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PUBLISHERS:
Julia Beverly (JB)
Chino

EDITOR-IN-CHIEF:
Julia Beverly (JB)

MUSIC REVIEWS:
ADG, Wally Sparks

CONTRIBUTORS:
Bobby Novoa, Bogan, Brian O’Hare,
Chris Imani, Cynthia Coutard, Dain
Burroughs, Darnella Dunham, Earl
Randolph, Felisha Foxx, Felita
Knight, Iisha Hillmon, Jaro Vacek,
Jeska Manrique, Jessica Koslow,
J Lash, Katerina Perez, Keith
Kennedy, K.G. Mosley, King Yella,
Lisa Coleman, Malik “Copafeel”
Abdul, Marcus Jethro, Matt Son-
zala, Maurice G. Garland, Nata-
lia Gomez, Nikki Kancey, Noel
Malcolm, Ray Tamarra, Rayfield
Warren, Rohit Loomba, Sophia
Jones, Spiff, Swift

SALES CONSULTANT:
Che’ Johnson (Gotta Boogie)

LEGAL AFFAIRS:
Kyle P. King, P.A. (King Law
Firm)

STREET REPS:
Al-My-T, B-Lord, Bill Rickett,
Black, Bull, Chill, Chilly
C, Controller, Dap, Dereck
Washington, Derek Jurand,
Dwayne Barnum, Dr. Doom,
Ed the World Famous,
Episode, General, H-Vidal,
Hollywood, Janky, Jason
Brown, Judah, Kamikaze,
Klarc Shepard, Kydd Joe,
Lex, Lump, Marco Mall, Mr.
Lee, Music & More, N’Ron,
Nick@Nite, Pat Pat, Phat-
tLipp, Pimp G, Quest, Red
Dawn, Rob-Lo, Statik, TJ’s
DJ’s, Victor Walker, Voodoo

CIRCULATION:
Mercedes (Strictly Streets)
Buggah D. Govanah (On
Point)
Big Teach (Big Mouth)
Efren Mauricio (Direct Promo)

To subscribe, send check or

money order for $11 (1 yr) to:
Main office:
1516 E. Colonial Dr. Suite 205
Orlando, FL 32803
Phone: 407-447-6063
Fax: 407-447-6064
Web: www.ozonemag.com

Miami office:
555 NE 15th St. Suite 7731
Miami, FL 33132
Cover credits: Mike Jones photo by
Julia Beverly; The Game photo by J
Lash; Nivea photo by Jonathan Mannion.
OZONE Magazine is published eleven
times annually by OZONE Magazine, Inc.
OZONE does not take responsibility for
unsolicited materials, misinformation,
typographical errors, or misprints. The
views contained herein do not necessarily
reflect those of the publisher or its adver-
tisers. Ads appearing in this magazine are
not an endorsement or validation by OZONE
Magazine for products or services offered.
All photos and illustrations are copyrighted
by their respective artists. All other content
is copyright 2005 OZONE Magazine, all rights
reserved. No portion of this magazine may be
reproduced in any way without the written
consent of the publisher. Printed in the USA.
I’m a first-time reader of OZONE. I’m glad
the South has a true magazine now. Y’all
magazine is based in Orlando and I stay in
Tampa. Why haven’t I heard of this? I’ve
had the chance to read a couple of your
issues and it’s the bomb. I’m an up and coming
artist. I hope we have a chance to be featured I
this magazine. I’m currently on lock down but the
streets are calling, so I’ll be home soon. Keep up
the good work, I love this magazine. I’m a dirty
South lover, so I’m just sending y’all props. - Bean
from da 4-Tre Rydas (Tampa, FL)
Julia, I must say that you’ve inspired me. Since
being introduced to OZONE by DJ Chill, I have paid
close attention to your magazine. After reading
your story on your struggles in getting into the mag-
azine industry, I felt you and said Fuck it. I’m tired
of these other mags I work for bullshit, so I decided
to put out my own rap magazine. It’s called What
it Dew! and it highlights everything great about
Houston rap music. Much success in the future, and
keep breaking down barriers for Southern rap and
hip white girls! – JC, despradoworld2004@yahoo.
com (Houston, TX)
I picked up your magazine for the first time
today, and I just wanted to say that I enjoyed
the article featuring the chase down of Trick
Daddy. Keep up the good work. – Alysse Stewart,
lovezone1019@aol.com (Charlotte, NC)
Julia, I have to say that you’re the luckiest woman
in the world. You interviewed Trick and Lil Wayne
– actually got to talk to them, whether over the
phone or face to face. You go girl! In fact, just
because JB is the coolest writer ever, I put in my
subscription today. I won’t miss another issue of
OZONE, especially since y’all stay interviewing my
future baby daddies! I’m definitely feeling Trick’s
article 150%. I love this dude so much and I love the
way he represents Miami – 305 – Dade County. He is
the reason we’re on the map, next to Luke and Dis-
co Rick. I just wanted to tell Trick that I am proud
of him for kicking that dirty joint habit. He looks so
healthy now, and his face is so fat. I am honestly
his biggest fan and so proud of him. I think he made
some valid points on the legalization of drugs in the
future, the 2004 presidential election, and the beef
with Benzino and Em. Trick could have been like the
regular everday flawass dude by inputting his two cents, but he didn’t.
He point-blank said he’s not speaking on something he has nothing to
do with, and I respect that. I support Dunk Ryders 100% even though it
“Paris Hilton is smart as fuck. Don’t let that TV shit fool you. I sat down and
conversation with her, and she’s
“I just came back from Africa! And I know they don’t have a clue. I’m back in
nigga wants to tell me about another nigga’s freestyl e? They just don’t understand.”
“The only thing more difficult than putting out a magazine is doing it again.”
“You’ve gotta understand, I’ve been seeing the same Flavor [Flav] show for 25
has yet to gain a distribution deal. Whenever
Trick is involved in something, I support it. His
new album is the type of album you can listen
to without skipping any tracks. While many
Miami natives claim he’s getting soft, I think
his album reflects him maturing in age and in
the rap industry. You can’t be crunk your entire
career. You have to tone it down at some point,
and Trick picked the right album. - Ms Chyna,
mschyna@gmail.com (Miami, FL)
Please print this in your next issue of OZONE! I am
14 and a big fan of OZONE mag. Please do an issue
on the whole Swishahouse. PaulWall is so fine and
Mike Jones is sexy. I’m from New Orleans and I like
everybody who you feature in your mag. Please do
a tribute to Soulja Slim! – Mia, mizhottstarbuxxxs
aslyte@yahoo.com (New Orleans, LA)
I love your magazine. I started reading a couple
months ago and I’ve been hooked ever since. I’m
definitely enjoying the newest addition to your
magazine, the “groupie confessions.” It’s some
of the greatest shit I’ve ever read in my life. I’m
wondering when we’re going to hear some stories
about some female stars like Beyonce, Lil Kim, or
Trina. I know these male stars aren’t the only ones
out there getting their freak on with these groupies.
– Clifton Lyerly, clifcide1@yahoo.com
Your stories are getting hotter by the minute. I
personally thought the “groupie confessions” were
an eye-catcher and definitely has credibility to
it. Those things go on every day. Maybe you guys
should do a big end of the year issue ever year. – Al
Tho, all_icouldfeel2000@yahoo.com
I was reading your 2 cents in the mag with Trick on
the cover. That shit was ridiculous. You’ve got a lot
of patience. – N’Ron, nron@nextel.blackberry.net
(Orlando, FL)
I think OZONE mag is the illest magazine, even bet-
ter than XXL and The Source. It should be in stores
everywhere. It deserves it. Everyone should know
about it. Y’all need to make the magazine longer,
though. – Mafiadaking@aol.com
I really like your magazine. I just found out about
it. The best part is the sex issue. It’s really interest-
ing and good information to have. I’m just asking if you can have some
more groupie confessions, maybe with Usher, Chingy, Sean Paul from the
YoungBloodz, and Lil Zane? – Sydnee, chingysbabigyrl4@yahoo.com
had a whole
a busines swoman . She’s smart as fuck.” - Lil Jon, backstage
at The Fillmore (Denver, CO)
the city and a
- 50 Cent, XXL Magazin e (Februa ry 2005)
- Aurelio Mitjans, Da Seen Magazine
years. All it took was to throw a camera on
him, and boom!” - Chuck D, Vibe Magazine (March 2005)
 A blonde-haired blue-eyed kid
named Paul put me onto Tupac in
the eleventh grade. I couldn’t stop
listening to “Hail Mary.” I’d almost for-
gotten the feeling until I interviewed the
Outlawz this month and Noble asked me, “Are
you a Pac fan? You know that feeling you get when
you listen to a Pac album?” Hell yeah. Makaveli is one
of those rare albums you can listen to over and over and
over again and hear something new each time.

My parents are missionaries. For 17 years I was basically

on lockdown. No TV, no movies, no dating, no “secular”
music. Definitely no black friends or boyfriends, and
definitely no rap music. I was locked in the house for
like a month in 8th grade after they found a Nirvana al-
bum (the one with the song “Rape Me” – I tried explain-
ing that it was symbolic, but they didn’t get it) buried
in my sock drawer. Once high school rolled around, I’d
learned my lesson; I was super careful with that dubbed
cassette of Makaveli. After “Hail Mary,” it was “Me & My
Girlfriend” that caught my attention. I thought it was a
love song at first. I probably listened to it about a hun-
dred times before I caught the actual meaning. I met a cute Haitian
boy at the DMV right after I got my driver’s license. His favorite song
was “Krazy.” We both loved that fucking album. Sometimes while we
rode around listening to it, I felt a twinge of guilt. He had a right to
love it; he was black, from the hood, and had been through many of
the same experiences as ‘Pac. I’m white. Comparatively speaking,
I’d had it easy. I’d had opportunities they’d never had. But still,
it was cuts like “White Manz World” that really touched me. Shit,
“Staring at the walls in silence / Inside this cage where they’ve cap-
tured all my rage and violence”? “Get my weight up with my hate
and pay ‘em back when I’m bigger”? That’s how I felt at home; at
school; at work. That was my whole life. I felt trapped, too. Differ-
ent circumstances, same anger and frustration.

Most people don’t really know shit about me, so throughout my career it’s inevitable that
race is going to be an issue. Actually, I went off on a tangent. I wasn’t even trying to get into
a racial discussion. What I’m trying to say is this: Pac’s music touched people for a reason.
He cared. See, I had a little epiphany this month. This whole music industry is so cutthroat
and competitive that it’s easy to forget why I’m here in the first place. It’s never been about
money. At first it was for the love; now it’s about winning. Lately, it’s been a mental and
emotional battle. I’m being attacked from all angles. I’m uptight; defensive. Protecting my
position. “It’s a dirty game, y’all, you got to be careful who you fuck with and who you don’t
fuck with.” True statement.

So I’m standing on stage watching the YoungBloodz perform “85,” another one of my favorite
songs from back in the day, and it hit me: I’m here cause I love this shit. It’s supposed to be
fun. I realized the absurdity of it all. On a large scale, you’ve got the 50 Cents and The Games
who probably started rapping because they felt Pac or some other artist, and they loved the
shit. Today, they’re so focused on winning that it’s not even fun anymore. Every once in a
while, I’ve gotta just sit back and laugh because I am so blessed to be able to wake up in the
morning (that is, if I have the time to sleep) and LOVE what I do for a living.

Don’t get it twisted, though. Even though it’s fun, I’ll still fight anyone who tries to take mine.
I’ve got only two words for anyone trying to start a magazine “like OZONE”: Fuck you.

Oh yeah, we won the Bum Squad DJ Award this month for Best Hip-Hop Magazine, which marks
the second time this year we’ve beaten XXL. And we don’t even have fuckin’ distribution. I
was kinda waiting on Elliott to diss OZONE and give us a little free publicity, but I don’t see it
happening now that he’s gotten married and gone soft in his editorials.

Picture paragraphs unloaded, wise words being quoted

Peeped the weakness in the rap game and sewed it
- Julia Beverly, jb@ozonemag.com

Guilty pleasures: Omarion “O” &

Jay-Z f/ Linkin Park “Encore (remix)”

Twista f/ Faith Evans “Hope” Amerie “One Thing”

Bonecrusher f/ Field Mob “Deep Tonight” Killer Mike “112 Freestyle”
Alfamega f/ Lil Flip & Trina “Southern Boyz” 2Pac “Role Model”
YoungBloodz f/ Young Buck “Datz Me” Geto Boys “G-Code”
T.I. f/ Pharrell “Freak Though” Brisco “Might be the Police”
Adept f/ Pitbull “Let Them Thangs Go” Lil Weavah “Gangsta”
The time is 1:12 in the ATL
I exit 112 with this bitch Michelle
In the V-12 headed to the hotel
Hydro lit up, weed in the air
She feenin’ to get bent, legs in the air
She want her hair pulled, spank her derriere
We interrupted by a phone call from Joe the player
That boy tell me he got big bricks for sale
Since it’s money over bitch, yeah, that’s my shit
That hoe got dropped quick like pigeon shit
Dat boy said he just hit a big-ass lick
And he’s sittin’ on top of 112 bricks
And he’ll let the boy get it twelve a brick
And drive a hundred miles per hour, get there quick
I’m callin’ the clique, tryin’ to scrounge the cash
Got at least a quarter million buried in the stash
Gotta give me twenty-five if I bring him cash
That nigga lick for the shit, he gotta get off it fast
I’m at my grandmomma’s house, flashlight and shovel
Diggin’ up the iron box, gettin’ dirt on the bezel
So now I’m headed to the meeting spot with the cash
Got two lil’ niggas with me with ski masks
They snort powder, snow, and shoot real fast
So if Joe fuck up, that’s Joe black ass
If he tries some funny shit like Dave Chapelle
We gon’ put a few bullets in his lapel
We gon’ leave a whole clip in that nigga head
Told Zach and Jackpot, “Follow me in the building”
If this nigga get cute we ain’t talkin’, we killing
That’s anybody: man, woman, pets, and chil’en
Or anybody tryin’ to separate me from the cash
Gon’ find they ass right next to God real fast
I arrive at Joe’s room, it was suite 112
Immediately I asked him, “Who got the yayo?”
He responds back, “Who got the cash?”
I told him, “Me, muthafucker, now let’s do this fast”
That’s when I noticed this tall nigga lookin’ like a fag
And three dread niggas in the back smokin’ hash
Four white hoes just giggling, laughing
I’m telling Joe, I don’t do business like that
Put them hoes out the room and tell ya man
Go sit in the back with Bob Marley’s band
Nigga busts out the bathroom, pistol in hand
He was yellin’, screamin’, shooting and missing
It was like that first scene in the movie Pulp Fiction
Before I could duck Big Zach was spittin’
Left that boy laid out holy as a Christian
The white girls spazzin’ out, cryin’, flippin’
The tall-ass nigga caught one to the head
And Jackpot made sure the Baha Men were dead
Joe’s hidin’ behind the wet bar shakin’ and scared
And I’m screamin’, “Mu’fucka, I got one for ya head”
By now my two lil’ shooters came in somethin’ vicious
They killed niggas twice, even merked the white bitches
I’m lookin’ at Joe, all shakin’ and scared
While I got the 44 to the middle of his head
I’m tellin’ him, “Holmes, look at yourself.”
All balled up in the corner, you done shit on yourself
You was Joe my main player, my ace, in fact
I can’t kill ya, homeboy, I’ll leave that to Zach
- Killer Mike, “112 Freestyle” (Aphilliates’ “Got That Purp” mixtape)
America can be armed with nuclear warheads
But when another country has ‘em, they say it’s a threat
Y’all wanna be the power supreme
So then y’all find a fucked-up reason to go to war with Saddam’s regime
And then y’all suffered repercussions
Falsely accusing Iraq of possessing weapons of mass destruction
Y’all found nothing so why y’all buggin’
Y”all need to leave ‘em alone, y’all need to get the fuck on
And go and mind y’all own business
Y’all gon’ get clobbered
Always butting in other countries’ problems
Tryin’ to act like it’s for the better, but y’all tryin’ to rob ‘em
Of they rights and freedom
It’s all about the money, nigga, please believe it
Will a minority be president? Nope
But they’ll gladly elect a muthafuckin’ white man who admits to using dope
When a white man needs assistance right away the cops are on it
When a black man needs assistance first they gotta finish their donut
- Arabic Assassin, bonethugsnharmony5@yahoo.com
I’m one of the best spittin’ this year, think not prove me wrong
Ya game is outdated like Atari and Pong
Please, y’all just ride for the thrill
But sooner or later that bullshit gon’ crash like J Wills
Just call me rap’s Hitler
Cause I snatch jewels and have ya cornrows resembling Twizzler’s
What you know about Benjamins?
Be lucky I’m rappin’, cause I could be slangin’ rocks like Palestinians
Or doing something else, who knows
Cause my dick is like water, it goes straight through hoes
Remember this, I’m first you last
While I chew rappers by mistake like fat people eating too fast
Man, I get mad cheers when I go on tour
While you get more boos than an ABC store
If you thinkin’ bout doing it, forget you did
Cause I”m in a class by myself like retarded kids
- Jae Cash, jaecash@hotmail.com
Sevyn syphony like Mozart or Chopin
I’m an artist, deaf to those critics like Beethoven
I also bait hoes to come to the van
Give me some knowledge then leav with their man
Holdin’ his hand like, DAMNNNN....
That’s how we do it in the Bayou City
Little bit of Nyquil on the Philly have you chilly, but really
I just wanna get some lesbies on the pill, see
If they’ll lick each other up and down with no clothes on like, DAMNNNN...
Yeah, man, rappin’ Latin you can’t handle
These verbals I got runnin’ through your dome like Earl Campbell
Add the numbers up on the jersey he just dismantled
You should see it equals up to Sevyn just like Randall
Similar to Philly’s running-man Cunningham-Scramble
On you haters light up, you just like a candle
This is the type of static you can’t descramble
Come through, blow up the spot and leave you all in shambles
- Sevyn Rowdy Rican, Beloved Family Organization (BFO), efernan1@txu.com
Email your 16 bars to
JB@OZONEMAG.COM for consideration.
 REP YO CITY

JLASH

Flip Game’s favorite

sign upside down
and you’ve also got “V” = Virginia
“M” for “Miami” or “Mississippi” Since we’ve been receiv-
ing a lot of letters like the
one above, we decided
“T” = Tampa to do the Department of
Corrections a favor and
translate some of the
“gang signs” that often ap-
pear in our photo galler-
ies. Consider it our public
service for the month.
Pharrell and Fam-Lay rep
both VA and their label, Star
Trak, with one easy gesture

Crooked Lettaz’ David

Banner and Kamikaze
The traditional “Fuck You”
Tampa Tony
and Tom G

“H” = Houston
Slim Thug
and his
brother
Ray Face

Grandaddy
“M” = Mississippi Souf’s
trademark

“A” = Atlanta
“305” = Miami

Lil Scrappy reminds A-Town

to stay down, while Lil Jon
JT Money and Trick displays the timeless “Peace” sign
Daddy throw up the 305 OZONE MAR 2005 13
 01: Dreesy Baby and Ed the World
Famous remember DJ Skip-A-Chuck @
TJ’s DJ’s (Tallahassee, FL)
02: Tattoo artist Mister Cartoon
shows off his work on David
Banner’s back (Las Vegas, NV)
03: X-Tract and Slim Thug @ Con-
nections (Houston, TX)
04: Ali of the St. Lunatics and Big
Gipp of Goodie Mob @ the Magic
Convention (Las Vegas, NV)
05: Big Cee Jay, Khia, and
Charles Wakely @ TJ’s DJ’s
(Tallahassee, FL)
06: Shot Out and Don P
performing @ Kartouche
for the Upstart Record Pool
(Jacksonville, FL)
07: Willie, Cubo, and Space
reppin’ Crunk Juice @
Pitbull’s “Toma” video
shoot (Miami, FL)
08: J-Shin and PhattLipp @
Club Troy (Miami, FL)
09: Floyd Mayweather
and Roy Jones Jr. @ Plush
(Jacksonville, FL)
10: T-Mo Goodie brings
the family out to a
celeb basketball game
(Atlanta, GA)
11: Can’t we all just get
along? T.I.’s DJ Drama
and Lil Flip’s DJ Demp
show the love @ Skate
Station (Gainesville, FL)
12: Pretty Rickie and
the Maverix and their
glitter are back in
OZONE with a ven-
geance (Miami, FL)
13: Suave Smooth and
Brian Sealey @ The
Moon (Tallahassee, FL)
14: Trick Daddy reppin’
his OZONE cover @ Fire-
stone (Orlando, FL)
15: DJ Stylez, KoolAid,
and Mixmaster Lucky C
@ Kartouche (Jackson-
ville, FL)
16: Lil Flip and Al
Capone @ the Magic Con-
vention (Las Vegas, NV)
17: Carmelo Anthony,
LaLa, and Ludacris @ the
Paladium (Denver, CO)
18: Lil Jon and Lil Scrappy
reppin’ OZONE (Las Vegas,
NV)
19: Eddie “Gigs”, Chingo
Bling, Eddie Deville, Garcia,
and DJ EFN @ The Tudor for
The CORE DJs convention
(Miami, FL)
20: Ladies drinking Crunk on
the set of Pitbull’s “Toma”
video (Miami, FL)
21: DJ Drama, DJ Fahrenheit,
DJ Mars, and DJ Trauma @ Club
Five (Jacksonville, FL)

Photo Credits:
Bogan: #12
Earl Randolph: #09
J Lash: #10
Julia Beverly: #01,02,03,04,05,
06,07,08,11,13,14,15,16,17,18,
19,20,21

14 OZONE MAR 2005

Disclaimer: These interviews are anonymous,
so we cannot verify if they are true or not.
All details (cities, club names, hotel names)
have been removed. These stories do not
necessarily represent the opinions of OZONE
Magazine. These stories did not necessarily oc-
cur recently, so if you are currently seeing one
of these fine gentlemen, no need to curse him
out. If you have a celebrity confession, send an
email to feedback@ozonemag.com and we will
reply with a phone number where you can call
anonymously to be interviewed.
Was your experience with Noreaga a one-
night stand or a relationship?
It was a relationship. I’ve known him for years.
It started as a one-night stand, though. I met
him at the club and I left with him that night.
How did you meet him?
He was doing a show at [a club]. Actually, his
partner Capone grabbed me. I had on shorts,
and he just grabbed my pussy. [Capone] was
like, “Nore, this is the one. She got a fat pussy.”
I was like, “Hell no!” I took his arm and shoved
it away. I mean, I felt disrespected that he
would grab my pussy like that, but I didn’t wan-
na wild out either in VIP. I just rolled my eyes
and kept walking. Nore started talking to me,
like, “I’m doing much better now that you’re
here,” stuff like that. He was like, “I wanna
taste your pussy.” I was smiling, laughing, what-
ever. We were just talking. Eventually he was
like, “You’re coming with me.” I wanted to go
home. I wanted to think about it first, maybe
change into something comfortable. I didn’t
wanna go straight from
the club. But I ended
up leaving with them. “I was thinking, Why the fuck is this gangsta rapper
The whole night was
just crazy. There was a [Noreaga] bent over trying to get me to suck his ass?”
big fight at the club so
they were all racing out to the bus. I was in the
middle of everybody running, crazy, so I ended
up leaving my car at the club and riding with
them to the hotel.
Were you attracted to Nore?
Not physically, no. Just his personality. As a rap-
per I was attracted to his music. I was a fan of
his music, but physically, no.
What happened once you got to the room?
We were just chillin’, he was asking me ques-
tions. Capone kept calling the room. Nore was
like, “Capone wanna know whassup?” I was
like, “I wanna be with you.” [Nore] said he just
wanted to ask to make sure. I guess it’s under-
standable, maybe they thought I wanted both of
them (laughing). He asked if I had kids, what do
I do, do I have a man, how old am I, where am I
from, stuff like that.
When you had sex, did it feel weird, like be-
ing with a stranger?
No, it was cool. It wasn’t cold like that. It was
alright. He was on x. He was trying to get me
to take some, and I was like, “No way.” I did
it with him later on, though, but not the first
time. Eventually he got me to do that shit
and that was the night we had a threesome.
But that night, I didn’t want to, I was like,
“No, you buggin’.” He was like, “Just try a
piece, break it off.” I heard too much crazi-
ness about x. He started kissing on me and
eventually we had sex.
What’s Nore like in bed?
He has a nice-sized dick, but he’s kinda
lazy. He likes you to do all the work. He
ain’t lyin’ when he talks about getting head and
all that in his songs, he likes that better than
having sex. He likes to just sit there and get
head. Unless he’s really on E, he’ll fuck you all
night until it’s too much. I can’t really remem-
ber, but that first night, I don’t think I gave him
head. We just had sex.
Was it awkward in the morning?
I didn’t stay. I left after a couple hours. He
wanted me to stay, but I didn’t really feel com-
fortable. I got home probably around 6 or 7 AM;
we broke night. He was like, “Hold on, ma, let
me give you my numbers,” and that caught me
off guard. I was thinking, I guess that’s it, let
me feel stupid now. He gave me his 2way and
cell numbers and I was thinking, He’s just trying
to be nice or whatever. He called me after that,
though. Any time he was near [my city] he’d
call me and we’d hook up.
Did it develop into a friendship?
Yeah, he’s cool. He’s got a good heart. He’s
given me money before without me asking him,
if he knew I needed something. He could be an
asshole, though. I drove [to another city] to
meet him once and my car got towed. He had
an early flight out and I had stayed in the hotel
to sleep in, so I ended up getting stuck out of
town with no money. I was blowing up his phone
and he never called me back, which was foul.
Besides that, he’s cool. He flew me to New York
once to see him, and he’d drop me some money
once in a while. One time he knew my phone
had been disconnected and he was like, “Ma,
what up with your phone, I’ve been trying to
call you,” and before the night was over he left
me some money by my purse. That was nice,
but no real money.
Did you get attached to him emotionally?
Not at all. I would find other girls for him, ac-
tually. One time I brought one of my friends.
She kinda liked him, she thought he was cute
or whatever. But, once we got to the room, she
wasn’t really feelin’ him. He’s chubby. He had
the x, though, and he was like, “Take this.” She
was scared. I decided to try it; I convinced her
to take it too. I took one, she took one, and
everybody was happy (laughing).
Describe the threesome.
He ordered a big bowl of whipped cream from
room service, and mad liquor. We were smok-
ing, rolling weed, and drinking straight
Hennessy and ice. When you’re that
thirsty, anything tastes good. He was tell-
ing us to kiss. That was the first time I’ve
ever done that with a chick. We started
kissing on him and everybody was laughing,
buggin’ out. Then she was sexin’ him and I
was watching and kissing him, then he was
sexin’ me until the morning. I don’t remember
the rest, I passed out.
Did you always use protection?
We didn’t the first night, but usually he does.
Was there anything unusual he liked in bed?
He likes getting his ass licked. I was like, “Oh, hell
no.” He’s fat. He’s got a big ol’ stomach. He was
bending over and I was on x, so I was gonna do
it. I was like, “I really can’t get in there.” He’s
too fat. But yeah, he must like that. He was bent
over. I was thinking, Why the fuck is this gangsta
rapper bent over trying to get me to suck his ass?
(laughing) But that was just one time, he never
asked me again.
Was he into phone sex?
Oh, yeah, but mostly on the 2way or on the com-
puter. He would write real nasty shit. He loves
that back-and-forth shit. He used to write some
real funny shit. I used to ask my sister what to
write back, cause I’m not really into that shit.
“You miss this dick?” “What you gonna do with this
dick when you get it?” That type of thing.
Isn’t he married now? Did you ever talk about
his girlfriend or family?
He talked about his kids.
He never really talked
about his girl. I was like,
“Why do you mess with
Spanish chicks? Ain’t
your girl black?” I had
seen a picture of her somewhere. He was like,
“That’s the only one. I don’t like too much drama
so I don’t fuck with black girls.”
Did he tell you he was getting married?
No, I heard about it. I read it in a magazine. I
called him but I didn’t really mention nothing
about it. I really didn’t wanna fuck with him after
that. I felt funny, like, that nigga’s married now.
I didn’t think he would fuck with me after that,
but he did. He’s the married one, so if he doesn’t
care, why should I?
Is he different now that he’s married?
Not at all. He’s more calm, though. I think it’s the
x. He’s always so spaced out. He just wants to chill
in the room and be by ourselves. He seems like
he’s tired of all the club shit.
Did you get attracted to him after sleeping with
him for so long?
I like his personality. He does a lot of funny shit,
but I’m still not really attracted to him.
What’s the appeal? Is it that he’s famous?
Yeah, definitely, cause the sex is not all that.
He’s a fat boy and he’s kinda lazy. I just like be-
ing around him, his character and his personality
is real funny. It’s a friendship, maybe. I think if I
needed something he would look out. I never re-
ally asked him for anything. He calls me on the
regular to say Happy New Year’s, Merry Christmas,
stuff like that. He knows my family, he gets me
into the clubs or whatever. We’re real cool. I con-
sider him a friend. I got a man, so yeah, I don’t
see him as my man or anything like that. My man
knows of Nore from the past, but of course he
doesn’t know that I still see him.
OZONE MAR 2005 15
 01: J-Noise and E-Neezy reppin’
OZONE and Crunk USA Clothing @ Hot
97.5 (Las Vegas, NV)
02: Biggs and Dame Dash show off
their watches @ the Magic conven-
tion (Las Vegas, NV)
03: Chingo Bling, DJ Al Money,
and Dirty the Mixtape Bully
on the set of Pitbull’s “Toma”
(Miami, FL)
04: B.P., Big C, Kwasi Kwa, DJ
Doc, Scrap Dirty, and Aqua
Black reppin’ OZONE @ Upper
Level (Jackson, MS)
05: TJ Chapman, Mr. Magic,
David Banner, and Roy Jones
@ TJ’s DJ’s (Tallahassee, FL)
06: Laila Ali’s husband
Yahya and Streetwize CEO
Big T (Atlanta, GA)
07: Rock Steady Crew @
Club Ra for an LRG party
(Las Vegas, NV)
08: Rasheeda and Trina
@ Lil Scrappy’s birthday
party (Atlanta, GA)
09: Juvenile reppin’
OZONE @ The Palace
(Jacksonville, FL)
10: Tony Hall and Ozzie
Oz reppin’ OZONE @
Skate Station (Gaines-
ville, FL)
11: Kream and Infarel
reppin’ OZONE (Tampa,
FL)
12: Roy Jones and
Pimpin’ Ken @ Plush
(Jacksonville, FL)
13: Joie Manda and
Bun B @ Studio 7303
(Houston, TX)
14: Stay Fresh is IN
OZONE! (Jacksonville,
FL)
15: T.I. and Killer Mike
@ Club Five (Jackson-
ville, FL)
16: Lil Don, Anon,
Raw from No Luv, and
Swordz @ Kartouche
(Jacksonville, FL)
17: Lil Jon and Pitbull
enjoying themselves
on the set of “Toma” @
Opium (Miami, FL)
18: Don Magic Juan and
Lil Jon @ the Magic con-
vention (Las Vegas, NV)
19: Ladies reppin’ Crunk
Juice @ the Paladium
(Denver, CO)
20: Grandaddy Souf, DJ
Dirty, and the Nawd Squad
@ The Moon (Tallahassee,
FL)
21: Bart, Black P, Lil Mickey
the Afroman mascot, and
Kadife @ Union Station (Den-
ver, CO)

Photo Credits:
Earl Randolph: #12
J Lash: #06
Joie Manda: #13
Julia Beverly: #01,02,03,04,
05,07,09,10,14,15,16,17,18,
19,20,21
KG Mosley: #11
Kirk: #08

16 OZONE MAR 2005

“Neva Eva” was the song that got you signed,
right?
L.A. (a.k.a. Lil Atlanta): Yeah, we had already
recorded it without [Lil] Jon on it and we were
pressin’ it in the high school clubs and throwing
parties. We used to perform that song, and the
crowd would always remember “Neva Eva.” It
just kept growing in the high schools and Jon
heard about it through word of mouth.
Dirty Mouf: We had 3,500 kids at the party, and
Lil Jon saw how we got it crunk. He was like,
“We need to sign these boys to BME. They’re
just like me when I was their age.”
Don P (a.k.a. Corleone): It was super crunk. I
had been talking to Vince Phillips, one of the
CEOs of BME anyway, so when Jon saw how we
repped the crowd he knew it was on.
How would you categorize yourselves within the
group? What role do you each play?
L.A.: I’m kinda known as the laid-back type,
but at the same time, when I do say something
everybody listens. I also could be known as the
nigga who gets the females. I’m the ladies man
and the businessman. I didn’t say I was quiet,
though. I’m laid-back, but I’ve got that crunk
side to me too when I get into my zone.
Dirty: I’m the gutta type. I don’t take no shit.
I’m the one that tells it like it is; gets straight
to the point. If you don’t like it, then there’s
gonna be consequences.
Don P: Trillville actually started as my label. We
were all solo artists on the label, and when we
got to BME we turned it into a group. I’m a pro-
ducer, so I do tracks and I make sure everybody
gets into the studio. I’m the one that makes
sure business stays straight and the money stays
flowing. I’m the super CEO, the super producer.
That’s why they call me Corleone, cause I’m the
godfather. I produced “Neva Eva” along with Lil
Jon the King and another track on their called
“Bitch Nigga.” I did all the skits on our album,
of course, cause I’m just a fool like that. I got
six crazy tracks on the new album, and I just
had a track accepted for a soundtrack. I’m a
producer but a lot of people don’t know that I
be making hits on the low. I just creep up and
bite them on the ass. I’m on the grind, but when
they hear my shit they think I came out of no-
where. I love my indies, they buy beats from me
all the time. I just did something with E-40, and
I’m gonna be working with Killer Mike, hope-
fully. I’m also working with my artist Montae C
right now as we speak. I’m in the studio bangin’
out the chords, yeah.
I heard that you didn’t really wanna put out
“Some Cut” as a single.
L.A.: That never came out of my mouth, but
I can’t speak for the other members of the
group. That’s definitely one of our biggest
songs. It was the people’s choice, so you can’t
go wrong with that.
Don P: It wasn’t really that I didn’t wanna put it
out, but I was just into getting crunk. But, once
you get crunk and leave the club, you definitely
gonna leave with some cut. I’m a crunk man,
you know? I stay crunk. My idol is Lil Jon, so
I’m following his footsteps. Even Jon came out
with “Lovers & Friends” and other slow songs.
I just wanted to make sure we came out with
“Crunk in Your System” first, because that
was the best decision. It’s all about timing.
“Some Cut” came out when it got cold.
Everybody wanna cuddle up with they girls
when it’s wintertime.
Are you working on a new album?
L.A.: The new album is called Trillville
Reloaded, and that’s just Trillville.
Scrappy’s working on his solo album too.
Even though you released a joint album
with Lil Scrappy, it seemed like Trillville and
Scrappy don’t get along too well.
L.A.: That was basically just a misunderstand-
ing between Lil Scrappy and Don P. I was kinda
stuck in the middle of that situation. When we
see each other, we speak. I don’t have no hard
feelings towards Scrappy and from what I hear
on the street, he don’t have no hard feelings
either.
Dirty: BME wanted to put out the two hottest
Atlanta groups on one EP. Two for one. We’re
almost platinum, so go get the album if you
don’t have it already. But, Scrappy is Scrappy.
Trillville is Trillville. He’s a solo artist, we’re a
group. He does his thing and we do ours.
Don P: It’s like a family thing, you know, broth-
ers fight sometimes. When Trillville and Scrappy
came out, people were confused. Some people
thought we were the same thing. You can try to
tell people all day long, but for some reason,
people don’t listen until there’s beef. As soon
as they heard we didn’t get along, everybody
knew exactly who Scrappy was and exactly
who Trillville was. All the confusion is gone
now. Everybody knows who we are and who he
is. People don’t need to be worried about the
beef, they just need to be worried about when
we get back together and go platinum on their
ass. Only time will tell.
Who is featured on the album?
L.A.: Three 6 Mafia, the singer Lloyd, Jazze
Pha, and Pimpin Ken, just to name a few.
Don P: Mya’s on the first single, it’s called
“Usually.” Of course, Lil Jon is on there, doin’
it real big.
Since “Some Cut” came out, have the fe-
males been coming at you more?
Dirty: Our shows are basically nothing but girls
now. You have some fellas out there, but really,
all the girls come to our shows wanting to hear
that song.
L.A.: Yeah, man, it’s crazy. Everybody wanna
get some cut or give some cut. They be like,
(l to r): L.A., Dirty Mouf, and Don P
“What it is?” They go off the hook. They say what
we say in the lyrics; they want that to be done
to them. “Some Cut” can bring out the freak in
anybody.
How often do you take advantage of those of-
fers?
L.A.: That’s off the record (laughing).
Don P: Everybody in the world loves having sex.
Now, people definitely know that we make good
music, whether it gets the club crunk or the bed-
room crunk. The shows have been packed with
female fans ever since that song came out. The
fellas loved “Neva Eva” too, but every female
wanted to tell another female to get on their lev-
el. It was always a girl fight. Our ladies definitely
know that we make music for them too. We still
keepin’ it treal for all my niggas with hits like “D-
Boy Stance” on the new album, and “Crunk in Your
System.” A lot of people thought it was made for
Crunk Energy Drink, but really you could get crunk
off all types of shit – weed, liquor, whatever.
Yeah, that “Neva Eva” definitely sparked a few
club fights. What was the craziest thing you wit-
nessed at one of your shows?
Don P: Man, I’m gonna tell you the craziest shit.
We were in Savannah, and you could tell these
two girls were friends because they were kickin’
it before the show backstage, laughin’ and talking
to each other. As soon as “Neva Eva” came on,
they were whuppin’ each other’s asses all over the
club. I had thrown my t-shirt into the crowd and
they were fighting over my t-shirt.
Anything else you want to say?
Don P: I definitely appreciate OZONE for putting us
in y’all magazine, and I gotta plug all the artists
on Trilltown Entertainment: Montae C, Big Mel,
T3, and Legacy.
Dirty: Once again, if y’all ain’t got that Trillville
and Lil Scrappy album, you need to go get it. Trill-
ville Reloaded is coming in early April. Look out
for the new label, Trilltown Entertainment. You
can get all our mix CDs and check us out online
at www.trillville.com and www.trilltown.com.
We’ve got the new crunk line, too. Call us on the
crunk line at 678-438-3138.
OZONE MAR 2005 17
 01: T.I. and Young Jeezy @ Club Five
(Jacksonville, FL)
02: Lil Jon reveals his secret day job
(Miami, FL)
03: Antman, Andre and friends
@ Club Troy for The CORE DJs
convention (Miami, FL)
04: Big Boi being interviewed
by Sister 2 Sister @ his birthday
party (Atlanta, GA)
05: Juan and friends on the set
of Pitbull’s “Toma” video @
Opium (Miami, FL)
06: The Diaz Brothers and
Dirty Red reppin’ OZONE on
the set of Pitbull’s “Toma”
video (Miami, FL)
07: FLX and Scott join the
OZONE street team @ The
Moon (Tallahassee, FL)
08: Slim Thug and DJ Chill
reppin’ OZONE @ Connec-
tions (Houston, TX)
09: Sunny and Supa Cindy
@ Pitbull’s “Toma” video
shoot (Miami, FL)
10: Meoshe’s Slim
Pickens and Vokal’s Nick
Loftis reppin’ OZONE @
the Magic convention
(Las Vegas, NV)
11: Free and Bigga
Rankin @ The Palace
(Jacksonville, FL)
12: Cordell and Tony
reppin OZONE @ TJ’s
DJ’s (Tallahassee, FL)
13: Young Cash and
Kashus Deniro @
Upstart Record Pool
meeting (Jacksonville,
FL)
14: The Sofla Kings
reppin’ OZONE on the
set of Pitbull’s “Toma”
video at Opium (Mi-
ami, FL)
15: Jonathan Vilma,
Greg Charles, and
Radue Watson @ the
Magic convention (Las
Vegas, NV)
16: Pitbull and Chingo
Bling reppin’ OZONE
on the set of “Toma”
(Miami, FL)
17: Nelly, Murphy Lee,
and Big Gipp @ the Pala-
dium (Denver, CO)
18: Olivia, 50 Cent, and
Trelli Trelle @ Hot 104.5
(New Orleans, LA)
19: Alan, Payne, Wyze, and
DJ Killatone @ TJ’s DJ’s
(Tallahassee, FL)
20: Sir Knight Train, DJ
Infinite, Knice, and Jesse
Jazz @ Caribbean Beach Club
(Orlando, FL)
21: DJ Trauma and Mad Linx @
Union Station (Denver, CO)

Photo Credits:
Bogan: #05
Sophia Jones: #11
Julia Beverly: #01,02,03,06,
07,08,09,10,12,13,14,15,16,17,
19,20,21
ShannonMCC.com: #04
Marcus Jethro: #18

18 OZONE MAR 2005

Everyone likes a good awards show, so al-
low me to present the first annual edition of
Teemoney’s Dirty South Awards. Commercial
free, no bullshit, fuck the red carpet, and Joan
Rivers is most definitely not invited.
BEST SIDE HUSTLE
Winner: Chingo Bling
The Houston Press honored its hometown hero
Chingo Bling with four of their Music Awards
in 2004: Local Musician of the Year, Best Latin
Rap, Best Local Label (for his Big Chile Enter-
prises) and Best New Act. We want to add Best
Side Hustle to that list of accolades. The rap-
per has a business degree and a champion cock
— his pimp cup toting, prizefighting rooster
Cleto, which is probably not what you were
thinking — and is known for shedding light on
the oppression of the Latino community with a
gift of humor. There are artists who began as
drug dealers (or still maybe even moonlight as
one), but Chingo Bling has instead made a lot
of his money with a skillful blending of masa,
pork shoulder and cumin, as he tells Murder
Dog.
“All the piece and chains, the toe wear, the
ostriches, the custom Versaces with the Virgin
Mary,” says Bling, also known as the Tamale
Kingpin. “You can’t make all that off of CDs
alone, you gotta have something else going on.
Tamales is big business. I got that million dol-
lar recipe...If you look at rap music, that’s all
people talk about is slanging crack. They talk
about cookin’ this and that up, and that start-
ed in the ‘80s in New York and then it spread
around, and all these conspiracy theories about
Ronald Reagan, but Chingo was cooking up
something else.” All that, and Chingo Bling also
has a kind heart for those who might not be
quite as talented as he when it comes to the
music. He has even put out an open offer on his
Web site. “Rap isn’t for everybody,” he writes,
“so put the mic down and come be one of my
tamale wrappers.”
RAWEST GROUPIE SCANDAL EVER
Winner: Big Boi of OutKast
Mixtapes are the place to go to when you want
to hear rappers feeling a degree less censored
and offering material that will not make it to
their album, whether it’s lyrical beef being
passed around by quarreling rappers or an ex-
ceptionally uncut story about life on the road.
But there’s still usually a limit to what is talked
about. Not on Atlanta DJ Drama’s Gangsta Gril-
lz X mixtape, though.
OutKast’s Big Boi, who hosts the whole set,
talks about a scandalous evening many moons
ago in a Chicago hotel room after a show.
Amidst a session of large-scale sexual shar-
ing, someone’s valuable ring ended up dis-
appearing. No one would admit to taking it,
until...“Somebody came clean, went in her
puss and pulled out a ring,” says Big Boi. “That
was the most gangster shit ever. I mean, Gang-
sta Grillz! Don’t get no mo’ gangster than that.
That’s the first time I ever seen a bitch put
some gold and diamonds in her pussy, trying
to walk out a hotel room with a nigga ring.”
MAN OF THE PEOPLE AWARD
Winner: Mike Jones
Who? Mike Jones! The successful indepen-
dent rapper on the rise from Houston has
been signed to the record label Swisha
House since 2002, where he’s sold hun-
dreds of thousands of units, mainly in
the South alone. As of this writing
he’s readying the release of two more albums
which, paired with the video exposure he’s got-
ten from BET’s UnCut program for his “Still Tip-
pin” single and Swisha House’s new major label
distribution deal, should spell far more sales
and national acclaim to come.
Just about every artist has a Web site; that
isn’t anything too remarkable in itself.
Mike Jones happens to have a very cool site
(www.whomikejones.com). But no other artist,
especially one of his stature, wants you to have
his phone number. Mike Jones does. He even
plasters it all over his T-shirts and mentions it
often on records. Talk about a true man of the
people. Don’t believe it? Call (281) 330-8004.
And, uh, ask for Mike.
THE LIFETIME ACHIEVEMENT AWARD FOR
KEEPING IT TOO REAL
Winner: Bushwick Bill
Bushwick Bill set an impossibly high standard for
keeping it too real back in 1991 when he flipped
a traumatic incident into a memorable album
cover for the Geto Boys’ We Can’t Be Stopped.
After demanding that his girlfriend shoot him
and put him out of his misery, Bill was indeed
shot, though not fatally—in his face. Who can
forget that ultimate photo of him being rolled
down the hospital corridor on the gurney with
Willie D and Scarface, bloody bandage dangling
off his eye?
We’re not exactly encouraging people to try to
top Bill’s achievements, you understand. But in
this age when everyone’s trying to separate the
authentic from the fake more than ever, just
keep We Can’t Be Stopped in mind. That’s the
original source of what Southerners now call
trill – that’s triple real for everyone else. Bush-
wick Bill got that. He’s one of America’s first
original reality stars.
Competition is already heating up for next
year’s Lifetime Achievement Award For Keep-
ing It Too Real. Word is that the committee
wants to lighten up the festivities a bit next
time around, though. So it might end up going
to another one of Houston’s finest, Devin The
Dude, for using a picture of himself smoking
and reading the newspaper on the toilet for his
1998debut album The Dude.
WHO YOU CALLIN’ A BITCH AWARD
Winner: Miss B
One of the highlights of my recent trip to At-
lanta was learning about Miss B through her
live performance at a showcase for the an-
nual Atlantis Music Conference. Besides
learning that she’s got both talent and
charisma to take her far in this game, I
also learned — and thankfully, not from
personal experience — that she is not one
to disrespect. “I don’t fight, I don’t argue.
I just hit that bitch with a bottle,” she raps
on the chorus of “Bottle Action.” “Got prob-
lems? I’ll solve ‘em. I just hit that bitch with
a bottle.”
Might sound a little rough translated on paper,
but Miss B managed to craft a perfect tune for
any woman who needs an anthem to safely ex-
press some anger and bust some heads open, met-
aphorically of course. Jermaine Dupri must’ve
agreed, picking up the track for a crunk compila-
tion on So So Def. I know I can only sit here in
anticipation that she might get to record a video
for “Bottle Action.”
BEST GANGSTER INFILTRATION INTO THE MAIN-
STREAM
Winner: Baby for the Birdman Shoe
You have to respect the marketing sensibility of
Cash Money’s Baby (aka The Birdman). He’s one of
several Southern moguls to parlay business knowl-
edge originally honed from the wrong side of the
law into solid legal money, but Baby may be one
of the most brazen about it.
Take The Birdman, a “signature shoe” he de-
signed in partnership with Lugz. For those unfa-
miliar with drug terminology, a “bird” is a word
for cocaine. Thus, what we essentially have is the
coke shoe. Available at a mall near you!
Lugz is an urban company savvy to its market.
They’re not afraid to be less than subtle about
this kind of theme, and we have to salute their
balls for doing it.
“The sneaker features a clean-cut design,” touts
the corporate press release, “and each pair will
include a special ‘bling-bling’ Cash Money Stack
Clip (key chain for girls).” Good thing, for a bling-
ing clip is certainly a lot more sophisticated than
a rubber band. Initially priced at $70, The Bird-
man shoe is a lot more long lasting than, well,
other things that someone could buy with that
money.
WILDEST VIDEO SHOOT
Winner: T.I. for Birthday Bash promo
In the summer of 2004, self-proclaimed “King of
the South” T.I. was on a work release program
from Georgia’s Cobb County (stemming from a
violation of parole from a 1998 drug conviction).
He had been serving time at nearby Fulton County
Jail since April.
In June, T.I. arranged to have a film crew come
into Fulton County Jail to make a short video to
preface his appearance at the annual Birthday
Bash for Atlanta radio station Hot 107.9 (the same
show that would ignite a beef between the rapper
and Houston’s Lil Flip). During the filming, inmate
Cara Williams escaped from a processing area.
Although Williams was found and back in custody
by the middle of that same night and, as Associ-
ated Press reports, she was the “10th escape or
accidental release from the jail during the last 16
months,” the incident must not have helped T.I.’s
situation with Atlanta officials. It did, however,
give the rapper the Wildest Video Shoot, and es-
tablished a new meaning to “Girls Gone Wild” in
the process.
Excerpt from Tamara Palmer’s new book, Coun-
try Fried Soul: Adventures in Dirty South Hip-Hop
OZONE MAR 2005 19
 01: Laila Ali, Ms Cherry, and Laila’s
mother Veronica Ali after her fight
(Atlanta, GA)
02: Block Wear’s Stax on his hustle
outside of Upper Level (Jackson,
MS)
03: Nero, Pat Pat, and friends
reppin’ OZONE on the set of
Pitbull’s “Toma” (Miami, FL)
04: DJ Hollywood and the
YoungBloodz @ Club Tabu
(Huntsville, AL)
05: Pitbull, Jessy Terrero, and
Lil Jon @ Opium (Miami, FL)
06: Mad Linx, Kevin Liles,
and Chaka Zulu @ the Pala-
dium (Denver, CO)
07: Fabolous and Mitchell &
Ness VP Big Rube @ Union
Station (Denver, CO)
08: Gotti and Rasheeda
@ celeb bball game (At-
lanta, GA)
09: Mimi and Pitbull
on the set of “Toma”
(Miami, FL)
10: Tech Nine reppin’
OZONE @ the Magic con-
vention (Las Vegas, NV)
11: DJ Laz and Larry
Dogg reppin’ OZONE
on the set of Pitbull’s
“Toma” video (Miami,
FL)
12: Devyne Stephens
and Iisha Hillmon
(Atlanta, GA)
13: Lil Scrappy and Ra-
sheeda @ his birthday
party (Atlanta, GA)
14: Yo Gotti reppin’
OZONE @ Upper Level
(Jackson, MS)
15: Garfield, the CD
Man, Treal, Clay D,
and Bedo @ Caribbean
Beach Club (Orlando,
FL)
16: Webbie and Paul-
Wall @ Studio 7303
(Houston, TX)
17: Young Jeezy and
BloodRaw @ Club Five
(Jacksonville, FL)
18: David Banner and
Pastor Troy reppin’
OZONE @ The Moon (Tal-
lahassee, FL)
19: P Diddy and Jazze Pha
@ Big Boi’s birthday party
(Atlanta, GA)
20: Gucci Mane and Ms
Cherry @ TJ’s DJ’s (Tal-
lahassee, FL)
21: Antman, Teddy T, and
Luc-Duc reppin’ OZONE on
the set of Pitbull’s “Toma”
video @ Opium (Miami, FL)

Photo Credits:
Bogan: #03,11,21
DJ Hollywood: #04
Iisha Hillmon: #12
J Lash: #01,08
Joie Manda: #16
Julia Beverly: #02,05,06,07,09,
10,14,15,17,18,20
Kirk: #13
ShannonMCC.com: #19

20 OZONE MAR 2005

If you have a comment or question for C-Murder,
send it to feedback@ozonemag.com
 01: Gotti, Khujo Goodie, Yahya, and
T-Mo Goodie @ celeb bball game
(Atlanta, GA)
02: Charlie Chan, Big Sam, and
Stan da Man @ the Paladium
(Denver, CO)
03: Floyd Mayweather and Da-
mon Dash @ the Magic conven-
tion (Las Vegas, NV)
04: D-Rocc and DJ Quote @
The Tudor for The CORE DJs
convention (Miami, FL)
05: Six Two, Comp, and
Attitude @ The CORE DJs
convention (Miami, FL)
06: Pat Nix, J-Dogg, and
Willie Fischer @ Kartouche
(Jacksonville, FL)
07: Stax, Reggie Newell,
Boo Rossini, and Benz @
Upper Level (Jackson, MS)
08: Lebron James and
Kevin Liles @ the Pala-
dium (Denver, CO)
09: Antonio Tarver and
Floyd Mayweather @
the Staples Center (Los
Angeles, CA)
10: Spoil’d Rotten
reppin’ OZONE @ the
Tudor for The CORE DJs
convention (Miami, FL)
11: Pupp and Keith
Kennedy @ TJ’s DJ’s
(Tallahassee, FL)
12: The Babalu Bad
Boys Rich and Ray @
Opium (Miami, FL)
13: Killa Kyleon reppin’
Boss Hogg Outlawz @
the Magic convention
(Las Vegas, NV)
14: Cory and Tambra
reppin’ Admission
Granted TV @ Upper
Level (Jackson, MS)
15: Rasheeda, Bone-
crusher, Ciara, and
Cottin Mouf @ Vibefest
(NYC)
16: Gucci Mane, Khujo
Goodie, Yahya, and
Frank Ski (Atlanta, GA)
17: David Banner and Ed
the World Famous rep-
pin’ OZONE’s Superbowl
edition @ TJ’s DJ’s (Tal-
lahassee, FL)
18: Roy Jones, Mr. Magic,
and the Body Head crew
@ Plush (Jacksonville, FL)
19: DirtBag and Jacki-O @
The CORE DJs convention
(Miami, FL)
20: Fox, Zay, TJ Chapman,
Clay-D, and Angel Benton @
Bay Area Music Conference
(St. Petersburg, FL)
21: Khujo Goodie, Rico Wade,
Big Boi, DJ Toomp, T-Mo Good-
ie, and Konkrete @ Big Boi’s
birthday party (Atlanta, GA)

Photo Credits:
Earl Randolph: #18
J Lash: #01,09,16
Julia Beverly: #02,03,04,05,06,
07,08,10,11,12,13,14,17,19,20
Kirk: #15
ShannonMCC.com: #21

22 OZONE MAR 2005

What’s your actual title at Atlantic Records?
I’m the Senior Director of Urban Promotions for
Atlantic, but I also have a dual role. Along with
the Chairman of Atlantic, Craig Kallman, I’m
going to be running Atlantic Latino, which will
cater to Latin hip-hop and reggaetone.
What was your career path to get into the
music industry?
I went to college originally because I wanted
to be a film director, but then I realized there
aren’t a lot of Puerto Rican film directors who
are into hip-hop. I figured it was something that
would take me a long time to achieve, and I was
eager to get to work. I opted to get involved
with music instead. I got a Bachelor’s degree
in Communications, and while I was in college I
started working at a warehouse for a company
called Imported Records. They were the ones
that funded Relativity Records, so that was my
first exposure to an independent hip-hop label.
That’s where I first met Fat Joe, believe it or
not. This was probably like, 1991. From there,
I ended up meeting a lot of the people who did
urban promotions at Relativity. I made a lot of
friends, and I got into that circle before I knew
it and landed a job at Tommy Boy. My first job
there was retail marketing, and that’s what got
me involved in promotions.
Who were some of the acts you worked with
at Tommy Boy?
Coolio, Naughty by Nature, Everlast and House
of Pain, Coo Coo Cal, and Above the Law.
Tommy Boy had a deal with Warner Bros, but
they got bought out and eventually they folded.
I had made so many relationships that Rob Love
from Def Jam called me the week Tommy Boy
folded. I didn’t skip a beat. I put in my three
years at Def Jam, I worked with everybody
from Jay-Z and Memphis Bleek to Capone and
Noreaga. I was also one of the people that was
real instrumental in breaking Joe Buddens on a
national level.
At Def Jam, were you basically the liaison
between the label and the DJs?
That’s basically why they brought me in, cause I
already knew a few DJs from my days at Tommy
Boy. I’d never really done full-on radio promo-
tions, but I knew the key players. My last gig
at Tommy Boy was lifestyle marketing, which
is another way of saying I ran the street teams
nationally. Through that, I started meeting DJs
across the country, so that’s what really put me
on Def Jam’s radar. When I hooked up with Rob
Love, he realized that I knew a lot of the people
he needed to pop off his records. I met with Rob
and Kevin Liles and they hired me on the spot.
What’s the key to building relationships and
networking with DJs?
It’s real simple. You’ve gotta make a lasting im-
pression; a good impression. I never take any DJ
for granted, whether it’s a club DJ, a mixtape
DJ, or a radio DJ. I try to be really careful not
to favor one over the other, because they’re all
instrumental in breaking records in different
forms. When I talk to people I try to remember
their names and I try to make sure they have
all my contact info. I’m a promoter, so I’m
always supposed to be accessible. It’s a for-
mula that’s worked for me. A lot of people
will pass my number around and say, “Sam
will help you get that Redman record,” or,
“Sam will help you get that Ludacris re-
cord.” I just caught a reputation for being
accessible. It sounds really simple, but it
works for me. I ended up building a lot
of good relationships and that’s what
Sam Crespo
Atlantic Records
got me the job over at Atlantic.
At Atlantic, are you also the liaison between
the label and the DJs?
Even though I have a higher position at Atlantic
than I did at Def Jam, I think that’s one thing
Atlantic definitely needed as a company; that
link to the DJs, now that they’ve become so ag-
gressive on the urban side. Even though there’s
two people under me handling mixshow – Rick
Betemit and Damon Gales – you’ll still see me
at the DJ conferences. I’m taking them under
my wing, so a couple years from now they could
take my spot. I think that’s what keeps this
business alive; people like myself who want
to train others to eventually fill my shoes. I
don’t wanna be doing this forever. It’s all about
growth.
Were you shocked when Lyor Cohen and
Kevin Liles left Def Jam?
Yes and no. It was always my dream to work at
Def Jam. It was always my dream to know Lyor
Cohen and work with Kevin Liles, so when it
happened, I was ecstatic. I didn’t know that my
impression on them was that strong that they’d
say, “Hey, we gotta have that guy back.” When
they made that call [to hire me at Atlantic] I
realized that I see myself in that executive
circle. They’re my mentors, basically, so when
they came calling it was easy to say yes. That’s
my crew and I gotta roll with them wherever
they go.
After they left Def Jam and people started
getting laid off, was there tension within the
company?
Yeah, I felt that. There were comments about
the company being called “Deflantic.” But,
“That’s what keeps this
business alive; people
like myself who want to
train others to eventu-
ally fill my shoes. I don’t
wanna do this forever.
It’s all about growth.”
people shouldn’t be insecure. If you’re
good at what you do, you shouldn’t be
worried if your ass is on the line. If they
don’t embrace me, somebody else will.
That’s my attitude. When Lyor offered me
the job [at Atlantic], Def Jam did make at-
tempts to keep me and convince me to stay.
I still love the company, though. My attitude
is good. I wish them much success. Def Jam is
such a strong brand. If they win, if Lyor wins,
it’s all good for hip-hop. I’m really happy with
the decision I made, though. I love Atlantic and
I love the artists.
Who are some of the artists you’re working with
at Atlantic?
T.I., Trick Daddy, and Fat Joe, who happens to be
a personal friend of mine. There’s a lot of new art-
ists too, like Bump J. I have no ill feelings towards
Def Jam, though. They’ve still got a good squad.
The other day when we spoke, you said that
Lil Wayne was signed with Atlantic, but I just
heard that he renewed his contract with Cash
Money/Universal today. What’s going on with
that situation?
I thought he was signing with us, so I have no idea.
They were pumping it over here [at Atlantic] like
he was already signed to us, so I’m just as con-
fused as everybody else.
How long have you been at Atlantic?
I’ve been working at Atlantic since the end of De-
cember 2004, so it’s been about two months now.
With your position on the Latin/reggaetone side,
what do you plan to do?
The same way that Craig [Kallman] helped to take
reggae and dancehall to the next level at Atlantic,
I wanna take reggaetone to the next level.
Who are some of the reggae and dancehall art-
ists on Atlantic?
Kevin Lyttle, Sean Paul. VP Records is under At-
lantic.
Who are some Latin and reggaetone artists
you’d like to sign?
Daddy Yankee and Tego Calderon. I think those two
would be incredible additions to our roster.
What makes you qualified to lead the regga-
etone movement at Atlantic?
It’s something that I personally love, and I’ve been
watching it for a couple years. I have love and re-
spect for the music, and I’ve already been working
with people in the movment. Plus, the fact that
I’m Puerto Rican and I love hip-hop. I understand
how to combine reggaetone and hip-hop without
it sounding corny.
You mentioned Fat Joe; are there any other
artists you’ve developed personal friendships
with?
Me and Nore are tight, and me and Joe Buddens
are still tight. I’m also friends with a lot of other
record promoters at other labels. You would think
we’re competitors, but we’re actually good
friends. We all respect each other, and we all
hang out.
Do you have any advice for up-and-coming ex-
ecutives in the music business?
People who wanna make it in this business have
got to know how to network. You’ve got to keep
your word and build relationships, because it all
comes back around.
Photo and interview by Julia Beverly,
jb@ozonemag.com
OZONE MAR 2005 25
 First off, we’re not even gonna front like this is some exclusive shit. We didn’t even try to get an interview with
50. I’m sure he’s too busy shooting the next XXL cover to talk to lil’ ol’ OZONE for a few minutes. But you’ve all
heard the story by now a million times: 50 kicked The Game out of G-Unit and basically claimed responsibility for
his whole album. 50 also dissed Nas, Fat Joe, Jadakiss, Cassidy, Shyne, and damn near every other rapper you can
think of, and a few of them had some choice words in response. Just in time to promote his new album! OZONE, of
course, is a Southern mag, so for those of us who don’t have access to listen to hip-hop’s newest shoot-em-up spot
Hot 97, we downloaded a bunch of audio clips and typed ‘em up so our readers in the country can hear what y’all
are talkin’ about up in New Yawk. Anyone who doesn’t believe 50 planned this from the beginning is a damn fool. You
heard the song: The money goes into his piggybank...cha-ching...

Fat Joe on KaySlay’s Drama Hour> <Game w/ DJ Wreck

I gave [50] ample time to change 50 basically tried to air out all our
the diss record [“Piggy Bank”], so dirty laundry on [Hot 97 with Funk-
I guess the dude wants rap battle master Flex]. There was no need
beef. His number one record is to be talking about internal issues,
called “In Da Club,” and we ain’t but he did what he did and decided
never seen this dude in the club to air me out like that. He doesn’t
in our life. He ain’t grow up with really know me, and now he will
the 20 white boys that he be with pay the price for what he has done.
every day. People gotta understand I put that on God. I knew 50 had
that this dude is CB4. Man, he a problems at the time, but it wasn’t
gimmick. All that, “I’ll kill Ja, I’ll that all the problems were with me
catch you when I catch you, I won’t per say. I knew he had issues with
back down,” and it’s been four Dre, Aftermath, and all the people
years and he ain’t even slap-box you hear him calling out on his
with Ja yet. This dude be throw- records. The dude is a joke, man.
ing mad darts, but he a hermit. Blaming Game for everything is just
He be staying home all day and he a front. He got bigger problems.
just diss people. He don’t be in He wants to fill Pac’s shoes but he’s
Queens. Queens ain’t never seen wearing Ja’s shoes. 50 is a singing
this dude, man. This dude is a nigga trying to benefit off Eminem

Fat Joe photo: Julia Beverly; Game photo: J Lash

great entertainer and makes great
music, but ain’t nobody losing
sleep over him. [50] is trying to
win some credibility by disrespect-
ing me cause the fans know they
see me in Harlem, they see me in
Brooklyn, they see me in the Bronx.
They see me with no bodyguard.
I’ve never had a bodyguard in my
life. He feels like if he disrespects
me, he’ll get points off it. He’s a
coward, man. This dude is scared
of his own shadow. Them steroids is
getting to him. This is real talk. I’m
gonna address him on the album
one time, man. I’m not no battle
rapper. You see this is all on the
radio, see, it’s like I’m falling for
his plan. He knows Chris Lighty,
Chris knows me very well. Tell me
where to meet you. I’ll walk down
there one deep and I’ll knock you
out. It’s simple. It’s so simple,
cause he ain’t built like that...I’m
only addressing the issue because
it’s just so out of proportion. I hear
rumors, like, “Yo, he got people
under pressure.” Under pressure?
Dog, I’m Debo. I just rode up on a
bike. Are you crazy? I will cripple
his whole organization if I want to.
I’m being a nice guy about this. It’s
impossible to hurt [50] with twenty
cops on him all day. That’s why he’s
talking all reckless. I’m trying to
do positive things, I ain’t worried
‘bout this dude. In fact Cool & Dre,
Terror Squad producers, produced
“Hate it or Love it.” The “Candy
Shop” record was my beat; Scott
Storch produced that for me. I
took it to the crib and thought
it sounded too much like “Lean
Back.” Scott calls me telling me 50
wanna use it. I’m like, “Do what
you gotta do.” I ain’t no hater.
and getting shot nine times and
living off other people’s legacies
and accomplishments. His career is
50 Cent on Funkmaster Flex’s show on Hot 97 on a downward spiral. You will see.
[Game] was being dropped from Aftermath. Why else would they let After this album, he ain’t gonna be
me be a partner on a record they had for two years? Creatively they the same rapper you see now. He is
got stuck in the mud with it and I came through and helped it move. still affiliated with Jimmy, Eminem,
I’ve worked on every record that this guy has out commercially. He and Dre. Sooner or later he is the
went overseas and heard people screaming “Game,” and he came one that will have to stand alone,
back and bugged out on us. It was too much for him. Game was in the and you will see he won’t. And
“In Da Club” video. He had been down there two years before they Banks, he’s a lil’ pansy. I’m sorry,
came to me with the project. He was signed right after my album but the dude is so feminine it ain’t
[Get Rich or Die Tryin’] came out and he sat for another two years. even funny. I can see why he’s 50’s
Banks’ album went on sale, Buck’s album went on sale, Beg For Mercy little girl. He was always intimidat-
went on sale, and he sat there in the studio and still couldn’t com- ed to roll with a nigga from Comp-
plete the record. They asked if I would work with him. If you look at ton and someone who would bring
[Game’s album The Documentary], there’s six records on the album 300 bloods with him to a venue or
that I wrote. The first three singles he put out, I’m on ‘em: “Westside to NYC. Buck and me were cool on
Story,” “How We Do,” and “Hate it or Love it.” Every record he’s a musical level and I had love for
selling is based on me being on the record with him. His album is him til he aired me out. He chose
like my EP before my LP. [His ungratefulness] bugged me out, cause his side, so I gotta smash him like
I overextended myself to him. He’s actually been to my house. I I gotta smash the rest of them
brought him there and sat there and made the records he has. A lot of clowns. I believe that 50 was right
those records, I muted the vocals. I had already wrote those records. about the jealousy factor. It was
So for him to turn around and say [he’ll do songs with Nas and I just him who was jealous of me. He
dissed Nas] that’s disrespectful. [Game]’s not established yet. He still wanted to be the 2005 Game but
has to make records on his own. He hasn’t made anything by himself what he really saw was Game was
yet. They bought that record based on material that they heard with the 2003 version of 50 Cent. He
me and him on it. I don’t know where Dre stands on the situation. I couldn’t handle that and then the
haven’t even talked to him. [Aftermath and Interscope] been calling division got worse. I talked to Dre
like crazy. They figure the things that I say in the general public at last night for two hours and he can
this point, just telling the facts, the truth will destroy the perception speak for himself. I’m on After-
of Game as an artist. [Aftermath staff] even overlooked records that math, and ain’t going anywhere.
I wrote on the credits to make it look like I didn’t write the records. Me and Dre are from Compton and
They wanted to make it look like he wrote songs like “Special” and he backs and supports me all the
“Church for Thugs.” I think Game has a problem with my position. I way. Dre will release a statement
think he’d like to be 50 Cent, the head of the situation. He’s trying to on this when the time is ready. 50
create his own circle with the Black Wall Street, and he has my bless- Cent, this isn’t Ja Rule. I ain’t Jada
ings. I didn’t say anything bad about that. I want them to grow as or Nas either. You done crossed a
fast as they can, because who looks bigger when that happens? To be Compton G, and wherever you go
technical, I make more money off his record than he does. That’s the you will see red rags and Cedar
honest-to-God truth, on the publishing. Cause I’m at a full rate and and we will be on you. I got
he’s still at a 3/4 rate. He’s still on a brand new artist deal. He has to soldiers out there willing to put
adjust it in order to get into the space that I’m in right now. He might in work. You have to see me at
as well go ahead and do his record with Nas, Jadakiss, anybody else some point. No apologies, no
that’s gonna stand next to him at this point. retreat, and no surrender.

26 OZONE MAR 2005

Is this gonna be Mike Jones’ year?
If the Lord say the same, it’s my year.
In addition to the Lord looking out for you,
you’ve put in a lot of work to get to this
point.
Yeah, I put in a lot of work, man. And now it’s
goin’ down.
Tell me a little about the 90% grind you talk
about.
It’s definitely 90% grind, 10% sleep. I mean, I
stay in the studio til 5 AM. I go to sleep, wake
right back up at 7 AM and do it all over again. I
make a lot of money, but I don’t even hardly get
a chance to spend it cause I’m gone so much.
What does a rapper do at 7 AM?
I’m back up, at the computer, writing songs.
Constantly writing tracks. I stay on it, man.
I’m curious about your songwriting process.
Where do the concepts come from?
Some come from experience, and some come
from my homeboys. They’ll tell me the experi-
ences they’ve been through and I’ll just write it
based on that. There’s a lot of people that can
relate. Sometimes I’ll just be in a crunk mood
and I’ll freestyle some stuff.
Are any of your songs all freestyle?
Some of them, but not all of them. Some songs
got meanings. Me, I mainly rap for the ladies,
and I write for the streets. They just know. Mike
Jones is just a person. I’m a hustler, I do what-
ever it takes. I’m not hating on nobody else.
I heard you performed in Alaska.
Yeah I had a show in Alaska, (whistles) it was
cold. I’m talking about cold as I don’t know
what. It was extremely cold, man. I was like,
I didn’t know it was gonna get that cold down
there, you know? They showed love to me. I
got down there and they was lovin’ it, which
shocked me, cause I’m like, “C’mon man, what
y’all know about this man?” But they knew it.
I was like, “Whaaaaaat??” I was in Detroit. I
went everywhere, man. Nebraska, all over
Mike Jones and his Ice Age
Entertainment family
Florida, New York, Connecticut, Jersey, Okla-
homa, Alaska, Denver, Detroit, Alabama, Missis-
sippi, Kansas City, Missouri, Kansas City, Kansas,
there’s a lot of ‘em. California, all up in Cali-
fornia, I mean I gotta go to Kentucky coming up
and Long Island somewhere. Oh, and Pittsburgh
too, man. I been everywhere.
Where have you seen your strongest re-
sponse?
Cleveland, I forgot about them, too. Cleveland,
Ohio shows a lot of love. The whole Midwest is
like that.
What do you think is the connection between
Texas and the Midwest, or you and the Mid-
west?
I don’t know. I just put my music out there
and whoever like it, like it. I went to New York
because a lot of people were showing love out
there. I met 50 in LA and he was real, real cool,
gave me a lot of game, and then I seen 50 again
in New York and he was at the same show where
I was performing. I performed for DJ Enuff’s
party in New York. I met all the big DJs down
there and got on Hot 97. I was on the radio for
a while, so it was love, man.
Tell me a little bit about the album you’ve got
coming out, Who is Mike Jones? Who are you
working with on production and who have
you got featured?
Right now I’ve got Kanye on the album, and
Mannie Fresh. I got some stuff from Swizz
Beats, I’m checkin’ him out. It’s mainly me on
the album and my Ice Age crew. I got my own
label, Ice Age Entertainment, and that’s about
to blow real, real big. I’m working to get An-
thony Hamilton on a track, and I was trying to
get Nelly on a track too.
Who all is with Ice Age Entertainment?
I got Lil Brann, he’s the one that sing R&B, and
my boy Bright Eye from Miami. Mello’s from
Chicago but he been down in H-Town, and I got
my boy CJ straight from Carverdale.
I heard some rumors that your former rap
partner Magno was kicked out of
Swishahouse for doing his own under-
ground CDs. Does Swishahouse have
any problem with you doing your own
thing with Ice Age?
Well, honestly, I don’t really know what
happened with them, but it’s a good rela-
tionship with us. G. Dash, the CEO of Swisha
House, is talking with [Warner Bros] to get my
company a deal. So, we work as a team over
here. Ice Age is blowing up too and me and Dash
are straightforward with each other. He ain’t
trippin’ like that. I’m with Swishahouse, I repre-
sent Swishahouse, but Ice Age is my company. I’m
just use that to open doors for my people.
You had Ice Age before you even signed with
Swishahouse, right?
Yeah, that’s how I got hot. When I got with
Swishahouse, I put Ice Age on hold. My name got
bigger and I got a deal. Now, I’m still representing
Swishahouse. People be thinking that I’m not but
I still am, so please get that out your head. Like
50, he represents Shady/Aftermath, but he got
G-Unit. And if you go to my website I express it,
put it in bold letters. www.whomikejones.com,
you‘ll see it on the cover. Ice Age Volume 2: The
Takeover, will be out soon. I’m talkin’ about jam-
min’! We got Lil Wayne on there, Xzibit, Jacki-O,
my boy Slim Thug, Lil Keke, and Killa Kyleon on
the CD. We got some crazy people on the CD, so
it gonna be insane. And I just did something with
TQ, so Ice Age Volume 2 finna be real, real big.
You got all those people and this is an under-
ground CD?
Yeah I got Xzibit, TQ, Jackie O, Lil Wayne on here,
and it’s beautiful man. It’s an underground. I can
let you hear snippets, it ain’t no thang.
Do you think people might think you say “Who?
Mike Jones” too much?
Yeah, but what’s crazy is, if they was able to,
they would do the same thing. I don’t even say it
a lot on the album. I say it on a lot of singles, and
that’s what blew me up. Here’s what I don’t un-
derstand, though. Some people say that I’m say-
in’ my name too much, but if I stop it completely,
then some people are gonna be like, “I like the
old Mike Jones. I like it when he used to say ‘Who?
OZONE MAR 2005 29
 TEXAS TA
With Houston rappers like Mike Jones, PaulWall, and Slim Thug arriving on the national scene, ot

KILLA KYLEON Log onto www.ozonemag.com or houstonsoreal.blogspot.com

to read the complete interview

What part of Houston are you from?

I’m from the South side, Dead End, MLK, but right now I’m living on the North side. I got the best of both
worlds as far as this H-Town sound.

So you came up around DJ Screw and some of the biggest names to come out of Houston.
Oh yeah, man, I lived right around the corner from Fat Pat and Hawk when they was starting DEA and ev-
erything. My Uncle Ron, Kojak, was pretty much like CEO of the Dead End thing. I was around the Screwed
Up Click right at the beginning of it. It was the original SUC with Fat Pat, Hawk, and Keke. When I began
rapping, I really got noticed by Big Pokey and I hooked up with his crew Mob Style. I was around Pokey a lot
right when he got his deal. I pretty much grew up under that umbrella. I was around everything that was
going on at the time, but it just wasn’t my time.

Now, it’s 2005, and you’re working with Slim Thug, one of the hottest artists in the South. Are you
signed to Slim’s label, under Interscope?
Yeah, it’s sort of like how 50 Cent did G-Unit. I’m coming in the same way 50 did Lloyd Banks. I’m on Boss
Hawg/Geffen/Interscope. I’m not under Star Trak, though. I’m signed to Interscope through Boss Hawg. It’s
all under the same umbrella.

I’m sure you’re concentrating on Slim’s album right now, but are you working on a solo album also?
Yeah, man, I’m already forty songs deep. I’m constantly working on my album. When he work, I work. I’m
not waiting on it. I don’t want to be all the way dependent, cause we never really worked like that. While
he’s making noise in the industry, I’m still gonna be making noise in the underground.

What are some mixtapes we might have heard you on recently?

I’m on Southern Smoke 15, the Boss Hawg Outlawz’ Southern Smoke. I’ve done work with Whoo Kid, Kay
Slay, Swishahouse, SLAB, Trae, Mike Jones, PaulWall, Pusha T from the Clipse, Young Jeezy out of Atlanta,
and of course Slim and the whole Boss Hawg camp. I’m gonna get some production from Jazze Pha, too, he’s
a real close friend of ours.

Log onto www.ozonemag.com or houstonsoreal.blogspot.com

to read the complete interview

You first came out as a part of HSE, which was a group with Lil Flip. Who else was in HSE?
HSE was the first album we put out in ‘99. I was still in high school. The group was me, Lil Flip, A.P.,
and Hump. Hump didn’t rap but he was on the cover. To date, that record sold 100,000. That was
the first release on Sucka Free before anything. I was the second artist signed to Sucka Free. Flip
was the first.

How did you get signed to Sucka Free?

I was in a talent show. Me and Flip went to the same school - Worthing High School - and Flip came
backstage and was like, “What was that song you did?” I told him it was “As the World Turns,” and
that ended up being one of the first songs on the HSE album. At this time, Poppy from the G.R.i.T.
Boys was in HSE, too. By this time, my partner Jason died, and after he died I took his place and
that’s how I got into HSE.

What are you working on right now? Is this a new HSE record or a solo album?
It’s the final HSE record. It’s called The Paper Route.

Who all is in HSE now?

It’s me and Lil Ron. Last niggas standing. This is the last one before I do my solo. This one is better
than the first one, to be honest. We got a lot of big names on there, like Three 6 Mafia, David Banner,
Killer Mike, YoungBloodz, Scarface, Trae, T.I., and PaulWall.

How did HSE go from being you, Flip, and A.P. to you and Lil Ron?
Once A.P. came out the group it was me and Flip, and then Lil Ron came in after he left the Swisha-
house. He paid his dues. He helped us go platinum wiht the nationwide success we was having. And
Flip just recently stepped. He’s still signed to Sucka Free, but he’s not affiliated. So that just left
me and Ron.

YUNG REDD
Did you have any problem with Flip leaving?
Naw, I didn’t have no problem with Flip leaving. I just told him he really must keep it
real, holla at me. We was gonna still do projects together even though he was gone.

30 OZONE MAR 2005

AKEOVER
ther H-Town representers await their chance at the limelight. // Photos and words by Matt Sonzala

Log onto www.ozonemag.com or houstonsoreal.blogspot.com

to read the complete interview

Your name stands for Ghetto Reality in Texas. What exactly is your reality these days?
G.R.i.T. BOYS
Scooby: Well, the G.R.i.T. Boys reality is the things we go through in life. My struggles,
Unique’s struggles, Poppy’s struggles, and we just present it to the world as a whole. It’s what
we go through, and if you can relate to it then, get ahold of our music. It’ll probably help you
get through a day. It’s really grindin’ music. A lot of people that hustle that we known in the
hood be like, “Man, I need some CDs to grind with.” It’s reality rap.

Do you hear much other reality rap out there these days?
I hear it. It’s a lot of talent that ain’t been heard that I feel been on the same caliber as us.
But there’s legends before us that’s been reality rap. Hawk, Z-Ro, and the Geto Boys fa sho
set that example. It’s reality out there, but as a whole the music game is just at a different
point right now. There’s a lot of shining going on right now, and there’s nothing wrong with
that. Cause we down here ridin’ swangers and fo’s.

But doesn’t that shit kinda get old at times? As much as I love some of these artists, I don’t
want to hear any more about “paint drippin’.” It’s just recycled Screw freestyles over and
over and over.
Yeah, it is, but some people are late on the style of it and they take a liking to it just like I
took a liking to it ten years ago. I don’t fault them, but myself personally and the rest of the
G.R.i.T. Boys, we’re on a whole other level. We about bringin’ the real, what’s goin’ on. I ain’t
ridin’ swangers, but you know, I got potnas that’s ridin’ swangas. So if I made a record about
that, it’d be for them. But you’ve got a point, though.

Do you have to do that in Houston?

Do you have to? Well, a lot of people wanna hear about swangers and drank. If you’ve got that
right beat and that catchy hook, it’s gonna go. The Geto Boys made it through all that, but
the candy paint and the syrup kind of came after that era. But, I don’t think it’s hard. I feel
like we gon’ shine regardless because you can’t deny good talent. I don’t feel like our records
can be denied just by the content.

Log onto www.ozonemag.com or

houstonsoreal.blogspot.com
to read the complete interview

When did you first start out doing music?

Man, I started out doing music when I was twelve. My first time being heard on wax was in 1997 with Z-
Ro’s “Look What You Did to Me” and G-Rapp the General. That’s Lil Flea’s brother from Street Military.

How old were you when the Z-Ro record came out?
I was sixteen or seventeen, somewhere around there.

So it wasn’t too long after that you started doing the Guerilla Maab project, right?
Yeah, Rise came out in 1999, right when I got out of jail. That was 1999.

How long were you in jail?

Not really long, man. I had caught an aggravated robbery case by being young and crazy. I was on the
streets. It was a blessing. I didn’t do nothing but probably some weeks in jail, but I was on paper for
like two years for aggravated robbery. They tried to give me close to forty years. But it was a blessing,
man, the D.A. knew my lawyer and they felt that they could give me another chance to not mess my
life up. I had been doing music, so I was already known for that. They ended up doing it where I only
got two years deferred, but if I had messed up on that deferred probation then I’d have done the max
that I could do on that case.

How do y’all stay so consistent with the projects? How do you guys get to put out so much music?
I don’t know, man, that’s what we do. People always wonder why we be so serious, and I just sit back
and let ‘em know that we keep a lot of shit we go through inside our chests. We ain’t the type to go
talk about our problems to nobody, so that’s what makes us good at what we do in this music shit. We
go through shit on a day-to-day basis. I hate that it be how we go through it, but it’s good that we
do go through it because without that, shit, what would we have? We go through so much shit, dog,

TRAE
it’s like retarded. If one of us ain’t in jail or one of us ain’t in a shootout or one of us ain’t fighting, I
mean, it just be so much shit and there’s always something negative. Half the tiem we don’t even want
to answer our phone because we don’t know what it is on the other line telling us.

OZONE MAR 2005 31

 01: DJ Fresh, TJ Chapman, and DJ
Demp reppin’ OZONE @ the Tudor for
The CORE DJs convention (Miami, FL)
02: Squiggy, Swordz, and Hood Life
Records reppin’ OZONE @ Kartouche
for Upstart Record Pool meeting
(Jacksonville, FL)
03: Do or Die @ The CORE DJs
convention (Miami, FL)
04: Big C, La Chat, and Gangsta
Pat reppin’ OZONE @ Upper
Level (Jackson, MS)
05: Ludacris and LaLa read-
ing OZONE @ the Paladium
(Denver, CO)
06: BP and friends reppin’
OZONE @ Upper Level (Jack-
son, MS)
07: Vellie Boyz reppin’
OZONE @ The CORE DJs
conference (Miami, FL)
08: George and Teach
reppin’ OZONE @ Magic
convention (Las Vegas, NV)
09: Yusuf and Phlava @
The Moon for TJ’s DJ’s
Record Pool Meeting (Tal-
lahassee, FL)
10: Pat Parlay and P
Diddy @ Plush during
Super Bowl weekend
(Jacksonville, FL)
11: J Lash and Bobby
Brown @ Compound
(Atlanta, GA)
12: Sonny and Ja Rule @
Club Troy (Miami, FL)
13: Jimmy Chocolate
and Arthur Papillon
reppin’ OZONE @ Opium
(Miami, FL)
14: DJ E-Feezy and
Jacki-O reppin’ OZONE
@ the Tudor for The
CORE DJs conference
(Miami, FL)
15: Al Lindstrom, Big Tig-
ger, and DJ Epps reppin’
OZONE @ The CORE DJs
conference
16: Big Boi and P Diddy @
Big Boi’s birthday party
(Atlanta, GA)
17: Victor Walker, Homeb-
woi, and Big Money Ced
@ GTP’s Bay Area Music
Conference (St. Peters-
burg, FL)
18: Kool Herc and David
Banner @ the Magic con-
vention (Las Vegas, NV)
19: Troll, Kwasi Kwa, and
Slim of Trackstar Records
reppin’ OZONE @ Upper Level
(Jackson, MS)
20: Turk, Joie Manda, and
Mannie Fresh @ Studio 7303
(Houston, TX)
21: Gutta Boyz @ Caribbean
Beach Club for Central FL Net-
working meeting (Orlando, FL)

Photo Credits:
Earl Randolph: #10
Joie Manda: #20
J Lash: #11,12
Julia Beverly: #01,02,03,04,
05,06,07,08,09,13,14,15,17,
18,19,21
ShannonMCC.com: #16

6 OZONE MAR 2005

How did you get started rapping?
I’m from Philly, but I moved to Tampa when I
was 12. When I was 15, I started doing rap con-
tests with Rated R. He used to DJ a lot of the
spots in Tampa. We kinda grew up together and
rapped together. I met [Dirty Down Records’]
Taz in 2000 and we put out the Thug Misses
album. I never actually signed to Dirty Down,
but Taz did some of the production. I ended up
signing with Artemis Records.
The single that blew up, “My Neck, My Back,”
was originally recorded by a male artist?
Oue Jive had a song out called “My Neck, My
Back” first, but it was like a dance track. Don
Juan is the one who produced the beat. We re-
did the beat and came out with a female sexual
version. The first single that I had was actually
“Fuck Them Other Hoes,” that was getting radio
play before “My Neck, My Back” took off. It did
kinda surprise me; the crossover status of that
song. The song was working first at the clubs
and in the hip-hop community, but it shocked
me when it went worldwide and overseas.
That’s basically where I’ve been the past two
years. I went to Japan and Brazil and Greece
and London. I’ve sold 400,000 copies overseas,
so the record was just as big overseas as it was
in the States. It’s a blessing to be able to travel
and see so many different nationalities appreci-
ate my music.
It seemed like you disappeared for a while.
Yeah, people were like, “Where you been?” I got
to go to Africa and a lot of different third-world
countries. That song reached so far. That was a
real, real blessing. A lot of artists don’t get a
chance to travel overseas. A lot of the countries
I went to were real, real poor. We take a lot of
things for granted here in the States. It was a
learning process for me; I needed that.
You’re living in Atlanta now?
Yeah, I moved to Atlanta not too long after
the Thug Misses album. I really didn’t feel like
Tampa was a big enough market music-wise for
me to really go as far as I was trying to go. I had
already conquered Tampa locally, and I was try-
ing to go farther with my career.
Some people in Tampa were offended when
you moved because they felt like you weren’t
representing the city.
Yeah, but I’m not originally from Tampa. I still
rep where I’m from, so I rep the whole South.
I moved to Tampa when I was twelve. I earned
my hood stripes in the South, not just in Tampa
but in all of the South. I felt like it was my time
to go. You’ve gotta know when it’s time to leave
and do what you’ve gotta do for you. It wasn’t
like I abandoned Tampa. I didn’t get a lot of
love from them in the beginning. It was St.
Pete, Jacksonville, Clearwater, Plant City, and
a lot of other places surrounding Tampa that
showed me love. You always gotta get in the car
and ride in Florida; that’s how Florida is. It’s not
just Tampa that showed me love. I feel like I’m
reppin’ for the whole South. Tampa didn’t do
nothing to help me get where I am. They didn’t
contribute to it, so why do they feel like I owe
them something? I brought light to Tampa. If
you want to make it point-blank, period, it’s
like, the artists there gotta get out and make
things happen for themselves. Nobody’s
gonna reach back and pull you up. You’ve
gotta go get it, or you’re gonna be sitting
back like they doing looking sick. Tampa
had Krazy, Tampa Tony, Rated R, they
done been around for some years and
I’ve watched them and their careers.
They chose to stay in Tampa and try to conquer
something they don’t need to conquer. They’re
worried about the opinion of people in Tampa
they grew up with, but those are gonna be the
last people to accept you and appreciate you.
You gotta go out and get the torch and bring it
back home so they’ll appreciate you. You gotta
show and prove too hard at home. It ain’t re-
ally all about home. I don’t owe Tampa shit.
It’s just like you. I mean, I don’t really know
you personally, but I hear about your magazine
everywhere I go. Of course people are gonna
hate, but they hear about the mag and your
face is out there because you ain’t just tryin’
to stay in Orlando.
Are you working on any side projects?
I’m really trying to act. I’ve been looking at
some scripts; some real gangsta hood stuff.
There’s a lot of indie producers and DVDs here
in Atlanta. I’ve got my own business too, it’s
kinda like a sports boutique. We do live perfor-
mances and we have a game room.
You’ve sort of earned a reputation for being
difficult to work with, because you always
speak your mind to radio PDs and promoters.
Yeah, I handle a lot of my own marketing and
booking because there’s a lot of crooks out
here. You gotta be hands-on with your business.
I’ve been out here doing shows for four years
and you deal with a lot of bullshit. I like to be
in control. I like managing myself so I can really stir things up. The fact is, I’m the Queen of the
say “yes” or “no.” I have a fan base already. I South. I’ve sold more records and I have a bigger
sold 800,000 records, so I can always do shows. fan base, and I write my own music. I don’t feel
My fan base is there. I’m blessed to have both like she’s better than me, so how can she say she’s
a male and female fan base, so I’ll always be the Queen of the South? No disrespect to her, it’s
able to perform. As long as you know how to just the truth. My fan base and the amount of re-
handle yourself and get out there and hustle, cords I’ve sold speaks for itself. She just came out
you’ll always be able to eat. That’s why a lot and didn’t sell too many records, and she hasn’t
of artists are broke, because they’re waiting on had as many singles as I have, so I don’t feel like
somebody else to do it for them. she can question me. It ain’t really no beef, that’s
just my opinion.
When you parted ways with Taz and Dirty
Down Records, there were a lot of rumors. I A lot of people were surprised to hear you on
heard they’d beat you down in New York. Trick Daddy’s “J.O.D.D.” instead of Trina.
They’re just not good businesspeople, as far as I don’t really know Trina, so I can’t say anything
I’m concerned. They crossed me and I chose not good or bad about her. I respect all female artists
to deal with them anymore. As far as the situ- that’s doing they thing. Trick called me and asked
ation in New York, I don’t understand how six me to do the song. I don’t feel like it’s beef or
guys could jump on one girl. I was in New York anything with Jacki-O or Trina.
by myself, but that story just escalated. When
two people part ways you’re always gonna hear Your new single is “Snatch the Cat Back”?
different stories. I just didn’t trust them, so I Oh, yes. It’s really my personal experience. It’s
chose not to do business with them. talking about a situation where you’ve been with
a guy and you wish you’d never been fucked up
What do you think separates you from other with him from the beginning. A lot of women can
female artists? relate to that; after you get to know him, you wish
I don’t know any other female rap artist that you never woulda dealt with him cause it wasn’t
has both male and female fans. I’m not talk- how you expected it to be. You wish you’d never
ing about “sex sells,” I’m talking about being a met him or dealt with him or slept with him or
talented lyricist who can handle your crowd. I talked to him.
don’t need a bunch of guys on stage with me.
Guys and girls both respect my music. I write my What’s the name of your album?
own music, and a lot of female rappers don’t Gangstress is gonna be dropping in June. I’m ready
and you can hear that coming across in their to do it independently, but I’m willing to try a ma-
music. Most of my songs are factual because it’s jor deal. I know if Thug Misses had a major behind
situations I’ve lived through. A lot of guys and it, it woulda sold a lot more. I sold 800,000, that’s
girls can relate to that more than if you’re just platinum with the bootlegs. If I had a machine
rapping about sex and money. My music is truth, behind me like Jacki-O or Trina, I know where I’d
and that’s why people relate to me. With some be. They have stylists and street teams. I have no
female rappers, they’re just saying stuff a guy street teams, no marketing, no promotion. The
wants them to say so it doesn’t sound real. video for “My Neck, My Back” cost $20,000. No
in-stores, no wrapped vans or Winnebagos talkin’
I heard you have some issues with Jacki-O. ‘bout, “Khia: In Stores Now.” They have a machine
I don’t really know her as a person and I don’t behind them. Big-ass blimps and they ain’t sold
really listen to her music, but being out here on nothing. If I had that machine behind me, who
the road a lot of people question me about her. know how many records I’d have sold.
I say I’m the Queen of the South, and she says
she’s the Queen of the South, so people try to - Julia Beverly, jb@ozonemag.com
OZONE MAR 2005 7
 01: Brett Bouldin, Malverde, Chingo
Bling, Toy, and Sean Bouldin @ The
CORE DJs conference (Miami, FL)
02: Trillville @ BET’s Rap it Up (At-
lanta, GA)
03: Mel, Joie Manda, Webbie, and
Turk @ Studio 7303 (Houston, TX)
04: Bigga Rankin reppin’ OZONE @
Skate Station (Gainesville, FL)
05: Latin Prince and Chingo Bling
@ the Bum Squad DJ Awards
(Miami, FL)
06: Big Steve and Cap’N Jack @
Connections (Houston, TX)
07: Sean Starr, Sonny Chulo,
Charlie Hustle, and the
GoodFellaz crew @ Matrix
(Orlando, FL)
08: Ms Cherry and Mia X @
BET’s Rap it Up (Atlanta,
GA)
09: Kwasi Kwa, Raj Smoove,
and Scrap Dirty @ Upper
Level (Jackson, MS)
10: Buggah D. Govanah
and Mercedes @ The CORE
DJs conference (Miami,
FL)
11: Some asshole pouring
liquor all over his money
(and the photographer)
@ Upper Level (Jackson,
MS)
12: Disco and his son
reppin’ OZONE @ Tabu
(Orlando, FL)
13: Coo Coo Cal reppin’
OZONE @ Club Troy for
The CORE DJs confer-
ence (Miami, FL)
14: Comp and Jacki-O @
The CORE DJs confer-
ence (Miami, FL)
15: Alphonso and Ghost-
Wridah @ Club Troy for
The CORE DJs confer-
ence (Miami, FL)
16: Big Al, DJ Dirty, Zay,
and Grandaddy Souf @
GTP’s Bay Area Music
Conference (St. Peters-
burg, FL)
17: Kevin Black, Tigger,
Keith Kennedy, and Theo
Brown @ the Tudor for
The CORE DJs conference
(Miami, FL)
18: Lil Jon and Lebron
James @ the Paladium
during All-Star weekend
(Denver, CO)
19: Slim Thug and Pimp
G reppin’ OZONE @ Club
Christopher’s during Super
Bowl weekend (Jacksonville,
FL)
20: The All-Stars @ the Tudor
for The CORE DJs conference
(Miami, FL)
21: Webbie and Mannie Fresh @
Studio 7303 (Houston, TX)

Photo Credits:
GoodFellaz: #07
J Lash: #02,08
Joie Manda: #03,21
Julia Beverly: #01,04,05,06,09,10,
11,13,14,15,16,17,18,20
Malik Abdul: #12
Pimp G: #19

8 OZONE MAR 2005

We wanted to get at you because we did our
research, and everyone who messes with reg-
gae tone said DJ Buddah is the man. The Ca-
ribbean Connection series you dropped seems
to be pretty hot.
Yeah, it’s doing real well for me. I’m messing
with people’s heads, though, I just dropped
volume 2.5 instead of 3 for no reason at all.
I just decided not to do it. People were like,
Why is he just doing 2.5? I just didn’t want to
drop bomb three yet. But it’s doing real well,
though. I got a big, big response from the CD.
I got such a big response from markets that I
didn’t even know would like reggaetone. When
I was in Trinidad, people knew about my CD. I
don’t know if it’s my style, or what.
Kinda messes your head up, huh?
Yeah, it’s just not their culture. I’ve been DJing
since I was nine. I been doing clubs since I was
eleven. It’s in my blood, I can’t get away from
it. I was doing a Spanish radio station when I
was nine, just playing the music. From there I
started doing Spanish clubs and English clubs,
and putting out little mixtapes to get a buzz. I
had local crews and I started working at regular
clubs. I was doing mixshow on and off on the
biggest radio station in Boston. I was with the
rival station before Clinton [Sparks] for about
two years. I wasn’t on all the time though.
There were only two mixshows, and they were
rotating. I kinda fell off with them, and that’s
when I started doing my mixtapes nationally:
Tropical Heat, my dancehall CD, and then I
started DJing for TOK.
I bet that was live. I went to Jamaica for the
first time a year ago, and when I got down
there TOK and Vybz Kartel were like Jay-Z
and Biggie. It kinda blew me away. It was
fucking crazy.
If you like that type of shit, yeah. As far as
TOK, we know we have fans, but I didn’t realize
the impact it had until we stayed in Jamaica.
The respect they get is amazing. I’m thinking,
Damn, we don’t even look at it like that. And
Vybz Kartel, as well.
How often are you on the road with TOK?
I’m on the road with them all the time. I’m
their official DJ. I’m with them so much, people
have started to recognize me as their DJ.
Reggaetone reminds me of hip-hop back in
the early 80s, when everybody thought it
would just be a passing phase.
Maybe commercially it’ll be a phase, just like
dancehall. It rotates. It comes and goes. It’s in-
evitable, because every phase of music comes
and goes. Right now, everything down South is
hot. Anything Lil Jon or T.I. does is hot. There
was that phase two years ago where everybody
was playing “In Da Club.” “Get Low” came and
went, then everything was 50 Cent, then Sean
Paul, and now reggaetone. Especially up North,
whatever the phase is that’s what they play.
I’m not saying reggaetone is gonna fade out,
though. I don’t think it will ever fade out com-
pletely, because Spanish people are like the
second largest population in the States.
Do you see it blowing up commercially?
As far as commercially, I don’t see white kids
in Wyoming singing it. I don’t know if that’s
gonna happen. As far as reggaetone having a
#1 album, naw. I don’t think it’s gonna happen
until people start to embrace it. It’s not like
hip-hop. But with so many Spanish people it’s
always gonna be around, especially with artists
like Pitbull. We do reggaetone records once a
week.
Outside of the mix CDs and traveling, do you
have mixshows or anything else going on?
I kinda shied away from the mixshows. Radio
isn’t the thing for me. I’m making more noise
not being on the radio.
I’m sure the pay is better.
Oh, hell yeah. The only thing is, labels
don’t care about a DJ who isn’t on the ra-
dio. That’s one thing I’m trying to change.
People in the streets aren’t listening to the
radio anymore.
Are there any records you’re working on?
I did the “Gasolina” remix with Lil Jon, and I
guess it was like the number one record in Or-
lando. It was on my Caribbean Connection CD.
“Gasolina” is the only reggaetone record I can
play in the clubs up here in Tennessee, except
maybe that Mario reggaetone remix.
“Tempted to Touch,” well, it’s the same beat. Pit
is gonna do a verse on that one. I have my own art-
ists that I’m working with too. I’m the ghetto A&R;
that’s what mixtape DJs are. With this reggaetone
thing, I’m trying to push it to the limit. If it wasn’t
for Lil Jon, people wouldn’t be paying attention.
It’s working for me.
At this point, it looks like reggaetone is becom-
ing a cultural phenomenon.
Yeah, definitely. The majors are signing people,
so yeah.
What’s your heritage?
I’m Dominican.
Anything else you want to say? Shoutouts?
I have family in Orlando. I hate shouting out names
cause if I miss anyone, they’ll be mad. Shouts to
Nasty and Prostyle, Pitbull, Daddy Yankee, Teach,
Rob-N, Ideal, www.wideya.com, and my TOK
family. You can get all my mixes at this website:
www.lafadela.com.
- Wally Sparks, wally@ozonemag.com
(Photo: Julia Beverly)
OZONE MAR 2005 9
 01: Comp and Jump Street reppin’
OZONE @ the Tudor for The CORE DJs
conference (Miami, FL)
02: Jazze Pha enjoying himself @ Big
Boi’s birthday party (Atlanta, GA)
03: DJ Greo, TJ Chapman, Keeley,
and Freestyle Steve @ Club Five
during Super Bowl weekend (Jack-
sonville, FL)
04: OHB opening for Trick Daddy
@ Firestone (Orlando, FL)
05: VIBE’s Rondell Conway, the
elusive Benjamin Meadows-
Ingram, and Damien Lemon @
the Paladium during All-Star
Weekend (Denver, CO)
06: Pitbull, Teach, Juanki,
and Rudy @ Opium Gar-
dens on the set of Pitbull’s
“Toma” video (Miami, FL)
07: Reese and Scrap Dirty @
Upper Level (Jackson, MS)
08: Frank Harris and Kid
Capri reppin’ OZONE @ the
Paladium (Denver, CO)
09: Lil Flip showing off his
new Diadora shoe line @
the Magic convention (Las
Vegas, NV)
10: Ms Cherry reppin’ her
OZONE cover @ Club Troy
for The CORE DJs confer-
ence (Miami, FL)
11: T.I. and his girl Tiny
@ Club Five during Super
Bowl weekend (Jackson-
ville, FL)
12: Zay and Rated R @
GTP’s Bay Area Music
Conference (St. Peters-
burg, FL)
13: DJ Franzen and DJ
Exodus @ Beach Club
(Las Vegas, NV)
14: Echo Hattix and Mad
Linx @ Union Station
(Denver, CO)
15: LaLa and Lil Jon @
the Paladium during All-
Star weekend (Denver,
CO)
16: Ladies reading the
always-popular groupie
confessions (Jacksonville,
FL)
17: Fiend, KLC, and DJ
Spin (Baton Rouge, LA)
18: Slim Thug, LeToya
Luckett, and PaulWall @
the V Theatre (Las Vegas,
NV)
19: P$C’s AK, Big Kuntry,
and Mac Boney @ Club Five
during Super Bowl weekend
(Jacksonville, FL)
20: Orain Reddick and Kashus
Deniro @ Club Troy for The
CORE DJs conference (Miami,
FL)
21: De La Soul @ Club Ra for the
LRG Magic party (Las Vegas, NV)

Photo Credits:
Julia Beverly: #01,03,04,
05,06,07,08,09,10,11,12,
13,14,15,18,19,20,21
King Yella: #17
Pimp G: #16
ShannonMCC.com: #02

10 OZONE MAR 2005

Born and raised in Miami, Sunny founded
Alumni nearly three years ago. Their “Put
Yo Hood Up” jersey collection and “Hustler”
t-shirt collection are wardrobe staples for ev-
ery street hustler in Miami and beyond.
Why did you decide to start a clothing line?
Well, I’ve always been fashionable, as you
can tell (laughing). I got “Best Dressed” in
high school and all that. I never really thought
about going into fashion as a career. I took a
fashion class in high school cause all the girls
was in there, that was the only reason. After
high school I went into the military, and that’s
how I started selling clothes. I had a homeboy
overseas that I met while I was in the military,
and he could get all the brand name clothes
cheap. For about two years I was just hustling
brand name clothes in the street. While I was
hustling, I started making my own clothes to sell
along with the stuff I was getting from overseas.
I started a company called Treason, which was
me and another dude named Cory. He made a
couple bad business moves, and I didn’t like
how he was handling things so I basically told
him he could have it and started my own line.
Why did you choose the name Alumni?
I always liked the name Alumni because so many
people in the ‘hood don’t feel like they gradu-
ated from anything. But if you can graduate
out the hood, you’re an alumni yourself. That’s
why I called it Alumni. I started producing the
clothes at a company in Hialeah called Draft
Pick. I was making the clothes there and they
saw it was hot, so we ended up doing a partner-
ship. It was screen-printed designs all centered
around the “steady hustling” theme. When I
partnered up with Draft Pick as far as manufac-
turing, the doors really opened. I didn’t have
any real knowledge of making clothes, I just
knew how I wanted them to look.
What sets Alumni apart from all the other up-
and-coming clothing designers?
I think they’re not really designing clothes. Of
course the big names are real designers, like
Akademiks and Rocawear, but a lot of the indies
aren’t actually designing clothes. Gully opened
the doors for a lot of iron-on heat transfer
shirts, and now everybody’s trying to do that.
I actually design clothes from scratch. I create
the images on the computer and screen print
‘em on. It’s all centered around the hustling
theme, because that’s a big part of America.
Everyone can imagine themselves as a hustler.
Even if you’re working at McDonald’s with a
nametag on or going to school, whatever you
Samples of the Alumni “Put Your
Hood Up” and “Hustler” collections
do, you’re just hustlin’ and trying to make it.
What’s your most popular design?
The real popular ones are the American way
shirts with Scarface on the $100 bill, and of
course the “do the math” shirts with the scales
on it breaking down the pounds and grams.
People can get the knowledge on how to do this
hustling thing right.
When you put out shirts with scales and mea-
surements, do you think you’re glamorizing
drug use or drug dealing?
I’m not glamorizing it. Whatever you do in
life, you could be an optimist, a pessimist,
or a realist. I’m always a realist. The reality
is that drugs are a part of everyday life, and it
will never go away. As long as there’s poverty
and despair and people feel like they need it,
there’s gonna be people who offer drugs, espe-
cially when there’s profit involved. The govern-
ment allows it to happen. If they really ain’t
want no drugs in the country, there wouldn’t
be no drugs. It helps the whole capitalism thing
move the way it’s supposed to move. I’m just
being a realist. There’s people who don’t sell
drugs who wear the “do the math” shirts. A
lot of people don’t really know the standard
weight system, converting English to Metrics.
Don’t get out there and get fooled.
What if you’re driving or something and you
get pulled over with that shirt on?
(laughing) I don’t think you would really wanna
wear it while you’re out hustling, that’s not
really a good look. It’s for whenever you’re
dressed down for the night, just hanging out
with your boys. You put your shirt on and hold
your head up high and say, “Yeah, I am a hus-
tler.” These are the options I’m left with, so this
is what I do, this is who I am.
Pitbull is one of the biggest supporters of
your “hustler” gear. How did you hook up
with him?
We do Pitbull and Trick’s merchandising, and we
just started doing Pretty Rickie & the Maverix
too. Back when we first started, Pitbull had
that song “Welcome to Miami” which was real
big. We were doing the “put yo’ hood up” 305
jerseys. They were frequent in your mag’s
photo galleries. Pit’s song was all over the ra-
dio, so called Ump and asked him to holla at Pit
for us. We do the jerseys for Ump’s celebrity
basketball game every Memorial Day. Pit came
through our office like an hour later and picked
up some jerseys for him and his homeboys.
After a while, we started doing
merchandising for his tours. They’ll wear
our shirts on stage, too. Standard mer-
chandising is usually bullshit t-shirts from
overseas with some simple design. They’ll
put “Toma” or “Culo” on it, but they don’t
really try to make it look like an actual shirt
you’d wanna wear. It’s more like a souvenir
t-shirt. We want you to come to the concert
and buy a hot shirt that you can wear after
the concert; it’s not just a momento from the
show. Alumni gear has been in a lot of Pitbull,
Trick Daddy, and Lil Jon videos. Sometimes you
might see it and not know it’s Alumni, cause we
do a lot of custom gear. Sam Madison is a silent
partner too, he plays for the Dolphins.
Is Alumni available in stores too?
We got stores that carry our product pretty nation-
wide except the West coast. We’re in stores from
Miami to Texas, all the way up to New York. You
might not see ‘em cause they sell out quicker than
we can keep up. They’re in all the big stores from
Miami up to New York and Philly. You can also buy
shirts on our website, www.alumniathletic.com.
We’ve got jerseys, t-shirts, service station gear,
and of course we’ve got the wifey collection too.
What’s the next step for the company?
We’ve really got a high demand, so it’s a blessing.
We’re really trying to get overseas so we can pro-
duce this thing majorly. We do all the production
in-house. We’re trying to do steady hustling jeans,
hats, jackets, and even kid’s clothes. Hustling is a
subculture we’re trying to bring to the forefront in
America. It’s a dog-eat-dog world.
What’s your advice for other entrepreneurs?
Your goal should be success, not money. You can’t
just be in it for the money, cause once you start to
taste a lil’ bit of money you’ll lose focus. You’ve
gotta keep on your grind. If you’re going out of
town, do what you’re really supposed to be doing:
hustling. Don’t be bullshitting and talking to girls,
spending money and shit. Stay on your grind and
make your money. Fuck them hoes.
- Photo and words
by Julia Beverly,
jb@ozonemag.com
OZONE MAR 2005 11
 01: Killer Mike reading OZONE @ Club
Five (Jacksonville, FL)
02: DJ Moodswing and Lord Swift rep-
pin’ OZONE @ Kartouche for Upstart
Record Pool meeting (Jacksonville,
FL)
03: Joker, Junay, and Little Man
of ESP Productions on the set
of Pitbull’s “Toma” video shoot
(Miami, FL)
04: So So Def’s Mel Testamark
and DJ J-Nice @ Union Station
(Denver, CO)
05: Boo and friends @ Upper
Level (Jackson, MS)
06: Ric Ross, Mr. Smith, B.
Paiz, Ed the World Famous,
and Renee Simone @ TJ’s
DJ’s (Tallahassee, FL)
07: Big Cee Jay hosting the
Bay Area Music Conference
(St. Petersburg, FL)
08: The Wild Bunch reppin’
OZONE (Tampa, FL)
09: An angel @ Plush
(Jacksonville, FL)
10: Ms Cherry perform-
ing @ the Laila Ali fight
(Atlanta, GA)
11: B.G. and T.I. @ House
of Blues (New Orleans,
LA)
12: Tweet and H Vidal
reppin’ OZONE (Tampa,
FL)
13: DJ Royce and 411 TV
reppin’ OZONE (Tampa,
FL)
14: DJ Nasty reppin’
OZONE and Skip-A-Chuck
@ The Moon for TJ’s DJ’s
Record Pool meeting
(Tallahassee, FL)
15: DJ Jelly and Johnny
Nunez @ the Paladium
(Denver, CO)
16: Pimp G and Mike
Jones reppin’ OZONE @
The Palace during Super
Bowl weekend (Jackson-
ville, FL)
17: Raekwon and LRG’s
Woodie White @ Club Ra
for the LRG Magic party
(Las Vegas, NV)
18: Smoke D and friends @
Upper Level (Jackson, MS)
19: Pitbull and Bryan Leach
@ Opium Gardens (Miami,
FL)
20: DJ Don Juan and Sir
Swift accepting their award
for Best Mixtape Duo @ the
Southern Entertainment
Awards (Nashville, TN)
21: Phantom and DJ Quest
reppin’ OZONE @ the Tudor
for The CORE DJs conference
(Miami, FL)

Photo Credits:
Earl Randolph: #09
H Vidal: #12
J Lash: #10
Jaro Vacek: #05,18,20
Julia Beverly: #01,02,03,04,06,
07,13,14,15,17,19,21
KG Mosley: #08,13
Marcus Jethro: #11
Pimp G: #16

12 OZONE MAR 2005

 01: Coodie and Chike @ Club Ra for the
LRG Magic party (Las Vegas, NV)
02: Dapa and Apollo Kreed @ The
Moon for TJ’s DJ’s Record Pool Meet-
ing (Tallahassee, FL)
03: Big Boi and Tiphanie Watson @
Big Boi’s birthday party (Atlanta,
GA)
04: H Vidal and Fantasia @ Faze 2
(Tampa, FL)
05: Big Bud reppin’ OZONE @
Kartouche for Upstart Record
Pool Meeting (Jacksonville, FL)
06: Vanessa and Teach @
Opium for Pitbull’s “Toma”
video shoot (Miami, FL)
07: Miss KeKe and Kwasi Kwa
@ Upper Level (Jackson, MS)
08: Keith Kennedy and Killer
Mike @ Club Five (Jackson-
ville, FL)
09: Elvis reppin’ OZONE @
the Magic convention (Las
Vegas, NV)
10: Rasheeda and Gucci
Mane @ celeb bball game
(Atlanta, GA)
11: Cool Runnings’ Shane
reppin’ OZONE @ Skate
Station (Gainesville, FL)
12: Carmelo Anthony and
his sister Chyna @ the
Paladium during All-Star
Weekend (Denver, CO)
13: Young Jeezy reppin’
OZONE @ Club Five
during Super Bowl week
(Jacksonville, FL)
14: Sambo reppin’
OZONE @ Connections
(Houston, TX)
15: Sophia Stewart and
Clay D @ Caribbean
Beach Club (Orlando, FL)
16: 3LW and a friend @
the Paladium (Denver,
CO)
17: RaSheeda, DJ Holly-
wood, Amanda, and April
@ Club Tabu (Huntsville,
AL)
18: Pastor Troy and
Clinton Portis with their
manager @ Club Ra for
the LRG Magic party (Las
Vegas, NV)
19: Westside Al Kapone
and friends @ Upper Level
for Scrap Dirty and Kwasi
Kwa’s birthday party (Jack-
son, MS)
20: Young Cash, Vic, and
the M.O.E. clique @
Kartouche for the Upstart
Record Pool Meeting (Jack-
sonville, FL)
21: John Legend and Jigga JT
@ Hot 104.5 (New Orleans, LA)

Photo Credits:
David/Exclusive: #03
DJ Hollywood: #17
H Vidal: #04
J Lash: #10
Julia Beverly: #01,02,03,
06,07,08,09,11,12,13,14,
15,16,18,19,20
Marcus Jethro: #21
Pimp G: #05

14 OZONE MAR 2005

 Growing up in the hood in Kissimme
e, just south of Orlando, Bedo bega
It wasn’t until he served time in n writing lyrics as a hobby in high
prison that he began to take it serio school.
up, and people were like, ‘Man, usly. “I used to rhyme while I was
you should do something with that locked
never pursued it until 2004,” says !’ I kept it in the back of my head
Bedo. His longtime friend, Orlando , but I
know he rapped. “We was friends club and radio DJ Prostyle, didn
for years and I never even mentione ’t even
first heard me, he was like, ‘Dam d that I could rap,” he laughs. “Wh
n, nigga!’” Several months later, en he
Bedo to his label. Since then, Bedo Prostyle founded All-Pro Records
’s buzz has been steadily building. and signed
clubs and radio, Bedo’s single, With the help of Pro’s influence
the simple-but-catchy “Go Head at local
All-Pro has been fielding calls from ,” has been buzzing around Cent
major labels and a distribution deal ral Florida.
clines to discuss the specifics. For is in place, although Bedo de-
now, All-Pro plans to release his
in mid-April, just in time for Dayt album independently
ona’s annual Black College Reun
Game features Pitbull and Pastor ion. Dirty World Dirty
Troy, as well as fellow All-Pro artis
and Jonny Bravo. With a deep Sout ts Traffic, Nicotene,
hern accent and a grimy flow, Bedo
stands out. “Pro’s a smart business ’s unique rap style
man,” says Bedo. “He’s been in the
Anybody that’s tried to do some game a long time.
thing out here locally, he’s lent them
combination of Pro’s industry conn a hand.” With the
ections and Bedo’s raw talents,
lose. – Photo and words by Julia he figures they can’t
Beverly, jb@ozonemag.com

for its consistency in developing artists, you’d

When you’re the hottest-selling underground act in a city known
Alaska pipeline . That isn’t the case with Lil Weavah, though.
think the pressure would be enough to bust the
on longevity and quality music rather
Here, we have a young man with a clear perspective, sharply focused
fix of fame and fortune. His positive attitude has helped Lil Weavah move crazy units of his
than the quick is that he handled the entire
of the most impressi ve things about this project
debut disc Home Team Vol.1. One ng with my own money,” says
much about me, I did everythi
project himself. “For the people that don’t know
the CDs, marketing, setting up studio time,
Weavah. “I never had a manager, so I was in charge of pressing up
that’s the blessing I’m the most crunk about:
booking shows, putting out flyers, posters, everything. I think
” On the strength of his own hustle, Weavah was able to secure some high-
knowing I don’t owe nobody nothing.
Mac-Bon ey and AK of the P$C and T-Rock. They all respected
profile guest apperances for his album, including
“crunk” climate. Lil Weavah acknowledges
Weavah’s lyrical abiltiies, which is a rarity in the current Atlanta
crunk trend, but makes it clear that he’s all about the lyrics. “In the underground, before
the power of the
it was T.I. and the P$C and T-Rock who basically carried the underground in
me, you had the Oomp Camp, then
folks like T.I. and T-Rock, you talkin’ about true lyricists. I view
Atlanta,” says Weavah. “When you talk about
ng well to Lil Weavah and appreciate his
myself as that type of artist.” Fans of ATL music seem to be respondi
“Lil Weavah ain’t no gangsta / I just keep
artistry. He sums up his philosophy on the hook of his newest joint:
it real, shawty.” - Wally Sparks, wally@o zonema g.com

As one of the most well-known record labels in the relatively small

community of Jacksonville, Florida, Long-
term Records South had their reign at the top for quite some time.
Led by CEO Psycster, the company released
several mixtapes and albums and ventured into side projects like
underground radio, show promotions, and
community activities. Boasting a complete production studio
and CD manufacturing equipment, the label
seemed to have it all. As Psycster’s right-hand man, Kashus DeNiro
helped oversee the day-to-day activities.
That all changed in 2004. “Psycster is having some legal troubles
,” says Kashus. “But, everything’s looking
good. We put God first and try not to dwell on all that. We’re doing
a lot of planning. It’s not ‘regrouping,’ it’s
just business as usual.” With Psycster’s noticeable absense, Kash
stepped his game up to fill the role of both
CEO and lead artist for the label. After recording songs with artists
like Lil Boosie and Murphy Lee, Kash was hit
with another blow. “We’ve been putting it down so hard the last
couple years that as soon as they though we
were at our lowest point, evil came around lurking,” says Kash.
“They broke into our studio and stole all our
equipment, songs, everything. That’s a fresh wound right now.”
Still, despite the setbacks, Kash was able to
salvage most of his music from backups to create his debut album:
Heir 2 Da Throne. With a tentative release
date in May, Kashus is hoping his partner will be home to celebrat
e with him. “Psych is just too brilliant to be in
prison,” he says, explaining why his wardrobe lately consists of nothing
but “Free Psycster” t-shirts. Reflecting
on the past year, Kash quotes, “Remember, what don’t kill you
can only make you stronger. We just addicted
to this music shit.” - Julia Beverly, jb@ozonemag.com (Photo:
Aaron Mervin)
 fellas,
ty can not only freestyle with the
MCs coming out of Palm Beach Coun with the rawness of Lil
One of the youngest and hottest nt of Laur yn Hill com bine d
s. With a voice reminisce old rap-
she can also sing with the ladie industry. Meet Danger, the 20-year-
is ready to shut down the music and
Kim, this lyrically gifted female ” she replies when asked what she bring s to the table . “I’m real,
also writ es and sings . “I’m real, ten. In her teen s, her talen t
per who er age of
ed singing and rhyming at the tend her mentor, and soon
I’m fully committed.” Danger start k and Blue cliqu e. He beca me
ding member of the Blac while she
was recognized by Dutch, a foun importance of being dedicated
the group. He also taught her the to gener-
brought her in as a member of as the B&B clique’s first mixtape
was put out and start ed
her craft . Unfo rtun ately , just Dang er had no one to guide
mastered ed rhyming,
For the first time since she’d start on various mixtapes,
ate a buzz, Dutch got caught up. ing the odds . She’ s appe ared
more focused on beat c. She
her. Since then, she’s become even ess is evident throughout her musi
recent OZONE mixtape. Her realn le do.
including a standout single on a peop le may not like it, some peop
on her child hood and the strug gles of being openly gay. “Some Anyo ne who liste ns to her flow
speaks respect it.”
I am. Once they accept it, they’ll d. With a few labels
The point is - accept it. It’s who er of time until she gets signe
ted, and it’s just a matt er. For more
can’t deny that this female is talen patiently waiting too much long
confident delivery, she won’t be Nay Fresh,
already paying attention to her blac knbl ue.i uma .com . -
Dang er and the Blac k and Blue clique, check out their website at
info on
freshentertainment.net

If you live anywhere in the Tennessee Valley, there’s no doubt that

by now you’ve heard the latest club anthem
from Cashville’s prince. Allstar’s single, “Grey Goose,” also features
Young Jeezy and Yo Gotti. After a few
years steadily assaulting the mixtape circuit, Allstar caught the attentio
n of Memphis hometown giant Yo Got-
ti, who picked up the young gunner and put him down with his imprint
Inevitable Entertainment. Allstar’s buzz
picked up the pace with the help of heavily circulated mixtapes
like the Block Burnaz’ Getting Money Like a
Muthafucker and his own Hatin’ Ain’t Healthy. “We were in every
hood and at every event with mixtapes,”
says Allstar. “My music got so hot in the streets that it forced its
way into the clubs, and then it got so hot in
the clubs that it forced its way onto the radio.” That’s an understa
tement, at best. Radio stations all through-
out Tennessee, Georgia, and Alabama have been responding with
heavy airplay. Although the success of “Grey
Goose” helped him catch Cash Money’s attention, Allstar is quick
to point out that
he’s prepared to become more than a regional one-hit wonder.
“‘Grey Goose’ was a
catalyst, but honestly, it wasn’t really the song that got me my
solo deal,” he says.
“Cash Money was more sold on my street buzz and work ethic
than anything else.”
While most newcomers would be busy basking in the limelight, Allstar
is quick to plug
his fellow Block Burnaz. “Even though we have multiple [deals],
everybody sees the
common goal,” he says. Armed with a hit record and heavy street
cred, plan to see
and hear a lot more of Allstar in 2005. – Wally Sparks, wally@ozonema
g.com

teens, practicing his skills at local skating

Tango Redd earned his nickname as a hip-hop dancer in his early
I knew what I wanted to do,” he says. “I’ve
rinks. He’d always had a goal in mind. “Since the age of eight,
love to rap.” Listing names like LL Cool J
been in the studio recording basically my whole life. I love to write,
Tango recalls, “They just gave me that push to want to be something.” Referring
and 2Pac as his inspirations,
dreads help him stand out from the crowd. He linked up with
to himself as “the Golden Child,” Tango’s blonde
,” a club joint collaboration with David Ban-
Atlanta production company Vintage Sound and recorded “Wobble
d interest in the mixtape and club circuit,
ner and Bonecrusher. The song picked up spins at radio and generate
Virgin Records. They recently filmed a video for the song, which Tango feels is a
leading to Tango’s deal with
really picked up. The people got a chance to see the person
big breakthrough. “Once the video hit TV, things
g tour with Lil Jon, Tango is quick to point
behind the music,” he says. Although he’s preparing for an upcomin
tracks on my
out that his music is difficult to categorize. “I got a lot of real-life
nded. I talk about the struggles that people go
album,” he says. “It’s very well-rou
wives and husbands
through every day. I talk about relationships; all the things that
Bonecrusher col-
go through on a day-to-day basis.” In addition to the Banner and
debut features Lloyd, Sleepy Brown, Three 6 Mafia, and production
labo, Tango’s
Look for The Campaig n to drop this summer. - Julia
from Mr. DJ and Bangladesh.
Beverly, jb@ozonemag.com
 How did you meet 2Pac? How did the
Outlawz come together?
Edi: Our parents go way back, from be-
fore we was even born, so that connec-
tion was just always there.
Kastro: Pac was my first cousin. He was
about six years older than me. I actually
started rapping separately from him. He
was already doing his thing; it was right
around the time he started fuckin’ with Digi-
tal Underground. I started rappin’ with Edi
and we started kickin’ it from there. Initially,
it was a group: the Outlaw Immortals. It was
me, Noble, Edi, Yaki Kadafi – God bless the
dead, Napoleon, and Fatal Hussein. ‘Pac was
tryin’ to establish himself as a businessman and
an entrepreneur as well as a producer and an
actor, so he was fuckin’ with people that he
could trust.
Noble: I came into the group through Kadafi –
rest in peace. I grew up with him in Jersey. He
brought me, Fatal, and Napoleon to the group.
I moved to Cali and I’d been hearing about Pac
through Kadafi. When Pac got out of jail, them
niggas called me just on some soldier shit. I
was fuckin’ with them for a minute and I was
writing the whole time. I finally kicked some
shit and Pac was lovin’ it, he made me the last
Outlaw. He respected me a lot. I was gonna be
the first Outlaw to do a solo album. His girl,
Quincy Jones’ daughter, had a label back then.
I was gonna be the first solo Outlaw. When he
asked me to be in the group, I was like, “Shit,
hell yeah.”
What’s your most memorable verse?
Noble: Probably the Makaveli album. I was on
“Bomb First,” “Hail Mary,” “Life of an Outlaw,”
and “Just Like Daddy.”
Edi: A lot of people probably remember me
from “Hit Em Up” and “Bomb First.”
With “Hit Em Up,” did you ever feel like you
were trapped in the middle of that beef?
Edi: Nah, I never felt like that. In my situation,
my loyalty was with my nigga that I grew up
with from dirt. I knew he would do the same
thing for me, so it was never a second guess.
That Makaveli album sounded so intense.
Noble: Yeah, that shit was done in less than a
week. We did twenty songs in about five days.
It was just a lot of shit going on in the streets at
that time. This was after All Eyez on Me came
out, after “Hit Em Up.” Pac was doing movies
at the time. He had big plans, so the energy
was just crazy, man. That whole album was re-
corded in less than a week. That energy just
came from Pac, man. It was a lot of shit going
on, and the worse it got, the more focused he
got. The energy, the motivation, that shit was
just there. That shit went by so fast.
What was your relationship like with Pac?
Brother, friend?
Noble: It was all that. He was a big brother
at times, a father figure at times. A cousin,
a friend, a coworker, everything. Yo, he took
care of us, man. We owe everything to him. He
was everything to us. That’s basically the bot-
tom line. We lived with him and shit. We was
like his damn kids. He took care of us.
Where were you when you heard that he’d
been shot?
Noble: I was at his house. We’d just come back
from New York from the MTV Awards a few
days before. Me and Napoleon stayed at the
crib when we got back from New York, and Pac
went to Vegas with Kastro, Kadafi, and Edi. I
22 OZONE MAR 2005
(l to r): Noble, Kastro, Edi, and Stormey
was at the house and I received a call. Some-
body came and got us and we drove right out to
Vegas. I just didn’t wanna believe it cause I had
just talked to him a few hours earlier. After the
whole fight shit happened [with Orlando Ander-
son], he called back home to let us know about
the drama. His spirits was up, though, he was
‘bout to go out and have a good time. That’s
the last thing I told him: “Be safe.” He said,
“You already know,” and I never spoke to him
again. Probably the last call he made.
Kastro: I was shocked, especially after he got
shot. I didn’t think he would die. I really didn’t
grasp the seriousness of it.
How did Tupac’s death affect you as a group?
Kastro: It somewhat slowed down our momen-
tum. At a certain point we took a step back,
too. This was something we always wanted to
do, but to a certain extent we probably wasn’t
ready for that type of success back then. We
were still just learning how to make music.
Noble: It was a whole chain of shit that hap-
pened, but I look at everything as God’s will.
I feel like mentally we wasn’t really ready to
make it pop off until now. When Pac passed,
that shit kinda traumatized us a lil bit cause
right after Pac passed, Kadafi passed. We was
real fucked up; kinda retarded, basically. After
Pac passed we had all these songs at Death Row,
thinking that’s the place for us to be. Suge was
locked up, so basically it didn’t work out. We
decided to just go indie. We put out our last
album in 2001, and since then we’ve been shop-
ping for a good situation. We coulda dropped
indie shit, but we wasn’t really hurting for no
money. Labels don’t really get us, though. I
think our shit might be too real or something. I
don’t know what it is. Now we’re like, Fuck it.
We’re trying to sell a million records indepen-
dently on our own label, One Nation.
Do you think it’s hard for you to be taken seri-
ously as artists and not just Pac’s homeboys?
Kastro: Yeah, but it’s something that we can’t
shake. We can’t just wake up one day and say
“fuck Pac” to separate ourselves, because he
put us in the position we’re in. If people don’t
take us seriously we just gotta take the time to
prove them wrong.
Noble: Pac was the fuckin’ greatest rapper of all
time, so with us it’s like a double edge. To come
from under him, it’s extra hard. We don’t mind
the challenge, though. Pac taught us a lot. We put
in mad work in the game. We’re the only group in
history to be featured on over 40 million records
sold, and we’ve never been signed to a major la-
bel. That shit should be in the Guinness Book of
World Records. We probably the hardest workin’,
humblest niggas in the damn game.
Edi: Oh, I definitely feel underestimated. Pac
was a star that shone so bright that everything
else around him kinda got lost in the limelight. If
that’s my fate, I don’t have no problem with it.
I’ll accept whatever God gives me. In spite of all
that, we’re still very talented. If you took away
everything that precedes us and compared us to
ninety percent of the crews that’s out there, we
could stand up with any of ‘em. Pac set the bar
so high that everything coming after him is gonna
fall short in people’s minds. At the same time,
even though our music is associated with Pac, it’s
not the same. It comes from the same place, it’s
rooted in the same thing, but Pac made more ac-
cessible records. He had that gift to do those ra-
dio-type records like “How Do You Want It.” Out-
lawz really don’t do those type of records. We’re
more gritty and hardcore. We tend to deal with
issues. We come from the side of Pac that put out
“Lord Knows” and “Me Against the World.”
You aren’t recognized as much because you
don’t have those commercial records.
Edi: That’s exactly right. We don’t put out the
radio records, so we don’t get that popular. We’re
kind of like Mos Def, Talib Kweli, and MC Eiht.
They make more hardcore songs. They don’t
get a lot of radio play, so a lot of fans don’t
see em. We’ve been lucky enough to have a
hardcore following, so we could survive indie.
That’s not to say that we won’t have a major
hit, though. If you roll the dice long enough,
you’re bound to hit your point.
Tell me about your upcoming album.
Kastro: Outlawz for Life comes out April
19th. It’s actually our third indie album. We’ve
got TQ, Khujo Goodie, and an up-and-coming
artist named Malachi on there. We’re dropping
three singles: “Celebrate,” “Real Talk,” and
“Big Ballin’,” featuring Stormey and Bun B. We
grew up on Bun B, so that was big. Stormey is a
part of the Outlawz family now.
Stormey: I’m on “These Are The Times,” “Sa-
cred Vows,” and a few other songs.
What does it take to become an Outlaw?
Kastro: Understanding the codes and ethics. If
you have honor and loyalty, everything else will
fall into place.
Do you think the album sounds similar to the
music you put out with Pac?
Noble: I think the music is definitely similar.
It’s that ghetto gospel. That’s a label that Pac
came up with for our music. You know that
feeling you get when you listen to Pac that you
don’t get from nobody else? When you play our
shit a couple times, you gonna get that same
feeling.
Edi: Our last album, Novocain, was slower. This
album is really a lot more aggressive; it’s a lot
of hardcore messages. Our whole thing is for
the underdogs and the downtrodden and the
have-nots anyway. We rap for the dudes on
the come-up, cause that’s what we are too.
You ain’t never gonna hear dudes on our al-
bum talkin’ about the keys comin’ in and out
like it’s all gravy. We ain’t tellin’ that story.
That ain’t what we’re living. We got songs like
“Listen to Me,” where we’re talking about drug
abuse. We talk the young dudes that’s comin’
up sniffing.
Stormey: We wanted to step away from the
hype and bring it from a different perspective.
I think the times demand some kind of respon-
sibility and consciousness, so we decided to
drop an album for the people who need that
guidance in their life. We need that guidance
too.
So you’re sorta the conscience of hip-hop.
Edi: Definitely, and Pac was too. Pac never re-
ally bigged up the drug dealing aspect more
than he did the other side. He kinda had a bal-
ance in his music. I think artists need to do that
more often. I know this is rap and everybody’s
gotta be confident and be that nigga, but still,
everybody’s got a crackhead or a dope fiend in
their family too. If you see somebody tryin’ to
kick the habit, tell their story too. I’m not one
of them people that’s gonna say, “Niggas need
to stop glorifying violence,” cause I think that
shit needs to be out there too for the whole
world to see. I don’t think it should be a secret,
but somebody’s gotta talk about what happens
afterwards. If you love real uncut raw hip-hop
without a lot of fluff, buy the Outlawz album.
A lot of people would think the Outlawz are a
West coast group, but you’re actually record-
ing in Atlanta, right?
Kastro: We’ve been based in Atlanta for a few
years. Atlanta is more family-oriented, it’s a
great place to raise a family. We’ve got roots
in every region of the country, so I don’t think
you could put it in a regional category.
Noble: Our album is just us. I think because
Pac was on the West coast, muthafuckers
labeled us a West coast group, but we’re
actually from the East coast. If you hear
me spit on “Hail Mary,” you’ll know I’m
an East coast nigga. We’ve got something
for everybody: East, West, Midwest, and
down South. Our music is a product of
us.
How do you feel about the Tupac albums that
have been released since his death, like the
recent album that Eminem produced?
Kastro: I’m all for it. A lot of people disagree
with the fact that Eminem executive-produced
it, and I kinda understand why, but at the same
time Eminem really put his heart and soul into
it. Em is a huge fan of Pac. Pac influenced his
life, so why shouldn’t he get the chance to put
his hands on it and touch it? Everybody else has.
The music is serving a greater purpose, in mul-
tiple ways. One, it’s keeping him alive. If his
music wasn’t coming out, people would want it
to come out because people still buy it. It’s also
establishing a foundation for a center for the
performing arts that’s going to be built in Stone
Mountain, GA. That’s not gonna be cheap.
Noble: Pac wouldn’t have it no other way than
for his moms to put it out. We’re big support-
ers of his moms, so whatever she wants, we’re
riding with her. That’s her son, she gave birth
to him. Everything as far as Pac’s music is up to
her. We really couldn’t be mad at her. But, the
streets don’t be feeling that shit. The streets
would probably rather hear people that they
know Pac was cool with on his songs. But who
are people to judge? As far as Eminem, he’s
probably Pac’s number one fan, just like every-
body else. For him to be a part of the project,
hell yeah. But yeah, the streets don’t really
be feeling that shit. We go everywhere and
hear that shit. We don’t control that, though.
It would drive us crazy if we got mad at ev-
erything. We’re just trying to step it up, man.
We’re the legacy, it’s up to us to continue the
shit. He’s been gone for damn near ten years,
and I think we’re better than we’ve ever been.
We’re trying to bring something new to the
table. That nigga did enough.
Some of Pac’s vocals have been used on col-
laborations with artists that he dissed while
he was alive. Do you think that’s disrespect-
ful?
Kastro: I don’t see why anybody should feel
disrespected because it ain’t have nothing to
do with them. To each his own. It’s fuckin’ mu-
sic. People don’t know how much he got along
with people when he was alive, they just know
that he rapped about it. Nobody knows what
direction it was going. Just enjoy the music
and relax.
Edi: Some of the collaborations are good.
Some are whack. I ain’t gonna say that I like
everything, cause I really don’t. Pac’s not here
to make and produce his own music, so if he
was here shit would be sounding much better.
You’re dealing with tracks that are almost ten
years old, so it’s hard to recapture that magic.
Most producers do their best and put in their
all, but for some cats it’s just about a check.
They know that if they get their name on a
Pac project, that’s gonna lead to other work.
People have different motives.
Was your family involved with the Black Pan-
thers?
Kastro: My aunt was a part of that organization.
I might be a byproduct of that somewhat.
Edi: My family was more into the hustler side
of things; drug addiction and drug selling. A lot
of the things that plague the black community
also plagued the Black Panthers: drug abuse,
sex abuse, stuff like that. The streets and the
Panthers were always closely related, both pos-
itively and negatively. When my family came in,
it was a friendship type of thing, but my family
was more into the street side of things. A lot of
my family and Pac’s family are so closely relat-
ed on both sides. We was a product of the
positives and the negatives of the Panther
movement, and that’s what we talk about
our music. Instead of biggin’ up the drug
dealing, we talk about the repercussions.
Do you think racism has gotten better or
worse in America?
Kastro: Racism ain’t go nowhere, it’s just camo-
flauged. The same people that controlled the
country back then are controlling it now. Maybe
they’re allowing people to get more money, but
I don’t really see the difference. It’s more hidden
and indirect. Instead of saying, “You stupid nig-
ger,” they’re more tricky about it.
How would you describe each member of the
group? How do you all fit together?
Noble: We’re just like a puzzle. If I do a song and
them niggas ain’t here, I lay a verse or a hook and
I know they’re gonna come behind me and say
exactly what I wanted to say. Edi’s the OG nigga.
I’m the youngest Outlaw. Kastro is like, fuckin’
extra smart, man. He’s like a damn mad scientist.
It’s unusual to see a group last ten years and
still be together. What’s your secret?
Noble: Number one, niggas love each other.
We’ve all got good hearts. Niggas ain’t liars, nig-
gas are honest. We just basically all live by the
same muthafuckin’ code. All three of us, we’re
really good dudes, takin’ care of our kids and shit.
We all humble niggas. I think Pac just instilled
something in us. Pac was around a lot of dudes,
and he put something into everybody. Edi and
Kastro, they basically grew up with Pac since they
were little kids. Pac changed my life. That nigga
came in and really looked out and embraced me
and showed me the game, so I’m forever loyal.
He wanted us to stick together, no matter what.
There was seven Outlawz, and now there’s three
of us left. To me, our music is the best it’s ever
been, and that’s no bullshit.
What happened to the other four members?
Noble: Fatal basically left the group after Pac
passed. He really just didn’t wanna come back
to Cali. Then when Yaki [Kadafi] passed, he was
basically done. He ain’t even wanna rap for a
minute so he just bounced. Fatal is still my nigga,
though. Napoleon left maybe a year and a half
ago because of a lil situation, but we got love for
him too. Me, Edi, and K, we gon’ hold this shit
down. We really ‘bout to step this shit up.
How did Kadafi pass?
Kastro: He was shot and killed in Jersey a month
after Pac got killed. It was just a jealous nigga.
Stormey, you’re the newest Outlaw?
Stormey: I’m the newest Outlaw. I’m from Chi-
cago. We’ve been messin’ around for years. We
started doing music real heavy a few years ago,
and prior to that I was in New York recording with
Smif and Wesson from the Boot Camp clique. It
was destiny for me to get down with the Outlawz.
Everything played out the way it was supposed to.
We always messed around with the music thing
because it was just something we had in common.
Outside of that, we’re brothers. We’re like fam-
ily. If the music went away today, we’d still have
each other. I’m real focused, and I think they saw
that in me. Real talk, I probably leave the stu-
dio only 24 hours out of a week. No exaggera-
tion. They saw my determination, my talent, my
will, and my drive. It was just a perfect match;
heaven-sent. They say things that I can’t say, and
I was just what they needed for this next mission.
It’s chapter two of this thug life revolution.
OZONE MAR 2005 23
When you were younger, did you always think
you’d want to grow up and be a singer?
Not at all. I just kinda decided one day I would
try it; I was probably like 14. In high school I
spent a lot of time in Atlanta in and out of stu-
dios, building my demo. I went to New York to
shop for a deal and signed with Jive Records.
Wow, you make it sound like it was easy. With
so many artists out there looking for deals,
what do you think appealed to the labels
about you?
Well, when I got signed there was a lot of com-
petition. There’s always a lot of artists trying
to get on. I honestly don’t know what stood
out about me. I think I just had a rawness;
untapped, unpolished talent. I was real regu-
lar. I wasn’t a refined, polished mannequin. I
wasn’t a programmed artist. I kinda had my own
thing, and that was interesting to [the labels],
I guess. Plus, on my demo, I had worked with
Organized Noize and a lot of other producers,
so I guess they were impressed with the people
I’d worked with. I had so many different sounds
and could go in so many different directions.
How were you able to work with producers
like Organized Noize?
Just being in the right place at the right time;
spending days in and out of the studio.
Since you were still in high school while you
were recording your demo, did you feel like
it prevented you from doing other things that
most teenagers would be doing?
Actually, it didn’t really get hectic like that
until near the end of my high school days. I did
most of the things I wanted to do; I’d just find
a way to fit it in. It definitely prevented me
from doing some other extracurricular activi-
ties, though, like running track. I wanted to run
track, but you have to spend days practicing
after school and I just didn’t have time for stuff
like that.
When you were in school, did people treat
you differently because you were a singer
and working with known producers?
I tried to keep it a secret. A lot of my peers
didn’t even know I could sing. I was in chorus,
though, and the teacher would always find some
kinda way to make me sing. I had done some-
thing locally on a CD that came out and it kinda
got around to the school. [My classmates] were
like, “For real, for real?” I moved to Savannah
for two years, too. I was there for 10th and 11th
grade. I just kinda avoided the attention. I was
real quiet and kept to myself. I didn’t like the
news to spread around cause people treat you
differently. I didn’t want that attention, at all.
Personally, I really just enjoyed school.
Do you still avoid the limelight?
The attention is cool, but I’m real humble.
People are cool, though, they approach me
like a regular person.
“Don’t Mess With My Man” was the song
that really put you on the map, right?
Yeah, my first single was actually “Don’t
Mess With the Radio,” but the urban audi-
ence didn’t really catch onto it. “Don’t
Mess With My Man” kinda spread to both
the pop and the urban audiences. It was
actually nominated for a Grammy. It
was crazy to get that type of recog-
nition, especially after I heard the
process of how they vote.
Do you really have that attitude,
like, “Don’t Mess With My Man?” Have you
ever got in a fight over a guy?
(laughing) In school, in the 8th grade, I got in a
fight over a guy, but I guess that doesn’t really
count. But yeah, my lil’ attitude is horrible. I’m
married now, and when we go places the girls
see my ring and still be lookin’ at me and trying
to flirt with him. I get a lil’ attitude. I’m also
pregnant, so I’m walkin’ around with my belly
still ready to fight, like, “What you said?!?”
That song is definitely me. “Don’t Mess With My
Man,” all day.
You’ve worked with Mystikal and R Kelly, who
both have been accused of sexual criminal
charges. Did you ever see that coming?
Oh God, no. I think everybody was shocked
about Mystikal. When I first came out I did the
hook on [his song] “Danger,” and that’s what
helped me blow up. The R Kelly songs I did
came together a few years ago.
There’s been a few female artists coming out
lately with the “crunk & B” label. Do you
think your single “Okay,” with Lil Jon, falls
into that category?
Actually no, the main thing we liked about that
song was that it didn’t really sound like Jon’s
other records. [My husband] Dream actually
wrote the song, and when he sang it to me on
the phone I loved it. We recorded it and sent
it back to Jon, so that’s how it happened. It
sounds so different. I don’t think it’s “crunk &
B,” it’s more laid back. It’s a club record, of
course, but ladies love it. The second single is
“Okay Pt. 2,” but it’s not a traditional remix.
It’s a whole new song I did with Dream.
Who else is featured on the album besides
Dream?
Rasheeda, and of course Lil Jon and the Young
Bloodz. R Kelly is on one song too.
What’s the name of your upcoming album?
It’s called Complicated. The songs on the album
are definitely talking about different types of
women. Some of the songs are not necessar-
ily coming from me personally, but it’s just
me writing from a different perspective. Some
songs talk about how vulnerable a woman is;
some songs talk about a woman cheating on her
man, going through drama. I think women are
complicated.
Is the album geared more towards women?
It is. It’s coming from a female voice, but it’s
not male-bashing either. Man will love it too.
When you say not all the songs are coming
from you personally, what do you mean? Were
they written by other songwriters, or it’s just
you speaking from a different perspective?
I wrote most of the songs on the album, but not
everything on there is something I agree with
or have personally experienced. There are a
few songs where I’m definitely talking about
me, like “Complicated,” that’s talking about
where I am now. A few other songs, like “It’s All
Good” and “No More” are talking about a lot of
drama I’ve been through in this business. You
can tell which ones are personal. Then, I have
some songs which are basically the voice of
other women. For example, I have a song with
Jermaine Dupri called “Parking Lot,” which
is a girl talking about cheating on her man. I
don’t condone it at all, but a lot of women feel
like that. There’s gangsta girl songs, party girl
songs, all that.
You were dating Lil Wayne for a while,
weren’t you?
A lot of people think that’s who I’m with,
but it’s actually been like two years since
we broke up.
You know, a lot of women like Lil Wayne.
What’s he like just as a regular dude, not
a rapper?
Really? Oh, that’s funny (laughing). He’s cool,
I don’t know.
Was it a bad breakup?
Nah, we’re not on bad terms. We just don’t talk
anymore.
Was it difficult to date someone who’s also in
the industry?
No, not really. Actually, my husband now is a pro-
ducer and a songwriter, and it actually makes it a
little less stressful. He basically took over my proj-
ect, and he’s managing me and doing production
for me. He’s doing everything with and for me, so
I can learn a lot from him. He’s somebody who can
help me and guide me, and I know he’s got my best
interest in mind. I’m blessed to have him.
What if you’ve got personal drama at home and
then you’ve gotta go into the studio together
and act professional?
Oh, we do that all the time (laughing). He execu-
tive-produced this album, so halfway through, we
were going through our lil’ drama. We still got
it done, though. He knows what to do. He’s so
talented. I get frustrated cause I don’t get it as
quickly as it comes to him. When we work to-
gether, we’re a great team. It’s good; I’m actually
learning a lot from him.
With a lot of female artists, it seems like they
disappear if they get pregnant. In hip-hop it’s
something that’s really not discussed very
much.
I know certain female artists try to hide their
pregnancies or decide not to have a baby, but for
me, I’m the happiest I could ever be in my life
right now. I’m happy, I’m in love, I got a little girl
on the way, so those are the two biggest blessings
in my life right now. That means more to me than
anything. God gave me the gift to be able to sing,
and I’m glad I have a label that supports my deci-
sion. I’m happy talking about my pregnancy. I’m a
grown woman, I have nothing to be ashamed of. I
guess my situation is a little different.
Was the label worried about how you would be
able to promote an album and have a baby at
the same time?
I came to them and expressed how happy I was,
and how much I still wanted to pursue my career.
I definitely still wanna sing, and I’m gonna be do-
ing this regardless. They couldn’t do anything but
respect it. I’m ready for her to be here. I’ve even
been performing all the way up to this point; I’m
seven months pregnant now.
So your baby and your album will be dropping at
the same time.
(laughing) Yeah. The album is slated for April 19th,
and my due date is the end of April. Her name is
Navy. Navy Nash. It’s different, huh?
It seems like artists always name their children
something different.
Yeah, I guess it’s the creative minds.
Is it going to be difficult to promote the album
with a newborn baby?
She’s definitely gonna be with me on tour. It won’t
be difficult, though, we’re already setting up the
tour dates.
OZONE MAR 2005 25
 BENJI BROWN
IN TOUCH WITH REALITY
www.streetlifefilmsinc.com
Dave Chapelle better be on the
lookout, because actor and stand-
up comedian Benji Brown - a.k.a.
KiKi - is on his heels, turning
heads with his new comedic DVD,
In Touch with Reality.
Brown appears regularly on BET’s
Comic View and is a star on one
of Miami’s hottest radio morning
shows. Anybody who who watches
this DVD is gonna be laughing
their ass off.
Brown’s DVD, In Touch With
Reality, deals with some skits
about reality TV shows as well as
everyday things that happen in
the hood. The jokes and skits are
hilarious.
A few standout moments on the
DVD include Brown’s spoof of Mi-
chael Jackson’s “Thriller” video:
“Crackheads.” TV shows like The
Dating Game and Elimidate are
spoofed with new names like
“ElimAHo.” Fear Factor becomes
Queer Factor, and Nick and
Jessica’s MTV Newlyweds show
isn’t exempt either.
His comedic genius really shines
through when Brown changes his
vocals into the high-pitched lady
voice and persona of KiKi.
If you’d never seen Benji Brown
perform on BET or at your local
comedy club, make sure you
check for him. You’ll definitely
leave laughing.
Benji’s got a promising future.
You can look for him in P Diddy’s
upcoming Bad Boys of Comedy. If
you can’t wait to see him live, go
ahead and purchase this DVD.
- Malik Abdul,
malik@ozonemag.com
26 OZONE MAR 2005
SEX AND THE STUDIO
VOLUME 2
www.sexandthestudio.com
As one of the world’s premiere
adult video magazines, Sex and
the Studio is back with volume
two, proving again that music and
sex is always a good combination.
This is the formula you need to
“bang” out good music.
Money B, Digital Underground’s
Cleetis Mack, and porn star Obses-
sion host this DVD magazine.
Money B and his crew take you
on a journey to many American
cities, interviewing some of the
biggest hip-hop stars like Ludacris
and Bonecrusher as well as super-
star athletes.
When we arrive in the beautiful
city of Rio de Janiero in Brazil,
that’s where the action really
heats up. Money B starts with a
tour of the city and ends with
a hot sex scene featuring three
beautiful Brazilian actresses and
one male Brazilian porn star. Porn
star Mr. Marcus also makes an ap-
pearance, doing a threesome with
two Asian actresses. All in all, the
DVD features four hot sex scenes.
However, it isn’t all about sex.
Featured interviews include
industry heavy hitters like DJ Pre-
miere. Money B’s interview with
Randy Jackson of the Jackson
Five is hilarious. We also meet an
Asian chick who says she bedded
Michael Jordan. Coolo teaches a
new sexual position, and admits
that he pays for sex!
The bonus soundtrack has seven-
teen tracks, featuring new songs
from Digital Underground, Xzibit,
Yukmouth, Bun B, Money B, and
more. It’s a must for fans of West
coast music.
- Malik Abdul,
malik@ozonemag.com
STREET DOGG
ADVENTURES OF STREET DOGG VOLUME 1
www.streetlifefilmsinc.com
This DVD is mistitled. It should be called Hood
Tales, or A Tale of Two Cities. Comedian Larry
Dogg, otherwise known as Street Dogg, takes you
on a wild and hilarious journey from the thugged-
out streets of Liberty City to the glitz and glamour
of South Beach.
Liberty City is filled with pimps, hoes, crackheads,
drug dealers, boosters, and gangstas busting their
guns in parking lots. Street Dogg shows us this side
of life in Miami, complete with good ol’ fashioned
beat-downs.
On the flip side, Street Dogg takes us away from
the hood and shows us the weekend vacation
getaways across the bridge.
If you interview residents from either side of the
bridge in Miami, you’re bound to get a story. When
a certified comedian interviews residents, you’re
bound to get a funny hood tale.
All throughout this DVD, Street Dogg takes you
through the thick drama of South Beach. In addi-
tion to the street fistfights and parking lot shoot-
outs, there’s live concert footage from the likes of
50 Cent, Petey Pablo, Mystikal, and B.G. The DVD
also features Interviews with hip-hop stars like Lil
Wayne, Loon and Lil Jon.
Even though it’s a low budget comedy, Street
Dogg still gives you something to think about. For
example, he discusses the fact that high-priced
clothier Von Dutch was an active racist, and yet
hip-hop stars like Missy Elliott and Jay-Z still sup-
port his clothing. It’s interesting to see that even
after the Tommy Hilfiger incident, blacks will still
unknowingly support a racist in their drive to set
trends. As Kanye West says, “Nigga, you ain’t up
on this.”
Overall, this is a good and funny DVD. Street
Dogg’s performance stands out, and there’s plenty
of funny skits about reggae artists and Haitians.
There’s two Miamis: the one mainstream America
visits on vacation, and the one where there’s
families trying to survive. This is the Miami that
everyone should visit.
- Malik Abdul, malik@ozonemag.com
 01: DJ Ideal (hosted by Slim Thug) “Da Bottom Vol. 3” 786-326-1
289 or 305-491-7333 Miami, FL
DJ Nasty (hosted by Ludacris)
02: DJ Rob-Lo “The Undisputed” www.Rob-Lo.com Brooklyn, NY “Nasty Behind the Wheels”
03: DJ Kool Kid (hosted by Stat Quo) “M.O.B. Part 2” www.DJKoolKid.co www.DJNasty.net
m NYC
04: DJ Hollywood “Dirty South Radio Vol. 422” www.DirtySouthRadio.com West Palm Beach, FL
includes
05: DJ Rondevu ”Dangerous Minded Vol. 2” www.DJRondevu.com
NYC #04 - Ashanti f/ Camron, Juelz Santana, Ja
06: J.A. & L.S. (hosted by Lil Weavah) “On the Grind: ATL to H-Town” 917-375-4057 www.24HrGrind.com Rule, & Blackchild “Only U (remix)”
07: OG Ron C (hosted by David Banner) “Grind Mode” OGRonC@tmail.com #16 - Bedo “Go Head”
Houston, TX
08: DJ Quest “Gasolina” www.DeeJayQuest.com 407-716-3178 Ft. Myers, FL
#25 - Adept f/ Pitbull “Let Them Thangs Go”
09: Manny Faces “Manny’s New Fashioned Remixes Vol. 1” www.Man
nyFaces.com 516-557-3375 NY
10: DJ Smallz and Tapemasters (hosted by Ludacris & Ghostface) “Road Trip: NYC to Miami” www.DJSmallz.com
11: DJ Chuck T “Dirty South Hitz Vol. 1” www.DJChuckT.com 843-345-9
763 Charleston, SC
12: DJ Hotsauce “Time to Get Spicy” www.RPS-Fam.com Germany
13: DJ Folk “Bankhead Ambassador: The Best of T.I.” 216-798-2
480
14: Clinton Sparks “Smashtime Blends Vol. 8” www.ClintonSparks.com Boston, MA
15: Murdaone Sound “The Good, The Bad, and The Wicked” www.M1S
ound.com 954-727-5764 Orlando, FL
16: DJ Dutty Laundry “Black Folk Inc.: Hood Classics Vol. 1” 423-838-0225 or 423-316-1059 Chattanooga, TN
17: DJ Chill “Take it Off Vol. 4” www.mix2cold.com 713-232-0818
Houston, TX
18: White Boi Pizal “Trap Muzik Vol. 3” www.WhiteBoiPizal.net 407-227-1631 Orlando, FL
19: Eddie Deville (hosted by PaulWall) “Kingz of Spring Break” EddieDev
ille@tmail.com 713-643-5437 Houston, TX
20: DJ Scream (hosted by Trillville) “Only the Crunk Survive Vol. 8” 770-875-3544 or 404-540-5000 Atlanta, GA

OZONE MAR 2005 27

 50 CENT
THE MASSACRE
G-Unit/Aftermath/Interscope
So I’m fresh off listening to Fat Joe roast 50
Cent during Kay Slay’s Drama Hour show on
Hot 97 in NYC. I’m sitting here thinking that
this nigga 50 is a fuckin’ marketing phenom.
The man knows how to create a blistering buzz
for any project that he’s involved with.
Honestly, I had the bootleg as soon as it
leaked, but I didn’t listen right away. Really,
how different could it be from Get Rich or Die
Tryin’? But when I heard Fat Joe admit that
he was getting caught up in 50’s plan by even
responding to the diss, I had to go listen.
Setting off the album is an intro where a
young lady receives a Valentine from 50 Cent.
As she opens it, she gets blasted by about six
AR-15 assault rifles. She should be thanking
50, because if she’s dead she won’t have to sit
through the monotony that is The Massacre.
There are two things that jumped out at me
about this album: 50 Cent is an excellent song-
writer, and Eminem is far better at smashing
MCs than making beats. The album is packed
with the prerequisite gangsta shit bravado
mixed with 50’s sing-songy hooks. Ja Rule
would be pulling his hair out, if he had any.
There are a few times where 50 actually
has some shit to say. For example, he spits,
“Sometimes I sit and look at life from a dif-
ferent angle / I don’t know if I’m God’s child
or Satan’s angel” on “I’m Supposed to Die
Tonight.” Flashes of brilliance like that lyric
are far too scarce on this album. If 50 Cent
was concerned with making a creative album
instead of what the sheep of the world want to
hear, how great and influential could he really
be?
But shit, man, what do I know? He’s fuckin’
rich. He’s sold eleven million albums, and will
probably sell close to that with this album.
Like he says on the controversial “Piggy Bank,”
“Buck’s shit sells / Banks’ shit sells / Game’s
shit sells / I’m rich as hell,” so he’s obviously
doing something right.
50’s cut with Eminem, “Gatman & Robin,”
is whack, but I kept rewinding it because
Eminem went the fuck off. Now I’m off to get
some Q-tips, because my ears need cleaning.
They seem to be deceiving me. How could
music so simple make me listen to it over and
over again? Is there some subliminal new world
order shit going on over at Interscope? 50
Cent, the anomaly.
- Wally Sparks, wally@ozonemag.com
28 OZONE MAR 2005
GETO BOYS
FOUNDATION
Rap-A-Lot/Asylum/Warner Bros
This album is appropriately titled. The
Geto Boys are most certainly the true
foundation of this Southern rap shit.
You gotta love it. I sure do. I had to
wait seven long years for a new studio
effort from the familiar lineup of Scar-
face, Bushwick Bill, and Willie D.
This right here is some gangsta shit for
grown-ups. The lead single, “Yes Yes
Y’all,” is proof positive that neither
of the three have lost a step. Scarface
is still spittin’ the real, Willie D is as
amped as ever, and Bushwick is - well,
he’s still Bushwick Bill.
Like any real OG’s, they have stories
that are designed to give the young
bucks a quick lesson on the streets.
This is evident on this album with
cuts like “Leaning on You” and “I
Tried.” On the latter, Uncle Face gives
it straight up with no chaser on the
hook.
One of the dopest things about this
album is the fact that each of the
members has a chance to get their
solo shine on. They’ve each got a solo
joint on here. Willie D tells tales of
counterfeiting money and the desper-
ate measures he’s taken to make sure
he won’t die without a little piece of
change. Next we have Bushwick Bill’s
twisted love letter to his ex-wife,
“Dirty Bitch.” He gives it to her raw
with lines like, “Burned my car and my
clothes like you was Angela Bassett / I
left town, you moved out, all you left
was a mattress.”
Lastly, the realest of the real is Scar-
face’s solo effort, “G-Code,” which
is basically a confirmation of the #1
rule of the streets: Don’t snitch. There
are times where Scarface seems to be
carrying the other two members on
his shoulders, but there’s hardly any
mistakes on this album.
If you’re 25 years or older and you’re
from the South, you need to have this
album. The same goes for all you new
rapper dudes and young chicks, too.
I love Young Jeezy, T.I., Mike Jones,
Slim Thug, and Trick Daddy just as
much as you do, but you need this
album. Learn the Foundation.
- Wally Sparks, wally@ozonemag.com
CHINGO BLING
THE TAMALE KINGPIN
Big Chile Enterprises (Houston, TX)
After all the backlash I got from our
readers about my positive review
of The Mind of Mannie Fresh for
its entertainment quality, I’ll tell
you straight-up: If you don’t have
an open mind and don’t appreciate
humor and creativity, don’t even
bother listening to this album. It
has a crock-pot full of both, and a
lot of fuckin’ tamales!
Chingo Bling is nowhere near a
lyrical threat, but I’d be willing to
bet that he could make a better
album than almost any chart-top-
ping rapper today. His latest effort
The Tamale Kingpin is led off by
a pretty damn good cover of the
Scarface classic “Money & The
Power.” Chingo aptly applys his
twist, titling it, “Masa & Da Flour.”
We all know you can’t cook up
those tamales without that white
powder, ya dig?
The thing I can’t figure out about
Chingo is if he’s trying to be funny,
or if he’s just naturally entertain-
ing? Anyway, the production on
this album is Grade A. The men
behind the boards on this album
have given Chingo Bling a sonic
landscape that almost any two-bit
rapper could make a hit from. This
is especially evident on the cut,
“Fuck a Major Label,” featuring
Max Minelli.
Other standout cuts include the
hilarious “Osama, Who Got the
Keys to the Humma,” which is, of
course, an interpolation of Beenie
Man’s “Who Am I.” In Chingo’s ver-
sion, a fake-ass bin Laden is hiding
in a hole, dropping underground
tapes, and Chingo is there to ex-
pose the real.
Another notable record is “Ameri-
can Pie,” featuring PaulWall and
Mike Jones. This song is a Texas-
sized lovefest for all races that
believe in one color: Green. All in
all, The Tamale Kingpin satisfied
my appetite. Now I’m off to my
favorite Mexican restaurant to get
another fix!
- Wally Sparks,
wally@ozonemag.com

THE SCOUNDRELS
4-EVER GULLIE
Invisible Records
(Columbus, GA)
My dear brothers and sisters,
what we have here is a clas-
sic case of: It looked good
on paper. Before I listened
to this album, I analyzed
everything I knew about the
Scoundrels. The three P’s
are already solidly in place:
Promotion, Packaging, and
Production.
As an added bonus, this
album is chock full of high-
powered guest appearances:
Pastor Troy, Bonecrusher,
8Ball & MJG, B.G., Bun B, Too
Short, and Jazze Pha. The
album also features produc-
tion from Avery Johnson (pro-
ducer of “Neva Scared”) and
Lil Jon’s personal guitar guru,
Craig Love. With all the extra
talents on board, it almost
comes across as a mixtape or
a compilation rather than an
actual album.
However, none of these big
names can change the fact
that the album is mediocre.
There are a few bright spots,
like “I-85” featuring MJG,
“Sister” featuring Bun B, and
the lead single, “Ghetto”
featuring Pastor Troy. Un-
fortunately, those positive
moments are few and far
between.
I really wanted to like this
album, because I was so
impressed with what I’d seen
before I heard anything. It’s
obvious that the Scoundrels
have the blueprint and the
resources to move in the
right direction. They just
need to spend a lil’ more
time in the lab for some fine-
tuning. Still, I’m definitely
interested in hearing the
follow up to 4-Ever Gullie.
Hopefully the next time
around, the guest appear-
ances won’t outshine the
actual artists.
- Wally Sparks,
wally@ozonemag.com
BIG NOD
THE COME UP MAN VOL. 2
Southern House Records
(Albany, GA)
Right off top, this is the kinda
shit I like. Big Nod is the type
of rapper who will just get in
the booth and attack the mic
with no reservation. I don’t
know why the intro is titled as
such, because it’s over three
minutes long. It should have
just been titled, “Big Nod.”
Regardless of the title, it damn
sure serves its purpose. The
intro catches your attention
and ensures that you won’t
be forgetting Big Nod’s name
anytime soon. At the end of
the intro, however, he blurts
out the tired phrase: “On this
album, you ‘bout to hear the
realest shit you ever heard.”
Do these rappers realize the
magnitude of these type of
statements? For once, Big Nod
does. Immediately after the
intro comes the joint “I Ain’t
Got Time,” where he rides
a sick sample of the Curtis
Mayfield classic “Give Me Your
Life.” On this cut, Big Nod lets
you know that he ain’t got time
for the bullshit, and he’s trying
to get that bread by any means
necsesary.
Big Nod has an old soul. This is
especially evident on cuts like
“Don’t Get Mad,” featuring No
Gud, which is reminiscent of
Ghetto Mafia’s classic banger
“Straight From the Dec.” An-
other memorable track featur-
ing one of the most underrated
artists and producers in the
South, Ole-E, is “$1,500 Car.”
This album is a throwback to
them country rap tunes that
Pimp C talked about way back
when. The Come Up Man Vol. 2
is a banger from start to finish.
I’m giving this one a heavy
co-sign, and I’m hating that I
missed the boat on Volume 1.
Don’t make the same mistake
I made.
- Wally Sparks,
wally@ozonemag.com
OL’ DIRTY BASTARD
OSIRUS - THE MIXTAPE
On the DJ Premier-pro-
duced “Pop Shots,” Dirty
spits, “Niggas out here
tryin’ to prove who’s the
reaest / It’s okay to pop
shit, but come a little dif-
ferent.” While Dirty never
really popped shit about
being the realest in the
game, he always came a
little different, from his
debut on 36 Chambers until
now. When Dirty signed to
Roc-A-Fella, many diehard
Wu fans cringed, much like
fans of M.O.P. when they
did the same. Would Dirty
turn mainstream? The an-
swer is NO, and the Osirus
project is a firm testament
that Dirty would always
stay true to his fans and
keep the style that brought
him to his current status.
With the help of many, the
Osirus mixtape proves to
be a good effort. Drag-
On drops a flaming verse
on “Move Back,” and the
gritty production of Chops
on “Go Go Go” is impres-
sive. There are only a few
boring tracks, like “High in
the Clouds” and the Cap-
padonna-laced “Stand Up.”
K-Def, Ill Will Fulton, and
Chops all make nice beats,
and Royal Flush, Black
Rob, Blah, and Rhymefest
perform nicely.
ODB’s changed his lyrics
mildly, but still drops
absurd punch lines like
“Make a hoe look more
cuter / Hennessy shots and
smoke more Budda.” The
sexual side of Dirty that
was responsible for “Don’t
You Know” and “Goin’
Down” is back in full effect
on “Pussy Keep Calling.”
Sadly, ODB passed on
November 13th, 2004, but
this project affirms that his
legacy will live on. From
one Brooklynite to another,
Rest in Peace.
- ADG, adg@tmail.com
AMP
PREQUEL TO... MY
LAST BREATH
(Jacksonville, FL)
After a brief lame
intro, we get down to
the good stuff: five
quality tracks from
AMP. Hailing from
Jacksonville, otherwise
known as Duuuuuuu-
val, the Southern feel
is evident but it’s
not like the regular
stuff we hear coming
from the 904. AMP
has something quite
different; his voice is
commanding but not
too authoritative.
“Who you know that’s
lyrical as Biggie, politi-
cal as ‘Pac / Physical
as 50 Cent fighting
50 rounds with Ja /
Spiritual as Lauryn
Hill, I’m God’s Son
like Nas / Country as
Outkast with Eminem’s
heart,” he spits. Judg-
ing by the five tracks
on this EP, I can vouch
for most of those lyr-
ics. “Holla Atcha Boy”
may have a lame-ass
hook, but the beat is
on-point and lyrics are
exact. Throughout the
CD, AMP maintains his
composure.
He speaks loudly with-
out shouting; a slight
tone change can make
all the difference. The
lyrics on “High” dem-
onstrate AMP’s under-
standing of MCing. AMP
conveys what most
rappers don’t or can’t:
humanity. “Cornbread”
and “Hood” are an ac-
quired taste, but once
you get that taste
you’ll keep going back
like a buffet!
“Leave” is motivated
by a nice drum pattern
and guitar riff, but is
fueled by AMP’s fitting
rhymes about staying
in the hood. AMP main-
tains that he’s content
with his upbringing
and surroundings, but
states that he’s not go-
ing to just leave - he’s
going to move ahead
to do bigger and bet-
ter things. This EP is a
testament to his plan.
- ADG, adg@tmail.com
OZONE MAR 2005 29
 1 5 Venue: Club Konnections
Location: Houston, TX
February 13th, 2005

T
he energy is palpable in the park-
ing lot outside Konnections (1) one
rainy Sunday evening. A steady stream
4 of cars and SUVs arrives, sporting rims and
candy paint.
2
Once inside, the show kicks off with a long
introduction by promoters Big Steve and
Cap’n Jack in memory of a friend who recently
passed. From the procession of friends arriving
on stage, wearing the standard RIP t-shirts and
taking donations for her funeral (2), you realize
that this is truly a hood club.

Slim Thug has now entered the building, and

Big Steve makes several unsuccessful attempts
6 to call him to the stage. “I hope y’all enjoy
3 Slim Thug,” Steve tells the crowd. “He wasn’t
cheap.”

Next up is a string of opening acts. Cory Mo’s

mixtape joint, “I’m from Houuu-ston,” sung to
the tune of Ja Rule’s “New York, New York,”
sounds unusually crisp and clear until you real-
ize he’s lip-synching (3). The crowd isn’t fooled.
Finally, Slim Thug’s fellow Boss Hogg Outlaw
Killa Kyleon (4) prepares the way for the Boss
himself.

Slim Thug makes his grand entrance on stage

(5,6), beginning with a string of underground
8 hits that the hometown crowd knows well. As
Slim announces, it’s one of his first shows back
home since signing with Interscope and travel-
ling the world in search of global domination.
The crowd throws up the “H-Town” symbol en-
thusiastically at Slim’s request, bobbing along
with the beat (7).

When a fight breaks out in the crowd midway

through Slim’s underground cuts, he barely no-
tices. Security is basically nonexistent, so the
crowd sways with the fight for half a song before
the troublemakers are escorted out the back.

Utilizing Killa Kyleon as a hype man, Slim Thug’s

intimidating size alone makes for good stage
presence. His flow comes across as effortless.
Careful not to exert himself too much, he brags
about his jewelry and reaches into the crowd to
extend a few handshakes to grateful fans.

While Slim performs his newer cuts like “I Ain’t

Heard of That” and “Three Kings,” the crowd
still hasn’t had enough. A chick fight (8) near the
stage causes a chain reaction, the crowd diving
over the fallen barricades and overflowing into
the pit. Fans scramble on stage as the girls con-
tinue to throw punches and pull weaves. Securi-
ty finally arrives, but Slim is more worried about
his image than safety. “Get these people off
the stage,” he complains to security. “They’re
blocking me; the crowd can’t see me.”

After a relatively short set, Slim leaves the

stage with his entourage in tow. A thin girl in a
short skirt passes her number to one of the hype
men, informing him, “Me and my girl... we’ll do
anything.” As Slim exits from the rear entrance,
the crowd filters out through the front - slightly
beat up, but still satisfied with a solid perfor-
mance from their hometown hero.

7 - Photos and words by Julia Beverly

OZONE MAR 2005 31


TJ’S DJ’S 4th QUARTER TASTEMAKERS ONLY
XCLUSIVES CD Disc 1 (www.TJsDJs.com)
TRICK DADDY f. KHIA & TAMPA TONY /
J.O.D.D. – SLIP-N-SLIDE
Contact: Byron – 305.770.0771
This track unites a new Florida coalition with
the incumbent Trick Daddy along with the certi-
fied gold Khia (“My Neck, My Back”) and the
joker of jukin,’ Tampa Tony (“Keep Jukin’”).
The trio paints a beautiful picture full of sex-
ploitation that would make Larry Flynt blush.
The horn element in the production rounds out
a song that should hasten the love heard in the
clubs along Florida’s lifelines I-10, 95, and 4.
BOMB SQUAD f. TAMPA TONY / LAY IT DOWN
(REMIX) – ISABOMB
Contact: David “Fifalow” Gay – 813.785.7903
“Everybody lay it down, c’mon and represent
your town” is a chant that hypes clubs up and
down the interstate. Bomb Squad jumps on this
track and continues the intensity. Tampa Tony
soon follows to put in his bid explaining why the
Bay area is best.
KAVIOUS f. PASTOR TROY & BUN B / KODAK
MOMENT (REMIX) – NUCLEAR
Contact: Barry Walker – 901.270.7630
It’s always a pleasure to hear the legend Bun
B on the mic. He combined with the crunk
champion Pastor Troy, to remix Kavious’ “Kodak
Moment” to pause life for a moment so you can
picture them “stay as fly as he can be.” The
picture snapping in the background adds a nice
creative touch to an already mesmerizing track.
Hailing from Memphis, Kavious is working hard
to alert the world that you need more than
grace to run this land.
KRAZE / FUCK WIT ME – BACU
Contact: G-Money – 813.785.6647
First thing about “Fuck Wit Me” that catches
your attention is the hook. It’s the definition of
a hook, something that is infectious and won’t
leave your mind. After playing this tune, you’ll
find yourself humming it over and over. Kraze, a
self-described “wild ass nigga from Tampa,” can
definitely go krazy on you if you’re not careful.
That’s why it’s better if you not f#@k with him.
Consider yourself warned.
WARRIOR / WHATEVA BUDDY – REAL!ST
Contact: Damon Yates – 786.443.0019
This hood warrior has no problem letting his en-
emies know what time it is. If you think you got
what it takes to top his cheese, dough leads, or
sexy breezies, it’s “Whateva Buddy!” There is a
reason why he is signed to the Real!st label.
TYTEWURK f. KOSHA, BLOODRAW, DIRTY
BLACK / WHAT IT IS - SUPERKALA
Contact: Tre Wilson – 334.393.7922
BloodRaw kicks off this lyrical rapfest with a
verse to make his hometown of Panama City
32 OZONE MAR 2005
proud. It is swiftly followed by a mean ‘Bama
16 from each of the Tytewurk crew. The pro-
duction gets you amped to ride the highways
blowin’ one ready to blow away one. And if
you don’t like the way it’s done forget you cuz
it is what it its.
G.M.C. / U AIN’T A HEADBUSSA – TRILLRATED
Contact: Nate – 404.282.9777
After hearing this track, get set to have a
Neo reaction - whoa! I don’t know what Lil
Scrappy did to make these guys mad, but they
are letting it all hang out. The full kit includes
sporting a picture with Scrappy in a blonde
hair cut “looking like Sisqo” and calling him
“a hip-hop Usher.” Like Jay-Z, you’re left
wondering, where’s the love?
DJ BUTCH & CP HOLLYWOOD / COUNTY
BOYZ – COUNTY BOYZ
Contact: DJ Butch – 850.566.3302
“Whutchya hatin on cuz?” DJ Butch & CP
Hollywood just wanna represent their county,
everywhere the 850 touches. From the begin-
ning, the track will get you bouncing off the
wall like a mental patient. But, the brilliant
note about this song is that it doubles as an
ad. Much like Wu-Tang’s “Wu-Wear,” DJ Butch
subliminally advertises his line of clothing
County Boyz found on www.CountyBoyz.com
or on the beautifully creative volunteers at
the 4th Quarter TJ’s DJ’s Tastemakers Only DJ
conference.
T-HUD / BANG OUT – NUTTY BOYZ
Contact: Nikki – 612.226.7816
“Bang Out” is a tune by a legitimate baller,
T-Hud. Just because he hits the hardwood in
the NBA for a living, don’t take Troy Hudson
for a chump. He’s putting you on notice that
he can hit hard as wood too. Be mindful that
this Mississippi native has Nutty Boyz on the
roster that “move more weight than Ruben
Studdard” so be careful who you try to creep.
SHIMMY & BLACK DICE / TONITE – T.U.K.
Contact: Shannon Washington – 850.562.4611
In case you’re late, T.U.K. keeps their ear to
the street. That’s why they can make such
a fan favorite like this track, “Tonite.” The
original production has a slow reverberating
bass line that somehow keeps you animated.
When the bomb drops just before the hook,
the timing just gets you more amped until you
realize you’ve got all of this energy you’ve got
to release by bucking. “Tonite” has a high fac-
tor of rewindability – how often you’ll bring
the track back. See, the song is so fiya a new
word was just created to describe it.
MERSILIS / BEAST – MERSILIS
Contact: Ron – 917.561.8326
When Mersilis attacks this track, a “Beast” is
the best way to describe his ferocity. He per-
forms with such passion because he “has his
whole enterprise on his back.” With this much
responsibility, no wonder he is such a monster
in the booth.
SUTHERNFOLK / YOU SUTHERNFOLK – JAN-
GALANG
Contact: G – 404.512.2422
This unique creation is a tune designed to
unite the peoples of the Dixon area, other-
wise known as Suthernfolk. They give shouts
to countless regions from Florida to Georgia
to Alabama all the way though Texas. The
good thing Suthernfolk shows is that despite
our differences, we are all one family. The music
is melodic and differentiates itself from anything
you have already heard. When matched with the
‘Folks’ words, the result is a tune that would
make Jefferson Davis proud.
GBU / MISSISSIPPI – BURN ‘EM UP
Contact: Tycie Burns – 678.467.0261
GBU enters the music foray with a tribute to the
impoverished state of Mississippi. It is meant
to raise the spirits of the people and give them
something to be proud of. In fact, according to
GBU, Mississippi “is the land of the playas hustlin’
to make a dolla.” Who can’t relate to that?
HELL-A-FLOW / WHAT IT IS – HELL-A-FLOW
Contact: J Screw – 912.313.4035
Straight from Georgia, Hell-A-Flow hits the scene
to spit lyrics worthy of their moniker. “What It Is”
is a tune that gets elbows pumping as the beat
pounds your nerve center. If you’re wondering
where the party with these cats, they’ve “got
plenty cheese looking for plenty rats.”
KING SWISHA / CUT ‘EM OFF – GET BUC
Contact: Travis Roberts – 912.496.6470
On “Cut ‘Em Off,” King Swisha explains that he
doesn’t need anybody but himself to survive.
Since he is “king of [his] house” who can argue?
This theme should be the example of what needs
to be done when you have dead wood in your
life. If it’s dragging you down, “Cut ‘Em Off.”
CITY STREETS / MY HOMIE – TRUE STAR
Contact: Star Riley – 954.558.7471
City Streets pours out a heartfelt tribute to his
homie and family on this sympathetic tune. As
the melody plays, your thoughts begin to drift of
those that have been called on before you. Some-
times it hurts reminiscing, but if you remember
the good times they never die. City Streets does
a good job expressing these feelings.
INNER CIRCLE f. RED RAT / GIRLS WILD (REG-
GAETON MIX) – SOUND BWOY
Contact: Kevin Mahoney – 305.769.9700
The original bad bwoys, Inner Circle, team with
the newest rude bwoy in Red Rat (the “oh no”
guy) to pay tribute to the sexy girls ‘round the
world. This version in particular is a reggaeton
mix capitalizing on the latest music rage. With
this rhythm on the platter, the beautiful wines of
the coke bottled bodies will be more than enough
to put you into a party vibe.
ACAFOOL f ZOE FACE / HELL NO – FIRST STRING
Contact: Matt Daniels – 813.728.1131
For the people who have 99 problems and a
bitch ain’t one, drop this track on ‘em. “Hell
No” is performed by a character that lives up to
his name, Acafool. This song is dedicated to the
women that are always “looking for what you
can get out of a man.” This alert contains music
that hints of a smooth laid back West Coast party
vibe.
ISH / I STILL GOT LOVE – SOULOW
Contact: Ish – 850.656.1434
Ish’s style is very different than what you are
used to. In fact, this tune has a vibe that rides
like a sexy ‘70s psycadelic trip. What’s cool
about this song is it preaches forgiveness. Al-
though she can “smell the drama and taste
the shame,” of the dirt you did, Ish still
has got love for you.
- Keith “1st Prophet” Kennedy,
keith@tjsdjs.com