YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE

TRICK 20
ESSENTIAL
DADDY
STILL
STILLTHUGGIN’
THUGGIN’
SOUTHERN
ALBUMS
UGK
DAVID BANNER OUTKAST
IS
ISNOT
NOTRICH,
RICH,B*TCH
B*TCH GETO BOYS
THREE 6 MAFIA
BLOODRAW & MORE CLASSICS
BEATS
BEATSTHE
THEFEDS
FEDS
JACKSON, MS:
WHY
WHYIS
IS SOUL OF
CAM’RON THE SOUTH
AT
ATRIKER’S
RIKER’SISLAND?
ISLAND?
DA MUZICIANZ
GHOSTFACE
TOO SHORT
YUKMOUTH
LIL ROB
PIMP C
B.H.I.
PUBLISHER/EDITOR:
jun06contents
Julia Beverly

MUSIC EDITOR:
Maurice G. Garland

ASSOCIATE EDITOR:
Matt Sonzala COVER STORIES
COPY EDITOR:
Carlton Wade Trick Daddy pg 60-63
ADVERTISING SALES:
Che’ Johnson (Gotta Boogie)
Gary LaRochelle
Da Musicianz pg 58-59
LEGAL AFFAIRS:
Kyle P. King, P.A. (King Law Firm)
INTERVIEWS
MARKETING & PROMOTIONS:
Malik “Copafeel” Abdul
David Banner pg 74-77
Bishop of Crunk pg 24
SUBSCRIPTIONS MANAGER:
Destine Cajuste Yukmouth pg 82-83
ADMINISTRATIVE:
Too Short pg 78-80
Ashlee Brathwaite
Cordice Gardner
Cam’Ron pg 66-68
Nikki Kancey Ghostface pg 34
CONTRIBUTORS: BloodRaw pg 26
ADG, Amanda Diva, Bogan, Charles
Parsons, Chuck T, E-Feezy, Edward Lil Rob pg 42
Hall, Felita Knight, Iisha Hillmon, Jaro
Vacek, Jessica Koslow, J Lash, Jason
Cordes, Jo Jo, Johnny Louis, Kami-
kaze, Keadron Smith, Keith Kennedy,
FEATURES
K.G. Mosley, Killer Mike, King Yella, Lisa Jackson, MS pg 70-72
Coleman, Marcus DeWayne, Mercedes
(Strictly Streets), Natalia Gomez, Noel R.I.P. Proof pg 20
Malcolm, Ray Tamarra, Rico Da Crook,
Robert Gabriel, Rohit Loomba, Shannon A Bad Day in P.A. pg 28
McCollum, Spiff, Swift, Wally Sparks,
Wendy Day

STREET REPS:
Al-My-T, B-Lord, Big Teach (Big Mouth),
Bigg C, Bigg V, Black, Brian Franklin,
Buggah D. Govanah (On Point), Bull,
C Rola, Cedric Walker, Chill, Chilly C,
Chuck T, Controller, David Muhammad,
Delight, DJ Dap, DJ Marquis, Dolla Bill,
Dwayne Barnum, Dr. Doom, Ed the
20 ESSENTIAL SOUTHERN ALBUMS
World Famous, Episode, General, Haziq
Ali, H-Vidal, Hollywood, J Fresh, Jammin’
Intro pg 85
Jay, Janky, Judah, Kamikaze, KC, Klarc As Nasty As They Wanna Be pg 86
Shepard, Kuzzo, Kydd Joe, Lex, Lil D,
Lump, Marco Mall, Mr. Lee, Music & ATLiens pg 87
More, Nick@Nite, Pat Pat, PhattLipp,
Pimp G, Quest, Raj Smoove, Rippy,
Comin’ Out Hard pg 88
Rob-Lo, Stax, TJ Green, TJ’s DJ’s,
Trina Edwards, Vicious, Victor Walker,
400 Degreez pg 89
Voodoo, Wild Billo, Young Harlem Get It How U Live!! pg 90
DISTRIBUTION: Ghetto D pg 91
Curtis Circulation, LLC Kings of Crunk pg 92
To subscribe, send check or money
order for $11 to our NEW ADDRESS:
Mind of Mystikal pg 93
Ozone Magazine, Inc. Mr. Scarface Is Back pg 94
1310 W. Colonial Dr. Suite 10
Orlando, FL 32804 Ridin’ Dirty pg 95
Phone: 407-447-6063
Fax: 407-447-6064
Soul Food pg 96
Web: www.ozonemag.com Southernplayalisticadillacmuzik pg 97
Cover credits: Da Muzicianz photo by MONTHLY SECTIONS The Dude pg 98
Ray Tamarra; Camron photo by Roger
Erickson; Atiba photo by Malik Abdul.
DJ Profile pg 32 3 N’ The Mornin’ pg 99
OZONE Magazine is published eleven
times annually by OZONE Magazine,
Chin Check pg 22 Trap Muzik pg 100
Inc. OZONE does not take responsibility JB’s 2 Cents pg 17 TRU 2 Da Game pg 101
CARA PASTORE FOR F22STUDIO.COM

for unsolicited materials, misinformation,

typographical errors, or misprints. The Industry 101 pg 30 Untouchable pg 102
views contained herein do not neces-
sarily reflect those of the publisher or its
Feedback pg 12-14 We Can’t Be Stopped pg 103
advertisers. Ads appearing in this maga-
zine are not an endorsement or valida-
CD Reviews pg 108 When The Smoke Clears pg 104
tion by OZONE Magazine for products or Mix CD Reviews pg 112 www.thug.com pg 105
services offered. All photos and illustra-
tions are copyrighted by their respective Photo Galleries pg 19-41
artists. All other content is copyright 2006
OZONE Magazine, all rights reserved. No
Patiently Waiting pg 46-54
portion of this magazine may be repro-
duced in any way without the written con-
Groupie Confessions pg 18
sent of the publisher. Printed in the USA. 10 Things I’m Hatin’ On pg 17
OZONE 11
feedback
* Man! Great interviews with in-depth questions? Insightful and
straight-up answers right back at ya? Tight photo shots? Good busi-
ness info and opportunities? Yo, XXL and The Source, OZONE’s a real
problem for you right now! You got the block on lock, true story!
– Frosty Flakes, fattlaces87@tmail.com
*Southern
Your magazine reached my reservation, the Blood Reserve in
Alberta, Canada. Yes, I’m Native American. I saw this maga-
zine and thought, Yes, something new and fresh! I have the April 06
issue, and have only read to page 20, but I can tell you for sure I’ll be
reading this book forever. So keep them coming.
– Kinty Tailfeathers, kintyloves@hotmail.com (Alberta, Canada)
* Wendy Day is one of my biggest influences, and I’m so glad that you
have her monthly column Mathematics in your magazine. Thanks for
the magazine information that you put in your 2 Cents; I will take that
to heart too. Any information that can help me do my business right
is strongly appreciated, so thanks for the whole magazine. OZONE is
really what hip-hop is all about.
– Raze, razegeneration@yahoo.com
* When are JB and Benzino getting married? I know a lover’s spat
when I see one. You’re cute for a slut monkey, though! Congrats on
putting out a good magazine. I collect good hip-hop shit. I’ve got ev-
ery Source, XXL, Rap Pages, Blaze, King, FEDS, and Don Diva. You
know, real shit. I love rap. I study the whole shit. I watched every mag
come out and try to grab my couple dollars. I used to cop The Source
cause they had good features and youc oudl trust their rating system.
I guess you want a mag you can trust and depend on. I fucks with you,
JB. I read about you in the mags, papers, and on allhiphop.com. You
seem sincere and put together a good mag. The website is cool too.
It’s funny how all the mag owners are beefin’. First, XXL’s YN went at
the “Sauce” ala 50 Cent style. Then it’s you and Benzino. What’s going
on? It takes away from putting out a good mag, if you ask me. Don’t
get me wrong, I like the editorials, but it seems more like a publicity
ploy than anything. You figure there are no beefs to report on to sell
mags, so let’s call out the champ. This brings me to my final thought:
since the East coast music dominance is over, the South is reigning
due to a couple of factors. Philly and New York niggas are too, too cool
to make the type of records that run the charts. You would never see
niggas in a cipher spittin’ “I be on that kryptonite” or “Wait til you see
my…” Niggas would think they was gay. But that’s the culture. Nig-
gas down South are more laid back and like to fool out and have fun.
That’s what the club is about: having fun. Nobody cares how many
packs you’ve moved or how many niggas you banged in the club. Nig-
gas are trying to have fun, get high, and get at the opposite sex. I ain’t
sayin’ the South ain’t serious and real: I love slept-on Field Mob, T.I.,
Ludacris, Shawnna, Outkast, ‘Face, Jeezy, Trick, and Trina. The East
coast are crabs in a barrel. New York fucked up when they let 50 Cent
defect. The East needs another artist that embodies what the greatest
had: lyrics, wit, humor, flow, charisma, and confidence.
– Rhashima Brown, gramwork@msn.com
* It’s funny how hypocritical some people are. Benzino got on Mar-
shall Mathers for talking about Kim and violence towards her, and then
I hear dude threatening you. What a mixed up dude.
– 7733986209@messaging.sprintpcs.com
12 OZONE
*hadJulia, I gotta say thanks for your 2 Cents in the April issue. I once
a mag, and your words were very inspiring. You’re the shit, keep
up the fantastic work.
– Victor Walker, victorwalker@tmail.com (Jonesboro, GA)
* JB, I just read your 2 Cents for the May 2006 issue. This really
hit home: “Sometimes you get so caught up in the daily grind that
you forget what you were working towards in the first place.” I don’t
usually write or respond to editorials (in fact, I never have), but your
words inspired me to pick up my blackberry and just start typing.
Your words also forced me to reflect on my daily grind and accom-
plishments over the past few years. I too stand a different person
and for me it’s not about the end result of the money or the fame,
it’s about the process of getting there! Keep pushing and remaining
true to your grind. There will always be setbacks and obstacles in the
way, but remember, it’s about the process of getting there that makes
it all worth it!
– Albert “Big Al” Sye, ssp@nextel.blackberry.net
*youThanks for your 2 Cents in the four year anniversary issue, where
said it’s not about being rich it’s the process of getting there. I
was going through some real hard times, questioning my career path,
my goals, my dedication, and my decisions. I was thinking about just
giving it all up. Your words helped mea lot. Keep doin’ it, I’m ridin’
with you.
– Eddie DeVille, eddiedeville@tmail.com (Houston, TX)
* The mag is hot. I know you guys will go a long way. And to JB,
thanks for giving the real game up on publishing your own mag. I’m
not going that route but your 2 Cents was what I needed to read at
the time. It helped me a lot when you said, “Don’t be afraid to start
small.” You’re right, I think folks should focus on their hometown if
the market is there. When you get a cool buzz there, then you branch
out. The things you were saying made me think, Damn, I’m on the
right page. So thanks again, JB! And to the whole OZONE staff: You
guys are the shit!
– Mico Chisolm, mico_chisolm@blockfilms.com
* I loved your new interview with Plies! He was running all around the
questions you were asking about him being a school boy! He is the
true definition of a studio gangsta. If you want to sell magazines, do
an article on rappers who rap about lies. Plies was a high school grad
from Fort Myers High School with AB honor roll. Then he went on a
football scholarship to University of Miami (Ohio) where transferred
to USF in Tampa. His older brother was in a Federal prison for three
years while Plies (Algernod Washington) was living in Tampa going
to school part time and promoting parties. When his brother Ronnell
came home from Federal prison they started with this company Big
Gates Records, that’s in some white chick’s name – Kimberly Knorr!
Plies was never indicted. He never sold drugs or anything like that.
He was a college boy, and that stuff he said about him having seven,
eight cars is so bogus. His brother was the d-boy and had a car or
two, but never like that. He might not do another interview with you
now that he’s been exposed! And ask him how he got off a Federal
indictment? That’s the most bogus shit I’ve ever heard in an interview.
Come to Ft. Myers and go to the hood and ask around about Plies
or “Nod,” that’s what we call him. People are gonna laugh so hard,
because everyone will tell you that he’s a school boy rapping about
somebody else’s life but surely not his. Man, there are some really
good rappers in Ft. Myers, but Nod is not one of them. People won’t
even take his CDs for free here because we all know he is a liar.
– Jessica Freeman, standupred@yahoo.com (Ft. Myers, FL)
* I read your interview with Plies, the fakest nigga rappin’. Look, you
can call me a hater or whatever, but real niggas from Ft. Myers are
sick and tired of holding their tongue about this nigga Plies. Do your
research if you wanna know about Plies. Plies was never a dope boy
at all. He’s never sold an ounce, trust, and he’s certainly not a killer.
I guarantee you, not one nigga in Ft. Myers will vouch for one thing
gangsta that Aljernod Washington has done. Come on, man, look
up his arrest history. This dude doesn’t even have speeding tickets.
Don’t get me wrong; niggas fuck with his music because he accu-
rately speaks on what happens in the city and his brother is g-code,
but Plies is the exact opposite of what he says he is. Take it from a
nigga who came up with him. Come on, OZONE. Does “My brother
OZONE 13
feedback
took a charge for me” sound believable? Does “I’ve survived seven
indictments” sound believable? He takes this street shit for a joke and
it’s disrespectful to the niggas who have bled on this turf down here
and are doing a hundred years. He shoulda been on some hoe shit,
because Plies always has bitches. But made niggas don’t give a fuck
because he’s only as raw as his brother made him. Any money he had,
his brother gave him. He shoulda been on some Kanye West shit,
talking about dropping out of college. Speaking of college, he went to
two: Miami of Ohio and USF. If you want to know more details about
this, come down to the streets of Ft. Myers and we’ll give you the most
interesting story you’ve heard. It’s guaranteed to move off the shelf.
– Madagascar Jenkins, ftmyersboss@yahoo.com (Ft. Myers, FL)
* When is the Midwest gonna get our turn? Y’all are doing your thing.
I like everything about the magazine. But once again, the Midwest
don’t get no love! I don’t know if you ain’t looking, but let me put you
up on some game. There’s more to the STL than Nelly, there’s more
to Chicago than Kanye West and Twista, and more to Cleveland than
Bone Thugs. Just because we snap when we spit does not mean we
all sound like Bone or Twista. The mad-ass Middle, we’re tired of being
ignored!
– Jesse James, jessejames314@aol.com (St. Louis, MO)
* I just copped my first issue of OZONE today and I see that y’all are
doing y’all thang for real! Keep that success coming! Y’all gave me a
lot of motivation seeing the artists you have in this mag, because I’m
a young entrepreneur running a record label and I also make beats.
But the main reason I’m emailing y’all is replying to Saigon’s inter-
view. That nigga was telling the truth on a lot of shit, for real, as far
as the black community and what we need to be doing to make a
change. Big ups to that nigga! You got a lot of respect from niggas
here! OZONE, y’all keep getting rich.
– DJ Slim Smoove, efreezyfresh@aol.com (Saginaw, MI)
*ing JB. I just read your interview on allhiphop.com. I remember see-
your magazine years back and being like, Damn, this is definitely
South and dirty dirty! And then seeing the white girl running shit and
doing her thing and making me proud. I think you’re really holding
yourself down and taking all of the proper steps, especially with this
Benzino thing. It’s been really beautiful to see where your mag came
from and then to see Paul Wall repping for you in Rolling Stone! Con-
grats on the mag.
– Samara Goldhecht, samara.goldhecht@palms.com (Las Vegas,
NV)
* Your mag is the shit! You’re really doing your thing. I remember it
from when I was in West Palm to Miami and back to Atlanta. This pub-
lication has grown tremendously. Congrats and keep it up!
– Lori Hall, lhall@radio-one.com (Atlanta, GA)
*tears.
I’m in love with your photo spread in the May issue. I’m almost in
You’ve really inspired me to keep shooting and never stop.
– Duane Johnson, duane@nulookmag.com
* Congrats on the distribution deal! It’s well-deserved. Benzino tried
to put an end to OZONE but that kicked him in the ass. I wanna thank
y’all for the DJ issue and for putting both of my squads in it, Bum
Squad DJz and the Hood DJs. Even though I’m a NY cat, I still fucks
with OZONE. It gives a lotta insight on Southern artists, established
and upcoming. Keep up the good work!
– DJ L-Gee, djlgee@tmail.com (NYC)
*the OZONE is a wonderful publication, and I look forward to getting
new issue every time it comes out. The articles and interviews are
always on point and really cover what people want to know instead of
things a lot of other writers just use as filler to make a story.
– Brandon Porter, cmrecordpoolmp3@yahoo.com (Mobile, AL)
* Yo, just wanted to reach out because I picked up the latest URB
Magazine, with the Power 100 in it. Lo and behold, what do I see?
OZONE, one of the top publications to check for! Big congrats on that!
Also, what happened to the “caffeine substitutes” in this past edition?
Didn’t see that in it. Hope that doesn’t turn out to be a monthly habit,
haha. Anyway, keep up the good work.
– DJ Southpaw, djsouthpaw40@aol.com (Ft. Myers, FL)
14 OZONE
*100,000
I’m the program director for 96.3 WJIZ in Albany, GA. We’re a
watt hip-hop and R&B station that reaches South Georgia,
North Florida, and Southeast Alabama. Our listeners love your maga-
zine. We give them away on the air and at live remotes. We’ll con-
tinue to support your magazine, because we find valuable info about
groups and artists. There are groups that have songs that seem to
grow on their own. OZONE has helped me connect with a lot of these
artists who we’ve read about in your magazine. Thank you a million,
OZONE. Keep up the good work!
– Jammin Jay, jamminjay@clearchannel.com (Albany, GA)
* I received the March and April issues of your magazine and I’ve
never seen anything like it before. All the interviews are up front, no
B.S.ing. I loved the Houston All Star special edition. It was fly. I’m a
full-fledged Houston fanatic, and to see them get the attention they
deserve (especially Bun B) is great. Keep doing what you’re doing
with your magazine, because it sure is working! I can not wait to get
my next issue. Plus, this may not mean much to you now, but with all
the rulings in court, I don’t think you need to worry about Ben-ZiHo
no more! He is out of The Source for good, which is a good thing,
cause honestly I’m ready for The Source to be a good read again.
And you don’t even need to worry about any competition, because
you’ve pushed your magazine so far ahead of the game that they can
not touch you. I would love to see any of those New York magazines
get the exclusives you get. Just thought I would drop you a line and
let you know how great you are doing (like you need someone to tell
you, I’m sure your pockets runnin’ deep now are evidence enough).
Thanks for the good interviews. Make sure they keep coming!
– Shannon Gleason, shannon.gleason.qb5p@statefarm.com
(Bloomington, IL)
* I read your April 2006 issue. Maurice Garland did an excellent job
on covering and giving the Bay area some exposure.
– Dennis, pimptight407@cs.com (Orlando, FL)
*hopEvery event I go to, JB and OZONE are working hard to bring hip-
and R&B to the forefront. Also, I would like to thank JB for taking a
picture of me and my group Street Villanz and letting me get a picture
of her at Da Splitta party in Daytona. Out of all the magazine editors
I’ve met, she was the only one to ever do that! Crazy, isn’t it? When
are you gonna do a spotlight on Tampa Bay? We got heat too!
– Ernest Mingo, tmingo2@verizon.net (Tampa, FL)
* I read your article about pimps and hoes in the 2005 sex edition. It’s
time for all responsible representatives of our culture to reach out to
our confused children and educate them concerning one of the great-
est misconceptions affecting black communities across the country.
The glamorization of pimps in movies, radio and curbside is a great
injustice to young society. A pimp is nothing more than a leach that
preys on our women and children, so let’s stop promoting these buf-
foons in now-and-later gators. I’m concerned about the truth.
- Queen Jullia, QueenJullia@hotmail.com (NYC)
*thatThe OZONE Awards are a good look for Orlando. All them cats
be talking about how you don’t help Orlando are just hating. I’m
happy for how far the mag has got. I remember when Pimp G first
gave me an OZONE in 2003 and I was like, “Cool, some new shit
from Jax,” only to find out it was based in Orlando. But now I don’t
have to travel to New York or ATL to attend an award show like I did
for the SEAs. Hopefully it can blow and BET or MTV starts showing
it, or fuck it, OZONE just gets their own channel/network. I’m still a
subscriber and I see you getting with New York and Cali. That’s cool,
cause when the Awards go down you gonna bring all them mutha-
fuckers to Florida.
- Flydcgi, flyiguy@yahoo.com (Jacksonville, FL)
Corrections: The photo of Pimp C on page 115 of the May 2005 is-
sue was taken by King Yella; the photo of Sam Quinn on page 52 of
the April 2006 issue was taken by Joey Colombo; and we incorrectly
labeled a photo of So So Def’s SunN.Y. with his labelmate T Waters’
name on page 37 of the May 2005 issue.
Hate it? Love it?
Send your comments to feedback@ozonemag.com
OZONE reserves the right to edit comments for clarity or length.

10 Things I’m Hatin’ On
By Roland “Lil Duval” Powell
Disclaimer: This is really what everybody else is say-
in’. I know I’m dead wrong, but I’m hating anyway.
1. Myspace.com
I went to R. Kelly’s page and there was
nothing but 13 year olds in his top 8. LOL
(It’s just a joke.)
2. Red Monkey Jeans
There is no way in hell I’m gone pay
$900 for some jeans when I can get two
for $50 at Old Navy.
3. Anybody Hating On The South
I hate to be the bearer of bad news, but
all that its-just-our-time and it-will-come-
back-round-to-y’all shit ain’t happening.
You arrogant niggas never realized that
we were the ones buyin your records be-
fore. We got tired of y’all not showing ap-
preciation to us. Now that we’ve learned
the game, we don’t need y’all. Y’all need
us. So keep hatin’; we really don’t care.
4. “KILL YO SELF!!!”
Everybody knows I’m the one that got all
y’all saying that. And if y’all don’t know
that, kill yo self!
5. Bullshit Clothing Lines
Just ‘cause you put glitter and rhine-
stones and paint on a shirt, that don’t
make your clothing line different. There’s
a nigga like you in every city.
6. Niggas Wearing Thongs
If I catch any nigga in Miami for Spring-
fest or Memorial Weekend in a thong wit
they shirt off, I’m gone personally slap
the shit out of ya.
7. Deal Or No Deal
Where does this TV show get their con-
testants? They have some of the dumb-
est people on there. I was watching it one
night, and they offered this girl $900,000.
She said “no deal” and ended up leaving
with $13,000.
8. Movie and TV Execs
I’m hating on them for sleeping on me.
The reason why a lot of their shit flops
is because they don’t know what people
find entertaining.
9. Lil Kim
Am I the only one wondering how she
looks in jail since she can’t have a make-
up artist in there?
10. Kimora Lee Simmons
I never did like her. Any real nigga could
see that she ain’t shit but someone who
manipulated her way into the right nigga
and came up. But then again, I shouldn’t
hate the player; hate the game.
jb’s2cents
“I get knocked down, and I get up again/ You’re never gon-
na keep me down,” corny, I know. Some old Top 40 joint,
by Chumbawumba (I had to look it up). I’m sure none of
you are Chumbawumba fans, and neither am I. But at 5
AM in this particular Wal-Mart, buying toothpaste and socks
because some fuck broke into my truck and took all my
shit, this cheesy pop hook coming over the intercom seems
strangely appropriate.
When the little Benzino incident happened, a friend sent me
this book called The 33 Strategies of War, which I’ve been
slowly reading on my flights. Great book, but I’ve come to
realize that most of the strategies are ones that I already use on a
daily basis. I’m built for war. I don’t have to read a book to know
how to win.
But here’s the problem: the most destructive “battles” we fight
aren’t against one specific person or enemy that we can look in
the eye. The book correctly points out that we are our own worst
enemy. But aside from ourselves and our own weaknesses and
vices, the biggest struggles we face are lack of funds or lack of
Tampa Tony and I @
Fuel in Daytona Beach resources, racism or stereotypes, and other vague unknowns. Our
real enemies are the credit bureaus, the repo man, the landlord,
the cop that won’t give you a break, the bitch that your live-in boy-
friend cheated on you with (on your birthday), the roommate that
didn’t pay the utilities bill, the hard drive that dies for no good rea-
son, Sprint PCS customer service, and other unknown assailants
like the previously mentioned fuck that robbed me. When you can’t
stare down your opponent one on one, it’s an unfair fight. So what
can you do but get knocked down, and get back up again?
Although a stolen laptop can be replaced, my SXSW pictures are
Me, DB, and the entire
Duval County @ Kartouche gone. DJ Khaled’s video shoot pictures with damn near every rap-
per in the South are gone. The exclusive pics from T-Pain’s remix
video (with R Kelly, Pimp C, Paul Wall, MJG, Twista, etc) are gone.
But even if I lost every material thing tomorrow, I’d still have my
name and my relationships and my experience, which are really
the most valuable things l own. So God forbid I ever have to start
over from scratch in this business, I could. Although I’m not sure
I’d want to.
The point is this: see, you can try to rape me, or turn off my power,
or disconnect my phone, or break my car window, or key my truck,
Lex is always hitting
me up for a loan every or drill a hole in my Tahoe, or break into my Suburban, or steal my
time I come to Miami luggage, or spill a drink on my camera, or cash fake checks in my
company’s name, or sue me for some bullshit, or call me a “slut
monkey,” or refuse to pay for your ad, or borrow money from me and disappear. You still
can’t stop me. Keep trying to fuck with me – yes, I’m mad, and I’m talking to all of you - and
you’re only helping me become more focused, more driven, and more efficient. In fact, you
might fuck around and inspire me to add two more SUVs to the OZONE/CRUNK!!! fleet,
move to a bigger office, add four more special editions, and create a magazine for Camron
- like I did this month. Oh, I’d also like to point out the fact that OZONE had more pages last
month than The Source. And as for that other little magazine trying to play editorial games
with me... LOL. No free pub for you til you get on my level. Get your weight up. I rule.
And yet amidst all the craziness and the threats, I only have one fear: I’m always afraid I’ll
run out of things to write about. And yet it never seems to happen. This, my friends, is the
greatest issue of all time. Anyone who tells you differently is a liar. And for once, I didn’t do it
all myself. We got a lil’ squad now. Shout out to Maurice who orchestrated our 20 Essential
Southern Albums list. I’m slowly subtracting myself from the equation so enjoy my brilliance
while you still can. :)
- Julia Beverly, jb@ozonemag.com
Lil Scrappy “Beatin’ Down The Block”
E-40 f/ Keak da Sneak “Tell Me When To Go”
DMC f/ Sarah McLaughlin “Just Like Me”
jb’splaylist
Ricky Fante f/ Isaac Hayes “It Ain’t Easy”
Chamillionaire f/ Trae “Ridin’ Dirty (remix)” Lupe Fiasco “Kick Push”
Bohagon f/ D4L & Crime Mob “Wuz Up” Plies “Bid Long”
Juvenile f/ Ludacris “Pop You” Natasha Bedingfield “Unwritten”
Webbie f/ Pimp C “Like Dat (remix)” Trae “Swang”
OZONE 17
groupieconfessions
Disclaimer: These “groupie confessions” are anonymous, so we cannot verify if they are true or not. All details (cities, club names, hotel
names) have been removed. These stories do not necessarily represent the opinions of OZONE Magazine. These stories did not necessarily
occur recently, so if you are currently seeing one of these fine gentlemen, no need to curse him out. These stories are from different women.
If you have a celebrity confession, send an email to feedback@ozonemag.com or call 407-447-6063 to tell your story.
Slim Thug
How did you meet Slim Thug?
I was invited to come to [another city] for a
concert with my friend who was talking to
Mike Jones. We got on the road and once we
got there, met them at the hotel and checked
VOLUME 11
into the room. From the jump, they tried to
hook me up with Mike’s lame-ass friend Mel-
lo. I definitely was not feeling him, but I was
trying to be nice so I talked to him. We went
to the lobby to talk to Mike and his crew, and
when we got on the elevator it stopped on the
floor below us and Slim Thug got on with one of his friends. So we got
off the elevators and waited for Mike and them to come down. When
they came down, Slim Thug got in the limo with us.
So you were feelin’ Slim Thug?
Yeah, when we got in the limo we were talking and he was obviously
flirting. But then came Mello talkin’ about, “Come sit next to me.” So
I went to the other side of the limo and sat with him and tried not to
talk to him or look at him the whole way. When we all started drinking
– except for Mike who doesn’t drink or smoke – I finally got to talk to
Slim and he was flirting with me.
Doesn’t he have a girlfriend?
I asked him about his girlfriend, the singer LeToya Luckett. He said
that they’re not together anymore. I think he was lying, but I didn’t
care!
Did he tell you why he was interested in you?
Well, he was like, “You see these girls all on me. They all tryin’ to come
to the room, but I don’t want none of them. I want you.” He whispered
his room number in my ear.
What made you decide to go?
Well, like I told my friend, “I ain’t never done nothing like this before,
and I would hate to be a groupie.” She was like, “Girl, do whatever you
want.” So I kept thinking about it as I sipped my fourth Grey Goose.
We all rode back to the hotel, and I remembered I was supposed to
be staying with Mello. But I decided to go with Slim. He was sitting at
the other end of the limo and as he got out he gave me this look, like,
“You better be at my room!”
How did you get away with that?
Everyone else decided they wanted to get something to eat so I
played it off as if I was tired and was gonna go to the room to lay
down. Mello gave me a key to the room and I went to his room and
called Slim. I was so drunk I forgot the room number, so I called a few
different rooms before I got the right one (laughing).
So what did he say when he answered the phone?
When he answered he was like, “What are you waitin’ on? Come up
here.” At first I was kinda offended, like, he knew I was gonna come to
his room so maybe I shouldn’t go. But I didn’t want to get stuck with
this lame-ass nigga so I got my stuff and went up to his room.
What happened once you got in the room?
He answered the door in his boxers and as soon as I got in there I
started taking off all my clothes. I don’t know why, I guess it was the
adrenaline rush or maybe the Grey Goose. He threw me on the bed
and that turned me on even more. We fucked for like an hour, and it
was a good hour too. That brotha surprised me. I thought it was go-
ing to be like two minutes because I’m sure he gets some often, but
actually it was good.
Okay, so what’s he working with?
Yeah, he’s tall, but that doesn’t mean he’s mandingo warrior or any-
18 OZONE
thing. He’s just right, not too big and definitely not too small.
Did you stay in contact with him?
Nah, we never talked after that. That was just a one time thing, I was
trying something new. I don’t think I will ever do that again! I don’t
consider myself a groupie. I did not try to holla at him, he approached
me!
Plies
How did you meet Plies?
I met him when he came to [my city] and did a show. I was on stage
when he was performing. After the show, he had security come get me
off stage and I went backstage.
Were you into him before you met him?
Yeah, I been knew of him before but I never knew him, knew him. I
went to a couple of shows that he had did before.
Once you got backstage, did you talk to him?
Naw, he was just chillin’ cause the cameras were on. Then he asked if
I wanted to go back to his room.
Do you like him, or were you interested mostly because he’s a
rapper?
Oh, I like him.
So once you got to the room, you kinda knew what was about to
go down.
Yeah. When we got back to the room we were chillin’ at first, but I
stayed the night with him.
So, you know, Plies always has a lot of female fans tryin’ to grab
at him at his shows and stuff like that. So what’s the word on
Plies?
Oh, he’s good, he’s a ten. He don’t try you. If you don’t want to, he
don’t make you. He didn’t come off at me in any kinda way. I really
have nothing bad to say about him cause he’s not like that. He’s kinda
laid-back, he don’t try to make you do nothing.
He’s a short dude though.
Yeah, but he was actually big. I didn’t think he was gonna be like that.
So do you kick it with him on the regular or was this a one-time
thing?
I went to see him for the weekend after that. We talk all the time. He
don’t treat me like, I’m gonna call you whenever I want some. He don’t
treat me like that. He real cool. I thought it was gonna be different at
first. But he’ll have somebody come get me and bring me to them, and
I’ll be chillin’ with him and his people.
Did you ask him if he has a girlfriend, or you didn’t talk about
that?
We don’t really talk about that. He just told me that he has a baby
mama and that was it.
Is there anything unusual that he does in bed?
Plies got his own thing going on. He likes the lights on. He likes to see
everything and look at everything. Before he about to nut he take his
condom off. Every time, he always take it off so he can see it coming
out. He do it every time.
Did he tell you why he’s into you?
Plies said that I’m real pretty and cool, and I can hang with the fellas.
Some girls wanna be all up on him, and I don’t be doing all that stuff. I
just be chillin’. I’ll be in the room while he goes to do whatever he has
to do, and I’ll stay in the room til he comes back.
 01: Trey Songz and DJ
Drama @ Visions for T.I.’s
King album release party
(Atlanta, GA)
02: Plies performing @
Icon (Orlando, FL)
03: Voc, J-Bo, Latrella, Jap
Nasty, and Chris reppin’
OZONE @ Action Pak car
show (Ocala, FL)
04: Triggastate Trendset-
ters @ Firestone for DJ
Nasty’s bday (Orlando, FL)
05: DJ Dap, Keith Ken-
nedy, Too Short, and TJ
Chapman @ The Moon for
TJ’s DJ’s (Tallahassee, FL)
06: Yogi, Greg G and Spi-
der @ Icon (Orlando, FL)
07: PBG and Jay Love @
Icon (Orlando, FL)
08: Ryno and Raekwon @
SXSW (Austin, TX)
09: Lil Shawn and Sir
Knight Train @ 95.3 car
expo (Orlando, FL)
10: Webbie @ Jackson
State (Jackson, MS)
11: Sandman and Talib
Kweli @ The Masquerade
(Tampa, FL)
12: Pat Nix and Mercedes
@ Whispers (Orlando, FL)
13: Owen B, Wicked D,
and Krazy Yogi @ Fires-
tone (Orlando, FL)
14: DJ Demp and his sister
@ Kartouche for David
Banner’s birthday party
(Jacksonville, FL)
15: Kurupt and DMC @
celebrity football game
(Miami, FL)
16: Young Cash and DJ
Khaled @ DJ Nasty’s birth-
day party (Orlando, FL)
17: Smoke D, David Ban-
ner, and Aziattik Black
reppin’ Da Sipp (Jackson,
MS)
18: Reppin’ OZONE @
The Roxy for Upstart
Record Pool meeting
(Jacksonville, FL)
19: Big Tuck, guest, Tum
Tum, and DJ Tantrum @
The CORE DJs conference
(Houston, TX)
20: Disco, DJ Khaled, and
DJ Nasty @ Firestone
(Orlando, FL)
21: Tony, Anthony, Lloyd,
guest, Dominique, and
Jas on the set of Pimp C’s
“Pourin’ Up” video shoot
(Houston, TX)

Photos: Ashlee Brathwaite

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

OZONE 19
r.i.p. by Wendy Day

Proof That He Was Alive

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

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

Proof was energetic, outgoing, and spoke his mind. He reminded me

of a little Muppet character. Always happy, always entertaining, always
moving—especially when everyone else around him was tired. He was
always so alive and energetic.

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

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

I saw Proof in July in Atlanta. I was backstage at the Anger Manage-

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

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

Except maybe last night. He was gunned down in an afterhours club

on Eight Mile in Detroit. Yes, that 8 Mile - the one his best friend made
world famous in a film by the same name. More senseless violence.
More Detroit shit. Apparently they caught the dude who shot him.
That’s a first.

I remember a story Trick-Trick told me in September while we were in

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

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

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

- Wendy Day of Rap Coalition (mathematics@rapcoalition.org)

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

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

Photos: Charles Reece

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

OZONE 21
chincheck by Charlamagne The God

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

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

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

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

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

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

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

I was so disappointed. If that’s what Ghost wears under his robe,

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

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

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

MEMO TO ALL ARTISTS: Image is everything, and song selec-

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

- If you would like to tell Charlamagne The God that he is an

idiot, email him at cthagod@gmail.com.

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

Photos: Greg G (18); Edward

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

OZONE 23
mystory
A-Town Down:
The Bishop of Crunk Speaks On The Accident That Killed His Girlfriend, Legion of Dymes Model Brianna “Chyna” Bowen
On March 3rd, 2006, Atlanta’s channel 11 Alive TV news reported,
“An accident in which an SUV flipped, killing a 21-year-old woman
on I-75 southbound in Fulton County early Friday, is linked to a
triple shooting at a nightclub on Marietta Boulevard.” Twenty min-
utes after three people were shot in the parking lot of Northwest
Atlanta strip club The Body Tap, a Toyota 4-Runner flipped over on
I-75. 11 Alive’s report continued, “The driver of the Toyota, Jarreau
Turk [a.k.a. “The Bishop of Crunk”], has been charged with homi-
cide by vehicle in the second degree, failure to maintain a lane,
driving with a suspended license, and possession of marijuana.”
Here, the Bishop of Crunk tells his side of the story:
I
’m the Bishop of Crunk, from the Streets of the A. I don’t have a job
title, cause a job is something you have to work at. I love what I do.
I do it for the people, my home, the A-Town. I’m a one-man promo-
tional team, a manager, a producer, a rapper, a radio salesman, an
actor, a comedian; you have to be multi-talented.
I work with [WHTA] Hot 107.9 on 80’s night every Thursday, and that’s
where I was the night of the accident. My business partner Chyna, who
is also my lady, was with me. I didn’t know nothing about the shooting
[at Body Tap] until after I was incarcerated. I was in a car accident that
night. My girl was driving, and we didn’t get a chance to say anything.
I got arrested while I was in the hospital, heavily sedated. The police
never came to the scene of the accident. I wasn’t told anything. I was
told to shut up. [After I went to jail] my lawyers came in, and I went
to the courtroom four times. Each time I got [to the courtroom] my
charges were less than the first time I got there. By the fourth time, I
walked out on a signature bond.
[On the night of the incident] we had left Vegas Nights and went to
Body Tap, which was a pre-planned situation. By the time we left, Chy-
na was the only one up enough to drive, period. The car flipped over.
I don’t even know exactly how I got out. I guess it was by the grace of
God. Everything just happened so fast, you can’t really explain it. I still
get flashbacks. By the time I realized that the car had flipped over I was
out of it. I rolled maybe five or six yards, just tumbling. It wasn’t just me,
but the three other people that were in the accident.
By the time somebody came up [to help us], I was walking across
the highway with my socks all bloody cause I’d landed on my feet.
My shoes came off, and my seatbelt had popped. I don’t know how it
happened. So I’m outside the car looking for Chyna and I realize that
Chyna’s in the middle of the road. I got picked up by somebody that
went to school with me and we went straight to Piedmont Hospital.
When I got to the hospital [Chyna] was breathing. I had gave her CPR.
They took her out of my arms and started running questions at me.
By that time, I was gone. It wasn’t much I could tell anybody. I’m look-
ing at my girl on the table and I’m in a situation that I can’t have full
understanding of because I’m not in control of it. They pull me out and
try to strap me to a bed. The only thing wrong with
me is my feet, but I guess they figured I could’ve had
a broken neck or something. The nurse is slamming
my head into this neck brace. They put me on this
bed and heavily sedated me with gas. So as I’m going
down there’s a police officer working at the hospital,
and I ask him, “If this is against my will, or if I refuse,
is it against the law for them to do what they’re doing
to me?” He said he didn’t have nothing to do with that
and walked out.
By the time I came to, I realized that my pants were
cut off, my ID was gone, my cell phone was gone,
and my camera phone was gone. They billed me for
$1,300 and told me I had to be transferred to Grady
Hospital, and my girl had just died. I sat there for
two or three hours in a wheelchair, waiting on a car.
I thought I was going in an ambulance, but they put
me in a squad car. When I got to Grady they strapped
me to a bed and I found out that my foot was cracked.
24 OZONE
They never read me my rights. I never knew I was going to jail. I was
being treated unjustly. Let’s blame it all on the Bishop of Crunk, cause
we’ve got other rappers out here thinking they’ll get away with stuff.
I don’t know who was involved in the shooting [at Body Tap]. Every-
body in the A knows that I don’t have to carry no gun. My reputation is
what it is in the streets. I’m a people person. This is the South, South-
ern hospitality. This is the new A, this is a revolution where we work
together, not against each other.
[The police thought I was driving] because somebody in the car was
in the wrong. It was basically somebody trying to stay out of jail. When
the car ain’t yours, it’s your parents, and you think that somebody’s
gonna get arrested and be gone forever, you’ll say whatever you need
to say to get out of that situation. While I was in jail God brought to me
Luke 17, and he calmed my nerves to understand the situation. Luke
17 says, “If thy brother rebuke thee seven times in the day, forgive him
seven times seventy.” See, that’s a lot of times to rebuke somebody
that’s hating on you. So I had to forgive them.
At first I was charged with vehicular homicide in the first degree, which
is a felony. When you’re charged with a felony you can go up the
stream for it, for a long time. Then they dropped it down to second de-
gree vehicular homicide. As far as the charges , my lawyer is handling
all that. I haven’t even got a court date yet.
God is walking with me in this situation. I don’t have nothing to do
with any violent situations. I’m crunk, but I don’t get drunk. That night,
I didn’t drink. That night I wasn’t even smoking. I heard rumors that I
was doing a lot of other things, but that’s not my thing. I don’t pop pills,
I don’t snort, I don’t do none of that. [I heard rumors] that [the police]
found cocaine on me. You can’t find cocaine on the Bishop of Crunk
cause he don’t do that. Bishop is crunk. He exuberates energy at his
excellence, but he’s not ignorant or stupid.
I lost my mother and my father when I was young. They were won-
derful people. Sometimes God does things in your life to make you
stronger. My girl meant a hell of a lot more to me than anyone else in
this world will ever know. Chyna was the mirror image of the Bishop
of Crunk. We could walk into a party and crank it up, without being
heavily sedated. This is where people get it twisted: we can come in
the club and people are gonna instantly have a good time. That’s what
we do to the game. We bring good times to the club. We don’t bring
havoc or violence to the club. Getting crunk is like catching the Holy
Ghost. From promoting to entertaining to hosting parties to catering
parties to catering fashion shows, me and Chyna are non-stop. I can
understand how a person could point the finger at Bishop. But when
you point the finger at Bishop, how many fingers point back at you?
At the end of Luke chapter 17, God says that when a life is lost, an-
other life is preserved. So in this situation, my life was the one that was
preserved. It’s hard when you lose somebody and you’ve lost a part of
you. You love your momma and your daddy for being
the ones that teach you and help you develop, but
when you lose somebody that you love and are com-
mitted to, it’s different. Sometimes I wish he would’ve
took me. How could you take somebody like Chyna?
But he told me, “I’m the Alpha, the Omega, I heal, I
make better. There’s no death in my Kingdom, there’s
eternal life.” So I can’t do nothing but accept that he
took her and not me.
It’s hard for me to walk out in the public eye and be
the Bishop of Crunk and crank it up. Crunk is the exu-
beration of energy, but my energy isn’t the same as
it was in the beginning because somebody’s trying
to suck the life out of me and put me in a situation
I’ve never been in. I just lost somebody really close to
me, and I don’t understand why I’m always targeted.
Maybe it’s because I do what the Lord asks me to do.
- as told to Julia Beverly
 01: Baby D and Frank
Ski @ Visions for T.I.’s
King album release party
(Atlanta, GA)
02: Webbie, King Yella,
and Lil Boosie (Baton
Rouge, LA)
03: PK, KC, and Southstar
@ Firestone (Orlando, FL)
04: Guest, Plies, and
Cedric Walker @ Club 238
West (Gainesville, FL)
05: Bobo Luciano and
Pimp C @ Nexxus Media
Studios (Dallas, TX)
06: The Product @ SXSW
(Austin, TX)
07: Oozie, Alex Gidewon,
and a friend @ Visions
08: Choppa @ SXSW
(Austin, TX)
09: Ms Cherry and Big T
@ Visions for T.I.’s King
album release party (At-
lanta, GA)
10: Big Teach and DJ
Nasty @ Firestone for
Nasty’s birthday party
(Orlando, FL)
11: Skai and Hutch Daddy
Dollars reppin’ OZONE @
The Moon for TJ’s DJ’s
(Tallahassee, FL)
12: Pupp and Keith Ken-
nedy @ The Moon for TJ’s
DJ’s (Tallahassee, FL)
13: David Banner and Stax
@ Birdland (Jackson, MS)
14: DJ Buddha and his
namesake (Orlando, FL)
15: Lil Wayne and Baby
on the set of DJ Khaled’s
“Holla At Me” (Miami, FL)
16: Erica Morton and
Devin the Dude @ Studio
7303 (Houston, TX)
17: Jon Caramanica rollin’
in the OZONE/CRUNK!!!
truck (Houston, TX)
18: Julissa and DJ Prostyle
@ Metropolis (Miami, FL)
19: PK, Southstar, Smilez,
and Tony on the set of “U
Know” @ Icon (Orlando,
FL)
20: Eddie DeVille, DJ
Quote, Michael Watts, and
Trae @ The CORE DJs
conference (Houston, TX)
21: J Kelly, Dela Candela,
and Young Cash @ Kar-
touche for David Banner’s
birthday party (Jackson-
ville, FL)

Photos: DJ Quote (20); Edward

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

OZONE 25
mystory
Second Chance: BloodRaw Acquitted Of Federal Drug Charges In Panama City, FL
Representing Panama City, FL, Bruce “BloodRaw” Falson spent
most of his teenage years in and out of prison and served a six
year sentence for drug trafficking. Released at age 21, he decided
to turn his life around and pursue a music career. He generated a
heavy buzz on the underground circuit with records like “Repre-
sent,” “My Block Burn” featuring Pastor Troy, Grandaddy Souf’s
“Gameroom” with Three 6 Mafia, and Zay’s “Pump Yo’ Brakes”
featuring Lil Jon, landing a deal with Young Jeezy’s CTE label. In
addition to his solo deal with CTE, BloodRaw is a member of the
group USDA, which is signed to Def Jam.
BloodRaw was acquitted of Federal drug charges on April 5th,
2006. Here’s his story:
I
was arrested the day before I was supposed to leave to go to Europe
[on tour with Young Jeezy]. Me and my brother Slick Pulla stopped
by the passport office. When I went to the passport office and pulled
into the parking lot, being from the streets, I watch my environment. As
I was getting out of the car, I saw three different strange vehicles, and
all the vehicles had four people in them. That ain’t common.
As I’m walking up the stairs to the passport office, a lady comes out-
side and she’s acting all nervous. She’s like, “Are you here for your
passport?” and I told her my name. As I’m talking to her, I see the U.S.
Marshals get out of the car. I open my phone and get ready to call
my sister. As I’m calling my sister and walking in the door, they walk
in, grab my phone, shut the phone off, and ask me what my name is.
They took me into custody. I went to the Atlanta penitentiary, and they
told me what I was charged with. It was a charge in Panama City: con-
spiracy to distribute five keys of cocaine and fifty grams of crack. They
had been investigating during a five year period of time, since 2000.
I was transported to Tallahassee, where I stayed until a week before
my trial. I went to trial on Monday [April 3rd, 2006]. They used some
of my song lyrics during the trial; they used some names I mentioned
and tried to say that they were my co-conspirators. On one song, I had
named 20 names, and they picked out three names. They just took the
names that they wanted to take and said them to the jury. They also
tried to use the lyrics to some of my other songs [like “Indictment Pa-
pers”] against me, but they couldn’t use them because it hadn’t been
presented as evidence when the trial first started.
The names that I said in the song were supposedly my co-conspira-
tors. [The prosecution] said, “These guys that he named in this song
were part of this conspiracy.” Ten dudes got on the stand [and testified
against me]; some of them where the names I said in the song. My lyr-
ics are real; I don’t rap about nothing that’s fake. There was a point in
my life when I really did [the things that I rap about]. But I wasn’t guilty
of the crime they were charging me with. I never said that I never sold
drugs, but I’m not guilty of the things they charged me with.
I would’ve never done a song called “Indictment Papers” if I didn’t feel
that in my heart. I knew there would come a time I would have to go
through something pertaining to my past; in the city where I’m from,
they don’t want to see you make it. When I did the song, I didn’t know
that I had indictments coming. So it had to be God who put that on my
heart. Anytime you’re dealing with a situation that no man can get you
out of, you have to put your trust in God, and that’s really what I did.
I was facing a minimum mandatory life sentence because I had two
prior drug convictions. I didn’t even know until after the trial that they
had offered my lawyer a twenty year plea bargain.
I put my trust in God with my whole situation and gave him my career.
It wasn’t even about me. Whatever time I’m facing, I could do. But my
family can’t bear it. My sister can’t bear it. I changed a lot of people’s
lives during my time of coming up in the rap industry, and I have a lot
of people depending on me. I prayed to the Lord and I told Him: “You
know my heart. You know what I’ve really been doing. You know my
intentions and everything I’ve been working hard for. If you want me
to do time, that’s no problem. But if I’ve got another chance, and you
know my heart, then deliver me out of this situation.” That’s all that
26 OZONE
was on my mind, the whole time. I had a very peaceful three months
[awaiting trial]. I never had a restless night in jail.
I asked God to let my lawyer be my vessel. During that whole period
of time, I never even discussed my case with my lawyer. My lawyer
[Clifford Davis] and my sister [Mya] and my manager Charles Wake-
ley got together and came up with a strategy that was real powerful.
They showed [the jury] that I was a guy who got in trouble with prior
drug offenses, but turned my life around and really tried to do some-
thing positive. Coming from a negative background, I made my life
into something positive but still did hang around the guys doing what
I used to do. They were still my friends, feel me? I didn’t turn my back
on where I came from, but I turned my back on what I used to do.
When I decided that I just wanted to do music, God took me through
a phase of taking everything I ever had. He took all my material things.
He took all my cars and all my money, and told me, “If this is what you
really wanna do, you really gonna have to struggle. It ain’t gonna be
an easy ride. I’m gonna take your pride away from you. I’m gonna take
everything of the world away from you and see if this is what you really
wanna do. I gave you this blessing, and you really do touch people
with your music, but I’m not gonna allow you to have the things of this
world and still try to live this lifestyle. You gonna have to struggle.”
During that period of time, things started vanishing. The money and
jewelry started leaving. I started selling my cars. [My wrapped van]
got repo’ed. Feel me? I got evicted out of my house [in Panama City],
which was another reason for me to go to Atlanta and do what I have
to do in this music shit. God started taking everything away from me,
and it was a blessing that He did because that was a big part [of my
defense at the trial]. Looking back at it now, that means He was work-
ing back then. So on my behalf, my paper trail was the best thing
going, and I had people that took the stand and spoke on my behalf.
They’re not used to that in the Federal system. They’re used to niggas
being dumb and not being able to account for what they have.
I feel like this situation really wasn’t for me. I went through this trial for a
lot of dudes who are in my same situation; dudes who are really tryin’
to put their heart into this music game. Maybe my story will touch a
lot of people. A lot of niggas say they’re “real,” but can you imagine
having ten niggas on the stand testifying against you? But regardless
of what [those ten guys] did, I still don’t have no problem with them
dudes. If they get out or whatever, I wouldn’t talk to them, but I don’t
hate them at all. Even though they were trying to take my life away
from my family and my son, I still don’t hate them dudes.
I feel like I was spared in this situation because God has a plan for me.
My [music career] is finna be so big it’s gonna be crazy. I’m about to
drop this mixtape called Indictment Papers, and we gotta finish up this
USDA album and film the video for “Burning Up” real soon.
- as told to Julia Beverly (Photo: Big Cee Jay)
BloodRaw (center)
after his acquittal
with manager C.
Wakeley (left) and
lawyer Clifford
Davis (right)
 01: Smitty and his
wife @ Firestone for DJ
Nasty’s birthday party
(Orlando, FL)
02: DJ Princess Cuts and
Bingo @ The Moon for
TJ’s DJ’s (Tallahassee, FL)
03: Juan, Chino, Adept,
and Garfield @ Metropolis
(Miami, FL)
04: KC, DJ Nasty, and
Krazy Yogi @ Firestone
(Orlando, FL)
05: Mr. & Mrs. Skip
Cheatham with Mic Mood-
swing @ ATL premiere
(Dallas, TX)
06: E and Marcus. @ Bird-
land (Jackson, MS)
07: D, Big Hurt, DJ Khaled,
Orlando, and DJ Chris-
tion @ Bahama Breeze
(Tampa, FL)
08: Plies and Teka @ Club
238 West (Gainesville, FL)
09: Bandit and Z-Ro @
SXSW (Austin, TX)
10: Young Cash, guest,
and Lil Hen @ Kartouche
(Jacksonville, FL)
11: Ray J and Jill Strada
@ Power 95.3 car expo
(Orlando, FL)
12: Jock Smoove @ Club
238 West (Gainesville, FL)
13: Oz, Swift, and Julia
Beverly @ Back Room for
SXSW (Austin, TX)
14: Tony C and some of
his calendar models @
Volume (Orlando, FL)
15: OZONE on the set of
Smilez & Southstar’s “U
Know” video shoot @ Icon
(Orlando, FL)
16: DJ Drama, guest, Em-
peror Searcy, Felli Fel, DJ
Irie, Cool, Bibi Guns, DJ
Prostyle and Jonny Bravo
on the set of DJ Khaled’s
“Holla At Me” (Miami, FL)
17: Tony Draper and
Pookie @ Rapid Ric’s
studio (Austin, TX)
18: Tampa Tony, So South,
and Great @ Club Fuel
(Daytona Beach, FL)
19: Owen B, DJ Nasty,
DJ Chino, and LVM @ Fire-
stone (Orlando, FL)
20: Tarvoria, Sir Knight
Train, and TJ Chapman @
95.3 expo (Orlando, FL)
21: Bishop of Crunk @
Visions (Atlanta, GA)

Photos: Charles Reece (05);

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

OZONE 27
mystory

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

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

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

Around 5 PM, after signing many auto-

graphs and taking photos with young
fans, Pimp C left in a silver Bentley, fol-
lowed closely by Mike Jones in black
Bentley.

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

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

Pimp C’s bodyguard the

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

The shooting was not

related to Pimp C, Mike
Jones, or the video shoot,
Bullet holes in
as some rumors may have
the windshield of indicated. It appears that
the Impala that Pimp C was simply in the
ran into Pimp C’s
Bentley! wrong place at the wrong
time.

- Jaro Vacek
www.jarovacek.com

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

Photos: Ashlee Brath-

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

OZONE 29
industry101
Chad Brown
(Jive Records)
What’s your job title?
I’m the Southeast Regional Mixshow Manager,
based out of Atlanta, GA. I handle mixshow for
both of the Carolinas, Georgia, Florida, Ala-
bama, and Tennessee. With all the mixshow pri-
ority records that we have, we try to build it from
the ground up from the clubs and the mixtapes.
We basically try to break records.
Do you only deal with DJs or are you involved with other forms of
promotion?
My job title is basically just based off mixshow, but I take it to the next
level because I’m dealing with a lot of street teams, club DJs, and
websites out here. I take a different angle besides just the mixes, be-
cause a lot of these records are built before radio. It’s a combination
all together, so by the time I do take the mixes to the radio I’ve already
got a street buzz on those records. Hopefully the mixers are on it so
the record can get that break.
How long have you been at Jive?
About nine months. I was a part of the BMG group before they merged
with Sony, so I got laid off at the top of last year. But before I got laid
off, there was a cat named Noah I’d known since I was younger. I was
working in the mailroom for BMG, and I started working with a lot of
mixtape DJs, club DJs, and websites to pump Noah up. Noah actually
got his deal off of the buzz I helped create. So when I got fired I stayed
with Noah, kept building his buzz. Jive had so many artists signed
from the South that they needed a mixshow dude in the South, and
I already had the relationships from BMG so I got the job. Jive kinda
created the job for me.
Is it hard for you to be based in Atlanta rather than being in the
main New York office?
It’s actually kinda better that way. They need somebody that’s on their
team but in the streets as well. A lot of people that are in New York sit
in their office and don’t go in the streets. So they kinda need a person
like me. I don’t think I could work in an office like that. All these artists
need a person in the streets that’s gonna represent them, and that’s
where I come in. The South’s got a crazy movement right now and I’m
kinda like a guinea pig. With the Chris Brown record “Run It,” a lot of
the people in the South didn’t fuck with the record and we kept grindin’
with it for a while until it broke.
Back in the day, artists like UGK had problems with Jive, and felt
like the label didn’t understand Southern music. Do you think
that’s changed now that people like yourself are at the label?
I think that’s one of the reasons the position got created, because they
saw the movement the South was making and didn’t want to drop the
ball. Niggas didn’t see the South as a big player in the game at one
point, but eventually, if you can’t beat ‘em you gotta join ‘em. Jive
was built on pop music, but as a whole, hip-hop is the most universal
music right now. If you listen to a crossover station all they play is hip-
hop. So Jive realized the importance of being in the hip-hop game and
decided to step their game up.
With a record like T-Pain’s “Sprung,” for example, how difficult is it
to market to both the hood clubs and the crossover market?
The crossover part is easy. The crossover kids like what the hip-hop
kids like. You just have to get the streets and the hood behind you to
sell records. Most people try something and when it doesn’t work, they
stop trying. But me, I try to knock down doors in ten different direc-
tions. If you don’t fuck with the record now, you’re gonna fuck with the
record label. If they give me a record to work, somebody thought it
was a hit, so I don’t give up on the record. I keep pumping the records
and give 100%. I believe in all the artists that are here, cause at the end
of the day if their records don’t pop, I’ll still have a job but they’ll be out
there hungry. I got a personal relationship with some of these artists so
I do the best I can on my end to get them poppin’.
If you’re asked to work a record that you don’t like personally, do
you still push it as hard?
30 OZONE
When I get a record I try to stay unbiased and keep my own opinion
out of there. There are a lot of records out there that have worked that
I didn’t think were gonna work, beyond Jive. You never know what’s
gonna work unless you try it.
Do you have any role in finding new talent?
Jive has an open-door policy, so when I go to conferences I get a
bunch of demo CDs and I try to find one that’s hot. I don’t wanna be in
mixshow forever. I wanna move up in my career, whether it’s with Jive
or another company. I would love to find an artist, mold an artist, and
break an artist. If I have to work for somebody, I’d like to be an A&R.
Somebody that I respect as an A&R is Mark Pitts. He’s Usher, Ciara,
and Chris Brown’s A&Rs. He’s molded careers. Eventually I want to be
able to mold a career.
You’ve even got your own catchphrase, “What can Brown do for
you?” Is that part of your goal, to market and brand yourself as a
young executive?
Yeah, I’m only 25, so I look at myself as a young exec. I am a brand.
When I say, “What can Brown do for you?” I’m saying, “How can I help
you, help me?” I already know I deliver results, because I stick to my
word. Chad Brown is the brand. I also say that I’m the “#2 mixshow
rep” in the South. I started positioning myself as #2 because I got tired
of being overlooked. Being #2 gives me a challenge: whoever the fuck
thinks they’re #1, stay on your toes cause I’m right on your ass!”
Which DJs are the highest priority to you? Does it depend on their
radio affiliations or their market?
Anybody that fucks with me, I fucks with them. The reason I like the
position I’m in is because I feel like an underdog. DJs are the under-
dogs of the whole music industry, and you always wanna see the un-
derdogs win. Some DJs think they are bigger than life, but then some
are real humble. I’m a real dude. I have personal relationships with all
my DJs, and I don’t treat no DJ better than the next DJ. I just treat them
like friends. If they’re down with me, I’m down with them. They take
care of me and I take care of them.
What are the most important places for a DJ to go?
You gotta go to all the conferences, The CORE DJs, TJ’s DJ’s, the
Power Summit, you gotta be in the mix. You gotta network to create
your brand. Go to all the DJ conferences and industry events, because
at the end of the day this whole business is off your relationships. I try
to be at all the events and would advise all the DJs to do the same.
Having worked your way up from the mailroom, what’s some ad-
vice you could give to someone trying to get into the industry?
Never give up. Just keep going. The difference between success and
failure is less than one minute. The second you give up, you could’ve
succeeded. Some of the greats came from the mailroom. Clive Da-
vis came from the mailroom. Puffy was an intern. Kevin Liles was an
intern. You can be at the bottom and rise to the top. There’s more
motivation because you’ve seen people come from the bottom to the
top. Success is obtainable.
Anything else you want to say?
Look out for Dre. Bonecrusher’s back on the grind. Kelis is about to
expose herself to the world with a new look. We’re about to do some
things with Too Short and Noah. I’ve helped break records and now
through the coalition of Fear Factor Music Group, I’ma break some
more records. Check out www.fearfactormusicgroup.com or hit me
up at imconnected@gmail.com. What can Brown do for you?
- Words and photo by Julia Beverly
 01: DJ Quote and DJ
Drama @ The CORE DJs
Conference (Houston, TX)
02: Money Black, JT, and
Pimp C @ Nexxus Media
studios (Dallas, TX)
03: DJ Nasty, Tony C, and
DJ Infinite @ Blue Room
(Orlando, FL)
04: Ray J and Atiba @
95.3’s car expo (Orlando,
FL)
05: Mr. Blakes, Tum Tum,
and Black Mike @ Rapid
Ric’s studio (Austin, TX)
06: Gator Boys @ 95.7
Teen Jam (Birmingham,
AL)
07: Germaine Martel,
Churd, guest, and Destine
Cajuste @ Icon for “U
Know” video shoot (Or-
lando, FL)
08: Lin Ye Yuan and Matt
Sonzala @ Fader SXSW
party (Austin, TX)
09: T Biles and Young
Buck @ F4 children’s toy
giveaway (Nashville, TN)
10: Disco and DurteRed @
Firestone (Orlando, FL)
11: K Paul, Point Blank,
and KB @ SXSW (Austin,
TX)
12: DJ Khaled and DJ
Drama on the set of “Holla
At Me” (Miami, FL)
13: Avant and Shoeb Malik
@ Universal (NYC)
14: Barnard and Camron
@ Kartouche (Jackson-
ville, FL)
15: Sweetz, Pastor Troy,
and David Banner @ Vi-
sions for T.I.’s King album
release party (Atlanta, GA)
16: Rick Ross, Trick
Daddy, Baby, and Fat Joe
on the set of DJ Khaled’s
“Holla At Me” (Miami, FL)
17: Pitbull, MIke Calderon,
and Cubo @ Firestone
(Orlando, FL)
18: Young Cash, Derek
Washington, and Citty
@ The Roxy for Upstart
Record Pool meeting
(Jacksonville, FL)
19: Bubba Sparxxx and
Rico Wade @ Stankonia
(Atlanta, GA)
20: Baby D and DJ Jelly
with 95.7 The Beat ladies
(Birmingham, AL)
21: Pimp C, Boomtown,
and Bun B on the set of
“Pourin’ Up” (Houston, TX)

Photos: DJ Quote (01); Edward

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

OZONE 31
djprofile
Mr. Mauricio (Miami, FL)
Where are you from?
My folks are from New York, but I’m born and
raised here in Miami.
Where do you currently DJ?
I’m on the radio every day doing the 5:00 traffic mix on 103.5 The Beat
and I’m in the clubs six nights a week at Mansion, Opium, and Prive.
I’ve also got my own separate radio show on Friday nights from 10-
midnight.
What’s your strongest quality as a DJ?
Other DJs are one-sided. I’m working six nights a week at the top three
clubs in Miami. I’m on the radio every day during peak hours. I’ve trav-
eled all around the world. I’ve played in Vegas, New York, everywhere.
The difference with me is that most of the spots I do are high-end.
That’s what I focus on. On the beach in Miami, if you wanna make
money you gotta be at the high-end spots. That’s what it is down here.
That’s what I do; Mansion and Prive. It’s not the same as playing in the
spots I grew up at.
When you say “high-end,” what kind of audience are you talking
about?
White, Euro-trash, models and stuff like that. That’s what Miami Beach
is known for and how it’s portrayed on TV, and that’s basically what I
do. I do all the big parties, like Paris Hilton and Scott Storch and stuff
like that. To me, it’s kinda corny, but it is what it is and I accept it. Bot-
tom line, that’s where the money is, and I’m trying to make money.
That’s what I do and I do it better than anybody else. When I’m in New
York I do the high-end spots too and spots with Enuff and Camillo and
the other Heavy Hitters up there. It just depends on which market I’m
in. I do stuff with Felli Fel in L.A.; I do high-end stuff. I try to balance
myself out just so I can branch out, not holding myself to one market.
I think that’s the problem with the majority of the DJs; they just stick to
one thing. I try to do everything and I try to corner the market.
crazy.
How did you get started DJing?
I just moved to the beach tryin’ to get a regular job, and my homeboy
got me a job at some club. The promoter did a party on the beach.
I never showed my interest in wanting to DJ, and no one really knew
that I DJed. This was back in 1996 or so when hip-hop was in the
small room. Hip-hop was never in the big room in the 90s. One day
the resident DJ was sick, and the owner asked me at the last minute
because my boy told him that I DJed. I was like, “Hell no.” It was a big
club, Madonna owned it. It was the spot to be. It was called Liquid.
Anyway, I went in there and rocked it, and once I played they were like,
“It’s your night, every Friday, from now on.” So Miami Beach is just like
anything else. Once you become a hot commodity, everybody wants
you. I was a nobody who came out of nowhere, and all of a sudden
they wanted me to come to their clubs. The ball started rolling and
that’s what got me here.
How did you get hooked up with your radio gig?
I’ve been on the radio for four years. I used to travel four or five times
a week, and that’s how the radio came about, through the regional
guy with Clear Channel. He wanted me to come do a pop station out
here called Wild 100 because Clear Channel didn’t have The Beat yet.
WEDR was the main hip-hop station at the time. So the regional guy
went to a club I was doing and asked me to come do my own mix at
the crossover station. When Clear Channel finally opened up The Beat,
I’ve been with the station from day one. It just came out of nowhere,
man, so I’m really blessed to be in Miami and be in the right place at
the right time. I’m grateful for everything. A lot of people in Miami don’t
play their cards right and don’t take the opportunities that are offered
to them. A lot of people are like, “You do the bourgeois clubs, you do
the white clubs,” but the people that grew up with me know I’m still
me, man. I’m still Mauricio from down South. I just do what I gotta do
to get my money. Nobody does as many clubs as I do and that’s what
pays. I don’t give a fuck if it’s black, white, Hispanic, whatever. Where
I’m at pays the most, and I’ll play for whoever.

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

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

Photos: Chad Brown (10);

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

OZONE 33
q&a

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

How have things changed for you?

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

How do you engage people in your shows?

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

What can we expect from the album?

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

Even the women are feeling you. How’s that?

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

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

Photos: Charles Reece

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

OZONE 35
 01: B-Legit and Z-Ro
@ SXSW (Austin, TX)
02: JoJo, Tim Spider
Webb, and Terry reppin’
OZONE (Nashville, TN)
03: Treal reppin’ OZONE
(Daytona Beach, FL)
04: Smilez & Southstar,
Treal and crew on the set of
“U Know” (Orlando, FL)
05: So South, Tampa Tony,
and J-Shin @ Club Fuel
(Daytona Beach, FL)
06: Derek Washington and
friends @ Upstart Record
Pool meeting (Jackson-
ville, FL)
07: Dolowite loves the kids
(Nashville, TN)
08: Malica and Greg G @
Volume (Orlando, FL)
09: DJ Miami and Kaspa
reppin’ OZONE @ The
Moon for TJ’s DJ’s (Tal-
lahassee, FL)
10: Point Blank Entertain-
ment @ The Moon for TJ’s
DJ’s (Tallahassee, FL)
11: Atiba and Tarvoria @
95.3’s car expo (Orlando,
FL)
12: Smitty and Young
Cash @ Firestone for DJ
Nasty’s birthday party
(Orlando, FL)
13: Julia Beverly and Fidel
Cashflow @ DJ Slique’s
studio (Orlando, FL)
14: Smilez and Jermaine
on the set of “U Know”
(Orlando, FL)
15: Cool, C-Ride, and Dre
on the set of DJ Khaled’s
“Holla At Me” (Miami, FL)
16: Southstar, Chaos &
Order, and Smilez on the
set of “U Know” (Orlando,
FL)
17: Pookie, Lucci, Big Ben,
Uncle Pauly and crew @
SXSW (Austin, TX)
18: Tosin, UZ, DJ Bounz,
Oscar Garcia, and James
Dean @ SXSW (Austin,
TX)
19: All Pro crew @ Me-
tropolis (Miami, FL)
20: Guest, Cedric Walker,
Bigga Rankin, and Tyte
Wurk @ Club 238 West
(Gainesville, FL)
21: Treal, Jay Love, and
Malik Abdul @ Icon (Or-
lando, FL)

Photos: C-Ride (15); Destine

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

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

Photos: Ashlee Brathwaite (14);

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

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

Photos: Ashlee Brathwaite (26); Big

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

OZONE 41
q&a
Lil Rob
You have ties in both San Diego and H-town. Where are you origi-
nally from?
I’m from San Diego, born and raised and still live there. The record
label is based out of Houston, Texas.
How did you hook up with Upstairs Records?
They were putting out another group and came to San Diego one day,
and we went out to lunch. They invited me out to a show and saw the
reaction of the crowd when they said “Lil’ Rob.” They started checking
me out on Soundscan and wanted to work out a deal with me.
You put out several albums before you got signed. Would you say
you’re a good businessman?
I never was a really good businessman. Throughout the years I’ve got-
ten burned a couple of times. We were doing it ourselves, got a little bit
of money together, went into the studio, hooked up with another rap
group from San Diego who pointed us in the right direction.
How did build such a strong fan base early on?
We ordered tapes, back in ’92. I was 15 years old. Putting together
neighborhood raps and taking them to the indoor swap meets and
selling them under consignment. Go back next week and see if we
sold any- getting paid that way. It took a while. But back then, there
weren’t that many Chicano rap artists. Just a handful were out. It was
a good time to put my name on the streets. It all happened to work out
for me. I was actually done when they came to me.
You mean you had actually hung up your mic?
I didn’t want to rap no more because I’d been burned so many times-
bootlegs. Now, I look at it different. If they weren’t out there making
bootlegs of my music, a lot of places wouldn’t even know who I was.
So it’s a good and bad side.
What made you want to be a rapper?
Just the music alone. Back in third grade I was break dancing. My
brother was DJing. He had all the music: Afrika Bambaataa and the
Soul Sonic Force, LL Cool J, Krush Groove. My dad used to be in an
oldies band. My grandmother used to sing Mexican music. Put all the
elements together and you got Chicano rap.
What did you bump coming up?
Back in the day, I was listening to it all. When LL Cool J came out with
Radio, Run DMC, NWA, Two Live Crew. When I was 12 years old, my
dad wouldn’t take me to the parties, so I stayed home and wrote raps
about the neighborhood and put them on tapes. It’s been a long time.
Since the beginning of rap. I was born in 1975, and ever since then…
I used to like Michael Jackson, “Pretty Young Thing.” Off The Wall was
off the hook. Nowadays, I’ll listen to SOS Band, Gap Band or Zapp &
Roger before I listen to today’s rap. I like old school and oldies.
How did you get the name Lil’ Rob?
I was break dancing in third grade, and back then you had break
dancer nicknames. I was Lil’ Roc. So the “c” tuned into “b” because
my name is Robert. But it’s been that for a long time before I knew
about Lil Bow Wow and all these little people. I never heard of them
before.
Do you rhyme in Spanish?
It’s in English, but I throw little Spanish words in there. They call it calo.
It’s Mexican slang, Chicano slang. I throw a little bit of Spanish in there
too. It’s English with a Chicano accent.
At 18, you got shot in the face. How did that change you?
It took a little while to change me. I got shot and then I stopped rap-
ping for while. I got shot in the mouth and my jaw was wired shut for
seven weeks. I got home and I saw my mom crying, figuring out how
to pay the hospital bills. Whenever I left, she was scared I might not
come back. I was still the same guy. I wanted to take off and hang
out. I didn’t change right away. As time went by and I saw some of my
homeboys not going anywhere, getting locked up, I didn’t want to be
that guy. I have family to take care of and house payments to take care
of. That’s why I do this. I’m changed now. But right after I got shot, I
42 OZONE
was still talking the same stuff. “You got me now but I’m gong to get
you back.” Nowadays, I don’t want that drama. I don’t understand
why I was doing it anyways as a kid growing up doing the same thing
my brother did and my uncle did. I got caught up in the mix. The
day I went to the operating room, they said I wasn’t going to talk the
same or that I could be paralyzed because the bullet was lodged in
my spinal chord. So to be walking and talking and rapping and doing
shows- it’s different for me. I tell these little homeboys going down the
wrong path, 13 and gangbanging, “take it easy.” There’s no future in
it. I wouldn’t have listened, but hopefully, they’ll take (in) what I say.
They’ll find out there’s a bigger world out there and other places to
go. I’m in Philadelphia now. I never thought I’d leave my town. Some
people won’t change.
Do you have any songs about your accident or about changing
your life?
“Ain’t No Future In It” (is) about drugs. These kids experimenting with
drugs think it’s cool. It’s just the beginning. It’s time for a change. If
you ain’t doing nothing but wasting time, you have to figure out what
you’re going to do with your life.
The independent scene is big on the West Coast and in the South.
Do you feel a lot of local love?
I look at it different. I rap and do my thing. But I remember radio sta-
tions saying we don’t have Mexicans here. We don’t play that kind of
music here. I went through that. Me and the label are doing our thing.
Trying to make people understand where I’m coming from and how
we do it. Just like the South does it. They have their own style. It’s us
against the world and making them feel what I do. It’s hard work.
What makes Lil’ Rob stand out as a rapper?
I’m the only Chicano on radio right now. It’s different. When we do
shows, I walk out with a bandana, all creased up. I might take a little
break and put on mariachi music and walk out with a serape. It’s a
different look. I’m not all hip hopped out, with bling and my hat to the
side. I say I don’t need a watch because I know what time it is. Ban-
danas and a t-shirt and I just go rock it. I feel like I’m opening the doors
a little bit (by) being on the radio, making videos. Get people to see
where we come from and making it OK to be Mexican and rap Mexi-
can. You don’t have to use everybody else’s slang. Do it your way.
“Summer Nights,” the first single from your latest album Twelve
Eighteen, went Top 10 on Billboard Monitor’s radio chart. What
has changed with this new success?
More travel and more shows. I can’t go shopping like I used to at the
indoor swap meet. That’s where I go to get my clothes. Everybody
wants autographs. People ask “what are you doing here?” And I’m like
“I just came to buy t-shirts.” They’re like, “keep it gangsta, homie.” I’m
the same dude. I go to the same places.
What is the greatest achievement of your career so far?
Being able to make the payment every month. That’s the main goal. To
take care of the family. I take it day by day. And I work on getting the
respect from other people for doing my thing.
- Jessica Koslow (Photo: Dustin Pedder)
patientlywaiting

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

WORKING WITH DARKCHILD

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

LET THE RIDDIM HIT ‘EM

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

SWEEPING THE NATION

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

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

ONE MORE WISH

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

- Words and photo by Malik Abdul

46 OZONE
patientlywaiting

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

DON’T FIGHT THE FEELING

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

DID YOU HEAR THAT?

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

LET THE GOOD TIMES ROLL

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

BEST OF BOTH HOODS

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

- Maurice G. Garland

48 OZONE
patientlywaiting

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

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

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

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

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

COMIN’ FROM WHERE I’M FROM

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

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

- Maurice G. Garland
(Photo: Pinky Gonzales)

50 OZONE
patientlywaiting
C-Ride
Miami, FL
REPRESENTING Carol City
GREW UP LISTENING TO Luke, No Limit, Hot Boys
CURRENT HEAT Coming From Da Bottom w/ DJ Ideal
CO-SIGNERS Cool & Dre/Epidemic Records
MOVE AROUND
“I got in some trouble and had to leave Miami and move to Atlanta in
2000, when Pastor Troy was running shit. By staying in Atlanta, it at-
tracted me to dark 808s. In Miami, they speed everything up, just like
how niggas Houston slow their shit down. So when I got to Atlanta, I
heard the crunk shit slowed down with niggas yelling, and I loved it.
That’s not what I do, but I love the style. I’d rather listen to Lil Jon over
Pharrell.”
OUT OF THE NORM
“Rappers say the same shit because they around the same shit ev-
eryday. So I just wanted to separate myself from the average by using
different metaphors and words. After the first rhyme I ever recorded,
some people threw a contract in my face. I knew I had something right
52 OZONE
then. Plus when I moved back to Miami in 2003 there was like 30,000
more rappers now. So I started focusing on saying things to make you
rewind and listen again.”
THE AGENDA
“I want to unite Miami. Rick Ross got everybody down here trying to
see who’s next. I’m trying to make Miami like Houston and Atlanta. I
wanna bring unity to Miami and Florida, period. Like, we didn’t sup-
port Plies and T-Pain when they was blowing up because they weren’t
from Miami. But Miami don’t really get out; we stay among ourselves.
I want to change that.”
WORKING WITH COOL & DRE
“I recorded a CD with another company, and they packaged it up and
gave it to a lot of people. A DJ gave it to Cool & Dre, and they kept
calling [and[ asking about me. Then, when they saw me, they [were]
happy to see I wasn’t looking like a monster (laughing). So it was on.
I got with them in the beginning of ’04 when Dirtbag first got signed to
Epidemic/ Jive. I was having a lot offers with just three songs. Noth-
ing has really came out yet, but I know I everything happens for a
reason.”
- Charles Parsons
patientlywaiting

Jiggalo
Thomasville, GA
LABEL Suave House II

INFLUENCES Organized Noize, Dr. Dre,

Timbaland, Neptunes, Andre 3000, Jay-
Z, T.I.

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

WORKING WITH
Clipse, Pimp C and Too $hort

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

WORKING WITH TONY DRAPER

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

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

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

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

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

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

- Maurice G. Garland

54 OZONE
q&a
Going Solo: Mac-Boney
First question everyone wants to know: are you still down with
Grand Hustle?
I haven’t left Grand Hustle, but I am starting my own label, which is
called Mad Face Entertainment and doing a little partnership with Cy-
ber Works. Just trying to show everybody that it’s not just T.I. and we
all make moves individually.
I heard that you were upset about how the P$C album was pro-
moted. Was this true?
I definitely was upset about it about how the P$C project was promot-
ed, but what can you do? That’s why I’m steppin’ up now and starting
my own thing. I can get a little more hands on than dealing with major
labels. It turns away from things that you are used to doing. I’m used
to packing up my own CDs. I’m used to hollering at the distributors
myself, going to the stores myself. When you dealing with big compa-
nies, they put everything out for you. With these companies and street
teams, you never know what they doing and you don’t really know if
they on their jobs or on their grind like how you do it. It’s all about be-
ing more hands on and that’s why I’m concentrating on this here. I’m
from the block, so I got no problem with getting out there anywhere in
the USA. If I need to be there, I’m there.
From what I was seeing, a lot of people thought that you left be-
cause you came out with your own track.
Definitely, the new T.I. album is coming out March 28th and I’m on two
tracks - “Bankhead” and “Undertaker.”
How did you link up with Cyber Works?
I have been working with Sapp over the last few years (on) side proj-
ects and mix tapes. We decided to set it up this year and make it big-
ger. I definitely wanted to be the first artist to emerge off of it.
Tell me more about the label you’re putting together.
Mad Face is serious, man. I got few little groups signed to me right
now, and I’m still looking. Right now, I’m the feature artist to come out
on Mad Face. I feel like I got my business level up to where I can re-
ally do this and profit. This what I’m doing out here, man, trying to get
them dollars and stay underground for a very long time. I know how
to sell these CDs.
Let’s talk about your solo project and the single you dropped.
The album that I am working on right now is called Should’ve Been
There, and the street single out right now is called “You Ain’t the Only
One.” And it’s real. I’m talking about a lot of street stuff. You know, you
ain’t the only one with a Benz. You ain’t the only one with Impalas. You
ain’t the only one with fancy cars. You ain’t the only one. That’s the
bottom line. I got a lot of hot music coming. My album will have T.I. on
it, of course the other P$C members, and a lot of my other friends that
people may not know about.
You got any mixtapes dropping before the album?
I got one coming called Processing Fee. The reason that I named it
Processing Fee is because a lot of artists (are) sending in their demos
to these record labels (and) they tell you that you need a processing
fee before they get heard. I’m just giving y’all my processing fee before
y’all hear me.
For a person that has yet to hear much Mac Boney material, what
can they expect?
I ain’t out here trying to put on an act and act like I got more than what
I have. I ain’t trying to disrespect the next person, but I’mma give to ya
real. I’mma give you every part of the game- how it’s seen from a child
all the way up. Most dudes that come out don’t give you history. I’m
a teach you why they rep the Westside. Some of the things going on
back in the day are still going on today.
Tell me about a couple of tracks that you got on the album.
I got a couple nice ones. I am working with a producer out of California
named Caviar. We got one called “We the Streets.” Its real dope; it’s
intense. It gives you the whole feel, that vibe of how I am when I leave
my house and get out there when I’m on the block. I got a couple that I
did with DJ Toomp. You really just gotta check it out, man. I got a lot of
56 OZONE
sick records. I did a song called “Dope” and it’s really hot. It ain’t about
drugs, though. It’s about me; I’m calling myself dope.
Speaking of dope, what you think about all the artists whose whole
subject matter is about drugs?
I’m glad you asked me that, and I just really wanna put it out there. If
you never sold drugs, then it really don’t make any sense for you to
talk about drugs because you sound stupid. People who really do it
and do it on a daily basis are listening. When you say the wrong thing,
people become frustrated. I’m in the hood like a DVD and some of
these cats I don’t be seeing them there like that. I done been around a
lot of real hustlers across the country, so I know, man.
What you think of the ATL hip-hop scene right now?
A lot of things that I am seeing in the perspective of me just growing
and just being in the business and also as a consumer, it’s real differ-
ent. If I wasn’t a rapper, I’d take things a lot differently. You never know
what’s going to happen, whose gonna sign with who, whose gonna
start beefin’, whose gonna start running their mouths. You never know
what’s going to happen to be honest.
A lot of people are getting fed up with snap music. What is your
opinion on it?
I think that snap music is beautiful. I’m from the Westside and snap
music comes from the Westside, and I love it. It ain’t nothing but a
new age booty shake. It’s a dance. The scene done bust wide open,
and you have a lot of young people having fun with the videos. Back
in the day, it was more of the rugged videos, guys hanging in the alley,
with his homeboys rapping and all of that crazy shit. It just got a lot
different and a lot more fun. It’s making the areas more fun, making
money for the community, and I’m down wit it. Not everybody can do
it, though. I can say that. Everybody tries to. There’s a lot of groups
out there. When you go to a lot of talent contests, you gonna see a lot
of people trying to snap. Every song got a snap to it now. There are
certain people that can do it, and there is a certain way that it can be
done. There’s only a few groups that’s out doing it how it’s supposed
to be done at this time.
When growing up, what made you decide to rap?
I don’t know, man. I guess that I always been in the music since I was
a kid. The first time that my brother brought in an NWA CD, I was six
years old. I heard it, and I went out of control. Since then, it’s been
something that I wanted to do.
How did you and the rest of the P$C meet?
We actually all met one at a time, and its crazy because we all was
from the same area. Me and Doug Peterson played tee ball together
when we was four or five years old. C-Rod is my cousin. Big Kuntry is
my best partner. I met him around when I was 14 years old. I got a lot
of partners, dealers in the streets, and that’s how we all came together
on one block - Campellton Road.
Anything else that you want to get out there?
The hustle don’t stop. Look out for that new Mac Boney because I’m
keepin’ it street for all those that know me. For those that don’t know
me, you gonna find out more. I’m always keep it underground and
make sure I maintain for the hood.
- Leon Bailey
 BROTHERLY LOVE
D-Roc of the Ying Yang Twins introduces his brothers, Da Muzicianz
Words: Maurice G. Garland Photo: Ray Tamarra
Just in time for the warm weather, D-Roc of the Ying Yang Twins
is testing his skill as a CEO and releasing the first group from
his newly formed label, PUNNN! Entertainment (pronounced like
a speeding car). The label’s name stands for People United Never
Negotiating Negatively, and he is living by that motto in putting
out Da Muzicianz, a trio comprised of himself and blood brothers
Mr. Ball and Da Birthday Boy. With their debut album slated to
drop this summer through TVT Records, the group discusses their
childhood, brotherhood and coming from the ‘hood.
Everybody pretty much knows about D-Roc and Kaine’s story.
What is yours? How long have you been in the game?
Da Birthday Boy: We’ve been in this game for a minute. We ain’t just
come out of nowhere. This wasn’t spoon fed to us. It didn’t just fall
out the sky. We’ve been through the hard times and all that. Ball been
through it all too. He on all the Ying Yang albums.
Mr. Ball: I started rapping back in 98-99 when Ying Yang was whistling
and twurking. We started rapping together as Da Muzicianz after I got
out of jail in 2004.
How would you describe your style of music, and how does it dif-
fer from Ying Yang Twins?
D-Roc: Basically we make party music for the girls in the club and the
guys watching them.
(l to r): Mr. Ball, D-Roc, and Da Birthday Boy)
58 OZONE
Mr. Ball: We just wanna make good music. Make you dance, not fight.
We don’t even have no fight music. We’ll probably make you have a
baby before you have a fight. We wanna have fun.
Da Birthday Boy: We got a whole ‘nother vibe. We Da Muszicianz. Ying
Yang partied in the strip club, but we partying everywhere. We party on
the porch, the shower, I-285, everywhere.
Tell us about the album you’re dropping.
Da Birthday Boy: The album is put together already, but we still work-
ing on the title.
Mr. Ball: We got heat on the album. Stuff for the club, the block, any-
where you wanna be. We got a song called “Crazyman.” Yeah, I re-
acted the same way when I heard it, but I’m with it because my brother
made that shit up. It’s a dance.
Da Birthday Boy: We got producers like Big Cheesy, Midnight Black,
Mr. Collipark. And we got Fabo of D4L on the album, the song is called
“Girls I Know.” And we have The Federation on our song “Go Dumb.”
The first single is “Camera Phone,” we telling the girls to pose for the
camera phone.
Were you two trying to rap before D-Roc got a record deal?
Da Birthday Boy: I ain’t gonna say I was trying to rap before he got on.
I was little when that happened. But when I saw him get on and saw
what he was doing, and started feeling the love for music, I wanted to
do it too.
So the both of you are younger than D-Roc?
Yeah, we D-Roc little brothers. I was like 10 when D-Roc was starting rap-
ping, so I’ve seen this for a long time. I’ll do this for free. That’s how much I
love this. I ain’t never had a job; music always been my job. And now? Man,
this shit feel good getting paid for it, the paychecks is lovely, baby. But you
gotta keep up with that business shit. You gotta stay on top of the publish-
ing, and best believe Da Muzicianz are on top of ours.
Talk about working with family, is it better or more difficult?
D-Roc: Working with family is easier. The things I griped about not doing in
Ying Yang, I can do with this group. There are no limits. We going to China,
Japan; we doing shows everywhere.
Da Birthday Boy: We get to be us. Ball and Da Birthday Boy is who we are.
We always can be us because my brother is CEO. We having fun; we ain’t
gotta worry about nobody bitching or complaining. We get to do us all day.
We ain’t gonna say nobody can’t tell us what to do, but my brother is CEO
right now, so we having fun.
Mr. Ball: I know I can trust my brother more than anybody out there. Before
Da Muzicianz was on the plate, I was trying to do my own thing. I was on
“By Myself,” but then I got locked up. I never saw this vision, though. I never
saw the big picture. I never thought we’d be a group.
D-Roc: I had to look out for them. You always got your people saying “I can
rap.” Well, I wouldn’t want them to go out and get a deal with anybody else
if I can put them on. They had the drive, so I wanted to help them.
Now that you’re a group, talk about how you have to really take advan-
tage of this chance. You said this wasn’t handed to you, but you still
have a head start.
Da Birthday Boy: I’m just staying humble. I’m cherishing this shit. This shit
ain’t handed to us. We been going through it like every other nigga on the
street. We just stayed at it. When you stay at it, you gonna get it. When Ying
Yang was in the studio, we used to write in the studio just to do it, just to
show that we want it.
Mr. Ball: You just gotta watch yourself, in whatever you do. If you out of
pocket personally, then professionally you out of line too. If you ain’t doing
right on your terms, then you ain’t doing right on somebody else terms. I
know I’m on D-roc terms right now cause we working. If they want me in a
clown suit, I’m there.
On that note, Ying Yang Twins is looked upon as a novelty act to many;
just some silly guys. Talk about having to dispel that notion.
D-Roc: I wanted to start this label two years ago, but I wasn’t ready. So I
just started setting it up and let Ying Yang do what it do. Then Ying Yang got
successful to the point where I could do it. Folks didn’t think that I could do
it, so I’ma show them that I can be an artist and a CEO. Within Ying Yang I’m
the party animal, the uplifting side. People didn’t really take me seriously as
a CEO because they haven’t seen what I’m about to show. I’ve been talking
about my label and my little brothers for the longest. Now look; we signed.
In 2005, I set a goal to be signed by 2006 and I did that. And I’m doing it
the right way.
Was it easy for you?
D-Roc: Well, no, but I already had a group to start with. I didn’t have to go
out scouting. My brothers were my inspiration to start my own label. When
I started making money, I went and bought studio equipment to work at
the house, and I ended up with a lot of music. I wanted to do it with Kaine,
but he was dragging his feet. So folks was like “you can do it yourself; you
know what to do.” I studied for a whole year and boom it came.
What did you study?
D-Roc: I just looked at the game, I be in the game 24/7, so I look at what to
do here and there. I looked at Russell Simmons’ tactics. 50 Cent, Jeezy, Dr.
Dre. Looking at them is what drove me.
Now Muzicianz, are you prepared for the same type of attitudes that
Ying Yang has had to encounter. Like when you go on talk shows and
people just expect you to act crazy?
Da Birthday Boy: I’m a crazy dude, so I might just act crazy.
Mr. Ball: If somebody trip on me, I’ll just trip with them. Sometimes I’m calm,
but I’m never just over energetic. But I don’t see nobody coming at me like
“c’mon do this.” I don’t have no “HAAAAANH” or “AYE YUP.” But we ready
for all that. That don’t even matter to me, as long as they talking about
me, we doing good. Because I already know our music is gonna stand for
itself.
Outside of the brotherhood, what have you learned from D-Roc profes-
sionally?
Da Birthday Boy: To stay humble, keep your head up. Don’t let the
bullshit get to you. I learned to not worry about what people think and
say about you. Stay on that straight path.
Mr. Ball: You gotta be business minded. You won’t make it half step-
ping.
D-Roc: I don’t really share advice; I show it. I show it through being a
good artist and businessman. As a CEO, I’m not gonna hide nothing
from them. We all gonna learn how to make money at the same time.
How has your brother’s experiences molded you into the artists
that you are today?
Mr. Ball: I’ve seen D-Roc and Kaine go through a whole lot. Even
though they got spit in the face, they didn’t spit back. And that’s what
kept them in the game. That’s what gonna keep us here too. Because
can take a whole lot of shit, but there’s only so much we gonna take.
We ain’t concerned with the petty shit; we looking at the bigger picture
of success. We got families to think about. We ain’t got time to worry
about everybody in the street who want us to rap about selling dope
and shooting niggas. We don’t sell dope. We ain’t never had no job,
but we don’t sell dope, though.
Do you think they’ve gotten the respect they deserve?
Mr. Ball: I think they get respect, but they deserve a lot more, espe-
cially in Atlanta. We see things that everybody don’t see (that) they did
a lot for the A. Them two alone have been here since ‘99. D-Roc been
here since ‘95. Kaine too; it’s just an ongoing process.
All three of you come from the Inglewood area of Atlanta. Not a lot
of things to party about over there. Why is it that you make party
music coming from a ‘hood like that?
Mr. Ball: Nobody wanna hear all that shit. How bad you can hurt a
nigga and how you gonna chop a nigga head off. Hell, you can go to
jail for chopping a nigga head off, too. Once people hear a beat, they
wanna know what you can do to that beat. We trying to make music
and history.
Da Birthday Boy: We trying to show kids form the ‘hood that it ain’t
always cool to go around killing and selling dope.
Mr. Ball: I mean look at Akon, he from the ‘hood. But he making music
to make people feel good. I love that “Pot of Gold.”
Talk about growing up. Did you guys ever see D-Roc go through a
lot dealing with his handicap?
Mr. Ball: We never got to see his trials and tribulations with his hand.
When he came home from school, he was big brother. We had to lis-
ten to big brother. His hand wasn’t shit. Growing up, we had to listen
to him, and today we still have too.
Da Birthday Boy: He been taking care of us since we was small. Nine
years old, he on the bus with us. That’s pretty much my daddy.
Mr. Ball: I remember him cooking sausage patties in the morning.
Ball, you’ve mentioned that your career was put on pause because
of jail time. What happened?
Mr. Ball: Armed robbery, being with the wrong person at the wrong
time. But I started taking music more seriously in jail cause I saw my
brothers elevating. I was in jail when “By Myself” came out, and I was
on that song. They went and put Mannish Man and Big Gipp on the
song and made a video to that bitch. If I was out of jail, I could have
been in it…giaaat daayum.
What did you guys tell him when he got out?
Da Birthday Boy: Let’s party.
Mr. Ball: When I was in jail, they used to call me talking about we
smoke nothing but purp now. I’d just be like “damn.”
Da Birthday Boy: We just told him when he get out, it’s on.
A few months ago, you guys were caught up in a little turmoil with
the Bay Area. People were claiming that your song “Go Dumb”
was jacking their style.
Da Birthday Boy: Everything was all good. They was mad a little. It
wasn’t no bad blood. They was just like “why you steal our dance.” We
ain’t steal nothing. We went to the Bay a couple times and saw what
they was doing and we liked it.
Mr. Ball: They was mad, so we went and got The Federation on the
song to make it even hotter.
Cool. What else is in store for you guys?
D-Roc: Be on the look out for the album and mixtape. As far as Ying
Yang, we still shooting our movie. We’re doing a comedy. And we
starting our own clothing deal.
OZONE 59
 “I want to bring you, corporate America, across the bridge, into my world. Not
to put fear in your heart, but for you to respect me. Just so you understand
why I think different, why I dress different, why I do different things.’’

60 OZONE
TRICK DADDY
WORDS: JULIA BEVERLY
W
hen we were talking earlier, you sounded frustrated.
I just wish muthafuckers the best of success. I don’t wanna
talk bad about nobody. My beef ain’t with no label. My beef
ain’t with no single individual. My beef is with life, with the game itself.
My beef is with rap music cause a lot of rap music that’s getting put
out there is for this week only. Next week you won’t listen to it. My beef
is not with the artist, cause you can’t blame an artist if they come out
with a one-hit wonder and people fall for it. My beef is with the major
labels that are putting this bullshit out and packaging this shit up. But
when people open that package up, there’s nothing in it. You never
win no prize. It’s like the little games at the youth fair, where they push
the quarters. It always looks like the quarters are gonna fall, but they
never fall. That’s who my beef is with, those types of people. But any-
body who’s getting money, I don’t have beef with them. That’s why a
lot of niggas on record don’t have beef with me and a lot of niggas in
the streets don’t have beef with me. And if they do, fuck ‘em, cause it’s
some undercover shit. It ain’t legit.
So what do you think is the problem? Radio blasting too much gar-
bage?
To me, the problem is money. You’ve been seeing a lot of that lately
– people getting in trouble for paying for certain records to be played.
I think if they investigate even further they’ll see that people are get-
ting money for videos to be played. I’ve seen a lot of hot videos in the
last two or three years of my career, but I’ve also seen a lot of bullshit
videos. And even my videos could be taken up another notch. But I’m
not that type of dude. I’m not the pretty boy, I’m not what you’d call a
“stunner.” I’m not gonna fake it til I make it. I am what I am, and that’s
what my videos represent. [In my videos] you might see a Phantom
in the background but you’re not gonna see me driving in a Phantom
cause that ain’t mine. I tried that shit with “Dro In Da Wind.” They had
me driving a Bentley in the video. But that ain’t me, man. I’m for the
thugs, I’m for the streets. I think the problem is the money aspect of
the game. It’s the same problems in music as there is in sports. In
sports, the younger NFL and NBA owners are not concerned with the
well-being of the game itself. Younger people are getting money and
getting out of control, and they’re using their money to have power
and they’re taking away from the game itself. It’s all about what they
can take away from the music and how much money they can make. It
ain’t about what they can instill, or give to hip-hop. Hip-hop has been
around for a long time, since the 70s. Now it’s 2006. I want hip-hop
to be here forever, because once hip-hop dies my whole legacy dies.
That’s all I represent.
You think rappers are making too much money?
No. It’s just that in this music game, every year there’s somebody
new and hot. Once something is done or said in the industry it trav-
els around and once it gets back, it might be taken out of context.
It’s all one big circle and one big family, so eventually we got to get
together and say, “Let’s do this for hip-hop.” Whatever happened to
the Stop The Violence movement? They had the East Coast All Stars,
West Coast All Stars. We’re all in the same gang. These days, you call
niggas for features and they tell you, “He’s working on his own project.
He can’t do it right now.” And nine times out of ten, it ain’t the nigga.
It’s the management or the label. So that’s why we have to go out and
communicate with each other. Now Julia, if you call me and ask me to
do an interview and I tell you I don’t want to do it, then you can blame
me. But if you go through Atlantic or Slip-N-Slide and can’t get to me,
you can’t say “Trick is hard to deal with.” And that’s what’s hurting a
lot of people in the music game. They’re being blocked out and they
looking like the bad guy. It’s the same thing with these fake promoters
and these fake shows. They’ll falsely advertise that I’m going to do a
party. All that kind of shit is hurting music, deeply.
With all this talk about bringing back real hip-hop, you’re sounding like
an East coast artist.
First of all, the word “hip-hop” is just another form of saying “rap
music.” To me, hip-hop is a more professional way of saying “rap.” I
wouldn’t say that I’m a rap star, I would say that I’m a hip-hop star. The
only difference between hip-hop and rap is that rap stays in the hood.
Sometimes rap doesn’t get past Orlando. Sometimes rap doesn’t get
out of Florida. Some people that rap are only big in their city or their
state. But hip-hop is worldwide, and that’s the difference. The differ-
ence between good hip-hop and bullshit hip-hop is that good hip-hop
has a meaning. It always tells a story, whether it’s negative or positive.
There’s always a beginning and an ending. But these days when you
listen to the big records on the radio and on Soundscan and you really
break ‘em down and analyze the lyrics, they’re not talking about shit.
Do you think Southern rap is hip-hop?
All of it is music. What makes your music “hip-hop” or “pop” or “cross-
over” just depends on the different markets that your music travels
in. If you can’t get spins on crossover or mainstream or pop stations,
if you can’t get those sales, you’re just a rapper. There’s millions of
rappers.
When you talk about these problems in the rap game, don’t you think
a lot of the problems come from the artists themselves?
Right. It’s our problem. This is what we do. When I talk about “us”
I’m talking about me, too. So nobody get it twisted; don’t say no fuck
shit about me and get busted in your muthafuckin’ mouth or get your
brains blowed out or get me misunderstood. When I say “us,” it’s all
of us. We have to stop falling for everything. We have to stop rapping
on every track. We have to keep coming with the hits. Remember, the
people only listen to what we give them. So if I ain’t putting out no
good records, then why the fuck am I gonna get mad and go around
hating on D4L? A lot of niggas be hating on the “Laffy Taffy” record,
but D4L is D4L. D4L will never be Trick. D4L does their kind of music.
I do my kind of music. But I’m not gonna knock them. And I’m not a
big 50 Cent fan, but I’ve got more respect for 50 Cent when it comes
to his business. It doesn’t matter if I don’t buy his album. The point is,
I respect him cause he’s a businessman and he’s keeping hip-hop
going. I’m not gonna like every song he does or every group he puts
out, but he’s putting them out. And until I do that, I can’t say shit about
this man. That’s what the problem is. I think niggas should pay more
attention to being successful ourselves, and maybe we wouldn’t have
so much to say about the other people that are successful.
Speaking of 50 Cent putting out his groups, you have your own group.
What’s going on with the Dunk Ryders?
See, my niggas are hungry. They’re working. I’m not handing them
nothing. They ain’t get no advance, none of that. But they’re gonna
get the important shit: recognition, publishing, royalties, a good law-
yer, good managers, real publicity. They’re gonna get the important
shit that I didn’t get. See, I got the money, but I ain’t get the important
things. I want my label and my artists to be successful because once I
stop doing this music thing, I have no income. This is all I do, and the
money I got won’t last forever. My kids are still young. They still have
to go to school, go to college, eat, and be clothed. My bills still have
to be paid. I can’t count on what I’ve got, I got to keep my circle going.
The Dunk Ryders understand that, so they come with real music. I’m
not looking for crossover songs or pretty boy songs, I’m just letting
them be theyself. If they can’t sell just being theyself, then they won’t
sell, cause I don’t know how to be fake.
What impressed you about the Dunk Ryders?
Lyrically, I ain’t heard no young niggas like these niggas. Iceberg, he’s
a young nigga, 16 years old. But he’s coming out hard and when you
listen to his shit and hear the way he uses words, you’ll say, “Damn,
this nigga here knows a lot.” One of the other dudes in the group,
Soup, that’s Pearl’s son also. If you don’t remember, Pearl is my
mama. So I already know his background and I already know what
he’s talking about. So I decided, let’s see how much he really wants
this. He shows me every day when he comes to the Dunk Ryders
studio and puts down music that he really wants this. They’ve got
more songs than I’ve done in the past year, and that’s what I keep
telling them: you’ll never have enough songs. Another dude is Fella,
he’s a young dude out of Opa-Locka. Opa-Locka is one of the most
OZONE 61

(above): Trick Daddy’s proteges, the Dunk Ryders
respected inner-cities in the United States. From Carol City all the way
to Florida City, they gonna respect Dade County. Opa Locka is one of
the few neighborhoods that I fuck with because I know what type of
niggas they breed. He has a strong presence, a strong voice, and all
of them have a good head, a solid heart, and a solid mind.
What types of things should we expect to hear from the Dunk Ry-
ders?
And all of them know that two years from now you can’t make the mu-
sic about selling dope no more, cause obviously if we successful now,
we ain’t selling no dope. Can’t make the music about the strip clubs
no more cause obviously we want to be more advanced than the strip
clubs. Can’t make the music no more about the jewelry, the gold, and
the diamonds, cause we’ve realized that everybody can’t relate to that.
So the only thing we have left is our heart, our mind, and all that is true.
So the Dunk Ryders are gonna be around for a long, long time.
While we’re on the topic of lyrics about selling drugs, weren’t you go-
ing to sign BloodRaw?
We were going to sign BloodRaw, but he signed with [CTE] already. I
like his style cause he ain’t tryin’ to sound like nobody, and that’s the
main important thing.
He was tried on Federal drug charges recently, and they used some
of his lyrics about selling drugs to try to prove that he committed the
crime.
But he beat the case. I’ma tell you something about a Federal case. He
beat the case because for one, the law protects you the same way the
law will hurt you. Be careful with whatever you do and whatever you
say, because it goes a long way. But rap music should never, ever be
entered into evidence at no trial, unless I’m giving names, times, posi-
tions and all that. Rap music is music. Some music is just about pleas-
ing the people. But in my songs, I say I’m an “ex-con” and an “ex-dope
dealer.” I don’t never say that I sell drugs now. I’m not no drug dealer.
That’s why my real true fans respect me and listen to me, because I
would be lying to my fans and lying to the world if I told you that I am
a drug dealer. Being a drug dealer sent me to prison. I think that’s why
BloodRaw won his case. [Lyrics] are not solid evidence.
What happened to the cooking show you were working on for MTV?
Cooking is something that I wanted to do, but now all of a sudden
other dudes want to have cooking shows. Reality shows are taking
over TV. I thought people would be interested to see a thug-ass nigga
like me who grew up in the projects with a mama with eleven kids that
knows how to cook. I went to prison on my fifteenth birthday. Damn,
how the hell does he know how to cook? How did he learn how to
cook collard greens? How can he make macaroni and cheese from
scratch? But I guess that don’t really enthuse nobody, because half
of the muthafuckin’ places I go they can’t cook anyway. So they don’t
remember how important food is to people. So I guess that’s why the
cooking show ain’t take off.
Are there any other TV shows you have in mind?
Me and Russell Simmons spoke briefly about another reality TV show
we’re supposed to start shooting soon. It’s called “Thug My Guy.” I
take dudes out of totally different backgrounds whose wife or girlfriend
doesn’t think they’re capable of taking up for theyself. [The wife or girl-
friend] doesn’t believe that if somebody disrespects them, their man
will be able to protect them. So I try to take those niggas and teach
them the game. I show the white boys that they ain’t gotta try to act
62 OZONE
black. I tell the white boys the difference; there’s certain things you
don’t say as a white boy, even if you have black friends. And vice
versa. It’s certain things you don’t do as a black boy with white friends.
Now, this has got nothing to do with how I feel about separate ethnic
backgrounds. This has to do with something that went on a hundred
years before I was even born, in the slavery days.
Sounds like an interesting concept.
I want to bring you, corporate America, across the bridge, to my side,
into my world – not to put fear in your heart, but for you to respect me.
Just so you understand why I think different, why I dress different, why
I do different things. When I’m talking on the show, it’s like a Tricktion-
ary. I give Trick’s meaning for the words so they can understand how
I use them. Like if I say “What they do?” I explain to them on the show
what that means. And if I say “That’s my nigga,” that don’t mean my
homeboy who’s black, that means he’s my dawg. When I say “crack-
as,” that don’t mean you cause you’re white, that means the police.
It’s just like the song “I’m A Thug”: “Could it be my baggy jeans and
my gold teeth that make me different from y’all?” It’s nothing different
between me, the ultimate thug, and a corporate America white collar
guy. It’s nothing different from what I went to prison for and what Mar-
tha Stewart went to prison for. The only difference was that she was a
multi-millionaire and I was a broke-ass nigga. That’s what I’m trying to
show them in the show Thug My Guy.
It’s been rumored that you have problems with your label Slip-N-Slide,
but you’re still signed to them, and you’ve never spoken publicly on
any issues you might have. Have you come to some type of agree-
ment?
My agreement with Slip-N-Slide is the contract that I signed. For me
to talk bad about Slip-N-Slide or diss them won’t help me, it’ll only
confuse people. Nothing can ever happen to a grown man without
the grown man letting it happen, unless it comes through the power
of God, and you know that’s an unstoppable force that can’t be con-
trolled. All I can do is fulfill my contract and turn in an album to Slip-N-
Slide every year until the contract is up. At that time, we’ll renegotiate
on whether I sign again or sign somewhere else.
I heard someone make the comment that since you’ve been kinda
quiet lately, Plies is taking your place. How do you feel about him, and
some of the other artists coming out of Miami like Rick Ross?
Plies is my nigga. Plies is Plies, I’m Trick, and Rick Ross is Rick Ross.
Everybody says, “Rick Ross is the new mayor of Miami.” Nobody can
be voted into the House of Representatives til after the final counts
are in, baby. Those are very, very talented dudes. Rick Ross and Plies
are both on my new album and I wish them the best of success. But
remember, every man is his own man. I could never be Plies and Plies
could never be me.
There’s a lot of big things happening in Miami right now. Do you see
2006 as being the beginning of a new era for the city?
If you do the math, music has been coming out of the state of Flori-
da for almost twenty years. There were big records from Luke and 2
Live Crew and JT Money. When you listen to groups like H-Town from
Houston, they got their vibe from here. If you listen to how Missy El-
liott’s music has changed and transformed, she’s got the Miami vibe.
Everybody’s got houses in Miami now. Everybody’s doing movies and
videos in Miami. Everybody had their time. The East coast had their
time and the West coast had their time, but the South is here forever.
At one time, there were complaints about Miami radio not being sup-
portive of local artists. Do you think the scene has become more sup-
portive of its own?
I know for a fact that people like DJ Khaled and Papa Keith support
local music. I appreciate them niggas. I appreciate Cool & Dre and Jim
Jonsin and Big D and the Iconz Music Group. I appreciate everything
that Miami is doing for Miami. We’ve got to give back. We’ve gotta rep-
resent for us. When niggas come down here, niggas got to deal with
us. No nigga should be shooting videos in Miami or recording songs
in Miami if I don’t know about it and other niggas that represent Miami
don’t know about it. If real niggas don’t know about it, you ain’t got no
business ‘round here and you need to see us.
Of course everyone knows that last year’s hurricane season was pretty
devastating, so with hurricane season coming up again –
Yeah, Miami Hurricanes, that’s the only season I worry about. I don’t
worry about no other hurricane season. The rest of them hurricanes
come and go. You put up plywood and it either knocks your house
down or it don’t. FEMA don’t give you no money, insurance compa-
nies set you up, everybody else price gouges and rips you off, and
gas prices go up. Fuck a hurricane. We’re used to that. The only thing
that’s gonna do is make us want to go get money harder.
What went through your mind watching the Katrina coverage?
I really, really feel bad about New Orleans, because that was one of the
very few places you could go and really feel like you at home. 95% of
the whole town was negros. There ain’t too many cities like that in the
world. Atlanta was like that; now the Asians are moving in slowly but
surely, not that I have anything against them. Detroit is like that – a lot
of black people. Miami, on the other hand, we’ve got a lot of Cubans,
Colombians, Haitians, Jamaicans, Trinidadians, Guyanese, Chinese,
Japanese, we’ve got all ethnic backgrounds. As far as Katrina, I heard
that a lot of entertainers and athletes and superstars have been do-
ing a lot of songs and pledges, donating and raising money. But I’m
saddened for two reasons: one, it could’ve been prevented, and two,
it wasn’t dealt with like it should’ve been. On top of that, we did our
part as American citizens. We donated money, we supported, we did
free concerts and telethons and all types of shit, and I don’t see where
all that muthafuckin’ money went. And I’m real concerned about that.
I’m real concerned that we can go to other countries and start wars,
but we can’t fix our own problems that we got right here in our own
backyard. That scares me.
Maybe you should run for President.
Naw. I have an extensive background. I have a drug and drinking prob-
lem. I could never be President; I don’t even want to be the first cousin
to the President cause I don’t want him to start watching me. But any-
body could be President. Bush’s daddy was President and then he
was President twice, so shit, anybody could be President. I believe
Hillary Clinton has the strongest chance of being the next President
of the United States. You remember this, and make that when your
magazine is the top magazine in this shit, you reprint this quote: Hillary
Clinton is the most fit person to run our country.
Why do you think that?
You’ve gotta understand what she’s been through. I watch Court TV,
A&E, and the Discovery Channel. I know the background of the world
and the people in it. I know about other countries, I know about roy-
alty, I know about loyalty, I know about doing time, I know about life,
and I know she’s been through a lot so she’s a strong woman. When
your husband is in a tough situation like Bill Clinton was and Hillary
still stood behind him and had his back, that’s the sign of a very, very
strong woman. That’s the sign of somebody who wants something in
life. And she never stopped smiling, she never stopped caring. She’s
a people person. You can look at her and she’s got that look, the op-
posite of me. I’m just an ugly-ass nigga. She looks the opposite. She’s
got the look, the personality, the spirit, and she’s already been heart-
broken. Her business has already been exposed. She’s already been
put in a situation where she had to choose, so she can only get better.
She can only make life better for us because that’s what she wants.
Speaking of Bill and Hillary, how is married life treating you?
My family is doing great.
My household will never
“Good hip-hop be like Good Times,
where everybody’s
always tells a story, laughing and smiling
but nobody’s happy.
whether it’s negative When we smile, it’s
cause we happy in this
or positive. There’s household. When they
always a beginning tell me that I’m getting
fat and my cheeks and
and an ending. But my face are filling in,
that’s cause I’m eating
these days when good. So there ain’t no
problems here. All the
you listen to the big kid’s grades are up,
records on the radio
and all the adults act ac-
cordingly.
and on Soundscan What’s the name of your
and you really analyze next album?
The Book of Thugs Vol-
the lyrics, they’re not ume 2. I don’t know what
chapter or verse it is yet.
talking about shit.’’ I put it in the mindframe
like the Bible. As I got
older and my career went on, the label seen me mature. I got married
and they said, “Trick got soft.” Naw, Trick ain’t gone soft. Trick’ll still
fuck a nigga up. So that’s why I came back with the Book of Thugs
Volume 2. When you hear “Let’s Go” and “Sugar” on the radio, don’t
get it twisted, nigga. I’m off probation and I’m ready for some more
whenever a nigga gets out of line.
You know, normally the sequel doesn’t do as well as the original. Why
do you think this sequel will be successful?
I never change. I keep it real. I don’t do no pretty songs and I don’t
put nobody on my album if I wouldn’t buy their album. I won’t do mu-
sic with niggas cause I’m tryin’ to get their fan base or sell a record.
I do a record with a person cause that person fits on that record or
deserves to be in that type of environment with me. That’s how I know
the sequel ain’t gonna be a big downfall. The sequel has got to be
successful cause that’s what the streets need and want. That’s what
they asking for, and goddammit, I got it for em’.
When you talk about lack of promotion, do you think part of the prob-
lem is that you don’t like to leave Dade County?
No, I love to travel, but I ain’t going to Wichita, Kansas for no $5,000.
If that’s the case, for $5,000, man, I did more time than that. My prison
sentence sunk in. My prison sentence showed me that out of sight is
out of mind. I didn’t have nowhere to call home collect, let alone did
I have somewhere to go when I got out. When you get out of prison
they make you fill out papers giving your address, and I didn’t even
have an address to give these crackas. So ain’t no way I’ma sell my
soul for $5,000. My thing with the promotion is, you do your part and
I’ma do my part. When something come up and I don’t go, yeah it’s
my fault, but you gotta make something come up. I can’t be the shoes
and the shoe salesman. Have you ever gone to the store to buy a pair
of shoes and the shoes walked up to you and said, “Hey, man, try
me! I’m a size 10, I’m new!” You wouldn’t buy that shit cause it don’t
sound right. Your shit gotta look professional and organized from top
to bottom.
Is your album close to being finished?
Yeah, I’ve got one more song I’m working on with Pretty Ricky. I’ve got
Bun B, Juvy, Slim Thug, and a couple more dudes on this one song
representing their own state. I’m trying to get E-40 and Game and the
Diplomat niggas Juelz Santana and Camron on the record too. I like
Freeway and I like Beans but out of all of them, I would like to do a
record with Jay-Z. Jay-Z is the only last big artist that I haven’t done
a record with.
Are you still mad at Ricky Williams?
Actually, I’m trying to get Ricky Williams a good lawyer to get his little
case overturned. I could see if the man had some kush or some crip-
pie in his system, but the man had some Tylenol cold or Tylenol PM in
his system. It’s so hard for athletes, that’s why I believe they deserve
the money. You can barely do any muthafuckin’ thing without getting
in trouble for it. So I’m not mad at Ricky no more. I was kinda mad at
him, and I guess it was immature of me. Remember, it takes a man to
admit that. It was immature of me to have been so angry and turned
on Ricky so fast, but I’m such a loyal nigga that when me and you fall
out, nine times out of ten it’s cause you did some fucked up shit that
hurt me. I got the Ricky Williams jersey on my wall, I got the bobble
head in my room, and he just jumped up and said he quit. I done been
on damn near every drug there was and I aint never quit. And you gon-
na tell me you wanna quit and go take pictures in Africa? Nigga, I don’t
wanna even go back to Africa, let alone leave my job or my money or
everything I worked for and trained for and dreamed for all my life, just
to quit. I think that was selfish on his behalf, to his true fans. I’m not no
bandwagon nigga. I’m a real, true fan. I don’t like the Dallas Cowboys,
I don’t like the Buffalo Bills, I like the Miami Dolphins. It don’t feel right
liking nothing else. So I just hope Ricky comes back this year. If not,
Ronnie Brown, that $30 something million we gave you, you’re gonna
have to run for it. We got Daunte Culpepper now, we picked up a few
DBs, a linebacker here and a linebacker there. I think we’re a force to
be reckoned with in the AFC. If we get Ricky back, we’re in the playoffs
automatically.
Any last words?
To all you niggas across the world that’s reading this magazine, if
you’re trapping and hustling or doing anything in the streets, just be
careful out there. The streets are watching, listening, and telling, and
they coming to get you. Remember, the dope game, the street game,
the pimp game, and all that shit started right here in Miami. Do your
homework, nigga.
OZONE 63
 “Rap is the new street
game. It’s the new drug
game. It’s the new way
of not having to get up
and go to work and make
money for other people,
so that’s why it’s so much
hate. The only way you
don’t get that much hate
is if you put on a business
suit and get up early in
the morning and go to
work downtown.’’

66 OZONE
CAM’RON
WORDS: JULIA BEVERLY PHOTO: ROGER ERICKSON
I
’m sure everyone’s been asking you about the Jay-Z diss. I know
y’all never really got along when you were at Roc-A-Fella, but what
was the final straw that made you decide to put out a diss record?
We was never really that cool. Even when we were on the label he
never really showed love, period. When he became president [of Def
Jam] he was tryin’ to holla at us to get us signed to the label, but I
really wasn’t feeling that move. The final straw that made me do the
record was his “I Declare War” concert. He was supposed to be diss-
ing everybody he had a problem with. It’s no secret Jim [Jones] takes
little shots at him, slick rhymes and all that. So he got everybody in
New York on point for about a month, sold out the concert, and never
did anything. So now you’ve got a bunch of people with ammunition
ready, and I just let one of our bombs go.
So you were preparing for war the whole time.
Yeah, we were definitely preparing. If you’re doing a concert saying
you’re gonna diss everybody you got a problem with, then everybody
you got a problem with is gonna be ready. If you’re bluffing, then what
are those people gonna do? Sit at home with all their ammunition?
But didn’t he flip the script at the concert and end his beefs by reunit-
ing with Nas? Did you have any respect for him trying to calm some of
the beef down, or do you think he had another motive for doing it?
I don’t really know their motives. I know that it’s a good move busi-
nesswise for both of them. Stepping out of artist mode for a minute, it’s
a business move. Nas has probably had a regular artist deal forever on
Sony. He ain’t ever had a label deal over there. So he’s always been a
regular artist over there, and the deal is up. I been over there at Sony,
and I could testify that they don’t know what to do when it comes to
rap. SO why not go to where they know what to do with rap? LA Reid
is real good and you’ve got Jay-Z over there [at Def Jam], so they
might promote his record. I don’t know what kind of deal Nas signed,
but why would you sign a regular artist deal again? You’ve been a
regular artist for twenty years. But still, being a regular artist on Def
Jam is probably a million time sbetter than being a regular artist on
Sony. So businesswise, I would say it’s a good move for both of them.
If it was me, I wouldn’t do it cause there’s too much personal feelings.
Nas called him a camel! I got that from Nas, feel me? And at the same
time, Jay boned Nas’ baby mother. So, they’re men. If they can get
over that shit, cool, that’s on them. But businesswise, stepping away
from all that, why not?
It seems like people, especially in New York, really worship Jay. What
made you confident enough to go at him and expect to win?
I think this’ll show that we can expose people. That’s the perception
of Jay, yeah, and people need to stop that shit. Stop thinking that this
dude is God, because he’s not, walking around with a hundred nig-
gas everywhere he goes. He’s not God. People really needed to see
that. With him and Nas, [Jay] probably didn’t think he would ever get
punched in the face. But you can’t really say that about us. You don’t
really know what’s gonna pop off when you see us in the streets. If it
was that simple, I’m pretty sure a record would’ve already been done.
People think this dude is God and they need to see that it’s simply not
the case. We’re the new kids in town, and they really don’t care. Don’t
get it wrong, though. I got so many people that love me and Dipset,
it won’t even have to be me [that steps to Jay]. I be in Def Jam all the
time. I go to see LA Reid. He gotta go to work every day, feel me?
Even though you deal with LA Reid at Def Jam, Jay is still the presi-
dent. Since Juelz is signed over at Def Jam, you weren’t worried about
the beef affecting your bottom line at all?
Not really. If I really thought it was gonna be a problem, I wouldn’t have
said it. LA Reid is cool, so if I wanted to get Juelz off the label I could.
He’s cool. LA Reid’s my man. But Juelz is selling records over there.
Juelz said he’s comfortable, so if Juelz is comfortable I’m comfortable.
I don’t trust nothing that goes on in this city. A lot of people don’t know
that Jay-Z hangs out with Kevin Liles every day. Kevin Liles is over at
Warner now. Jay-Z only got a three year contract at Def Jam, so after
his three years are up who’s to say he wont go over to Warner when
this is all over? Feel me? So that’s why I keep my deals so short and
my options open, because it’s just a strategic game of stress up here
on the executive level. But if I really thought it was a threat, I wouldn’t
have did it. trust me, before I did this song I had every angle covered,
from the streets to the business to the response. Every angle was cov-
ered, that’s why I did it.
What has the response been? Do you think it’s pretty much 50/50 with
people split between the two of y’all?
I don’t really care how people think. People say it’s a diss record,
but I don’t think it’s a diss record. I call it an “exposing you” record.
Anything I’m talking about on that song is the truth. I didn’t lie about
nothing. When I said I get fined $100,000 every time I diss Def Jam,
that was part of my deal to get off Def Jam. If I diss Def Jam or any
of their artists I get fined $100,000 and I gotta keep it a secret. That’s
some bullshit. I’ll take the $100,000 fine just for people to know. When
I say that [Jay] loved Charli Baltimore, I was there! He loved her! He
loved her and then him and Un started beefin’ over her. When I say
he doesn’t own the 40/40, he doesn’t! I’m not lying. So that’s why I
don’t call it a diss record. I call it a “tell-you-what’s-goin’-on” record. If
people don’t like it, it’s cool. I wasn’t tryin’ to diss him I’m just telling
you what’s going on.
Are you frustrated that he hasn’t responded?
No, cause that’s his business. That’s like taking a slap in the face. I just
caught him off guard. He responds to everybody, so for him not to say
anything, I’m telling you it’s bigger than that. It’s the streets.
Do you think he didn’t respond because he didn’t want to give you
any publicity?
Publicity? I get that anyway. I don’t need publicity to make money. It
wasn’t for publicity, cause my album wasn’t even coming out nowhere
near the time of that song. We did the song right after the “I Declare
War” concert. We were waiting for the concert and he ain’t do nothing,
so we put the song out. He created his own publicity with the whole “I
Declare War” concert, but it was all a stunt.
When does your new album drop?
The album comes out May 9th, and the DVD Killa Season comes out
April 25th.
Why do you think New York has been so quiet lately in the rap game?
I had that conversation with somebody the other day, and I don’t really
understand why people are saying that New York ain’t doing nothing.
The number one artist in the world is from New York. Nobody’s sell-
ing more records than 50 Cent. He’s the number one selling artist,
and he’s from New York. The number one movement in the country
– G-Unit – is from New York. The number two movement, Diplomats, is
from new York. Ain’t no other team around the country right now that
got a better movement than G-Unit or the Diplomats. So I don’t know
why they say New York is falling off. Maybe at radio or whatever, the
South does get a lot of spins and everything, that’s true. But don’t get
me wrong, I love the South. I’m a South fan. I been fuckin’ with the
South since “What Mean The World To Me.”
Some New York rappers are complaining that the labels are looking
for talent down South.
Of course, of course. But that’s why you’ve gotta create your own lane.
We don’t get a lot of radio play. But that’s why they love us too, feel
me? People love The Diplomats cause we’re street. If you’re a crybaby
you just gotta create your own lane. So I understand what they’re say-
ing but as far as I’m concerned, New York is doing just fine. And we’re
still growing. We’re selling enough records. Juelz is at 700,000. Jim
has sold 700,000 between his last two albums put together. I just sold
600,000 on Purple Haze and I didn’t do nothing but the Kanye West
single. The album before that sold a million and a half. Then when you
look at G-Unit, the person that sold the lowest was Tony Yayo and he
still sold 400,000. So I don’t understand why they’re crying. I think New
York is doing great. And I don’t see nobody else that’s moving like G-
OZONE 67
 Unit and The Diplomats. regular basis?
“I just got off Riker’s There was Cash Money Nah, not really. Everything’s still the same. I had about 25 or 30 people

Island for the last and No Limit and Wu-

Tang and whoever else,
with me [the night I got shot]. We had a seven-car envoy. There was a
cop right behind me when I got shot. That’s the reason nobody really

three weekends. I but right now, I just know

about G-Unit and The
gotta go back in this Diplomats. If I’m wrong,
then I’m wrong.
weekend because I
reacted. So after the shooting, the cop starts chasing the other car,
and three of the cars that was with me started chasing the car. The cop
is right behind the [shooter’s] car so my niggas couldn’t get to them.
They made a left and by the time they came around the corner the car
was flipped over and nobody was in it. The police never let my niggas

won’t even cooperate

Let’s talk about the shoot- even get to the car. They seen the whole shit, and then they wanna
ing incident in D.C. You fuckin’ tell me they want me to be a witness? Y’all seen it yourself, feel

with the police. I’ve implied in the song that

the shooter was some-
me? Why the fuck should I participate when y’all was there? So now
they say, “Oh, you don’t wanna talk? Well, you shouldn’t have been in
been going to jail one affiliated with Jay-Z.
I didn’t say that, first of
D.C. anyway. You’re on probation, so you’re gonna have to go to jail if
you won’t talk.” Well, take me to jail then, cause that’s fucked up. Y’all
on the weekends all. It got misconstrued.
The dude who was in the
seen what happened. If you want a witness, talk to that fuckin’ cop that
was right behind me when they was shooting at me.
because I won’t give passenger seat with me,

the D.C. police a Huddycombs, seen [the

shooter] throw up some-
Let’s talk about the album Killa Season. As far as features and produc-
tion, what do you have on there?

second of my time.’’ body else’s sign. I put it

in the song cause that’s
what he seen, but I didn’t
see that. Huddycombs
ain’t gonna make up no fuckin’ lie. He don’t give a fuck about Jay or
nobody else over there. So I put it on the song cause I’m co-signing
with what he saw. I heard people say that we’re snitching or whatever,
but I just got off Riker’s Island for the last three weekends. I gotta go
back in this weekend because I won’t even cooperate with the police.
I’ve been going to jail on the weekends because I won’t give the D.C.
police a second of my time. So for a nigga to say that we’re snitching,
get the fuck outta here. Nobody on their team is going to Riker’s Is-
land. None of them niggas did more than a day in jail for a suspended
license. So they don’t even know about not snitching or testifying or
being in jail.
Besides The Diplomats, the only features I have on there are Lil Wayne
and Nicole Wray. I kept it pretty in-house. Hell Rell’s project is com-
ing out so I featured Hell Rell on a few tracks. JR Writer’s on a couple
tracks also. I did it mainly by myself. I spread it out to make sure every-
body from The Diplomats got on it. But I got so many other Diplomats
projects coming out, I don’t need to put everybody on everything. I
just wanted to do an album basically by myself. But when I do it by
myself, everybody from the crew wants to be on it. I really didn’t want
too many people on there unless there’s some singing parts. I can’t
sing, of course.
What’s the content of this album?
It’s Cam 2006, updated Harlem. The last couple albums, I did a few
personal songs on there. I did a song about my stomach condition. A
lot of people were feeling that. It’s kind of a touching song.

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

68 OZONE
 MISSISSIPPI
RISING Jackson, MS: the soul of the South
Words by Jacinta Howard Photos by Jaro Vacek
Lift every voice and sing, till earth and Heav-
en ring, Ring with the harmonies of liberty…
M
ississippi is the birthplace of the blues, the cradle of black
spirituality and a symbol of oppression in the U.S. Think about
it. What’s the first thing you associate with the state where the
Confederate flag still flies high over the capital? That’s right, slavery.
The thought of plantations, racism and systematic subjugation still
haunts the state, hovering over it like a dark cloud before a summer
rain.
Nestled halfway between Dallas and Atlanta lies Jackson, the state’s
capital. With a population slightly over 520,000 the city is small enough
to have the welcoming, down-home feel most southern states are
known for, but big enough to have one of the highest crime rates in
the nation. By and large, Jackson is a smaller reflection of Mississippi
itself, boasting an intriguing mixture of spirituality, poverty, repression
and hope. Out of these elements has come a sense of unbridled hustle
and of course, irrepressible creativity.
It started with old spirituals, songs that slaves used to sing sometimes
as encouragement, but often as a mode of communication. If you lis-
ten to the soft wailing of the music, the unadulterated emotion that’s
poured into every syllable uttered it’s impossible to go unaffected.
Drive through certain parts of Mississippi and you can still almost hear
the spirituals drifting in the air, blending in seamlessly with the breeze,
a natural soundtrack to the heartache and suffering the people have
experienced for hundreds of years.
Slavery may have ended in 1865, but its effects are still prevalently felt
(l to r): Stax (Block Wear), Bra (Queen Boyz), Benz (Queen Boyz), Twizzle, Red,
Gutta, Janky (1 Life 1 Love), Big Nose Jew, Seneca, Greedy (1 Life 1 Love)
70 OZONE
throughout America. In Mississippi, the history is etched into the very
landscape. One of the poorest states in the nation, it also has the larg-
est black population.
“Mississippi is the birth place of black folks in the south,” says veteran
Jackson rapper, Kamikaze. As half of the rap duo, Crooked Lettaz in
the late nineties he played an instrumental role in introducing the state
to national rap fans alongside David Banner. “That’s why we call it
little Africa.”
The spirituals later gave birth to the blues—an art form which is largely
credited with directly inspiring jazz, rock, R&B and yes, Hip Hop.
Let our rejoicing rise, high as the listening skies,
Let it resound loud as the rolling sea…
H
ip-hop may have been formulated from the blues, thus perhaps
making Mississippi the original birthplace of the sound that
dominates the world today by default, but it’s rarely mentioned
when the genre is brought up.
“When you talk about slaves, gospel and blues music with Mississippi
being the birthplace, we formulated Hip Hop,” Kamikaze contends.
Jackson is only six hours west of Atlanta and six hours east of Dallas,
but it might as well be on the other side of the planet for the attention it
gets. For the most part, heads still haven’t latched onto the movement
that’s been brewing there since the early nineties.
Contrary to popular belief, David Banner was not the first rapper from
the state to make noise on a national level. Back in 1995, the rap group
Wild Life Society landed a deal with Blunt/TVT (which was also home
to a then unknown Ja Rule), propelled by the single, “Homie Love.”
But even before that, in the early nineties, rapper Smoke D had made
a major move. After meeting Bun B and Pimp C at a local club in
Jackson, he moved to Houston with intentions to be the third member
of UGK.
“That was in 1991 or 92 when I left to Texas and was stayin’ with [Pimp
and Bun],” he recalls in his slow drawl. “I left and came back to Jack-
son for a couple of weeks and ended up getting in trouble.”
That trouble landed him in prison for six years. While Smoke D was still
featured on “Front Back, Side to Side” from UGK’s sophomore album,
Supertight, and on the Ridin’ Dirty interludes, Jackson had missed out
on a key opportunity to introduce themselves to the rap world.
It would take nearly five more years for Wild Life Society to drop and
a couple more after that for rapper Boo the Boss Player to begin mak-
ing waves nationally with the Concentration Camp alongside No Limit
standout, Young Bleed.
“I think Mississippi has always been overlooked and underestimated,”
says Kamikaze, his voice laced with annoyance. “Even presently I get
real frustrated with how Mississippi gets looked at because people
think that Banner is the only representation of the state. It’s all good,
but there’s so many other artists here that are talented. We down here
makin’ good music and we been doin’ it for years.”
Banner agrees.
“Even back then you had so many groups that had talent,” he says.
“When there’s a place where nobody has really done anything from a
major perspective it makes the artists and the city a lot more hungry.
There were so many groups that had to do it, sell records and get
radio play without anybody to help them. You had groups who really,
really were learning how to build corporations. Even with my first un-
derground album, we wrapped them, we got the barcodes on them,
we had in-house graphic work, we pressed up the CDs, we did the art
on the CDs, we got them in the stores. I actually was in the sweatshop
myself putting plastic on the CDs, so you know we put together our
own shows. People wonder why southern rap groups are able to do
so much that’s the reason why.”
While other artists like Reese & Bigalow and Mississippi Mafia were
gaining regional recognition in the mid-nineties, the doors to the state
swung wide open with the emergence of Crooked Lettaz in 1999.
Comprised of David Banner and Kamikaze, the group’s album, Grey
Skies (released on the now defunct Tommy Boy Records) offered a
glimpse into the tormented history of Mississippi, while simultaneously
providing a soundtrack to the gritty streets of Jackson.
(l to r): Donnie Money (Mississippi Mafia),, Young Shad, Aziattik Black, Kamikaze, Sweetz
(b.i.G.f.a.c.e.), David Banner, Marcus., E, Twa (b.i.G.f.a.c.e.), Tambra Cherie (Admission Granted TV)
“Banner came up with the name and concept,” Kamikaze remembers.
“We were in a crew called the Stowaways which was a bunch of differ-
ent cats from across the country that met up at Jackson State Univer-
sity. We realized Mississippi didn’t have representation in the Hip Hop
world so he came up with the idea to form a group.”
Named for the chant kids sing when learning how to spell the state’s
name, Crooked Lettaz seemed destined for success. Intelligent, aware
and spiritually grounded, Banner and Kamikaze’s release was full of
raw creativity. But then, industry politics reared its ugly head.
“We had a manager that robbed us of six figures and a label that
didn’t know what to do with southern music,” says Kamikaze. “This
was before the south took over the game so the label didn’t know
what to do with a southern group especially one that was talking about
something. Crooked Lettaz was a movement, we were trying to reach
people and deliver a message. We didn’t come in the game talking
about the standard things people talk about it was difficult for them to
market what we were doing.”
Eventually the duo was forced to disband and begin hustling indepen-
dently to make ends meet. Of course, Banner was the first to blow.
When Mississippi: The Album dropped on Universal in 2003, he blew
the scene wide open and put the entire state on his back.
Sing a song full of the faith that the dark past
has taught us, Sing a song full of the hope
that the present has brought us…
“
David Banner has definitely been a door opener for Mississippi,”
says DJ Sweat, who recently dropped the mixtape, Puttin’ Missis-
sippi on the Map. “He’s educated and he’s not ignorant. He’s very
respected by me and I really appreciate the stuff he does.”
From his numerous charitable efforts, including the Heal the Hood
concerts he put together immediately following Katrina to his speak-
ing engagements and willingness to bluntly talk about the political and
social issues plaguing his people, Banner’s commitment to the com-
munity has made him one of the most well-respected artists in the
business.
“Nobody really gives to us as far as historically, “ he maintains. “Mis-
sissippi has always been pushed to the back as far as America is
concerned. Even if you look at Katrina and what happened it’s like
southern states are the ghetto for America, that’s what they look at us
as. We learned that if we don’t do it, nobody is gonna do it for us. Even
with Katrina, Mississippi got put on the back burner.”
Talk to virtually any producer, artist or DJ hailing from Mississippi and
you’ll find the same philanthropic nature that Banner has. Given the
OZONE 71
 state’s poverty-ridden conditions and
son and throughout Mississippi.
rich spiritual background, it’s not sur-
prising.
“It’s shocking to me that more cats from
our city have not gotten deals,” the rap-
“Living in Mississippi gave me an under-
per says. “Every time I go back to Jack-
standing and respect for what I have. It
son I just look around and see cats with
keeps me humble from the standpoint of
true talent—they got the story and the
knowing where I came from and all the
background, the A&Rs just gotta get up
struggle and the pain that came from
and see what’s poppin in the Jack.”
Mississippi as far as slavery is concerned
and the discrimination,” Banner relays.
Other Jackson, MS-based rappers include Smoke D (left) Kamikaze is not quite as diplomatic
“It definitely put God in my life. Me be- and J Records’ recording artist Boo da Boss Playa (right) about Mississippi’s struggle to be rec-
ing able to go back to Mississippi to my
ognized nationally.
family helped save my soul because this
music industry will suck your soul out of you, easy.”
“We just don’t get the respect that we deserve cuz the industry is full
of dick riders,” Kamikaze breathes, frustrated. “If these A&Rs would
DJ Sweat, who’s originally from Tchula, a small town located right
get their head out of the ass of Atlanta and Houston they might be
outside of Jackson has an outlook much like Banner’s.
able to find some new talent. We know they got they thing goin’ on
and much love and respect, but we doin’ it in the same way. I’m takin’
“There are 2,100 people in Tchula and probably 200 got jobs,” he
this whole state on my back, and if I gotta piss some people off, that’s
somberly relays. “People don’t have running water in their houses.
what I gotta do.”
That’s why I know since God’s blessed me, I gotta do something
about this.”
Indeed there’s a wealth of talent throughout the state. From Boo who’s
soon releasing a project on J Records to J Money & Cadillac Don and
It’s that common integrity that most Mississippi artists share that led
Shad & Jewman, Mississippi is poised for greatness this year.
Kamikaze to start M.A.P. (Mississippi Artists and Producers) an orga-
nization dedicated to enlightening artists about the intricacies of the
“I want my album to represent help,” Smoke D says of his pending
industry and help them prepare for the future. It currently has over
project that will be released on his imprint GSM (God First, Family
250 members. Add that to DJ Sweat’s continued efforts to build up
Second, Money Third) Records. After 10 years of waiting, he’s reunit-
his immediate surroundings and Banner’s recent decision to drop a
ed with Bun B and Pimp C and is currently living between Houston
mixtape exclusively featuring all Mississippi artists, S.I.P.P: The Missis-
and Jackson. “I ain’t holier than thou, but I wanna head in that direc-
sippi Mixtape you have a powerful alliance that’s capable of change.
tion now that I’m a little older as opposed to doing everything that’s
out there in the mainstream. I wanna help whether it’s from listening
“People look at my triumphs as Mississippi, but then if I fuck up, that’s
to the music or from me doing what I can do.”
Mississippi too,” Banner says, his voice heavy. “That’s the reason why
it’s so important for other artists to come out of Mississippi and repre-
When all is said and done, Mississippi artist simply want the chance
sent too, because it’s so much more than I represent.”
that their state too often was not given. Like the lyrics to James Wel-
don Johnson’s classic spiritual, “Lift Every Voice and Sing,” their
Facing the rising sun of our new day begun, story is a powerful one that needs to be told.
Let us march on till victory is won…
“I think Mississippi has the potential to be the next Atlanta, New

O
ne of the most well received albums of the year has undoubt-
edly been The Product’s One Hunnid. While Scarface’s group
may not be doing Jay-Z numbers, the respect the project has
garnered in the street is undeniable. Young Malice, one third of the
group, is a crucial part of the new movement that’s brewing in Jack-
York or Texas,” Banner contends. “The difference is that it’s a state-
wide movement and we got the stories from our grandfathers to tell.
There’s a lot of things that’s been going in Mississippi for years that
haven’t been spoken about and it’s coming back through the eyes of
our children and grandchildren. It’s going to be historical.”

(l to r): Cory Thomas (Admission Granted TV), J, Tony B (Our Glass),

Birdland Sean, Mobile Mike (MSB), BP (MSB)

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

74 OZONE
DAVID BANNER
WORDS: JULIA BEVERLY PHOTOS: JARO VACEK
W
hen you originally got signed to SRC/Universal, there was a
lot of hype around your “$10 million dollar deal.” Was that
accurate?
It was very misleading. That’s not what you get in your pocket; no-
where close to what you get in your pocket. That $10 million is over
five albums: every flyer, every video, every rental car, every radio ad,
every poster, everything you do during those five albums.
So who perpetuated that hype? Who’s idea was it to put out that “$10
million” figure?
That’s not really important because I don’t like to bring other people
into it. I think it was a mistake, and at the time, I should’ve stopped it.
So I take full responsibility for that. People have a tendency to treat
you differently when they think you have all that money. When I look at
Dave Chappelle, I feel for him. I feel so bad for the shit he went through
when that “$50 mil” got thrown out there and the pressures that came
on him. And folks don’t care if you say, “Nah, bruh, that ain’t true.” If
they read it somewhere, they gon’ believe it. One of the reasons I want
to talk about this is because I don’t want these young rappers to be
throwing their money out there and talking about what they’re getting,
especially when it ain’t true. There’s a certain level of responsibility that
comes with that. Not that anybody should be counting your fuckin’
money anyway, but it’s a lot of responsibility that comes with saying
you’ve got that amount of money. The pressure comes from friends,
family, whoever. It’s a lot of pressure for one person to handle.
So at what point did you decide you wanted to dispel that idea that you
had millions of dollars?
It wasn’t ever my idea to put it out there like that, but I didn’t stop it
when it happened, and that was my fault. It’s bad when people stop
looking at you as a person. It’s just like Dave Chappelle said on TV:
it’s sorta like Bugs Bunny when they were stranded on the island, and
folks started looking at each other like they’re food. That’s sort of the
feeling I had. I want the young cats to know: bro, keep your personal
business out of this rap shit. It ain’t nobody’s business what you’ve
got. Keep it to yourself, feel me?
If you don’t want people to have that perception of you, why buy a
Bentley? Why show your house on MTV Cribs?
That’s my business. That’s the problem. People get into an artist’s life
too much. I can buy a fuckin’ Bentley if I want to, but that don’t mean
I’ve got ten million dollars. I can look good and buy a chain if I want to,
but that don’t mean I got ten million dollars.
Speaking of that, why don’t you wear jewelry?
I don’t wear jewelry because my mission is a lot bigger. I still like going
into the hood. I still want to be able to go hood to hood, and it’s sorta
hard to do that when you got $10, 20, 30 thousand dollars on your
wrist and people can’t eat. But this year, I’ma bust they heads, straight
up. I’ma shine on these muthafuckers. I’m gonna give folks what they
want. Watch. Watch David Banner this year, quote, unquote. And you
need to put in your magazine, “Most phenomenal feat of all mutha-
fuckin’ time.” The beginning of a new era starts right fuckin’ now with
this interview. So read it and get prepared for the fuckin’ future.
So out of your five-album deal with SRC/Universal, you’ve released
three so far?
Right. The fourth album is gonna be straight street shit, what people
expect from David Banner. I experimented and let people know my
depth and my range, and now it’s time to get back to that Mississippi:
The Album. It’ll be my first album, multiplied by ten, with the experi-
ence that I have and the knowledge that I have. My beats are ten times
better and my rhymes are ten times better now. Honestly, I think I’m
better than I give myself credit for. Most of these muthafuckers in the
game can’t fuck with me, and I’m about to show that.
How do you feel about the response to your last album Certified?
Aw, man, I feel great about it. To me, it was like, God puts you through
certain things and allows you to see what you have the potential to
do. My album dropped the same week that Katrina happened and a
bunch of other shit happened. But for the first time in my career, I’m
free. I’m not dictated by an album. I’m doing movies; really, really big
movies. I’m back in the production game. One thing I’ve been blessed
with is the fact that this rap shit don’t run me. I’m able to do so much.
God’s blessed me with so much that I’m able to dictate my own career.
So I’m really happy with the results because it did damn well.
What are the “big movies” you’re speaking of?
I’m auditioning for some big movies. I’ve been offered a couple big
things and I’ve got a really big movie in the works. But I really don’t
like to talk about stuff til it’s actually happened. There’s a lot of po-
tential, but you should never brag on stuff because it might not come
true. That was one of the problems I had; there was a lot of things I
counted on happening that didn’t happen, and people are waiting on
you. People believe in you so you’ve gotta keep your word and don’t
say shit til it’s actually ready to happen. I don’t blame nobody for noth-
ing now, cause it ain’t nobody’s fault. It’s my fault, every time. I’m the
man, this is my career. Mississippi is my state. I don’t expect no help
from nobody. Ain’t nobody your friend. As long as God gives me air
to breathe, it’s on.
A few of your labelmates at SRC, like Remy Ma and Grandaddy Souf,
have been pretty vocal with the issues they have with the label. Have
you experienced any similar problems or do you feel where they’re
coming from?
Hell yeah. I’m pissed off. You gotta really think about it: I made SRC. I
started SRC. Nobody gives me credit for that. Nobody cut me a check.
If it wasn’t for me, SRC wouldn’t have got on its feet at all. So I feel like
I deserve a little bit more, but it ain’t up to no other man to make my
career. Steve Rifkind doesn’t make me. I was a success before I met
Steve Rifkind and I’m gonna be a success after Steve Rifkind. I’m not
trippin’ on him. It’s not his fault. I’m not blaming him for nothing. If they
don’t do what they need to do, I’m gonna get off my ass and make a
buzz myself. But yeah, I was mad. I can’t lie. Hell yeah, I was mad.
Mad at what, exactly?
Mad at the way my shit was handled. But I’m not trippin’ about that
because you gotta think about it, Julia. Me and you are similar in a lot
of ways. Since the day I first met you, we always ran our own shit. And
that’s something I want you to put in this magazine: don’t stop run-
ning OZONE the way you run it. You delegate your business to other
people, but run it the same way you ran it when you started. You just
cyberspace the shit; upgrade your pimpin’. I’m not gonna stop doing
what I used to do. It’s up to me to make my shit hot. It’s up to me to
get out there and make my shit happen because record companies
don’t do it no more.
Do you think any artist – not just on SRC but in general – is happy with
the way their project is handled?
You’ll notice that the artists and the labels that are successful are the
ones that get off their ass and do it themselves and hire their own radio
teams and street teams and stop complaining about what muthafuck-
ers are not doing. I’m not gonna complain no more. This is my fault.
Put that in bold writing. It’s my fault; I take full responsibility for my life.
Watch what’s about to happen in my life. You keep this magazine run-
ning and watch what David Banner’s about to do. Watch me. Sit back
and watch this shit unfold and you better be ready to write a mutha-
fuckin’ book about me, I’m telling you.
Hmm. What’s the plan?
I’m not gonna lay the pimpin’ out. I just told you, you don’t talk about
stuff until it’s time. It’s not time yet. It’s just starting, and anything can
happen to stop it. A lot of people don’t want to see me successful
because I’m a threat. I’m a walking corporation. I don’t need nobody
to make my beats for me. I make my beats. I don’t need nobody to
write my rhymes for me. I write my rhymes. I don’t need nobody to
go get radio for me. I got friends in radio. DJs are my homeboys and
homegirls.
OZONE 75

Why is that a threat?
It’s a threat whenever you have too much power and too much influ-
ence. There ain’t too many rappers out there that I haven’t worked
with. That’s power. When anyone is able to call upon people and they
come, it’s a threat. Look at our generation; it’s not too many people
that can call on people and they listen. Look at the power you have
with your magazine. Look at the power I have. And we knew each
other before. That’s power. But we don’t use our power like we should.
None of us do. Look at the power that rap has. Look at the millions
and billions of dollars that we’ve made for shoe companies and man-
agement companies, but how many of us have made those billions
for ourselves? We gotta empower ourselves. That’s why I don’t bicker
and talk about no other man. I know who I am. I know what I’ve done
in the past. I don’t gotta talk about no other man. That’s why it’s just
business to me. It’s all business, and we’re waking up. That’s what
Katrina did for us.
What’s the big picture for you? Are we talking politics?
To establish power and money. I used to be into politics and all that,
but I can’t build communities without paper. I can’t get people to come
places if I’m not popular or famous, or people don’t like my music. It’s
about hit muthafuckin’ songs. It’s about making money and distribut-
ing that money and doing what you’re supposed to do.
I’ve heard people say, “David Banner sounds intelligent and he talks
about positive things, but when I hear his music all he’s doing is curs-
ing.” So either they’re not understanding, or your goals are not trans-
lating through your music.
The thing is, it’s music. The problem with rap music in general is that
we have allowed people to make it “real.” Everything’s gotta be “real,”
and that’s not the case. We write songs about the things we feel and
see. Those same people who talk that shit are people who are not in
the streets. People haven’t been through what we’ve been through.
Even you, being a young white girl walking through the most hood
clubs in the world, people ain’t been through what the fuck you been
through, so they can’t worry about what the fuck you write about in
your magazine. The truth is, regardless of what people say, when I put
out “Cadillac on 22s” how many people rallied behind me? But when I
put out “Like A Pimp,” look at my career! Anytime I try to do something
that mean something, do people rally behind me? No! But when I talk
about “like a pimp” or “play with your pussy,” what happens? I get that
muthafuckin’ paper.
That’s true for pretty much any form of entertainment. Do you think
that’ll ever change, or is it just human nature?
It won’t change in my lifetime. Maybe I’ve started a change. When I
perform my music in concert, “Cadillac on 22s” is usually the song
that my true fans rally to the most. Most thugs want to do better. Most
thugs, anywhere in the world, if you give them the option to do some-
thing better and they could really see paper in it, they’ll do it!
Why do you think that a lot of kids see entertainment, sports, or hustlin’
as their only career options?
76 OZONE
“I don’t wear jewelry
because my mission is a
lot bigger... But this year,
I’m gonna shine on these
muthafuckers. I’m gonna
give folks what they want.
Watch David Banner this
year: quote, unquote. The
beginning of a new era
starts right fuckin’ now
with this interview. So
read it and get prepared
for the fuckin’ future.’’
What options are readily available to our kids? When you look at TV,
look at the roles we get and the situations they place us in. When you
look at television, you don’t see positive black people moving and per-
petuating. You don’t see that marketed and promoted. So, you answer
that question, and put it in your magazine. Tell me what these young
kids can see out there that’s readily available. Like I said, if you can
show a thug another way to make money, they will.
Well, you’re intelligent. You could be a doctor, lawyer, teacher, any-
thing you chose to be. You could show kids other career options. But
you chose to be a rapper.
I chose to be a rapper because I know that I can touch people and
help people. And am I doing it? Does it affect my community? Haven’t
I made people recognize my state? Haven’t I opened up the doors for
people who never felt like they could do something positive? Have I
not stood up in the eyes of adversity and done positive things? I’m
asking you. Answer the question.
Yes, you have. But let’s go back to what we were talking about as far
as rap lyrics. The other day we were talking about BloodRaw’s trial,
where they attempted to use some of his lyrics about “moving weight”
and “indictments” as proof that he committed a drug offense. Do you
think it’s dangerous to take rap lyrics literally?
That’s not fair. They only do that with black people. When Steven
Spielberg makes a horror movie or Steven King writes a book about
kids being demons and stuff like that, they don’t hold it to them. They
say, “It’s just a movie,” or, “It’s a work of art.” Just look at Three 6 Ma-
fia winning a Grammy. They give props to the actors who acted like
pimps in the movie, but won’t give props to a group that raps about the
same thing the movie was about?
Do you think it’s because there is so much emphasis on “keeping it
real” in rap music, that people assume it is reality?
Well, regardless of what people think, movies can influence people
more than music because they can see the visual images. It’s the fact
that young black people are making money and establishing power
off the same thing the establishment has made money off all the time.
That’s true power in the hands of young cats who know how this es-
tablishment has taken advantage of us. And I’m not scared to die. I’m
not scared to step up and do the things that I gotta do as a man. I’m
hesitant sometimes, but I’m not scared.
If you’re performing a song every night called “Like A Pimp,” do you
ever question the line between reality and what you’re rapping about?
Do you ever start to believe that you are what you rap about? Or were
you what you rap about from the beginning?
I’ve been through a whole lot of things in my life that people will never,
ever know about, and I’ll never talk about it on a muthafuckin’ song
or in a magazine. The only way a person will find out what’s real is by
testing me. So I don’t wanna show people what’s real. I don’t want to
be what I used to be, but I can talk about it. That’s my prerogative. The
truth is, regardless of what a person talks about, it’s only fuckin’ talk.
The problem is that America is not raising our kids. We’re not taking
responsibility for our own kids in our own households. But I’m not
taking responsibility away from rappers, either. I think we should take
responsibility amongst ourselves. We gotta get together in a room,
with no record players, no cameras, no radio. And you have to un-
derstand that a lot of these cats don’t know nothing but heartache. A
lot of these young cats don’t have nobody to teach them better, and
they’re making money doing what they’ve been doing, so why should
they change? We have to educate each other, because nobody else
gives a fuck. The establishment makes money off us being the way
we are. It’s crazy, but the truth is that nobody’s gonna hear us if it ain’t
jammin’. And the truth is, right now, what we say and do is jammin’.
It’s proven. When I go away from the David Banner that everybody
talks about, what happens? Be honest, Julia. You say it.
You flop.
Exactly! So I’ma keep it thuggin’. Fuck ‘em. Niggas can talk that shit,
but everybody does it. Look at America. C’mon, America came up off
slavery, pimpin’, and killing. Murder, bloody fuckin’ murder. How can
muthafuckers sit up in their big-ass houses that were built off murder
and criticize me? Not that that makes it right or wrong, but we have to
start dealing with the truth.
And throughout all the things in American history, a lot of those things
have been done “in God’s name.”
God is watching. That’s one thing I’ve learned in this music industry.
Music ain’t shit when it comes to God. We will have to eternally deal
with all the things that we say and do. This time we’re living in ain’t
nothing but a second to God.
With the tsunami and all the hurricanes and earthquakes and every-
thing going on in the world today, some people speculate that we’re
living in the “end times.”
Everybody talks about the end times and this and that, but actually,
from my understanding of the Bible, the end is actually when it gets
peaceful. When there’s too much peace, that’s when the end is gonna
come. I think God is reminding us that he does exist, and that all
this could be taken away in a matter of seconds. That’s why Certified
was so important to my career. We gotta be slapped up. We gotta go
through hard times. That’s what keeps us being men and women.
One thing you could say about Julia Beverly and David Banner is that
nobody made us. Ain’t no man made me. Ain’t no woman made you.
People have helped us, but nobody made us. Nobody got out on the
streets passin’ out those magazines with you, and nobody slept in
that muthafuckin’ van with me. God has put us through all that for a
reason. When Mississippi and New Orleans come up, we’re gonna
be the strongest people,
ever. And that’s through
the grace of God.
ple felt like the South wasn’t hot and they wouldn’t get with the South,
and then what happened? They got left behind.
Do you ever have to check yourself to make sure you’re not smelling
your own shit?
Hell yes. Every day of my life I have to check myself. That’s why I say
God is so good. Sometimes God checks you. He gotta slap you up
and bring you back down in order for you to realize you’re here for a
purpose and a reason. Yeah, I gotta check myself. If you don’t check
yourself, that’s the problem, when you feel like you ain’t doing nothing
wrong. I have fucked up. I need to be checked. That’s why you need
people around you to tell you when you fuck up.
When people become successful, do you think it’s the money that
changes them, or other people’s reactions to their money?
It’s all of that. It’s people in your ear all the time. It’s people not telling
you “no.” It’s the fact that everything’s at your discretion. It’s people
lying to you, telling you, “Yeah, dawg, that’s jammin’,” when it’s actu-
ally not. People change towards you. And all the stuff I’m learning
from this music shit, I’m implementing to the movies. I’m gonna try
not to make the same mistakes. Please put this in bold writing: Tell
these young cats to read. Read anything. I don’t care if it’s a Playboy
magazine, just read something. Read. Find out about your money.
That’s the biggest thing I’ve learned. Get a good accountant. It ain’t
about our talent with black people. We’ve got the talent. Look at how
we make billions of dollars out of nothing. We have to learn to keep
our corporations.
What made you decide to put out DA SIPP mixtape?
I’m just tryin’ to give a lot of the local cats at home some national
shine. Before, there was just a lot of stuff I didn’t know how to do. Now
that I’m learning, I’m trying to come back and give back. We’ve been
giving the mixtape out at all my shows. For the next mixtape that I do,
I’m gonna give cats the CD and let them press them up and sell them
theyselves; give them an opportunity to make money.
Any last words?
I want to thank everybody that’s helped me throughout my career, and
all my fans that stuck with me. And I want people to know that we do
make mistakes, and we’re not perfect. People swear that we’ve got it
together. That’s why I always give praise to God, because I don’t know
how I did what I did. All I know is that I get out there and bust my muth-
afuckin’ ass. That’s why people should watch what they say to these
rappers, because we came from nothing. Muthafuckers look at us on
TV and get it mistaken. I am not playing. I am dead serious, dude.

You’ve been in the rap

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

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78 OZONE
TOO SHORT
WORDS: MAURICE G. GARLAND PHOTOS: SHANNON McCOLLUM
Love him or not like him that much (you really can’t hate the man),
everybody has a favorite Too $hort song. Whether you liked the
baseline on “I’m A Player,” the stirring lyrics on “The Ghetto” or
the sexual exploits on “Freaky Tales,” you’ve got at least one shin-
ing Too $hort moment.
Being in the game for twenty years like he has shows you a lot
more than a magazine page can hold. But peep game as $hort
speaks on the origins of the hyphy movement, why women are the
real pimps and sound advice from DJ Red Alert. He even reveals
some of his hidden formulas for his success. Read on.
Being from Oakland, being that you put the Bay Area on the map,
being that you’ve been in the game for this long, how do you feel
about the new found attention the Bay is getting?
It’s really about the mood the fans are in right now. The reason why
crunk was winning was because in the past 10 years, people have just
been about having a good time. So the music has just been about hav-
ing a good time, nothing but dancing and having fun. So the energy
that crunk provided made it more appealing than the New York rap-
pers who were being super emcees with the complex rhymes. People
like it more than gangster, gang-banging stuff the West Coast was
coming with. The crunk shit was just having fun. It’s something that
people would rather do. So with the Bay’s new sound- the hyphy- it’s
all about dancing. Its high tempo and that’s one thing that similar with
hyphy and crunk. It’s not the real deal if it don’t make you dance. Go-
ing stupid and dumb is dancing to them out here in the Bay. Its fun
to kids and some of the young adults do it. People in their 30s don’t
wanna do it though. They look at it the same way that folks in Atlanta
look at “Laffy Taffy.” They looking at “Laffy Taffy” saying its junk. Funny
that these are the same people who used to shake it off and dance to
Lil Jon and Youngbloodz.
With the hyphy dances, people are quick to point out that it’s more
than dancing. It’s a way of life that’s been around for years. If you
look closely, it looks like people were getting hyphy in the “Life Is
Too Short” video.
If you look at that video, we was in our 20s. What we was doing in that
video was the side show. There was only one place that you could do
that, and that was the Eastmont Mall in East Oakland. On Saturdays,
people would be out looking fly with cars in the parking lot, girls just
hanging the streets. So with the side show, people in Oakland always
put racing engines in their cars. We called it high performance. In Oak-
land, you got to put the high performance in the car. You gotta have
a loud engine, pipes and all that shit. The engine gotta be so strong
that when you burn rubber, the car goes sideways. It can’t go straight.
That’s what we did in the late 80s. We’d do donuts. Cops might chase
us but we didn’t care. Fast forward to now, and the side show has
been going on the whole time. Now niggas do it everywhere, not just
one place. You can drop a hat and it’s a party. These are the kids
of the side show in the late 80s. They took their parents’ wild nature
to another level. Just like how hip-hop has emceeing, DJing, break-
dancing and grafitti, hyphy has elements. First, you got the cars’ part
where you do donuts and ghostride the whip. Kinda like how Texas be
swerving, but we do it at high speeds. A lot of people in the bay hate
that hyphy shit because it’s dangerous and it causes injury. The car
part of the hyphy movement is like when the crunk had the fight shit.
They had certain records by Lil Jon and Three 6 Mafia that the club
owner said “don’t play that shit.” You got the hyphy train that’s also
in that. Just like Texas but high speed. Then you have the music part
of hyphy. It’s uptempo most times, not all of the time, but it just has a
certain sound. Very hard to explain. I been watching it develop for the
past five years. It’s like if you from Atlanta and know what Crunk is and
you go somewhere else and someone comes to you and says they
got a crunk song. Yeah, you might bounce to it, but it ain’t crunk. Hy-
phy just can’t be up-tempo. Then, you got the rapping. Just like when
you motivate people to throw elbows and stuff in crunk, the hyphy
DJ got certain chants too. Whether he’s talking about smoking purp
or popping pills, whatever it takes to make you go stupid. The latest
great underground record in the Bay is an entire song of ebonics, just
jibberish slang. Its funny as fuck. These niggas don’t say one straight
sentence in the whole song. The shit is crazy.
Crunk was the most popular thing going at one point and then it
died down. With the hyphy movement being around for almost
two decades, do you see it meeting the same fate?
I don’t think so, but it has changed. Now all the kids wanna get a deal.
They didn’t want record deals at first. They didn’t care about that, but
now they do. But it ain’t gonna die because it’s still spreading, and
people are embracing it. They getting hyphy in Seattle, Portland and
any where close. Then, you got the slang. That’s as much a part of it
as the dancing. If you really from the Bay, you gotta put some slang
in it. It’s some songs on the radio that kids love because of the slang.
Plus, you got songs that are hyphy and still get on the radio. You don’t
have to go dumb to it. I know I’m not. I’ll sit here and tell you that I got
songs that you can go dumb to but ain’t hanging out the side of no car.
I don’t think 40 plans to either.
With this new movement coming about, has anybody hinted with
the notion that it’s time for you move on, that it’s their time?
It ain’t never been like that. The kids that’s 17 years old know my
words, and they wasn’t alive when I made the record. Even the slow
shit I was making. I get kids coming up to me all the time saying “Short,
you know my mama. Short, you went to school with my daddy.”
Talk about how the Bay area not only had an impact on the style of
hip-hop but the business of it as well.
We are the originators of the independent movement. We embraced
independence. We celebrate 20,000 in sales independently. There are
guys that’s been out there doing their thing like no one else. From ‘96
to ’06, regardless of if it charted or not, there’s a lot of people in the
Bay making money off music. Some of these guys are selling 50,000
records. They selling in Seattle, Portland, Wyoming, Colorado, Phoe-
nix, throughout the Midwest. If you sell 50,000, you good. 10,000 to
20,000- you straight. And if you having a good day, selling 100,000.
We celebrate that in the Bay. If you do that in the A, they laugh at you.
But in the Bay, you’re rich.
Whenever something gets popular, people usually start biting.
What’s the attitude towards the eventual copying by others?
The youngsters tell me they don’t care who try to copy because unless
you’re sitting in those streets, they ain’t gonna fuck with you anyway.
The people out there get their stuff on the radio and the streets be-
cause people support them. They got artists they love out there. Even
though the people near and around the Bay embrace it, they still can’t
do it either. It’s something about the dudes from there; only they can
do it. Them Richmond, Vallejo niggas, only Bay niggas can do it. It’s
a certain thing; you can pick it up, but not as an outsider. The videos
don’t show you. There ain’t gonna be no instructional DVD. You can’t
be an outsider and completely get it. Just like my career. I always felt
like rappers absorbed the rapper before them. I was never threatened
by other rappers trying to do that pimp shit because they ain’t got
the game like me. Even if you say you every pimp in the book. Even
with Texas, see it’s a lot like the Bay. You talk to them and they’ll tell
you they lived and bought big houses on independent sales. They
sold 150,000 off mix tapes. The Texas boys are near Atlanta and New
Orleans but never tried to make crunk or bounce because that ain’t
them.
Why do you think you’ve been able to stay in the game so long?
I think if you just go through different circles of people and ask if
they’ve ever had a Too $hort experience, you’ll get hella stories. I’m
mean look at my story. Just rolling with a trunk of tapes going from
block to block and coming up and getting a record deal and videos
and notoriety off being underground. That’s just legendary. You can
picture it in your head without seeing it with your own eyes. It’s the
kind of story that I don’t even feel like I’m a part of. Sometimes I step
outside of myself, and I can’t believe it. I be looking like “wow, he went
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79
 platinum and never got embraced by the mainstream?” No other rap
artist has ever did my numbers with no support, not even other plati-
num artists. I was going platinum the same time LL was, and I had no
kind of machine behind me. What if I had Def Jam’s machine behind
me? Where would I be then? Think about that. I did real good, but I
did the shit on the underground. I always told myself when I retire I’m
gonna do it independently.
Why don’t you think you ever got embraced by the mainstream?
There have been plenty of rappers with explicit content that have
been embraced.
I never had a publicist to tell me that I’m supposed to do certain things.
But then again, I never cared to have a publicist. I’ve argued that I
never wanted to be famous. I just wanted to be underground to the
fullest. I never wanted videos. I’ve been approached so many times
by people saying things like “let me give you a new look…you’ll be so
hot.” I’ve been told so many times “let me be your publicist.” I’ve been
told that I need to stop making ghetto shit and start making pop shit
like Hammer. A producer once told me that he couldn’t work with me if
I didn’t make pop (music) like Hammer. I never wanted to do that. I just
wanted to make records for one person- the Too $hort fan. Just that
one person. Every rap I’ve ever wrote sounds like I’m talking to one
person. That’s how I write. I write as if I just see one person in front of
me and I’m talking to them. That’s been my formula all these years.
You’re obviously known for your explicit lyrics and pimp tales.
Truthfully, how do you feel seeing all these new rappers emulating
your stories? Especially since it seems like an overabundance of
them? Do you think they are glorifying the lifestyle?
I hate to tell you this, but the real pimps and hoes in the street don’t
don’t recogize that shit in these songs. There ain’t that much real
pimping in the music. I can’t name any rappers that just get into it.
Pimp C has a heavy hand, 8Ball and MJG do too. They never play the
role of the trick. But if you really listen to the niggas out now, they say
they a pimp, but they talk about buying a bitch a car in the same song.
80 OZONE
Pimps don’t be doing that shit. Pimps just say “go.” Go get my money,
go out on the track, go work them tricks. Just go. Outside of that, it
ain’t much being said. Pimps just send. They just send hoes out and
they comeback like a boomerang. There ain’t a lot of pimping in rap.
These rappers can’t even get into it because they don’t know what it
is. In rap, pimping is just a sport. That’s the context that they use it in.
To them, pimping is buying bottles in the club and shit. The truth is the
girls are the real pimps. They straight up ask niggas “do you wanna be
my friend? Alright pay up.” Everywhere you look, niggas always ask
how much it cost to be some broad’s friend.
How do you feel about the influx of balling on records? Do you still
hear struggle in the music?
Everybody is going to the end of the story now. They just going straight
to the jewelry store. But that’s just a phase. But Hip Hop always been
on some show-off shit, though. But that’s what I like about the Jeezy’s
and T.I.’s. They show the journey. Niggas be running into brick walls
trying to be like these rappers because they don’t see the journey.
Shit, Jeezy motivates me, too. I’m an O.G. and even I’m like “damn this
nigga out here doing his thing with these mix tapes.”
In other interviews, your story always starts off as you saying that
you only made the dirty rhymes because people said they liked
them and was buying them. What were you rapping about before
you found out that the dirty rhymes worked?
[Laughs] The first raps I did was silly rhymes, just partying and shit. I
was just learning how to get on beat, but then I heard [Grandmaster
Flash and the Furious Five’s] “The Message.” It hit me immediately.
I can still remember. I was walking with my radio and was like “he’s
describing New York,” so I wanted to describe Oakland. So I did those
types of songs with cursing in it, and I did the X-rated stuff too. I no-
ticed those types of songs would get the reactions. I found a partner
that thought like me. So for four years, we just flooded the streets with
dirty raps. When I got in the studio, the owners would say I couldn’t
do dirty raps. So the first two albums I recorded, I did clean records,
but on the third I lost my fucking mind. But I when was doing clean
albums, I really explored social issues. I went into a different angle and
wrote something that meant something. My formula on the first three
albums, since they were tapes, was to make Side A clean and Side
B dirty. All the videos I did were songs that were positive. But no one
noticed that, though. They just know me saying “bitch” and the X-rated
stuff. The first dirty video I did was “Cocktails” and the other ones I
did when I moved to Atlanta. But all my videos, my image period, has
been influential though. A lot of the Texas shit comes from the image
of me riding in that burgundy Caddy in the “I’m A Player” video. Shoot,
you can even look at the first Outkast cover. Dre got a pimp hat on.
What are you working on right now and what do you have planned
for the future?
I’m putting 100% of my time into my independent label. This next al-
bum, Up All Nite, is my last album on Jive. I named my label after that
too. I don’t want no major labels knocking at my door neither. I just
wanna parlay my independent label into movies too. I just wanna finish
my career independent. I never did fit in with the system. You never
saw me at the Grammy’s and the award shows. I never wanted to fit in
anyway. I don’t wanna get an outfit every few months just to sit in the
front and hope I get some camera time.
That being said, are you ever going to retire?
I don’t even know man. I got a lot of music in the can. I can’t put a
age limit on it. I see how Hip Hop keeps expanding, so I can’t leave
yet. When people can say I’m 40 years old with a successful record,
I might think about it. Yeah, when I make my last record and you can
say $hort had a hit when he was 42, I can see it. I want to inspire a
nigga that’s 28 years old at the crossroads of his life not knowing what
he gonna do. I want people to be able to tell him, “Nigga you 28, why
you tripping? $hort had a hit record at 42 years old, you can still do it.”
Plus, I remember what DJ Red Alert told me when he heard I was retir-
ing back in ’96. He told me that jazz musicians, who were the weed-
smoking rebels back in the day, never retired. That you supposed to
keep going until nobody likes you. So that’s what I’m doing; I’mma
keep going until people say I’m wack.
Do you have any parting words?
Tell everybody to stop kissing ass for record deals. The deals are cool,
but this environment right now is good for independent sales, espe-
cially in Atlanta. Every day should look like an opportunity to make
money for yourself.
 YUKMOUTH
WORDS: MAURICE G. GARLAND PHOTO: BARRY UNDERHILL
Yukmouth has shown many faces in his ride through the music
industry. He’s been everything from a lyrically inclined goof-off
to a fighting mad emcee with a big chip on his shoulder. But now
with the Bay Area catching its second wind, Yuk wants to show yet
another one of his many faces. Read on to see what he’s looking
like nowadays.
Guess we’ll start off taking about the Bay’s resurgence. How does
it feel seeing this?
It feels good just to have people paying attention to the West Coast
period. It’s good to see that since we lost the spotlight ten years ago
when ‘Pac died.
During the Bay’s down period you continued to release albums
rather consistently. How did you keep your name out there?
My advantage was being signed to Rap-A-Lot, so when the West fell
off, I was in the South. At the end of the day, a lot of West Coast artists
82 OZONE
didn’t have that access. I stayed in other markets besides the West
Coast. In every city, you got to hit niggas in the city. Every city has
a nigga who’s running shit. So every time I go to a city, I scour the
streets and I link up with that nigga and do shit with them. I do things
that other artists don’t do. I plant seeds so if I don’t run the city, I got
niggas there that do. I keep my name in the loop. A lot of niggas don’t
fuck with the streets. They got managers and police around them all
the time. I fuck with everybody; I don’t just act stuck up or act like I’m
too good because at the end of the day, we all started from an inde-
pendent level. So you got to look out for those niggas. When you look
out for people, they fuck with you. My shows be packed.
Why do you think some artists don’t take that approach?
I don’t know. I think it’s because when you get to a certain status like
platinum and get awards, you can’t go in the public and not get ha-
rassed. The big artists ain’t scared, but its more of a consequence to
go out in the public. And it don’t help if you got security all around you.
If you from the streets, you don’t need all that. I’m from the ‘Jects where
we got our own police. If you claim you from the hood, you should be
able to go out without the security. If anything, surround yourself with
niggas you know got your back, some goons. Who gonna protect you
better than your guys and goons? Ain’t no police gonna protect you
like that. Security ain’t doing nothing for you.
How did you end up hooking up with Rap-A-Lot?
Rap-A-Lot came and got me. When I was working on the Luniz stuff,
we was both on Virgin. So it came to a point when me and ‘Face
was working on our albums around the same time. J Prince and them
noticed it was me in the studio more that Numbskull. They was like
“damn man, you working by yourself all the time. You should come
get with us.” Then, J offered me a solo deal. Nobody I was fucking
with at the time offered me that, ever. Not C-Note, not Virgin, nobody.
So I took it.
What kind of strain did that have on you and Numbskull’s relation-
ship? Needless to say, we didn’t see anymore Luniz albums until
two years ago.
Oh, I can’t even lie. It had a strain. It was choose to loose or get a solo
deal. My executive producer had it in my contract that if I had signed
solo, I had to give up my right to be one of the Luniz and I was mad
that Numb agreed to that. Luniz ain’t break up. They made me break
up. Then, a couple years passed, and we reconciled. We dropped Sil-
ver and Black. But without Yuk there is no Luniz. I came up with name
of the group. I made me and Numbs’ names. I created the whole shit,
the whole concept. I sat there and did all that shit in juvenile hall.
Now your first album, Operation Stackola, was everybody’s favor-
ite back in 1995. To this day, do you think that album is appreci-
ated enough?
That album was the last album to go platinum in the Bay Area. Pe-
riod. Everybody was going gold. We the last niggas to go platinum
in the Bay, even to this day. When that album dropped, it was always
Hammer, 40 and $hort. We was the new generation at the time- us
and 3XKrazy. Nobody came after us (or) since us. And when fans talk
about Bay Area music and history and don’t mention Yuk or the Luniz,
it’s very disrespectful. I got fans all over the world, and I rep this Bay
shit. I go over seas every year. You can find a Yuk CD all around the
world. I’ve been repping in markets that the Bay ain’t never been. I’m
talking Alaska, Africa, Switzerland, Germany. I’m doing shit the aver-
age West Coast artist can’t do. I’m the only voice overseas. You got
Hieroglyphics, but they doing Hip Hop; they ain’t doing the gangsta
shit. I take this shit everywhere. Half these niggas ain’t been out the
West Coast. I got passports. So when they don’t mention Yuk and
Luniz when they mention hyphy and the Bay, that’s disrespectful. We
created the only anthem out the Bay, and we did a remix with every-
body on it. After the “I Got 5 On It” remix, Richie Rich got a deal with
Def Jam. A lot of niggas got put on. So when niggas talk about the
Luniz they better look at us like Hammer and Too $hort. What nigga
you know got anthems that still get played 10 years later? A thousand
niggas done made remakes of “5 On It.” A lot of niggas can try to ig-
nore me and Luniz, but real fans know we contributed.
Do you see the hyphy phenomenon dying down in the near fu-
ture?
I don’t think hyphy [is] ever gonna die down. We been hyphy. Keak
was on my album saying he hyphy back in ‘97. Hyphy is about having
fun and wilding out; its always gonna be fun in hip-hop. Crunk is still
popping. Even if ain’t on every song, its just a different style. Just like
step music in Chicago or go-go in D.C. All this shit has never went
nowhere; its here to stay.
On the Luniz’ 1997 album Lunitik Muzik album, you and Num
squashed whatever beef you had with Too $hort, and you had a
lot of features on there. Talk about what was going on while you
recorded that.
That was a hot ass album; we felt good. When you got money and
shit, you feel good. You can think of amazing shit. But when you’re
struggling, you can’t get a lot of shit done. But sometimes being broke
works. That’s how we made “5 On It.” We had our first piece of big
money. Being comfortable has a lot to do with making good music.
That’s interesting because many would argue that artists getting
comfortable is exactly what’s hurting the music, the loss of that
hunger.
Well yeah, don’t get me wrong; you can get too gotdamn comfortable.
And yes, you can and lose track of what the goal was from the first
place. Like, that’s one thing I liked about DMX. He stay focused in the
streets. He goes to Houston, Phoenix, wherever but he still stay in the
hood. Some niggas don’t even come out. They stay in the mansion,
so of course they make candy-coated shit. You can’t rap about ‘hood
shit if you got waiters and shit. I think niggas get too comfortable. I
ain’t saying you gotta move back to the projects, but you gotta stay up
on the latest shit. That’s what makes your songs. Nobody lives in the
‘hood. Not no successful mu’fucka. You leave. Even back in the day
when we was slanging, the big nigga don’t stay in the hood. You want
to leave, but you can’t forget the hood. That’s what I’m saying.
When you dropped Thugged Out: The Albulation and started do-
ing the United Ghettos of America series, it resembled what 2Pac
was trying to do with the One Nation album before he died. Did
that inspire you to start U.G.A.?
That’s exactly where I got it from- One Nation. I was like “damn, I
fuck with these different niggas,” so I wanted to get them on one al-
bum and call it The Albulation. That mu’fucka about to go gold now.
That album separated me form the one-hit-wonder shit. That album
sold form word of mouth. I went gold cause niggas like me. I had no
promotion, no BET, no nothing. U.G.A. is just me traveling. So I was
like let me film this shit. I was watching DVDs that really got me, like
Rhyme and Reason. Niggas really want to see what goes on in a rap-
pers’ life. The videos don’t tell the story, so I did a DVD about hip hop
independently.
Together, both sets of the CD and DVD have sold 150,000, so you can
add that up. That’s why I ain’t put out a solo album in two years. I was
getting paid. So fans waiting on Yukmouth, I’m sorry I was getting my
guap.
What are we gonna hear on the new album Million Dollar Mouth-
piece?
There is a lyrical growth and a combination of styles. On my first al-
bums I was doing grimy shit to separate from me Luniz. Niggas com-
plained, so on Godzilla, I blended the grimy and smooth shit. They still
complained, so I’m just doing me.
Well, since the Luniz albums, the last couple of years actually,
you’ve sounded mad as hell on the mic. Are you still going to be
screaming mad on this album?
[Laughs] Niggas kicked me out my group. Niggas was hating- say-
ing I was a one-hit wonder, so yeah, I was mad. Plus, I was popping
X. I don’t do that shit no more, though. That first album, I called it the
X album. A lot of that shit was emotional cause of that X. I was dead
fucking serious. A lot of niggas rap to rap; I rap to save my life. We all
human. I’m sticking to reality rap. Reality sells. Look at Jeezy. I gotta
watch what I say, and oh yeah, no more beefs. That’s my new motto-
no more beefs.
For a minute beefing was your claim to fame. Why the change?
The change is me getting tired of this shit. Niggas was getting signed
off dissing me. [mocking] “Oh, he dissed Yuk” and now G-Unit wants
to sign him. Then, you got niggas on big labels controlling the air-
waves. They doing shit like black balling me. I’m like fuck this. I’ve
been on Oprah, Jenny Jones, all that shit. Plus, how can I do U.G.A.
and then shit on niggas? I didn’t have beefs because I wanted to. But
because I got to defend myself, I had to do it. In this game, if you don’t
reply efficiently, you’re ruined. If you don’t respond within a certain
amount of time, niggas forget about you. Look at what KRS-ONE. (He)
ruined MC Shan because Shan didn’t reply efficiently. 50 ruined Ja
Rule because Ja didn’t reply efficiently. Same thing goes for Dr. Dre
and Snoop versus Eazy-E. LL against Kool Moe Dee. The fans gonna
hop on the next nigga. So when I did the shit with The Game, I proved
that he couldn’t fuck with me. I knew everything about him so I could
come back on him efficiently. Same with 50. Instead of whining about
50, I went to his hood and got Domination and Bang Em Smurf. If you
trying to end me, I’m trying to end you. But no more beefs. Let’s com-
pare real estate. Who got the most businesses?
Go ahead and shout out your business.
UGA Vol. 3 is coming out this summer right after Million Dollar Mouth-
piece. I’m doing it all, my nigga. Getting all the paper. I’m putting out
Jamal formerly of Illegal and Dru Down and the Regime. And me and
C-Bo working on a new Thug Lordz album. And I wanna shout out
all my hyphy niggas- Fab, Keak, 40, $hort. All my young niggas like
Hoodstars, Turf Talk, and the Team and peace to Mac Dre and to Rick
Rock. Let’s rep this Bay shit.
OZONE 83
 20
OZONE MAGAZINE PRESENTS

ESSENTIAL SOUTHERN ALBUMS

T
he idea of coming up with OZONE’s 20 Essential Southern Albums was birthed out of neglect and necessity. All too often when various
music magazines and/or websites come up with a “Greatest Of All Time” collection, the South is severely overlooked. Albums like Outkast’s
Southernplayalisticadillacmuzik are either hardly or never mentioned when naming the “Greatest” albums. Lyricists like Scarface often wind
up on the “Honorable Mention” list when naming the “Greatest” emcees.

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

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

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

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

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

OZONE 85

20
2 LIVE CREWNA BE
AS NASTY AS THEY WAN
Luke Records - 1989
by Killer Mike
ESSENTIAL SOUTHERN ALBUMS
W
ith this album As Nasty As They Wanna Be, 2 Live Crew made
the world realize that people like sex. They made sex buy-
able in rap. There was no sexual awareness in hip-hop be-
fore them. They told you to put a rubber on, they talked openly about
masturbation and jacking off. They showed people that there was stuff
going on outside of what we were seeing in the movies. They told you
things your mama was scared to, that teachers couldn’t, and what you
yourself were too afraid to read about.
I think you really see the genius of 2 Live Crew on “Dirty Nursery
Rhymes.” They really showed something with this record. They were
able to make people not take a serious subject so seriously. This was
a way to get people to talk about sex.
At the time this record came out, they were fighting to let us as artists
say what we wanted to say. No disrespect to the old school G’s that
have gotten arrested and have had their own run-ins with the law for
fighting for what they believed in, but nobody defended our rights like
2 Live Crew. No one else had their nuts on the line like Luke when it
came to this music shit. So when you mention the greatest, please
mention Luke. Rap is about what you say and what you do. What Luke
did in fighting for freedom of speech is like what Larry Flynt did, but he
did it for us musically.
I remember the first time I met Brother Marquis. I couldn’t say nothing
to him. All I could do was rap “My 7 Bizzos” to him. I recited the whole
verse in front of him. And he was probably looking at me thinking,
“Why is this guy on my dick? That part of my life is over.” I always
remembered the time they showed his face on the news when they
shut down one of their shows, and he held up a Playboy magazine.
The news camera tried so to switch away real fast but we still saw that
white titty. When I met him, I told him that what he did was important.
He helped us be able to express ourselves freely. Brother Marquis,
he’s one of the greats.
When I first heard this album I could not understand why “Reggae
Joint” was on there. Looking back, it showed that 2 Live Crew had a
86 OZONE
“As Nasty As They Wanna Be is a fuck-
in’ classic. That’s when women started
getting loose in the videos. Everything
started to change. It wasn’t all about
the paper anymore. It was more like
Sex 101. This album showed you how
nasty Miami is.” - Pitbull
“ME SO HORNY”
This single is one of the greatest rap songs ever, because it
packaged something so raw and so profane that it should not
have made it to TV or radio.
“THE FUCK SHOP”
When me and my homeboys were teenagers, we used to rent
rooms and say we were gonna find some girl in the street and
take her to the fuck shop. It never worked, though. We’d just
end up sitting in the room getting drunk. Girls used to be like,
“I’ll fuck one of y’all, but I ain’t fuckin’ no 20 niggas.”
“PUT HER IN THE BUCK”
People always talk about “doggystyle,” but down here in the
country we like to put them in the buck. I’m a Southerner, and
we get wild down here. This is one of my favorite sex songs.
“IF YOU BELIEVE IN HAVING SEX”
Say hell yeah! Luke was like Doug E. Fresh. Luke could run a
crowd for 15 minutes just doing call and response. And they
weren’t just rocking small clubs, they were rocking coliseums
and arenas like N.W.A, Run-DMC, and LL Cool J did.
“MY 7 BIZZOS”
This album came out before the sampling laws were passed,
and this song used the sample from Jimi Hendrix’s “Voodoo
Child.” Back then, rappers weren’t afraid of using guitars in
their beats. Stop hating, let us sample!
broad vision from the start. You couldn’t look at them as just a South-
ern group. Two of them came down from California through the mili-
tary and Luke has a Caribbean background. They took it worldwide.
2 Live Crew was also the first group to understand that people wanted
to ride in their cars and bump the music. They knew that niggas was
getting speakers hooked up in bootlegs places. So the EQ’ed it and
tweaked the music for that specifically.
With “Fraternity Record,” see, this was before Kanye West came out
with the whole College Dropout thing. They were already mocking the
college scene and making them party. You can go on college cam-
puses to this day and hear this record. And let me tell you, you’ll never
believe what this song makes white girls do.
Number 17, “Mega Mixx III.” Whenever you mention DJs you gotta
mention Mr. Mixx. If you a B-boy you can get down on the floor and
break to it. If you a Southern playa you can stand back and let a hoe
grind on you. At the skating rink, shit, when the DJ was finished or
wanted a break he’d just throw this on and let it ride.
2 Live Crew’s As Nasty As They Wanna Be is not about saving the
world. It’s just about having a good time and enjoying life.
This was to me one of the last real bootyshake/bass records too. Peo-
ple think bootyshake and bass music are the same thing, but they got
it all wrong. Miami bass made girls shake their ass but you still had
rapping over it. It was real rapping about everything going on in the
ghetto. Bootyshake was call-and-response and dancing. Luke is the
person that stamped that call-and-response in your brain, and boo-
tyshake evolved from that.
I gotta give a lot of respect to Luther Campbell, Luke Skywalker, or
as some of you may call him, Uncle Luke. If it wasn’t for him and Lil J
[Prince] at Rap-A-Lot Records, there would be no Southern hip-hop
scene. They were the first to make a business out of this. Luke is a
true genius.

20
OUTKAST
ATLIENS
LaFace - 1996
by Julia Beverly
ESSENTIAL SOUTHERN ALBUMS
A
lthough Southernplayalisticadillacmuzik introduced the unique
sounds being crafted in The Dungeon, it wasn’t until their sec-
ond album ATLiens that Outkast’s Big Boi and Andre (now Andre
3000) truly mastered their lyrical capabilities and used their talents to
really say something. The significance of this album was not only its
remarkable consistency, but its refreshing honesty. Outkast is argu-
ably one of the greatest, if not the greatest, hip-hop groups of all time,
and ATLiens provided a front-row seat to their growth during the criti-
cal sophomore stage.
In today’s microwavable music society, where one-hit wonders are the
norm and the line between hip-hop and pop is becoming more and
more blurred, it is rare to find such an exclusive look at the process of
reaching the top, rather than just life at the top. And they articulated it
so well. It was too early for them to be celebrating. “Tricks be lookin’
at me like I’m their way up out the projects / Can’t put you on my
payroll, and no I ain’t got no Rolex,” Dre rhymed on “Two Dope Boyz.”
Although they’d “come a long way like them slim-ass cigarettes,” they
were still “neck and neck” with the average working man. Drawn in by
the extraterrestrial soundtrack which provided a pleasant escape from
the routine, the bored 9-to-5er could still relate to the things Dre and
Big were going through.
“It’s a decision to be successful. It doesn’t just happen,” says Outkast
protege Killer Mike. “You have to plan, plot, strategies, and be driven
to do this shit. It seems to me that during the making of ATLiens, that’s
what they’d become determined to do: make their mark in the game.
This album set them up for history. It’s a testament to artist develop-
ment.”
For any aspiring rapper, hearing Dre reminisce of “riding the Marta
through the hood” and “doing the hole-in-the-wall clubs” just a few
years earlier was inspiration enough to work harder and perfect their
craft, as these two had obviously done. ATLiens highlighted the musi-
cal abilities of not only Big Boi and Dre, but of the entire Organized
Noize camp. Everything was in-house, no radio-friendly guest appear-
ances or $100,000 tracks from big-name producers.
87 OZONE
“Outkast pushed the lines of creativity
on ATLiens. At the time, a lot of artists
were not speaking their heart due to
fear of being dropped from their labels
or being scorned in the hood.” - David
Banner
“ATLIENS”
If you like fish & grits and all the pimp shit, this one’s a clas-
sic.
“JAZZY BELLE”
The popularity of this song is evidenced by the fact that the
term “Jazzy Belle” is still used today as slang for girls that go
both ways.
“ME & YOU (TWO DOPE BOYZ)”
Redefining the term “dope,” this might as well have been
Outkast’s theme song.
“BABYLON”
While the eerie intro, coupled with Dre’s vivid lyrics, reminds
you of your first time “hunchin’ with all our clothes on, until
we felt excited,” and the melodic hook puts it all in perspec-
tive.
“ELEVATORS”
If you don’t believe that Andre 3000 is one of the greatest
emcees of all time, listen to this twenty more times.
ATLiens is one of those albums you can play all the way through; no
filler. Each track merges perfectly with the next but still has its own
unique sound and concept. Utilizing common noises like a helicopter
flying overhead, someone diving into a pool, or the neighborhood ice
cream truck, Organized Noize provided a perfect backdrop for Dre
and Big. Other notable Dungeon Family contributions included Big
Rube’s Biblical spoken word on “13th Floor/Growing Old” and Cool
Breeze’s masterful storytelling on “Decatur Psalm.”
The nearly indecipherable female vocals on the intro “You May Die” set
the tone for the album without Big and Dre even spitting a single lyric.
But next up is an Outkast classic, “Two Dope Boyz (In A Cadillac),”
where Big Boi assured listeners that “the ATLiens ain’t changed.” At
a time when hip-hop was dominated by the East vs. West, Outkast
introduced the world to Southern slang. Big name-dropped places
like Bankhead, Decatur, and SWATS, while Dre blended philosophy,
reality, and theology so beautifully in his rhymes that you had to listen
repeatedly to catch the meaning.
“God works in mysterious ways, so when he starts the job while speak-
ing through us we be so sincere with this here / No drugs or alcohol
so I can get signal clear, as day / Put my glock away, I got a stronger
weapon that never runs out of ammunition so I’m ready for war,” Dre
spit on the title track, summarizing the group’s mission. Indeed, AT-
Liens managed to give plenty of props to the man upstairs without
coming across as preachy. Big and Dre blended spirituality and ac-
countability flawlessly with real-life, weaving tales of drug deals gone
sour (“Decatur Psalm”) and good girls gone bad (“Jazze Belle”).
Other album highlights included the hypnotic beat of “Mainstream,”
the vivid imagery of “Babylon,” and the introspective vocals of “13th
Floor/Growing Old.”
“We makin’ the crowd move, but we not makin’ no G’s,” Dre lamented
on “Elevators.” But thanks to the success of ATLiens, and the following
albums which solidified their spot as one of the greatest hip-hop duos
of all time, making G’s is no longer a problem.
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20
8BALL & MJG
COMIN’ OUT HARD
Suave House - 1993
by Jacinta Howard
ESSENTIAL SOUTHERN ALBUMS
P
ut simply, Southern hip-hop wouldn’t be what it is today without
Ball & G’s Comin’ Out Hard. In 1993, while most rap fans were
still riding high off The Chronic and Snoop’s classic Doggystyle,
Ball & G were quietly building a new dynasty - one that started out of
the trunk of their cars. Taking on the hustle mentality that Bay Area
artists like Too Short and E-40 were perfecting, Tony Draper’s Suave
House Records began a grassroots movement that permeated the
hood faster than CIA crack. Even without an official single, from city to
city, Suave House was gaining momentum, propelled by these Mem-
phis natives.
Although the Geto Boys had established a national presence and Flor-
ida’s bass music was bubbling in Southern clubs, no one had quite yet
witnessed what Ball & G had to offer. Influenced by the blues and soul
music that Memphis is most known for, the two combined that musical
history with the realities of their everyday life to create a vivid image
that reflected the mentality that dominated many Southern hoods at
that time. A hypnotic mixture of raw soul, funk, blues and hard kicks
combined with pimp-laced tales of hustling, Comin’ Out Hard rede-
fined what southern rap music had the potential to be.
“8Ball will come out hard with the gangsta lean/gold smile for the wom-
en that be jockin’ the green…” - 8Ball, “Comin’ Out Hard”
Ball & G’s bold style caught on like wildfire and has been mimicked in-
cessantly over the past decade. From the slang (“cheese” and “playa
hater”) to the swagger and content, they established themselves as
innovators on this release. Fulfilling the pimp dreams of many young-
sters, at the time you would’ve been hard-pressed to find a dude be-
low the Mason-Dixon Line who did not have the lyrics to “Mr. Big” and
“Pimps” memorized.
“My job at Mickey D’s was fuckin me with no grease / I worked so damn
hard, but the money, it never increased / I quit my fuckin job, I had no
job, nigga / Put on the mask, get the glock, it’s time to rob nigga…”
– 8Ball, “Mr. Bigg”
88 OZONE
“Coming Out Hard was the first inde-
pendent record from the South to make
major noise. It was gutter, Southern,
country, and gritty, but in the midst of
that there was some real rapping and
MCing on there.” - Thorough of South
Circle (former Suave House labelmate)
“ARMED ROBBERY”
To this day Ball & G remain one of the most well-suited duos
in rap, and this song is the introduction to their natural chem-
istry. They compliment each other perfectly and this track
served as a prelude to their other classic tag-team efforts.
“9 LITTLE MILLIMETA BOYS”
As the first song on the album, this song would come to de-
fine Southern hip-hop. The style was fresh and innovative and
helped serve as an introduction to crunk music.”
“PIMPS”
Though this song dealt exclusively with women, pimp ideol-
ogy is a theme of all of Ball & G’s music - whether they’re
talking about manipulating the system, a situation or life.
“COMIN’ OUT HARD”
The title track solidified what Ball & G contribute to rap. It
demonstrated what they were capable of and where they were
going on subsequent releases like On Top of the World and In
My Lifetime Vol. 1.
“MR. BIG”
8Ball’s superior story-telling abilities are highlighted on his
solo song. The catchy chant, bouncy drums and synth bass
make this track one of the most memorable on the album as
Ball weaves a tale of ambition and street smarts.
The pimp (MJG) and the gangsta (Ball) told tales of hustling, pimp-
ing and striving to maintain from a perspective that was different from
what had already emerged from California and New York. It seemed
a little more honest, feasible and believable, and people related to
their stories whole-heartedly. Propelled by MJG’s stellar production
(he produced all but two tracks), the album did exactly what the title
claimed: it came out hard.
“Now I was clicking at my barrel just to see if it was loaded / Checkin’
out my bullets to make sure it won’t explode this, hand around the
handle of a snub-nosed steel / I must be for real in the procedure for a
kill…” – MJG, “Armed Robbery”
Though the entire album itself was only nine songs deep (eight if you
don’t count the intro), Comin’ Out Hard has undoubtedly become a
blueprint for independent southern rap albums and still stands the
test of time. It’s the reason why when you ask virtually any Southern
rapper to name their influences, Ball & G’s names are almost always
mentioned. Although MJG has labored in Ball’s shadow throughout
much of their career, even on this album he concretely exhibited his
lyrical prowess. At the end of the day, MJG is arguably one of the best
emcees not only in the south, but in rap period.
“1 to the muthafuckin’ 2 to the muthafuckin’ 3 the sound of a boom,
sweating you hard like a mystery / Could it be the pimp that ruled the
nation in ’93…” – MJG, “Pimps In The House”
From Atlanta to Houston to Jackson and everything in between, no
Southern rapper has gone unaffected by the duo’s signature Tennes-
see sound. Even beyond the music, the album influenced the very
image of southern Hip Hop culture, setting the stage for everyone to
start using Pen & Pixel graphics.
At the forefront of Suave House’s talented roster, Ball & G helped carve
a new sound into the South’s musical landscape, one that is still firmly
etched there today.

20
JUVENILE
400 DEGREEZ
Cash Money/Universal - 1998
by Wally Sparks
ESSENTIAL SOUTHERN ALBUMS
L
ate in the winter of 1998, there was an unseasonably warm heat
wave that was running crazy through the music industry. Cash
Money Records had become one of the most successful inde-
pendent labels in the history of recorded music, and in doing so man-
aged to broker one of the most lucrative distribution deals ever.
After scoring the infamous 30 million dollar deal, the pressure was on
Cash Money Records to deliver a product that would justify a deal of
that magnitude. Boy, did they ever come through with their end of the
bargain. That heat wave I mentioned earlier, it was really hot. Some
may even say it was 400 Degreez.
That was the title of the Cash Money’s star artist Juvenile’s third solo
album and the first album to be distributed nationwide through the all-
new Cash Money/Universal Records. Thanks to the lead single “Ha,”
which was basically a manual on to speak with a New Orleans hood
accent, 400 Degreez skyrocketed to the top of the charts. Everyone
and their mama was playing ghetto Jeopardy, asking questions like,
“When you gon’ come around and pay your rent, ha?”
The single turned into a phenomenon that carried from the winter all
the way to the spring. The song itself became such a huge hit that Jay-
Z, the artist who the industry looked to when determining what was
“cool,” decided to hop on the remix.
When spring came, the real monster record off the “400 Degreez” al-
bum was let loose on the public: “Back That Azz Up” still holds up
today as one of the greatest club records of all time. If you are ever in
a club and you hear those opening strings, you automatically know
what time it is. It’s time to hit the dance floor and back that ass up. That
record also served as an education in New Orleans bounce music.
Bounce music was a hip hop sub-genre based on call & response
type crowd participation, made popular by artists such as DJ Jubilee
and DJ Jimi. This 1998 version of bounce music packed dance floors
worldwide.
Even with the success of the commercial singles from “400 Degreez”
“When I made 400 Degreez I was 21
years old and full of ambition. Person-
ally, I never thought it would blow up
like it did. Looking back, it was a bless-
ing in disguise.” - Juvenile
“BACK THAT AZZ UP”
This song is pretty much the same party-starter now that it
was when it was first released. Even my mother knows how to
back that azz up.
“HA”
This record turned New Orleans slang into a full-blown cul-
tural phenomenon.
“RICH NIGGAZ”
Everything about this record was perfect: the beat, the
rhymes everything. It’s Mannie Fresh’s Mona Lisa.
“400 DEGREEZ”
The title track of a classic album, this joint clearly defined the
Cash Money Records movement: “If I ain’t a Hot Boy, then
what do you call that?”
“JUVENILE ON FIRE”
This one is another Mannie Fresh and Juvenile masterpiece,
proving why they compliment each other so well.
there is just as much to be said for the rest of the album. Many fans
and followers of Cash Money Records regard 400 Degreez as the de-
fining sound of the Cash Money Millionaire movement.
Music connoisseurs and production enthusiasts also regard it as Man-
nie Fresh’s production masterpiece. The production on this album can
be described in one simple word: outstanding. Mannie Fresh took the
art of the rolling drum pattern and created some of the most infectious
music ever heard. For example, the song “Rich Niggaz” (which I con-
sider Mannie Fresh’s best beat ever with “Real Big” coming a close
second) has such driving momentum that it seems as if Juvenile, Lil
Wayne, Turk, and Papa Reu were all trying to play catch up with the
groove. Mannie Fresh clearly knew he was creating something special
with that beat because song itself went in excess of five minutes - very
rare in today’s microwave music society.
When 400 Degreez was released, there was large void to fill. There
really wasn’t any really gritty street music available to the masses. Of
course you had fellow New Orleans hustler-turned-entrepreneur Mas-
ter P and his No Limit empire supplying their own brand of ghetto
dope, but for the majority of the nation, Bad Boy and their shiny suits
had everyone’s eyes blinded.
400 Degreez’ gritty street anthems exposed the streets of New Or-
leans’ and life inside its now infamous Magnolia Housing Projects
to the whole world. Songs such as “Run For It” featuring a pre-teen
Lil Wayne, “Gone Ride With Me,” and “Rich Niggaz” all gave clear
insight on what it took to be a hot boy. The overlooked gem of the
album “Ghetto Children” provided real gangsta street music with a
message.
Overall, this album was a gift and a curse for Juvenile. It made him
the star he was born to be, but it also left huge shoes to fill. Alhough
he has been consistently dropping solid material since 400 Degreez,
it’s only now with the release of his latest effort Reality Check that he
has produced anything remotely close to the quality of this magnum
opus.
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20
HOT BOY$
GET IT HOW U LIVE!!
Cash Money - 1997
by Matt Sonzala
ESSENTIAL SOUTHERN ALBUMS
W
hat makes a city a great music city is not that it has a huge
number of musicians cranking out tune after tune, night after
night, in club after club. It’s when that large number of artists
somehow captures their city’s essence and brings it to life with an en-
tirely original sound. In hip-hop, generally the lines are clearly drawn.
In DC it’s the go-go sound. Atlanta and the Southeast are crunk. Miami
is bass. Houston has the slowed down vibe. New Orleans has bounce
(and jazz, and blues, and funk, okay, but we’re talking about hip-hop
here).
Bounce music represents the emotionally charged party vibe of a city
that truly never sleeps, and takes its listeners from their hard streets
to a hopping dance floor. It’s a fun music, an escape of sorts. One
that brings people together in choruses of sexually charged fever and
dance floor rocking rhythms.
New Orleans lays claim to some of the countries toughest neighbor-
hoods. Huge projects sprawl from block to block where many a hard
knock story has been written.
Enter the Hot Boys, four teenagers from New Orleans’ Magnolia Proj-
ects – Juvenile, B.G., Lil Wayne and Turk – under the tutelage of Man-
nie Fresh, Slim and Baby, each with enough real life stories to fill a
book.
Get it How U Live!! wasn’t the first appearance on wax for any of these
artists. In fact, Juvenile and B.G. were already fairly well established
throughout the South. The Cash Money brand was on fire in the streets
and this record set the standard for things to come at the label. The
beats were bouncy, but not just bounce. There was a purity to them
that harkened back to hip-hop’s earliest days. Simply looped beats
that just jammed would play like the best part of a song over and over
again. And if you paid attention to the lyrics you recognized that you
were witnessing the birth of four of hip-hop’s most potent emcees.
This wasn’t “Where they at girl?” looped a thousand times, this was
90 OZONE
“Get It How U Live!! was very impor-
tant for the South because the New
Orleans rap scene was just getting off
the ground, and that album opened
the door for Cash Money as a whole
and for B.G., Juvy, Turk, and Wayne as
individual solo artists. It was four young
niggas with four different styles that
was real, real hungry. We wasn’t in it
for the money; we was doing it from the
heart.” – B.G.
“INTRO”
This is one of the few albums in hip-hop history to have a
song titled “Intro” that was worth a shit. This one introduced
the world to the Big Tymers, Baby and Mannie.
“WE ON FIRE”
The true introduction to four of the hottest lyricists in the
South. It was lyrical and jammin’ at the same time, a rarity in
modern hip-hop. It also repped New Orleans to the fullest.
“NEIGHBORHOOD SUPERSTAR”
B.G. had been a household name for Southern rap heads for
some time before this disc was released, but this song solidi-
fied him within the ranks of hip-hop as a whole.
“GET IT HOW U LIVE!!”
The title track set the tone for all things set to come from
Cash Money: Get your money, get your fame, and do you.
“SPIT N GAME”
An incredible closure to an incredible album, these four
young boys from one of the hardest hoods in New Orleans
spit it real talk for their people.
real live reality rap, with a heavy dose of flossin’ thrown in to keep
your interest.
“What kinda nigga be sparkling like silver? / Little bitty soulja think he
playin’ with a million,” Lil Wayne spit on “We On Fire,” their anthem of
sorts. It’s classic hip-hop, a straight up boastful jam that introduces
you to each member of the crew. But then on “50 Shots Set It Off,” he
says, “I’m jumpin’ out a tree with a camouflaged AK / I size my target
then I let him go in the wind, bullets fly by / Blow in the wind, one after
another and another how them come.” It was quite an introduction to
one of today’s top emcees, barely of high school age.
Later on “Neighborhood Superstars” a slightly older Juvenile raps,
“Juvenile is reality / Bitch I write my own checks, bitch I pay my own
salary / You want business with me? Boss playa you have to be / I’m
a million dollar nigga, these bitches run after me.” And it gets worse.
Cash Money took money raps to a whole ‘nother level. Way before
they signed to Universal they were stunting big, showing off anything
and everything, but in a more creative way than many of their contem-
poraries.
This record led to the label’s signing to Universal Records. It preceded
400 Degreez and many of the subsequent records you are now fa-
miliar with from the label. But it certainly wasn’t the first Cash Money
release. At this point, Cash Money were veterans of the independent
game and had finally found the perfect combination.
After this album, plenty changed in the rap game and all eyes started
to turn towards New Orleans. Master P and No Limit had infected the
streets of the entire nation, but when Cash Money finally got their
chance to be heard they captured all those fans and brought in some
who were still walking the fence. While some of No Limit’s output was
too harsh for a lot of the mainstream, Cash Money found a way to
balance their reality raps with just enough bounce to bring in all the
party people.

20 MASTER P
GHETTO D
No Limit/Priority - 1997
by DJ Chuck T
ESSENTIAL SOUTHERN ALBUMS
W
hile some may tend to disagree, Master P’s Ghetto D had a
revolutionary effect on hip-hop and rap music. It sparked a
movement in the hip-hop world that not only influenced us
musically, but economically as well - not just throughout the South,
but throughout the entire rap world. Today, almost ten years after its
release, Ghetto D’s effects are still felt in the music business.
From a musical standpoint, Ghetto D was Master P’s best album. It
was the pinnacle of his rap career, and it dropped at a time when his
label was the strongest indie label in the industry. His production crew
Beats By The Pound brought an innovative style to the game and cre-
ated the No Limit sound.
Master P’s lyrics were also a whole lot better than they are now. If you
pop the CD in, you can definitely tell that there was something there
that he no longer has. From start to finish, this is a complete album.
Master P puts it down for the thugs on songs like “We Riders”, “Throw
It Up,” and “Come Get Some,” but also reaches out to the ladies on
joints like “Tryin’ To Do Something” and “Gangstas Need Love Too.”
P even drops knowledge, speaking on the ills of the dope game on
tracks like “Only Time Will Tell” and “Eyes On Your Enemies.” He
dropped something for the weed smokers (“Pass Me Da Green”) and
the niggas ridin’ in candy painted ol’ schools (“Burbons and Lacs”).
Tracks like “Stop Hatin’” and “Captain Kirk” give the niggas layin’ their
pimp game down something to listen to, while the amped-up, crunk
heads get more than their fair share of ig’nant fight music from “Make
‘Em Say Uhhhh,” another certified Southern classic.
Ghetto D also touched on a subject that many hip-hop albums today
fail to address: the loss of a loved one. “I Miss My Homies” is a South-
ern classic that will still bring tears to even the hardest thug’s eyes. I
specifically remember not being able to listen to that song with a group
of people for fear of breaking down in public while thinking of the many
friends and family members I’ve lost over senseless bullshit.
This CD covers every aspect of the streets, from the roota to the toota.
“Ghetto D is the Michael Jordan of our
catalog, hands-down. Even though it
was a Master P record, it was the first
record where everybody was in the
studio together. It showcased all the No
Limit artists. This is also one of those
rare Southern albums that sold over
four million records – and we had fun
doing it.” - KLC
“GHETTO DOPE”
This song is straight crack, no pun intended, giving detailed
instructions on how to whip, flip, and distribute that Peruvian
flake. I wouldn’t recommend doing this type of song nowa-
days because the hip-hop police are everywhere, but it’s
definitely a way to grab your listener’s attention.
“BACK UP PLAN”
The chemistry between Master P and Mia X stands out to this
day, and hasn’t been matched by any other male/female duo.
“I MISS MY HOMIES”
Anyone who’s lost someone can relate to this song, and if you
haven’t, Master P, Pimp C, and Silkk make you feel their pan.
No matter how hard you claim to be, this song is going to
make you softer than wet tissue. Tear-jerker of the century.
“BURBONS AND LACS”
Whether you had a Pinto, a Honda, a Ford, or a beat-up Lin-
coln, this song was bumpin’ in your ride all summer.
“MAKE ‘EM SAY UGH”
One of Master P’s only songs to get heavy radio and video
play, this song was also the start of his downfall. After this
track’s success, he started to really go commercial.
Damn near every No Limit soldier appeared on this CD: Mystikal,
Fiend, Mia X, C-Murder, Silkk, Mac, Prime Suspects, Sons of Funk, The
Gambino Family, and even Kane and Abel. Unfortunately, this would
be one of the last albums that the original No Limit camp would rep on
together as a family. Shortly after this album’s release, the members of
the No Limit army started going AWOL, one by one.
“This was the first album where everybody [on No Limit] was in the
studio at the same time and put effort in,” recalls KLC of Beats by the
Pound. “Just because you hear P on the hook, that don’t mean he
wrote the hook. A lot of the hooks came from Fiend and a lot of the
ideas came from Mac. Everybody just put they all into this one record.
It wasn’t no egos on this record, and P wasn’t acting like a bitch. He
was open to any ideas. We didn’t waste no time. Whatever came to
mind, we recorded it right then and there. That’s how people fuck up
records, they think too much.”
Ghetto D was not only a handbook on how to put together a musically
and lyrically complete album, but a handbook on how to properly mar-
ket, promote, and distribute one also. First and foremost, P damn sure
let you know that this album was coming out and it was going to be
one of the biggest albums in hip-hip history. Everyone can remember
the six pages of ads in The Source, Rap Pages, Vibe and XXL that No
Limit Records ran to promote their albums. If not, you must have been
blind from 1996-1999. Ghetto D always had its own full page and was
advertised for almost a year in advance. And with “Make ‘Em Say Ugh”
getting heavy radio and video play all over the country, this album was
almost guaranteed commercial and mainstream success.
Without a doubt, Ghetto D changed the face of hip-hop music. Some
East coast heads may argue over my claim that it’s musically one of
the greatest hip-hop albums of all time. But nobody can argue with the
significance that it had in helping to shape the hip-hop culture. This
album played an extremely-pivotal role in putting the South on the
map and marked the beginning of a new era in rap music. The colonel
of the tank did more than just put out a good album with Ghetto D: he
changed the world!
OZONE 91

20
LIL JON & THE
EASTSIDE BOYZ
KINGS OF CRUNK
BME/TVT 2002
ESSENTIAL SOUTHERN ALBUMS by N. Ali Early
W
hen Lil Jon & The East Side Boyz set out to make Kings of
Crunk, they were clearly on a mission. “I wanted to make a
down South Chronic,” Jon says of his fourth album. So the
universal appeal that came from it was no mistake. For his efforts, Jon
yielded similar results as Dr. Dre’s ’92 classic. With over a handful of
radio hits and street slump combined, he became the very definition
of “Crunk.” He in fact became a phenomenon whose likeness would
dominate three episodes of “Chappelle’s Show,” effectively turning the
page from down South commodity to worldwide phenomenon. His
coin catchphrases would resonate on the streets of Daytona Spring
Break and then the world, sending everyone from college students
to young professionals into hilarious cries of “Yeeeeaaaaahh!!!”
“Whaaaattt?!” and “Okaayyy!!” In essence, Kings of Crunk resembled
the perfect union of personality and production. The beginning and
the end of Atlanta’s sonic crunk movement will forever have Lil Jon
and this illustrious ensemble of characters to thank for it.
With appearances from hip-hop legends like Bun B, E-40, Trick Daddy,
8 Ball and Too $hort, Kings of Crunk solidified itself in the streets as
much as it did with the monsoon of media outlets that dared critique
it. On the commercial side it blended as well, at times blurring the
lines between the club and the block. A prime example is “I Don’t Give
a Fuck.” Led by Jon’s enticing hook, “You got a pocket fulla money
nigga / I don’t give a fuck!!! / You trickin’ off with them hoes bitch!! /
I don’t give a fuck!” Mystikal adds similar credibility through rhyme
– “I’m a bastard / Nigga I’ll fuck over me / You know what I’ll do to
these rappers!! / Come in here huffin’ and puffin’ and screamin’ and
cussin’ and bussin’ these verses / Nigga you betta calm yo ass down
unless you excited to see me in person!” Easily one of the album’s
most memorable and celebrated tracks, Krayzie Bone rides it off into
the sunset.
In a similar vein comes “Rep Yo City,” featuring the ambassador of
the Bay Area and noted slanguage samaritan E-40. Bun B and 8Ball
offer further lyrical fervor, while Carolina representer Petey Pablo does
his best not to drown in the midst of some renowned hip-hop heavy-
weights. Still, “Rep Yo City” proved a convincing anthem for Any City,
92 OZONE
“Kings of Crunk was some shit that
covered the whole globe. It was some-
thing for everybody on that album. It
had plenty of crunk, but it had a lot
more: from house to East Coast shit
to West Coast shit. It was like a pot of
gumbo.” - Bohagon
“GET LOW” featuring the Ying Yang Twins
When you make a song so lewd that even potty-mouthed
comedians like Dave Chappelle and Chris Rock insist that
it’s too much, you know you’ve done something big. For the
spring of 2003 Lil Jon & ESB and the Ying Yang Twins had the
whole country under their skeet, er, spell.
“NOTHING’S FREE” featuring Oobie
This song took over every strip club in the South when it
dropped. It gave the DJ a chance to talk more shit and em-
powered the dancers to get more money from their clientele.
“REP YO’ CITY” featuring Bun B, 8Ball, E-40, and Petey Pablo
With explosive performances from all the guest features, this
record helped usher in the “New South” sound.
“THROW IT UP” featuring Pastor Troy
Lil Jon and Pastor Troy on the same song can give you a
heart attack if you’re not careful. Troy gives a clinic on how to
rap over a Lil Jon track.
“I DON’T GIVE A FUCK” featuring Mystikal and Krayzie Bone
On paper this combination raises doubt, but the result is
perhaps one of the crunkest songs ever recorded. Rapid-fire
lyrics about kicking ass and taking names coupled with three
other grown men screaming. How much crunker can it get?
USA, even ones with “blunt monkey freaks” scurrying about.
The East Side Boyz take their turn at leading the call and answer theme
that Lil Jon has all but perfected on “Nothin’s Free,” featuring Oobie.
If nothing else, this mid tempo softer version of crunk illustrates Lil
Jon’s ability to cross genres, as he-dips into the rhythm and blues pot
for inspiration. The impending results are easily manageable for either
an emcee or a songstress. Similar songs include “Nothin’ On” (Oobie,
Chyna White and Bo Hagon) and “Play No Games” (Trick Daddy, Fat
Joe and Oobie).
Aww skeet, skeet, got damn!! “Get Low,” featuring the Ying Yang
Twins was an outright commercial success, and was likely intended
to be. A tribute to the strip clubs and the women that make them as
addictive as purp, Kaine and D-Roc impart their familiar element. Their
sound, oft times translated through comedic outpours associated with
cartoons and/or nursery rhymes, this XXX rated track is a how-to for
exotic dancers: “Twurk som’n baby / Work som’n baby / Pop yo pussy
on the pole / Do yo thang baby…”
Since taking Atlanta’s crunk phenomenon to a near metoric level, Lil
Jon has seen his once devout followers fall off faster than Craig Mack.
Once hailed as the “Ambassadors of Crunk,” BME’s own Trillville has
since decided to brand themselves “trill.” And perhaps that’s a good
thing for Jon. He effectively set the bar so high and so far out of reach
that no other entertainer could compete.
“Everybody makes music to get crunk to because that’s been a cul-
ture of Atlanta,” explains the Ying Yang Twins D-Roc. “That’s a culture
of Atlanta. If I been gettin’ crunk since I was a baby, Atlanta been get-
tin’ crunk since before I was here. When a song come on that you like
and you get crunk, and you like ‘Yeeeaaahh!!’ that’s gettin’ crunk. It’s
not just what you do on a rap. Crunk is culture. We get crunk off situ-
ations. If somebody finna fight, we finna crank it up. That’s crunk. It
don’t portray with music. Crunk and music is only Lil Jon.”
Okkkkaaaaayyy!!!

20
MYSTIKAL
MIND OF MYSTIKAL
Big Boy/Jive Records - 1995
by Tai St. Louis
ESSENTIAL SOUTHERN ALBUMS
B
efore Master P and his No Limit Soldiers put New Orleans on
the map on a national level, before the Cash Money Millionaires
taught us how to stunt, Mystikal was making enough noise down
in the Crescent City to capture the attention of New York-based Jive
Records. The label offered the Desert Storm war veteran a distribution
deal, which allowed him to re-release his already “hood platinum” self-
titled indie debut.
With five new tracks added to the original ten, Mind of Mystikal intro-
duced us to an artist who combined the wordplay of the East Coast,
the laid-back swagger of the West, the rapid-fire flow of the Midwest
and the flavor of the South. But he never came off sounding like he
was biting anyone’s style or trying too hard.
Mystikal created his own sound, which still remains unduplicated. That
unique sound easily captured your attention whether he hit you with
a roaring “Y’all muthafuckas ain’t ready!” or a low rumbling detailed
description of just how adversaries get dealt with.
Mystikal used his voice, flow and sense of timing as creatively as he
uses his words. Who else could make a threat sound so serious, even
though he delivered it in the form of a punch line where you could
almost hear the laugh in his voice? And who else could manage to
balance typical tough talk and braggadocio with references to Zsa Zsa
Gabor and Captain Caveman without losing an ounce of credibility?
Mystikal came in the door knowing he was “that nigga,” and let listen-
ers know that from the very first song, all the way to the last. If you
don’t get anything else out of this album, you can be certain of at least
three things:
1) He’s not to be fucked with – hell, he can’t fuck with his damn self!
2) He’s armed and ready for war.
3) He’s reppin’ the “Boot Camp Clicc.”
He illustrated the first of those three claims on the album’s flagship
“When I first heard Mind of Mystikal it
was because of “Here I Go.” His energy
and delivery was so crazy that next
thing you know a lot of cats was trying
to be like him. But beyond the music,
I can relate to him because he served
in the military like me, so we’re both
sons of Uncle Sam. I loved that album.”
- Citty
“HERE I GO”
From the corner to the locker room, from high school pep ral-
lies to college step shows, this was THE anthem! To this day,
there’s just something about the smooth 70s-style pimped out
track that can get anybody hyped.
“Y’ALL AIN’T READY YET”
Most new artists couldn’t pull off the feat of telling their fans
and foes alike that they can’t be fucked with, and immediately
backing those words up. But Mystikal did on this joint. And
even though he’s repeated those two opening lines through-
out his career, his fans have never gotten tired of hearing it.
“I’M”
The perfect balance of Mystikal’s hyped flow with a laid-back
track. And even though the subject matter – I’m a drug dealer
and a gangster – is one of Hip-Hop’s biggest clichés, “I’m”
makes it almost sound like new territory.
“THAT NIGGA AIN’T SHIT”
Showcasing Mystikal’s storytelling ability, this joint almost
seems like his own version of “La Di Da Di.”
“SMOKE SOMETHING”
The simplified beat lets Mystikal’s wordplay shine.
record “Here I Go.” Word for word, start to finish, he maintained the
same level of potency and energy; spitting barbs like: “Your heart
jumping like a base line bump / You bad enough to meet the alligator
in the swamp?”
The second was shown on the albums first single “Ya’ll Ain’t Ready
Yet” with lines like: “These outside niggas that run to the mic better
come clean / Fuckin’ with that Saudi Arabian Desert Storm veteran
12th ward offspring.”
And he made his third point on “Out That Boot Camp Click” with a
little assistance from Black Menace. The Black Prince of the South
captures the essence of the song when he spits: “All you dying on the
battlefield strictly for survival, I hope you got your Bible / Cause bitch
I got my rifle.”
The subjects rarely stray from those named. And yet somehow Mys-
tikal made the repetition work. Even when he attempted to make his
own hot lines into hot songs, he kept his audience wanting more. It
may be his ability to say the same thing 30 times without saying it the
same way twice, most of the time. Or it could be the production which
not only complemented his vocals, but also carried on that New Or-
leans tradition of Jazz-infused Soul.
But beyond the lyrics and beats is the fact that Mystikal possessed
the rare skill of radiating stage presence even on wax. His larger than
life persona was just as strong on Mind of Mystikal as it was when he
became a certified MTV superstar with “Danger” and “Shake Ya Ass.”
To say that an artist with Mystikal’s longevity and commercial success
remains unchanged would be a negative for most. But those of us who
were fans way back then understand why he’s never really had to.
Mind of Mystikal is one of those rare gems you can listen to from start
to finish with no skipping. Ten years after its original release, the album
still sounds fresh and relevant – even to those of us who have memo-
ries from when it first came out. How else would you define a classic?
OZONE 93

20 SCARFACE
MR. SCARFACE IS BACK
Rap-A-Lot - 1992
by Pimp C
ESSENTIAL SOUTHERN ALBUMS
T
he Geto Boys already had their position when this album Mr.
Scarface Is Back dropped, and it wasn’t a surprise that ‘Face
came with this album. Based off the Geto Boys, everybody knew
that ‘Face was finna be something special. But they didn’t know it was
gonna be that special.
I still don’t know what the fuck they’re doing on that cover, but I know
it looked gangsta. You could see [Bushwick] Bill on there, all the Geto
Boys niggas is on there. All of them got guns and dope. It’s some real
gangsta shit. I had never seen a cover like that up until that point, and
I don’t think I’ve seen one after that.
Down here in the South, ‘Face was one of the original niggas rappin’
from a hustler’s perspective. So I guess that would make him the pro-
totype for all the rest of us rappin’ about drug dealing.
I remember the first time I heard the single “Mr. Scarface.” I was in
Port Arthur, fuckin’ around at my DJs house. I was in my car going
to his spot and that shit came on the radio and it was jammin’ like a
muthafucker.
You know, back then it wasn’t no thang for a nigga to pop a cassette
tape in and tape a radio show. I remember being hot ‘cause I couldn’t
tape that muthafucker. Back then, it was all about who had the shit first.
Everything wasn’t major distribution like it is now. Songs didn’t hit ev-
ery city at the same time like they do now. It’s a whole new ballgame.
I might have had a song on my tape that the next muthafucker don’t
have on his, and vice versa, and we’d swap songs. I remember hear-
ing that song and thinking, damn, I should’ve been at my boombox.
Scarface had already established himself with the Geto Boys’ Grip It
On Tha Other Level, but this album right here let everyone know that
he was a special muthafucker. He wasn’t just a run-of-the-mill rapper.
Anyone could see that he had more lyrical skills and more swagger
than the average rapper.
94 OZONE
“The first Scarface album was just an
introduction. By the time this album
came out, Rap-A-Lot had more noto-
riety and Scarface was more than just
a local artist. Mr. Scarface Is Back
kicked the doors open for Southern
gangsta music. It made me feel like
I can rap the way I want to rap, and I
don’t have to change my ideas and my
style.” - ESG
“I’M DEAD”
That’s a cold-ass song. He rapped over a beat that Heavy D
had rapped to one time. He’s rappin’ about how he’s dead,
but he don’t know he’s dead. He walks up to his people and
they walk right through him. Then he goes to the cemetery
and looks in the casket and it’s him, man. That shit is live.
“MURDER BY REASON OF INSANITY”
This record had that James Brown sample on it. That shit was
jammin’ like a muthafucker.
“MR. SCARFACE”
This was the single. I remember hearing it on the radio and it
was jammin’. Niggas down here in Texas couldn’t wait to get
their hands on that muthafuckin’ album.
“GOOD GIRL GONE BAD”
This one’s about a drug dealer that’s goin’ South and niggas
are tryin’ some other hoe shit.
“MONEY AND THE POWER”
This got that Barry White sample from “Love Serenade.”
That’s actually the same record we sampled “Take It Off”
from, it’s just a different part of the record. This song is jam-
min’, though, it’s time for me to remake it.
Scarface is underrated as a lyricist. The truth is, he ain’t never gonna
get as much shine as the clone shit. As hard as he is and as true to
this shit as he is, by him not even considering going pop, he’s always
gonna play the background. But he’s got a fan base that’s gonna go
out and buy all his records regardless. I’d rather have 800,000 true
fans than four million muthafuckers that might be down with me this
year and might not be down with me the next year.
Over the long run, all ‘Face gotta do is keep dropping albums, and
he’ll still get this money. He’s got respect in the streets, and street
credibility is something you can’t buy. It’s the same thing as UGK. A
lot of people ask if we’d like to have sold a whole bunch of records
and went triple platinum. Of course we’d like to go triple platinum, but
would I trade that for my fan base of 500,000 or 800,00 people? No, I
wouldn’t. It’s all about pleasing your fan base.
Do you realize that some artists have no fan base? That’s some dan-
gerous shit, because if you don’t deliver a single that makes BET and
MTV they’ll flop. But a nigga with a fan base can drop an indie record
and still sell, because their fans are gonna break their neck to get that
product. That’s a beautiful thing; that’s something that ‘Face has.
This whole album is a bad muthafucker. Down here in the South if
there is such a thing as a “classic” album, this album is it. Really, Scar-
face ain’t dropped a weak album yet. Mr. Scarface is grimy, but it’s still
full of soul samples. What we do down here is a hybrid of what New
York rap was based on. But without those samples and break beats
in the record, this shit ain’t real rap music. This album is full of break
beat records and samples, and it’s funky. If you wanna make a classic
album, you need a sample budget.
This album is pure, man. It’s like what Nas’ first album was to them
niggas in New York. It’s pure to us like that, it’s stripped down to the
very last compound.

20
UGK
RIDIN’ DIRTY
Jive Records - 1996
by Maurice G. Garland
ESSENTIAL SOUTHERN ALBUMS
Y
ou could easily argue that 1996 was the year that the Southern
takeover officially began. With the fabled East Coast vs. West
Coast conflict in full effect, Hip-hop’s soil was primed for the
South’s seeds to sprout up and grow into the fruitful tree that it is to-
day. Outkast’s ATLiens, numerous No Limit and Suave House releases
and a host of other albums let it be known that the South was on the
rise. But, the most powerful record to emerge from that groundbreak-
ing year was UGK’s third nationally released album, Ridin’ Dirty.
With more than a few anthems already under their belts, Chad “Pimp
C” Butler and Bernard “Bun B” Freeman were already looked upon
as rap royalty below the Mason-Dixie line. Which meant to some that
Ridin’ Dirty was probably just a continuation of the brash shit-talking
that fans had grown to love and expect from the duo. But when you
popped the CD (or tape) in the deck and heard a smoky voice say,
“Live from the muthafuckin’ pen…” you knew that this effort was going
to change a life or two.
Straying away from the popular trend of starting an album on an up-
tempo and/or aggressive note, the Kingz opened with the somber
reflection “One Day.” It featured the original creator of the song, 3-2
(Blac Monks, Convicts) and showed a side of UGK that many did not
know existed. With perhaps the illest Ronald Isley sample ever serving
as the soundtrack, both of them opened up and let listeners into their
personal lives by speaking on the loss of loved ones and the realiza-
tion that their lifestyles may lead them to dreadful fates. Bun hit it on
the nail with perhaps one of the realist lines ever spat: “My brother
been in the pen for damn near ten, but now it look like when he come
out, man, I’m going in.”
Vulnerability was also displayed on “Hi Life.” The usually invincible
Pimp C started the song saying: “I’m tired of living fucked up, tired of
living bad / Tired of my grandmama telling me, ‘When you gonna go
to church, Chad?’” and later admitting: “I never wanted to be a G, but
niggas depend on me.” Keeping in that tone on “Diamonds & Wood,”
Bun B spoke as a hustler thankful for making it home, still knowing that
his situation has not changed with lines like: “I lucked up today and
“Ridin’ Dirty had a major influence on
the sound of Texas music. It didn’t have
the major label song formula. It wasn’t
polluted by major label politics or top
40 radio hit records. Ridin’ Dirty repre-
sents Texas rap in its rawest and purest
form.” - Chamillionaire
“ONE DAY”
This song displays the soul of Southern rap, showing the
introspective side of UGK.
“MURDER”
Heralded as many people’s all-time favorite UGK song, Pimp
C showed that the Kingz’ movement extended from N’awlins
(“holla at Master P cause we got money to make”) to the West
Coast (“just got back from California, kicked it with B-Legit”).
“FUCK MY CAR”
A middle-finger to every gold-digger, this is one of those rare
songs where an artist speaks on behalf of everyone that can
relate. Harsh words were said, but all of them very true.
“DIAMONDS AND WOOD”
This slow-rolling classic had Pimp C crooning on the hook
and Bun admitting that he rolls a fucked-up blunt once in a
while. The most memorable moment is Pimp speaking on the
all-too-familiar broken relationship where “she says she loves
me but all we do now is fuck and fight.”
“HI LIFE”
Sometimes 16 bars just won’t do. Pimp and Bun shared so
much of themselves on this song.
didn’t fall prey to none of that pistol play / But who is to say that tomor-
row they won’t be blastin’ this a way” and “But still the fact remains
it’s all about the ‘caine / Swang and back, peace to ESG and all the
victims of the game, mane.”
UGK even went as far to have pictures of themselves getting carjacked
inside the album cover to show that no matter how hard you may think
you are, anyone can get caught slipping. But, as they told listeners
how much they hoped to escape the entrapment of their ‘hood, UGK
also let it be known that they’re weren’t going to stand by and get vic-
timized either. Songs like “That’s Why I Carry” and “Touched” served
as warning shots to anyone under the impression that they were sitting
ducks. However, unlike their previous releases, UGK slipped in a hint
of responsibility. They used the commentary of convicted criminals
who were indeed speaking “live from the muthafuckin’ pen” to remind
new jacks (and old fools) that there is a consequence for living the life
of a gangster.
Lyrically, this was also UGK’s strongest effort to date. Pimp C used his
pen like never before to illustrate an accurate portrayal of life in Texas.
As for Bun? He practically used this album as a coming out party and
delivered one of the most mesmerizing versus in hip-hop history on
“Murder.” That performance, as well as his nimble wordplay on “Pinky
Ring,” had every aspiring rapper trying to mimic his now trademarked
syllable-based flow pattern.
Musically, this was again UGK’s best. They introduced a large part
of the country to Screw music with “3 In The Morning” and the liter-
ally syrupy “Diamonds & Wood.” They also showed their deep music
knowledge in sampling Wes Montgomery’s “Angel” for the title track
which closed the album.
Due to record label politics and bullshit, the world would not get to
hear another UGK album for six long years after this release. Fortu-
nately, Ridin’ Dirty was put together so well that it actually kept hungry
fans satisfied through all of those years. Now that, my friend, is what
you call a classic, timeless record.
OZONE 95

20 GOODIE MOB
SOUL FOOD
LaFace - 1995
by David Banner
ESSENTIAL SOUTHERN ALBUMS
G
oodie Mob’s Soul Food changed my life. This is a marquee
album because of its content and its soul. For them to speak
about the New World Order but to do it in a way that cats straight
from the hood understand, that was unheard of. For me personally, at
the time this album came out, I was deciding which route I was gonna
take in life. The Soul Food album actually provided food for my soul,
and I think it did the same for a lot of people.
When this album came out, I was really fighting with what direction I
was gonna go in life: the bad route or the good route. I knew that a
couple of these cats in Goodie Mob had been involved in the streets,
for real. These were some trill dudes; they were gettin’ it, but they
choose to spoke about something different.
This album showed me that even though Goodie Mob had to do cer-
tain things in life, they also chose to speak some knowledge and teach
the kids and their brothers and sisters a better way. I respected that so
much, and it showed me that I could take my music and do something
positive with it too. Even though I still speak on some of the things
I’ve experienced, I still try to give a shining light to the truth and show
people that they can make it out of a bad situation.
Starting off with the intro, “Free,” Cee-Lo spoke on a lot of things that
we as young African-Americans may think about as far as spiritual-
ity. He spoke on personal things that we might think about but don’t
speak about. For those young men to really step up and say, “I want
to take some responsibility,” that spoke a lot about them. When you
look at the era of music and what was coming out at the time, for some
young street cats to drop an album dealing with the New World Order
and speaking about God, that really speaks a lot about them as men.
That was a big step that they took.
In hip-hop around that time, Soul Food was just a breath of fresh air.
You had so many cats who had to do negative things, but they wanted
to do positive stuff. Sometimes you just wanna hear that somebody’s
96 OZONE
“We wasn’t trapping or riding hard or
blinging. We was just some regular
young cats putting it down on wax. Be-
ing from the South, a lot of ears wasn’t
tuned in so we tried to make it as true
as possible. When people tell me what
we said kept them in high school or
college, I’m surprised because we was
just airing it out.” - Khujo Goodie
“GUESS WHO”
This song hit me real hard because of the frankness of how
they spoke about personal things. A lot of us grew up with
our mothers being a very big part of our lives, and to see
somebody just stand up and give thanks to her, that hit me
hard. It was about their moms, but you had to guess who they
were talking about. I thought that was dope.
“DIRTY SOUTH”
Cool Breeze came through and coined the phrase that we still
use today. That phrase is so important to hip-hop, and this
was the album that really introduced the word “dirty” South.
“SOUL FOOD”
This song was just like your granddaddy or your homeboy on
the block. It just spoke to your soul.
“GOODIE BAG”
This is one of my favorite beats, ever. It’s the essence of a
Southern 808, just a simple hit. Cee-Lo kicked the longest
freestyle ever recorded on a major album; that was so fresh.
“CELL THERAPY”
That song was jammin’ like a muthafucker, but talking about
the New World Order. Cats would be jammin’ to it in the club
and getting some knowledge at the same time.
going through the same thing you’re going through.
The beat for “Goodie Bag” was jammin’. The whole album was jam-
min’. Organized Noize was doing beats unlike anybody, not just in
the South, but in the world. You had some young musical cats: one
member of Organized Noize was straight soulful, one was a hip-hop
head, and then you had the head just bringing it all together. For me,
that was big. Then you had Big Rube coming out with some poetry. It
was just the perfect product.
The New World Order that they spoke about on this album is a story
within itself. To sum it up in one sentence is impossible. They just
spoke on things like the gated communities, chips in the skin, differ-
ent things that the government and people who have real power are
doing. There’s people who’s names we’ll never know, trying to control
everything we do: the Big Brother idea. This is what they were speak-
ing about.
This album was so important because it brought a conscience and ac-
countability to Southern rap. These were some young hustlers, grind-
ers from the street that could’ve been talking about anything just to
get that paper. But they chose to take the route of God. That’s putting
your career on the line; that’s putting everything on the line for what
you believe in, to help raise these young kids in the street who don’t
have fathers.
There’s always been accountability and a conscience in Southern rap,
but you just didn’t have a whole album of it. Goodie Mob’s album was
exactly what the title was: food for the soul in a musical form. I think
there’s a little bit of Soul Food sprinkled all over Southern rap today
– just listen to a T.I. song like “Still Haven’t Forgave Myself” or a David
Banner song like “Cadillac on 22s.” I think all Southern rappers got a
little bit of Goodie Mob in them; a little bit of God in ‘em. That’s one
thing that separates us from everybody else: that soul, that feeling of
regret.

20
OUTKAST
SOUTHERNPLAYALISTIC...
LaFace - 1994
by DJ Jelly
ESSENTIAL SOUTHERN ALBUMS
W
hen Outkast introduced themselves to the country in 1994 with
their debut album Southernplayalisticadillacmuzik the South
was nationally recognized for two things: the Geto Boys and
Luke. Atlanta was associated with bootyshake music, the driving force
behind its popular strip clubs. Because of that misconception, South-
ernplayalisticadillacmuzik was and still is one of the most slept on and
most well put together hip-hop albums, period.
Big Boi and ‘Dre (he wasn’t “3000” yet) used “Myintrotoletuknow” to
bring people into their world. No rappers in Atlanta had been able to
do that yet, at least not on a national scale. They talked about the Red
Dogs, the police officers that kicked in doors down here. ‘Kast intro-
duced everybody to the code that ATLiens lived by.
They followed that with “Ain’t No Thang,” a hard-core, aggressive song
that had an entirely different sound to it. It did a good job of showing
the swagger of the ATL. ‘Dre and Big Boi put on a great display of
Southern lyricism. It was specifically for people who didn’t understand
where they were coming from and for those that thought that we were
just some country bumpkins. Outkast and their production team Orga-
nized Noize (Rico Wade, Sleepy Brown, Ray Murray) articulated that.
Together, ‘Kast and ONP helped formulate the phenomenon that is
Southern hip-hop.
The title track it showed Big and ‘Dre on a whole ‘nother level. The way
they went back and forth on this song was the Southern equivalent of
Run-DMC used to do. This record breathed new life into the hip-hop
community. Even though hip-hop music had spread all over the world,
a lot of heads couldn’t understand it at the time because this was the
first Southern articulation of it. The intro to “Southernplayalisticaddil-
lacmuzik” had 808 sounds in it, and that was appreciated by a lot of
people down here in the South. The production brought an organic
feel to hip-hop. People were not used to Atlanta niggas being able to
express themselves like this.
“Git Up Git Out” was another song that shocked people because they
“When we made this record, me and
[Andre 3000] were heavy on that Tribe
Called Quest and the Native Tongues
movement. But we was also on NWA,
Luke and Geto Boys real hard. Each
record is a time capsule. Southernplay-
alistic was the time from when we were
born to being teenagers.” - Big Boi
“PLAYER’S BALL”
Originally recorded for a LaFace Christmas compilation (peep
the sleigh bells in the background), this hit morphed into a
song for all seasons. It’s the musical gift that keeps on giving.
“GIT UP GIT OUT” f/ Big Gipp and Cee-Lo
On this inspirational song, instead of preaching, Big Boi, Dre,
Gipp, and Cee-Lo shared the keys to life by talking about real
situations. This song kept a lot of black males out of jail.
“AIN’T NO THANG”
Hearing a young Dre cocking pistols and rapping about
putting a “3-5-7 to yo’ fo’head” is almost unbelievable when
looking at the entertainment maven that he has become.
“CRUMBLIN’ ‘ERB”
Up until this point, rappers smoking weed was nothing more
than a pastime associated with violent behavior and foul
language. But ‘Kast managed to let the green leaf open their
minds and speak truths that only the mind’s eye can catch.
“SOUTHERNPLAYALISTICADILLACMUZIK”
When people first saw this title track they could’ve sworn it
said “Supercalifragilisticexpialidocius.” Mary Poppins they
weren’t, but their performances on this song made the little
kids sit down and think twice about grabbing a microphone.
were dropping knowledge. This song, and “The Call of the Wild,”
helped introduce Goodie Mob. This song in particular showed that
both of these groups were the point guards to a new movement. Hear-
ing them was refreshing, because at the time G-funk was dominating
the charts.
“Player’s Ball” was an introduction to the whole Southwest Atlanta
(SWATs), from Campbellton Road to East Point. Again, this was a good
representation of the Organized Noize movement. You can’t separate
Organized Noize from Outkast. With all the success that ‘Kast has had
over the past ten years, people don’t realize just how important Orga-
nized Noize was to that movement.
“Funky Ride” provided a soulful feel to the album. It was a prime ex-
ample of just how musical ONP and ‘Kast was. Sleepy was on the
hook. A lot of people don’t know that he is the third member of Out-
kast. They’re inseperable.
“Hootie Hoo” was the A-town anthem as far as identifying Atlanta in
the hip-hop game, and it had a break beat in it. ONP showed how
they could flip a break beat. People that didn’t have anything do with
Georgia couldn’t quite understand it.
“Crumblin Erb” further displayed their musical talents. The combina-
tion of ‘Kast’s Southern slang and ONP’s production was like a plate of
gumbo. It displayed the maturity route that Hip Hop could go in. Yeah,
they was talking about getting high, but it had a social consciousness
to it.
I think what’s important to realize about this album is the teamwork
of ONP and ‘Kast. It was phenomenal at that time and this album will
always set them apart from their peers, forever. The things that you
heard here will never be duplicated.
I’d like to see them work on some more projects together because this
shit was incredible. I thank God for Outkast and Organized Noize.
OZONE 97

20
DEVIN THE DUDE
THE DUDE 8
Rap-A-Lot/Virgin - 199
by Jacinta Howard
ESSENTIAL SOUTHERN ALBUMS
A
sk the average rap fan (the people who get their daily Hip Hop
fix from the Top 8 at 8 or 106 & Park) who Devin is and you’ll
probably be greeted with a blank stare. If they do happen to
recognize The Dude’s name, it’s probably because they had tickets to
Dr. Dre’s Up in Smoke Tour.
The point is, Devin is one of the best rappers you’ve never heard of
and his self-titled debut unquestionably explains why. Like most of the
albums that drop on Rap-a-Lot, The Dude received little promotion,
but its impact has been felt throughout the game over the past eight
years. Devin’s charm, wit, uncanny storytelling ability and down home
humor have made him both an industry and street favorite. It’s why
he’s worked with everyone from Nas to Dr. Dre and gets love all over
the country, regardless of coastlines.
This album also laid the foundation for both of his subsequent re-
leases, Just Tryin’ Ta Live and To Tha X-Treme. Just as importantly, it
established him as a versatile emcee and, well, singer (that was him
singing the hook on Scarface and Ice Cube’s classic “Hand of the
Dead Body”). Starting out with the Odd Squad and later joining the
original Facemob, Devin’s charisma and voice has always made him
stand out.
While some people have attempted to typecast him as the Nate Dogg
of the south, his lyrical ability simply won’t be contained by such a
generic comparison. Whether he was in the bathroom booin’ booin’ to
avoid dealing with ghetto women, trying to see what he could pull on
an unsuspecting chick or encouraging folks to do whatever’s right for
them, Devin was always crafty, clever and candid.
“People always gettin’ mad at me bein’ like this / Drankin’ alcohol keeps
me peein’ white piss / Parents I’m not tellin’ your children to smoke, ya
see / Cause if they just say no it be mo’ fa’ me…” - “Mo’ Fa’ Me”
At a time when the bling era was just growing wings, The Dude was
like a breath of fresh air to rap fans who were interested in enjoying the
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“I was always drawn to Devin’s humor
and charisma from the Odd Squad
stuff, but The Dude was what really
made me a believer. Listening to that
album was like chillin’ out with that
bugged out cousin of yours that you
only see once a year at the family re-
union. It still sounds fresh after all
these years.” - Phonte of Little Brother
“WRITE AND WRONG”
Here Devin gives a lesson on how to write a dope rhyme,
one that most rappers these days would do well to follow.
This song aptly demonstrates the Dude’s ability to rap about
anything, even writing a rap.
“BOO BOO’N”
One of the best lines uttered in the past decade was on this
song, “Got a east cast flow, west coast body language, don’t
know nuthin’ bout the south but tryin ta find someone to hang
wit/man whenever you finish flowin or whatever the fuck you
doin, holla at me, I’ll be in the bathroom boo boo’n.”
“SEE WHAT I COULD PULL”
This little ditty was catchy and funny. It adequately displays
Devin’s laid-back humor and penchant for talking about
amusing sexcapades.
“DO WHAT YOU WANNA DO”
On each of his album, Devin makes at least on song where
he croons all the way through. They’re always insightful and
sometimes funny, but mostly they ring true to life.
“MO’ FA ME”
Devin takes the requisite weed and sex song and turns into
something new with his unique swagger and storytelling.
simpler things in life - like weed, family and some good lovin’. He even
managed to weave in some old-school life lessons here and there
throughout the album.
“Now everybody’s got elders and you should respect ‘em / They been
through similar shit but then again you can’t let ‘em / Put they hands on
ya life like a remote control / Have you travelin’ down the same bumpy
tore up road…” - “Do What You Wanna Do”
The Dude was completely different from what was dominating the
charts at the time (P. Diddy) and while Devin certainly didn’t stray far
from the mundane topics most associated with rap music, he was so
creative in his scope and approach that you barely even noticed.
In actuality, this album was probably ahead of its time and even now,
almost a decade later is still better than most of what’s currently be-
ing released. Devin managed to capture the attention of the streets
without shooting up the block or bragging about being a gangster
or dope boy. His sincerity and ability to laugh at himself and life in
general made him tangible and familiar to people. Add that to superior
production (most of which he produced) defined by candy bass lines,
mellow organs and soulful riffs and the result is a project that defies
comparison. Taking everyday things, like struggling through writer’s
block, and putting an entirely new twist on them, Devin’s perspective
couldn’t be denied.
“Now just be real with what you say and put some feelin up in it / And
since everybody’s dyin’, put some killin’ up in it / I be right here by your
side smokin’ kill until you’re finished / And if you get writer’s block, then
nigga, chill for a minute…” – “Write And Wrong”
Paving the way for other innovative artists like Field Mob, The Dude
didn’t have to sell millions of copies to make a bold statement. A rare
gem in the midst of monotony, this album is a certified classic and
helped re-open the doors of creativity not only for the South, but rap
music in general.

20
DJ SCREW
3 ‘N THE MORNIN’
Big Tyme/Priority - 1994
by Matt Sonzala
ESSENTIAL SOUTHERN ALBUMS
S
ome may dispute the inclusion of DJ Screw’s 3 ‘N The Mornin’
in our 20 Essential Southern Albums list for the simple fact that
it is a compilation and not really relevant to one artist in particu-
lar. And the fact is, while this is an official DJ Screw release, it wasn’t
nearly as popular or as genre-bending as many of his homemade
tapes were.
This, however was the first official major label release that was
“Screwed,” and made noise. (All Screwed Up and Part 1 are classics
as well, but Part 2 features mostly all Houston artists – save for Kansas
City’s Mass 187 and a couple other artists).
Okay, many small labels released slowed down “Screw” CDss through-
out Texas, with or without the help of DJ Screw. But 3 ‘N The Mornin’
Part 2 was released on Big Tyme Records, with distribution through
Priority. Priority was having major success with artists like Ice Cube
and Snoop Dogg, and decided to give a chance to this revolution-
ary DJ, and independent label from Texas. Big Tyme Records brought
the world the first UGK release and to this day releases underground,
Texas music and DVDs.
This was the first disc on which much of the hip-hop music buying
public could hear talk of drinking codeine cough syrup, swangin’, and
much of the Houston slang and culture that eleven years later has bled
into the mainstream. It was also the first place people outside of Hous-
ton got to hear pioneers like Lil Keke on his classic “Pimp the Pen,”
which is the song that provides the hook for Bun B’s “Draped Up” and
“3 ‘N The Mornin’ is an essential
Southern album cause it’s full of real
freestyles, straight from the dome, and
it was jammin’. We represent freestyles
real tough out here in Houston.” - Mike
Jones
“PIMP THE PEN”
Throw this record on in any club in Houston and watch he
dance floor explode - not with people bumping and grinding
to the beat but with people singing along with the lyrics. This
song kicked off and defined an era in Houston rap history that
continues today.
“SAILIN’ THE SOUTH”
This is one of the first places the world got to hear ESG. He
breaks down the Southern, specifically Houston, culture that
has shaped everything people expect from Houston right now.
“SIPPIN’ CODEINE”
This Big Moe cut let the world know how they do it in Hous-
ton. Way back in the mid-90’s they were repping for that
syrup, which is now oh-so-trendy.
“SMOKIN’ AND LEANIN’”
This Botany Boys classic repped for the very beginnings of
Screw’s movement. They were one of the first groups to come
up under Screw and are still standing to this day.
“WHY YOU HATIN’ ON ME”
This classic from one of Screw’s tightest partners, Al-D, broke
down the streets explicitly. From drinking Cisco to living like
a madman, Al-D wrote about what he had been through and
gave it to the world real.
“Get High With the Blanksta,” a Houston underground classic.
“Around the time 3 ‘N The Mornin’ came out, that was the time Screw
was real popular,” Tosin from thescrewshop.com says. “This release
elevated the game and took it to the next level. Most of the people on
that album like Lil Keke, Big Moe, Botany Boys, ESG, 20 to Life, Point
Blank, Al-D, got their first bit of national exposure. These guys were
like the originators of the Houston sound and you see where it is right
now. It’s huge.”
“Most of the people on this album are still putting out albums,” he con-
tinues. “Keke is signed to Swisha House, Point Blank is still dropping,
and everybody’s still active.”
Screw’s impact on Texas rap, and Southern rap as a whole, is im-
measurable. The effect he had on the sound, simply by slowing his
mixtapes down to a slothful pace, is one that astounds and inspires.
His place had been etched out in hip-hop history as one of the most
innovative ever to touch the game. Now in 2006, every major label has
a screwed and chopped version of at least one of their records, and
everyone from white scholars on the East coast to hood kids on the
West coast has at least a passing curiosity about the format.
Sadly, DJ Screw passed away in November of 1996, so his legacy is
forced to live on through the hands of other DJs doing their own thing
with the slowed down sound. Swishahouse, Beltway and Street Phar-
macy are just a few of the crews currently carrying Screw’s torch.
OZONE 99

20
T.I.
TRAP MUZIK- 2003
Grand Hustle/Atlantic
by Jason Thompson
ESSENTIAL SOUTHERN ALBUMS
B
efore Young Jeezy popularized the term “trap” and made it a
universal undertone for street activity in the hip hop community,
Atlanta wordsmith T.I. introduced the world to the harsh realities
of the neighborhood drug trade with his 2003 release Trap Muzik.
Trap Muzik came at a time when the crunk era was budding into full
blossom and the likes of Lil Jon and David Banner were in high de-
mand. Overlooked by many, T.I.’s sophomore album made way for
some of the most common trends and sounds that are sought after in
today’s evolving landscape of Southern hip-hop. With a bulk of pro-
duction handled by then Grand Hustle in-house producers including
DJ Toomp and Sanchez, Trap Muzik had crafted a sound that was far
ahead of its time compared to what dominated the airwaves in the
summer of 2003.
Unlike the Neptunes produced single “I’m Serious” from his debut al-
bum bearing the same name, T.I. went with an authentic Atlanta record
for Trap Muzik’s first single, “24’s.” An infectious track accompanied by
lyrical wordplay resulted in a summer anthem for the artist who up until
that point had been keeping his name relevant by flooding the streets
with his praised mix-tape series In Da $treetz. T.I. would follow up with
another DJ Toomp produced record with “Be Easy,” a single intended
for the streets, but it wasn’t until his third single “Rubber Band Man”
that T.I. would get the national exposure he was craving for.
A David Banner produced single that would undoubtedly catapult him
to a level of celebrity he had yet to become familiar with, T.I. was now
considered by his fans and peers as a true heavyweight hailing the
South. The “Rubber Band Man” video also helped further prove the
theory that T.I. was indeed the truth with a slew of worthy cameos
including the memorable scene where him and P. Diddy were caught
trading poses in front of a then fabled Rolls Royce Phantom.
Trap Muzik would also feature the works of two producers who would
later have explosive years in their careers. Jazze Pha and Kanye West
both made huge contributions to T.I.’s second release, which in return
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“Trap Muzik really took people on a
journey. It talked about every aspect of
the game, from getting shot at to the
fruits of hustling. That’s why so many
people that were really in the trap felt
it. With the skits, we set it up like Ice
Cube’s Amerikkkaz Most Wanted or
Death Certificate. Its most definitely a
hip-hop classic.” - DJ Toomp
“TRAP MUZIK” f/ Mac Boney
T.I. traded turf stories with P$C comrade Mac on real life
hustling in the “trap.” This album opener immediately set the
tone for the memorable disc, which quickly let listeners know
that “This ain’t no album, this ain’t no game, it’s a trap!”
“NO MORE TALK”
On one of the most thought provoking songs on the album,
T.I. addresses political issues affecting young African Ameri-
cans in this country, referencing the incompetence of George
W. Bush and the speculation surrounding Osama bin Laden.
“T.I. vs. T.I.P.”
T.I. stretches his creative parameters on this song as he
trades rhymes with himself in this clash of personalities.
“BEZZLE” f/ Eightball & MJG and Bun B
This song was T.I.’s opportunity to rhyme alongside some
living legends of the south and he passed the test with flying
colors. A memorable performance from everyone.
“LONG LIVE THE GAME”
The album closer showcased a T.I. with enough vivid story
telling prowess to wow any B.I.G. fan.
made both producers the most expensive and sought after beat mak-
ers in the game. The Kanye West produced “Doing My Job” would be
one of the most recognizable songs from the album and a favorite of
many. His tales of struggle and responsibility at a young age would
prove to be a song that many listeners could easily relate to, making
T.I. a favorite in many peoples’ opinion.
“Let’s Get Away” was the grown up record that turned out to be a
sexy single in the spring of 2004 thanks to the master craftsmanship
of Jazze Pha. A fun record to say the least, T.I. had already won the
vote from loyal followers in the streets but now he had an even larger
female fan base as well.
Unlike the King Of The South’s more recent releases (2004’s Urban
Legend and 2006’s King), T.I. had disclosed a more personal side to
listeners on Trap Muzik, very similar to how he expressed his inner
turmoil on I’m Serious with the song “Still Ain’t Forgave Myself.” Trap
Muzik’s “I Still Luv U” and “Be Better Than Me” both served as honest
testimonies to those near and dear to him. Where on “I Still Luv U” T.I.
touched on the complications involving his relationship with a certain
woman in his life, on “Be Better Than Me” T.I. delivered words of wis-
dom and encouragement to young men fixated with the dangerous life
style associated with the “trap.”
T.I.’s growth over the span of four albums in six years is evident in the
material he has recorded. An Atlanta rapper who rode the crunk wave
with Bonecrusher on “Never Scared” but still kept it “Dope Boy Fresh”
with his alma mater Attic Crew, T.I. has evolved into a worthy con-
tender for hip-hop royalty. With Trap Muzik being partially responsible
for this newfound stardom T.I. has acquired (i.e. ATL), the influence
that Trap Muzik and its hustler antics has had on other artists cannot
go unnoticed. With baby T.I.s getting record deals left and right using
a patented delivery and persona that the King Of The South created,
it should be interesting to see if T.I. will return to his emcee battling
roots and address his challengers in similar fashion to his Lil’ Flip and
Ludacris bouts.

20
TRU
TRU 2 DA GA7ME
No Limit /Priority - 199
by Maurice G. Garland
ESSENTIAL SOUTHERN ALBUMS
After an attention-grabbing 1996, No Limit Records pretty much strong-
armed the rap game in 1997. They released the introductory albums of
their now antique catalog that year by giving us works from Mia X, Mr.
Serv-On, Mystikal, the West Coast Bad Boys II compilation, as well as
the I’m Bout It and I Got the Hook Up movie soundtracks.
But anyone with a good memory can tell you that the Soldiers’ ‘97 take
over officially began that February with the release of TRU’s double-
album Tru 2 Da Game. It was the follow-up to the 1995 door-opener
True which featured their landmark anthem “Bout It Bout It,” however it
also served as a notice to the rest of the world that No Limit was about
to steamroll their tank from coast to coast.
Fittingly, the first song on the album is the posse cut “No Limit Sol-
diers.” Featuring verses from TRU members and blood brothers Mas-
ter P, Silkk The Shocker and C-Murder as well as femme fatale Mia X,
this song echoed through every neighborhood, parking lot, school-
yard, night club and house party. It spawned No Limit’s string of trade-
marked “Soldier” songs and it showcased just how dope Mia X was
when she boasted: “My shit so tight, it’s more correct than right.” The
military-minded drums and pledges of allegiance changed the dynam-
ic of the hip-hop crew record and established the formula for every No
Limit record to be released from that point forward.
That formula was to hit you in the head with the “Soldier” song and
follow it up with the single. In this case it was the Rockwell Gordy-
borrowed “I Always Feel Like” featuring in-house hook man Mo B.
Dick. This song caught both die-hard No Limit followers and novices
off guard because this was the first No Limit song/single/video (other
than “Bout It, Bout It”) that did not sound or look like it was recorded
in a basement. The quality of the record and the concept of dealing
with paranoia shook the misconception that No Limit artists could not
attack a topic outside of pistol popping and package dropping.
By the time this album came out P had already garnered respect as
a CEO and was loved by many as a rapper. That being said, he was
now in the company of other CEO/rappers like Eazy-E and E-40 who
“TRU sent the tone for the independent
movement, the unity that made a lot
of people proud to be from the South.
I literally saw people with TRU tattoos
on their back, stomach, and neck. TRU
had a huge impact; I could see it every
time we hit the stage.” – Mia X
“NO LIMIT SOLDIERS”
Really, what else can be said about this song? It put No
Limit on the map and had every teenager with more than $20
to their name buying fake No Limit Tank medallions in the
middle of the mall.
“POP GOES THE 9”
While it’s hard to fathom now, Silkk The Shocker was a lot of
people’s favorite rapper at one time. His verse on this song is
proof as to why as solid cameos from Kane & Abel make this
track an all time No Limit favorite.
“SMOKIN’ GREEN”
If you didn’t buy this album when it came out you are SOL if
you want this song. Because of sample clearance issues this
song was removed from album on the second printing. But
hey, that’s not a problem that the internet can’t solve.
“FREAK HOES”
This was the ultimate grind-on-the-dancefloor song until Ju-
venile came with “Back Dat Azz Up.” Sure, P and Silkk talked
their shit, but they got checked by Mia X who repped hard for
the “ladies” (for lack of a better word).
“SWAMP NIGGA”
It was something about P’s flow on this record that made it
stand out. Listening to it reminds you that P was a damn good
rapper at one time.
hustled their way from the underground to the storefront. With that
came responsibility and P touched on that with songs like “Ghetto
Thang” where he spoke on the rap game and truthfully offered: “You’ll
never see P on MTV, top 40, but niggas ya’ll know me / Number one in
every mom and pop and billboard record store, so fuck y’all playa ha-
tin’ hoes / Gimme a pen, a pad, and I’ll make a hit, show every nigga in
the ghetto how to get rich / ‘Cause ya’ll don’t know what go on behind
closed doors, white folks pimp niggas like hoes.”
TRU continued to keep listeners thinking on songs like “FEDz” where
P & Co. warn aspiring rappers and D-boys about the police and gov-
ernment tapping their telephones and keeping them under surveil-
lance. Which dares you to ask, did TRU warn us about the Hip Hop
cops nearly 10 years ago?
While fans already knew that Beats By the Pound was perhaps one
of the tightest production units below the Mason-Dixie line, Tru 2 Da
Game was easily their most cohesive and consistent effort up to this
time. They fiddled with samples, er, interpolations including Aaliyah’s
“If Your Girl Only Knew” (“FEDz”), Levert’s “Goes My Mind” (“Pop Goes
the 9”) and the Isley Brothers’ “Summer Breeze” (“Smokin’ Green”).
However, the strongest compositions came via original beats. “What
They Call Us” stayed on repeat in every Caddy, Cutlass, and Accord.
No matter how loud or weak your speaker system was, it still made
you sound like you had some knock. “Swamp Nigga” was perhaps the
most distinct song, with its hard-to-finger sound effects. “There They
Go” served as the mandatory ride-to-the-club song.
Once you did get to the club, though, you it was damn near guaran-
teed to hear the DJ spin Tru 2 Da Game’s only club record, “Freak
Hoes.” While the song title may be offensive to some, females couldn’t
help but to “bounce their ass and let their knees touch their elbows.”
While Master P’s Ghetto D is considered No Limit’s best album, Tru 2
Da Game held that distinction when it first dropped. This album saw
the label as a whole make the transition into the mainstream’s periph-
eral view, making it perhaps the label’s last “underground” record.
OZONE 101

20
SCARFACE
UNTOUCHABL E
7
Rap-A-Lot /Virgin - 199
by Maurice G. Garland
ESSENTIAL SOUTHERN ALBUMS
1
997 was a challenging year in the world of hip-hop when Brad
Jordan b.k.a. Scarface gave the world his fourth solo album The
Untouchable. It was three years after his monumental The Diary
album where he balanced ultra-violent visuals with soul-stirring para-
bles and created what many people still consider his “best” album.
However, in the spring of ‘97 when The Untouchable hit the shelves and
streets, things were changing. Hip-hop was in its beginning stages of
being mass marketed and cross-promoted with anything within arm’s
reach. Rappers had begun to invest more time into their business af-
fairs and image than their lyrics and it showed. The voices that defined
the fading “Golden Era” of years prior were either switching their tones
(i.e. everybody wanted to rap fast like Bone), switching professions
(i.e. making movies), falling off the map or unfortunately, dying.
In between the time The Diary and The Untouchable were released
Eazy-E, 2Pac and The Notorious B.I.G. had left us, creating a gaping
void. With expected leaders like Nas, Snoop Dogg and Wu-Tang strug-
gling to recapture the rawness that birthed their careers and Jay-Z still
taking baby steps, hip-hop was in need of a solid and familiar voice to
stand out. While we may not know if he purposely took on the respon-
sibility, ‘Face provided the sturdiness that hip-hop needed, making a
title like The Untouchable both a declaration and a testament.
Coming out with an album that only had twelve songs in an age where
releases with 18-plus tracks and double-albums were the rave was a
statement in itself, ‘Face wasn’t about hopping on a trend. He opened
the album with the title track where he displayed incomparable com-
position skills, totally throwing the concept of 16 bars out the window.
The well-deserved arrogance he had on this simple-drummed track
showed that even though he was becoming an elder statesman in the
game, he could still spit with the fluidity of youngster.
Never known to waste a second or a thought, ‘Face bottled years of
frustration and rebellion into a two-minutes and thirteen-seconds track
on “Southside.” The beat dripped with funk and could tell a story with
no words on it. Fortunately though, ‘Face lent a straight-to-the-point
102 OZONE
“The way that Scarface told the truth
on Untouchable made me feel like he
was talking about my life too. He talks
about everything from crooked cops
to family to the streets. If folks ain’t
mentioning his name with the greats
like Big Daddy Kane and KRS-One, they
ain’t talking about nothing.” - Z-Ro
“UNTOUCHABLE”
With one breath ‘Face proved that as an emcee you could be
street, clever and cultured at the same time.
“SMARTZ” featuring Devin the Dude
Always capable of dropping knowledge, ‘Face got into Malcom
Farrakhan King mode on this song. He meshed political aware-
ness with spiritual alertness, urging young black males to wake
up, read and find something to believe in and fight for.
“SMILE” featuring 2Pac and Johnny P
When this hit the radio, many thought that this would be the
last time they’d hear 2Pac’s voice (boy were we fooled). Be-
yond that though, this poignant song ranks as one of the best
posthumous-Pac appearances and easily became of the most
important songs of the year, if not the decade.
“MARY JANE”
This well-thought and fact-laden ode to the sticky-icky is most
people’s reason for owning this CD. More than just a typical
“get high” song, ‘Face successfully tried his hand at personi-
fication and showed that he is indeed a poet.
“MONEY MAKES THE WORLD GO ROUND” featuring Daz,
Devin the Dude and KB
This song was so laid-back and so truthful that years later you
have to consider that this might have been a freestyle or a
late-night smoke session that just happened to get recorded.
narrative of his growth from a high-schooler to an O.G. Songs like “No
Warning,” “For Real,” and especially “Ya Money Or Ya Life” captured
‘Face doing what he does best; presenting the motive, action and con-
sequence of every situation labeled as “some street shit.”
While ‘Face would not be expected to do anything less than provide
relevant lyrics via storytelling or warning-laced advice, he decided to
mix up things on this album as well. Unlike his other releases, the syr-
upy, dark feel of this was coupled with a heavy West-coast influence
thanks to ‘Face splitting the bulk of the production between himself,
N.O. Joe, Mike Dean and Bay Area veteran producer Tone Capone.
The concoction reaches its apex three times. Firstly on the South
meets West smoke-session confession “Money Makes the World Go
Round” featuring Daz, Devin the Dude and KB. Secondly with one of
the albums instant classics “Mary Jane” and thirdly on “Smile.”
When you finally mustered the strength to get past the two earlier
mentioned songs, your ears got snatched again by “Smartz” featuring
Devin the Dude where ‘Face spoke vehemently on government cor-
ruption and how Black people need to smarten up and get back in the
race of life. He stayed in preacher mode on “Faith” throwing a Baptist-
preacher attitude on lines like: “We got these politicians running their
game to regain power/While our whole black community sours, Crime
rate towers, plagued by white powders/And they claim to be helping
us to clean up our community/But ain’t no open opportunities.”
The album ended with a crescendo of sorts where ‘Face invited Dr.
Dre, Ice Cube and Too $hort to appear on “Game Over.” All being
legends in their own right, the song was a toast to longevity, indepen-
dence and straight up clout.
Just after one listen, The Untouchable had a lot of us scratching our
heads thinking “damn, did he just top The Diary?” That debate that
could go on for hours, but one thing has to be agreed upon about this
classic. This album showcased the ‘Face that the world has embraced
as THE torch-bearer for Southern hip-hop and reality rap.

20
GETO BOYS PPED
WE CAN’T BE STO
Rap-A-Lot - 1991
by Matt Sonzala
ESSENTIAL SOUTHERN ALBUMS
B
ack in 1990, throughout the south, before the national emer-
gence of No Limit, Cash Money and countless other labels who
used selling cocaine as a metaphor for life itself, a revolution
was brewing. New Orleans was seeing the early days of bounce. At-
lanta was developing as a business center and a haven for experi-
mental artists not afraid to bring new and exciting sounds to the table.
Memphis was getting buck, and Houston was fast becoming the most
infernally gangsta city in rap.
The Geto Boys’ fourth album, We Can’t Be Stopped, hit the music
world like a hurricane. I had the distinct pleasure of interning at the
studio where they recorded this disc, their Swan Song, from start to
finish. To this day, I am amazed it ever came out, as the Geto Boys
were hands down the most disjointed group in hip-hop history.
It’s no secret that this trio of misfits was put together by J. Prince,
founder and CEO of Rap-A-Lot Records. The Geto Boys were his vision
and a brilliant one at that. These three distinct voices and personalities
meshed well on record, but in real life, the Boys rarely spoke. In fact,
throughout the entire recording of We Can’t Be Stopped, they were
rarely in the studio together. In general, each member would come to
the studio separately, lay their verses and then leave. It wasn’t until the
final period of the process that I really saw them all working together.
Regardless of all that, We Can’t Be Stopped is the album that kicked
off this entire Southern revolution we are currently enjoying. Back
then, there were no magazines like OZONE. The only hope a rapper
in Texas had of getting any publicity whatsoever was to spark major
controversy, and the Geto Boys had already done that. Their previous
album, the self titled release on Rick Rubin’s American Records that
was really just a re-mastered version of Grip It! was denied distribution
by Geffen Records and made waves throughout the industry as one of
the most offensive records ever released.
The cover of We Can’t Be Stopped continued in the same tradition. It
showed Scarface and Willie D wheeling Bushwick Bill down a hospital
hallway on a stretcher, just days after the diminutive rapper had shot
“I have to say We Can’t Be Stopped
by the Geto Boys was the first official
album to give a view on the down south
way of life. It gave every young nigga
down here that loved rap something
to hold on to, something that we could
call our own. We all owe the Geto Boys
for that one!!!” - Smitty
“MIND PLAYIN’ TRICKS”
One of the biggest hits to ever come from the south, this tale
of these three maniacs metal deficiencies/brilliance brought
the laid back mellow, however chaotic and crazy, sound of
Houston to the world.
“FUCK A WAR”
This was written during the first Gulf War and many of the
group’s observations can be echoed today. It is a timeless
track that relays a message the whole world needs to hear.
“AIN’T WITH BEING BROKE”
This song was a precursor to the South’s obsession with get-
ting it how you live. Willie D breaks down all the reasons why
one should work to not be broke.
“HOMIE DON’T PLAY THAT”
A catch phrase culled from the work of Damon Wayans as
Homie the Clown on In Living Color, “Homie Don’t Play That”
was another boastful Willie D-esque joint that showcased the
fire that burned deep inside the Geto Boys tortured souls.
“CHUCKIE”
While not the most prolific song ever penned by the Trigga
Happy Motherfuckin’ Geto Boys, this Bushwick solo track
brought big screen macabre to the small, silver disc.
his eye out. The cover was a shocking piece of macabre art, one that
perfectly represented the psychosis of these three tortured gangsta
geniuses. It was the perfect intro to an album full of tortured, gangsta,
genius gems including the mega hit “Mind Playin’ Tricks On Me.”
“I guess I would say that one of [my favorite Rap-A-Lot albums] would
have to be We Can’t Be Stopped.” J. Prince remembers, “And I say
that because ‘Mind Playin’ Tricks On Me’ did so much for the South,
period. It was the song that got the South our respect, and [it] made
people start listening to us and reckoning with us from radio to every-
body. So if I had to pick one, I would say that one because of what it
done for the south.” We Can’t Be Stopped kicked the music industry’s
door down and introduced the world to a whole new coast, one where
the pace was a little slower but the fire burned just as hot.
In addition to “Mind Playin’ Tricks,” the title track was a lyrical onslaught
on an industry that until then barely gave a nod to hip-hop from out-
side New York or L.A. When Scarface said “Better fuck with somebody
else before you get popped, because we can’t be stopped,” he wasn’t
talking to a random foe on the street. He was lambasting the entire
music industry and the government for their attempts at silencing his
work.
Believe me, this album was a piece of work. With every song, just
when you thought the Boys couldn’t take it any further, another wall
would be smashed to the ground. Politically correct? I think not.
But even with much of the record leaned toward the reckless and pro-
fane side, it wasn’t totally devoid of a message. On the classic song
“Fuck A War,” Bushwick Bill unloads on a war many saw as unjust. His
words still ring true today. “Motherfuck a war, that’s how I feel / Sendin’
a nigga to the desert to get killed / They put niggas on the front line /
But when it comes to getting ahead they put us way behind.”
But the Geto Boys did help pull up a lot of groups up from behind,
and now, fifteen years later, the South is holdin’ and it still can’t be
stopped.
OZONE 103

20
FIA
THREE 6 MACLE
ARS
WHEN THE SMOKE
Hypnotized Mindz/Loud - 2000
by Wally Sparks
ESSENTIAL SOUTHERN ALBUMS
Long before Oscar decided he wanted to take up residence in North
Memphis, When The Smoke Clears: Sixty 6 Sixty1 stood tall as the
crowning achievement in the stellar 15 year plus career of Memphis,
Tennessee rap collective Three 6 Mafia. After producing underground
anthems that tore up clubs all over the Southeastern United States and
racking up independent sales at a rapidly increasing pace with each of
their album releases, When The Smoke Clears: Sixty 6 Sixty1 was Three
6 Mafia unabashedly kicking down the mainstream door.
Much like the music they had become famous for making, their infor-
mally formal introduction to the Great Plains states was aggressive,
brute, and in your face. Nothing fancy about it at all.
Every song on this record was so brutal and vicious that the average
person would cringe or maybe even be intimidated by it. The interest-
ing thing about it was how so many of those same people embraced
the music and gravitated toward like they had been to a special gang-
sta walking and buck jumping class.
At a time when music from the southern region of the United States
had just began its chart dominance, the long time suppliers of what
today some refer to as “crunk music,” Three 6 Mafia already had the
respect and support of their region. But now, they were aiming for
the big time. They had their scope set on world domination before
When The Smoke Clears: Sixty 6 Sixty1 and after it was let loose on the
masses they achieved just that.
The lead single from the album, “Who Run It,” was designed to let ev-
eryone know what time it was. It was time to get the fuck out of the way.
It was done in classic Three 6 Mafia/Prophet Posse/HCP style, with all
six members of the Memphis rap super group hopping on a menacing
track and laying down the law in all of their trademark styles. It showed
the same great chemistry that was evident on their underground clas-
104 OZONE
“‘Sippin’ on Some Syrup,’ ‘Weak Ass
Bitch,’ and ‘Tongue Ring’ was all heat-
ers, but the track that really did it for
me every damn time I heard it was
‘Who Run It’! The beat was so infec-
tious that it fully captivates you. You
might lose focus while driving through
a school zone and risk getting a speed-
ing ticket!” Grandaddy Souf
“WHO RUN IT”
Pay attention to this one. This is how we do crunk music in
Tennessee.
“SIPPIN’ ON DA SYRUP”
This Texas-Tennessee connection had the whole nation on
lean.
“WEAK AZZ BITCH”
When I say “WEAK ASS,” y’all say “BITCH!” No other explana-
tion needed.
“FROM DA BACK”
This song displayed Gangsta Boo at her rawest. This is easily
one of her best verses.
“WHERE DA CHEESE AT”
We all know Crunchy Black isn’t the greatest rapper ever, But
I bet we know all the words to all of his verses.
sic “Tear Da Club Up.”
In what I have to believe was a strategic move to showcase what had
been going on down South for the years we had been ignored, the fol-
low up single and breakout hit from the album “Sippin On Da Syrup”
featured another well-touted and highly respected southern act, UGK.
The song was an ode to a Texas phenomenon of sipping on a home-
made potion of codeine and promethazine prescription cough syrup
and your favorite fruit flavored soda.
That song gave fans something they had been clamoring for: a UGK
and Three 6 Mafia collaboration. It was the epitome of a country rap
tune. The hypnotic Marvin Gaye sample meshed with the slow Texas
drawl of Bun B & Pimp C, and the perfect hook from Three 6 Mafia
cohort Project Pat, made for one of the most infectious songs of the
year 2000.
In what may have been the turning point in the legacy of Three 6 Mafia,
I would be remiss if I didn’t point out that this album - which has been
their most successful to date - was the last to feature all six original
members of Three 6 Mafia. DJ Paul, Juicy J, Lord Infamous, Crunchy
Black, Gangsta Boo, and Koopsta Knicca were all present. Even the
Hypnotize Camp Posse affiliates La Chat and Project Pat were there to
put their stamp on this album.
Who knows whether the success of this album was the catalyst for
the bitter breakup between the remaining members of the group and
those who parted ways for greener pastures. There has been much
speculation about that for years since it went down, and everyone
seems to have a different story. Whatever the gospel truth is, before
they all separated they got the very best out of each other and made
one of the most highly respected albums in Southern rap history. A
true classic indeed.

20
TRICK DADDY
WWW.THUG.C OM
- 1998
Slip-N-Slide//Warlock
by Carlton Wade
ESSENTIAL SOUTHERN ALBUMS
W
hoever would have thought that the dark-skinned, gold-toothed
baldee from Luke’s 1996 club smash “Scarred” would have
come back like this? While Luther Campbell has been cred-
ited with supplying the blueprint for the south’s premier independent
labels as well as introducing the rap world to such breakthrough artists
such as the old school, Bronx-born trailblazer MC Shy D, controversial
quartet 2 Live Crew and raunchy R&B crooners H-Town, Uncle Luke’s
A&R expertise had never handpicked any artist with the verbal dexter-
ity equal to Trick Daddy (or Trick Daddy Dollars depending how long
you’re been up on him).
Even after Trick’s fluid delivery, visual lyrics and rapid, stop-and-go
flow on the popular regional hit, he never inked a deal with the very
well established label CEO. Instead, the young Trick hooked up with
upstart Miami indie label Slip-N-Slide and dropped the mildly success-
ful Based On A True Story the following year. Although the album didn’t
receive much attention outside of Trick’s region, history was on the
horizon for the quickly rising star.
Riding off the popularity of the sizzling, sexplicit single “Na’an Nigga,”
Trick’s sophomore effort www.thug.com was Trick’s most shining mo-
ment to date. With Trick attempting to win over the affection of his fe-
male nemesis Trina over a quirky drum track, shimmering steel drums
and 808 chest pounds, he steps to the unsuspecting ghetto queen in
the crude way that only a thug can.
With rants like, “Hoe, you don’t know na’an nigga who’ll represent
like me / Who’ll say some shit like me / Who’ll lay the dick like me”
and “You don’t know na’an nigga who’ll run up in your house / Blow
your mu’fuckin’ brains out.” How could a girl not fall in love? But Trina
proves that she ain’t just your average little hoodrat. Trina back doors
Trick in her signature sauciness with lines like “You don’t know na’an
hoe who can spend the grands that I spend / Fuck ‘bout five or six best
friends” and “You don’t know na’an hoe who done tried all types of shit
/ Who quick to deep throat the dick / And let another bitch straight lick
the clit.” Needless to say, Trick definitely makes sure he gets her seven
“www.thug.com made people really
respect T-Double-D. The album started
off like a computer, when computers
were first taking over. We took that to
another level. It’s real Miami, real thug
shit. I was never trying to be nobody
else, I was just tryin’ to be a thug.
That’s why people love and respect that
album.” – Trick Daddy
“NA’AN NIGGA”
This record is the ultimate battle of the sexes, with Trick and
Trina battling for sexual superiority.
“SUCKIN’ FUCKIN’”
...and he’s still a freak.
“BACK IN THE DAYS”
An ode to how it used to be, when times weren’t so compli-
cated.
“HOLD ON”
On this song, Trick offered a testament of hope.
“LIVING IN A WORLD”
I’m starting with the man in the mirror.
digits by the end of the song.
Then, there’s “Suckin’ Fuckin,” the story of a low-class girl who wants
to do “me,” “you” and “my whole crew.”
But www.thug.com was more than just about getting drunk and hol-
lering at girls at the club. Aside from the flawless production, Trick’s
lyrics were like well-sharpened swords. In his own unapologetic hood
persona, the rapper born Maurice Young showed many different sides
of himself - from lighthearted club hopper to hardened street disciple
to socially conscious newscaster, this album was an insightful guide to
the not-so-sunny streets of the MIA.
On “Back In the Days,” Trick rewinds the hands to Father Time to an
era when life didn’t seem so complicated. Over dark, winding produc-
tion seasoned with looming, intimidating bass, he took us to a time
when cats wore afros the size of record albums, sported bell bottom
pants and the most feared disease was gonorrhea. “But not no more,”
Trick testifies in the hook, “Niggas don’t twisted up the ‘fro / Quick to
go to gunplay ‘bout that flow / What? Nigga, you don’t know?”
And on “Hold On” and “Living In A World,” Trick shows that thugs do
have hearts too. While Trick would be better known for sentiments
like “Thug Holiday” and “Ain’t No Santa Claus,” T-Double showed a
broader side to his musical reaches early on. Trick knew that babies
go to bed hungry at night, that the jails are constantly overcrowding
and the graveyards continue to swell with the bodies of young black
men. He wasn’t afraid to hold a mirror up to ourselves then and still
isn’t afraid to reveal vulnerability today.
Overall, www.thug.com was a work of art. From the very first logon
until you leave Trick’s world of thugs (compete with computer voice on
the beginning and the end of the disc), not a single chord could have
been redone to make it less groundbreaking. Even if the album had
been released in 2006, it would still be just futuristic as is it did when it
hit stores eight years ago.
OZONE 105
ALBUM IN STORES
MAY 29TH
www.myspace.com/guttacampclique
For booking call 904-355-1952
To buy a CD call 904-728-8663

SANTANA’S
BIRTHDAY PARTY
MAY 19th
Celebrity Boat Cruise
Jacksonville, FL
For Tickets or Info call 904-483-7261
cdreviews
T.I.
KING
Grand Hustle/Atlantic
After receiving criticized acclaim for 2004’s Urban
Legend, T.I. still found himself trying to prove
to people that he was indeed “The King of the
South.” However, whether you believe he earned
the crown or just created it for himself, KING. is
definitely an hour and ten minutes of a man rap-
ping from a throne.
To set the mood for the rest of the album T.I.
opens with the Just Blaze-produced “King Back.”
With trumpets blaring T.I. is at his shit-talking best
when he boasts that he “takes orders from no one
but God.”
But to just to show that he still has respect for his
elders he turns his ego down a couple notches on
“Front Back, ”his Mannie Fresh-tweaked remake
of UGK’s “Front, Back, Side to Side” where Pimp
C and Bun B willingly let their student act a fool in
class.
The humbleness takes a twist as he swiftly gets
back into bad-ass mode on “I’m Talking To You,” a
clever finger-pointing that has him dissing people
by process of elimination. Lines like “I ain’t talking
to Jeezy ‘cause that’s my brother, I ain’t talking
to ‘Face ‘cause that’s my father/I ain’t talking to
Bun ‘cause that’s my uncle, I ain’t talking to ‘Kast
‘cause them niggas my partners/I ain’t talking to
Jigga ‘cause he the real President Carter” and a
third verse that names a who’s who of Southern
Hip Hop narrows it down to a few, but he lets the
listeners figure it out themselves.
T.I. also keeps the formula of his previous album
by supplying at least one sentimental song. This
time its “Live The Sky” featuring Jamie Foxx where
T.I.P. shows a seldom seen vulnerable side speak-
ing on everything from losing loved ones to the
embarrassment of being in jail with a hit record.
While its nice to see T.I. broaden his horizons with
songs like “Why You Wanna” and the Pharrell and
Common assisted “Goodlife” its songs like “Bank-
head” and “Told You So” that capture the Rub-
berband Man in his true element. In addition to
saying he saw Kriss Kross get jumped in school,
and helped the new wave of Houston artists get
on, he goes on to spit “if only L.A. [Reid] would
know how wrong he’d be.”
The only thing KING. may suffer from at times is
a sense of T.I. just rapping to pass the time. Then
again, this king’s worst is still better than a lot of
other joker’s best.
- Maurice G. Garland
108 OZONE
B.G.
THE HEART OF THA STREETZ VOL. 2
Koch
B.G. is not an artist known for surprises. Per-
haps that’s how he’s managed to keep a con-
sistent following throughout his nearly 15-year
career; his people know exactly what to expect
from him. With his latest effort The Heart of the
Streetz Vol. 2, B.G. fans are sure to be satisfied
by his tried-and-true formula of unadulterated
street shit.
As with his previous releases, the lead single
stands out since it’s the only song that’s
specifically made for the radio. “Move Around”
reunites B. Gizzle with his former Cash Money
cohort Mannie Fresh and gives a glimpse of
what could happen if they were ever to work
together exclusively again.
The remainder of the album has B.G. slip-
ping into his comfort zone, giving listeners a
smooth ride with very few bumps or landmarks
to remember. On songs like “Real Nigga” and
“Living Right” he continues to flirt with fact
that he’s been able to survive a career without
CMR. “Kill or Be Killed” has him spitting his oft-
heard narratives about street life (think “Clean
Up Man part 3). “Whateva U Like” plays the
role of the standard “sexy” joint with the usual
female sing-songy hook routine.
At moments, B.G. does manage to get out of
cruise control and give some ear stimulation.
“What I Need” featuring Conrad has Gizzle
spitting over crisp synth production, juxtapos-
ing his gangster methodology with lines like
“my plans and dreams get bigger everyday, so
every night I gotta get on my knees and pray.”
He also shines on “Bout Mine,” where he sinks
even deeper into his gangster element with
quips like: “I see them looking at me like they
the police, I know they ain’t the police because
the police work for me.”
This album also has B.G. stepping out his shell
to collaborate with artists outside of his click.
VL and especially Webbie give leave a mark on
“Ain’t No Bitch,” with Mr. “Gimme That” bring-
ing his unique brand of enjoyable vulgarity.
However, “Dueces Up” with Paul Wall and Yung
Redd sounds too gritty for its own good.
Not as refreshing as Life After Cash Money and
not as strong as the first Heart of the Streetz,
this album shows that B.G. is talented enough
to rap in his sleep. Unfortunately at times, it
sounds like he’s doing just that.
- Maurice G. Garland
CADENCE
SONGS OF VICE & VIRTUE
Paperweight Records
Up until Young Buck screamed
“Cashville, Ten-A-Key,” Hip Hop heads
saw Nashville, Tennessee as breeding
ground for Caucasians, county music
and little else. Well, Memphis-born
Nashville-bred rapper Cadence is obvi-
ously white and has toured with country
music artists. But his album Songs of
Vice & Virtue is far from Honky Tonk Hip
Hop. This is not some Cowboy Troy shit,
this album is down right dope.
“Comin’ Back” opens the album with a
resounding smack as rolling piano riffs
and hard drums play a good backdrop
for his playfully boastful rhymes. The
energy, confidence and creativity rises
another notch on “Squeaky Clean”
where he raps about washing up for
a rendezvous, using a squeaky voice
effect to sing the hook. But Cadence’s
cleverness reaches its pinnacle on “So
Original,” a sarcastic criticism of the con-
tent and behavior of popular rap music.
Cadence also shows a more serious
side to his music with tracks like the
open letter “Falling Apart” and “All Fall
Down.” On the latter he puts himself in
the shoes of a person who drinks their
problems away, hops behind the wheel
and meets the ultimate consequence.
The albums most potent cut “Untitled
7/15/05” has Cadence furiously express-
ing his religious views without being
blasphemous.
From start to finish, Songs of Vice &
Virtue is a solid hip-hop album verbally
and musically. But the funny thing is that
the best song on it is actually a jazz/R&B
record. “So Alone” to this album is what
“Quik’s Groove III” was to DJ Quik’s
Safe and Sound. Cadence’s coffee
house crooning flows perfectly over
the live instrumentation and he does it
again on the comical Blues ditty “Find
Me Some.”
It’s completely wrong to lump Cadence
in a category with Eminem and Bubba
Sparxxx. He sounds like neither, but some-
times sounds like he’s mimicking Kanye
West. Regardless, Songs of Vice & Virtue
is a preview to a bubbling trendsetter.
- Maurice G. Garland
110 OZONE
theelements
a Mixtapes = the foundation of hip-hop.
So dig up your old chemistry textbook, blow the dust off it, and check out our revised periodic
table of the elements: the essentials.
Aspiring rappers, you know what to do.
1 What other magazine gives you dozens of DJ’s
email addresses and contact numbers every month?
b c d e
2
1a - DJ Scream (hosted by D4L) - Kings of Snap DJScream@tmail.com 404-540-5000
1i - DJ Barry Bee & Nitram Knarf - Got Beef 3 252-758-1122 DJBarryBee.com
2a - DJ Tantrum - Respect My Grind 832-606-4592 DJTantrum7@yahoo.com
2g - DJ Mr. King - Respect Royalty Pt. 2 330-701-8327 DJMrKing@yahoo.com
2h - DJ Spade (hosted by the Youngbloodz) - DMS Street Edition DJSpade.com
2i - DJ Lady Bullet & DJ Spaz - Feel The Vibe Pt. 2 786-262-8286 DJLadyBullet@yahoo.com
3a - DJ Jukebox - Snap’n & Trap’n PlanetJukebox.com
3b - DJ Menace & DJ Dynamite (hosted by Smitty) - Street Muzik 5 DJDynamic@msn.com
3c - Clinton Sparks - Smashtime Radio Blends ClintonSparks.com SmashtimeRadio.com
3d - Christopher Truth (hosted by Termanology) - Kick In The Door ChristopherTruth@gmail.com
3e - DJ Chill - 18 Soft Volume 1 Chill.DJ@gmail.com
3f - DJ P-Money - Ear Candy Vol. 1 DJPMoney1@yahoo.com 910-297-3184
3g - DJ Ryno - Back to the Basics 713-269-2909 DJRyno.com
3h - WordofSouth.com - Round My Way Strike 2 LB@wordofSouth.com
3i - DJ Fresh - It’s A Celebration Pt. 1 DJFreshInc@aol.com Myspace.com/DJFreshinc
4a - DJ Dutty Laundry (hosted by Trillville) - Not Guilty 914-316-5307 Brutus@tmail.com
4b - DJ Noe Doubt - Respect The Grind Pt. 3 585-721-5452 HighCaliberMusic@gmail.com
4c - DJ Spair - The Mackin’ Mixtape Myspace.com/DJSpair
4d - DJ Chill - Confidential Heat 713-261-2799 Mix2ColdDjs.com
DJs, send mixtapes for consideration to: OZONE Magazine Music Dept., 1310 W. Colonial Dr. Suite 10 Orlando FL 32804
112 OZONE
i
g h
f
rep yo’ city
4e - Struggle Wear - Kruel Ntentions 3 Strugglewear@KennyRedd.com 601-454-5802
4f - DJ Coolbreeze - Ecstasy 9 DJCoolBreezeLive@aol.com
4g - DJ Dutty Laundry (hosted by Bohagon & Donnie Cross) - Leaders of the New South 2
4h - DJ Bounz & Luxury Mindz - Mindset LuxuryMindz.com Myspace.com/Bounz07
4i - DJ Shon G - Streetz Is Callin’ DJShonG30@tmail.com BumsquadDJz.com
5a - DJ Quest - Southern Fried Gumbo Vol. 2 DeejayQuest.com ThePhantom@tmail.com
5b - P-Cutta and DJ Thoro (hosted by Raekwon) - Taking The Industry by Storm PCutta.com
5c - DJ Cease-Fire - We Run This 1 DJCeasefire@aol.com
5d - DJ K-Tone (hosted by Meez) - From 303 to 816 DJKtone.com 720-404-6767
5e - DJ Mars & DJ Bobby Black (hosted by Young Fell) - There Goes The Neighborhood
6a - DJ Princess Cut - UGQ: Underground Queens DJPrincesscut@gmail.com
6c - DJ Young Mase - Detroit Takeover Myspace.com/DJYoungMase
6d - DJ Frogie (hosted by KLC) - The N.O. Strikes Back II DJFrogie.com
6e - DJ Sir Swift - All About The “A” SirSwift03@yahoo.com 615-513-5850
6f - DJ Centipede & DJ G-Spot - The Rivalry: Cleveland vs. Chicago DJGSpot.com
6g - DJ Impereal & DJ Devro - Best of the Bay Pt. 2 TheDemolitionMen.com
6h - DJ Dutty Laundry (hosted by Yo Gotti & Roam) - Ten Keys to Georgia 914-380-2488
6i - Big Dave & DJ Lex (hosted by Grafh) - New York State of Mind DJBigDave.com
 YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE

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20
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