; €) .S)
few skits, a tittte bit of {a{c'st,c ' Ty$er *.iill "Crssty F fs" {s{$r!s,6db€by"r0trliygsrililii
::::ji::::*-"-:::_15:: 1:':1
-.- - ,-* ***--: :l l
original materiat, a cou- cb".-'tr Piibrl?fr lal Jea" lii' L'
Joa, lii'€orapp'y
_1::ott_1r::9sr
ire-,r
'"lhat'e Ha$ly
irc.j.ixl' trvT RejTI3
{TVl Reearesi
pte estab[ished artist's
guest appearances, and BAM! lnstant promo- 6' .a".F-..
- {Fl {-* fiawd'A*l'c €xtar*aihxani- ws-t;iwdeti-c!s ]

tion. Where most of these toots fail is the over- (D 8*lidry "'?ft!e ia l#ar" al
abundance of material that shows nothing but a
(D f-{f :311
--i
freestyte MC and useless skits. Curtains skates P111i-'' lljf *:1i1: :i-li1-
if *ai
qr
past this ditemma and uses his skits to poke fun
** --
{:$_, * {D, ,€} Red Sany* "'{a* lJ €al }*wg" {flefi*ur* klaragar'refit,5f,*-3tg'?35q1 !i
at the mixtape game and the state of hip-hop
in generat. On this album, we get more than
.g; Gi *) Tr#r- fir*- il;;-!-'* "yr-:lrilrr rird" *.ir R-"-tr#CA#;;*
-J
g&l
just freestytes. Curtains uses well-known beats
[ike "l'm Ready" (Diptomats) and "G'd Up" (G-
41
lIJ
i"),
I €) a-.p:' qp;,
.-a .D {er
fry fr ;*kr
**#
rf Sirld t4-b '4 ;"r F
frJ Th?'sa 6 M€fi* "&ardg Rao*x" l€F*,
-b$e-i, M*-e-",*" --€
wwusrer*esd."* =ll
Unit) to create his own songs with comptete - 6ra*de ddy

concepts. Two of my personal favorites are @Bl i!'-

-iC^ ...-
"Johnny" and "Doin'My Job," the latter simpty
because it feets sincere, Iike Jay-Z's stept-on
€{t rLl .:o
r

"Song Cry." On "How I Does lt," Curtains' ar-

rogant flow takes a page from Nas, ctaiming,
e , i!.-r
"'-a
{t ,aei
i€) Akofl rJ;k6d ltp' rSRl. ry*ry.s'crecords.netl
i.:.' -
&l
"l got bad chicks, but understand this, homey
iA-1 ab) /"Fa
lqf .':llr :,:fryq L4 _1,jl'll*'-,.1i ret. . tl.- F_
ag1

/ I don't kick game, chicks just understand my €1 -,lB) & tl G) i lyger f.{il fi'l&ril! da Play* "det Di* Flcruy. iwww.cdb*}y.eaerr'rygarhrlr) -1
"- -'+..'1 i"rrrr"rii!i{J^ {:ivrxgsro, e Efiet'a*ns.
l

story." The 35+ minutes I spent [istening to this -'.8

116) ?f -* 1
disc was wetl-spent, with very few exceptions.
- ADG, adg@tmail.com itr * c {q) :
G) {$ t iD {* | D*rurgoJ'l{*<ftell#stls (0uii'alii:a) a
CARL THOMAS
"LET'S TALK ABOUT IT" l*:* !t- -:Hji::--:*Jj l3::,c-la ig-13,sri:I 'g:lYgs'1fil5-ji1fflf::J:Jfer5:i- ,- *l
(SAMPLER)
BAD BOY/UNIVERSAL
lg*9-(t a j$j--5?]
'.-
Djhl{t-e! Y;rs/cxsrwih(.'tey-191'3t..gtt.ygi11:91piltry'qd'i--*E

This 15-minute sampter- E .]:: 'i_.". '' - .-_!; Jae le!r'i; Nc l,lo Nr'
*._,: :5$
offers more artistry than i G' (D G-- G i Q{sil'Jidnk;*srnd8{.ng-}cseS**s"{$ea-l'6st!eyRcc.,4$4"?ii4-S5l$} bi
most atbums five times as - ^ -
t a, ; .- iC l; -rliar u t4?r! in witr.' .Lne;rooc t"ro.,r,. ooi csz :oJo'
tong. P. Diddy hits us with --t
an intro, letting us know
ln
{*.: G} I i:*i ,{}
^1...- | ;tt Ret:t;veg f/ }aviti Banrer, fiax l{:,:6tli "6r,d S*ld i+$r;,i" iil'r6l6i;{6a.es,.r}= & :

he's confident in his artist. We get a gtimpse

of his brittiance with "Let's Tatk About lt," a
iL: - O '.-l (F) I gaaveg:*ooth"YoaD*h'!K*o{,cF4e"{#ead{{;*$erft*.earde.56i-3f,Q-SS:5i3i
track that coutd easity fit into the 70's soul era. ,:D :E) {f €) €) I *onny *re*k *TlraFk Yr.{" {*.+r*.$vad0s.6i}$r; Ei
After this, we jump into the tivest track on the (5.: tl 1!- Gi(-q) i 111'grruooy
a bit ? {q
O .- _19: ti| s,r4ppt'_"r"r,.i"*
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{FHE/!v*r.Far &ree., 4*4-36?'919*l r
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sampler, which actuatly sounds
Next we encounter a Just Blaze track that
forced.
{t 'iEi {* G € ifr;ilv;iUf,'Trrista"i\€svafve{rs*:ixi"{Si'i€;/WarNer$res..4*4-$6?"glS0i&l
sounds a bit too similar to last year's F-A-B-O dE) {D {s} ,-s Stat Qua "'PrelJe;*s" {$iady,/Af?a:x*11/laler*logs}
and Ashanti/Tamia's hit, and a generic LL Coot J
verse on the first singte, "She ls." The remaining
songs are just fitter tracks, nothing outstanding.
It sounds [ike Carl might have caught that soph-
Grild F*rdily "i-iepp-y {Fe*.t*r *eye i "' {i?Hw.gt'inCf$$!l.y.eo!?}
omore jinx, but don't quote me on that - it's
just a sampler. - ADG, adg@tmail.com gsbi*il s!figles ftr rsvi€rc is ,rip*9*:tft6mag.ren il{&K{ SURI yeri rxollc* al{ ;$Elari i$frrr*sti6r cld r&e st*ta yer.'r* .etpin'}
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F{rssissrppi $ fle*Jersay S si*sauri $ Tur*u ;ipii it piyrr.s.sl ffi ria-,.;L ,

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# fe*ficsgea g F€Frsytr,6'1i6 $ irua!:xa nft.ru** ---i

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I
I
I

48 OZONE MAGAZINE Frenuanv 2004 :


; 'i-!'=t-::: l.:i...? i-::-:::'i:.:.;--:-:::iii::. i.i.
01 - Psychster "Who Am
02 - fr1ike Jones freestyle
03 - Lit' Eussy "Do lt Big"
04 - Psycho and Kash "Tee Tag"
05-SeriousL"Hey"
06 - White Dawg "Pop a Pitt"
07 - Juvenite "ln My Life"
08 - G-Unit "Pop Them Thangs"
09 - Lit'Scrappy "Head Bussa"
10 - Serious L "Lil' Moe (remix)"
playtists 01
02
- Joe f
- Rik Rok
/ G-Unit "Ride Wit U"
f/ Shaggy "Your Eyes"
03 - Ghostface Kitlah f/ Jadakiss "Run"
I ].i5 :: 04 - Kadittak "Wassup"
05 - Chingy "One Call Away"
I 01 - TWista, Kanye Wesl, Jamie Foxx "Slow Jamz" 06 - Drag-On "Bang Bang Boom"
02 - Ying Yang Twins f/ Lil' Jon "Salt Shaker" 07 - Ludacris "Splash Waterfalls"
03 - Memphis Bteek f/ Trick & T"l. "Round Here" 08 - David Banner f1 Statik "Crank it Up"
04 - Baby Cham "Vitamin 5" 09 - Anthony B fl Wyctef "Lighter"
05 - Petey Pabto "Freek-A-Leek" 10 - Djlated Peoples f/ Kanye West "This Way"
06 - T.I. "Rubber Band Man" 11 - Davjd Banner f/ Marcus. "Pop That"
07 - David Banner f/ Static "Crank it Up" 12 - Jay-7'Dirt Off Your Shoulders"
08 - Trillvitte f/ Li['Jon "Neva Eva" 1 3 - FLoetry f/ Mos Def "WannBwhereUR"
09 - Mystikat, Dirtbag, Busta "Keep Doin' lt" /
14 - 112 f Ludacris & Chingy "Hot & Wet (rmx)"
10 - Mecca "Ayesien" 15 - Mr. Vegas "Pul[ Up"

01 - Daddy Stro "Low Low"

02 - Piccalo "Get Loose"
03 - Kieran "R U Awake"
04 - Jacki-O "Slow Down"
05 - Mike Winans "What's it Gonna Be"
06 - Nappy Heads "What They Do"
07 - Backwood Slick "Wisha Woutd"

01 f/ DJ Quik "Let Me Know"

- Hi-C
02 - Jadakiss "Kiss of Death"
03 - Ltoyd fl Ashanti "Southside"
04 - Ludacris f/ 50 Cent "8low (rmx)"
05 - Mystikat, Dirtbag, & Busta Rhymes
"Keep Doin'it"
06 - Bubba Sparxxx, Sean Paul, Pastor
Troy "Back in the Mudd (remix)"
07 - Bonecrusher "Run"
08 - Drag-On f/ Fiend & Yung Wun
"Troubte (remix)"

01 - l-20 f/ Lit' Fate, Tity Boy, & Chingy

"Fightin'in the Ctub"
02 - Kay Slay f/ Three 6 Mafia, Lit' Wyte,
& Frayser Boy "Who Gives A Fuck"
03 - Master P "Them Jeans"
04 - Goapete "Closer"
05 -T.O.K. "Gal You a Lead"
06 - Sty Boogy "California (remix)"
07 - Ghostface Kittah f/ Jadakiss "Run"

DJ Vlad, Dirty Harry, Green Lantern

"2Pac: Rap Phenomenon ll"
www. Rap Phenomenon. com
Whs ev ef said rnokina tttusic w &s exp ertsiv e?
ob aiouslg w eilt to the wfong"ploce...

EEEmff-%w@

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