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I l*v* *;$itifl i4agaziil*" I lhink it'r one *f 8.li"L?'ts*"'*,0, I rvanl tc r.!'*!'k rcith y'*l! jilst la h*ip g+:l yr:';r
lhe holt*st rnag&:ifies that doesn't just talk !T*E orit ii'r{il *th*r ple{es ih*t C*r;'l kn*vg
eb*lit th* s3.ni+ eriistc *v*r and over anct eb*ui *Z*i{t. i ii*n'i w*nt *n-v i-**n*y *r
*v*r agaift. Keep d*ing your thin*" - Sh*itra, anything like thfit" I j**t i"+*nn* s** s*rns*ns
t*y*t*?** ?,@yah**. {sir'i vglro work: as hard as y*li sn l*p lik* lirey're
supp**cd tiJ ile. il*t ki::ing a:s, *ul yo*r inag
I g*i a c*py *f ycur rlagazine when ! was eilt ifi i.l*w *rleans f*r ttre is hlel,t*r ihail XXL, anei I iave Tl* *s:urce i* {ieath i:i,jt eyeir ihe'f cai'}'t
{h*ppa press jx:nksi" lt was the tirst time I've heard *b*ut G:Ol',if iouch wi:a{. y$tj've cre*led. l've *ni.y i-l"}*i:rflrj. -}S. r::tc*, i:i.:t y*u i*ft nr*
bec*use i'm based in l-*s Ange[*s. Anyway, !'vs b*en :-*eriiftfl y*iir with e g6$* ir*t:r*ssiqr* ihat tsriit b* nitlr i".r* f*r a i*r:g tir-l:*, *nd r:nc* the
edit*ri*l, Jfl's ? Cents, and { just wanteel t* say, keep d*'ing y*ur thing. r*st cf th* idfirld g*ts i] l**k al y*ur nr*g {'m sure ih*y'il be as n*alled as
Ysur edlt*ri*l is a g*orJ read, very enlertainiiig. l{eep ii *p guysi - Jag ianr. Y*ur rnag i3 ih* sliii" - *li*lc ei* Fin'l;:, etrawb*i'rie5*?@a*l.s*i?!
jay*@belterstat*c. nst
! reaLly wa:-rt ir thark y*r, f*r $iiilti:rg *"ry s!':*t; [in th* h,,.rsines: pr*fiLe
$ZfJl'.lt ir4*ga:iile fittarks and :landerr i*cal artisii" i re*ei:tly read nn *1,'$l*ek't'sear': eEO 5:ax]. i don't think tr've €?er :e*n colnrs ol n:y trics
*r-Licl* in *I*t"jf, &Aagazirle lha"r was abo*t scrne rum*r: cf nr* talking lo p;"inted lj{* t.-ai. *ax i-q ais* v*ry :in*;-essed anrl you fafi $s* him tir*s*
iXs pn AIJL lnsf.ant ],4*ss*nq*r. Ysu rnLlst r*wr';ts this :iary inrmeeJiai*ly Cay: wal:.1'ing ain,ind b,,it!i tn€ t;Zr:ilf 1"1*g in hls hanrJs everywh*re h*
hecause it's l-l*t accurate at aill These ai{egations ar* very jnac.{Jrate. gces. I alsc must say thai iisx dia :,.c:rr j*b Or*nrcting in -Iacirs**, i,iS.
i never hacl a converiatisn wiih any magazine edilcir *rilirre, n*r have becaus* recenlL;v everytirne : sh*w up scnewhere wilh a {*irera ! gei
! ever misrepresented nryself by pr*tei'rding tc h* a:ked !f i weri.: ioi *Z*Nf, or r.vhere they {eft g€t
a kid that :vjtl kilt himsell or a prograrl direct*r one, becaure ihev lrrani tc eet a ;*p-v. Gr*.at j*i:i
cf an'y radi* stnti*n. i-i*wev*r, I think that tne Di - Jaro V*cek, r*ntofixgaoi"csti"!
who is supporting these *i.i*gaticns h*s sorne ki*d
c{ p*rsor:al .rendetta. lt is *ur *nderstaneling that I'm a f*rmer re:iden: o: Orlando, *rd j lhink y*ur"
he spoke *qeinrt th€ Lit' Jon sanrple in ih* ssng maga;ine is ih* rhit. I s€e n l;i *f :*'9 friends and
e*titt€d" "SK," and yet he put anoiher group's song c:rLleaques {,,rt-tl i:re Ci'ianCo a:ea :'.1 :'': ::3)i, irt
on his mix Cn thet featui"ed Tupac's af,apella vocals. yo*r m*g+zine. Thaniss fer aLl l*e |c,.,'e cn {ar:'i*n &
The s*ng "ilK," sid include e Lil' Jon saflpl€, but 'it the S'!pta':rats. Peece - -.1. Ge*rge, *ipi*:"*atifice-A-
vras oniy frr
demc purposes fbr Lil' Jon to aciuaii;r Feila fr.eeords Hxecutive d"& ft., **i la€i-:ai l"e*:*
gel oil the scng" U:"ifortunately, it was nct delivered
ta Li[' Jen in tin.]e before it was teaked $ut into fcrrs:fion: t** pfrctc cre*ii.: ** sa-<t 7rJ :&h*rrh
th€ streets, *nd it turn€d *ut to b* the tatk *f the 2*S,4j wcre fnco;'rsc*. #3,5,4,1e,i3.':5.i* *s*;'*
nrusi* induslry anci an r-rndengr.rund hit. We here at l4tpn ,bV ivcfcliio 6o,'.te: onJ :rE .:i fa' :J " ,i-'hr
Dr*amer Visiun R,ecsrds are open with aur nfficcs Fhgf* $$ sn p#gs 'i9 tiA*rci': 2AA4i ls ,{i*g {+:"r, r-:cc
and our recordi*g facitity. Sur e*mput*rs are *peil Ro* l*v*. Phcfo #I or po,q€ 18 iF€bit:cty-:*-#4; i$
to riany pr*ducers, so we have nn idea who the ilJ 5,1*wn "51*r';^" j,4;fcj-:ejf, *at Sh*vn Jl*:siicii"
in questioii was taiking i*. S*t, w* wilI ii-]yestigat€
this rnatt€rfLrrlher". The 5ou!"ce attackifig fiminem fcngr***l**f*ns fe #J l€*l!y Sxrks. +.r:* s "A4is-
S:SNf, attac{! Pl*tinum$oyfC..} - what's nexl for sissfppi !re*r $er!r'id #*nrcr Ltsileesh**" r*ix**p*
hip-hop beef? - Pletinun$*yFCJ, .Jennif*r$platin {f&c* }4/ss disfrfbuf*d in *ZOt}E's *esiL:;x *di-
unrb*yfci,cen: fi**J ,*rcs /eafi-ir*d *:; #f Y s Hirt*p€ ?t**r!*ys"

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spke&toman TracrT rl4cGregor, respnding lo a qui;tion regardin( foar lawsaitb iafuttng ,ft/34&.2/ urlewYork

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don,frespcf lfiisliggared Lucas fftafs slirhslide. //e's a real loser...facfun'donky. / don'tknowlpvnyu


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tttqt a gud brar,
tMqtcutwq'v'e'' if.srnply, 're bean btessed lf yu. don'f know wfial lftey fack youTe
1 iiq,h": i^plyariasleof abigdick.'-Dtta'sCornerOonDtrattlagazine'#17)
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h@k ror ilasler p's'ttiake'hn say uhhhh' sounds
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.rill-= -.::ii::i *i br.*;Tii*€ ;l *h+l*g:"3pher, I h****ej 'tS > Rick Ross
,-r.rt 1o ]a:11-:ia i*r il'rs""' i:ln:irig ri ilE i'; {ir:t "5,prir:3 > Jacki-O
3i:;:q." i;n*;-a: i,{efg :r{ii pil',rv;*d. rifi ;1ic: i!1lirijii*d 1* rtr'y Rumors abound when the "Madam of
i1 ii:r l3:t *f th*r fiiring nr-r*.. Sn**r; wal irst{rr-:jr-!9, i,,ii:* i
Miami" skips her own signing party
:*:.;i* b;reiy.e* him.ir'l si+g* ii:r,;l;qh il*-v s;1r*1i i**:" {i*rir* *
ir:a1,, i *Filr**{.h** * *h*t*#rn}h*r **ar th* li*g* *nd a:ke* h*'l > Grandaddy Souf
ire a pns:. i--le r{a:.iiii;r t;:e *riard* Seiliinei. "*+';i i,le i*.,:i riii? l+s( Mics mysteriously cut off in Tallahassee
=*t 5lagjr gefte i*g*tr*r. il.*:nelar*ef i::ei" h* *sii*d. i *i1*":,, *t;t \
i:ri-irdfi right before per{orming "Fuck Da Law"
r*crit:d *iryway. "l-hai.': ih* *Lilr ysir ne*d to c*ik l*," t:e t*t: +re, r-Rin:' > Cash Money Reunion
iirg, "Th+t's f*b." i t*kl F*,ir i +:as tryi':E l* A€l * jilb ai a rnaga;ir:* *i:d !
Never saw this one coming
!-:*e{i*d iri*iufe* i*r:n-v **l"ii*lk:" i-l* *i*;:'t s;rir:nuch, jList, "[*ll*"r, *:*."
5**r, i rqir* *4.diief*';:iil: fr+* reign. 5;:*i-.3:t*p;:*d *ff ;1a** 'ei'id w*.s q:"*+:*d hy i-hr: t'4ay*r > Da Band dismantled?
ci i?,e'::i.*;:n. l'l*ii:a lr*Ll.;e* p*st, g*id ?.*ill!: ;li*;il1fit, a:r# sl*pp*C i* $*5* a*f * fe'oj ih+t:. *iii*i; Never saw this one coming, either
li:i*i r;;lix*# i:y. **n,,:ir:* '.'r+l:ta*e!jr:q *.jxi i* lTie, sL.;*k1*q *i: ,: i*iii;;** ;rii{ i.*lki*g i* A"i irr:ry: > King Ron
l**t:l * f*r"il. T**r:" lh*r* wai f r** f**:* a;:* ;i;'i::ks *il, dey" il !."r*: i{i**i - ! r+*s :r*r.iq*C, Jacksonville's own wins BET DJ battle
otve*r Later, i lr+d *r 1,3 r*v*rr $pri*; *ii*9" i :*nr r,JFi*::]i *r-\.'i-r:*ga;:fi€ l*
i*giii*:&t* re*!*ii > Uncle Luke
ft+* {*ili:fi;ii..u er.,e:'-}wh*il *,:yl*n* ;-*ii.*# are*iir.i" i srn::il** i:i* r,:iir:6 i*r * palr,
irsntir, nn*i He's going white and never going back
Ftr rr*r'i;;f ii:* rv*+k**d, il ,.yJs -tusi :rr-= e*.i a l;:iiJfut *l *t!r*;'i:h*t*?r4fi:€fs ln Lh* "pii." > G-Unit
th*:r--*il ei€e 5rpaiaiiirg inr {iswd fran: tie it;l*e" *'r'i&C {{r;-y lii*r*il1;1 r:p-:i*-re anci *ei- How much limelight do they have left
s*n*i .3r:i.:esg.;irh**ti rv*ii** nrrvi-:*sly *nili:i*?* v':iih i:*;'rr.rij-rr::" j:efr:rr h*r .li ri;rr*i::\'-;.
Trearh g:*v* m': a h''.:g" ! +l*lke* {:*.i:k i* ihr *f*ssiif ifl;::'i }i€a r'qith i:"v il,*ii!, .4i i' rr4ir. cl,:\; before the inevitable backlash?
pi:rnped iii: fisl s*thiisli*st'ically, sf;r:i:ii;:g ": l*r'* ;--y j".:i:i" i,: n* i:rt*,'l;: ;rnri!al'.*r. > Nelty vs. Spellman girls
Some offended by credit-card ass swiping
i: "i:* i*i"!Aer',rith iil€ i*ifip.3fir!" iir.i *IT l*;'i*g 5ii-g i: ri* l=rgei iu*" li's i*gu-
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**ii*t* {nipi:, *ni-i *r: iiriRk;;" iiftisi! ihal ui::t, ih* *:*di,: *r** d*i+ri*r-. #,* j":'!*i:le iiia ti:*:*
ef* *iagqf{i i;::el'. +:-:d l.}r-th *et\veen ili iili{:{visws ail'j ;aeii* *r* pri;*l*** - {*r *:ver'gthirg
ir*p:. 'iit*:";" a rli{il** "i}l-!*i+tr;lrh*i':" *;lit i*r p;*:iri*r'l ,,rui:i!.e
ih* ari:iri s;,ifii:i ifi fr*ni r:f * tlilT:iqn Lr:r:rii-:q l"r-rr*d. f.lrxt t*
ihr "fii*ljie i+::1" is ih* ieaii€,: j:1'}€ "*f ei:ri r+{rffr"' i+nt ;rrr-Fi+te
wllil i*rrt |*+ii:;:r' qc*ches, ierr--:d a*d *ri*k:, * l*rq* :rr**n -iV,
*::d {*l*l}!-itre..*" 's?it ai* c*nv*r:i*nily rii:,r* *n*lrth 1* 1€* ih*
"q;"*en r**;=;. " h;l *ap;-*::l5r ir.rri::rider; ir*in *illdiii !"!9.

I ff:utrJ g* *il fu:l*r.*r" *t ih* fiik *i s+i:*r11r:4 ii!-.* *:r *nqr,*iefl;l


hji{h, biri. *.::::',:ll. isiili. hed i*n.,*,*'irlv*y',,1!r* i:***s a r-neLjie
p*s:, lvh*e-- *atilts *nrmil yrsij ih*ir *wr: pirs i:iioills t+ Lll Jcn!?
Uh...ls that Ja Rute? {Photo: i'lcrcsdes}
Ih*i:i: t*: {hr: q**d p**pi* *i SIT rqh:: fci*i'*i** *iy .r::11piffinls.
\*e'r* ali juai d*ing *r-r j*hs. rig*l? l.i+ri. y*;rr, f**ri a*;l *ri::li:
be nire" *,neJ renlemi:*r. p-\*l*gilei-:h*r5 nl* lp*el*i.
"'.r,li:!r:f

iil* * i*r::tr*pi:*N:]j{ f*r " :'e*S!;: t**ts. "


J*l1a *ev*rly. ji:S*x***rr-:*g.e**:

Dirty fl Lil' Burn One "That's Why l" Ric-A-Che "Coo Coo Chee
Ying Yang Twins f/ Trlck Daddy "What's Happenin"' Youngbloodz "Lean Low"
Lloyd Banks f/ 50 Cent "Porno star" Arrogant "Swing on His Ass"
Kanye West fI
Jay-Z & J lvy "Never Let Me Down" Akon fl Stytes P "Locked Up"
Carl Thomas "A4ake it Alright" SBalt & MJG "Confessions"
Sean Paul f/ Sasha "l'm Still in Love with You" ilaroon 5 "This Love" The n*w spinfler chains, in ctore* now

OZONE MAGAZINE Apnrr 2004 11


ffi3SH&ffiS.

Aboqt a gicl ;n nry \ood, see aoct niggar call \er \oe and dig \er l4e uef srtt yuB Ttta+'t ]ft.e celigron \ertqi tcience
CAwe ;\e's joyly gcov'n' qP tobe like \ec older rirter PeoPle believe in yoq, fool, bat 1 prove t\at f'n nofe feliairi
J\e got a bad cepatation so yoq drln't \old or k rr \er defiant, kid, yoa letting dovn your pr,de
t''lore

,{nd aftec one converration yoqptob'ly totd oc tvirt \ec 5o davy betore yoq get anplqggel iike an applianc€
Tt ain'l \acd to tett t\at \oney dqr'b 'Caqre like :trong and orange, t\at cat be barely t\yning
Jhe 16 goin'on 2! nr?nr? don? knov V\ere r\e 9et \ec nroney fcon and J a;n? nevec lying, v\o y'att tUnk ir t\e illert?
Hoppin'in and oqt of cav, stutled in t\e backreat /oq coqld \ide bott'br qnder tny r\eetr and J rtili voqidnt feel it
Lookin'to rcofe bi9'caq* r\e tqck all t\e at\leter ltle, I'rt' rt'oce like acfylig gotta go ay rqf+ac€ p*
5oraet\in9 like a trinc€r, gone Vfong /oqr c\ynrin' ir like 5an Bovie rook e c?lcdcr'caqce t\ey vortNerr
Lbed iobe a ballerina, nov rhe Pecforn'r'fo f\e'T\ong 5ong' l4y ,tec*t \ave yoq in t\e 'ER' like *caeonr
V\at haPP.n"d to yo(rc p13n5 to enroll in coliegeS Yoq uqldn'+ Jive yoqrglf propr i+ yoq va, rapping in tlvrd perron
Nov yoq'd rathec rlide dovn netal Poler +0r dollart f rPit iike a crhPq+er Progfar!;rq'f\lfqckef, f'n' Vord Perfect
fingernai]; and yoqc toet is ?otisted keep talUng and act like Cain and get
"'ccdeced
B,* yoqc brain'; on 4.l.eeze, in ot\er vocdr., fcozen knoyleJge 1 rtrake any tool l''licroott VorktrVersionsr rtop vorKng
All yoqr planr ?nd yoql goa)r denolir\ed 1"\ not ceftain that yoq even derefve to ree t\e Eaft\ rPin
/oq gr.v ap on t\e
Soql\Side, vhy n;9935 knov yoq a \oe in Hollir3... Jo f nrig\t +qck qP yoqr v\ole lite, like yoq Adan and 1'rrr t\e recpent
J /1ll ren'enber \ov it ali *acted in rc\ool, cqttin/ {ronr clarr 0\ yea\ and yoqc airl ir like CN$ t\. \ead r"e or"et\in9 nev
Evecy boy yoq knev toqc\;n'your arr - Eltiot Tayior, nicca\reane\othail.c0h
1 ain? gonna liet slpttlt f ared to laug\
Hov yoq var t\e nrain hpic in l4at\ 1 a;n? gofta yAill *e,I/nr cl?inng ay orin t\rone
J reen \ec in t\e nall AoPPingr nori f'rrr conteraPlating'boqt rtoPPing 16Bar: n 4c!-it's potlqttng t\e 0Z0NE
\Caqre
rhe coqld gef rae off, like Cochcane Hold c\ronre tt\at 4in:r 1 aint talle'n"boqt cias
Back t\en it
vas poppin', tPoiled., \er daddy vat pu^pin' See?, pull, pop and pat one in yoqr c\in
He probably t\oqg\t Ae'd gcov cp and get nrarried oc rorretUn' Laqderdate is l\e city I'a in
Bqt iittle did \e lnog Ur little ?tit\cctt vat t\e cify 1''69 T\ey can rrc t\e voice, no c\o;ce., yoq 90tta lirten to \inr
Pretty 0ace, t\e type trolr t\e video Dfr ain? giving he t?i^t qnlett1 P y
Dann, t\ir bitc\ t\ick, r\e on that Lit'l("' rUt TUr ganre ir +qcked ap and getr yocre every day
9ee, \ec \air n'ate\ t\e calor o+ \er liP*ick t\at \e': aiig\t
Tlrey sayl \e tay,
- Lbyd Bankr,'Pocno Stac' He Ay,4te ay, t\at Ur tloy '1951
5\e ray t\ey *aced\caqse \e rorrnl 6r1t1
Lltten,!'rn a 5?' n;99q tryin' to cape and k,tt it 5o t\ey \atel it'r okay'caqre \e gon'fi9;t
T\int aboqt honey every five-eig\t\r a nrnrtte I see tle irdwtcy i: r\ady v\en lig\tr ir on
T\at'r vhy t\ere n;99qr vant ne 0.0.A. Bqt t\ere can? be any r\ade v\en t\e lig\tr ir gone
V\en f co'ae t\roqg\ cockin'9atr t\ey iike, 'He don? Pay!' It't dacl aroqnd the vay on t\e pat\ f'n on
And ray niggar rtacUn'cUPr like Frih Lay To Pqt c\alk aroqnd t\e J?ne.1 clt1ls ?lqz l\as u^e
Hey, v\o da fqct vanna rqn it todayS - ?lqz V q\ plqzvqne\ofhail.corr ('knock gqlnd's Voice of t\e City')
Vhy y'att taggot-a* rUct for :lect
ni9gar tfying
Tort'rt'y Gqnz'll rock-a-+ella like I'rrr Dirt llcGict ! uar put \ece ar a tavor to y'all in all rr'y glocy
Lrte to gazzle Hypnotig gol a t\ic;t for 5riqrf Lett ny rput cereeved in \eaven and travekd t\eorrg\ pq1r1tb,t
s?i+li7'' +atet in da \ood in a pqrpie \earre Tapped 5atan on t\e r\oqlder and totd \in to nrove aride
1 knov on'e killaz t\at are ro gorilia And Aortened qp t\e d;rtance perrirfin"tveen yoq and i
Have yoq dqcUn'and dodgin'balletr like da l4atrix hotion Pictqre I got angeB on ny r\oqldec; and devilr cpon ny teet
Dun'p yoq off i\e bcidge, yoq can fake t\e ocean vit'ya And t\e*
cats is diabeiiq t\ey tUnHng t\at r\it is tveet
/oq ain? on ny level, dog I'tl let onre \oer coae get y? Hittin't\e concrete apon beatr and acnrs \ave fallen
1 knov ya d;dn? t\inr CityBoy vat t+yte /'an ain? ever reac\ t\e p\one, brt 1'n, auveeing nry c?lling
^y
It't a pity boy., rt'y ovn city didn't knov I"tt t\ir vild And nov t\e
operator, engains divin. vond"ct
- Toa br 'Jntro' (0efinit;on of Hangry") V\ite f'r
\aving crnverrationr vit\ 5eils yoqr nnd riqnberr
Bett *ay vitUn yoqf cornerc v\ile yoq( deity +eals
Itl ,'lre end of f\e vay of t;te ar ve knov it 0r elre t\e vordt'lt trap yout toql and yoq ain? teeirr teleate
T\ir is t\e latt strav, George Bcr\'boqt to declare t\e latt var Renro'ii breat\ 'trtobeatc vUle \e'r 6314n9 t\e vofdr dance
5o tell everybody yoq love, yoq *ill love'err VUie t\e tpifitt qpon \eaven and \ell and t\e sqlf\ c\3nt
And if yoq 9ot kdt t\en take trr"e to \s9'er" 'Cacre ry
vocdr on t\e fqtqre \od a n'aiority of torce
X don? ceatty tUnk t\at y'alt knov v\at ni9931 ir tac;ng And day t\at 1 rtop rpealeng/t a hinority report
t\e
Ve ace near t\e end of +.vit+ed civilization - Godaaw R\yne 'lron Vitt (renix)'
^ att the raoney toc edqcation
Tl\it i^'t a nation - cqt (iC0N t\e l'1ic king'r 'Intrieate Spectrua W"\

And bOtd hore Pfironr at a rePlacer€nt


Hov ir it t\at t\ey can
a var againrt teccor and
bqild
Jn t\e g\etto vs +ill loring t\e var againrt \ero;n3
V\ere aee all t\e t\oroug\ ;,en, t\e l'1artinr, t\e l4atcolrt'r3 Errail yoqc 16 bacr to
T\e oner t\at'll lore t\ey life to c\3nge t\e oqtcone?
- 5ai9on, 'kirr t\e Babier" ]BEOZON En AG .C0lt1 ." con','.derar,on.
,$fil Hffirffie*sc*g

.t:,€titn -, .- .,1lr.' .-,,.. .t;


:il%-q+#.

20 OZONE MAGAZINE Aparr- 2004


{arty* Stepfrens

#&.s0?*#6r.
At,$,&,d,
Fsaturins
"L:ttl&"'lifhite Lie"
'otrt's a Fityttl . , '
*'Tsk, him maek,*
. aFF|:-.a,, # #rh ;ii!aj
: :LS: t :-J nr\C -+ + +rj !e i?-

;i1X:l j j !r J+=f E
ltft tf: :t-il :i I ti
Gf ::f Fq \:

t{tT $tNsLE
*WHAT'S RADIO & IIj|IXTAPE $UPPORT m/
=-,
IN A NAiIIE, m'
tr
$
B
wondering what the ouesrion was.-

lt:.'^"'jl:::l.,qre1ents."e1sin"ii
Born Georgie o,iou'"t-
rn a nip-noi-iniustry where

1r,,.;:;til; ffi ;:TtT,?.ii_'j!Hi:fi:


most artists f(
e;L,"'iji;;fir::Y,'.. arbum whirh,-,,,^.,^llr.ll-q"
ffi "r,lgu
on a-slecinc <a
ig
! town often associated *'ll li:.r:-lii
ctaiming' "Gangs and drugs have never;;g;. i;;..t !;ifi:;[.:;XLl*:y|;;[;:*t,
immersed hi-m!"iij. n,p n.p,
avoiding streeiviolence,
'i
he hetd his own against t-he,tltv't
beln ry-r'*t"." H..-n"r" i.?gni'nirtuu,,ru,
nneri,rict. fi""rf.*."a u yor-.un,t"-io;:;;" strictty on the mic, and
accomplishments' earning tn" itugu attitude from his roster of
nur"-ar.i."'ta
Before Pteasure';' an atb'-um *ni.i-rr'Jri-uilr"f;t'u"rr.aiuty. raoterrir<-,uu]ir, .ir?,lil"o his debut album, ,,Business
accomplished his soat ot witrr niililt"r"t"ur", Arrogant
"tlilg "riti"n"ri u gf,oa i""ri"g- *i,n i;..i;;.;;i;; iion. nas Jieaoy
uBiilfi"r-u"hina the mic, urt u-rro'iri ,tr""t tracks ro partv tracks.
The atbum not on'[y showiasesa.'.ogunt',
rndependent atbum' Arrosant is businessman. ay'reteasirg an
simplv do not know whatio ao withlt lrinJ nirrl#'to prorotu unJiaii ii liolr. ,r,,unv MCs have tatent,
on ihe
combination of determinatjon,,tirunt,
wjii irl',r.,"ii.liirg
'uno"o"l-i"i5i.r.s ,"i#; ffi"r. However, Arrogant,s wicked but
"r.-r.;-
seem [o roresnac'oiu a rather tengthy
inctuaing;oml o.iii'itv cn,.ago stay in the
+!:l{i!"Jj;Tt'i:,1P"{i:'flifo1*;'*";*s,
ctpros@ar;aneproau.fioilorpany.com pes a[[ across the
radio itaron wccr,
country for a reaion. - i"trli'i"",.''u",
il %

ffru @
I3BEL i{gyqrtnaugh SELEBRIw mEHToRs #
ll'IDEF Ef'l DEHT USTLE gf
ffi
H
*AIN'T HO LltlillT" HEAVYWEIGHT col.lllBos tr
1;

€T
H
*l
6': (nicknamed for.the prevatence of drugs in the
lll When you're born and raised on 133rd and Gramsterdam
,i neighborhood), tife in Attaniic Litvioof.t reat good. lt t"uri to former DarkChiLd/Cash Money/Universal MC
"l got peace- of mind here," assures the naturat
Fats, who recentty p.rt.o *iy, *ith his cetebr'ity +ontoit-
,.',

whose parents often spent time "away" iniorg1touinit'chitdhood. After doing some time himself
born hustter,
+*
nls iuirie *fiite at the matt, when ifriend dared him to approach Rodney Jerkins in a
'.,H
in AC, Fats discovered was so impressed that he
to back down, rais did just that, and Rodney
music store and spit rvrics. Nuuet one on Michael Jackson's
# invited Fats back to his stuaio. ritisoon found himsetf dr;pping u"tt"t ihat *ere featured
,,lnvincibLe,,and ,,Heartbreaker." He atso began puttin! in *ot:t on his soto project, doing cottaboriations with
; everyone att the way tror'SO C"nt,}r""*uy"unO Lit'Wiyne to
Brandy and Truth Hurts' But as the saying goes'
and Cash Money have since.parted ways'
tt we a[[ know that mo' ron"y-tluni to' pro6l"tr, and Rodney Jerkini
# pursue his own dreams. With a tatented roster by his side' Fats
Fats afso saw fit to step orit on his own and
'qE his brother taunched their own record tabel,, Never Enough. Thus far, artists on the Label include Bathgate,
and
comparable to Justin Timbertake; Future
who was once signed to Viigin Records; J. Mathis, a whitJsinger
li"tui" nopes .he can combine atl the tessons he
:E
.i from St. Nicks projects; tupp"i- fiom Phitty' Fats
".atp"i., for himsetf. "You can't hold real talent
learned from Rodney, euoylnJ lii* unJ put tirlt knowteoge io work
got a raw talent f6r *nut i ao. I iepresent for eve[, hood' I'm my greatest asset'" - Jessica Koslo*
frit back. I
E#
qEfr
lovehiphop@aol.com

{t
ftl
*'
I -tffi?tI $lilrrrT}yqrytrl LABEL |tttpt.S*ry B€cfi"e TMETOWN FAN BA$E
HONilETOIi'H BASE E, * ,

.t

*$TEP Tyyo'n SIDE HU$TLE g. € i


HUSTLE w :
ilAJOR
OR LABEL $I'PPORT E, *
SUPPORT ET
#
Like many other Houston rlppers,.the appropriatety named
Stimm Thuq.q got
swisha House in the late 90's..with the hetp'of southwest Distribution
ot his start in the rap game through
through g ; .*
formuta for regional success. "You start ofi on mixtapes - screw
6;p;.;
tpany, he fottowed the underground
undereround F c F'
you got a DJ clue up north, DJ screw and Michaet
iifer - i'n!i'ito*"6
rey stowed down in Texas. Just tike
Ju-st tike g :
watts was tike that oown 'n in-itre
of music, but that's how you break an artist down net".'; lrtli.reuiing';'bu=r South. tt!
in the south.
g
tt's ua Jirr"r"niivp"
different typ" KL.
dropped joint indie atbums with. fettow Houston rappers ESG a buzz through mixtapes, Stimm € "_
stimm
numbers throughout Texas, and Lousiana, he caught'the attention
and Lit' K;k;'. l. lrier
After putting up impressive sates € ; _ .,
impressivs sales
of suueiui
:ra[ ru;or
major labets. At first, he says,
says, $ q s ;:
he was hesistant to sign. "Being independent is t-ovety *rr"n-vor;u"
g"iLjg ig r.rr."tr
markets around you. you,re you're your
vour
own.boss' and you can get tike, 58 a disc. lf you wanna drop'a recor"d-
months' it works for you." After a white, though, he began io
iilrri
1t no*
now and drop another one in six six g f, :
.onria"r inruiJr
major to hetp expand his career. .,1 € *"" l, ,,1
feel [ike I've alreadv conquered att the p[aces ti" inoiu!h";il
[independent], I woutdn't have seen mycareer go forwaid. I woutda b;". ;i;
i;;; r",;/r.v, Stimm. ,,tf
e," says stimm. "lf I had just stayed
stayed S il.'" 1.

album, so [signing a deat] stitt ain't gonna affeci none of the other
tastandstitt.
standstitt. I never dropped a soto H n
neverdroppedasoto
signed ff t"
snit f aor get cash." He eventuatty signed -- r

with lnterscope, and his debut soto;tbum, "Atready pi.tinrr,;;ir ri;H;;;to eet cash.,,
says that the titte' "Atready Ptatinum, " isn't j ust opti mism.
for ai september
September 7,h Stlmm * f,ns ,
7.h retease. stimm
just the lifestvle. r'm tivin' tike r done sotd a mit atieady, yo," lt ai n't unori tn" sates,",' he says confidentty. ,,lt,s
the iates, ,,lt,s
€ ;-r"
r.no* il;ilh r il;r,?,,-
I

Beverly, jb@ozonemag.com
sayin'?,' - words
Words & photo by Julia
Jutia ",
Ftn
qq*ry5ry4 SsfTtqs:FEmn!':r ffi
19"- .E - I I
a
i -.- ':
- 'rs : ;" .-- " ry#s: ffiF.F-*"q - '"€:
iF-
'- "PJ T*r"*
:\:-q : : :4.:
r ----
--F-t
HIT SltlGLb w
LA,BE; Cr.udf$llF/ltrat?€f
Bros'
RADIO $UPPORT tr
g
lffil;r ,.HIGH€CHOOL CRUNIK' CELHS COSIGNERS

singte "Knuck.it v9l,eucrl' u99?',5lltJ.'?*t3)t:^'11f.il"oro:;:lY


Mob'ss srrrgts
Lnme MoD
crime ff:":l"l?Tillil::
: video dropping soon, tn(
the-group'l srnete ciugnt
i:l.f$;'Tl*:;:wl*:: *1,ilU?""4'lliii;;;;;'""b"'"1
i" sooet' crime'ffit it-;;;A;J tv S6rious (Lit'scrappv's
the attention of Def Jam, sJ',tvll"i iht;ugn Llt' scrappv's crunk lnc
;g*t:e ;iL1v-t1;t"eioth"it
manager), so the group 9#i ; -ptarito usher in u irtoi" n"w phaie in the crunk movement:
and Lit, Jon,s BME necorornli. rney r'r.r.'C" KittaC' Lit'J' and Diamond
,,high-schoot crunk.,,rn" rir'."rOfr!'lpry.no etu.f,biinJ"it,
nlgh,sctt""t.'er-iltl"t graduation, their
educational
- are att sophomores, 1".,;.,;;";iors-in
#;;i:,;#,"d.'114irtpL::^,,?#pnt..*linU:,t,'l;'.'ff
When it comes to batancl
Uii:1fl';"'il',?'J"'i::i]:ii
some davs
a"n1i?nlt-nlii nu" ln tire miorninq' I

homework, and go straigh'iiJin"


r].";i". ii a" the Rise"'
and g" il;g;il-r.noot." rn"i, atuurl'ufprop.iatety named';on coco Brother first
teave the studio Ai;,;
ilii"'p"""ti.titv
exotains their quick t.,r"'i""*=.i'o"
t..iio-piuviitts.
,,Knuck vou eucxiion Hli
if ioi.s'i it or'ditn-it,'; and it quickty became mainstream
"rjig
oraved
iurniii up 5v tuvi'ie";w! maxe il'itshii' we're voung and we
'"nci
tn" q,roup signed . o"tr']r'r'i'c' [;d''-;?w.i't"'i. in" iiu, cooking beats tike"' crack'"
make hits. Head Banger tii#iiiilI';i;
- woiat E photo bY lisha Hitlmon

*,ft-al HOIUETOVyII
DJ $UPPORT
suPponT ut
ffi'
IT.IDEPENNENT HU$TLE W

The Tattahassee-based Nappy Headz (not to be confused


with Kentucky,s Nappy Roots) first gained
regional notoriety with "Robbery" the gangsta version
of the popuiai inii-rll"ro, ,,My Neck, My
Back." Faheim, one of the six members of lhe groul
and atso the producer, exptains, ,,,Robbery,
was just a ptay-around song. r had just cteaned-up
the studio and ii was rooftn;'empty, so we was
like, man, [et's get some peopte rn nere to do a i6ng. " rh,.t
nrent, ;ri#uuiv" was ptayed in
ril"
the ctub, and reached the ears of influentiat record'poot
out to [DJs everywhere] the next day with that recola,',
owner rl
Enipru,i.-ir.l,, DJ,s reached
says Faheim. ,,r tove him for that ,cause
he made us." Their fottow-up.singtes, "fU,,anA;Whut
proved to be successful regionatty..Attend any
in"V Oo,;; f"ji"rl.g Totat Kaos, also
tocal show and it's easy to see that rattahassee has
love for the Nappy Headz, -wrro'u6 r<nown ei;6 ;ih;;;o. y"ars
by tiving in the same neighborhoods
and comparing rap stytes'according to grorp r"rb"r.?ir!
Dogg, they tove the city right back.
"we trvin'to buitd the 850. rt wasn;t ev6n cbot io iay ,r't',i;";";"
Leon County. we made that. Now,. it s cool laso' rp'i"ru and buitt up
be from Talty, wearin' 850 shirts.;'And white .to r.v vo, from Tatty. we got everybody wanting to
the d.up enth,usiasticatty proctaims that they,re
"tYin'to get as big as 36-inch rims, as uig as t-it;Jin'glasses,,'tn"v iiuitTtr ,.u]tistic about their
,,,lil
,",-r, r_or.Liru;a.,op, r-.i",r,r-"v, earry June. And
fiil:::f :l:',i.^"Jql:g:f:1"j,1.9,,*
ir it don't drop then, just wait on it. rhat's *r,ui;r rf,rr- o.r -riii
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Ric'A-Che, he totd me to ask Ric to.catl
When I totd a Universal executive I was headed to interview their artist
native and passed atong
nir-. I tf,"rgtithir*u, stighity unusuat - but after I met with the 26-year-otd.Detroit
"Lackof Communication'"
themessage, heexptained'thJaorOtumeaningof thenameof hisupcbmingatbum:
tntorgn he says, "lt wis funny, because.during the whote
White working on his deOuii"t"ui" S-RC/Universat,
or pager, they weie'tosing their.minds, tike, 'Where are you??'
recording process, I didn't have a cetl pholne so
Atso, from the creative angte, they wanted me to sound this way
and I wlnted to sound another way"' lt took
Ric-A-Che several years oiprtiu]ig triic independentty uetore he.caught a,break with the unique vibe of
,,Coo-Coo Chee," a women-'s anthem oi sorts. i'ih" *tot" the h6ok, but she coutdn't come up with
Darija,s
you'tt eo a-!o1qyt-av.' Women buy
in"'u"""t, * ih" t"t r" have it," he says. "lf you can make women happy,
CDs - they,re tike 75% of the coniumerr.i Th" fihisheA
product caught the itfention of SRC A&R Knobody, who
next dav to welcome me to
irr""ii"i"Vbiought tn" pioj"ii io CEo St"u" Rifkind. "[!teve] Catted mein the you, he goes the extra mile' And
SRC,,, says Ric, who tp"ukJf1irit'ty oinis new Uoss. Steve'Rifkind betieves
."lf peopte in the record business won't do' They'd rather
he showed me the businestuip.i.it too, which a tot of
;coo'coo Chee" look for
rob you first and then snow 1iri.;'wiin bi.iling ,p heavy.spins throughout the country
and he promises iou won'i be disappoint-ed. "Music is what most
his debut atbum to hit stor6; on June 22"d,
give you at least four, five singtes so you'll
artists don,t have. I use my vocats as instruments. I wanna be ibte to
n"u"ig"t tir"d of the atbum." - Julia Beverly, jb@ozonemag.com ( Photo: J Lash)
*mE{bcr
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DJ PROSTYLT,
JIT4MY JA}'Z &
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R&8r H|P-HOP,
OLD SCHOOL

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;lit:::]t' you think that will make it harder for you? ;1i;it;*!;;rl*lri,i''-...,,.1::,11::..:,.,:,
i}j.:l;1iiii,],. Actuatty, there was, Taytor Boy, Creo-D and L.A.5howi.ilhf€li:6ioke..0tlt&ld*::r,lrl:i
i';r"'"- .he-re;:,. i!!i,11Dajsy Duke." That's kinda otd, though. They were tro*'tn,,n.',,""'' .

Gtade. But it's a hard city to live in. lf you can make it out of here, you
., g$'.rut.it:fryi
make it tr:om Ci{i;Mliei* Anywhere
Anvwhere you so.qo.
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lllirr.,bur it :r€il!!.r&trf,lc{eq:,!,9,b!p-:hop. It's


r

rndre'Gospet and counffy

But you can pick up ttle Palm Beach stations?


Yeah, we can pick up X 102.3 and the underground stations overiir-Palm
.. ... Beach.88.5 and 97.5.96.3 Ravto and Dem Damn Doggs station,t:.:ilt :::: ... ...-...-...--l
Doees station':t:::::*:ri.::::,:::,:
lia,.,;;:::11:ir1rt9:?r1ill*f,e$,r?#119;:,,|]f :r'j,
What's your plans right noq are you pushing the "Muck City" atbum
i,:,'l,:::,:,:rtlof:ar€yEt-:pbnqing:'6ndroitjiiilgji:,solo album? ',-.,--..,:
;alt:,r::::1:::,'tir:PiqbdblV
jnthe near future, butlal*his point, the plan is to promote the r::ir:'::;;
ii::riir i,r,,:,.:: album eind break the singles offillh4ntbum, "Dirty South" and "Shorty I ::tir::,:::li:::

;i.a:;r,:r.,,,r
lJaari About
,Heard
Al".n' 'r Ya."
Vrtr ,:1t::il.
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"'"t:1:,
*i1''lit lt::..,,0o.V"u have a timeframe wtren y1lflre looking to drop a solo album?
I woutd say, once we've estabtished a fan base to be abt6 to hotd our own

. .
ground, we't[ go out and do soto albums.
... - : :.:::a'

is the name of the atb($? What:s,th€rname of the groqp, r,:irri.:i:::

So production-wise, do you have any other artists,ittidt.,yodp


working with currently?
Yes, and l've atso received catls from Piccato, Tampa T@!$;:r,Fitbull'5.
manager, and Ludacris' manager. lf someone is interested in:S6ats;tlheV
can hit me on my cett, 561-644-5704, or at the studio, 561:9:9?:958S' .
The studio address is 2405 Patm Glades Dr., Bel.Le Gtade, FLr7fi,A.,;,,'.'.,;,,;,,

lf people want to purchase the album, where should they lociKfbt:it?':,


ls it in mom & pop stores or online?
It's pretty much out the trunk right now. They coutd email us at
muckcity@excite.com or go on the website, www.decarecords.net.

Have you been happy with the response to the album?


Yeah, we've been getting a good response. "Muck Cily 2"'is the next
atbum we've got coming, that's coming soon.

Why do you call Belle Glade "Muck City"?


We catt it "Muck City" because reatly, we're surrounded by nothing but
muck. But it's the richest soiI in the world. We're more agricuttural than
most cities. We supply a lot of the United States with sugar.

What's the main products that come out of this area?


AgricutturaI products.

I see you're all wearing "Muck Wear" clothing. Is that your line?
Greg, the owner of Muck Wear Clothing, we're a[[ from the same 'hood,
doing the same thing, so we just rep for him. Att us are ctose, good
friends, whatever. You can contact him at 850-322-3866.

Anything else you want to add?


Oh yeah, there's a coupte fotks we want to thank for hetpini:irs-,9ut:
Be[[e Gtade the whole (M.U.C.K.), Masterlab, E Ctass, 720, D S.ijaVe'the
baddest graphics guy in the whote damn wortdr Gienddaddy;sot4fi.5lh
Str, SuaveSmooth, Tripte J, PGB Records, 88;5;rr:Ray Goody,lRuf-flMofld,
Dem Damn Doggs, the whole Patm Beach Couitty,.?1:R€ese,"€bLii;,Down
South Dope Boys, Konfusion, Btack Beach Records, l'lqnry,;:Filpl,and my
brother Eye aka PINT. And there's three of.1$ in'the group; blit d.!e of...uq
ain't here right now - M.D. aka Fuck Boy.(i!!g[ .1,1.,
- Photo and interview by Julia Beverly, jb@ozonemag.com
He's the newest addition to the GGGGGG- two days passed. Three days passed. l'm
Unit, and his solo debut "Straight Out Of
Nashville" is already due to drop in July
2004. He's the only MC in 50's crew repping
the South, and he just might be the most
NG JESSICA
noticing I ain't seeing the bond of Juvenite,
Wayne, Mannie. I ain't seen them the whole
time since I had got back there. I was trying
to figure out what was going on. Four days
talkative. Listen up as dirty dishes about his passed. I made it up in my mind l'm not
hard knock life. going to be sitting here like when I was
16. I'm going to head back home. The fourth day I was getting ready to
Tell me a little about your childhood in Nashville. leave and Juvenile putted up to the office and he said, what you doing
Coming up as a chitd my life wasn't no different than the average ghetto here? Juveni[e asked if I wanted to take a ride. I jumped in the car. Juvie
hood n-gga. I come from a famity where it was just me and my sister, and putted up in a Rolts Royce, diamonds and a[[ the riches from the game.
my mother had custody of her sister's kids. My father was a crack fiend. He looked like he was doing we[[. I said, last time I saw you, you was in a
From day one I had to take over as the man of the house. So I did what I Btue Camaro with brown raiting stripes. He said everything ain't how it's
had to do at a very young age to get money. I started selting drugs at the looking. He said Baby owe him money. And I looked at the cat like he was
age of 13. I never took to nobody who was younger than me. I always ran the most successfuI at Cash Money. The more that he totd me it added
with otder cats so that's where you get the name Young Buck. I was one of up. He said he was starting his own tabet, UTP. He took me by his studio
the youngest n.ggas out there trying to get money with the big boys. They to meet Skip, Wacko and Corey C, his artists. He said lcan't promise you
respected me enough to at least altow me to do my thing. From there I used nothing but he said I can be heard over here. That's atl I wanted was to
to hustte in the very same spot where my daddy used to smoke his sh.t at. I be heard. And let the peopte be the judge of me. I atways fett like I had a
lived a crazy [ife. Even before I lived in the projects, I lived in [ow-income story to be totd. I decided [et's do it. At the time Juvenile was looking to
houses around the projects. put out Skip. That was his homie. I decided to just rotl atong and be a part
of the situation. Juvie put so much time and money into that project and
How did you meet Juvenile? it didn't selt so much. And he was trying to get away from Cash Money.
By the time I was 16-years-old, I was in the streets, probabty doing a He let me know he was getting a littte bit unstable with his situation. So I
little more than the average 16-year-otd. One of my partners, Lit Jimmy, starled preparing mysetf to do other things. He was going back and forth
he's in the federal penitentiary right now, he picked up a B.G. Chopper to NY dealing with lawyers at the time. So one day we came to NY and I

City CD and looked where it said booking'information and calted. Baby was playing 50 Cent and the bus driver said he knew how to get at dude.
[of Cash Money] picked up the phone. They [CM] came to Nashville and I I said I got to meet him. From the beginning me and 50 hit it off. lcoutd
didn't make the show but from there, they came back two days later never compare our lives. 50 been shot nine times. I been shot twice.
to record in the studio and my homie called me and said come 50's mom is dead. Mine's stitl tiving. 50 don't know his father. I

to the studio and I came. Baby said spit something. I ended know mine is a crack fiend. But at the same time I respect we
up rapping and he called Turk into the room. Everybody was had some of the same struggles. lt made me feel that we
there, Juvenite, B.G., Turk, Wayne. Turk started rapping and coutd have longevity in business with this sh.t. I ptayed
we started battting. He catted Wayne in there. We going at it. I records for 50 that I had. One of the records I ptayed for
wouldn't say nobody won. l't[ say I left the situation respected. him was later titled "Blood Hound" which was reteased
Cause the next day I got a ca[[ from Li[ Jimmy saying Baby on his atbum, "Get Rich Or Die Tryin'." He bought the
wanted me to fly down and see about signing me. I left school in record from me and put his twist on it. He just totd me
the 9th grade and went straight to New Orteans. I would record if everything happened he woutd come back and holla at
songs but none of the songs wou[d make any projects that was me and give me that shot I always wanted. Guess what
getting put out. I was getting pushed to the back slowly and happened? He hetd his word.
watching their careers take off. I spent two years of my life
doing that, back and forth from Nashville to New Orleans. ln What have you learned about the industry from Baby,
between that time me and Juvenile became close. Me and him Juvenile and 50?
woutd run together when I was there and when I wasn't with I learned never burn no bridges. You never know when you
Baby. Most of the time I woutd just ride around with Baby and gotta come back and see that same person again.
he wou[d drop Turk and Wayne off at school sometime. I woutd Atways be humble about situations. Don't look for
sit around with Baby at his office. I was supposed to be in troubte but handle your business when you do
school but I was trying to chase my career. I reatized have troubte. Sometimes everything that look
that woutdn't work. I was 18. I didn't have any good ain't good.
money, traveting back and forth. From there,
I was at square one. I went back to Nashvitte, What can we expect from your solo
back to the streets. I ran into Jeff Pringle who debut, "Straight Out Of Nashville?"
had his own independent [abe[ catted Next I want to bring that down South feet. Me
Level Records. I was rushing the situation and being the onty Southern artist within the
ended up jumping into a contract that was group. I wanted to make it a Dirty South/
bogus with dude. Me and my partner D-Tay everything etse type of atbum. I reached
reteased a project catted Thuggin' Tit The out to Lit' Jon, DJ Pau[ from Three 6
End. lt sold about 5-6,000. We woutd have Mafia. I worked with David Banner, Li['
had to setl 30,000 to see profit. I did what I Ftip, T.l. I reatty think Southern artists
had to do to get out of that contract. I had are more respected for their stang
learned a lot but I wanted to do it mysetf. than [yricaI content. I'm [yricat-type
I started doing demos, get homies'tracks artist. So I had to cover everything
I knew, putting together 12-13 songs, else. There's no "Wanna Get To Know
making me a CD. From there I woutd You" or Joe-type records. That wasn't
press up 1,000 CDs for 5330 and se[[ a part of my [ife. I left the relationship
them for 510 a piece. I turned a CITGO type records out of the picture for now
gas station into my record store. Right and gave you a harder edge, more of a
by TSU Cottege. I knew a lot of out- ll- street-type atbum.
of-towners came to schoot. I did it
tike that for a coupte of years. Doing What are your future plans?
whatever to make money. Until I was One of the biggest things I wanna do
21, Buck was on the strott. By the time is venture off into acting. I want to start
I was 21 I got a ca[[ from Baby again. my own labet. l'm onty one person that
He said he wanted to try to make this
-?4+4J-4€
made it. I come from a big bubbte. When
atbum with me and his nephew catted tr*. you think of Nashvitte you think of country
Headbussas. Here we go. I thought, music. But when you get there the hip-hop
why not take this shot again? The next scene overshadows a[[ of that. There's ptenty
day I flew back to New Orleans. A lot of more Young Bucks where I come from. I'm
shit changed. The boys had diamonds just one that made it. I want to present
and cars. I found mysetf sitting there, more artists in my area to the game.

32 OZONEMAGAZINEApTT20&l
He's the cameo king: Beyonce's "Naughty with different men and going through
Gir[" and J-Kwon's "Tipsy" remixes, David their pockets, steating money and jewetry.
Banner's "Likea Pimp," Three 6 Mafia's When I watk through the c[ub, they hand
"Ridin' Spinners" and more. And now
everybody's yelting his name on his latest
hit, "Game Over." OZONE sat down with
Lil' Flip at the W Hotel in Manhattan to rap
ffiffi ffi-ffi%ffi
I NIERI/I EW: J ESSICA KOS|OW
ffi it to Ftip.

What's the name of your new label?


Clover G Records, distributed through
about his new album, " U Gotta Feel Me, " the Cotumbia Records.
reason he's Sucka Free, and what his huge, PH0l0: JULIA BMRIY it
new diamond-encrusted Clover G Records Was an emotional split with Sucka
neck chain stands for. Flip, Flip, Ftip! Free?
Yeah, my partner was friends with my dad and I put a tot of trust in him,
Talk about your new album, "U Gotta Feel Me." so I expected more. Out of atl the people I knew, I didn't figure him to do
This atbum is a little bit different from my last album because I put a lot something tike that, taking money and stuff. But you learn. That makes
more energy into it. I made a lot more tracks for the crowd to participate me real'ize that you've gotta back-track everything. lf a person tetts you
with. What peopte don't understand is that not every track you record is something, you can't betieve everything a person says. You gotta go see
going to be a track you can perform in concert. So, I got a lot of tracks that for yoursetf.
lcan perform at my shows on this album. I got Ludacris on the atbum. I've
got a track with Cam'ron. Of course, David Banner, Three 6 Mafia. lt's just Having been in the game for a while, what other lessons have you
a big step from the last atbum. I went out and found some more hungry learned?
cats. Every album I do, I try to find some cats without a deat, without a You just gotta represent you. Can't nobody represent you like you. And if
name, and do some work with them to give them a chance. So, I let some you're in the presence to talk for yoursetf, that's the best thing. 'Cause
hungry cats produce about hatf of my atbum. I got two Red Spyda tracks, a a lot of cats get tazy and don't wanna work, and they think it's cool to
Neptunes track, Heatmakerz, ya know. have atl kinds of managers. I tike to handle everything on my own, that
way there won't be any mix-ups.
Did the Neptunes send you a Southern-style track?
It's like a smokin', laid-back track. Down South. My flavor. Did your popularity grow after being featured on David Banner's "Like
a Pimp?"
You recently went through some label drama with your own independent Yeah, 'cause when we did that track I didn't even expect it to do like
label, Sucka Free. that. I just thought it was an atright track. And Banner calted me and
We[[, I was told that I owned the company, and when I looked at the said they were lovin' it. That hetped me out, that pushed my album to
paperwork my name wasn't on there. And show money discrepancies were ptatinum. I onty had one video, for "The Way We Bat[." lwas stitl doing
comin' about. So I decided to form my own tabet, that way I coutd know shows off "Like a Pimp," and right after that, [Three 6 Mafia's] "Ridin'
everything that's going on. I can be invotved with everything. Because I Spinners" came out. Then I did a track with Fam-Lay, Pharrell's artist.
was just doing the rap before, just making sure the atbum was right. I draw I've just been doing features and staying afloat like that.
atl the covers, everything. Now I handle everything. I just co-directed my
video with Benny Boom, the "Game Over" video during At[-Star Weekend. I read that you had a 50 Cent-like experience with being shot?
It happened real quick a couple years ago. I'd rather not discuss that.
What's the theme of the video?
I was reatty tatking about the rap game. I didn't want it to be a kiddie Did coming that close to death give you a new perspective on life?
game video. See, I take themes from movies. When I did "The Way We Yeah, it makes you take advantage of every situation you're in, and
Batt," ltook the theme from "Brewster's Mitlion." I had to spend a miltion it makes you pay attention. You observe more. I woutd go ptaces with
dottars in one day. And this one is the theme from "Btow." They weigh no security before. But when that happened, it made me more
the money up on the scate, and l'm watking through the crowd observant. Like, right now, I coutd tetl you what everyone in
and everywhere I go they want F[ip. The women are dancing this room has on if something was to happen. lt makes you
g'1 reatize how to treat people, too. That wasn't a probtem
..EVER[ before.
ITRYIOWORK 1
, What's next for you?
WITH WTHOUI A I got my own liquor coming out. lt's called Lucky Nites. I

DEA[, AND GIVE did the "Naughty Girt" remix for Beyonce and the J-Kwon
"Tipsy" remix. I got a track on NFL Street, "NBA Live."
IHET',I A I'm a new character on Def Jam Vendetta Part ll. ln the
future, I'm going to get into directing. a+

+4
l've noticed that different record labels have different philosophies you explain
when it comes to signing and promoting artists. Universal tends to the process that
look for regional hits, and it's been said that Universal's philosophy usually happens
is to "throw a bunch of stuff out and see what sticks." How accurate with a regional
is that? record?
Wett, overatl I woutdn't say that's completety accurate. But I do think Wett, I was only
that's the phil.osophy of a lot of record companies: sign a lot of acts, put involved in that
a lot of product out there, see what sticks, and then they chase it. At situation from a certain
perspective. But I think .THER['S
Motown especiatly, we pride oursetves on developing artists like Erykah SO IVIANY
[Badu] or lnd'ia [Arie]. I think from a Universal side - and I've been here that what happens is WAYS IO GEI YOUR MUSIC
for the longest, I was there when it was founded I think initiatty, as basicalty the foundation of hip-
OUT THERE. YOU CAl,l STARI
a new company, you tend to sign a lot of artists and put out a lot of hop. With a lot of big records
records because you're trying to create your niche and dominate some and indie companies, a record OI'TASAN INTERN,AND
of the market share. I think any new company that's introduced to any starts off in a certain region, and YOUR DEfl,IO MrcHTWND UP
industry is bound to do that initiatty. Throughout the years, they tend a major gets invotved and wants ON SOMEONE'S DESKYOU
to become a lot more selective. lf you look at the fact that Universat to take that record and hetp the JUSI HAVE IO BE CR[ATIVE.''
has been in the top 10 or top 5 position in terms of market share, and independent company spread it
considering how young they are, you have to commend them on the a little further. lt might have been happening in the Ftorida region in
fact that whatever their phitosophy is, it's working. They definitely are the South, and then record companies - not just mysetf, but Etektra,
moving more towards artist devetopment, spending a lot more time Atlantic, etc. - they get involved and want to try to take the record
devetoping the acts. What happens at record labets is the same thing further. I think that's normat in the record business, to try to break out
that happens in society. Sometimes we don't have the money or the of a region.
means to stay behind every act, so you have to prioritize. You pick the
acts that you feel are going to have the most [ongevity; the most career- How do you feel about all the mergers and layoffs going on in the
oriented acts. industry right now?
Wett, I feel bad for the turmoil, but 'it's due to the downtoading
Have you ever seen a situation where prioritizing one artist has hurt and disrespecting of music in terms of an art form. The artists, the
another artists' career? performers, the studio engineers and manufacturers, a lot of peopte
No, I never feel like that. Because I think the hits atways - you know, are being put out of work and put out of business. I feel bad because
the cream atways rises to the top. lf you take Mario Winans on Bad Boy, a lot of those peopte have families. I feel bad that consumers and a
for exampte. Peopte heard about the "l Don't Wanna Know" record on lot of peopte don't see the hurt that they're causing. And from the
mixtapes, and Universal heard about it from the radio staff. NoW that perspective of the mergers, I don't necessari[y tike that because'it's
record is over a hundred million in audience. My point is, no one has congtomerate business. What tends to happen is that you end up with
ever denied a real hit record. Hits surface. lf it's not a hit, it's not a singte entity that's controtting the type of music that comes out.
going to rise. Att it takes is one radio station to put it on, and that's Whenever there's no variety, the music suffers.
what happens. What tends to happen with some artists is this: the
radio station's not feeting it, it in stores, and
there's no one asking for Do you plan on picking up any new employees?
the artist is tike, "You not pushing it."
Listen, it's about getting the Wett, we try to always have the best. We're happy with the peopte that
product out there and [etting the consumer react. lf the radio station we have now, but we were one of the first to go through a merger so
isn't ptaying it and nobody's asking for it in stores in that region, that's we've already gone through the [tayoffs]. I think we're okay, but if the
not a hit record. I do think that there's times where we coutd stay on a market doesn't get better then you never know. I think that whenever
record and push it a tit' Longer, but it's hard. The best indication of a hit you have a new format - whether it's the 45 or the Strack or the
record is to get one betiever in any format, whether it's radio or video cassette or the CD, now you've got the digitat downtoads - whenever
or a club. Or maybe just word of mouth; that determines if that record there's a new format that can't be defined then you'tl have that
is a hit. The majority of the time, a hit shakeup. Eventualty it witl get better.
happens real fast.
How active are you personally in
Universal seems to be one of the signing new acts?
few record labels that places a I'm very active. I signed lndia, Erykah
high priority on reaching out to persona[[y.
underground/grassroots publications.
Why is that? What would be your advice to an
Then that shows you that we do aspiring artist, how can they get the
betieve in grassroots marketing and attention of someone like yourself?
development. I think that's the Trying to get my attention is part of
opposite of just throwing stuff out the process of becoming an artist. But,
there. But we have to give credit I think if the artist has the means to get
to Wendy Washington and our press their song on the air in their region or
department for actuatty organizing in the clubs, that's one way. Another
that. Our phitosophy is this: if you're way is to try to hook up with somebody
not hitting in your own hometown, that's got a production company that
then there's a problem. At[ hometowns can hetp get their demos out. lt's a
betong to a region, so your best chance dog-eat-dog world out there. lt's very
at having a national record is to break it harsh. But there's so many ways where
out of that region. That inctudes press, you can get your music out there - not
retail, and radio stations. Then, you just to me but to record companies.
just go graduatly from region to region You can even start out as an intern if
untiI it's an international record. That's you're trying to be an artist, and your
what it's about. lt just depends on the demo might wind up on someone's desk.
genre and format. You just have to be creative. There's no
real set way, you just have to be a good
For our Florida readers in particular, marketing person and know how to get
I know that at one point, Universal someone's attention.
was considering signing Jacki-O based
on a regional hit record, "Nookie." - lnterview & photo by Julia Beverly,
Using that as an example, could jb@ozonemag.com

34 OZONE MAGAZINE Apnrr 2004


What's your official title here at BET? a part of the
My name is lmohate Rice, my titte is Tatent Coordinator. I basicatty deal entourage. I've
with bookings of signed acts forl06th & Park, 106th & Park Prime, and seen it att. lt's
The Center, as wetl as bookings of DJs for Rap City. funny to me, but I

don't taugh out toud


What's your background? Did you go to college? because I know if I

Yeah, I went to Westchester Community College for Communications & wasn't 'in this position
Media Arts. But it was kinda broken up, like a semester here and there. I might act like they do.
I went there for a semester, went to Leeman Cottege, couldn't afford People do a lot of crazy "IJUSTIOOKII'IY
that, went back to Westchester to try to finish up. From there, I just things when it comes to CHANCES COMING DOWN TO
took the road of internships. My first internship was with News 12, and artists. The real eye-opener for
I realty focused on news editing. I wouldn't say that it wasn't fun, but me was when I first went to Spring
BEIEvtRtStNGtE DAYTRT-
it was just not for me deating with the reatity of other people's bad Bting, and 50 Cent was out there. INGIII GEI AI{ INTERNSHIP.'
s'ituations. Then I was offered a job and it fet[ through, so I just took my This girt was completety naked,
chances coming down to BET every single day for ['ike two weeks to try danc'ing from her hotet room, trying to get his attention.
to get an internship. I was an intern for like a year and a hatf. lt was an
unpaid internship, so I was working another futt-time job as a security Have you had an artist that was a real diva, somebody that required
guard overnight. I was rea[ty busting my tait. a lot of attention?
Actuatly, I would have to say Jaheim. He's a cool guy, though. Basicatty,
When you were going to college, is this the job you hoped to get? we have two green rooms. One is bigger than the other. lt was a day
I atways knew I wanted to be in entertainment as far as television. Usu- where we had Tyrese and Jaheim on the same show, so obviouslyTyrese
atty, cottege students have a minor or something they can fa[[ back on. I is going to have the bigger room because he's a more established art-
didn't have that. lt was just tetevision a[[ the way around. I woutda been 'ist as wetl as a performer and actor. Jaheim basicatly took the bigger
anybody's intern for however tong to get here, room and we were [ike... uh, okay... But it worked out, because Tyrese
doesn't have a big head. He didn't argue about the room.
What were your responsibilities as an intern?
When I started at BEI I was the 106th & Park intern. I was learning What's the worst part about your job?
how to create a format and learning the whole structure of the show. I I love it at[. I realty can't comptain because I think about att the jobs I
tearned how they do a cett, how they break it down, how they switch to had before this. I was a customer service manager at the Whiz, an elec-
a video and come back, just tittte things of that nature. tronics store. I worked at Modett's in the sneaker department. I coutd
stilt be working there, so I appreciate my job.
What surprised you the most working at BET? ln other words, what do
you think is the biggest misconception when it comes to television? Are there any celebrities that you were really excited to meet?
For one, I think peopte get the misconception of how big a studio is. I Yeah, l'm a real fan of Jay-L, I got to meet him, he's real coot. He's real
walked in there [ike, 0h.... lt's reatty sma[[. And a lot of my friends think quiet. The funny thing is, before I got to BET I thought I woutd be real
that Tigga's reatty shooting a show in his crib, in his mother's basement. excited. The first star I met here was P Diddy, and my whole response
It's not Iike that at att. to it was tike, "Oh. He's here. Okay." lt wasn't rea[ty nothing big. Ev-
erything after that, I just treat it tike my job. I can't act like a fan even
How do you choose which artists to book? though I [ike alt their music.
We deal directty with the record labels and their video promotions
department. lf an artist has a video out that we're airing, that artist is What's your ultimate career goal?
more accessibte as far as getting booked. My uttimate goal is to be a director, and right now I produce my own
show out here locatty called "Volume 2: Another Sound of Hip-Hop." I
Have you ever gone out on a limb and booked somebody that really don't ptan on staying in television though, I hope to break into fitm.
wasn't getting played at the time? But I know that tetevision is easier as
Not reatty. I think my first witnessing far as making a name for yoursetf, and
of that woutd be B2K, way before they then you can branch off and do differ-
were hot. But I don't think that a lot of ent things.
peopte outside the industry understand
that BET creates a lot of careers for a How do you choose which DJs appear
tot of individuats. Hatf the time, you on Rap City?
won't see these people on MTV or VHI lf they have a wett-put-together press
untess we're hightighting them first. kit with a bio and a mix CD, they go
That's just the truth. to the top of the pile. Other than that,
as I receive 'em I reatly try to put ev-
ls the Top 10 list really based on erytbody on. But they definitety have
viewer's votes? to send something in. Even if a DJ has
(taughing) I'm gonna pass on that one. already buitt up a name for themselves,
I always request a press kit because the
What's a typical day like for you? producers want to know more about the
I'm reatty the individual who greets the DJs. Especialty if it's a situation where
artist, makes sure they're prepped, and they don't have a guest on the show,
makes sure that they know what topics they want to focus more on the DJ and
are going to be discussed on the show. I a[ow them to promote their CD or radio
have to make sure the producer meets station or whatever they wanna pro-
up with them, and I have to make sure mote. We don't want the DJs to be bor-
they're actuatty in the studio on time ing, 'cause this is their time to shine. I
so we're not running [ate. I'm just the don't think there's many outtets for DJs
a[t-around guy. to get the shine they deserve, so Rap
City is reatty the best show for them.
Have you had any crazy fans flipping DJs can send a press kit to: BEI Attn:
out on set or anything? lmohaile Rice, 555 West 57th St. 10th
Our security team is reat serious. You Floor, New York, NY't0019.
not getting past. But, we had a lot of
incidents where fans witt try to come - lnterview & photo by Julia Beverly,
in the buildting and say that they're jb@ozonemag.com

OZONE MAGMINE Apnu 2004 35


331 I ad a dream," I said, "About who?"
"Orlando l-l he said / "About Wit," I said, "Shit,
I I tf,ut't reat." he said / The first thing
takes i6 I asked was the reason that he's dead / 'Cause
word in the O, you got clapped over some bread
talent for / I catch flashbacks of the night of your wake /
that night was too much for your nigga
grantd' Cause
to take / Takin' slow steps 'cause I coutdn't see
your face / Everybody crying, but some of them
tears was fake / As for me, I coutdn't hotd the
waterfalls from my eyes / Feeting like I can't
proceed without you by my side / Remember the
beginning? Max-A-Mi[ heavy on the rise / Took
Ortando by storm and the streets by surprise /

One 95 Live, or that night at The Quest / You put up


5350 to show your team was the best / Hit the
studio for hours til we fett burnt out / But it's

--Year fucked up the way that some niggas turned out


/ Bravo, homie's there, yeah / He sti[[ on his
grind, he keeps you in his heart / And you coutd
hear it in his rhymes / Southstar popped off, but

l_laten..
Sonny Chulo rememben his
his partner's a bitch / I recentty found out that
Smitez is a snitch / Me and Statty had a fatl-out,
we no longer friends / I guess it's onty so long
fake niggas pretend / P kept me alive when I

friend and mento4 Max-A-Million thought it was over / Hetped me realize I had
Records'CEOBigwil two angels on my shoutders / As for me, yeah,
you know I'm stitt doin' my thing / Buitding an
empire sick enough to change the game / But
without you here it could never be the same /
So everytime I rock it's in your name / I miss
you, nigga.

A year after the unsolved murder of Max-


A-Million Records' CEO Big Wil, his closest
friends and artists Sonny Chulo and Jonny
Bravo linked up to perform a live tribute of
their verses from DJ June Buhg's "Bigger Than
Life" mix CD. A year after Wi['s passing, Sonny
reflects on the past and speaks on the future.

Wi[ raised me. I was his first artist. You know,


everybody screams "famity," but it's not too
many people that mean it. Me and Bravo was
definitety the first. Bravo lived with him at one
time, I stayed with him at one time. Sometimes
there was no lights in the studio and we had
candles. lt's different when you're just an
artist, but we was family to that nigga. Not too
many peopte coutd get a hug from his pops or
his brother, and that's what it boils down to.
And what certain peopte did when he passed
- l'm not here to judge nobody. I just keep Wil in
my heart with everything I do, and I know that
Bravo and P-Scheezy are the same way. lt's like
he's helping me. Everything he can't do for me
physicatty, I'm very confident he's gonna do for
me spiritualty. lf I do pop off, a lot of it is owed
to him. I've learned a lot from his mistakes. But
I just know that I miss my dawg every day. lt's
funny, I see a lot of these niggas out here lookin'
like mini Max-A-Mits. Same way you see these
wannabes comin' out with mini-OZONEs. And I

just laugh.

As far as Max-A-Mit as a labet, I haven't heard


shit about it. Max-A-Mit, to me, is me and
Bravo. I lost a littte respect for Southstar. He
didn't show up to the tribute, send his bless'ings
or anything. But I guess two bitches belong
together. Smitez basicalty just thinks he's hotter
than me. I know he's not. And he's a [iar. He
shoutd never speak no gangsta shit in his rhymes
because he broke rute number one. The first
rute of the streets: you never get the cops. I

don't care if it's your fuckin' father that's a


cop. Basicatty, it was an ongoing thing, but I
had seen Smitez and everything was deaded.
But I totd him I was gonna get him back for
that whack trash freestyle he did on Voice of
Da Streetz' mixtape. lt's just my duty. I rep the
streets so there's no way l'd let him get the
last word. Anyway, a member of his entourage
l-20: Setf bplanatory
- that homo, Witdchitd, with the big teeth? This Disturbing Tha Peace member stole the show on Ludacris' "Move Bitch," one of 2002's
That nigga's a bitch too. That nigga's pussy. biggest hits. Claiming he reps the "Disturbed" in "Disturbing the Peace," he's about to show
Print that. He came up to me at the ctub, and us why on his debut, "Self Explanatory."
it was a Li[ Jon record on so he was getting
crunk [ike, "Yeah, we heard that diss record." What should we expect from your debut?
l'm [ike, "That's why I did it, nigga, y'all niggas This is letting everyone know that I've arrived. My songs are atl across the board, I try to make
is pussy." Don't step to me untess you ready to a lot of different songs that I feet are a reflection of me. I named the album "Self Explanatory"
rock. Besides this rap shit, I'm a man. This nigga because I wanted to exptain myself and let people get a better feel of who I am, what I feel
went outside and got the cops - one of the cops about hip-hop, and what my rote is in hip-hop. The basic theme of the album is just me breaking
is Smitez brother - then he went and got Smilez. myself down in a tot of different ways. I feel that every song represents my interpretation of
Smitez came up to me after the cops did. His Southern hip-hop.
brother who looks like the Nutty Professor
- put his hand in my face and said some stick How did you hook up with Ludacris and Disturbing Tha Peace?
shit. The cops hit me with a coupte cheap shots. Actuatty, I've been cool with Cris since high schoot. We became friends long before we thought
It's gonna take more then bitty clubs, though. of the name Disturbing Tha Peace. A mutuat friend introduced us when we were 18 or 19, and
l've been hit by fifteen niggas and I'm still we had a common interest in rapping and trying to get in the game. We just became friends and
here. Those littte cheap shots ain't shit, but decided it might be easier to obtan our goals if we alt work together.
don't hide behind your badge. When you get
out of your uniform, we could get shit poppin'. You're on the road now. What are you promoting?
That's why Smitez is a bitch. Smitez is a rappin' l'm out here promoting the release of my atbum and l'm on Ludacris' "Chicken & Beer Tour" with
name, and he don't get no respect from me as Chingy, David Banner, and in some cities, Knoc-Turn'at. I have my own set within Chingy's set and
a rapper, that's why I catt him Rodney. We ain't of course I come out severat times during Ludacris' set.
pop, nigga. We don't do that bubbtegum shit.
And he needs to talk to his partner Southstar to Do you think people are ready for your solo joint?
find out how we get down. I don't know why his Definitety. lt's been a btessing. I've been btessed that people were ready for me to be a solo
partner is frontin' like we ain't save his life at artist after "Move Bitch." People have been asking me every day when my album's coming out
the D12 concert. And this shit l'm saying to you because that record was so huge, and I was the onty unfam'itiar artist featured on that track.
now, I woutd say to their face anytime. That's why it took me so tong to do my solo atbum, because I didn't want to lose the fottowing
I was buitding. I wanted to take the time to make the best possible atbum so nobody woutd be
Right now, I've got my own labet, GoodFetlaz. disappointed. I feet tike I've done that.
I've been doing freestytes here and there, but
the conversion from a rapper to an artist is Do you feel pressure being the first artist from DTP to release a solo album?
what's going on right now. As far as features Chingy was the first outside of Ludacris to release a solo album from DTP. I feel pressure, but it's
for the atbum, we're [ooking at Fat Joe and good pressure. I'm one of those peopte that works well under pressure. I want to be abte to set
Tony Sunshine of course, and trying to politic reatistic goats and exceed them. I feel pressure, but it's more tike excitement. Of course, I'm a
some shit with Mr. Vegas, Akon, and the singer little nervous. You're atways neryous because when you work on something and put your heart
Ltoyd. Coo[ dude. I don't care if he's with into it, you want peopte to love it the way you tove it. l'm anxious, if anything.
Murder lnc. or got beef with 50, whatever, it's
just whatever could benefit me. The beats is Southern hip-hop is hot right now.
Urban Child atl day, my man Shawn Starr. He's When you're from the South - I'm born and raised in Atabama I've been there from the time
fuckin' ridicutous. He's a singer too. We got when they weren't trying to hear anything from us, weren't ptaying any records by us. We had
hetla joints, we doing our own version of the no videos on BET or MTV. We were just considered country backwards, and two years behind,
"Best of Both Worlds." My atbum is basicatty for the most part. So for us to basically be dominating the charts with songs that sound like stuff
wrapped up, it's calted "l Promise." We gonna we've been doing for ten years, and even hearing other cities try to imitate us, I feel my role
put out a singte near the end of this month. l'm is to just continue that and broaden the idea of what Southern hip-hop is and just continue on
gonna have a listening party to decide what the with that movement.
single should be. We just trying to capture the
streets first, 'cause peopte look at Orlando like Would you say that you've learned a lot from Ludacris?
it's a pop city. We learned together. We came into this game together. One of the things we learned is that
doing it yourself is the best way to go, and to be patient and take your time. Stay true to what
We kinda shied away from the battte scene, you do. lf you are you, that makes you originat because nobody's gonna do what you do, the way
'cause I got nothing to gain no more. I feet like you do it or the way you see it. The biggest thing we learned is to be originat,
I won every battte that reatty counted. I won take your time, and learn as much about the business as you can.
The Quest, I won the lnterscope battte. Mad
shouts to Kevin Black, too, that's my nigga. And What would you like to be doing in two or three years?
honestly, I took my time with this atbum. You Not just in two or three years, but for as long as I can I hope l'm stitl
might feet like you're ready at one point, but doing hip-hop because I love it. I tove the music. I love
you're not. l'm not better than nobody now, doing it. I think l've got the best job in the wortd. ln
but nobody's better than me either. We doing two or three years, I hope to be reteasing another al-
this without the Just Btazes, the Kanye Wests, bum. I hope the first one is successfut. I tried out for
without the cosigners, and we stitl rockin'. We a coupte movie rotes, too. Hopefu[y, l'[[ be acting.
gonna see, though. lf Ortando chooses to be Who knows? The biggest thing for me is to try and
biased and not accept it just 'cause l'm from stay positive, make the best possibte music I can,
here, that's on them. They'tI appreciate a and keep praying.
New York artist before they'll appreciate this.
Niggas witt look at me different just 'cause l'm Being on the road so much and being in this shady
from Orlando. Honestty, though, l'm different business, how do you stay positive?
from a lot of cats. They out here tatking about Because l'm doing what I [ove. There are a lot of
shotguns, and when I see 'em they weigh like other people out there that are less fortunate that
forty pounds. lf they really btasted off, that shit woutd kitt to be in my pos'ition. I do maybe thirty min-
would knock them backwards. Rea[ recognize utes of work a night and get paid what some people
rea[, though, so if you don't come from that make in a year. And that's a btessing. A lot of peopte
daisy shit you'[[ appreciate my music. Ortando strive every day to do the one thing they [ove, and
takes its talent for granted sometimes. And if maybe they do it and don't get paid for it. I'm get-
anybody knows that, it's you. I can't betieve ting paid we[[ to do something I'd do for free.
you stitl givin' these mags out for free. - As told
to Julia Beverly, jb@ozonemag.com - Jessica Koslow (Photo: Raandu Avion)

OZONE i AGMINE APRIL 2004


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D-Roc,
? ??.tt'ffi*1,*rlJ'ff#i*{*ijl[
the taller half of the Ying Yang something different, it's like hold on now, looka
Twins, responds to my questior wlth a, here. lhat'i why I just make my own ptate. I

iii1;1l" ::,loua snort. lt's mid-2002, and w6'ie iii the don't tike my food all mixed up, I tike mine one
:i.. ,.:,:.t:,t,rnidst of an impromptu int€rvieW ou!$de at a time. So if they just put atl my food and,,
::: Club 112. The hiiper,i{!:ive"C!roi'9. stap it att together...
,r .::,::.::f,l::l,Atlanta's
attention span is limited and my patience
1i;11;;,*ears rhin,quickrv' .:, ,r::ri:r. "":i'i'....irir,i:Rvoocl
il.il,riffTxl Hj!:T""::i""r#ilLr.
;';',t,,,,:,':fw.o-ye'diilllater, I'm standing in front of She gotta clean up. And shE gotta go to wor[.
il,,::.i:;:..,':,169i;ihotel with their road manager Der- She gotta get out the house, 'cause that's what
:l11.:', rickj,flThey:aren't dumb," Derrick pauses
,:t,r'1; makes a retationship stronger. lf she just sittin'
,1r,,,,,; ,':,':::rllii--1i ht a,cigarette. "Despite what people there tooking for something to get into, you
",lr:,:.,. ,. . fight think, it's just enteitainment." gotta give her something to do. lf she just sit-
;::l::l::::,:;,,1;, r .r tin' there, she gonna be tike, "l wonder what he
::! ii:!ltlF.&Aiffiia,,O,U-c.l1', more mellow D-Roc and doing now... what he doing now... what he doing
:1ii::':ri:iiil$,lieetEg,gfffing,into their hotel rooms af- now?" She gotta go to work. Come in with your
1:;i;1| ieett$d&l*i[!*$tD-Roc teans back against ends, too, so you don't need my money! Whoo!
rititli$!.it9eld llicks through stations on
:il*rti:::!&ii&r$*g$9!$i!.qe gn_the Disney Channel. You make a lot of strip club anthems. What's
*:::?:i:,1eSi:*:ra&tgirb6ait$!'nt where the "twins" the best strip club in Atlanta?
,atana.,::.-44..:t.-aa-a:aaa-,a.aaa.::E:a:..-4...:a:ra..a,,a-at-- 'mode.
l;::t:ill{r6$":tig!lfiig,gi{$inance - --' D-Roc: The best strip ctub in Attanta? oh, I got
several of 'em. You know, Pin Up, Magic City,
ft]i::,.::li:a:,$FiieaG*p'q;,Elt i working on now? Do you Body Tap, Jazzie T's. They got different days.
in progress? Kone: Wednesday is Pin Up's, Jazzie T's is
lllj1lQi&oc''!@ii{tinna start working on it, but Sundayls:i,Body Tap, they be off the chain on
,, ,,,l,ijililW,?, just 0$i'.:ing to get [our last atbum, "Me Saturdail,r'

,,,.t:riiti&: y Brother,"l ptatinum. We atready gotd, D-Roc: Preach on!


we about 150k away from platinum. We're
l..,]::]:t:,l,pretty
- excited cause we ain't never got that What's the best way for a stripper to get big-
{^-
far. a^l A ,^,^,,,^-
we was h-^^,, -k^, ,+ +k-+ ,+ ptati-
Gotd, happy about that. a,
But ^l -+i -^, +i^-
ger tips a,^r
from ,,^,,)
you?
:l.,,.r::-: And we've got Don Yute's first singte, D-Roc: I dunno, I just go in the ctub and have
",num??!
" 'r:.. he's a Jamaican dancehall cat on Stip-N- fun. That's my fun time. lf I'mma spend, l'mma
Stide, we got Bonecrusher's first singte "Take spend. lf I'm feeting like it that day.
Ya Ctothes Off," and then we got a joint on Kane: Our album sales are a direct reflection
Britney Spears' atbum. We on Nick Cannon's of the strip clubs. So it's not that we go just to
new atbum, and we got a tittte came on the go, we go because the money we invest in strip
movie sour Prane' :l'i:',5;."JIffi"r?:'i#;'Jr;ff fll;f.'i;
Britney Spears and Nick Cannon ,nrru"l the weekend, but they onty making thalrtype of
collaborations. How did you hook "."that up? money when songs tike ours are being ptayed.
D-Roc: They folks catted us, so, BOOM! lt was We went from being nobody to being the fa-
tike, aight. Britney atready had the song, we vorite group in the X-rated ctubs, so what you
just went in there and put the Ying Yang on see in our sales comej'from when we keep put-
there, so it came out FIYAH! ting out music. That'i lhe Same reason we out
here chittin'. We sett a[[ our singtes to the strip
You just shot the video for "What's c[ub, we don't setl 'em to the wortd. The world
up
Happnin"' with Trick Daddy - who came comes into it. They wanna dance again, yeah,
dance, dance, keep dancin'l

So isn't "What's Happnin"' a crunk song?


Kane: Yeah, you could say that the way we
make music and act might make'someone put us
you rn a ,in the "crunk" category. But the diffeience is,
we rap about something tike, (raps) "She a reat
freak, tryn'a make those ends meet, don't and we stitl humbte artists. People find this hard
be tryna mu'fuckin' tease me." But this is to deal with, hard to betieve that we're at the
crunk: (screaming) "YOU GOTA POCKET FULL [eve[ of the game that we're at. We're at this
O' MONEY BWOYYY??? I DON'T GIVE A FUCK!" [eve[ because btessing comes from work. Btess-
That's crunk. ings don't come when y'att just sitting on your
.:,.:.. rlru.r:..,biitt
#F begging.
'-*'*ts.F f
Rico Wade commented that you are more D-Roc: Hard work and making good music.
3,:3 talented as a rapper and freestyler than That's the two things we do.
. ' {.r_
.t Li
\
people think. Do you'rrth,ink, people.'re.ipect Kane: We aiways knew we was gonna make it.
your talent? D-Roc: Marna,said if you work hard for it, you
\!r\
l\
Kane: They:havrii,!o.:rg!peet it 'causq ritli.:got,",,could ge! it too. (taughing)
the game at a :standltitt;. We,rdonlt think.they:' , ' ,;:. : .

_,-1 futty respect it;'bitir:i4e goJ',the,:garne:ilbcked:r:,, Soire y'alt really brothers?


down. Peopl0 haven't eV€rii:reeO the who[e'.::O'Ro€: Nahh...
group. Th'is ain't nothing. Th€::dodtf,r'just go,!,,. Konq: The questions that we get asked.. some-
opened so we,can put in:WhAtr'Wgire,,t0tq{y1,,'rl'9ne]:i€atty needs to get us on Behind the Music,
capabte of. My brother, D.Roc, is.',,nioiiti,tj[g.:j:1r1111;5 6 person that coutd better explain us as
crowd pteaser. l'm a lyricist. And'6ne of these a group to the peopte woutd be Smurf. Every-
.days'y'att gonna see. thing that's come to pass with us began with
the peopte, but you have to see it first before it
5it.do.,!,tbu feel like your album "Me & My happens. Smurf saw it before we saw it. Me and
" represents your skills completely? D-Roc, we dropped an atbum in 1997, with no
;Lll.a person listens to our atbum, you't[ hetp, no hetp. D-Roc and the 2-Time Ctick, "Tru
.kiiOW, we got skitts. 'cause the whote Dawg." But we had no representation.
;..rye':{Ap. We don't just have booty
rgSr.iri .::r. So the album caught Smurf's attention?
b,6pt*.dnn't understand the fact that Kone: Yeah, 'cause we were 17. No dudes had
as inStiuments. You know,
,11o.ur,riV.diEds did that as young as we were. And we had came
or ptaying an instrument is part of up with "Get Low" then.
'rllQ9.--&:lq!9l- ne.&l}9l'll:PqL::
0::I9!,rr, . llf:.{Olc€ oll :,',...::i..
l{:
.

:of,:,ihqit ili't!:d th€i:inrtfdment. Ar:,:Didn't,:iihe ':Get Low" hook originally come


tot of people try to come up with some kinda from a fraternity chant?
..:::igfta:tije:!vsi!d,nbt'ilori'Ofiryhat typ6 of music Kone:,:W6,dJiilt neVer bEen to,cotlegdilq',ltieatty
we doing or why it ain't tike everybody etse's. coutdn't tett ya. We came up with that one just
lliJ8S:ltieiads6:we'itudied out future. Whatever sittin' at thd crib. Wherever"iit4rnei.tfolil:.jt:r .ir:'.::::t::..r::::i::

D-Roc is good at, he studied it to get tike camefromonevoicetoanothervoiceanditgot


that. Whatever I'm capable of, to the best heard from around the wortd. I mean, that "Get
of my abil,ities, I studied it to get tike that. Low" shit is otd as hett. lt didn't come out untit
When you tooking at the Ying Yang Twins as we turned 25, cause we gave it to Lit'Jon when
awhole, lror;'re lookirig.at.entertainers. Werhe,agked.fqf it.,.Therels.alotof stuff that'sold
ain,lt.grunk iappers.'Ct.uiili.:is:rour way of be:':,,4i helt bti{jt'wqn'tcoiiirii''out now.
r.,':i:::t:.,:
ing::iFhat'inea6;, before'W€rf Eirie.,gq!, when
Master Pi€din€.,6rt with the N0:Limit:soldiers, 5o,dq you have any more hidden hits?
we useal'tO U6.,il the ctub. ma *hen thg.ttuU. fanEililliigleah.,,We ain:f t gonna tett you nuthin'
was too packed we'd be in the middte of
about 'em though, you gonna have to hear for
the street in our van, rockin' the'ritiii.::in.thd yoursetf. You gotta'hear 'em.
l:l'middl€pf the street. We crunk. TheOnly art:
;:$f,ihetilteppjn' that right now is Litf Jon, no Being on the same:',!a'bel,a5. Lil Jon, has there
that crunk side. We dOn't been any friendly C.qfnFltjlion belWe,e-n y'all?
':0theiiiitigt'lhirtrtted
,,want:nobildy'to take it wrong when w_e-have D-Roc: Nah, Lit' Jon:ibeentn..:al!:..Xtgt'b.A9:A.l:
to.speakon it;,:h€fs,just the overseer.of the bums, so we atw
whote crurt!,,:erA :The peopte of Atliihta],own When he was at $|*'&q[hg:g,e{.,i$!i&ltli{&ii&!i:,:il]'li:,rr,',
that crunkness, he tiked it, so he put that on pitation, "So So Def Bass Att Stars Vo[, 3," thgt
a worldwid€::5!ii{dril';lt,r:: ,i.l:.' was the nrst majOiltlili ,.q.ll

Where do you come up with song ideas? Why did you call the
Kane: Just deQ!$gtwj,t!*eth other. We don't er" if you aren't brotheiglliXil*,:t,i.1':;nliiiil*:,1iit::,|l:
deat outiid€,qft:liitlii(rinade us what we are to- Kane: 'Cause that exptdriiiili;lli*iiiiiffgigfislliaa:|fi:1]:i
day. Wq.,ldellikewi$ shoutd say what the next When he nighttime, t'm Aiy!!$6{1fi&gif€eI!$!i$ia$:::
persqn.r:W0illdn't say. We atways wanted to ,goo{, I ain't feetin' good..lf:IfFC-.t$C&!$i,lll9]e!l.{$lialiilllii:ia
say liihik€tyqur ass" or "bounce that booty" feetih'good. ,,.i .x, , ' r

without saying those words. A mittion peopte


caii.m,Akdt$iii,idi:lh-a! say "shake" or "bounce" How did you p6sfJ:l:lli:
in it, but a tot of peop[e can't fit other types Kane: Juit watkin' down the
of words around it that mean the same thing. walkin' down the street, he wa
.r:5o if tfi€i1drlril!,lafq$l!:,gqq1!q!S.hAd..fsr,.,,.hq6q*tt9sald, 'i5hawty!" and
':::them ro.rii&ista6.ll:t]lt:.tl
Ii
.f€qitge0.p!elld0ilt:::i:.!eii.eid;::i:l€E3dci,i!1Isaid, "Lel i{i.Ftg:lI Jrl.:a :::::ii::,ri il:
'understaiiiliitr,makSi:it:,ea$€iifpi'thm!: toiti:b€€ri:ri]nr'ever,Sndiililve were prot ih&i$ts,',$;l$;,,,
:::rrrrl:.i:atl:ti:i,: t:i;atll::a:i:r.

''..', :::rr::i::1.rli:rri:l

and.,eriticize and:stahe.:E:lli$aniFEllili:,.dii_fiii)iii,:i;,rHevei:tou .alwajii wanted to:iap? , . . . i..j:i::i:t.i:j:tr::ii,


]'1'rrjlliilliflil:i,'...
.

aa,vihy this shoti1dt',li:bgl.fh.e::i€*sotiit{hirte D-Roc::Oh, yeah. We atways did. lt's entertain-


df6 being is ment that's atways my btood. Being a
industry it's the great ones,
high demand
know what
'em what
the most
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health & fitness: push, push, push by James Gaspard, CSCS

ou've peeped those pecs on 50 and LL. Wett, even if you haven't, you know some girl has. Ever wonder
why your chest doesn't look like theirs? Wet[, it's about time you caught up by taking the classic push-up
to the next [eve[. Push, push, push, and you'[[ have a cut and tight chest region. lt's as simple as using
your own body weight and some stuff you have lying around the house. You can use a chair, a park bench,
or the steps of a staircase. Etevating the feet during push-ups not onty increases the intensity, but the angte
atso places more emphasis on the upper
chest.
>
'tindgrab a chair, bench,
Simpty C-m@fC
or some steps and "'""'{' """
begin in the regutar push-
up position with your feet together and
flexed. Your back should be straight, abs tight, hands around chest [eve[ and a litter wider than your shoutder
width with fingers spread, pointing straight ahead. Have the chair, bench, or step a full body-tength away
but a few inches away from your feet. Raise one foot up and then the other, extend your arms and reset your
back. Make sure you and your equipment are stable and secure - trust me, you don't want a chair sliding
on you in the middle of o repetition. You should be close to paratlel to the floor at the top of the exercise.
Keeping your body straight and your head neutrat, take a deep breathe and lower your chest towards the
ground. Pause when your etbows are at a right angte, hold for two seconds, and push back up by straightening
your arms, exhating through difficutt points. Keep it nice and controtted. Repeat for three sets of 1 5. - For Consult your physician before beginning ony exercise progrom,
more information visit wwwencorefitness.net or contact James Gaspard, james@encorefitness.net Results not typicol. lndividuol resuLts moy vory. Best results are
ochieved through proper nutritionaL and exercise plon.
PASTOR TROY seryes a purpose. lt's a
tittle call-and-response has decided to drop "Capicu" / "Out Da Box" first,
"BY ANY MEANS NECES. track, easy to remember and sing to. The CD but you can overtook the R&B formula when it
SARY" even comes equipped with the BET Uncut video works. Tony is at his finest on both production and
Universal for "Don't Catl Me." - ADG, adg@tmai[.com DJing on "Just Be Good To Me," with hetp from a
Without resorting to pop, MC Lyte vocal sample from the classic, "Poor Geor-
it takes time for an art- LAURA DIAI,iANTE gie." With a few exceptions, each song deserves
ist to bui[d a fan base "STYLES UPON SWLES'' its own review. I believe l've given you enough
nationwide. With that in lntros are important be- to go by, and l't[ end this piece by describing this
mind, atl of Pastor Troy's cause they set the stage hip-hop album in two words: CLICK BANG! - ADG,
prior independent albums for the album. Laura adg@tmail.com
had that gritty Southern settles with the overty-
flavor that he is known used phone catl intro. lt SAIGON
for, specificalty designed wouldn't be that bad, but "WARNING SHOTS"
to ptease his regional four and a hatf minutes of SURE SHOT RECORDINGS
fans. On his first major retease he switched up hearing cetebrities hotla A warning shot is a shot
a littte to appeal to fans nationwide, and I must at you is a [ittte ridicu- straight in the air in order
admit Timbatand's hard-hittin drums had me lous. Seconds into the to draw attention, or gain
cuttin'l But it's a new year and a new atbum, second song, "My DJ," control of a situation. But
and we hear a littte less of Mr. Revetations and I see that her intention

W
why does Saigon feel like he
much more Mr. Universal. "Ridin' Big Yo" has was good, but short is sweeter sometimes. has to buck a few shots be-
hetped him get a tittte exposure, but there's no Virtuatty unknown artist Vortex spits a few lame fore his debut? Saigon takes
ctear-cut radio singte on this atbum, with the bars and kitls the feel of this banga. The produc- you through freestyles,
possible exception of "Crazy," a diamond-in- tion of Nick Fury on "Move With Me" is just as streetbangs, and songs from
the-rough. 8Bat[ and Juveni[e drop so-so verses sotid as his other three songs ("My DJ," "MCs," his upcoming album. "This
on "Nice Change" and "Boys to Men," which and "De-Ja Vu"), but the menacing production copy is intended for promo-
'is a big let-down, especiatty since both come of Btackout on "Da Bounce Track" atlows Laura tional use onty. (pause) Do not get your ass beat.
equipped with very decent hooks and equatly to demonstrate her lyricat abitity, kicking tyrics (pause) lt's not worth it. Promotional use onty."
decent beats. A few filler tracks are expected at Twista speed. On "MCs," Laura spits bars that Saigon follows this ctip with the Julia Andrews-in-
on any atbum, but the DJ Mars-narrated, Taj Ma- can easily compare to a Remy Martin or Lady spired "Favorite Things," where Sai specificatty in-
hat-produced "Benz" 'is just ptain awful. Using Luck flow Six of the eight songs could easity be forms us what his favorite things are. We[[, except
the worn-out Whodini sample from "Friends" promoted as a lead single, but since the album for his favorite groupie, because, "Um, there's a
to drop a song dedicated to whips woutd have is only ten tracks deep, it's hard to rate this whole bunch of them!" Atthough this is a simpte
been better as an excusabte intertude or skit. album on the same scate of a fut[-tength atbum. concept, homie pu[[s it off nicelyl lf you're [ook-
Throughout the atbum, it seems like Troy is Laura comes with a comptete product, but if 'ing for more intense wordptay, tune into "Sticking
about to drop that heat, but never quite comes you [ike that Skitttes Pop that has been saturat- Cap" or "We Want ln," where Ati Vegas, Mekka
through. White trying to make that awkward ing urban radio for a minute this might not be Mi[2, and Sai ride a guitar riff driven track to per-
change to appeal to national playlists, Troy's for you. - ADG, adg@tmail.com fection. On "Papi (35 a Gram)" we hear sai's tales
lost some of his appeal to loyal fans. - ADG, of hustling, cooking, wheeting and deating drugs.
adg@tmail.com TONY TOUCH Midway through the atbum we see the human side
"THE PIECE MAKER 2" of Saigon's character, with tracks like "Huh Mama"
DRIFT Koch Records and the potitical "Kiss the Babies." He also flirts
.,RIBS IS TOUCHIN'"
When you pop in a CD and with the idea of Big Brother's responsibitity for
BRICKHOUSE/LIGHTYEAR the first thing you hear is drugs and guns in Americ and "Pop Quiz"
Unconventionalty, Drift a toddler saying: "Warn- are two more comptete songs, but I believe Sai put
atlows P-N-C Chynk ing, the Surgeon General the most effort into "1f," a dedication to his moth-
Showtime to btaze his of Brooktyn, New York, er. The last four tracks are freestytes courtesy of
intro first, with bars [ike, has determined ONCE Kay Stay, DJ Shok, DJ Absotut, and Whoo Kid, the
I'm att

pffi
"Dawg, about AGAIN that the sounds latter of which raises a few questions inctuding
business and I don't re- you're about to hear the current trend of NY artists dickriding Southern
atly care about sendin' can be devastating to artists, and the lost art of hip-hop in complete
four shots at the witness your ears," you probabty albums. These warning shots definitety got my at-
/ hittist, watch
You on my think it's nothing more tention, but there are no gold or platinum singtes
ya lip bitch, I got a clip than a simpte intro. By the end of this effort, on this album. He won't setl 8 mittion retail and
earty you can get before however, you understand that this warning was won't have a world tour with this release. ls that
Christmas." Drift then one-ups him with his own realty necessary. Tony Touch has been a ground- good or bad? A few years ago, KRS-One stated, "l'd
braggadocios verse. The atbum then moves from breaker on the mixtape circuit for years as a rather have a hundred-thousand real heads buy
a gangster feel to a tittte ctub ditty, where Motty DJ as wetl as venturing into different aspects of me than one mittion of your fake fanatics behind
hetps with the catt-and-response infected hook. hip-hop. With atmost a four-year gap since the me." I think Saigon feets the same way. - ADG,
You might want to listen to this one a few times original Piece Maker atbum, we see that Toca adg@tmail.com
carefully, because it's easy to nod your head has gotten a littte more invotved in the pro-
to the beat and miss the wordptay. Drift spits duction and stepped his game up a bit. Other GHOSTFACE
metaphors tike "Taking ya ptace like Loon did beats are provided by the likes of RZA ("Rock "THE PRETTY TONEY AL-
Mase" and "Hit you with a shotgun like Etmer Steady"), Beatnuts ("Capicu" and "A Beautiful BUM"
Fudd or Jayson Wittiams." We get a bonus with Day"), Erick Sermon ("How You Want lt"), Sean Def Jam
"Don't Cat[ Me Pt. 2," where Remy Martin drops C., and a few others. Most, however, can't be Wu-Tang this, Wu-Tangthat.
a pretty credible verse which clarifies, "Niggas compared to the beat Pete Rock drops on "Out "ls the Wu coming with an-
is dumb and bitches is dumber." The atbum is Da Box." You can almost taste the cutture, with other atbum?" "Where Sha-
onty twetve tracks deep, keeping the focus on Large Professor, Pete Rock, Masta Ace, and Toca olin's finest at?" So many
the music. There's no skits or needless mate- sprinkting their updated otd-school flavor. Doo peopte are asking these
rial, just the meat! Other notable tracks inctude Wop returns to once again give us that Diaz questions. On the intro to
the solo cuts "We Coutd Do This," "Att I KnoW" Brothers' duo on "Ctick Bang." Atmost atl the Ghostface's fourth solo
and "Where They At." On the titte track, Drift artists entisted for this atbum exemptify hip-hop release, "The Pretty Toney
exemplifies his flow to perfection. His wordptay in its purest essence for the past decade. Na- Atbum," he te[[s us that the
on this song coutd be compared to that of Jay- ture, Sean Paut, G. Dep, and the dead prez hotd Wu witt have another album
Z, Jadakiss, and Eminem. Fitter material on the it down for the newest generation of artists. On together as soon as atl the individual projects are
atbum is kept to a minimal. The weakest track his last atbum, we saw Toca come together with reteased. This atbum revisits Ghost's soul vibe.
on here is the single, "Don't Ca[[ Me," but it some of Total for a radio singte. This time Toca lnstead of using beats with sped up vocal samptes,

OZONEMAGAZINEApnu20@l 45
Ghostface uses vocal samples at original tempo
on tracks like "Save Me Dear" and "Hotta." Pro-
duction on the album is provided by Citvaringz,
No lD, K-Def, Minnesota, and RZA, whose styte
is ctearty evident on "Kunta Fty Shit." The
drums and trumpets at the beginning of this
track are ctearty RZA, if you coutdn't tett by
the name atone. No lD comes with the track
for "Metal Lungies," one of the best tracks
on the entire atbum, which is rerniniscent of
Wu-Tang in its heyday. Production is sotid, and
features inctude Trife, Sheek Louch, Missy El-
liot, Jadakiss, Jacki-O, Musiq, and K-Fox. This
diverse group is a testament to Ghostface's
versatitity and experimentation. "Biscuits" is a
track which seems to capture Ghost's very es-
sence. He doesn't lock himsetf down to specific
delivery patterns, and thus can motd himself
around the beat. He comes strong on other
tracks like "Be This Way" and "run." "Love," a
rather unique track, features the vocal finesse
of Musiq and K-Fox. lt doesn't sound like some-
thing you'd necessarity hear from Ghostface. He
detves into his definition and questions about
love on this track, proving that he didn't teave
substance at the door with this release. "Tush,"
featuring Missy Ettiot, is a radio-friendly track
which shou[d draw praise from the crossover au-
dience. lf you're a fan of either Missy Eltiot or
Ghostface, you definitety want to check for this
track. Both MCs do a wonderful job of adjusting
to the production, and Ghostface drops some
hot vocats. Att in att, "The Pretty Toney Atbum"
is a good buy. lf you liked Ghostface's eartier
works, you certainty won't be let down with
this release. With solo LPs tike this on the way,
it witt be easier for Wu fans to be distracted
from thoughts of another group retease. Quatity
atbums such as these make the wait a whole lot
easier. - Rohit Loomba, ctpros@arcaneproduc
tioncompany.com

CORMEGA
"LEGAL HUSTLE VOL. 1 "
SAMPLER
Koch Records
"What up wit' Cormega, .: i!
did ya see him, are y'alt i:
together?" lt was with
these words from Nas
that we were introduced
to Mega Montana in the early nineties. Ten years
and a few solo projects later, Mega brings us
" Legal Hustte Vot. 1 , " with confi rmed songs fea-
turing Legal Hustte artist Dona, Brooklyn's own
M.O.P., Wu's Ghostface, the legendary Large
Professor, and West Coast G's Jay-O Fetony
and Kurupt. The lead single, "Let it Go," has
been bubbling on mixtapes for a few months,
and word is than an animated video has atready
been created for it. The sampter is onty five
songs, but hits hard with the first singte steat-
ing the show. M.O.P. and Cormega's chemistry
mash great over the lackidaisy beat for "Let it
Go." On "A Beatiful Mind," we're taken through
Cormega's train of thought, onty to come out at look the most "official." F.A.T.S. presents us features Freeway, F.A.T.5. drops a few memorable
the end more lost than we were before. New- with nothing more than a stim jewel case with bars [ike, "Yo, I got a bag of chips in my hand, and
comer Dona drops some hot bars on "UFO," but a scotch-taped list on the front and a handwrit- slabs of nicks in the bag of chips in my hand." The
her status is reveated on "The Bond," where ten name on the CD, so l'm not expecting much. Harlem rapper might not have the South's atten-
the seasoned veteran's tongue is just too fierce. The name sounded famitiar, but if you can't re- tion yet, but he's enlisted Lit'Wayne and Truth
- ADG, adg@tmail.com ca[[ where you've heard it before, don't feel Hurts for "Maria," the smoker's anthem paying
bad. This former Darkchitd artist got a chance tribute to Maria, Marie, Mary, as in Marijuana.
F.A.T.5. to share the stage with none other than the Hotta! - ADG, adg@tmail.com
"Finally A True Story" currently indicted King of Pop, M.J., on Mike's
sampler "Unbreakable" album a few years ago. But it's
Usualty when I go to the 2004, and Mike is nowhere to be found on this
office to pick up poten- disc. lnstead, we have a variety of tracks with
tial
reviewabte materiat, the likes of Lit'Wayne, Brandy, 50 Cent, Truth
human nature forces me Hurts, and Darkchitd himsetf, Rodney Jerkins.
to first pick up CDs that On the tentative lead singte, "Stand Up," which

46 OZONE A AGAZINE Apnt 2004


*J':
playlists Hpnrf trffid
?J'c i"tuli+N:e*=**. fll*;

01 - R Ketty "Happy peopte,'


l?)$3 G;xj**rr

02 - Baby Cham "Vitamin l-.,


-?f '*f'5y"
rr**li*e "**':,1 {*F,l *-?}?N.?zyr-:r:. 03 - Nina Sky "Move vour ioav" ,T..g-5.ggf
I'l#S* r'qi: TV {tdjas:li" F}.} 4+*v'y F,s.r$*t**
Drama
01 - Mario Winans
"l Don't Wanna Know'
02 - Usher "Burn"
f/ Enya & p Diddy 01 - Chingy "One Call Away"
02 - Etephant ir{an f/ Twista & Kiprich ',Jook Gal.
;i
.
i,Xi{ [#*iq?:ii#,li,"Xo
06 - Mystikal "Oochie poo,'
07 - Ditated peoptes f/ lianye West 'This Way"

03 - tknye West fl Sylenna Johnion "All Falls Down"
03 - Usher fl Ludacris & Lil'Jon "yeah,, 08 - Joe Budden "ya Body Hot"
04 - Lil Flip "Game 0ver"
04 - D12 f/ Eminem "My Band" 09 - Big Tymers t / Jazze pha -Beautifut Life"
Vegas fl Wayne Anthony "putt Up.
05 - Beyonce "Naughty Girl." !l06 -- f.
Outkast "Roses"
10 - Kevin Lyttle *Tirrn i,le On*
06 - Twista "OVernight Celebrity', 11 - Cam'ron "Hey Lady"
07 - T.l. "Rubber Band tdan" 12 - Ying Yang Twins fl Trick Daddy',What's Haoonin,,,
07 - J-Kwon "Tipsy"
0B - Twista fl Kanye West "Overnight Celebrity" 13 Cassidy f/ R Ketty &. Trina ,,Hoiet lremix;'i"
08 - Lit'Fiip 'Game Ovel'
09 - Jay-Z "Dirt Off Your ShoulderJ' 14 - Choppa "Hot piece'.
09 - Petey Pablo "Freek-A-Leek" il
10 - J-Kwon "Tipsy" rku#nc4i\!".'
10 - Kanye West f/ Syleena Johnson --W;M 15 - Cassidy f/ Mashonda ,,Gets No Better,'
"A[[ Fatls Down" ,:$$E&ffi
T _ ..q is.
.,
1'l - Jay-l "Oirt Off your Shoulder"
12 - Chingy "One Call Away,,

W}4SX L*{+:i L*t, {W'**t Fal::r. flL}


01 - Batlers Ktub "Stitt Soinnin"', -
Bahs"
33 . |$yf","fanu
04 - Lit'Rock Dogs "6et Loose"
#g
05 - Rempage "Gimme Some More"
06 - Dutch "Get Money"
07 - PS & Non "U/Shorty"
08 - Lit'C "l Got Love"
09 - 6o Gettas "Get Loose,,
10 - The Messenger "Don't Watk Away"

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01 - tit Ftip "Game Over,'
02 - Petey Pablo'Freek-A-Leek,,
03 - Dirty f/ Lit' Burn One That,s Why l"
04 - RZA "Grits"
05 - Erick Sermon "Retenttess',
06 - GangStarr "Same Team, No Games,'
07 - Koot G Rap "Gutty"
08 - Ghostface f/ Missy "Tush,,

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01 - Daddy Stro "Low Low.


02 - Tom G "Get Loose"
03 - White Boy "Do Oat Oance',
04 - Jody Breeze "Wh.ite Tee"
05 - Dem Boyz "Hottywood Ride"

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#iJ - *lrriii* *j*** fi .:"r::re" Fr-r* ,,i*;ry"
1516 E. Colonial Dr Suite 205 Orlando FL 32g03
The 2"d Quarter 2004 Tastemakers Only Sqad Up / Naw What I'm Talk'n Bout - Money Yung'n
hetd on Aprit 14, 2004 at the Moon in Contact: Lee Anderson - 61 4.37 4.1636
Tattahassee, FL was a monumental success! Known mostty for their underground freestyle mix CDs, Li[
Over 800 music industry professionats, Wayne's former prodigies, Sqad Up are now taking grown
artists, DJs, retaiters, tabets, journat'ists, man steps on their own. Reppin' the Crecent City of New
video shows, producers, and others Orleans, Sqad Up wants to know if rims, showing love in
attended the event. Veterans such as Kashif (author, different cities, and getting your grind on is on your mind,
"Everything You'd Better Know About the Music Business"), then you know what they are tatking about. lf you speak
Don Cody (CEO, Moses Media), Jazze Pha (producer, "Sho the same tanguage, then you shoutd dig this track too.
Nuff"), James Eichelberger (A&R, Univesat Records), Earl
Little (CEO, Ear[ Littte Entertaintment), Ricardo Spicer Beelow / lt's Whatever - Ballin Music Group
(retait, Def Jam), DJ B-Lord (Petey Pabto's DJ, radio Contact: Cory-A - 504.780.8088
syndicated), and DJ Demp (Lit Ftip's DJ) were among a few Beelow may be remembered as the guy who tinked with
of the Tastemakers in attendance. The educational panets, networking, Juvenile on "Big Body" to tetl us how he tiked his cars. Today, he uses the
and ideas discussed wit[ lead many of these Tastemakers to return with traditional New Orleans bounce track complete with horns reminiscent
new converts to the next meeting on Juty 21, 2004. For more information, of the French Quarter jazz bands. This song is to let you know that if
pictures, video streams, and to utitize our message boards, join the 10 you want to get it down, "lt's whatever, however you wanna do it." lf
mitlion others who have visited www.TJsDJs.com or catt 850-877-6090. you're lucky enough to see his performance make sure you check out the
"Whatever" dance. lt is sure to light your ass on fire!
TASTEMAKERS ONLY XCLUSIVES (2"d Quarter 2OO4 - April 14) Disc 1

Chitly C / Get This Money - Make-A'Do[1ar


Bloodraw f. Pastor Troy & Grandaddy Souf / My Block Burn - Bloodraw Contact: Chitty C - 228.474.2796
Contact: Charles Wakety - 352.246.4495 Much like 50 Cent, Chitty C is about getting this money or die trying. This
This song featuring the Georgia crunk sotdier, Pastor Troy and O-Town's is his story to let folks know that it's not easy getting dough selling snow
Grandaddy Souf was produced by Get Coot. The hook witt have you shouting or rapping. But, through perseverance and a heavy piano driven track,
through the rooftops ofyour ride and ctubs across the land. Very setdom wit[ Chitty C is breaking the bonds of the hood and stepping out to carve a
you come across an artist that has got "it." When you listen to Bloodraw niche for himself.
spit, you get that sensation. Not to mention, with his phenomenal stage
show he stote the Tastemakers Onty Showcase! Don't be surprised when FlaGa Bois / Burn One - FlaGalistic
you see him painted on the landscape of hip-hop in the near future. Contact: Miraculous 229.561.3110
Fottowing the lead from the world's favorite Aqueminis, the F[aGa Bois
Suave Smooth / Back Tha Fuck Up - Headquarter get their name by merging their home states, Ftorida and Georgia. "Burn
Contact: Jermaine Watson - 561.389.5525 One" is a mid-tempo ode to canibus that exptains the best situations to
Suave Smooth turns in another ctub stirring jam with "Back Tha Fuck Up." burn one with your boy. They like to burn when on a tate night creep,
No matter where you're from this track is fire, but if you hait from Florida, trying to retax, or hanging out with women. lf smoking is one of your
it'l[have a special appreciation for you. He gives specia[ attention to favorite pastimes, then you can understand what they're talkin' bout!
the counties in the Sunshine State such as Duval, Potk, Dade, Leon, and
especiatly his hometown of Patm Beach, bitch! But, what sets this song off Mista Dunn / Everybody Batlin' - Black lce
is how he exptains life in the F-L-A. "Ftorida is similar to lraq/These ki[[ers Contact: Gwendotyn Ferretl - 404.246.6842
will attack." Suave is doing a great job putting South Florida on the map. This is a party tune reserved for peopte trying to hang out for the evening.
"Everybody Battin"'uses the same clap pattern as 50 Cent's "ln Da Ctub"
Tocka / Down The Way - Garnett to get booties moving. Don't worry if you're a batter on a budget.
Contact: GT - 513.233.1270
Tocka has reached atl the way from the Nasty Natti, known to most maps as Lil Rock Dogs / Dirty South - D.E.C.A.
Cincinatti, OH. The thing about this song is that it describes a dance that Contact: A.B. - 888.577.3322
has the Natti burning like a race riot. To do the "Down The Way, " "First you The Lit Rock Dogs coming straight from Bette Gtade localty known as Muck
feel the beat / Then you start to move your feet / Your head rocks a little City for the richness of its soit. This high tempo track is a wetcome from
/ Yeah, you got the rhythm." The good thing about this dance is that it's the Dogs to life in Ftorida. This is where they have gotds, smoke btack &
unique to each individual, but when it is done correctty, it looks a tittte like mitds, and bust gats first. Look for the Li[ Rock Dogs to continue the proud
the "chicken head" on a wet floor. Muck tradition of good music.

Zay f. Lil'Jon, Bloodraw, & Kamikaze / Pump Ya Brakes - Bombshell Uncle Head / Bump - Bottom Lyne/So Phatt
Contact: Nikki - 912.898.3726 Contact: Head - 850.980.2725
Zay recruited the officiat king of crunk to lace a track that features Bay Patm Beach, bitch! native, Uncte Head jumps on a phatt track that
County's finest in Btoodraw and the Mississippi monster, Kamikaze. For borrows from 2 Live Crew's "Shake lt" for this party tune. Atthough
those that don't know, when somebody is stressing you or invading your he is an ex-member of the tegendary Sptack Pack, don't be footed into
space, te[[ them to "pump ya brakes" and stow down. Otherwise, you may betieving that his career is over. With this cut, Head proves that he can
have to decrease the peace. After alt, Zay is "from the crib (Miami), where hold it down on his own.
they live by the streets and not the fucking industry."
Kimillion / Jump On lt - Rough World
Big Wynn f. Lil' Jon & Rasheeda / Shake 'Em Off - Real Money Contact: Ray Goody - 866.768.4491
Contact: Tish - 352.378.9901 Finatty...a hook I can tive byl Kimiltion may not mean it the same way I

This song is dedicated to the winners of the Hater's Bat[. For atl the jealous perceive it, but l't[ stitt "jump on itl" From the beginning of the tune,
people that sm'ile in faces and tatk in the back of others. Big Wynn tags it feets like Newcleus'hit song, "Jam On lt," sprinkted with "uptown
with Lit' Jon and the crunk queen Rasheeda who rhymes the sentiment best soldiers and down south chicks." There is nothing like hearing a female
when she admonishes, "Stop pointing fingers/others ain't the reason you artist rep for the women AND the men. "Jump On lt" is a definite pre-club
a'in't shine. " By the way, Big Wynn is a 6' 4" 250 pound professional boxer, get right track. Also can be used for parking lot pimpin'.
so ifyou sti[[ hate, don't be surprised if paramedics get invotved.
The Xtremists / Words Of Broken Souls Vol. 2 - Harsh Reality
Marc Decoca I Off Da Muscle - Silent Partnaz Contact: Mass - 561.541.3260
Contact: Juts Vern 404.488.8931 The Xtremists are checking in once again with a remix to their very
"Off Da Muscte" is an ode to the street strong arm tactics of urban gueretla poignant "Words of Broken Souts." This version is more upbeat than the
warfare, with [yrics [ike, "l'mma leave you some beauty marks with these original, but stitt has the same presence of social uprising. But, can you
diamonds on my knuckles." ThisAttanta native tries to show that living as btame them when a[[ they want is "in the words of my dead ones, this
an ATLien is tough when people try to "test your nuts." When you have money, power, l'm out to get some. " lf they keep dropping fundamentatist
nothing but your ba[[s and your word, Marc demonstrates that it is best if truths combined with powerful beats, then they'tt be there soon.
you break them for nobody. - Keith Kennedy, keith@tjsdjs.com

48 OZONEMAGAZINEApnu2004
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