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 2 year anniversary wrap-up
n just one year, we've gone from being a [oca[ Central Ftorida magazine to a regional Southeastern magazine. Whenever an entity sees growth,
I there's bound to be some growing pains. We claim to be "The Southern Voice of Hip-Hop Music."Are we capable of being a voice for an enlire re-
II gion? Absolutety. Are we there yet? No. Att good things take time, so bear with us. lt's frustrating because I know there are Jfew talented peopte who
would be a good addition to our staff, but it's hard to weed you out among atl the buttshitters. Back when I was trying to get on, I used to get pissed off
when magazine editors woutdn't return my phone catls. Now that l'm in their position, I understand. lt's not that I dont want to give other peopte a
chance, it's that I just don't have time. lf you're reading this last year's worth of issues and feel tike you coutd bring something to th; tabte, and you,re
doing it for the right reasons (tove, not money), emaiI me: jb@ozonemag.com . Att these back issues are on our website: www.ozonemug..or .
May 2003: One year ago, OZONE was onty
distributed in Ortando and Miami (we are now
distributed in more than 11 states). To introduce
oursetves to the Miami market and the rest of
Ftorida, our first anniversary issue featured
Miami's DJ Khated and Orlando's Dawgman on
the cover. lnside, we interviewed thirty of the
most influential figures in Ftorida's music busi-
ness, with Ctear Channel's Doc Wynter, WEDR's
program director Cedric Hotlywood, and TJ's DJ's
owner TJ Chapman ranking at the top of the [ist.
June 2003: Rated R talked a lot of shit about
his rival Tampa Tony during his cover interview
but we had to tone it down for management and
their beef quickty ended. This issue atso featured
then-unknown artists [ike Pitbull and Jacki-O
(who both are now signed to TVT), Attitude (who
recentty signed to Timbaland's Beat Ctub), and
Akon (who's debut atbum is about to be released
on SRC). Kitter Mike put in the extra effort to
drop some knowledge on Noe[ and I during his
interview in Daytona Beach at BET's Spring Bling.
July 2003: Cash Money
lined up for this posse pic
on the set of "Gangsta
Girt" in South Beach. Right
before taking this picture,
I'd learned via 2way that
Pure Pain's artist Camo-
flauge had been shot and
kitted in Savannah. His [a-
betmate, Micnificent, paid
tribute on the flip cover.
August 2003: Miami's Humbte Thugs graced the i.
cover, and the 305 was buzzing about our cover- 1,,
age of the Big Lip Bandit (99 Jamz radio person- f.
atity) vs. Funkmaster O[ty (underground ctub DJ) il
fistfight (fueted by Detre faxing advance copies :
of the articte to atl Miami media outtets). I inter- ,
viewed Juetz Santana during a memorable week
in NYC, white Noet and Rayfietd caught up with it
Chingy and Mr. Vegas in Ortando. An anonymous
groupie dropped off an embarrassing picture of
Peedi Crakk at our Miami office.
September 2003: September is atways a rough
month, but despite a few setbacks we made it
through. Raandu came through in the ctutch with
a hot cover picture of Murphy Lee, white T.l. and
David Banner totd me the meaning of "Rubber
Band Man." Our first "Patientty Waiting" edition
was on point, with features on Li[ Scrappy &
Trittvitle; many artists who are about to drop ma-
jor reteases (Pitbutt, Jacki-0, Akon, Duece Poppi,
Grandaddy Souf); and others who stit[ deserve a
deal (Kamikaze, P.M., Smoke D, and more).
October 2003: The sec-
ond "Patientty Waiting"
featured two talented
Floridians: Suave Smooth
and White Dawg. Other
notables included Bohagon,
Rick Ross, Tom G, Cot-
-
lard Greens, and Saigon.
Despite a bad experience
in Puerto Rico, I bit my
tongue for once in my 2t.
1O OZONEIdAGAZINETWOYEARANNIVERSARTMAY2OO4
E
November 2003: Jacki-O became the first
female to grace OZONE's cover for our sex edi-
tion" Our interview subjects were either very
uncomfortabte (Murphy Lee, Smitez & Southstar,
Lil Ftip, Chingy) or very open (Dirty, Grandaddy
Souf, Etephant Man, Fietd Mob). We somehow
lost the tape of the most explicit interview: Lu,
dacris' DJ Jaycee, so we had to improvise. This
issue atso featured "Abebe: the cheap asshole,"
and Noet's controversial LiI Kim feature, which
prompted an angry catl from Queen Bee Records. .
:==s.:-
t, Dec 2003 / Jan 2004t David Banner handpicked
his photo for the first cover of the New Year,
'-t
irrl since our original selection made him look "too
nice." lnside, Banner, KitterMike, Pitbu[, and
tt) Rico Wade a[ gave incredibte interviews. Pitbutl
summed up the Southern philosophy by tetting
New York labets: "Thank you for overtooking us
and teaching us how to grind and make our own
relationships. You put us in a position where we
L:
f.:; had to learn how to do it ourselves. Thank you
very much. I will laugh a[[ my way to the bank."
3###54
February 2004: I saw snow for the first time in
ten years while trekking up north for Wyclef's
photo shoot, then basked in the Miami sun and
patronized the [oca[ ice cream truck white
waiting forAnthony B's photo shoot. Put them
together and you've got our February cover. I did
a lit'
[i[' research for the ctassic artist vi.
vs. CEO piece,
"The Future of Stip-N-Stide," and managed to to I
piss off a few more people, like a certain Orlan-
Orlan- il
do police officer who I captured on fil.m
fi[m throwing
throwing ],
Lit' Scrappy off stage, and Choppa's pubticist.
March 2004: The original cover photo of Ques-
tion and his crew looked a littte too much like
Big Wit's March 2003 cover (rest in peace), so he
went for the Sandman look instead. For me, the
hightight of this issue was sitting down with Li['
Jon to find out what makes him tick. I even got
i
a free dinner out of the interview (journalism
doesn't pay wetl but it does have its perks). Bad
Boy hooked me up with a Mario Winans interview
i,,, in NYC, and I caught up with a heated Mr. Vegas
after a run-in with Pitbutt in Orlando.
i,
i
i
D.E.C.A. Records producer Papa Duck for the
cover story. Our valuable correspondent Jessica
Koslow came through with Young Buck, l-20, and
Lit' Ftip interviews. I chased down a few industry
execs in NYC, finatty got a coherent interview
out of the Ying Yang Twins during a photo assign-
I,,, FT {h{; ment for VIBE in Birmingham, AL, and came back
; tlilF lmffm" *, home to Ortando to tet Sonny Chulo reflect on
E SE[E![
: ill t*:-Gtffi3
r.x EI5"$ the past year since his mentor Big Wit's death.
:
i
i,
l,
i:
:
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!'r*._v*;:f *fj;ij\r*t1,jry. I :pell!. :l* m**.1 v€;l:': l:'ti-:eli- Guys, if you are out of shape, wearing this
int ini*::i*i:i i:nrjer*i:*, N li"jll partie .f i!*.fi ; Sri ssk*f iol iil. is not a subslitute for going to th€ gym
'ih*l'q:": iii*r-v qil*i*s:Lut"k :t i:i-it t'#* thti Le{,il}e
':-'y ltaitci, > Blackberry PDAs
ilrillt*;i+ fi'iin f lli*i*y: "il .v** r,ir*rio ?* iieiurs:r *+ii f*f :{}
fr1:/
Why aren't they called Blueberrys?
?sei"1. l{jrri:!'"arii{.e y*-u wlil *t urr*h*c11'." *nii i}evjij **r":n*ll "!
ir"i:.t icepi rir*rki*s. s.* i!&rJ i f*rgilt l*eIe w*s 6*ifig in i:e n p*y*f;." !**lr:- > Von Thug/Von Bitch tees
,".'h*r*i* i,hr f;1rt f*w y*:':r:;, i've ir*writtingl;r i:*carne n rc!.* rn*d*i. i* It was only a matter of time
**i"l*i* **i:*l* r;i-r* l*+li r* ir:i r1r,* *t:t1 ;,ti"i hr:w i g*l:tnrtt*d. > Antonio Tarver's KO
Maybe Roy Jones has been spending a
5.j. tiJda:n l'1i givei r:'*u *li an *:*ijf hisi*r't' l.*s:t:*" *.1/tr**l{:ler *r*4 d
:lai'i** SrienC*'l fir:t *rli*r: *:*g.izii]€ in i:iliiiJ: E31g Lii*. ! 'r;as halfh*er{**iy *ti*r';li*g iliP. tittle too much time appearing in music
::al"rring ri C*!]:*iiter 5cis-:i.lc*. i i:al*d r;-'ll*g*. Ei ai:y giv*n iir**, { r:r;.:*ll'rr haej at is*:t fo,.;i- *r' videos and not enough time in the gym
iv* ;*ti:: ilil:*rf J;is:*ir*r: -i*Jrs ie;-rJ" iasilir'!- ;:i * tai:ci';.'si*r*" a{f+r.iftt*ili *a e ijis*rqanle*il > Li['Boosie
tr*h h*slinq {*nrp"frfiy; *lii[i] rrJanefr:' ;t rn .ivii" i*isirafkctirrg frf$], ir+rlt*il *rti:t si Pisi':*y > SMACK DVD
\&*ild, ifiir i€ihili{irirr *l Lrksrl's ihrliri i.fr3, :ei'vei ai e pi::e piate. foh&l*vqf ! heil l* ri* t*
**t" i ha* a [*t *f Cesi< j*hs'.,i'r€r'+ i i**::17 deslg*ed ,sei:s!tel i*r i::11 *v;* clie:-rts *n {*mp*ny > "We got room keys"
tiine. ilv*nti;ally, l :r:tii*d inio .: "r**1" -jr:* ar an iT l*sna*€r i*fiire **rd; i*r ' * aidhit#':lu|iii It's not funny anymore, so stop saying it
firm. Afler * ]i€;tr, ! v**: f**ii*q s:jii*:cated i.i ih* **rFcr*l* **!'ir-$i"rmefit. i $i6pp{}d g*ii-rg ir > Soul Ptane
*;r,;flis.. **t Jirr.d, c;:sh*d a i*l r*v*r'et:r* rl-;*:c:t. anci :1,;ciE I'ci nq"'*r w.rrh a t*al j*|} again.
"20th century coonery & bufoonery" ac-
cording to Spike Lee
fr*e t+ lv+rk l"*y *!rn hn*ui:, I :laitrd hitlirg i*e clL:i::, 4*iileriiig pi-r+i*grillilh:r arC v.r** rj*si*rt
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EI'lAJtAHi-85$ PR"#i&STISN s'vsnc

Paul Wall f/ Poppy & Slim Thug "Am What
Juvenile, Wacko, & Skip "Hotia Clap (remix)" Dirtbag & Iony Sunshine "Fly Away"
Fat Joe f/ Joe Budden & Joe "Not Your Average Joe"
Paut Wall fl Pretty Todd, Unique, Sccoby "Did I Change"
DJ AP f/ Fatman Scoop & Lil' Jon "Turn it Out"
Dilated Peoples f/ Kanye West "This Way"
*{ocl'i Reeords, {*bvi*usly
{*fi{ern*d with thsir artis!'E
we{l-being}, sent sil! "Free
Turk" portcardl, which
begin, "Turk...{whol is
lAm" 8Balt & A'IJG "Cadillac Pir*pin"' $lstsd t* rele*sr,hi$ lhird
s*la a{bum, Penitr*tidry
Cee-Lo f/T.l. "The One" Cf?rnrss, on Koeh &ec$rds..,
is being held rn 575k bend
Jadakiss f/ Nate Dogg "Time's Up" *n rhnrges $l *tt*mptcd
Zay fl Trick Daddy "So Longn' siltribute to the
$'iirrde!"...fl
Tom G "City Boy (remix)" Fr** Txrk f*n<I by sending
{io$ati**s:*.,,"

OZONE MAGAZINE TWO YEAR ANNIVERSAR/ MAY zO(X 1 1

 #lSffi&RS. SFSR0rq

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12 OZONE MAGMINE TWO YEARANNIVERSART MAY 2OO4

YEAR ANNIVERSARY AMY 2OO4
 "scREAfwNG 'NIGGA, Ktlt4 MUTHAFUCT(A AtN'r WHAI [S0IUHIRN H|P-HoP]
s much as Pastor Troy screams out invitations to fight, you'd expect a
sign outside of his Madd House Recording Studio to read, "Pussy nigga,
I'm right here, hoe!" However, it has no signs at att, which can only
mean one thing: if you don't atready know where the House is, you have
no business being here. Today, however, this journalist has business here.
I'm scheduled to interview the Pastor, who's promoting his upcoming ser-
mon-on-CD: By Any lvleons Necessary. Even though there is no sign, Troy's
towering yetlow Ford F-650 parked outside the studio is a good indication
that I've arrived. Once inside the studio, atl but one of my expectations
are met:
Red & black paint: Check!
Wall-to-wall Georgia Bulldog paraphernalia: Check!
Big screen TV, pool table & plenty of food: Check!
Pastor Troy wearing a Bulldog jersey: No!
To my surprise, Troy wasn't wearing a Braves, Fatcons, or Hawks jersey ei-
ther. ln fact, what he was wearing had nothing to do with Attanta, Georgia,
or the South, period. This dude was rocking a damn Michigan Wotverine
sweatsuit. My onty response to this sight was a resounding [Dave Chappette
mocking Lit'Jon voicel "Whatl?l" When queried about his choice outfit,
Troy whispered, "l'm onty wearing this shit because it was free. There ain't
no way in hett I'd paid for this."
On anybody else, a navy btue and gotd sweatshirt woutdn't have merited
any extra attention, but you have to understand who we're talking about
here. This is the man who has "D.S.G.8.," the acronym for his group Down
South Georgia Boyz, tattooed across his chest, and is atso known for wearing
a University of Georgia footbatt helmet on stage as he performs. Th'is the
man who bought The Bounce, one of Attanta's crunkest ctubs. Oh, and just
'in case you didn't kno4 this is the same dude that who took part in this
2001 phoner with Attanta radio personatity Coco Brother:
Coco Brother: What's up ATL, you just heard the new joint from Nas,
"One l{ic." How you tike that, Troy?
Pastor Troy: [unenthused] lt's straight...
Coco Brother: What! You don't like that new Nas?
Pastor Troy: It's straight. I like Georgia music.
"l'm ctosed-minded with my musica[ tastes," says Troy when reminded of
this conversation that was broadcast atl over the A-Town. "Nas' [music] is
cool but he'd probabty respond the same way to my shit." Now, before you
go running your mouth saying you read an articte where Troy dissed Nas,
understand the context in which the man speaks. Troy knows how peopte
respond to his music in the ctub, on the radio, and most importantly - at the
cash register. There's a reason why his shit wilt pop up on a DJ Jetty mixtape
before it appears on DJ Ctue's. There's a reason why Troy wi[[ be asked to
perform in Daytona before he's asked to perform at Hot 97's Summer Jam.
"lts not just about setting in the South. I want to setl where peopte love it,"
says Troy, strok'ing his goatee. "lf it ain't no tove, then you ain't gonna be
invited there to perform there any gotdamn way. I just want to go where
l'm se[[ing. lf l'm setting like a muh'fucka in New York, then that's where
I want to be, if I'm selling in Omaha then that's where lwant to go just to
show them that I appreciate their support. But, I sell in the South, so that's
where I be."
Its obvious that Troy is toyal to his fans in the Bibte Bett, but you get the
sense that he woutd love to be considered a top tier artist nationalty rather
than a heratded Southern rapper. Troy got a taste of nationwide recognition
two summers ago when he hooked up with Timbatand for the ctub hit, "Are
We Cuttin'," which was the lead single for the movie XXX. His record spins
increased and so did his performance fee. He appeared on Soul Train.Troy
was just one more radio smash away from being as universat as his tabet.
"l just ain't tike that shit," retorts Troy when asked why he opted not to go
the radio-friendty route after "Are We Cuttin'." "lt's too many people who
love me for who i am and what I am. I ain't with none of that buttshit. When
I bring it, it's just gonna be straight-up me. Same ot'gotdamn hood thang.
Take it or teave it, nigga. " And that's exactty what happened. His toyat fans
bought the Hell To Pay and D.5.G.8. albums, while the rest of the country
left it atone tike an ugly chick at the ctub. And yet now, Southern artists
are setting at att-time highs as the rest of the country has become obsessed
with the music they used to catl "country." By Any l{eans Necessaryis really
the first chance Troy's had to release a major labet solo album during this
Southern invasion.
Though Troy is excited to get in on the action and spread his gospe[, there's
one more obstacle for him: it starts with a "c" and ends with a "k," and
it's not crack. His probtem is that some chitdish music listeners try to fit his
tS ABoUL" - PASIOR IRoY
style into the "crunk" category. Reatty, you can't blame them for being
so naiVe. After att, niggas do get crunk when they hear his music, and so
does he. But there are big differences between the Pastor and the "king
of crunk," Lit' Jon.
"l ain't faulting the niggas that's doing'it but as a veteran in this shit,
l'm tired of hearing a[[ these damn [wannabe] Pastor Troys," taments PT
about the music that now has its own energy drink. "lts more than just
screaming 'nigga, kilta, muthafucka, do this, do that.'That ain't what
[Southern Hip-hop] is about. Niggas done took what it was about and
turned it into something that everybody can party with and that party is
about to turn'into some bullshit." He continues by predicting the fate of
this new trend in music. "lts gonna tast as long as these niggas respect
the music. Niggas are ready to ride the hett out of it and its about to get
crazy because everybody wants to do the shit. lf you put too much water
in the Koot-Aid its gonna fuck it up."
lf you've owned or borrowed a Pastor Troy CD long enough to dissect his
lyrics, then you woutd know that he doesn't make crunk music. He makes
emotion music, or - as he sometimes like to catl it - revotution music.
lf you ever listened to tracks tike "Vice Versa," "Ain't No Sunshine," or
"Above The Laq" then you woutd know that its damn near blasphemous
to call the Pastor's music "crunk."
"l don't think the industry gives Troy credit for how deep his writing is
because they can't took past his rap styte," says wetl-known Southern DJ
Greg Street. "Troy is one of the greatest writers out right now, I think that
he is in the top ten of atl the writers that's out if you listen to some of the
shit he be saying." Betieve or not, there is a whote region of people that
agrees with Street. Troy has aquired a loyal fan base that buy his records
faithfutty, even though he doesn't get the same promotion and marketing
musc(e that his Universat Records cohorts Netty and Cash Money receive.
"He's got that star quality. He leaves peopte with something to tatk
about," theorizes DJ Toomp, who produced three songs on By Any Means
Necessary, inctuding the lead singte, "Ridin' Big Yo." "Ptus, he happens
to have [those] ctassic records that you can drop in the ctub and make
everybody go crazy. lf you throw on 'No Mo Ptay ln G.A.'or'Vice Versa,'
niggas stitl gonna respond tike it just came out."
Speaking of star quatity, Troy has been receiving the star treatment
latety, in an E! True Hollywood Story kind of way. Being that Troy entered
the rap game by dissing Master P back in '98, its more naturat than ironic
that some artists have tried the same thing at Troy's expense. Troy re-
spects the attacks, but on one condition: "l respect niggas that come in
the game in that fashion and stay." He pauses to take a catl from ctose
friend and Washington Redskins runningback Ctinton Portis, to whom he
gave his trademark championship belt last year. "Hatf them niggas that be
coming with that buttshit be fly-by-night. They diss a nigga and we don't
hear from them no gotdamn more, they fatl off the map fucking around
trying to diss Troy. Ya't[ boys need to concentrate on ya' raps."
Of course, when you appear to be at the top of your game, peopte come
for what you have inctuding the cops. By now you've heard the unusuat
-
(and stightty comical) story about Troy being putled over by an Attanta
potice officer for possession of weed. But the sticky-icky isn't what made
the headtines. When the officer asked Troy his name, the Pastor broke
a commandment and [ied. "l didn't know what they was coming for,"
explains Troy. "They came up just tike how you saw it on the news. Ain't
nobody just gonna be tike, 'Yeah, take me with ya't[,' Fuck that, I want
to know what's going on." The tie didn't last long because many passerbys
were Pastor Troy fans who probabty thought he was shooting a video and
coutdn't hetp but shout his name. Then, the officer recognized his face
on the CDs inside the vehicte, When asked if he was the least bit embar-
rassed, Troy shrugs he shoulders and bturts, "Het[ na4 I aint give a fuck,"
stressing the "u". "They was taking me to jait anyway so that shit ain't
matter worth a damn." He showed that it didn't matter when he posted
bond and went to Ctub Mirage in Decatur later that night to announce
that he woutd be performing there the fottowing weekend.
Even if his episode with the APD doesn't prove it, one thing that does
matter to Troy is the truth. The truth is, even though he doesn't have a
wall fult of ptaques or a trophy case busting at the seams, he has a cutt
fottowing that most trophy-winning artists would kitt for. "l don't need
the credit or accotades, everybody knows who PT is," says Troy with a
satisfied grin. "We [D.S.G.B.] gave ATL some batts. Outkast was k'icking it,
Goodie Mob was kicking it, but niggas wasn't reatly talking about fucking
niggas up. We brought some gangsta shit in it," Be careful, Troy, before
critics start tabeting your music "gangsta" instead of "crunk."
OZONE MAGAZINE TWO YEAR ANNIVERSARY MAY 2OO4 1 9
 lvlost people know you as co-founder of the Tech.Nitions DJ clique, just bring DJs in,
Yeah, me and DJ Ran were 50/50. Tech.Nitions were founded about two they have to go
and a half years ago. Basicalty I was the CFO/brainchitd, and Ran, he through the board
works 365 days of the year. Like my man in Houston, they say 25/8 not of directors. The
24/7, that was me. I was in a [il' town in Mississippi sittin' back thinking committee consists
of things to do, and Ran was the imptementer. He made it happen. Before of a couple Cali cats,
that, I was a DJ and Kurupt's road manager. I met Ran through a mutual a coupte NY cats, a
friend. At the time, Kurupt was signed to a [abe[ in the same buitding couple Chicago cats,
where Ran had an office, and we happened to be bumping heads. and this is my first time .THE
INDUSTRYIS IN
bringing Mississippi guys SHtll{lBlES BEGUSE A&Rs
How did you and Ran come up with the idea to bring DJs together? into what I'm doing. The nucleus
Basicatty, the idea came about when I got tet go from the radio station makes the decisions. NEID 11} SIGN BETER SHIT.
here in Jackson. I fett tike the industry was turning they back on me YOU MAKNG9OKAYEAN"
because I didn't have a gig to get spins no more. So I said, okay, I'm How can someone contact you to SOGETOTFYOURASSAND
gonna create something that's gonna make them respect me and respect get involved? GO FIND OUTW}IO'S THE HOT
other DJs. Even though you not on the radio, you can have another Visit www.violator,com or catl
outtet besides radio. So if you do lose your job, you can stilt be abte to 646-486-8932. lf I don't answer
AnnsT tN IHoSE tvlARKm."
have something etse to fatl back on. the phone just keep catting. The email address is thedj@aol.com.

Like mixtapes and spinning at clubs?
Not even just clubs and mixtapes, it's more [ike making yoursetf into a
namebrand. That's the onty thing you have in this business, your name.
Names tike Busta Rhymes and David Banner, those are brands that
other companies feel [ike they can make money from. Especiatty with
the urban tifestyte marketing that's been big tatety - you've got Remy,
Seagram's Gin, Mountain Dew putting money into the urban community.
So if there's no beef between you and Ran, why did you decide to
break off and start another DJ organization?
I've got a question for you. Why did Lyor teave Def Jam?
For a better opportunity?
Wett, then. l'tt put it tike this. I'm 31 years old. When you 31 years otd,
you have to grow in this business. You can't grow being stuck to one
thing. The industry changes every 24 hours. Just like your magazine,
OZONE, are you gonna keep writing your own stories or have someone
else come in with new ideas and bring it to another levet? That's what
it's there for.
So what's the name of the new organization?
It's the New Violator Att-Star DJs. There's no beef with none of the
other DJs. We tryin'to bring every DJ into the pot: Tech.Nitions, Heavy
Hitters, [Big Dawg] Pitbutl.s, Assassins, everybody. We're just showing
them another way to make some money and not be out here struggting.
can sumit up in one word: coalition.
Are you going to have a lot of DJs, tike
Tech.Nitions, or be more selective
like Heavy Hitters, for example?
It's going to be an elite group.
Everybody can't be a part of it, we
choose the ones we want. You can't just
come off the street and be a part of it,
but at the same time we have open
arms to everybody. lf you're the man in
your market, even if you in Littte Rock,
Arkansas, we comin' to get you. Some
DJs send me resumes, but what I do is
get off my ass and do road trips. That's
what I've been doing tatety. I look at
their whote set of knowledge, what
can they bring to the tabte? What's the
sense in having being a DJ if you don't
utilize the power you've got? A lot of
DJs do that. They get comfortabte
with their situation. They end up being
otder, 34-35, with no health insurance.
They stitt DJing in clubs, no 401k, so
that's where we come in at. Right now
we have a committee. lt's what me and
Chris [L'ighty] and my other partners
catl the nucleus. We have different
people who handte different things.
Like my man, Kwasi Kwa, he's part of
the nucleus. He makes decisions. lt's
tike having a board member. I can't
So now that you've teamed up with Chris Lighty, should we expect
to see DJ endorsements and things like that?
Of course! We gonna use every marketing toot that we can. I been
knowing Chris Lighty since '95, I been seeing him do his thing and he
been seeing me do my thing, we used to atways bump heads ind have
these whote conversations. I was [ike, man, this dude is an executive
but he stitt has retationships. He used to carry crates for Red Atert, so
he comes from the DJ side. His name used to be Baby Chris. He,s been
in this game a tong time. I tike to brand mysetf with peopte who gonna
take it to the next levet. My mom didn't raise no fool. lt's a business
first. I think people think it's DJing first and then business. Nah, it,s
business first and then DJing for me, When lwas 18 or i9, I'd DJ a
party for free. l'm trying to change that - right now the industry is in
shambles. Look at all the mergers. I'mma telt you this too, and lwant
you to print this: A&Rs, you need to start signing some better shit.
Then the promoters can promote better shit, the DJs can ptay better
shit, guess what? The game won't be in shambtes no more. That's the
key to this game - sign better shit. Do your research. Don't just look at
BDS and see how many times a record got spun, nah, get your ass out
your seat, You making 90k a year, so get off your ass and go find out
who's the hot artist in those markets. lt start with the A&Rs first. Not
that dude sitting in an office rubbing his chest hairs tatking about going
gotfing. Fee[ me? I just had to get that off my chest.
I Do you feel like there's too much conflict within the DJ community?
Like a Ran vs. Rene type thing?
I don't get into their business, I stay to
mysetf. I change my numbers, emait,
2way every few months because I hate
negative energy. lf you took at lsaiah
53:7 in the Bibte, he talking about
the lsraelites trying to take a journey.
It took them 40 years to make an 'l 1
month trip because they had so much
negative energy they coutdn't focus
on the trip. Fee[ what l'm sayin'? I'd
rather not have negativity and keep
the positive energy around me. I check
my voicemail at Viotator, it's people
calling from atl over the country 'cause
they love what I'm doing. But then you
have the ones that don't know anything
about this game that have this negative
energy, comptaining, "Ran don't do
this," or "Rene did that." I ain't got
nothing against Rene or Ran, I tove
everybody if they love me. lf they don't
love me, that's their problem, 'cause
I'm a likeable guy. But don't get it
twisted, I do have that other side of me.
I'm an ex-gang member. I came from
gangbangin'. I was an unknown vicetord
'ti[ my mom put me in Catholic schoot.
Now I just chill, you know?
- Julia Beverly, jb@ozonemag.com
(Photo: Jaro Vacek)

20 OZONE /I^AGAZINE TWO YEARANNIVERSAR/ MAY 2OO4

! .xrtGsil! l,ltHoP ltolc
rfhere's a common misconception that as an independent artist, yoLi
I are inferior without the backing of a major labet. You aren't sup'
I posed to be abte to garner enough attention to gain shouts from Jay-
Z or DJ Ctue during an MTV Direct Effect episode. Nor are you supposed to
have a deal with Reebok, duets with stars like Usher and Mya, a ctothing
line, or be abte to move 250,000 units of your product. One man has done
att this and more. Meet the accomptished Mike Jones who is running the
game with his master ptan, working as a major without a dea[.
Born and raised in Houston, Texas, Mike Jones has atways had an eye to
the future white laying the foundation to climb the ladder of success.
Jones' first love has atways been basketbatt. But, when his hoop dream
did not materiatize, he reatized that he had to make money to become his
own man. As is with most hoods Biggie described, either you're sting'ing
crack rock or got a wicked jump shot. Mike Jones began to hustte. How-
ever, instead of achieving his champaign wishes by squandering his money,
he saved enough money to create lce Age Entertainment in 2001 to pursue
his other tove, rapping.
After creating his own [abe[ and studio to keep costs down, Mike Jones
ran into a problem whenever he needed music from a producer. "Back in
the day," he reminisces, "l'd ask for a beat and they'd be [ike, Who are
you? I'd say, Mike Jones. And then they'd be [ike, 'Who?' 'Mike Jones!"'
A good businessman recognized a possibte branding technique and his fa-
mous "Mike Jones, who? Mike Jones!" hook was born. "l do it to throw it
back in their face. They hetped more than they know," Mike Jones states
happity.
Next, Mike Jones began to circulate his music by hitting DJs and strip clubs
to make sure his music was heard in the streets. He garnered such a buzz
that the talented chopped and screwed master Michael Watts, owner of
Swisha House, took notice. ln 2002, Mike Jones became an officia[ resi-
dent in the House and signed to the labet. The partnership has been btaz-
ing lanes ever since under the Mike Jones motto: "You don't work you
don't eat, you don't grind you don't shine."
With the work he's put in, his future is brighter than a Lit' Ftip smile in
the sunshine. He has dropped four atbums on Swisha House: Ballin'Under'
ground, First Round Draft Picks, Runnin'The Game, and Day Hell Broke
J(nrEl$lueffim,
. The latter contains a high quatity video of his latest singte, "Stitt
." Meanwhite, the combined freestyle verses with popular beats
in with original works like "Who ls Mike Jones?" and "Got lt Sowed"
can-'B$ found on two discs per atbum (one at normal speed and the other
chopped and screwed). They've atready netted Mike Jones over 250,000
units sotd independentty! Keep in mind that these are sates due to word of
mouth, not through video and radio promotions. His next album, King of
the Streets, is stated for a June retease, white Plotinum Underground is
due out on November 18. Fans anxious for the heraldedWho Is Mike Jones
atbum witl have to wait until he achieves his goal of signing to a major.
With att of his successes, what is he waiting for until he signs? There is
a certain amount he feels he deserves. "Major [tabets] witl respect your
hustte and witl give you more when they see you grinding. Choosers pay.
lf you choose, you have to pay. lt's different if you approach them rather
than be approached because they know that you have value and wit[ make
their money back." But, until that day, "l'm trying to be the first indie
artist on the cover of The Source. I want to be on 106 & Park as an indie.
lf I keep grinding and buitding a buzz, I know good things witt happen. I
don't need to be on a major to get a[[ of that. I want to show that you can
do this as an indie."
ln the meantime, he is perhaps the most accessibte artist in the industry.
Fee[ free to reach out to him on his personal number 281 -330-8004, or AOL
lM him at the handte Who2813308004. Ptus, you can always visit his site
WhoMikeJones.com for the latest gear from his clothing line, The Mike
Jones Cotlection, or hear his newest tracks. But if you must find him, be
patient. This Texan has already performed in California, Nebraska, Ftor'
ida, Mississippi, Colorado, Oktahoma, Louisiana, Missouri, Arkansas, and
headed your way soon. And just when you thought the grind was done, you
can check Mike Jones in his new feature movie sporting the new Reebok's
with "Who is Mike Jones" scripted on the side.
Whenever Mike Jones gets tired and feets too weak to move, he looks
at the tattoo engraved on his arm for inspiration. lt reads: "lf you don't
work you don't eat, you don't grind you don't shine. Anything my routine,
90o/" grind, 10% steep. I grind so much I hardty get steep. I'm not comfort'
abte sleeping, but a dream, Mike Jones." According to Jones, "lf l'm at
home steeping, I'm doing nothing but dreaming. That's what got
me here. If l'm awake, grinding, and putting effort into
it, I'mma be atright. I'mma keep hustting and producing
good music. I give the streets what they want to hear."
Remember the name Mike Jones, because he will not
tet you forget it.
 LABEL tLtre\sve/Fq'/ll}'d;- IND-U-STRY KNOWLEDGE
HOMETOWN SUPPORT E
::f.gNg qqE coilttrtc' RADIO AIRPL.AY
fit,
gr
Missr.ssippinatiVeBoodaBossPtaya,a.k.a.Rossini.d
his girt ror *'itinq
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age. "Back in sixth
time searchin!-f;;;;;;,;:,.,i,1jmru:.:"rujJdy"i+iilfi$'iil!;"l?;ililti'.pii*"iiil,.rl, e*

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current singre, ,he
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HUTiBLE ATNTUDE
RAWTALENT & POTENTIJIL tr
IDENTIFICATION
ffi
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,.Att them DJs out there, y'at[ gotta fuck with this indie niggas comin' up. They got heat, bruh, fo' reat. Just
+l give ,em a chance. " Witnilr a month of saying this, Wes Fif has atready acquired many valuabte atlies, inctt tding
F:: 6J Suggabtack, DJ Fusion, Dawgman, DJ Jesse Jazz, DJ Sptack, and Big Cee Jay. Wes Fif adopted his name from
West 56, a staie road running right through the heart of the city he catts home: Ortando, FL. With a hustte that's
wd
matched by very few MCs and i catatog of tracks that has already gotten him radio and mixtape recognition,
Wes is rising tnrough the ranks quickty. His sound is Southern, without a doubt, and sometimes reminiscent
of
*€
B.G. Over iSO Cent instrumentat, Wei informs us that he's "tike a damn stam dunk," and he spits fire over the
tr instrumentat to Tupac's "Reatest Niggaz." Wes rises above the rest of the industry hopefuts and lays it down
*itfr fo*"r and vigor, demanding reifect. He's begun making a name for himsetf locatty, showing his knack for
M un"rjiting crowds'almost effortGssty. Wes has beeh hard at work trying to esta.blish himself in Ortando' hitting
€.#
#* tne 5attt6 circuit. "l live for that aipect, dawg," comments Wes. "l'm very big on the lyricat aspect_of the
music. I've started to veer away from the battting scene, but if anybody want it, hotta!" But Wes himsetf knows
eG thit the greatest battte MCs have been overtooked, and exptains why he deserves a listen: "Att kitter' no
dawg. Giaranteed. I'mma say some shit that'tt make you rewind it, every track"' Wes looks forward to
fitter,"u"n
ffi loii.Ooruting with artists tike Seaniay and Chamittionaire as he expands his own musical abilities and buitds a
g,T reputation f6r his tabet, Choppin' Up Records. He can be summed up in one word, the t'itle of one of his songs:
,.Fantasgreat." - Rohit Loomba, ctpros@arcaneproductioncompany.com
W6s fif is simpty
$€
El
#l L"ABELShd,fufflt{rnprkps. cnLissoLLABoRAroRs
#t
il
tr
*l "A DAY lN THE LIFE"
ilAJolAJA3,y""*?+ #
FI
qt
Ever since John singteton's "Baby Boy,"
?t there has been a.ne-w respect for dudes
IiS.xT;liii:?:lI ?:T:,,::-,:i:*li,l"^:::tii"dy6;#
started writing rhvmes, however, loov aion'i il'il;;;i" lill,iffil;Yl"rl,ff,
eip"ii rt t.i become ; ..i"*;rll,'r',
with the name Jody. As the first
that respect. when he nrst
know what I mean?" he savs calmtv, iri t.ia+ii'r,-o'ru;1.-'iirii
As he grew otder' Jodv rouna musii t" "i" l"i,'t",=j" ,',/no* no* to do it. r just feet i:tJ
ir.,,
. p*iti""'innueni'e ini
had to start pavin' bilis, vou know *nuif r&ni;; ;*.y;; him to stay out of the streets. ,,1
at a radio station in Mu.?!: GA, and got l.ris big
;; i;G;;.-Ril;il;i;il ; way of rife. He began working
uie-ukit.
attention of Jazze Pha's manager, who-was scouiine'for .;;;;h ;;"ritn" station hetd. He caueht the
he'd found somebodv' He took-me t"ntiiruin"'v.ery n"* tur"ni.;;ir;;iH Jazze right away and t;tc nim
spot [to his new tabei' shoNuff ne.orasj.;ooi. next day, t rappeo-ioiJazze, andhe signed me on
i" iiirn", cl, .'*iiii"*"'Jrirou n,r.n,a, Jody the
big city to pursue his dream' since tnen', n"i moved to the
u"""-*o*lirg
album' A Dav in the Life of Jody ar:"elr:e,i L'ii"rpi.n.t"w *lttliir"i;ffi'"d tracks for his upcomine debut
concept wticr' Jioni.res his everyday tife.
though he's a newcomer, Li,av'i .rorr p;;;;ih;iil
Daddv, Mannie Fresh, sean piutof the'vourcBi;;,
can hotd tris b*n atongiide seasoned vererans
Even
tike Trick
;;
mixtapes throughout the south, ant.his sinlt-es';ii-u'utorutr', recently started hosting
"i;;;;",'J;#'i=h'jiH",,
rra ;vir.,ri" r""i;iure ,preuoing through the ctub
iil3#ffi:"Jl;1"3i. ilL'li""f;;llu6:j::jff,'r"f"li;o":;;Tn'fi!n'w.,n". s,.o,i - .,u,i; i""".rv,
 MIXTAPE SUPPORT tr
tr
Sqad tlp STREET CREDIBILITY
INDEPENDENT HUSTLE tr

,,Husttin,,, is a word commonty used in the hip-hop industry, p.ul.lo\

*iT:ljy practiced until
ciedibitity by appearing on numerous
tiurn"iing ti.r"it'street
vou tatk to the boys ot sqXl"up.
indersround mixtapes, sqii"ui"i' ilil1ti tg 113it:;;
i;; ;t6um retbase' Gutta Gutta' r-
,""'ivll"iru"'itl q**:f:*::::i':t-W:il,l:&:;[1l,33t"trff;";
Branco, Youn0-beYo' anq r\uLL uq r\ru
Streets, Supa Btanco-'
streets,
qr!'r.,!"ii.*ii"i.thecity.,,Y'attusedtohearing
ii" anything you're us-ed to
a"uut effort to
u'o'"'t;;-il;;;tnager'iime supa Btanco' "Don't get
".ir"L
thaiuptown tatk, but il'i' t"'"'i"'liti'it"*" ;;i ir;;;";;; and orace ror that'"
vu''niil'
me wrons, there's nothing';;;;;;iii;;iiingUr;.r rpii,iiil'r"it"l.-r'*tt"an Cish Monev's Lil''
The group isn,t shy unoui'lil.,]riin! ya
ir,"ll. their inspiration
,,Dude *us nogg,n;t-h;-#[, understanJi'; tiv5 f-sireets' Drawing
wavne. in" i.t" rupu.3hqt *, il'" grorp::
from a muttituae or airectiin's,'i.iii,liii I'm gonna get up a
?is;:tili:tl:iHl
comes from within. "lf r t""-ii-tsl["tt iith a pen-and oad' it;r t-"tp"citn"y'r" tooking for' then
,,we here io L"ii"rp".t u, ,."u( ,upp"irl;ii
Gutta remarks.
#,i"i,;;E:'ri" ;hrTi'ifi"; ti;;i", 'iHLaaachin"".features Lit' Ftip'
Now or Neverjust misht .;ilii.i"r;r'i"ir,in; The
and their second singte,
eort,'llgutuiil'in-r'ort" producer crack Tracks' hot singles'
eETb;i"t"i N"*t. with two btazin'
video for
,,Headachin,,, n"l'ltL"iv ;;;;rJ;; on the unde;;;;;a r,ri*i.p" rout
with mixtape tegend
sqad up ptans to rp"na tn"ii.",iJi toi,"*g
6rttu tuys confidentty' - DJ Majick
Mike Jones.
,,we here ."o'il pi"" t" ri"V'f'"i"i;; Cuilu

Naw0rlaans,
Louisfana
t-ABEt_ HIA
*sTlLL GRINDIN"'
, . HOMETOWN SUPPORT
LONGTV|TY
tr
m'
IfIIDU$TRY ExpFRIEHCE tr
Lit' Ya and rech 9 formed UNLV (Uptown Niggas Living viotent)
New orleans' cash Monev Records'*.r u nu-t-ion.liy-recognized
in the earty 90,s, long before
brand. Their singte, ,,Another
Bitch," began stirrins in'the ctub.;5"*,.gi.f i".1i""i1- oivlrng'-"ntrupreneurs Baby
and s[im. They signed a contract with the taoet, uiinging
in a third member, yettow Boy, who has
since passed away. "We were young and didn'i havi.tawyers,', ya
says. ,,we thought we knew
what we were doing, but we didn'[." wittr itnum situ,
approached Babv and totd him he was interest"J in pi.h,ie di.r.iilg rp-rt!"aitv,"nup-A-Lot Records
opportunities because Baby is setfish...[He woutd] he'auouihow
rp dNlV.;il;'i".ti."a. ,,we missed
,r.h;;;;;; getting per show,
att kinds of shit." Five atbums rater, ur.jLV
with impressive Soundscan numberi rrom urlr-vi
*urliiir'*ifril; M;il #;#'nl i,r,r,or,ion dear.
secured cash Money an unprecedented deat witiifroilct
ana other artists, negotiator wendy Day
u'niversat Records. But uNLv never benefited
from the situation. "We were taken advantag" oi, .uu"o,"
vu ctuimr.;v" nltpeo to estabtish
cash Monev and were never paid.for.il yv"!Ji"i1i"*ibte
ior bri;ti;;J;;;iie-ano a.c. to cash
Money. " when their contract expired in r 992, uNlVleit
for good. striving independentty, they,re
stitl well-known in New orleans. Having formeJ trreii own g
released their second .rbrl:,:::.!r...iing.crr,r.- i"ipiy
ieat rntertai-nrunl tnuv'u" recently
picking up spins throughout the south. - fro.a,
crrto. C*r"ntti,'ir,"iiii"gr" ,,Go DJ,,, is
jriri?'I".,"r1"!];",1i
"nf,ph*;'ilJrrii#l/;rr"

r-AgEL gttpNrff/DE;f &tt MAJOR LABEL SACKING fgl*

$ELF-CONFINENCE
"H0 ntoRRIES' FRIEHCIS W HIGH PLACE$ fi''

greeted like a
Putting up to a video shoot in a btack Benz and customized throwback, 23-year-otd Jeezy is are
like Monica, Petey Pabto, Lit' Jon, and Bonecrusher
,up"iitui But it isn't actuatty i,is viOeo shoot; cetebs
;t|";t ; *t- rne wetcomiig ieceptlon isn'i surprising, though, since just yesterday the Atlanta native was
iitti.gi. LA R"id's office. ,:puir ouoliv catted in..We hal a confirence catt," he says nonchatantty' The rapper
,.Reat. That's it. I'm on some husttin', gettin' money shit..l don't just rap 'cause
describes his styte in one word:
not some video-type
th;;;A rnyme. t Oon,t ;uit say words 'cause they go together. I spilfrom the heart. lt's
Pha by frequenting Attanta's
sh'it. lt's for reat." At a yol.rnj f'uttter, Jeezy nrst iiugtritne attention of Jazze
so he asked me what I do'"
ctub scene. "Every time n" tia" tV in nu* B"nr, h6'd see me in a new Benz,
irpr"r*Jum hii ,;r"atn"tt,l' Juri" and" Jeezy (try saying that five times fast) recentty inked a joint venture
to Jeezy, Def Jam
with Def Jam for nis ,pcorlhg soto-proiect, tlnLarted foir retease this summer. According got the track record' I
didn,t choose him - he cnose tTrem. 'lThur" *"re other tabets interested, [but Def Jam]
becoming a club.favorite in
feet tike l,m a Def Lar-typ" nlgga.;' Hii singte with Bun B, "Over Here," ii atready
aspiring rapperi'viouta be saiisfied with a 6ef Jam soto contract, but for Jeezy, that's onty hatf
the ATL. Most
(Jeezy, Big Gee, Big Duke, and Jody Breeze), piqued Puff
tr,1" pt... Hii?Lrrii,"*ri"ilioup, eovzln the Hood
"i g.Jg6y..;ntrult is currentty being'neg6tiated.-iither.way, Jeezy is-confident that his
ouoav'', int"r"st, and a
I just put [the money] away'
iutri6 in the rap game It atr"a6y iecure. "l got a niie advincelrom Def Jam, but jb@ozonemag'com
f 1.nean, shlt, I <ioi't need it," hi taughs. - Words and photo by Julia Beverly,
ffitnf,Yrs
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 Coalition Of
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 Hffi
Goodie Mob are not only at the top of their game right now, they're
at the top of The Time Hotel in midtown Manhattan. And they're
you don't take it.

sweating. Not because their first album without Cee-Lo is about to What is meant by the title, One lAonkey Don't Stop No Show?
drop, but because the heat from the sun is reflecting off the walls of Khujo: lt's atl the adversity we were up against. Like, Ya'tt can't do it
the Glasshouse, where today's interviews are taking place. Like old without Arista. Ya'[1 can't do it without Cee-Lo. Or without Organized
friends chopping it up, Khujo, T-Mo and Big Gipp trade turns answer- Noize producing your whole atbum. lt's muttipte meanings. Like when I
ing the questions. lt's not important who speaks, because all three was in the accident, I couldn't perform and get out there and do what I
MCs are definitely on the same page, with the same focus and same had to do but time permitted me to get back up and not let that monkey
mission: to bare their Southern souls and give Goodie advice. hinder me as much. There's a lot of positive stuff around this atbum. We
heard our elders say it long before we decided to put it on wax. lt's a per-
How have each of you grown since the release of World Party five fect time for the whole country. Like 9/11, they didn't let that stop the
years ago? show All the tights came back on. People went back to work. Goodie Mob
Khujo: ln the past five years, I've gotten a littte bigger (laughing). I just is about retating far beyond one person.
try to learn something every day, one thing every day for 365 days. lt's
basicatty learning where music is going, how to relate a message where What happened with Cee-Lo?
it won't be like you're trying to catch a whote bunch of bees with a Khujo: I think it was a breakdown in communication on my part. Then you
stick. You catch more bees with honey, being abte to come back to the leave a lot for room for assumptions. We want to have our own record
industry with something new and innovative. tabet. You down with us or not? You not. OK, coot. With the mercy of the
I-it4o: I think l've grown the most in becoming a man, taking on the Most High, here we are right now. We stitl have something to say and have
responsibitity of becoming a man. I've learned to be more mature. Like the medium to get it out. And we making more money off our records. It's
my preacher says, I can listen before I react instead of react before I a change for the better.
listen. That comes with time and maturity. I'm married now, got my first
tittte boy on the way. With that comes responsibility atso. I can't be a How do you feel Goodie's sound is different without him?
witd ctub head anymore. Now l'm a man trying to do what I feet tike is T-Mo: The absence of his voice. He did have a unique voice. But Goodie
the right thing. Mob wasn't buitt on his voice. lt was built behind a message. lt's definitety
Gipp: The same as T-Mo, knowing how to take care of mysetf in this a difference but it's up to the listening pubtic to decide whether they
industry, And having the opportunity to start our own record [abe[ and want to stay with us or move on. lf they enjoy his voice, peopte can pur-
now we're in control of ourselves and our name. chase his two solo CDs or old Goodie Mob. lt's unfortunate that he's not
with us. lt hurt us inside. We tike being a foursome. lt was his decision to
Khujo, do you feeI different since your accident? not be a part of Goodie Mob so we got to move on.
Khujo: I was put in a situation I had never deatt with before and then
at the same time had to deal with a lot of emotions and other peopte's How are all your previous albums different from each other?
emotions, then personal stuff. lt was a big brick that dropped on me, Gipp: Soul Food was a time when we were breaking the South sound and
but why not me? I'm just happy that the Most High had mercy on me. breaking what we d'id as musicians. Sfill Standing was when we came in
I'm thankful that I can stitt do it with the best of them like T-Mo and and said, we don't dance no more. White everybody else dancing and put-
Gipp, and hotd up the Goodie Mob flag, One Monkey Don't Stop No Show. ting on shiny suits, we gonna say something. Then here comes World Party
And make down-South funkadelic music that everyone can retate to. and a[[ we were saying was, we been abte to take four kids from the South
I didn't want to get down or make anyone feet sorry for me. l'm just and we done took our message a[[ through the 50 states and over seas.
gtad to be sti[[ here amongst the living, hetping my brothers make the That's what World Party was about, a celebration of Goodie Mob being not
mark that we was ptaced here to do. You can hit me on my website, just a neighborhood act but an international act.
www.KhujoGoodie.com. T-h1o: Soul Food was our introductory atbum. lt was a monumental atbum,
Platinum. With Stil{ Standing it took us out into the wortd. We created
Tell me about the new album. a nice little buzz with Soul Food and everyone was highty anticipating
T-lAo: ll was a stow process putting this atbum together, a stress-free our Still Standing album. We went gotd in a week. With the World Party
process. We were waiting to see if we were going to have atl of our CD I feet Like the anticipation was just as great but tike I said, our tabet
members together to continue, but the powers that be didn't attow for was merging and it was bad timing. This album is a monumental album
us to come together as the foursome that the wortd knows. We had to because we lost a member and we done been though a lot and I know
push on. That's not to disrespect any hetp that Cee-Lo ever gave to the everybody want to hear about it. We got something to ride to.
group. He lost love for the group. That's the only thing we can come up
with. But me, Khujo, and Gipp got a lot in common. We a[[ the same What's up with the Dungeon Famity?
age. We a[[ went to the same high schoot. We atl graduated in the same We're about to come together and put out a Dungeon Family 2 album
year, ctass of 1990. That right there means something to me. lfeel like within the next year. - Jessica Koslow, lovehiphop@aol.com
for us to a[[ be a part of the pioneering process of
Southern hip-hop, it made working on this atbum
important because we know the type of responsi-
bitity we have. The expectation for this atbum was
great. Because some peopte feel like World Porty
wasn't out greatest effort. That was potiticat.
That was L.A. Reid's transition period from LaFace
to Arista. He didn't want Goodie Mob to say the
wrong thing on a record that may jeopardize his
promotion at Arista. He had to make sure we came
out with something commercial enough without
causing any pot'itical probtems. Sorry that we disap-
pointed the fans that we did disappoint. But we're
going to make up for it on this atbum, One Monkey
Don't Stop No Show.
Gipp: This atbum is reatty soulfut. We fett like our
backs were up against the watt again to prove who
we were and what we were here for. I think the
record isn't geared for the clubs and cars, but for
you to sit down and listen to it. We got something
to say.
Khujo: I think what the Goodie Mob brings to the
hip-hop tabte is good advice. That's the title of one
of our songs. You don't have to go by it. We're not
going to beat you upside the head. You take it or

OZONE MAGAZINETWO YEARANNIVERSAR/ MAY 2OO4

Pitch Btack is known for having five different
those styles?
styles - could you describe
Devious is Brooktyn, he's the streets. He's aggressive. G.O.D. is a lyricist.
He has the most experience out of all of us in the game, so he brings that
to the table. He batances out our music. He's the head of the group in
the sense that he has the most experience and overatt he's a real lyricist.
He's the word doctor. Zakee is the kid from teft fietd who's going to say
whatever is on his mind. He's real intetligent, sometimes too inteltigent
for his own good. But there's a message to his madness. D.G. is passion.
He telts a lot of stories filted with detaits that are retevant to whatever's
going on at the time. He reflects the urban mentality, that everything we
do is passionate because we're oppressed peopte. Our emotions reflect
what's going on in our neighborhoods. He has a very unorthodox flow. FaSt
is money, cash, cars, hoes. A true hustter. When you think of money and
cash, you think of FaSt.
Since you're such a diverse group and you're from New York, some
people have compared you to Wu-Tang. Do you think that's an accurate
comparison?
D.G.: lt's an honor to be compared to Wu-Tang. lt's a true complement to
be compared to Wu-Tang because they had an impact on hip-hop which
was so rare.
G.O.D.: ln a way, the comparison is reat. When Wu-Tang came out they
were nine deep with nine different stytes. We're not as deep, but the
concept is the same. Five dudes with five different stytes. We've got five
distinct personalities, five different angtes. The comparison is vatid but it's
2004 and we're coming with our own thing.
How did you all meet each other and form the group?
G.O.D.: Myself, Fast, and D.G. are famity, so we been around each other
our whote lives. Devious is from around the way in Bushwick, so we knew
him for years even though he wasn't with us. He had his own cre4 with his
cousin Juice and another ctique catted NBC (Nothin' But Criminats). I was a
soto artist at the time, and Fast and D.G. were just dibbLin' and dabblin' in
the art. They used to write their rhymes and I would coach them and hetp
them devetop their own stytes. ln 1994, our group started with our first
manager, Roberto, and we got a bunch of MCs together to do a singte just to
see how it would do. lt wasn't a group yet, it was just individuats together
having fun with it. After we made the first two songs, we devetoped a
chemistry and realized we had a good thing going. At that time it was Fast,
D.G., me, and Zakee, who we met through our first manager. Then we went
out looking for Devious and we found him. We snatched him up and we've
been rotting with him ever since.
How did growing up in Brooklyn prepare you for your careers?
D.G.: What better way to be prepared than growing up in Brooktyn? New
York is the heart of hip-hop, where it a[ started. So, to live within the five
boroughs is great training. Everything moves fast for us in the city; we ab-
sorb things so fast and spit it out, so by the time other people catch it, we
onto something etse. By growing up in Nl we are children of the original
era of hip-hop. And we were taught by the greats. We grew up watching
the greats, from as far back as we could remember. lt's a great thing being
from BK, the home of Biggie and Jay-Z.
Your first single, "lt's all Real," was produced by DJ Premiere, and has a
distinct feel to it. How did the collabo with him come about?
Fasf: We used to work with a producer named Rich Btack, formerty of the
Beat Minerz, and we used to work out of D&D. We worked in the A room
and Premiere worked in the B room. So, one day we were recording, and
Rich Btack passed the tape to Premiere. He heard it and was [ike, "l'm
feetin'these dudes." He wanted to work with us, but at the time he was
ffiH.f,t!(
real busy working with Big and Jay. When he got around to us, we did
the damn thing, and he was [ike, "l wanna hit y'att with another one."
We cottab'd with Foxy Brown on the second one. He did two joints on
our atbum. Peace to Premiere and the whote GangStarr.
D.G.: lt was definitety a beautiful experience. We hope to continue
working with Premiere throughout our career, because he's one of the
greatest. He came and laid the beat, we wrote the tyrics, spit on the
spot, and it was magic.
ln your opinion, is hip-hop being lost? ls the art draining away?
G.O.D.: ln some ways, the art is draining. lt's big business. Whenever
you mix art and big business, you're atways going to clash. An artist
does what comes from their vision, mind, heart, and sout. A corpora-
tion don't give a damn about none of that. They tooking at their bottom
tine, trying to make cake. When you're in situation tike that, they'tt try
and fit you into whatever the marketptace demands at the time. You
become mainstream, and they make miltions off you. The artists are
not being themsetves because they think they have to fit into that motd
to get somewhere. lt's hard because people stop being themselves and
they become carbon copies. Pitch Btack doesn't want to do that.
What were your goals with your album, Pifch Black Law?
G.O.D.: We wanted to remind peopte that this is sti[[ hip-hop. For this
era, where hip-hop is getting weak again, we want to remind peopte
about what reat hip-hop is.
Who else worked on the album?
G.O.D.: Premiere, Swiss Beatz, Teddy Ritey, Young Lords, and sev-
eral other producers. The guests on the atbum are Foxy Brown, Busta
Rhymes, and St. Juste, an up-and-coming singer.
Brooklyn, Queens, and Harlem have a lot of artists coming out. Has
that been an obstacle for you?
G.O.D.: Yes. lt's very saturated. We just stick to our guns, and our
sound is unique. We just wanted to come across naturalty.
Growing up, who influenced you?
G.O.D.: Too numerous to name. We love atl the greats. We were raised
on otd-school soul music, hip-hop, R&8, funk, disco, everything. Btack
music influences us as a whole. We've been influenced by everyone
from Jam Master Flash to Jay-z, and everyone that was great in be-
tween. A[[ of them are our influences. Even the whack artists influenced
us, because they showed us what not to do. You tearn from everybody.
What does your name mean?
G.O.D.: My name means Greatest Oratorical Detivery. As far as Pitch
Btack, the name represents the struggte, the human struggte. Pitch
Btack represents integrity in the music. The name comes from an otd
verse I had where I was locked up in a concentration camp. The guards
were steeping on the job and I made my way through the underground
raitroad. ln the underground raitroad, I couldn't see. lt was just roaches
and rats. lt was "pitch black." Somehow I got out through the tight that
God shone on me. That represents what the name means, Pitch Black is
the tight that came through and shone on everybody.
Every group has an outspoken member - who is it in your group?
G.O.D.: Everybody in the group is outspoken. lf you want to know who
says the dumb shit out of nowhere (taughing), we atl have our days.
D.G.: I'm partiatty to blame, I speak my mind in pretty much everything
I say. lf you hear me quiet, l'm trying to be good.
What will keep your group together when you face a tough time?
D.6.: I don't know if we can answer that. Right now we're going
through a tough time. Betief in oursetves and in God kept us going
through this whote thing. Ptus, we're famity, so we can't escape each
other. We keep it going because this is our tive. This is what we've
always wanted to do.
Who have been your mentors, and what have you learned from
them?
D.G.: We've worked with Wyctef, Busta, atl the greats. They sat down
with us and we take in what they're dishing out, 'cause it can be benefi-
cial to our careers and our lives in generat. Throughout my [ife, people
have come to me when I was in dire need, and them saying a good word
and patting me on the back prevented me from quitting. God atways
seems to bring someone or something in your tife to make something
happen. - Rohit Loomba, ctpros@arcaneproductioncompany.com
OZONE MAGAZINETWO YEARANNIVERSARY MAY 2OO4
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be fooled by his Manhattan apartment. James "FLX" Smith
-\on't
I I left his heart in Baton Rouge. As an aspiring actor and filmmaker
V in a small town in Louisilna, he never knew that his hustle
and entrepreneurial spirit would pay off in such a major way. After
six months of an unpaid internship in the Mry news department, he
began serving as an off-screen MTV2 host, as well as producing video
packages for The Source Awards and capturing the backstage antics on
tour with Ludacris, Chingy, Bun B, Scarface, and David Banner. Despite
brushing shoulders with celebs, FLX is stitl humble and unassuming. His
latest brainchild, the Dirty States of America DVD documentary, is a
tribute to the Southern mentality that raised him. FLX is a true hustler,
traveling through every city in the South, meeting with key DJs and
promoters to push his product and staying in touch with his people. lf
you don't believe that he's still country consider the fact that OZONE
was directed to a S1.50 car wash in the 'hood to meet FLX at 4:30am
en route to Jacksonville, FL. After a good rinse, we hit up the local
Denny's. Over breakfast, we found out how he plans to bridge the gap
between the real South and the common perception of the South.
What's your background? How did you get into film?
ln high school I acted in plays. I was atways interested in acting, but I up, I atways wondered what made Scarface, Wittie D, JT Money, Ba[[ and
never thought it woutd be reatity, coming from Baton Rouge.
What were your career ptans?
To go to coltege and get this money. I atways had businesses in high school.
I made t-shirts, prom shirts, played drums, washed cars, did togos. I did
the btue and gold logo for Southern University when I was in high school.
Where did you go to college?
I started out at the world-famous Southern University, but I graduated
from Northwestern State. I started off as an accounting major, but that
shit didn't work out. Then I changed it to bus'iness, but that also didn't
work out. I was getting frustrated because I wanted the money now. That
was my thing: give me the money now I switched around: marketing,
journalism, theatre, everything. I kept hopping around, because l'd find
out what I needed to know and get bored. I graduated with a degree in
Graphic Communications. I was going to go to Catifornia to pursue acting,
but instead I moved to New York because I got an internship with MTV's
news department.
How did you initially get the internship at MTV?
I was strategic about who I sent my resume to. I'm a strategic guy.
What did you do as an intern?
Slave, stave, slave. I did everything and anything to hetp. lnterning is the
best thing because you get to see the internal movements of the company
and you're not responsibte for anything. You can't reatty lose your job
1 2 OZONE AAAGAZINE TWO YEARANNIVERSAR/ MAY zOM
because you're only there for a short time. You shoutd take it serious,
though. Overatt, you know the whole inner-workings of the company.
When I interned, I had the choice of working three or five days. I chose
five days, and I was atways the first one there and the last person to
teave.
Was it a paid internship?
Nah. To get money white I was interning in New York, I was just husttin',
tryin' to survive. I interned with them for a semester, six months. ln New
York they have these community centers where you can pay a membership
fee and become a part of the community workout. When I came to work
out, that's where I took showers. The community center was coot, that's
where I got to know the real peopte in New York. I was living out of my
truck, so I had no rent. I did littte shit. I'd rent a car on the weekends
and pick people up from the airports. We'd pay 550 for the Astro van,
but leave that bitch with tike 5350. so you just made 5300 in a weekend.
to do during the day while I was interning. Besides the rental business, I
had other hustles but - we gonna leave that story atone (taughing). But,
man, l'tI hustte anything, as [ong as it's legit business. l'm atl about good
business. lt's the standard of the future.
How did you make the transition from being in front of the camera to
being behind the camera?
When I got to MTV there was a guy who actuatty ended up being a good
friend - he was a news anchor but couldn't realty do his own stories. I saw
this as a way to get in by being good enough to be in front of the camera,
yet do the work behind too so I wouldn't be a tatking head on screen. ln
learning this process, I learned that I had a real different way of covering
issues and people, so I ran with it. but no one was trying to hear me. They
felt me, but that was because of me and not my work. So I had to create
my own options. No one was letting me in the door. I know that I have
tatent, but everyone may not recognize your tatent at that time. I know
I have tatent on both ends of the camera, so I do both. I make dreams
happen for other peopte and look out for myself as wett.
It's kind of strange that you're such an advocate for Southern culture,
but you live in New York.
It's a[[ a misunderstanding, because there aren't enough journatists
covering the South. lt's not North vs. South or West vs. East, it's just that
some people aren't letting us into some of the doors. That's obvious. We
have to take that Southernptayatistic attitude and create our own doors
and stop letting peopte use our cutture to embrace their brand without
putting something back. Break bread or go home. A lot of avenues that
were open to other people weren't really open to the South on purpose,
because we have a different way of doing things. A lot of peopte get
caught up in the music, but that goes back to the street. That's at every
level of entertainment. There's a book called, "Framing of the South."
The South has been framed since the days of the Beverty Hittbitties, that's
when peopte started making fun of country peopte. We have to change
the infrastructure of how the South is seen on TV. The South has to create
its own megastars. We don't wanna pay 520k a month on pubticity, but
that is what makes this game go round sometimes. When I was growing
G, or UGK any different from Biggie, Puff, LL, Snoop, Busta, and Dre. lt's
just the media. These guys are atl legends, but you never see them in any
"greatest" hip-hop books or countdowns. Fee[ me? We're never included.
So, coot. We know what to do. lf journatists aren't from here and don't
know how much we love these cats, of course we're never chosen. But
'it's getting better, we just gotta keep pushing. We can turn our whote
economy around in the hood if shit keep going tike it's going. No cryin' no
more, [et's hustte. And learn how to know when you're being ptayed as a
foo[, 'cause some cats stit[ do approach us with dumb shit. You got to know
when a company or a cat is reatty just trying to get to your consumers.
It happens atl the time in business, so we can't get mad. But this is our
cutture, and we can't keep giving it away. BB King didn't ptay the blues
for that. Marvin didn't sing for that. Michael did not grab his nuts for that.
We've come too far to keep setting our media-based businesses. lf you
want otd Luther footage or LL Coo[ J footage, look who you have to buy it
from. How much of that do they get? Remember, our ancestors were out
in the fietds. lt's a reason they stuck together.
What do you think of Bad Boy South collaboration with SBall E MJG?
8Batt & MJG are smart. They've been around the btock several times, so
we have to trust them. I bought five copies of the atbum because I believe
in supporting legends. l't[ atways buy what they put out. But with Bad Boy
South, you can't just stap a [abe[ "South" on your company and think you
have a Southern company. There's a lifestyte of humbleness and many
other characteristics that come along with being Southern. So we't[ just
have to watch, wait, and see. lt's funny to me, because now everybody's
 "I\i'}II[E INTERNING AI MM. I WAS
gonna start doing it. lt's all branding. Dude got IMING OUT 0F IUIY IRUCK I'DIENI AN people to hear his storv, because a lot of times,
a machine - it ain't just him. Any fool knows
that, so [et's just enjoy the show until something
happens against our unspoken creed. You mi;,til,9$l''i,'ry[ffi\il'f,[,$ff ffjust{iuil:*?*:{ildfr :?*ilrr''"il'r
know, the pubtic down South witl [et you know AND TEAVE THAT BIKH WIH LlKE $350. Another big moment
inother musician.
repeatedly if you getting too bigheaded. You be YoucANsuntrlvErlKETHAT." U::l;;:1""T:::|3r:'f,f,:%::i;H"Tfli|;il
at the shows, and that shit is funny when the
crowd turns on an artist for some shit they didn't that ain't music-retated. for artictes on Southern artists like Master B Cash Money, and Rap-A-Lot.
People, voice your opinions. That word, "South" is bigger than peopte He hetped a lot of peopte and deserves a lot of credit.
know. You've got to start at the bottom to get to the top. Don't tet our
tegends fatt. By the way, free Pimp C, C'Murder, Mac, and anybody etse ln what way is MTV involved with your DVD?
that's stipping my mind at 5am. Right now they're negotiating with lmage Entertainment to put it on TV.
The things I tearned at MTV I used in the documentary. So what you have
After interning with MTV, did you have the opportunity to work for is a raw, uncut documentary on the streets.
them? What's your position there now?
I've been hosting a lot of off-channel stuff for them, like Sucka Free When will the DVD be available?
Sundays on MTV2, Campus lnvasion, and Homecoming Tour. Year after It't[ be out by the time they read this. The trip I'm on now is to promote
yeal ihey've used me to host hip-hop events, but this year I hosted an the DVD to mom & pop stores, promoters, and producers. l'm just trying
event for straight rock & ro[[: Hoobastank, Lost Profets, lma Robot. I got to find out who reatty runs these cities. Like OZONE. OZONE's the shit
to do tours in Purdue, lndiana, Cati, with [ike, ten thousand white people because y'atl cover the artists that need to be covered. Peopte can tatk
outside gettin' crunk. They be crunk at rock & rotl concerts, for reat. att the shit they want, but y'att out there grindin'. Y'a[[ are husttin' at atl
They be on some other shit. I got to fuck with that energy for a while' the shows, interviewing the big artists. Att the big artists need to fuck with
I can't be touched when it comes to deating with them large crowds. I you. lf you're a big artist and you're not fuckin'with OZONE, it's a shame.
got to be my own pubticist for now. l't[ make them come to me, because When the South ain't hot no more, these other magazines ain't gonna
i know what peopte want to see. lt's just a matter of time. They want to cover us. The Source, XXL, VIBE, they weren't reatty covering us. We're
see themselves, for reat. They tired of seeing that script that you wrote a novetty, that's reatty what we are to these companies. That's because
tast night, that you thought they might enjoy. I try to stay ctose to [MTV] they have dedicated people from certain areas that can put money into
but yet far away. They're a company, and their bottom line is money. The their media outtets and dictate what is covered. And that's cool and we
importance of [he cutture that we're trying to present on TV gets tossed can appreciate that. So what we have to do is be on OZONE's ass to do
around. lt's a battte between making the next dottar, and giving a damn the same thing for the South. Yes, l'm going to be on your ass. The artists
about what's really going on out here. lt's really hard for a big company to shoutd respect it, too. I don't care if you're setting 10 mi[[ion records, you
make these decisions, especiatly when they don't have peopte who come need to do an interview with these magazines tike OZONE and video shows
from these ptaces that can express the pain or joy in the hood. tike Phat Phat in New Orleans or Big Oomp in ATL. That way, if you don't
se[[ 10 mittion records next year, you've stitl got a magazine in your corner
How did the idea for the Dirty States of America DVD come about? and it's not just something your pubticist has to fight for. And don't forget
This was an idea I had when I first moved to New York and started realizing Murder Dog - they've atways been down. They've always covered music in
they had a beautifut cutture, and that's what hip-hop meant to them. a way that's uncut and unfittered.
And in the South, we didn't reatize that the music and lifestyle was our
cutture. Mojo out of Attanta totd me that when he was warming up for Where can people pick up the DVD?
Run-DMC at the fresh fest, they'd be jammin', but peopte who were with Dirty States of America is avaitable at Best Buy, any major music
or in Run-DMC woutd say, "Naw, that's not hip-hop," 'cause it didn't come store, and mom & pop stores. For more information you can log onto
from New York. But that's not their fautt, because they were a product of www.dirtystates.tv. I got big ptans. I got two more documentaries lined
their time. This led me to see the room the South had for growth within up. One is for the women. lt's called Hot Damn, and it documents the
the music business. This is a vehicte to wake peopte up, and have fun in struggte the women go through in hip'hop and in American cutture. lt's an
the process. You can't let America determine what it means to live fly. As interesting story and I want to share it with peopte, hopefutty show them
btack peopte, we have our own way of living fly, especiatty Southerners, a thing or two. I'm atmost finish with two movie scripts, I'm loaded at this
and I'm proud of that. But [corporate America] doesn't want to see it, point. Watch what I putl off in this biz.
cause at the end of the day it encourages you to be yoursetf.
Who's on the soundtrack for the DVD?
How did you start filming for the DVD? Wett, I went with vets, cats that I betieve in, and cats that were coming up
I fitmed it in three months. I went from hood to hood, asking people who with a good buzz. The first singte is Banner, Bun, and Kitter Mike, and it's
their favorite rapper was. That's how I found out about Sammy Sam. I tike nothing you've ever heard from them. For the second singte, I went
didn't know about Sammy Sam, but when I went to Attanta, that's who back home to that boot with B.G., Fiend, and Soulja Stim (God btess the
peopte said was their favorite underground rapper. I don't pay attention to dead). The tist goes deep. Witlie D, Partners N Crime, ESG, Choppa, Stim
radio, orTV, or hook-ups tike, "My man right here is hot, interview him." Thug, At Kapone, DJ Jubitee, Ote-E, Cottard Greens, Attic Crew, Tampa
No hook-ups. You have to earn the peopte's respect first. Think of how Tony, Reese & Bigatoq Tim Smooth, Devin Da Dude, and Big Swift are atso
much shit you hear on TV and radio, and even though the sh'it is garbage on the soundtrack. I took it home with Li[' Boosie from Baton Rouge. You'tt
it's at #4 every week. That shit be funny to me. lt shows you that this see him in the future, bet on it. lt's the best CD in terms of having alt the
is a business, buddy, and don't you forget it. When Southern styles on one CD.
I put the film together, it didn't matter if you were
Scarface or some unknown rapper. Everything that's What other projects have you been working on?
said in the documentary word for word, is important I'm stitt going back and forth with MTV and that
regardless of who said it. Go back and check, it's like coutd take off any day. That woutd reatly open
the Southern l{atrix. I got people cattin' me sayin',I some doors, 'cause I feel that I can change the
watched it for the fifth time and I just learned such- game of television for reat. I atso produced atl the
and-such. lt's a ctassic, man, for reat. video and show packages that you saw during The
Source Awards, and I'm currentty working on David
Were there any people you interviewed for the Banner's DVD. We got a good retationship. He's a
documentary that really stood out? smart guy, l'm a smart guy, so it makes sense. He's
A guy named Metto T in Mississippi. We talked about witting to do different shit.
how society was changing. He was rapping back
when it wasn't coot. ln Mississippi they hotd deep Any final words?
vatues, and I love them for that. They're deeper Might getcha jaw broke! Nah, l'm just kidding.
than the average cats. When I interviewed Metto (laughing) No, I'm not kidding. Andre 3000 got up at
I he knew times were changing because he has a an awards show and said, "The South got something
music store near the site where Ktan marches used to say." That inspired me and kept me rotling. The
to take place. He said times are changing because South stitt got something to say, and nothing is gonna
of the mic. When he says in the documentary "lt's stop us from getting our message out there. Nothing.
att about that mic," that was the greatest hip-hop
moment for me besides the ESG freestyle. I want - Julia Beverly, jb@ozonemag.com

OZONE MAGAZINE TWO YEARANNIVERSAR/ MAY 2OO4 1 3

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It's easy to see that G-Unit is running things. With 50 Cent's debut selling
11 million CDs worldwide and their group effort reaching multi-platinum
status, the rest of the Unit are now ready to release their solo CDs. First
up is Lloyd Banks' fhe Hunger For lAore. Widely respected in the hip-hop
community not just for his 50 Cent affiliation but his own skills, what he
lacks in charisma he makes up in clever punchlines,
out. He was [azy. He's coot. And that's my whote persona. l,m the taid-
back one out the group. That's why I tilie Stick iick, Big Daddy Kane,
the smooth ones. Fab is kind of thl same way. He's coot. tfrai's att i
got: Snoop, Fab, Eminem, 50, Buck and Game. iony yayo comes out the
day before my deadtine to record. Hopefutty, I can get'him home and go
straight to the studio so he can get on my ai6um.
-

Tell me about your debut, fhe Hunger For hlore. Since you like laid-back rappers, how do you feel about Mase's come-
I started working on my project during the Roc The Mic tour this past sum- back?
mer with Jay-7, Snoop Dogg, Fabotous, Bone Crusher, Chingy, Lit' Mo, a tot I just heard [his] record ["Wetcome Back"] yesterday. He sounds tike
of artists. I had the chance to see what works and what doesn't work. I'm a he never teft. H6 reatty didn't. He was on a hiatus. He nrur aware of
critic, but I look for the things that artists do good. lt's easy to find out what the game. I respect the reasons he teft. He had to ctear his mind. Him
somebody's flaws are. I look to see what's making them setl records, and I coming back, it;s at a good time. Kanye West has,.Jesus Watks." I think
buitd it into what I can do. I had the privilege of making a percentage of my i
that woutd have been good way for l1ase to come back. you can speak
album in Southside Jamaica, Queens, where I grew up, and I had the ptea- about your betiefs but y6u have to make it retevant to where you came
sure of making the rest of my album atl around the wortd. That made my from. Everybody you're tatking to, nine times out of ten, is not doing
music more appeating to the masses 'cause l've been everywhere. Japan, the right thing.'You don't want to scare them. you want to show theml
Germany, London, everywhere. You see different things. The th'ings you go i
emit message. I think a tot of people emutated Mase. He made it coot
through make you who you are. That's why I feet tike I had the privilege to be taid-bacl.
of having the best of both worlds. I gave you what I feet tike you need to
know from my personal experiences and I gave you what I've been learn- G-unit ever feel like D12 on their single ,.My Band?,'
Do you and
ing. Like when Michael Jackson did his "Btack OrWhite" video with the kids I understood it. For the most part we don,t have ihat piobtem. Maybe
morphing from different races. When I seen that I was young and didn't whenwegooverseas,theybui[dtheinterviewaround50becausehewas
understand the significance. But when you go around the wortd you start the forefiont. Then again, there was onty three of us from the begin-
seeing everything, now I know why he did it. Because there's somebody in ning. That's different irom six. And my voice is distinct. And young B-uck
everycountry,that'sgoing, "Helookstikeme,"andthentheyretatetothe because of his stang. And Yayo has a high pitch. We,re so different in
music. Even if they don't understand Engtish. I think I have records on my terms of voice, tonei, stytes. in the begin-n.ing peopte used to confuse me
first album that could have made my second album because of the broad- and 50, because when I went with 50 that was tne first time I ever was
ness. Things that I'm talking about and seen. For the most part, my mind recording in a stud'io. D12 came straight to mainstream with the video.
state was stitl from my neighborhood, because just last year the finances NYC has a whote different set up. lt,s-tike boot camp. My beginning was
weren't there so I remember. So it's stitt the struggle there, just mixed in. on the mixtapes. ln NYC the mixiape market is so nii. fn-ere'iover-eight
Kjnd of tike when Biggie did his first atlum, I actuatty put my album to the mittion peop[e in NYC. 50 was downtoaded 300,000 tire, ou", computer.
side to finish my performance on the G-Unit album, Beg For lvlercy. Once I I have over 200 freestytes in the streets right now. There,s my refeience.
was done with that, I was already 18-19 tracks deep into my solo project. That's what made peopte think it's not ahuke. Now it goes from street
Before I knew it I had 50 records. My probtem was setecting the records I to the mainstream. I aiready have the street behind m/Oact<. Now I got
wanted to go on the album. to convince the mainstreamthat lcoutd do both.
ls The Hunger For lvlore similar to Get Rich Or Die Tryin' and Beg For What does G-Unit mean to you?
hlercy? G-Unit is a brand to the wortd. To me it's my famity. To the wortd it's
Me and 50 have been working together for so long that your ear kind of sneakers, ctothes, rap, movies, cartoons. lt,s a movement. I have
spreads. I kind of have the ear that he has. I could tetl what kind of separate ventures but it stitt ties back into G-Unit as a whote. you
record he woutd [ike. Same with him. He might hear a beat and not
-**
ffi, have to know the chain of command and ptay your posit.ion. I'd
necessarity want to rap on it but know I coutd make it something rather be a key ptayer on a winning teim itran the star on a
speciat. My project is the same quatity performance, quatity pro- Gt reFl losing team.
-
duction as Get Rich and Beg For Mercy.l got Nottz, Hi-Tek, Eminem, Eflf t
Tmbaland, a tot of new pioducers. i ev6n got a 6eat from a dude
in Germany. ffi I wnut are your outside ventures?
I have an adutt fitm/video game coming out. when I was on the
-G
Did you have rull creative contro-r over your project, or nF.
1X'"T;ri1:"?ilJ 21X,11it81:|!n:iffi!1t":,f: il:::ilil
didyouhavetogettheapprova1from50,Eminem,andff,&k.not'performing,justinitiating'lt,snot-youraverageadutt
Dre?ryn*fufith.tt'san-advancedDVD-towhereyou.undetermine
Just50.lgetattmyanswersfromhim'lgetmydirectionretheenvironmentandoutcome.lthinkthat,swhat,sgo-
fromhim.That,stheon[ypersonlhavetosatisfy'Hehudffiingtoseparateitfromeveryotherthingoutthere-.l
EmandDre,ljustgot50.Wheneverthingsarenotgoingred.iditbecauselfetttikelcoutdchangeIhegame'lt,s
right, lask 50. a wide open market there. The hig-hest-se-tt'ing DVD
was 60,000 copies, Jenna Jameson, And we sold over
W.hydidyoupick..onFire,'asyourfirstsingte?re8o0,0o0copieiofihe,.N"*Breed''DVDoffthe6et
"on Fire" means l'm the shit. l'm really what's happen Rich or Dii Tryin,cD. once I tap into that market,
ing right now lt's been done. l've heard the term. But it won't be taboo anymore. lnytning that happeni
nothing's new. "on Fire" was one of the last records , new they don't run *itn it. rhey ooi't e"p".iit ut
recorded. Eminem produced it. lt came at a time when I att. Nobody woutd,ve expected 50 Cent to selt ,l
1
had a lot of singtes. But that was the ctub one. I wanted million records wortdw.ide off a buzz created from
to get in the club because I perform more than the aver- a mixtape.

Hi"ill'T; if"'l'ff:?'fJ"rH;t,?,T::,""';:il:;:1L? Howdoyoureerabouthip_hoptoday?

::i"",''Yffil"":ffi:if'Hi*:.buytickets'oneshow.".ruili':I.Irx"l;*l:"*.fi-*ii..'*i:l"";l;:
things outside of music. You have so many different
How did you pick your collabos, like with Snoop, Fabo-- wayito market yoursetves, movies, we gbt a video
lous? game coming out this chris[mas, we have a saturday
Personal favorites. snoop is my favorite att-time. Even
- m-orning cartoon coming. There'i so many things you
though l'm considered the lyricist out of the group I think coutd ddnow. I thinkeveituattyyou'tt have rappeiswith
that came from me wanting to be compticated, not to be - their own modet cars.
-
iffl#:i,liix,iil'i!ii}::Jf['::;.ffi:'r:x?1"",? - where,sthebestp,aceyou,vevisited?
from everybody etse. You to say something that - -*(D[Y l'm half Btack, hatf puerto Rican. I had the pteasure to
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OZONE AAAGAZINE TWOYEARANNIVER5AR/ AMY 2OO4 15
-
por any artist, expanding from an underground audience to a com'
h m6rsi6l audience is always difficult. For 8Ball & MJG, already
I nlgnty respected in the iouth, the transition was a bit easier.
After signing with Bad Boy,P Diddy's New York influence is highly evi-
dent on their seventh release, Living Legends. Walking the tightrope
between pleasing the streets and pleasing their record label, with the
album receiving positive reviews it seems that the duo accomplished
their goals. Relaxing at Bad Boy's Daddy's House Studios in New York,
SBall E MJG explain their status in the game.
Having been independent so long, why did you choose to make the
move to Bad Boy?
AAJG:We fett tike it was the best move for us. Bad Boy needed tools tike
us, and we needed a toot tike Bad Boy. lt was alt about timing. We fett like
making that move, putting it together, woutd make everybody happy.
Has the move made you happy, did everything work out the way you
planned?
l4JG: Yeah. lt's working in that direction.
88all: The atbum is in stores now, Living Legends, and everything is going
good right now. Everything we did before this was independent: cassettes,
CDs, att that, straight out of high schoot. Our first two atbums, Coming
Hard and On the Outside Looking ln, were totally independent.
Creatively, are you happy? How much input does P Diddy have when
you're in the studio?
8Ball: We get 100% creative controt. Puff does his thing to enhance what
we do.
So what exactly happened with the label you were previously signed
to, Suave House? Was it a mutual decision to leave?
l4JG: Yeah. We coutdn't negotiate any further, and we had to make a bet-
ter business decision so we moved on.
You've named your album Living Legends. You're well-known and
respected in the industry and the underground, but on a mainstream
level do you feel like people respect you as legends?
8Boll: Not on a mainstream levet.
Why do you think you haven't received that mainstream support?
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88oll: I think it's because we don't look for that kind of support. We don't
do industry gangsta shit. That ain't us. We do music for real niggas with
attitude, and that's the kind of people we attract. That's just the kind of
music we do. We're not as potished as some people.
stitl a tittte rough around the edges.
/vlJG: We're
As far as being polished, do you think that's just an 'image' thing?
You're not out there taking pictures in a bulletproof vest and things
like that.
we're just not doing it the normal way.
it4JG: Yeah, I guess
SBall; We have new opportunities now being with Bad Boy/Universat.
That's one of the things we definitety saw that they coutd give us. Maybe
some of the peopte that weren't noticing us then wi[[ notice what we do
now.
Even though you might not have that mainstream recognition yet,
you've been in the game for such a long time - what would you say is
the formula for longevity? What has kept you around this long?
8Ball: I think just being oursetves. I think we're a lot more laid-back then
a tot of cats. A tot of peopte be laid-back on TV, and act a fool when they
ain't on TV. We're taid-back atl the way around. We don't do stupid shit
to try and get attention or prove that we're the hardest gangstas on the
street.
\AJG: tNedon't try to make you notice us when we're not working.
8Batt: We're just tiving our lives. Things happen in our lives, but we don't
have a pubticist that reports everything that goes on in our tives.
You worked with a lot of Miami producers for this album: Cool & Dre,
Red Spyda, Drum Majorz...what was it like working with them? Do you
feel like your sound melded well with theirs?
88all: The Red Spyda track, "Memphis Blues," we weren't even supposed
to use that track. We were tistening to some otd shit and we heard that.
We were freestytin' and playin' around with it, and MJG said the chorus
just freestytin'.
You've got a track from Lil' Jon, were you worried at all that the
"crunk" sound is getting kind of played out?
l4JG: I think that the materiat we do and a Li[' Jon track witl create a
whote new sound.
SBoll: I think his production just feels tike him.
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As Living Legends, what do you want people to remember about you?
88all: Just us, man. Peopte that know us outside the music. lf you met us
inside the music, you'd think we're the most tow-down pimpin' mutha-
fuckers you ever met in your [ife.
lvlJG: We are peopte. We're just everyday cats,
SBoll: We got famities, kids. We regutar peopte too.
So, 8Ball, do you think Bonecrusher is biting off your whole ,.Fat
Mack" thing?
SBall: (laughing) That man can't help it that he fat. I can't hetp it either.
That's my dawg. He doing what he do.
Do either of you plan on doing another solo album?
SBall: I do, definitety. MJG got an atbum. He won't tet anybody hear it,
though (laughing).
When you do your solo project, is that going to be independent or
through Bad Boy also?
SBall: I don't know l'm doing a tot of stuff. I've got my own labet, SWays
Entertainment. We got a bunch of live stuff we been working with. Some
bands, a lot of shit going on.
Were you happy with the way the video for your first single, .,You
Don't Want Drama," came out?
88all: Definitety. MTV woutdn't ptay the whote thing, though. I guess
they fett "Don't make me ki[[ no muthafucker in here" is offensive. How
is that offensive? They ptayed the video, but cut the end off. BET ptayed
the entire video.
What's your opinion on the hip-hop game in general right now, do you
I've heard some people comment that the video was surprising to think any changes need to be made, what do you think the industry
them; it didn't really look the way they expected. Were you switching needs right now?
it up intentiona[ly? l4JG: I just think it needs to keep doing what its doing. We've seen in
8Ball: We wanted to dive in. We didn't wanna ptay with it and try some- the past that hip hop has been building up, and everything happens for a
thing so artsy that peopte would hate the change. We just wanted to
dive in.
Now that you have a little more pressure to appeal to mainstream
audiences, do you think you'lt still be able to keep your street audi-
ence?
8Ball: We're hoping to attract a larger audience of street fans.
f:
f
,
f
f
&
MJG: We're making people who woutd never identify themselves with the
street want to be ident'ified with the street. We're making peopte move out
of the suburbs into the ghetto.
88o11: We just want them to [isten to our atbum and not think about that
shit. We not trying to make everybody be [ike us, we just want them to buy
our shit and enjoy it. Don't throw on our record when you're feeting miti-
tan| throw it on when you're feeling good. When you're about to go to the
ctub, or when you're cleaning the house.
For each of you personally, what is your favorite song on the album? ls
there one song in particular that's meaningful to you?
lvlJG:tNe got about ten potential singles on there. I reatty can,t say. There's
a bunch of them bouncing in my head right now
SBall: I love the whote atbum. "Memphis City Blues" might be one of my
favorites.
What's your opinion on the hip-hop game in general right now? Do you
think changes need to be made?
i/JG: I just think it needs to keep doing what it's doing. We've seen in
the past that hip-hop has been buitding up, and everything happens for a
reason. And if we went back and changed something that happened, how
would that affect us now? History repeats itsetf. Don't try and change noth-
ing. lf you change something that's meant to be, then you're going to mess
something up.
88all: We getting back to the raw. lf you realty can't get on stage and rap,
and have to lip-sync and att that, you may as wett go be a news reporter or
camerarnan or something. Straight up.
reason. And if we went back and changed something that happened, how
woutd that affect us now. History repeats itsetf. Don't try and change noth-
ing. lf you change something that is meant to be, then you're going to mess
something up.
8Boll: We getting back to the raw. lf you reatty can't get on stage and rap,
and have to tip-sync and a[[ that, you may as wetl be a news reporter or
cameraman or something. Straight up.
WRlll PEOPTE IO ;;iffi;,
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CAHIBBEAN N'HLIGHTS &
WSST INDIAN SHOCEHIES!
 8Batt & MJG in a few gems [ike, "Boys change shapes tike
Living Legends origami, but I refuse to fotd." Mike Jones teams
Bad Boy/Universal up with Pau[ to ask us what we know 'bout the
Lone Star State. At[ the guest appearances are
It's like the kid at school fire, and Kitter Mike's verse is paratteted onty by
who atways wears the the track. The only errors are a few uninspired
shoes that are too big guest verses. The titte might be deceiving, but
for him and no matter overatI this hustter brings no buttshit. Just an
what he does they just album futl of many positives and only a few
won't be fit on him. He negatives. - ADG, adg@tmait.com
can stuff them a[[ he
wants, tie them as tight Tripte J
as he wants, but there's My Addictions
atways the littte gap in Black Market lnc.
the back. Many MCs these days give their at-
bums titles which are simpty larger and more Tripte J has been doing
significant than what the atbum deserves. When his thing for a minute
the atbum finally drops so does their credibitity. now. Over an 8 year pe-
ln this case, however, 8Batt &. MJG have come riod, he's released four
up with an accurate album titte. The two South- independent atbums,
ern mainstays, now with Bad Boy Records, are and most recentty he
ready to show the industry once again what sets was shetved on Def Jam
them apart. SBatt & MJG are Southern rappers South. Now, he lets us
without a doubt, right? Wrong. Living Legends know what drives him:
proves that there's Southern hip-hop, there's his addictions. With 18
East coast hip-hop, and there's a midway be- songs on this atbum, Tripte J - a.k.a. Bumpy
tween the two. 8Bat[ & MJG ptace themsetves Johnson - paints these canvases tike a true
'in the middte with this new release. Living Leg- seasoned veteran. The quatity is debatabte
ends isn't track after track of hype, bass-taden (opinions are like asshotes..) but it's ctear that
crunk music with incessant screaming; it's an Tripte J knows how to put an atbum together.
indication of the flexibility and tatent embodied On the informative "5 to 1," he combines his
by these MCs. Production on this atbum doesn't club experiences with his creativity. The titte
possess the standard Southern sound; there are has a tripte meaning: the radio of females to
some tracks with East coast flavor. "We Do lt" is males, the five minutes he spends spittin' game
one track that'[[ have listeners question if 8Ba[t to one gat, or the five doltars he spends to buy
& MJG have switched up stytes. The beat uses her one drink. Triple J's flow on "Jump" is per-
a brittiantty crafted string melody matched by fect, but the beat itself is mediocre. He atso
an uncompticated drum tine, giving this track a shines on "Watchin' Time Fty," showing a sense
taid-back feet. The first single, "You Don't Want of hope and chattenge throughout his tife. "16
Drama," is crunk with a few shots of 8batt & Years Old" is a tate of mistrust and deception,
MJG to add flavor. This hard-hitting club anthem an account of a mature teenager who sneaks
was quickty added to playtists on urban stations in the ctub. She runs game on Bumpy, but later
around the country. Living Legends is another gets caught in his car by the cops. White Tripte
strong release from 8Ba[[ & MJG, proving that is exptaining to the cop that the onty thing he's
good artists aren't limited to one region. 8Ba[[ trying to get off is the girt, the cop tells him
& MJG stretch Southern hip-hop beyond the that she's onty 16. "Papi Chuto" and "Clear"
timits with tact and abitity. For Southern enthu- are mediocre attempts to make songs about
siasts, there is no excuse not to get this atbum. two of my favorite addictions: Latin women and
For everyone etse, it's a good addition to your liquor. Entertaining, but filler materiat. The use
CD changer. - Rohit Loomba, ctpros@arcanepr of flavor-of-the-moment-Kanye-West-type pro-
oductioncompany.com duction pops up a few times on this atbum, but
reatty comes together with Tripte J's vocals on
Paul Wall "The Easy Way Out." Tripte entists Earn Bo and
Chick A{agnet his brother Saucey to hetp on "Point'Em Out,"
Swisha House a steeper club track. Kraftwerks' influence has
been evident in hip-hop and rap since day one,
lf you aren't familiar with and Suave Smooth helps out on "Ridin'Wit' Us,"
the name PautWatt, I sug- a sure ctub smash. Ending with "MyAddictions,"
gest you get acquainted Tripte J answers any questions about him or
real fast. I hear he's one his addictions over a slow-tempo eerie track.
of the hardest working - ADG, adg@tmail.com
rappers in the South, and
what I know is that he has Rob Gold
one of the illest CDs I've Window To A Soul
heard this year. With a
titte tike Chick Magnet, Like many aspiring rap-
you might expect an hour fu[[ of sexcapades pers, the grind reatly
- but Pau[ is just flirting. On the titte track, he begins when the artist is
demonstrates his suave demeanor white riding a faced with adversity and
simple synth tine. The mixture of a Dani Maries pain. The Mississippi na-
hook and Paul riding soto gives you a sure hit. tive gives us a peek into
We don't hear the poputar duo of Chamiltionaire the person Rob Gotd with
and PautWatt, but we do hear guest appearances his independent retease,
from the tikes of Mike Jones, Bun B, Killer Mike, an atbum fitled with more
and several others. "Did I Change" is a combina- pain and hurt than joy and
tion of guitars, a simpte drum line, and famitiar laughter. After a formal
tates of disappointments. Lyricatty, Pau[ sneaks thank you to begin the album, Rob drops one of
his best cuts, the lyrical lesson "C-O-U-N-T-R-Y."
It's a four-and-a-half minute introspective journey
through the tife and times of Mississippi, on top of
a beat which coutd easity be mistaken for a lost
Organized Confusion track from Outkast or Goodie
Mob's eartier works. After a few fitter tracks, Mr.
Gotd picks up the batt with the self-produced
banger, "Different." Although the production isn't
great, Rob makes the best of the synthesized beat
and tetts us how he's different from your average
rapper. The hook is a let-down, a disappointment
from the momentum buitt up by the marriage of
the beat and Rob's voice. With no warning, we
then must listen to a hundred and eighty seconds
of a scratch sampte of Rob reppin' his Futt Btown
tabet. Simpty not necessary. The biggest drawback
to the album has nothing to do with his music or
creativity, but the technical issue of mastering. A
few times, the volume dips too [ow. We atso have
the tired, overused concept of "lma Pimp." After
a few more fitter tracks, we are greeted by some
guitar strums on "SO," a very decent second radio
singte. I don't know why this track is btazing; it
might be the funky beat, or it might be Rob's flow.
l'm pretty sure Rob is no stranger to the Missis-
sippi strip ctubs, since he has a song dedicated to
working the pote! To finish the atbum out, we're
rev'isited by the chopped and screwed version of
"C-O-U-N-T-R-Y." - ADG, adg@tmail.com
Jadakiss
Kiss of Death
Ruff Ryder/lnterscope
I've thought this for a
minute now: hip-hop is
[ost. Poof! lt used to be
about the music and strife;
now it's an obsession with
diamonds, Bentteys, and
nookie. The lyrics lost
substance white those who
wrote them added money
to their stacks. But, every
now and then, an atbum comes along and proves
to be the exception. "Welcome to D Block / Mighty
mighty D Block / The ptace in New York City where
Diddy won't even watk." Hett, hip-hop not onty
walks here, it flourishes here. Case in point: Jada-
kiss' new atbum. You can te[[ this is a solid atbum
from the cover picture of Jada sitting in a chair,
hands together. He knows what he's got. His gaze
reveals the confidence he has in h'is work, and
the confidence is warranted. The album starts off
mediocre with tracks tike "What You So Mad At?"
and "Shine," featuring Snoop Dogg and DJ Quik.
Track five is the first major heater: "Time's Up,"
featuring Nate Dogg, with an on-point drum tine
and some string chords. "Why," featuring Anthony
Hamitton, builds on the momentum. The intro to
this track sounds a little out of ptace, but Jada's
vocals pose several questions about the industry,
cetebrities, and death. He even delves into topics
tike the economy, 9/11, and politics. Three hot
tracks in a row! Next up is "U Make Me Wanna,"
featuring Mariah Carey, who tetts us a[[ that she
simpty wants to "K-I-S-S" and make tove. The beat
is welt-done, and possesses an ethnic flavor. Jada
gtides over the beat, rapping about a relationship
and taking care of his woman. Mariah showcases
her vocal range by hitting some notes in the higher
register near the end of the track. She might have
lost her mind, but it's good to know she hasn't
lost her voice. The album takes a downturn until
track 11, recovering with "Shoot Outs," featuring
Stytes P. Jada and Stytes take turns exchanging
bars over a hype beat which sounds like its from
OZONE MAGAZINE TWO YEARANNIVERSAR/ MAY 2OO4 19
 the "Bad Boys" movie soundtrack. The third
verse holds lyrics [ike, "l ain't se[[ my soul to
the Devit, I bought his from him / Waitin'for the
day they say Jesus gon'come / So God btess a[[
y'a[[ niggas, 'cause l'm sneezing with my gun."
This is, arguabty, the best track on the entire
atbum. Next is "Welcome to D Btock," featur-
ing Eminem, Sheek, and Stytes P. Att these MCs
spit over a nicely-done guitar melody, set to a
decent drum tine, Right after this comes "Kiss
of Death," a simple beat with a nice melody.
Production throughout the album is provided
by Swizz Beatz, Scott Storch, the Neptunes,
Atchemist, and others. - Rohit Loomba, ctpro
s@arcaneproductioncompany. com
Psycster
Freestyle Fanatic Of The
South: 'l 3 Days Of Helt
Longterm Records South
Atthough the atbum title
says this is a freestyle ef-
fort, it's hard to betieve
that these are atl re-
alty freestytes. Psycster
might not have written
any of the lyrics down on
paper, but this atbum is
put together too we[[ to
betieve that it's a[[ freestyles. Aside from the
pointtess skits and a few minor flops, Psycster
makes a pretty good impression a first-time
tistener. On the laid-back "Trashy Hoe," Psyc
exptores the vision of beer goggtes that leads to
many unanswered questions, like, "What makes
a jazzy hoe different from a ctassy hoe, and
what separates them both from be'ing a trashy
hoe?" Atthough the song has good intentions, it
takes a turn for the worse when Psyc begins to
spit a lot without saying anything. He redeems
himsetf on the gangstafied "Keep it Gangsta,"
where the energetic flow truty sounds like a
freestyte. Production throughout the album is
pretty consistent with the exception of the hor-
ribte "Rep Yo City," and the hook is just ptain
awfut. The influence of artists like Tupac and
Scarface is apparent on heartfelt tracks [ike
"Drop Top Chevy," "Yesterday," and "Giving
You the Best." The latter is a personal favorite
of mine, simpty because Psyc comes across so
sincere that anyone who's faced adversity and
death can feel it. 'Face and 'Pac atso had this
abitity. Another track that grew on me is "Like
De Ja Vu For the Ladies," where Psyc exptores
the role of a wifey in this business, atl the way
from the celebrations to the pitfatts. On the ra-
dio-friendty "Who Am 1," Psyc questions who he
is and what paths to take. The organ-fi[[ed track
fits perfectty with the simpte hook. Who cares if
this is atI freestyles or written - it's a good listen
either way. - ADG, adg@tmail.com
Lil' Rock Dogs
Muck City Volume 1 A rapper that's new to
The production on this
atbum is good, but I can't
base the review on the
tracks alone. With tyrics
tike, "Ctique tighter than
pants on Steve Urket's
dick," these fettas lyri-
catly have littte to offer
the industry. Luckily for
them, the music isn't just
lyrics, and most people
judge an album off the hook or a catchy me[o-
dy. With the hetp of producer Papa Duck, these
dogs putl off a few above-average songs like the
20 OZONE MAGAZINE TWOYEARANNIVEFSAR/ MAY 2OO4
sexuatty-fueted "l Heard About Ya." The subject without paying a visit to the street anthem, "Prob-
of a well-known hoe has been beaten to death, lems." - ADG, adg@tmail.com
but the energy in their detivery teaves you 'in-
trigued enough to listen atl the way to the end Smilez And Southstar
of the track, where a hoe reaches her ctimax. The Mixtape
On "Shots at My Enemies," we get a gtimpse of Groundwork Ent.
the non-fitler material on the album. The hook
rings in your head [ike vintage Outtawz mate- ln poputar mixtape fash-
ria[: straight fire! However, the few tracks that ion, S&S jack other artists
rise above filter materiat are shot down with beats and customize them
whack Sean Pau[ impersonators ("Yard From to their tiking. Hatfway
God"), bad female singers ("Just Me and You"), through the CD l'm not
and bad hooks ("Act A Ass"). Simpty put, Lit' reatty impressed, and I can te[[ you why: beat
Rock Dogs need to fatl back and replan their setection. lt's not that the tracks are bad ("Dipset
attack. Production is solid, but a wet[-produced Anthem," "Warning," "Can't Stop, Won't Stop"),
atbum can't hetp trite concepts and mucky sub- but in this game, the average fan won't toterate
ject matter. - ADG, adg@tmai[.com otd mediocre tracks. With this unwritten rute, the
exception is if you can put your twist on the beat
Jacki-O and successfulty rock the track better than the
Officiat Bootleg Mixtape original artist. "Fame" and "Don't Speak" are the
Poe Boy only tracks where S&S come ctose to doing this.
Lyricatty they're on point, especiatty on "Who
It's a fact that fema[e Betta?" where 5&S voice their feelings towards DJ
rappers aren't given the Ctue, citing the backstage punking by Dash and the
respect they
deserve, Reebok ousting. The beef continues as newcomer
going atl the way back to Vitt spits some harsh words towards some pussies.
MC Lyte or Queen Latifah. On a real throwback track, S&5 get some help
Even when you're working with Grammy Award from Ezmay expressing the highs and lows of fame
winners tike Wyctef and Timbatand, peopte over The Roots' classic joint, "You Got Me." One
are going to hate: point btank. A[[ you can do of the hightights of the CD is the Dakari-produced
is keep your head h'igh and do you. Jacki-O remix of "Ridicutous." The original production was
demonstrates that attitude on her intro, giving a bit intense, so on the remix, we get a littte more
us a sneak peak at her upcoming debut album taid-back feet. Lyrics are revamped, and experi-
along with a few remixes and freestyles for the ence is taking its tot[ on the duo as we see a more
non-believers. Jacki-O is versatile, but at the retaxed delivery. The other standout track on the
same time, she knows that sex, drugs, and vio- album is a Thrill da Ptaya joint featuring the two.
lence setl records. Aside from the wett-known The country sample fits perfectly with the vocats
"Nookie" and the remix, featuring Wyctef, the from alt three rappers. - ADG, adg@tmail.com
sex talk is through the roof. On the "Champion"
remix, Miami's own Trick Daddy spits, "Suck
me, fuck me, throw me some dough / Att that
shit you talk don't phase a hoe." The Roc's own
Freeway tends a few verses on "Gangsta Bitch"
and "Take My Breathe Away," where Jacki
buitds her flow up graduatly from spoken word
to a flow that matches Freeway's. Timbaland
lends his signature sound as wett, where Jacki
successfully kitts the kick. On "People Change,"
which sounds derivative of Mario Winans' latest
hit, Jacki spits some real tatk. The thought-pro-
voking lyrics on "Zoom" wi[[ have you putting
the Atpine on repeat. "Ain't nobody working
'cause there ain't no jobs / Everybody hurt-
ing 'cause there ain't no one to rob." Atthough
"Grind" has good intentions, the song qua[-
ity is inconsistent. Stitt, Jacki-O comes out on
top with a hot freestyle informing us that the
Madam is home! - ADG@tmail.com
Stat Quo
Underground Atlanta
Volume 3: Hot Sauce
GMM
the industry is usuatty
judged by who's backing
him. ln this case, you
might want to treat Stat Quo like royatty. He's
signed to Shady/Aftermath and has currently
recorded songs with G-Unit, Kanye West, and
a cast of other highty-respected entities. ln be-
tween drops from everyone from Mobb Deep to
Chaka Zulu, we hear Stat's spin on this thing we
catt hip-hop with a few GMM exclusives, songs,
and freestytes. One of the best verses on this
mixtape is Stat's obliteration of Redman's "The
Saga Continues" beat. The Midi-Mafia produced
"Ooh Drama" is about to kill most rap radio
hours. We don't get out of the ATL Underground
ffi
il*r*n:*ruiaI r*di* 5*p tG {**ti::n*"i!ci*}
01 - Usher "Burn"
02 - Twista, K. We t "Overnight C€tebrity"
03 - Usher "Confessions Pt. 2"
04 - Petey Pablo "Freek-A-Leek"
05 - Usher f1 Ludacris & Lil'Jon "Yeah"
06 - Beyonce "Naughty Girt"
07 - Alicia Keys "lf I Ain't Got You"
08 - Juvenile fl Soutja Slim "Slow Motion"
09 ' Mario Wnans fl Enya & P Diddy "l
Don't Wanna Know"
10 - Outkast "Roses"
phylists #*Htr##d
T.i'r *i'p lTneil,rhas***. fli-: ]err *ei;:*r*
01 - Petey kb{o, J. Dupri, Twista "Freek-A-Leek {remix)"
02 - BtoodRaW P. Troy, GrandaddySouf'My Block Burn"
03 - Mr. Vegas "Pull Up" rJ6 D.ta
j*reland* E**rcrd Fi:*i {*r1**,**, ?:1..i 04 - Juvenile, Wacko, & Skip "Notia Clap"
05 - TS "Lean Back"
01 - Ying Yang f1 Trick Daddy "What's Happ'nin"' 06 - Il. /
f Jazze Pha "Let's Gel Away"
02 - Lloyd Eanks "On Fire' 07 - 8.5.U. "Sak Passe"
03 - Ditated Peoples f/ Kanye West "This Way" 08 - Yung Wun ll
David Banner & Lil'Flip "Tear it Up"
04 - Teedra Moses "Be Your Girl" 09 - Teedra Moses "Be Your 6irl"
05 - J-Xwon "Tipsy (remix)" 10 - Jermaine Dupri "Party Over Here"
06 - Dirtbag "Here We Go" 11 - Lif Scrappy "No Problems"
07 - Juvenile, Wacho, & Skip "Nolia Clap (remix)" 12 - Petey Pabto & Rasheeda ry'ibrate"
08 - Usher Throwback" 13 - Westside Connection "5o iAany Rappers in Love"
09 - Cassidy "Gets No Better" 14 - i,lurphy Lee fl
Nelly "Hold Up"
10 - Stat Quo "Problems" 1 5 - Crime iAob "Knuck if you Buck"

?dig*X l-*e;rl lus ?jb$'"ist F*irv:, 5';-?

Old" bt -
01 - Tripte J "16 Years
Last"
02 - J-Red "Didn't fuZ^
03-Hot & Heated "Litti Dittie" -----y
04 - Dutch fl Danger "Put it On You"
05 - Charrn Alluminant "Chips &. Cups"
06 - Shonie "One Woman Man"
07 - Stress & Witd Pair "Put Ya Hands Up"
08 - Suave Smooth "Shake lt"
09 - Double D "Street Slave"
10 - Mr. Charlie "Dat's That Shit"

fr*w Yib** TV Fi*yti:i tT*l::::a, ill-3

01 - Redman "The Saga Continues"
02 - Erick Sermon "Feet lt"
03 - SLum Viltage "Selfish"
04 - Juvenite f/ Soutja Slirn "Stow Motion"
05 - Juvenile, Wacho, & Skip "Nolia Clap"

**4 fi*r*rd F**l {-r*;.*F;;, FL} T*p i**i*s

01 - Daddy Stro "Low Low"
02 - Tom G "6et Loose"
03 - BloodRaw "My Elock 8urn"
04 - White Boy "DO Dat Dance"
05 - Teeny Baby "Stamina"

Vide* Sis {i$iall::. {L7 **xvy r*i*ci*i1

01 - Akon f/ Styles P "Locked Up"
02 - Ditated Peoples, K. West "This Way"
03 ' Kanye West f/ Syteena Johnson "All
FaIts Down"
04 - Lif Ftip "Game Over"
05 - Twista fl Kanye West
"Overnight Celebrity"
06 - Ying Yang Twins f/ Trick Daddy
"What's Happ'nin"'

rse€s *€ Z** ffi**XYe

DJ Quest
"Solthern Fried Gumbo Vol. 1"
www.DeeJayQuett.com
manager Phantom @ 497-7'16-3178
:t;:i:s;}*=
$S - Yr:r;*gli*'#; "$5'" il,1r *w*'r*&?
$9 l+sx# "*,rl lirt fr**i:sr ilrc"
#?5 - 5**ve srr*--i* "!4i*,i: IS*y *;"
iit{t Z'4'f I ?iir* Scrt'try ":+ f-*r:g"
+;F' -Tidf{fl Firi*,€*i-r "Y* {!",a'e'i'" DJs, send your mix CDs (include a cover) to:
1516 E. Colonial Dr Suite 205 Orlando FL 32803
 The 3'd Quarter 2004 Tastemakers Onty will be held on
Juty 21st, 2004, at The Moon in Tatlahassee, FL. For more
information, join the 10 mitlion others who have visited
www.TJsDJs.com or cat[ 850-877-6090.
TASTEMAKERS ONLY XCLUSIVES (2"d Quarter 2004 - April
14) Disc 2
Total Kaos / Slow Ya Roll - So Phatt
Contact: Shampoo - 850.942.1713
Returning after dropping the homie anthem, "That's My
Dawg," Totat Kaos puts the streets of Deerfietd Beach on
his back once again. This time around, Kaos is here to let
the detractors know if you have any issues with him, understand,
T.ra
@.crtut
D.ra
Kaos "hear[s] you tatkin' bout beef, but you don't want that."
After hearing this track, you't[ know the difference between Kaos
and other rappers: "They're industry whi[e he's in these streets."
Jody Breeze, Sean Paul, Trick Daddy / AKs & Chevrolets - Sho Nuff
Contact: Eric Johnston - 4O4.488.9702
Entisting the hetp of two of the South's finest, Sean Pau[ (from Young-
btoodz, not the white dude from Jamaica) and Mr. M.l.A. himself, Trick
Daddy, Jazze Pha's new artist Jody Breeze flows over the heavy bass and
gunshot sampled track with ease. Breeze dectares, "l ride, you ride / Att
day, att night / You spray, I drive" so easity, I almost gassed up the Pacer
and went to kitl somebody mysetf. ***DISCUIII[ER**" - No one was harmed
in the making of this song or this review,
Suthernfolk / Strictly 4 Da Grindaz - Jangalang
Contact: G - 404.512.2422
Once again, Jangatang Entertainment shows that you don't need to live in
a major market to make good music. These Atbany, GA natives are on the
scene as a group that provides a unique sound with quality production. This
song focuses on celebrating those that are in an everyday struggle that
are trying to "[ine ya pockets so you don't feet the wrath of a fucked-up
economy." Rest assured, the Suthernfolk wi[[ continue to grind until their
champagne wishes and caviar dreams are futfilted.
Thrill Da Playa f. Smoke / Yo Chevy - Homebass
Contact: D. Green - 904.233,4384
Listening to the stow, melodic production of this song naturatly evokes vi-
sions of a lazy afternoon rolting down the street with an elbow outside. lf
you've got a sweet candy ride and some hump, or even an '86 Corotla with
three ctashing cotors, this song is for you. The great thing about this tune is
that Thritt makes you proud of your ride no matter the condition.
Money Mark f. Roc Fa Real / Strippa Chick - Realionnaire
Contact: Bag - 954.558.4768
This track is the epitome of strip club music! No, seriousty, ctose your eyes
and imagine a stripper chick giving you a lapdance. lf there was music in
the background, "Strippa Chick" would be the song ptaying. Using the Art
of Noise sampte perfectty, Money Mark and Roc Fa Rea[ tetl atl the profes-
sionats that it's okay. Mark's flow is different than the usual M.l.A. drawt,
opting for more of a Three 6 Mafia tone. "Got mysetf a strippa chick / Just
as fine as she can be / Get a nigga money up / Put a nigga dick to sleep." lf
that does not make you want a "Strippa Chick," I have no idea what witt.
Triple J / 16 Years Old - Bad Business
Contact: Triple J - 56'1.452.6802
This is a cautionary rap tate wrapped in a smooth R&B styte case of a
popular rapper misted by a girt who's "just 16 years otd, thinking she's
grown." Who woulda thunk it if he met a 5' 5" '135 tbs. girt in a ctub with
thick thighs, big eyes, big lips, big ass, big hips who is experienced, and
real mature. Ptus, he met her in a ctub, with a cup, and she picked him up
in her car white buying the hotel room. As Triple J learned, everything that
gtitters ain't gotd, so make sure you check lD. She just might be 16 years
otd, *On o side note, we wish Triple J of Palm Beach a speedy recovery
from multiple gunshot wounds he suffered this post April..
G. Womack / Groove Wit You - Another Level
Contact: Tony Neal - 414.406.9836
This sitky tune is purely for the grown. This tune is reminiscent of the jazz
cotton ctubs, where you woutd witness fotks in their best button-ups simpty
grooving to the melodies. Couptes move in time to the sultry sounds with
dresses flowing as the sexy ladies twirl in and out of their partner's arms.
This song woutd be a great soundtrack for a candlelit dinner, but please be
careful with this tune or you may be paying for it over the next 18 years.
22 OZONE MAGAZINE TWO YEARANNIVERSARY IMY 2OO4
C. Rena'/ I Don't Want To Say Goodbye - Brown Street
Contact: C. Rena' - 813.789,2362
Tampa native C. Rena' merges perfectty with this moody
track to provide a voice for a stormy night with rain press-
ing upon the window. Best known for her work on the
hook for Krazy's "Leave The Ctub, " C. Rena' is now reach-
ing out with a tune that feels more personal than busi-
ness. She is torn, knowing it's time to move on from her
love of three years. With a voice this moving, I woutdn't
want her to say goodbye either.
Ee-De / Let's Get lt Low (The Krunk Love Song) - NME
Contact: Renee Wilson - 404.885.5754
It is tough to imagine how a love song could be crunk, but Ee-De's
honeyed singing voice over a mid-tempo bounce track putts it off.
Before [ong, you reatize Ee-De has set it off on your speakerbox
and your head is bopping and your feet are tapping. Ee-De's stage
show is also impressive, with crisp movements and seasoned danc-
ers. lf you get the opportunity to check him out, don't miss it.
B.A.M.A. / Sweet Home AL - Vision
Contact: Brian Miller - 334.230.9455
The hardest thing about sampting old white (excuse the term, but hey)
music is getting the samptes cleared. Wett, in the case of Boyz After Mon-
eyAlways (B.A.M.A.), sample clearance was not a problem. lf you have
not guessed by now, B.A.M.A. sampled Lynard Skynard's monumental hit
song of the same name. Listen to me now folks, love it or hate it, this
song has every etement to be HUGE. B.A.M.A. keeps it simple but tight,
leaving the hook similar to the originat. Listen out for this song at every
Atabama-based sporting event for years to come.
Sanchez / Alcohol or Music - Chronic
Contact: Byron A{alcolm - 3O5.512.4774
Sanchez is known primarity for his lover's rock tunes that have femate
fans craving his next note. Today, he has reteased "Atcohot or Music" on
Chronic Records. He rhetoricatty croons, "ls it the juice you're sipping on
or the music that makes you feel so right?" The rhythm is so stirring that
it is difficutt to tett which you're under the influence of.
Reallionaire / 24 lnch - Reallionaire
Contact: Bag - 954.558.47 68
This is for those that are fortunate to have a 24-inch chrome wheels on
their ride. lf you can't swing it, live vicariousty through Rea[tionaire as
they tett what it's like to ride large spinners. Let Reatlionaire's Bag tett
it, girls witl instantty begin to notice your ride cuz your wheels are so big
and wide. "lf I'm tyin', I'm flyin'."
Snook f. Sean Pau[ / When You See Me - Southern Dynasty
Contact: Chris Etheridge - 803.73O.1974
Question: where is da best place to meet a star? No not the
courthouse! According to Snook, it's at the bar. ATL native and Jim
Crow member Snook gets some hetp from fettowATLien Sean Paul (again,
from Youngbtoodz not the other one) to let atl the ladies know where
you can hotta at him. This is ATL boastfut ba[[in' to the finest on a
metlow but upbeat track with similarities to earty west coast funk.
And att myATL shawties, make sure you [isten for your side because
these ni&&as love ALL the ATL women!
G.V. f. Walt Love / Who U ls (Roll Call) - Philaso
Contact: Walt Love - 352.219.6280
Straight from the streets of Gatorvitte, FL, G.V. and Walt Love combine to
show love to many of their homeboys. The mesmerizing production atlows
the tistener to zone out and truty get a feel for where they're coming
from. Especialty if you get tit and represent tike they do. Be on notice,
Gainesville now has an official voice.
Shimmy & Black Dice / M.l.A. - T.O.K,
Contact: Sean Washington - 850.528.6374
Shimmy & Btack Dice are checking in to submit their respect to Miami.
The beat has a funky satsa-esque cadence, atlowing visions of Spanish
mamis shaking their bom-boms. With Shimmy & Dice on the mic, you
notice that they give hints of future brittiance that should mature as they
cont'inue to record. Hopefutty, they't[ continue to be hungry and stay in
the booth.
- Keith "1st Prophet" Kennedy, keith@tjsdjs.com
- Malik Darby, malik@tjsdjs.cotTt rNrce rv. Matikt
Whs ever saii, rfi&kina tnustc w &s exy efisiv e?
*bvisurl# w efrt to the wrofig"yl&tg...

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 LOYALTY REGORDS
PRESENTS

4thof ply

New Sinqle
"Dress Shbss"

Listen & download for free qt

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