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COMINCSOON:
01 - Jim Jones, E-Class, and Trick Daddy @ Opium Gardens (Miami, FL) 02-Ja Rute and Kid Capri @ State (Miami, FL) 03 - J Lash
and his twins (Miami, FL) 04 - Cassidy and Zab Judah @ Terror Squad's pool party (Miami, FL) 05 " Yahya McCtain and Antonio Tarver
@ Opium Gardens (Miami, FL) 06 - DirtBag and Remy Martin @ Beatdown (Miami, FL) 07 - Kanye West and Freeway @ Bermudas
(Miami, FL) 08 - Zab Judah and Lit' Ftip @ opium Gardens (Miami, FL) 09 - Trina partying @ Ctub oxygen (Miami, FL) 10 - Knocturnal
and Shemar Moore @ Opium Gardens (Miami, FL) 1 1 ' JR, E-Ctass, DJ KD, Pitbutt, and DJ Khaled @ Voodoo Lounge (Miami , FL) 12
-Grant Hitt,Tamia,andHottyRobinson-Peete@AtonzoMourning'sSummerGroove(Miami,FL) 13-BoxersFtoydMayweatherand
Zab Judah @ Terror Squad's pool party (Miami, FL) 14-Ouie, Zab Judah, Lit' Ftip, and DJ Demp @ Opium Gardens (Miami, FL) 15
- 103.5 reppin' @ the Beatdown (Miami, FL) 16 - Lit' Jon and Adina Howard don't give a fuck (Miami, FL) 17 - Uncte Luke gets a
handrur@ Bermudas (Miami' rL)
+:-JX';1"f"",',t"illtr?"t:","T:[lf-r$r1il';j?,,,]l,,iiiiliil:il*";Iffbilill";ifl?j*?:ltj
01 - The Ying Yang Twins with DJ Smurf and Derrick Crooms @ Ctub Bed (Mlami, FL) 02 - Futt lmpact DJs Ron Love, Adiquest, Stique,
Jesse Jazz, Velore, Coo[ Cass (Ortando, FL) 03 - David Banner and Scotty J aka "Watdo" (Ortando, FL) 04 - Russ Parr detivers a tip to
Cottin Mouf after his striptease @ the Bittboard Awards (Miami, FL) 05 - Disco, Chubby Re[[e, and Ctay D @ Ctub Rush (Ortando, FL)
06 - DJ lnfinite, Joey Nice, Phantom, Remington Steele, Jit[ Strada, and DJ Kered @ Jamlando Record Poo[ (Ortando, FL) 07 - G's
Up @ the Bittboard Awards (Miami, FL) 08 - Chuck and Jacki-O on the set of "Fine" (Miami, FL) 09 - Detre Vat and Dynasty @ the
Bitlboard Awards (Miami, FL) 10 - Gritt @ Ctub Lava (Orlando, FL) 11 -Clientett fam reppin'OZONE @ Ctub Rush (Ortando, FL) '12
-Spiff,RickyP,andDJProstyle@Tabu(Ortando,FL) 13-Gotti,Jacki-O,andLarceny@CtubBed(Miami,FL) 14-streetLeague@
Tabu (Ortando, FL) 1 5 - Fat Joe and Remy Martin @ Beatdown (Miami, FL) 16 - X 102.3 crew Cierra, Nay Fresh, Jason, and Kaferina
@BittboardAwards(Miami,FL) 17-KevinLilesandDavidBanner@Butter(NYC) 1S-Sho'Nuff (Ortando,FL) 19-BuggahandFred
(Mlami, FL) 20 - Anthony and Johnny B @ Ctub Bed (Miami, FL) 21 - Bonecrusher @ the Bittboard Awards (Miami, FL)
ffi
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 I ounging backstage at Hard Rock Live Ortando, Twista is preparing to perform in
I front of thousands of fans for MTV. A former manager describes Twista as being
E"painfutty shy," but if that's true, he doesn't let it show during the pre-show
interview with MTV. He exptains to viewers how his style has devetoped throughout
his years in the game, and how he landed in the Guinness Book of World Records as
the World's Fastest Rapper. After the show, we caught up with Twista backstage to
ask a few more questions:

When you first recorded "Slow Jamz," did you expect it to blow up like it did?
Naw. lt was a big surprise for me, because I just looked at "Stow Jamz" as a new
way for me to come out, but stitt giving them that Twista flava. I knew we were
representing a lot of the R&B artists that put it down, and it's a radio jam, plus l'm
spitting it on there. lt was off the chain after that.

What was the first reaction you started to get from DJs?
They was telting me that it was an instant hit. And I'm looking at them [ike, straight
up? They were [ike, yeah, it's a hit. One DJ started ptaying it and next thing you
know ten DJs were ptaying it. Then it started ptaying everywhere. We had 3,000
spins, then 6,000 spins, then we kept ctimbing. I was [ike, this is crazy!

When you and Kanye recorded the track, had y'atl worked together before?
Me and Kanye knew each other for tike eight or nine years, and we always said that
we woutd work together. Once he got in the game and started doing his thing with
Jay-L, I woutd go over there and feature on certain projects tike "Poppin' Tags." So
"Stow Jamz" was just another song in our arsenal that we was pushing out there.

Do you plan on working with him more in the future?

Yes, definitety. I was always trying to tell Kanye, "Look, man, if you get down with
me, that's gonna be the dopest chemistry." When you jump down with the Twista
flavor, that'tl always be the dopest stuff you do. That's what I always try to do. I
hope l'm impressing him.

What's your situation with Roc-A-Fella?

Those is my peopte. Dame definitely tooked out for me in the game, just like Puffy
did with Bad Boy. I got big brothers in the game. Jermaine Dupri, Puff, Dame, Jay,
I look at them like big brothers. I took up to them and they also had a hetping hand
in my career. The last crew that I was kickin' it with before a[[ this shit happened
was Roc-A-Fetta. They always showed me [ove, so I atways represent and show
peopte that you can be down with your [abe[ and stitl represent and show love for
somebody e[se. As long as it's positive and family.

So you plan on staying on Atlantic as far as a label situation, and Roc-A-Fella is

your family?
Oh yeah, definitety. More like a famity. We definitety do work together though. We
do tours, projects. I'm atways rapping and participating on artists' projects over
there, and they do the same for me so it't[ atways be [ove.

Having been in the game for so long, do you feel like you finally get the recogni-
tion you deserve?
Yes, yes, yes. But you don't see it happening the way you thought it was gonna
happen. You're [ike, "l hope I btow up!" Then you look up one day and you just
ger reatty, reatty busy. Then one day you look up and reatize, "Hey, I'm famous!"
(taughing) lt was definite[y a wild ride, and I appreciate it.

So how do you maintain your position in the game?

I'm always working, because that's one thing I notice that a lot of artists do to keep
them out of trouble. They can pretty much go kick it and have as much fun as they
wanna have, so one thing that I see keeping artists grounded is hard work. I just try
to stay in the studio, keep doing shows, and keep doing positive stuff,

Out of all the collaborations you've done, which one would you say you've
enjoyed the most?
Probably me and Kanye with "Stow Jamz." Definitety "Poppin'Tags" with my man
Jay, and definitely "ls This the End?" with Puffy. lt's too many, I can't name 'em
att,

Who's your favorite rapper?

My favorite rapper has always been Rakim, for sure. "Fottow the leader, I ain't no
joke," those lines right there stay supreme to me co[labo.

So what's up with a Rakim collabo?

As long as my man is willing to jump down with me, it's 100% sure that it's gonna
happen, 'cause that's my nigga!

Why were you dressed in a straightjacket on your album cover?

I want you to see that l'm sick with it. I want you to see the sick flow. People always
say, "What's adrenatine rush?" or, "What's Kamikaze mean?" I atways tetl 'em it's
a suicidal flow. I want you to see that I'm sick with it. That's alt.

12 OZONE MAGAZINE AUGUST 2OO4

 LII' Jon & the
Jacki-O f/ ths East Side Bovz
Yins Yans Twins "Crunk Juice" afbum
"FinE' (!{i-ami-FL} cover shtftt{N+nta, GA)
Foe BoyTTl/T

OZONE MAGAZINE AUGUST 2OO4 1 3

B H\[
k\
{FrF*eq\

This Atabama native lived un to his album

titte with the retease of his'impressive in-
dependent debut. Neishborhood Suoerstar.
Aftdr turnins dowrf sevdral maior lab'el offers.
he's back wTth his second atbr,im, Sftll A Star.'

Tell me about Birmingham.

Birmingham, like I said, is a robbing city. l'm just being straight up with you, not try-
ing to cut no corners.

So would you rob me today if I wasn't here to interview you?

I ain't gon' lie to you, I've done it alt. That's why l'm hot.

What have you done?

I don't want to answer that question. Put it tike this: when I first started out, there
were certain things I didn't know. Like, I used to have this kid go find peopte for me
to cop for 'em. He'd go get it, but at the same time he'd get everything I asked him
to get. See what I'm saying? But when my tittte girt was born, I was just trying to cool
out. Being out there you can get caught up in a lot of stuff, and everybody around me
was going to jait. I had a lot of homies going to jait, everybody I ran with. People was
getting shot up and everything. God, he btessed me not to go to jait, not to get shot.
He btessed me and took me away from a lot of things. At the time, I wasn't actuatly
in it serious, because something was happening to everybody around me. lt was like
it skipped me. Some shit went down and one of my homies took the rap for me. He
ain't never say nothing about it, and I tove him for that. That's why I say, "l'm a street
preacher, and I don't let bullshit bother me." Cause I know that half the peopte that
be tatking and playing don't want to take it where l'[[ take it. 5o when it comes to rap,
dissing, talking about somebody over a CD, I don't have time for it.

Your homeboy, he took the rap for you? What was the situation?
Al[ of us was together. Everybody went. Everybody got jammed up, and it skipped me.
I was with him. Hett, I was the one doing what they got arrested for, and ain't nobody
say nothing about me. Some shit went on, they saw me and put me in the car, and
they let me out. I never looked like I was the type to do that. I always looked like the
qF
innocent person, see what I'm saying? lt always just skipped me.
'? "kwd
How did you get into rapping?
When I was growing up, I seen a [ot, and I always wanted to express mysetf. When I
m
was young, my parents thought I was going to be a preacher because I was reading the
Bible constantty. I was a heavy betiever in the Lord, atl the time. The things that were
happening to me and my famity and the peopte around me made me want to express
and let people know. I always want peopte to feel me when I talk or when I rap, I

don't want to just talk about bultshit. I just wanted people to understand me and feel

14 OZONEMAGAZINEAUGUST2OO4
what I went through. I was going off of NWA, so I went to talking about
crazy stuff. I want people to feel what I'm tatking about, so I had to be the
person to actually live it. I can't tatk about nothing I ain't live through. I
can't talk about being somebody I'm not. Before I got with Kottage Boy,
like I was saying eartier, I had some homies that I bonded with but our bond
was different. Getting some Moet and pouring that shit on the concrete?
We was doing it. Shit. I've got to go through something in order for me to
tatk about it. Let's just put it like this: I know l'm going to make it. I don't
wish, I hope. I don't think, I know. I know it's there, you can't stop nothing
with God. That's how I feel about that.

So we just left the projects where you grew up, and you said something
went down there last night?
Man, I was over there tast night. I didn't mean to stay over there that [ate,
and around here you can't be stipping. You got to know when to come and
when not to come. Man, three guys just got shot over there right after I

left. I was tike, damn, I can't be caught up in this shit. So that's got a lot of
peopte shook up, and just before we came over there today they was draw-
ing pistols. I don't want to be around that bultshit. And like I said before, a
lot of people ain't gonna take it where you wanna take it. Anybody can pu[[
a trigger. A child can putl a trigger, but it takes a man to stand there and
fight. A lot of peopte are shook up. You got three potice officers that were
murdered a few weeks ago. That shit was crazy. lt was some bu[shit. How
you gon' go in another muthafucker's house, looking for somebody they got
a warrant for? lt was a vacant apartment, I guess. I don't realty know what
happened cause it wasn't my side of town. But, man, they shut this bitch
down. They went and got heticopters and everything.
They shut down the whole city?
Yeah, peopte was shutting up they stores. Police was running up in they
stores. Man, they shut the whole community down, and it's a big commu-
nity. They shut the freeways down, cause they were thinking the guys were
hitting the freeways to get up out of there. There's so many outtets to that
community, and it's so big that they actuatly coutd have gotten away. They
found two dudes and charged them.
5o, back to the music tip, the next single is "Umma Pimp"?
Yeah, I wanted to be creative and do something that a lot of peopte haven't
done. I took the hook from that David Banner and Lit Ftip song where Ftip
says, "Me, I'ma pimp, l ain't payin' for no sex," and l tiked that as the
hook. Almost every ctub I went to, they was saying it, 'cause everybody
feet tike that in the hood. So I took that because I fett [ike that.
So have you ever paid?
Oh, no, I ain't never pay for that. On everything I [ove, never. Anyway,
I took the idea to [Kottage Boy Entertainment CEO] Aqui[ first. He knows
when I come to him, he's got to hear me. What I actuatty did was take
something from Lit' Ftip and then Mike Jones, I combined them together,
then I screwed it. Then I put my own shit on there. There was a verse on
[Mike Jones'] album that I tiked: "l ain't 'bout to feed y'at[ / I'm about to
leave y'atl / Cause everybody wanna jump on your boat when you poppin'."
I tiked that so much, and I had to let the world feel me and combine those
together as one. I think that right there witl let peopte understand what I
feel about the situation. I'm tired of the same o[' shit: "Ki[[ a muthafucker,
hit a bitch, shoot a hoe." And hatf the peopte that are saying it ain't doing
it. Hatf the people that are saying that, if you realty bring drama to them,
they'tI run and cry. They'tt catt the po[ice and atI that buttshit. Man, I ain't
with it.
So are you anti-crunk?
Wett, I do what I have to do to put Kottage Boy on. The onty thing I do is tetl
the truth. lf I have to be crunk, I'tt do it, but my crunk is gon' be different.
I atways have a meaning for everything that I do.
project is going to affect the whole organization. lt needs to be something
good.
So the offer wasn't good?
These labets, man, they think you stupid.
Which label made the offer?
I don't really want to say, but it's been a coupte. They think that being
from the hood you'tl take anything. lf they come to an individuat with
5500,000 or 5600,000, you'l[ be [ike, "Yeah, yeah, yeah, but what are my
numbers?" I ain't finna let you make up no numbers for me. When you go
to making numbers, I'm gonna tell you what lwant. We can compromise
together. I ain't gonna put 'em atl out there, but Universal was one of
them. Single deal? Fuck a singte deat. I ain't doing that. And if you come
behind my back and try to take me from Kottage Boy, I'm gonna spit on
you. I've had peopte come behind my back and try to take me from Kot-
tage Boy. I don't ptay tike that because we buitt Kottage Boy, so we gonna
make it together. So if you wanna hotta at me, you've gotta go through
Aquit. I ain't gonna tatk to you. I shoot the shit with a muthafucker a[[
day [ong, but you've got to break bread with my whote organization not
just me.
When witl your album be released?
August 't7th, and the release party is August 21st. My contact number, if
you want to holta at your boy, is 205-427-1851. Or check out www.kottag
eboyentertainment.com, look at your folk.
Anything else you wanna say?
Yeah! A lot of peopte been doing this rap war shit, but let me explain
something to you. Atl the muthafuckers from the hood witl feel me on
this. Yesterday you ain't have a goddamn food stamp. The other day you
was out there with a goddamn 8batt, trying to get a doubte-up. Today,
God gon' btess you and put a coupte hundred grand in your account, and
man, y'at[ stupid asses wanna get out here and kitl each other. Don't you
understand how people are looking at you? They don't want rap out here
already. This is the way we're trying to make it out the hood, and y'at[
muthafuckers wanna kitl each other and take us out the game. I just got to
let all you muthafuckers know that you're stupid. lf you got to tatk about
a muthafucker on a CD, how come when you see him you ain't saying
nothing? Be a man about the situation, not a hoe. And if you realty from
the hood like you say you are, hotla at him when you see him and don't
tatk about him on a CD. But I witt tett you one thing: if you take food out
my family's mouth, when I see you, l't[ muthafucking kitt ya. 5o if you diss
me, you better be a man. Fee[ me?

How would you describe this album as compared to your last album,
Neighborhood Superstar?
l'm always gonna keep it pimpin', you know that. lt's hood. I came more
hood. I reatty brought myself out of the ctoset. I let you know what I been
through in the game. I let you know what I've been through in the hustle lfil
game, and I let you know how it went with females. I talk about how peopte
around here started looking at me after I dropped the Neighborhood Super-
{:'
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star album. A lot of people fuck with me, but a lot of peopte don't. I feel
like that album lets you know what I reatly am.

Did any major labels approach you off the success of Neighborhood
!{
'J*' :

Superstar?
I sold around 10,000 independently. And the funny thing about me is, we
could have taken a deat, but when me and Aquit and the rest of the staff
sat down and talked about it, we decided not to. The Birmingham J proj-
ect represents Kottage Boy Entertainment, so whatever we take off that
 ffirm
ook atl throughout history and you'[[ find instances where the oppressed chose to break free and estabtish themselves as individuals to gain
their proper dues. Whether you're talking about the slaves or the Jews, the oppressed always made it through for a revival. ln hip-hop history,
it's no different. One of the oppressed - Cuban Link - is on the grind to create his own day. He's been silent for nearty three years and is now
ready to retease his first soto atbum, Chain Reaction, after his album 24 Carat was leaked and simply collapsed.

Link is known best for his work with Terror Squad. He joined TS at the same time as Tripte Seis and Big Pun, but the retationship with TS Fat Joe in
particutar - went downhill after Pun's death. "We teft it at a sour note," Cu-
ban admits. "There's no love there for here and no love here for over there."
When totd that Fat Joe refused to go in depth about him, Link responded by
saying, "The fact of the matter is that he's been blackballing me since 2001,
for reasons that may be jeatousy or money." Link's history with TS has made
it more of a challenge for him to buitd himsetf up as an individual artist. "l
came to a lot of road blocks'cause [Fat Joe] put 'em there, [but] his plan for
the whote wortd to forget about me didn't work." For the most part, how-
ever, Link tatks about Joe in a catm, mature fashion, showing now signs of
uncontrolted emotion or irrational comments. ln fact, Link stayed composed
and added further insight. "lt coulda been a situation that coutda reatly went
street," he says. "l coulda done something I woutd have regretted and ended
up behind bars, but I decided to do things the other way, the positive way."

So what is the positive way? lt's not letting history hold him back. Now, Link
is ready to come out again with Chain Reaction, which witt be released on
Man of Business Records in September. Chain Reaction features production
from the likes of Swizz Beatz and KG and appearances from artists such as
Avant and Mya.

M.O.B. Records is Link's new home, and he ptans to take it one step at a time:
"l'm gonna put M.O.B. on the map and then mysetf." M.O.B. has given Link
more control of his project. "l know where everything [with my album] is go-
ing," says Link. "l know what it witt take, in terms of the marketing budget
and the business aspects." As far as business is concerned, Link is concentrat-
ing on music, but is atso interested in getting into movies. He's even began
writing some movie scripts himsetf.

Stitt, to this day, Link hotds it down for Big Pun, who he says taught him
the most about the industry. "l'm definitety in this game because of Pun,"
he says. Pun was his best friend and mentor, altowing him to watch as he
recorded his hits. Through Pun, Link quickty gained vatuabte industry know-
how. "At the end of the day I learned a lot from Pun. He went from being a
regutar dude to being Big Pun," remember Link.

Cuban Link has come a long way from being a Cuban immigrant, learning
Engtish and writing rhymes during ctass instead of taking notes. He's now pre-
pared to go even fartherwith the retease of Chain Reaction. This levet-head-
ed, humble MC is hungry and hard at work for the spotlight he deserves.

- Rohit Loomba, poombster@yahoo,com (Photo: Raandu Avion)

ffiTHTfter his main
man and mentor Big Pun died, Triple Seis knew he
had to leave Terror Squad. Even with their newly acquired suc-
cess, Seis has no regrets. After inking a deal with Canada-based
Madd Records, Triple Seis finally has his turn on the mic to tell his
side of the story. Here, he shares his future plans with Cuban Link,
why the music industry is like a secret society, and just how far Big
Pun would go for a laugh.
gun that shot btank buttets. So I come in and I didn't know he had it, and
he stages a fight. He pu[[s out the gun. He shoots the guy. The guy goes
down. I'm buggin', tike, 'What we gonna do with the body?" He got me
neryous. lt was to the point where he couldn't hotd the laughter in any.
more. Then they did the same thing with the engineer after that. He put
a strawberry on his head and told one of the crew members, "l trust you
with att my tife. Shoot it off my head." The engineer was going battistic.

Tell me about your album, Only Time'll Tell.
My atbum is called Onty Time'tt Te[[ because that's been my theory, my
motto. Whether it's good or bad, it's just going to take time to find out.
lf you work at it, hopefutly good things wiit happen. lt was done about a
year ago. I did this atbum when I left Terror Squad. lt's about to come
out through an independent labet, Ma dd Records. lt's just another step
in the ladder climbing towards my success. lt's atl hard work. Ever since
Pun passed away, it's more work for me to do. When he was here, it
wasn't a walk in the park, but it was atready a path that we was set on.
Our destiny was already set.
What are some of your favorite songs on the album?
"Love Put Me." For chasing a dream you could lose it att, but at the
end of it you have to at least gain your respect back. I tike the titte
track, and I tike the track with Antonio, "Pray For Me." (singing) "lt's
important to pray for me because death is onty one step away from me."
"Harsh Reality" with [Big] Pun is a verse he kept for "You Ain't a Kilter."
After he passed that's one of the latest things I had. I thought I woutdn't
exptoit him, but it was short and sweet.
How do you feel being one of Pun's prot6g6s?
l'm excited about my album. There's certain songs I'm reatly excited
about. I feel excited that I even have the opportunity to be in this situ-
ation.
Do you have any regrets about leaving Terror Squad?
No regrets. I made my decision with reason. I had reason to do what I did.
I stick by it because I'm stitl in the game and l'm going to make my way
up. And when I do it's going to feel even better and more futfitling because
I didn't have to ride nobody's coattaits and suck in a lot of stuff just to
make it. I did it and was appreciated by a tabet.
Are you still in touch with Cuban Link?
Me and Cuban are brothers. I live and die for that dude. I admire what
he's doing with his album, Chain Reaction, due in September. He's on two
cuts on my atbum, including one featuring and produced by Pyscho Les of
the Beatnuts. I'm on his. He's waiting for me with open arms. After this
atbum, l'l[ probabty sign to his tabet, M.O.B. (Men Of Business) and let him
executive produce the atbum.

How has the transition been for you from Terror Squad, to doing your What about Remy Ma or Tony Sunshine?
own thing, to being signed to an independent? I see Remy and Prospect on the street sometimes. I got love for them. But
The reason why the Terror Squad thing went the way it did was because I don't do business with them. I have no reason to be around them. I have
Pun passed away. Then, I went on my own and dropped a singte through no reason to let them know what l'm thinking either.
Fat Beats. I went on tour with the Beatnuts. I did mixtapes and kept my
name on the street tevet. I did t his atbum on my own, and here we are What's next for Triple Seis?
tatking about it. lt's coming out August 17th. I have a [abe[, Time Witt Tett Entertainment and we're working on a mix-
tape, Time Witt Tett, The Mixtape, Vot. 1. lt's hosted by Tony Touch and
What lessons have you learned along the way? wi[[ have different people's songs. And l'm trying for this rote in a movie
I know that if it doesn't state on paper that you have some kind of catted "Famous," written by La Bruja.
creative control, it doesn't exist. I also learned that in life nothing is
guaranteed, and if you don't reach for it, you're not going to grab it. - Jessica Koslow, lovehiphop@aol.com (Photo: Madd Records)
l've learned this from the industry atone
l'm not even tatking about just growing
up. The music industry is a real secret
society. You're not getting in if you
haven't been trying to get in for the last
eight years, at least.

How did you meet Big Pun?

On the basketbatl court in my neighbor-
hood. They put us on the same team and
we vibed together. He used to hang out
with some neighborhood friends that I

grew up with.

Did you see the documentary of his life

that showed the scene of him beating
his wife?
True. That was a situation that was
caught on tape. But he had that situa-
tion before the music, that's not some-
thing that the money brought. No. He
grew up in a certain environment and
under certain pressure that brought that
situation. But even then, he loved his
wife and kids. They went everywhere
with him. lt was unfortunate that his
wife put it out on a DVD. At that time
she was under certain pressures. Right
now, it is what it is. Peopte could look
at my brother and say he was a woman-
beater. I coutd just say that he loved his
famity very much.

The film also showed that he was a

prankster. Do you have any stories?
I could hit you with one. We're in the
studio one day and he had purchased a

OZONE AAAGAZINE AUGUST 2OO4 17

*%&-ff
ttY
I I iami isn't iust Liberty City, Carol City, and South Beach. lt runs
ffi a..p.. down South, ina ftght before you reach the white sands
f Y lofthe Keys you hit Homestead. That's where you'11 find rapper
and businessman Zay. Hailing from what he calls "the tip of the dick
head," Zay was born and raised in Richmond Heights. "My area was
no different from anybody else's," he recalls. Growing up in the fast
lane, Zay has seen and done it all. After retiring his "street shoes,"
he found comfort in music and became the key artist on Miami record
label Xela Entertainment. But, Zay suffered a huge setback when CEO
Lil' Alex was brutally murdered on September 3rd, 2003, in a Miami
barbershop. A year later, he's back in the game: ready to play, ready
to be himself, and ready to hold down the memory of his friend Lil'
Alex. These are his words, his struggles, and his drive to rise to the
top. lt's time to get to know the real Zay.
So what are you listening to right now?
I be riding with some of everything. A tittte country, old school R&B
like Frankie Beverty and Maze, me of course, SBatt & MJG, Kanye West,
Scarface, my dawg Grandaddy [Souf].
Who are some of your influences?
Scarface, SBatt & MJG, Luke, JT [Money]. You know, peopte who were
reatly doing their thing back in the day. They're legends.
So you were first signed to Luke Records?
Yeah, but even before Luke Records, I'm gonna give you some history
first. I've been on the road, you know, I did a tittte hyping for Trick.
That's what got me really inspired to step forward and do my own thing.
I decided to really step up to the plate and say, "You know what? I can
do this." So I started hyping more, doing shows here and there, and
that's when I got with Luke. I had a singte deal with Luke and things
didn't work out. I felt he wanted to do more with his movies and DVDS
and wasn't focused on putting out an artist, and at that time I still
needed to grow. So it was kind of a good thing that I got a release. lt's
never any hard feetings with Luke. He taught me a tot.
Once you left Luke's label, how did you hook up with Xela Entertain-
ment?
Actually, my manager Nikki was over there running everything. She re-
atty got the labet off the ground. She got peopte tatking about Xela,
even to this day. She was the head honcho. She wasn't the one with
the money, but it was her brains that ran it. The CEO Big Atex heard a
demo I did with J-Shin. I had jacked the "l Got Five On lt" beat. After
he heard the song, he hottered at Nikki and she made it happen. That's
how I found a home at Xeta.
like, "Damn!" Tit'this day I'm stitl fucked up, I'm stitt hurt. And I'm not
the onty one that was hurt by his death. He was a good-hearted individual,
he did things for a lot of people. He took care of niggas, he was just that
type of person. He had that gtow around him, and he gave it to you raw
and uncut. He was like that with my music. I miss him to death but I know
he's proud of what l'm doing. I went through my shut-down process. You
know? I fett like I ain't want to do nothing no more. I ain't want to rap no
more, I ain't want to pick up no pen and pad, I ain't even want to see no
studio. ldidn't even want to listen to rap music no more. That's how bad
it was. ([ong pause) But I speak to him every day. l've got this big picture
of him in my room. His spirit lives on.
There are a lot of rumors circulating about Lil' Alex's death. ls it true
that he was buried in his Lamborghini?
He wasn't buried in it, he was actuatly sitting up in his car at the wake.
What was the significance of that?
That was just him. Every time you saw him, he was in something nice. 5o
he went out in something nice. He liked the finer things in [ife. He was
doing his thing. lf that was me, l'd want to go out the same way.
How has his death affected your music?
He inspired me to do the things l'm doing now, to make the music I'm
making now. Sometimes it takes a tragedy or something to happen to a
person you love and care and respect for to reatty dig deep in your heart
so you can make powerful music. The songs I have now are not the typical
shoot-'em-up bang-bang tracks. I'm tatking about [ife, my personal life
experiences. My baby mama drama, Lit' Atex's death, everything a real
person can retate to as far as struggtes. I'm being as real as I can be. I'm
just being Zay!
Your first full-length album is dedicated to the memory of Lil' Alex.
Tel[ me more about the album?
The titte is, "Who That ls?: lt's Two Sides to Every Hustte." When lsay
there's two sides to every hustte, I've got to break it down. When you see
the cover of the album, you see two sides of me. One side is my street
side, the otheris my business side. I can put on a suit and get money with
corporate dudes, and stitt get real street money. I respect peopte who
wake up every morning and do a nine to five. There ain't no real money
in the streets.
Who's on the come-up from Miami that you respect right now?
Definitety Rick Ross and Piccato, they've been doing their thing for a min-
ute. Pitbutt, DirtBag, Jacki-O, and Big Homestead. There's hungry artists
a[[ throughout Florida.

Was leaving Xela a hard transition? Did you leave on bad terms?
I don't think I left on bad terms, but I teft because they dropped the
batt. They didn't know how to keep the batt running after the other
CEO, Lit' Atex, got kitted. I felt that after his death they didn't know
what to do, they just couldn't move forward. I was reatty disappointed,
and as far as me being bitter, I just feel how I feet. I thought dude was
more rea[, but he wasn't. I reatly thought he could keep it running but
he didn't. I was excited to leave; I didn't have the financial backing to
reatty do what I wanted to do, but I was happy because I was doing my
own thing. l'm gonna make it happen regardtess.
Anything else you want to say?
Yeah, buy my album. lt's coming out mid-September in the mom-and-pop
shops. I'm selting them out of my trunk too. lt's a real banger! Stra'ight
fire. And l've got a message for the haters: Fuck y'att. l'[[ see ya at the
crossroads.
- Felisha Foxx, felishafoxx@yahoo.com (Photo: Bo Powell)

What went through your head when you heard about what had hap-
pened to Lil' Alex?
Actualty, had just tatked to him tike an hour before [he was kitted]. He
wanted me to drop a CD over to this clothing shop and then he hit me
back and asked me if I did that. I said yeah. I was at the crib and I talked
to him again, he wanted to hang out that night. I wasn't reatly going out
a lot so he was atways trying to get me out of the house. He totd me
he was gonna catl me after the game. So l'm 'bout to watch the game
and I get a phone catl [ike, "Ah, I think Lit' Atex just got shot." I'm like,
"Dude, you trippin'. I just got off the phone with him, man. He ain't just
get shot." I stopped and paused for a minute. Then I saw it on the news.
But they wasn't reatty saying nothing, they ain't say no names. So l'm
[ike, "Damn, let me go up to the spot." So lget there and I'm in denial.
l'm stilt [ike, man, he just not answering his phone. He ain't dead. This
can't be truel I stayed at the scene until six in the morning. I was steady
going through my phone, chirping, chirping, chirping his phone to see if
he woutd answer or hit me back. l'm stil[ tetiing mysetf that ain't him
laying there. So I asked God for a sign. And as the sheets laid there [on
his bodyl I asked God to show me if that was Lit' Atex, just let me see
for mysetf. The wind btew and the sheet came up [off his body] and I was

OZONE MAGAZINE AUGUST 2OO4 19

 MOBB DEEP
AMERIKAZ NIGHTilARE
JIVE RECORDS
Some critics simpty need
to burn in hell for their
blasphemy when it comes
to Mobb Deep's newest
Jive retease, Amerikaz
Nightmare. Those who
say Prodigy has lost his
old self and those who
criticize Havoc for try-
ing new things on this
atbum better heed the
advice the Queensbridge duo provides on the
titte track: "Duck, duck, we loaded, Amerikaz A# .#
Nightmare." lt's been ten years since Havoc /{ g
and Prodigy broke through with their chilting re- ff
lease, The lnfamous. They foltowed up with re- ry
leased like Murda Muzik and lnfamy, which fea-
tured tracks with mainstream artists tike Lit' Mo
and 112, generating criticism. The pre-lnfamy
Mobb Deep is back with another solid release
of gutter lyrical depictions. No time is wasted;
we open with the dark sound of electric guitars
matched by strong drums, instantly creating
the musical aura that has been associated with
Mobb Deep for years. The hard sound from the
titte track softens up with "Win or Lose," which
features a sample from Jean Ptum's "Here I Go
Again" looped over a concise drum line by none
other than production genius Alchemist. Havoc
and Prodigy atternatety spit over a beat that's
uncharacteristicalty upbeat for the duo. Their
quality flow matches the quatity production. On
the production s'ide atone, this is perhaps one
of the most outstanding efforts this year, with
contributions from Havoc, Atchemist, Kanye
West, and Li[' Jon. Havoc does a fine job on the
MPC, bangin' out joints like the fast "Flood the
Btock" and the bouncy "Shorty Wop. " Atchemist
hotds it down with a few tracks reminiscent of
vintage Mobb Deep, such as "When You Hear
The." Atchemist brittiantty utitizes chords which
buitd up and layer on top of each other, adding a
certain tension to the track. Kanye puts forth a
commendabte effort with "Throw Your Hands,"
utitizing his favorite viotinist. The Lit' Jon pro-
duced "Rea[ Gangstaz" sounds out of ptace on a
Mobb Deep atbum, with weak attempts to sound
East coast. Overatl, though, Mobb Deep takes us
all through the grimy wortd of QB with their dis-
tinct styte, proving once again that quality and
longevity are the cornerstones of their career.
- Rohit Loomba, poombster@yahoo.com
sKINNY PIMP
BASED ON A TRUE STORY
Over the past few years,
Skinny Pimp has proven
that he can detiver a sic. Another quatity track is "Never Wanna Make
solid product, and Based
on A True Story is no dif-
ferent. He trades verses
ffi"
with other notabte art-
ists, inctuding Mac-E who
is featured on a third of
the atbum and makes ev-
ery attempt to steal the
show. On "Crash Through
the Crowd" and "l Won't Be Denied," Mac-E
kitts the track. On "Move," Pimp and Mac-E both
drop some heat with lines [ike, "l'm like the
roadrunner, nigga, and you's the fuckin' coyote
/ 'Cept I'm runnin' to your ass with two loaded
chrome forties." Even the hook is demanding.
Most of the songs could be classified as "crunk,"
20 OZONE A'IAGAZINE AUGUST 2OO4
but Skinny Pimp shows his diversity with the duction. As a whole, Lyttle does a great job of in-
R&B flavored "Got My Work." The only problem troducing the world to soca music with this atbum.
with the atbum is that most of the subject mat- - Rohit Loomba, poombster@yahoo.com
ter is typical for a rap atbum: money, sex, and
drugs. - ADG, adg@tmai[,com FREEDOM
SOUTHERN STARS 2
KROOK Haiting from Tampa, Free-
DA DIRTY SOUTH dom has a decent atbum
Atthough the album starts but the main problem is
off lukewarm with three production. Most of the
barety listenable tracks, beats sound like they were
"Shake Dem Hataz Off" made with a Fruity Loops
could get any club in the trial pack. "Btack Thighs,"
Dirty Dlrty crunk. There's "Free Yo Mind," and the
nothing lyrical, but this /g'#"#
# titte track are horribte
uptempo track fits per- fg f{ fitter materiat. ln contrast,
fectty with the hook. F;F w
tracks like "Wanna Ride,"
What is a "Swingmaster?" "Freedom Sound," and
l'm not sure, and I realty "lt's Atright" are fantastic. "Mizz PromizzQus"
don't care, but the pro- gets a facelift with the remix supplied as a bonus
duction on this song makes "Shake Dem" sound track, resembting your favorite E-Dub ctub banger.
weak. Too bad everything else about the song is "Porch Monkey" comes off sounding out-of-ptace,
garbage. Halfway through the atbum, things get but gives us a chance to appreciate Freedom's [yr-
reatty bad. Bad meaning bad, not bad meaning ics: "From a baby to a grown man, we watch out
good. My feetings are confirmed when I get to for our own man / We slippin' and slidin' through
"Down South Rider." l'm not sure where a cow the system, kitting the wrong man / Seems like my
bett fits into hip-hop, but Krook needs to be generation gave up / We ain't sti[[ staves but the
locked up for using an element like that in his chains sti[[ ctaim us / Made us change names, rear-
song. With over a hatf-dozen people featured range us / Now my own mom looks like a stranger
throughout the album, this doesn't even seem / Master? Hel[ naw, no thank ya / 'Cause listen, in
like a Krook solo LP. The outro is nothing but 2003 I'm proud as can be / I would trade a thou-
unnecessary plugs for his Mittion Dotlar Team. sand MCs for a thousand that's free / We drown-
- ADG, adg@tmail.com ing the sound of the beast in Babyton's crowded
streets." Aside from lyrics like that, the majority
KEVIN LYTTLE of the atbum's material sounds underdeveloped.
KEVIN LYTTLE - ADG, adg@tmail.com
I stept and stept on
Kevin Lyttte after my FIDEL CASH FLOW
disappointment at his GOT CASH?
re-release of "Turn Me PURE CASH ENT.
On" after a few years of Never mind the fact that
dormancy to headtine his Cash has remained a stapte
new setf-titled atbum, in the Florida mixtape cir-
but after I actuatty heard cuit for the past five years,
the album I found myself or that he's currentty a part
immersed in the wortd of of the Futl lmpact crew of
soca music. Kevin Lyttle up-and-coming artists. Let's focus on what's com-
has taken a relativety ing out of the speakers. Right now my radio seems
unknown art form in America and turned it into to be stuck on "Poppin' Bottles." The energy is
a new pop phenomenon thanks to his lead singte crazy, and you can't avoid nodding your head to
which has ptagued radio and MTV. Many people the paratteled snare and bass guitar riffs. With
don't even realize that this song borrows its vo- the majority of the tracks only two and a half
cal metody from 112's "Att My Love." With its minutes [ong, the pace of this album/mixtape is
heavy mainstream exposure, there's no need to fast enough to keep the energy tevet high. The CD
discuss this grind-inducing single any further. starts off perfectly with "So Nice" jacking the beat
Unfortunatety, there are other tracks on this from Banks' banger "Warrior." After a crazy verse
album where it seems Lyttte is trying to emu- from Lady Lyric and a few average tracks, we pop
late the "Turn Me On" formula. This approach some botttes only to encounter "Get Up," where
somewhat timits the listener from being able to Cash sounds a little forced. I cringed when I heard
create a comptete image of Lyttte and his mu- the first few bars of "Penetration," the overused
"Dreams" sample. By the end of the song, though,
U Cry," which features an upbeat but soft beat Cash managed this feat with the hetp of DJ Slique,
produced by Btack Heat's Cherry lce. Lyttte's a Notorious B.l.G. sample, and some witty bars.
voice gentty fatts over the beat atong with [a- Lady Lyric is atso featured with her own rendition
betmate's TreySongz background vocats. Lyttte of Jadakiss' "Times Up," where she lives up to her
also comes strong with this own version of Trent moniker. As we move on, Prodigy of Mobb Deep
D'Arby's "Sign Your Name." The Scott Storch drops a noteworthy verse on the subpar "Good
beat is one of the most dominant instrumentats With the Bad." On the final few cuts of the album,
on the album, giving Lyttte a great backdrop Cash goes three for four with "Back of My Ride,"
for his seductive lyrics. TreySongz makes an- "The Ftood," and "Blazeation lntro." Throughout
other appearance on "Dance With Me," which the whole album, though, Fidel Cash Flow never
features simple but catchy production by Arian shows a lack of confidence. He sums up his atti-
Baitey. There are, however, a few less-than- tude by saying, "They wanna be sharks but they
stettar moments on the album. Tracks tike "Catt realty just guppies / Act like big dogs but realty
Me," "Screaming Out My Name," "Ya Kiss," and just puppies / Act tike fat cats when they realty
"Mama Mia" attempt to sound seductive, but just kittens / Stay kidding, ain't worth the spit
can't quite putt it off due to the uninspired pro- that l'm spitting." - ADG, adg@tmail.com
ffi phylists R*xg*ss*ffffid
l-J's illJ's {?*l{ah****e" fi.} T*F ffi#i*er$

f*rnm*r*:i;*[ r*di* 3?:p tr* {nof*onwi*e} -,i**r:lan** **e*rd f**1 i*rla**3*:, FL)
01 - Terror Squad "Lean Back" 01 - Ciara fl Petey Pablo "6oodies"
02 - Ciara fl Petey Pabto "Goodies" 02 - Houston f/ Chingy & Nate Oogg "l Like That"
03 - til'Flip "Sunshine" 03 - Twista fl R Kelty "So Sexy"
0,4 - Juvenile "Slow ldotion" 04 - Lil'Ftip f/ Lea "Sunshine (remix)"
05'Houston fl Chingy & Nate Dogg 05 - li{ario "18"
"l Like That" 06 - Lif Scrappy "No Problem"
06 - Nelty fl Jaheim "My Place" A7 - ?'l3 "Groupie Luv"
07 - Kevin Lyttle "Turn me On" 08 - Tony Sunshine f/ DirtBag & P Diddy
08 - Lloyd f/ Ashanti "Southside" "Oh *ly God"
09 - Christina i'litian "Dip it Low" 09 - Guerilla Black fl Beenie i{an "Compton'
10 - Usher "Confessions Pt. 2" 10 - Ruben Studdard "What is Sexy"
6
01 fl
- Ciara Fetey Pablo "Goodies"
02 - lilannie Fresh "kal 8ig"
03 - Rupee'Tempted to Tsrrh"
O4 - Lt Cool J 'lead Sprung"
05 - Lloyd "Hey Young Girl"
06 - [1r Magic f/ YoungBloodz & Roy Jones Jr.
"l Smoke, lOrank {remix)"
07 - David Bannerf/ Sky"FopThat"
0$ - Aticia l&p f/ Tony Toni Tone "Diart''
09 - Oa BackWudz'You Gonna Luv ile"
10 - Juvenile, Wacko, &. Skip "|{otia Ctap (remix)"
11 - Lil'Jsn & the East Side goyn "What U Gon'Do"
12 - Jody Breeze Ttay Fresh"
13 - Sitkk the $rocker f/ tlaster P 'We Like Them Girls"
14 - S.0. "l Want lf'
1 5 - Fiend "Baller For Real"

WMffiX l-*sa{ Li-iv {!f**f Fn$*:* Ft}

01 - Suave Smooth "Back Up (remix)"
02 - Tha.Addicts f/ Snoop 0ogg & J Red
"What it's About (remix)" tl
03 - Tripte J "Jump" 'frffi
04-JRed"Ain't2ldany"
05 - PS and Non-U "8ody Rubbin'(remix)"
06 - J Smoove "Can I Chitl Wit You"
07 - G-Boy "What *lakes You Hot"
08 - C.R.U. "l Love Hip-Hop"
09 - RX "Peeps in the South"
10 - street smarts "On Da 6rind"

$*'$ S***rd F**l {T**':S** st-} TfiF l${Ji*s

01 - Strizzo "Low Low {remix}"
02 - lvlr. liagic f/ YoungBloodr & Roy
Jones Jr. "l Smoke, I Drank {remix)"
03 - Eve'nin Ridahz "l{y Click"
04 - Kaddiltak "Get Down Boogie"
05 - Piccalo "6et Loose {rernix}"
06 - The Eeam "Ah Damn"
07 - Do Wrong 'Ahh i{an"

Vidmo fdie {Si*xri, Fl-} l**;*vy rs*istie:$

01 - Baby Bash "lrienage ATrois"
02 - Jadakiss "Why''
03 - Kanye West "Jesus Walks'
04 - Lil Scrappy "No Problem"
05 - LL Cool J "Head Sprung"
06 - Luddy fl
Timbaland "Home lionight"
07 - PitbulL "Culo"
08 - Terror Squad "Lean Back"
09 - T.l. I / Jane Pha "Let's Get Away"
10 - Juvenile fl Soulja Slim "Sl"ow Motion"
l1 - Lil'Flip f/ Lea "Sunshine"
12 - The Roots "Don't Say Nuthin''

DJ Killatone (hosted by Pitbull)

"Your DJ's Favorite DJ Pt. 2"
www. Dominancelnt,com
ir"rsfud**
#l -
ii:*nrifdi*ls-ie '"$**yF.*r*"
$J:5*Fr-dli "fu.a1r Snnv* "?&e S**9"
#?# - l::ck tu*,$fJ E"rim & }fry Y*s:g T*a4*s
"**,+'rr wf lr dg "
DJs, send your mix CDs {include a cover) to:
:rsx$&
t?iF' Jcr<i*fi *rq ,t'erq }iv:'^e "fr#w"
1516 E. Colonial Dr Suite 205 Orlando FL 32803
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PUBLISHERS:
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t6ksp$AI2
Chino
Feedb*pgrAl0
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ilUSIC EDITOR:
ADG 0Z0NE ffi Cslkfus psr Al 3-t 6 B7-I0
CONTRIBUTORS:
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{}ffiffiffiffi #*6mm€rw fl#sw*ffivffi ffifu# fl*hfr e* M€e €wm#fue*fu swfur*€ss$w$,ts f#fl *fim#;@ #fl 9#ryWk"

, fl ../ scenario wfiere / would have ben heard d6ut

definifuly luk lfie bng way arutnd. Tftere's,a
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@w "tiamstream peole bok af flltnss
i

Ur!*"j'9t;!;,';gffiyi;' na
,f:?ir*ii;;:ffJ#:",#3#;'#ifXlig
slreet racing's ilegal ts m4r tne man
abui it.. The only reason
st rL' ii;)iii ie"grit iwl
Kffi I
i
- Twista,rt"
il/ol6)
@ffi .yhe
1

grrts aralcornforlabte ffal1ng aboaf se6 arotnd

me. fn alnosllike 4 weco@ist' - Uncle Luke' A// Access DyD

%
e@
*crunk
is lhe fupe of nasic lfial //p states [wutd t*fen /o]
tsstt's 4sa' mey q go ta th- -'
iir,ii"y*v'i;;i;';;n;dii,'*.fr"., ur i;;;rw'i"iiitfu;
Qf lired of nassa and lltey lcnew
( lhey yere droand luday. tthen lrtwrtt"ffi
grrr/o,
warc of owression lhat
lrteycoaldn,f so,,frrpr;;;;i; reeffi.;C ciirii oirlystald of Anerica DID)
he's
@€

The Roots "Son't Say Nuthin"'
Grandaddy Souf "Savage Journey {Fuck da Law}"
Young Buck "Shawty Wanna Ride"
A,licia Keys fl Usher "*ly Boo"
Young Buek f/,David Banner & Lil' Flip
Welcorne to the South"
Everytody ln the indGtry kno^n that {st+night
strdlo sessior,6, correrts, ard med,lrEs are a givefi.
5o if yau d.an on gettiFe into the br.cine*s and
F*tir{ in 10#6, you mhht unnt to consider pttirE
togettEr a Workahotic's Kit. Here are sc{Te
siggestims of what you shwld irrtude.
We did a taste test with Crunkl Juice
last month. lt tast6 good to me, but
that isn't the reason to drink it. When
you run out of pure adrenatine, Crunkl
Wlt wake you up. Tn6t me.
Eye drops aren't just far smokers.
Thry're also a nece$slty if yol've beeit
ry atl night and you have an imptrtart
t-#ffi meetlng or somethirg whee you don't
vrant people to knowyou\ae been up
i att nigtrt.
..-:irp
4*:v-
On the personal trygiene tip,
you should atways have a
toothbnrh, toothpaste, and
x4='
deoderant nearby.
Ne(t time lrou takea flight,
grab the airtinepro/ided trdvet
piltemr and btankd on your
r't/a), c{Jt. Keep it ln your car
for tlpse fifteeFminute rest
stop po\,er napi. Thry'rethin" tfutt, ard emy to
store, Not very cornfortabte, but g€ts thejob done.
If ysu'e* ffer st*pF€d at e Eacls"A"tdiuinn,
$,tc*ff*lds, et{ t* rharEeyc!-n cd{ ptxrre
or lxptop, a p*wRr adapt€r wauld be e w*e
llirffitme,t. lt ptug$ 4nts yci"tr mrh cigsrette
lighte.. \bfi ffin Fi{k sfts ilp at *
$tore lik€ Eest Fuy {*r eb&ut $56.
Okay, okay, I knor moct ofyou gu6
prder boxes over brlefs, but I couldn't
find a gmd picture of boxers on the
'n€t. \6u get the point, though. Whefl
you're a worleholic, itb quicker to buy
.--. new underwear than wash the dd on€s.
Any ferde (or guy wlth tniti
forthat matter) krnm tlnt
],otr hair starts to took lff(e
6saft€rScut 30 tFuls
withart deegl$orier, so
leepirga baebalt cap
rcarby for anergen€jes
b a ml5t (despite thls
photo, a hat
tlnt ftts
property ls
bett€r).
Terror Squad "Hum Drum"
Pitbull "Show ltde the i{oney"
Akon "Mr. Lonely"
DirtBag f/ Fat Joe "Trouble"
Lit' Flip "Ghetto"
Lil' Wayne "Bring it Back"
{Phatoi st*rffi}
 ntflfisFtr
#tsHeH$.

I don't 9o to c\qrc\ rrrqch bqt J need Hi"r a lot A taerrage to ny black reedr
T\e cide i: coagly 4l11't v\y 1 9ot 0 on nry block Il yoqfelis\t2t t\en toilov ay lead, put dovn t\e tigot and veed
5o yoq cqn'l even get it it to yoq \111
wlest X give Pick qp a book and learn, don't be a ccool and bqrn
And eveeybody don't gei a
dap, srlt'e niggar get a nod U\at yoq ihagine can be ac\ieved., look at ne!
iut
1 done bcoqg\t ni99ar ,\oPPing/ brqry niggar toqring Jn tlv; vord, yorr gotta bleed h *pceed
T\o* vif\ U9\ bair cahe hohe by t\e rt'orn;ng Don't 1s...., don't griever leave v\at you don't need
kept niggar vr't\ Niker on, ni99g lig\tr on Piot, ptan, organize., and execqte
\ot on no rqcker r\itr tcyna r'ake it cig\t foe 'en arce you in range that'r V\en yoq take ainr 17rl e\oot
T\en yoc tcy to r\ov 'ea r\it - Bob Logginr, gilvsnteyl\oo.cor\
T\e average ni99a don't aPPreciate nqttin; ail that rUt ir ovec vit\
Entoqcage, liarr, bqllr\itterr and tig\terr 5orctirct f"l envioqr of peopler tlrat par*d avay
0niy people t\at'r f\eee to vork in*ead of divide qr T\eicoqlr rctlle ir t\e vind beinS cart avay
No rrore cDyaitier, ltrvyer feer 1 dreanr,o vivid t\e ,c€ne r\ake, nre fa4 aVake
T\e less \eadacher it it l\e nrore +or ne 1 keep t\inking naybe otret\ing't tcying to r\ov nre \ov to aarter tt'y tate
I"tt a gcovn nan, +!0k rre a ninqte h figqce oqt T\ey ray f"tr too deep and too conplex foc rap
ltly careec ir in nry ovn \andr B* yorl to iearn t\ere'r nore h lite t\an caer and 9at:
grev
/s tar ar t\e irndu#y goer; evecybody'r a foe 5o! t\e lig\t and \icite ny bacr vit\ t\at
e\ote to r\are
0nty a fciend v\en t\ey vant yoq to tiov Bct n;991e icared +6 gcov ro t\ey tend to hod yoq back
1 done carte rtraig\t off the plane into anot\er rcsdon and spit They take t\e r\it t\at t\ey don't qidee4and and call it \i\ack
^an's
pain and ain't c\arge en a t\ing 5o yoq \noV t\e Vay it goet, s|'', i+'t contcioqt caP
Had to n'ake r'y line o+ rerpect ceal t\inner Bct y'all lqnning in circler \iorh'ng t\e ranre od act
ita.lgd gelting ceal \qngcy,, X needed a 1911 linner And I done ceac\ed anot\er level bqt X"t,9one for t\af
5end v\oevec yoq vant) X'nr h't;ing thea all And J ain't bitc\int just tryna let yoq knov v\ece I'nr at
Oid a hack vit\ evecybody except t'lc. 5\akar f getting old, as ay ron gro\,tr, to do raPt
To nre, ? piage ain't not\in' bqt ron'e r\it foc t\e vatt ^y
feel yoqc abecy, yotq tivin' off t\e next nran'r life
X "n
And X ain't \atin' on the people v\o got 'errr, 1 got a lai of 'en He ju* ubad caqse \e traiu yoq to ,trengthen trir lig\t
Bqt X du't 9ot t\e noney t\ey got, m I ain't Proqd of 'e'i 1 vanna r\oqt oqt all t\e tool tinre tellar \oding gunr for veak t\u9r
I'aProqd of rae, ctrqre only l coad get f\e gatr oqf of rrre Rir6n' t\ey fceedon' tor r\ocf lroney and veed tove
- SadaUrr, 'I'n 6oin' Back' ('ki;r of Oeat\') And t\ey tat\err tcyna eam rerPect frorr t\err yocng boyr
Catclvn' ter4er tarrtrun'r ;1v;n9 fitr like young boyr
Nov \ov t\e tqck yoa dace to rr'ention nry nane Bitc\er do it to Ut t\e fix ;t yoq're Paranoid
U\en I
va; t\ere t\roqg\ t\e pain Ettetybody vanna \ave rohe Po\ier to exPloit
7 saeciticed and t\ir ;e \ov 1 9et paid 5o aaybe yoq coqld tell ne v\o'r t\e probtera at t\tr Point
lou played t\e cole like a bcot\er., davg, telt en'bc3ced I l1e oc you, \olne:? Hope you tolloving t\ir io;rf...
Bqt nevet thoqg\t yoqr ot\ec ride exPored a rnake Ni99ar be tcyna pleare f\e ccovd v\en t\ey creating t\eic r\ynrer
/orr o lane, ni99ar tUr firte yoq rtooped foo tov I iwt be t\inking oqt loqdt y'^l\ lon't pay nre no rrrind
And \ov reat is Stat;ofi, Ni99a, yoq r\oqld knov lNlaybe I'rt, tiving in t\e ctoqd; or a\ead of ray tine
iut
9\oved your arr in t\e 0Z0NE r',a9 f
1 got book of all t\e Ait vcote betveen ail t\e crihet
\ov I'n ritting tUnking to ny;elt, v\y t\e fcck tUr \or'o nadS bact tryna tcace tcack to lee vhat f foqnd
Loofu'ng
I read ywr vecre dedicated to Vitt .h back t\e fact t\at t\e vocld ir
t'{ot\;ng but ev;dence nine
Bqt \e knovr it'; Alie caare t\coug\ \i; eyer 5taliano vat real f ain't acrqant, !-'a iurt intellectqaiiy PohPoqt
I'lqt\afqcka yet I'nback to expote yotl Caqtel- car tqPerccde anytlring yoq accorrPlir\
fnd evecybody deserted yoqf att caqte ytu van't o loyal T\ir ni99a dcy +itc\in' like \e iookrh'for ryrfat\y
Ni99a 1 knov yoqc t\q9 rUt, ni991 J rhoved yoq \obody give a fqck aboqt yoq oc yoqr hir+ory
/oq never gave ne \elp o \ov t\e fqck do ove yoq I ;Uf Aop a deal
Do yoq, ni9g1, rrr?ke ronre
J clp;e h do rne, you var living vit\ greed Caqret\at \ot 4v't yoq talUn'vill 9et yoa popped toc ceal
And I'n gon' ride vrt\ tle 4qad t\at'r inverted in ne Take nry advice t\at'; entrq*ed and yoq coqtd coP yoq a rrill
- Statlon, '5onny C\qio dis,' Staliofi/Q0aol.cor', If not, fcck it, you uutd iawerbui keep yotrc eyet peeled
B(lt don't 9ef rae involved, X don't ove yoq r\it
Eg\t yeacr in Priron coqldn't dirtort ny virion The nne goer foc t\at lil'bitc\ t\at'r all on ttty dick
T\ey t\oaglrt t\ey n'acdered rr'e, btt look, J'a rtill livin' /oq're all ja* a banc\ o+ hirerable +qck,
tcon tlre dePtV o+ Priron
God ces,tccected n'e Bcoke, r1;, drqnk, \igb and gangrta'd ap
X carhe back ioba$ize t\e 9\etto'r c\idcen vit\ ny celigion Xt't n nd, X vir\ t\at J uqtd qy foc \in' and \er
J'n t\e Chcirt of g-livin', nry ideabgy., n0 aPologiet fqcl yo' feelingr I'abuty har+ering tUr cca{t and tryna *ay up
T\e 0epactr"er* of Correctionr took eig\t year; of nry l;fe And it ain't no lookin'back caqre I 9ut ny ccazy nind nade up
Bql X a:rn't tciPPin' no n'oce, thank yoqTqdie Sykes ltly ni99a L \oae jqrt in tir€ t0 vihess aebqsi
/oq can't give a nind like r"ine t\at riqc\ tihe to t\ink Ni99ar :ay;n, 5peak the tcutl', Geddy, t\at'r vhar*p
I didn't recrte tir,e, X. tet tine refve ne Go in t\e boot\ pcoduce t\e peoof
Jn in t\e veig\t cootr getin'rvoie, bookr tsl rt too, 5\ov t\ere niggry \ov to really get back
V\en 1 nrake pacole J'nr'a let t\e v\ole vorld knov - Ar",a3eddon, 'P ass Avay' (on Temoc Sgad' t 'True giory')
l1y if)tll't corl?oted of violence and troqbte
Jo t\o* vho oPPore t\e rtrqggle
tqck all
f t\e rr'entality of a yoqng H{aey P
got
'1 attr Ve'
Enrail yoqr 16 bav to
Xn t\e nren'ory o+ ail Black Pant\er,
'jB@i 0Z0N Dl
A6. C0l'1 ror couideration.
01 - Mike Jones and Fietd Mob's Shawn Jay backstage at The Moon (Tattahassee, FL) 02 - Goritta Tek and Grandaddy Souf @ TJ's
DJ's (Tattahassee, FL) 03 - SBatt & MJG reading oZoNE @ Cairo (ortando, FL) 04 - Ee-De performing @ TJ's DJ's fa[tahassee, FL)
05 - DJ Majick and friends reppin' OZONE (Tampa, FL) 06 - Layzie and Bizzy Bone reppin; OZONE 1Ft. Myers, FL) 07 - pitbutt and
Teddy T @ Deep (Miami, FL) 0B - Mike Jones and Bitty Rankins @ TJ's DJ's (Tattahassee, FL) 09 ' Duquan and Lit' Scrappy @ Ctub
Kartouche (Jacksonvitle, FL) 10 - The atl-new and improved Garfield (Ortando, FL) 1 1 - Lit' Ftip and Sqad Up reppin' OZbNf e mrv
fitming(Ortando,FL) '12-JankyandRickRossreppin'OZONE@TheMoon(Tattahassee,FL) 13-DJSpree,Mercedes,andNetquan
showing off some of Netquan's fashions @ Tabu (Ortando, FL) 14 - D12 performing (Ortando, FL) 15 - TJ Chapman, DJ Dagwood,
Grandaddy Souf, and DJ Ran @ TJ's DJ's (Tallahassee, FL) 16'Thom James and Kadattack Boyz @ The Moon (iattahasree, FL; tZ
-Lit'Ftipperform-ingforMTV(Ortando,FL) 1B-RobertTownsendandHasanBrown(Miami,FL) 19-DJDef reppin,OZONE@Ctub
Life (Miami, FL) 20 - DJ Christion and Big Money Ced reppin' OZONE @ Futt Moon (Tampa, FL) 21 - Sqad Up and Lea backstage @
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MBYE
WORDS: MAURICE G. GARLAND
 was once a.warm Friday night in Atlanta's Buckhead district
I A t|ut
hlt now turned into an anxious Saturday morning. Jadakiss is
constantty having peopte tett him to leave the group behind and become
VV
Y Y scheduted to perform at the Roxy, and the flyers promoting the
the superstar he was destined to become. Needless [o say, Treach refused
to tisten, and now he's getting naughty with his nature on porno tapes. But
show state that it begins at 9 PM and ends at 3 AM. lt's already 1:30 AM, Jada heeded the advice and went sot-o. White his street cred and respect
and the Yonkers MC has yet to arrive. Everyone in the buitding is grown as an individuat MC reached an atl-new high, it didn't ring in at the cash
so they can stay out as late as they want. However, the city of Attanta register. His debut soto Kiss Tha Game Goodbye went ptatinum, but it took
has just imposed a 2:30 AM city curfew, so if Jada doesn't show up in the damn near four years to reach that levet.
next hour, people are going to stop singing his hit "Why?" and start asking
questions [ike, "Where the hett is he?" "What is he doing?" "When is he "flnterscope] spent a tot of money to get
[The Lox] off Bad Boy. So that
coming?" and "Who the fuck does he think he is?" extra video that woutd have mademe go t.s lmitfioh], they wain't gonna

By the time 1:45 hits, the concert promoter has grown desperate ;[Tt;I, iflfl""ffI:+"illui:i:friT:flil31H';;"1lil'lxTlijT?,i
",.0 never know about. But they made money off
decides to reward the patientty waiting fans with free gtasses of Moet. it. That's why they stitt fuck
White the complementary bubbty gets them laughing and smiting, the with me."
temporary buzz doesn't erase the fact that 'Kiss is nowhere to be
found.Astheminutescontinuetotickaway,moreandmorepeopteare ThesamecannotbesaidforanotheroneofJadakiss'businessretationships.
steadity watking out the door. The Roxy can hold up to 2,000 screaming You may forget that Jada hetped taunch the phenomenon of marketing
fans, but tonight, attendance is nowhere near that products through hip-hop. lt was ,Kiss who was rappin!
number. As the minutes pass, onty about 35 fans tt. in Reebok comherciats about kitters (as in crossoversj
are [eft. The poor attendance isn't necessarity poor ttl and shots.(as in jump-, not gun-) with basketbatt'i
promotion, however. lt coutd be just a reflection of
dUeSS
. i il,E-l . retgntng nrp-hop imbissador Altten' lverson. The idea

l:I"TiTii$inflii1l?J"t,iff'" i,:;::[:tr
a ctub in Decatur, a suburb east of Atlanta, and
_J
g1]
the SnOt 9.9l_
gnouqn
ii i:"1:'JiJi,"#',1"'iru;:?i;Jt'1"ff *^ ,,t$"J"i
50 Cent and Jay-Z their own tine of sneikErs.
guess

::::i'J1'#'Tfril,ll"liii;,^::','^: ,l;ilfTl.i"fl times,tt qui6S

iliil['i,1-,"3,1,i!,':fl1l,l:;?Jil,Til:,Ti;11'"":::: Jada wheh
- iiil;"T::i;,l"ilXf:'JilTi":11'tj;11,H::i ?l[":
!:ff#::"i?:i1"ff:5""1J:"i,!!::ffi:",H1f,.i::5:
three commerciars with Reebok' so I'm
rhe math or this situation reaves you wondering about aSked Why he :i1"*::ilr:'?d
i::l[]';'"J,'?rl?""Jl,i:i"lf
"i]t ,.n: J"?.JJ-tff doesn't I .ravg rhough * may sound rike braggadocio, Jada speaks the

i:;/"*,T:T::iT"ili,,?fJ,l :i."'#JTi""'il: .a shoe,deal. ilii1;l'i;y;:i;:'f T:iii:r,;tnTi','";:::'il',:l

:",.',"i9ffi,-:lx;:['fiiH:'l'".;'."J"1l:j;;:,.f;:J,",T;i "Sometimes w:j. ml,'"ru*',n',,:t'm::l."mm;jl
heardwith southern
H;;fl;'fil:?:ffffi:11land lg_e!a !ttl9 . il,l1i":,111?'l,Yilii-lil"i*Jlfi"'JffJ;'JffJ,T:?ii1
hit, hour g999yFggg. i:#,1'J:,i";$.': Xi:1fii9:'Ji;::jjj:'fff:H:l
' f:l*'-!:l:,Tii:l
2 o'crock has and the man or the earry-morning
his pgGaUSg I Tegl
has finatty arrived. Award of the fact that he's had ,,t,m
about his strategy. a teader. I go with my gut
-
l:l1g1yii'"f:i:xH,:1fl":i: :i,"#'''fl:'1il:iijE: ['i
u nderrateO iffl[]:'fi','J ilT#5il
ll"-:?H]
lnHfi"*:iil:T lii,:li:.'H?,':#ST$5:lTi['l; and I don't l'.:i::':flJ"l"triT:#ff;":J,il'i; fil'J"I,T['":X!
mx;:*:fl':il'ffiiuf;" li;."i:',"=:Ts'^?1"'li[ qgt the crgdit west coast than ever rbefore]'"

;:,?!,Hl'""Ti11,*'i?'?id"";ffil:',i.ff:;'1,:l';,:;
-l{esBlve. #i?iff#il"irj:i.":ff::',T,T!"?:",1HT|,'""#fi:
9J,1i","*llilxl"liJry::f:T','fi:J'Y;iT;fi""i'i:: Befoqe :ffii ::L?,';:'f?'^ii,:,lilfffi,tf^ru1***:l
catatog' .
remix)' and even digs into his ord Bad Bov
niggas. had ys:';lll::lli*:t 3;l.tlsr,i.?l;xl;J:'r"^::;
ff""1y;:',;:,1?';,11'l#l*"il,',"r1:,iXf
the time he's reached cuts from his new album,
::il"".:fi _P_q9_a{er.
Kiss Oea|s
;::-'ffi;',,i}'L""if*i, ?:l&T';#::T",f: ;::i
ii ?5fi13;l^l,iJ'Ji,I1T;T"::"#JT3:x"*:Ti,i'l"f
and
-JItHi l-
of the CD case. lt isn't the first time he's made a song

#il'l,,Ti'il;,oil illt#"#11,ruTi,il,T,',1:il;:ii:l
promise. He ripped.
had three i:?l"TT?i::":rl;T,"i;i:;T::?
Jada and the LoX

f::?: ;:i."'-""il',,"*5,",?,\!',ii'l';tri:fl3;:rj'T;liii commgrcials ..sometimes you gotta sacrince,,,says .Kiss

about his
I'H:il:iTiff[il';:t,"!i'":,"#ii?l'"''*","'ffi"'; with Seebok, ;:il:",::ffjFff:t;iliil:?*"J*lffiiliHil,Tjflll
H:.'.TT|: :i'#l il:?*,il'*on""T'il:";S"iifl'fJ so_l'm_a -- i,T XJi;iii:i'1,':,1ffi nX:ffE:i,.:llf,?:'ffj
HXllX"i'1il:iriXT',ii^Xi.'J:,1:"1#;"y,{;,iT:
cockiness catching opposition from Phitty, New York,
trendsefter." i"J.,':::lfl'"";13;"1',i:i,::,1;?1ffi'fi::',":,p:;*;"
term to describe himsetf. Atthough he came tiom a gooA
and atl points between. But that was 2000, when he was family and attended Westchestlr Community Coiiege
trying to make a name for himsetf as a solo artist. Nowadays, after making where he studied Business Management, he stitt chose to run thl streets.
bold claims ti ke, " [l'm] top five dead or alive / And that's j ust off one LP, " He was tucky enough not to die in the hustte. Atthough he hasn't obtained
he is ready to move onto bigger and better things. the megastar status that some feel he deserves, he'Jstitt regarded as one

"[r'm] rooking for muthafuckin, units, man,,, he says with a straight face. i:ii:rt"iliHi,:f Lh:.yi;
"Just trying to sotidify my spot and finish off my career. I'm sti[[ in my the game and most "tlT'"ff'i"ili:]]:ll"J:i::':i5fi'fl?:,
importantty, he's respected.
prime, but I'm trying to make everything equal out with the hot flow
and the hot voice. I just gotta get the units out, then I can realty pu[[ a "l ain't a mutti-ptatinum setting artist," summarizes Jada, taking a final
monster out." Ever since he's entered the rap game, it seems like Jada swig from his Heineken. "But peopte stitt respect me.,'
has received the same treatment as Treach of Naughty by Nature. He's

OZONE MAGAZINE Aucusr 2004

 a

+ $F.E€.fl;HF$egJ#FJ&f ffi
;&
JUIIABEVEruY
20 OZONE IMGAZINE Aucusr 2004
: *::
 So you're aiming to reach more of a cross- Wett, I have one with Spragga Benz that
over audience? everybody's ptaying catled "Lot of Girls."
I feel that with my career it's just a matter And Spragga is my dawg. I have one named
of time. Jamaica is just a small dot in the "Smush it, Smush it" that them ptaying some-
wor[d. Everybody mash up Jamaica, nearty times. The whole album is crazy, it's just tike
every artist, but the big thing now is not even something nobody ever hear before cause it's
to crossover but just to get international rec- not just one track. The album is coming out in
ognition. And I do it atl with no manager, just August, and the video is playing on BET Uncut
grinding independentty. I get myself around, atl right now. Everybody has to request it, ya
over New Orleans, peopte like the Medicine Men know. The name of the album is Boobilous.
which was formerty Beats by the Pound they That's my nickname. Them girls just a chew
show me [ove. Everybody in the dirty South and me, [ike a bubbalicious kind of gum. The girts,
the Midwest, those are my people. lt's tike that them woutd love to chew me out and don't
New Orteans flavor. Dancehau is similar to it. spit me up (taughing).
That's why Juvenite and Lil Wayne are always on
that "whoadie," it's a reggae influence and their You shot the video for "Row da Boat" in
music influences me atso. I don't know about no- Jamaica?
body e[se, but how I get influence is not reatty the Straight Jamaica. Every kind of gir[, every kind
same as some reggae or dancehatl artists. Their of breed, every kind of flavor. lt's a dance,
way is to take the song of an American artist and the them is that Ying Yang is some madmen in
do the same words on a dancehatl beat. That's Jamaica. Me fly, you know Ying Yang a[[ rasta,
not my way; that's the cheap way out. Don Yute headband, beads, coming out of the sea. The
is atways original. craziest part of the video is when you have
two guys: one hold one guy foot and the other
Do you think a lot of people will compare you to hotding him hands, and them swinging him
a Sean Paul or a Shaggy? ls it gonna be hard to like a human skip rope. The guy is swinging
make your own name? him around and jumping. The dance floor is
No, not hard, because my spirit is different from gonna be crazy with that. When I saw it, I was
theirs. I'm not a stand-offish kind of guy, l'm tike, "Wow!" Trina in the video, Lil' Jon in the
What made more of a street kinda guy. I tive with the [ife- video, Pitbutt in the video, Ying Yang in the
you decide to styte of hip'hop and there are certain things I do video, the girts, dem in the video. Man, I'm
move here from here that Jamaicans woutd think are weird. You excited. I'm crunk.
Jamaica? can't even curse on the stage in Jamaica no more.
l've been back and forth There's a lot of tittte petty rules. lfits more into So what's your ultimate goal?
for three years. My grind was the hip-hop lifestyle, for real, because that's my Wetl, Boobitous just taking the btessings as
r.. in the dirty South; Lit' Jon, JD, music. But dancehall peopte love me sti[[, cause them come out and stay working hard. Nobody
and Jazze Pha, they atl showed me them respect my grind. gonna give you no handout, and in this music
love from the first time I came across. thing so much people have the same goat.
I was on the 5o 5o Def Bass All-Stars What do you listen to more: dancehall or dirty I have to make sure I grind a littte harder,
Valume 1 and 2. As a Jamaican artist, it South music? that's why I'm atways on the road even when
:i.::!1!:4
motivated me to go to Attanta and get my To tetl you the truth, I tisten to the Detphonics, the label's not sending me out. There's a song
career on, because with dancehatt it's att Bee Gees, Teddy Pendergrass, Dionne Warwick, on my atbum named "On Top of the Wortd."
the riddims. Forty peopte on one track, that Roberta Ftack, Shabba Ranks, Tupac, Bob Martey" That's where I going"
wasn't realty working for me. I don't reatly listen, I hear. I hear dancehall be-
cause it's a part of my cutture and l'm around it. Let's say you make a million dollars off this
Had you already put out an album in Jamaica? record. What are you going to do with it?
Yeah, they put my alburns out ail over. My first Ted Lucas was telling me that Greg Street Wett, just think a tittte bit. Marinate a little
independent atbum was Golden Child, and I did brought him your record, and that's how you bit before I move. I can't tetl ya, I don't know
another one named Adrenaline, and the other got [inked up with Slip-N-Slide. cause I come from the zeros.
named No Parental Guidance for You on UB40's We[t, Greg Street is really the one who totd me
record [abe[ in Europe. lt was on some guitarish to stay in Atlanta for a white. He said, "l'm gonna Who else is featured on the album? Spragga,
thing, mixed with some reggae. Myself, l've been get you a deat." l was like, "Yo, you crazy, man. Pitbull, and who else?
world-hopping. That's my thing. You know what I What's so special about me?" lt took a white and A singer named Quicksilver from Jamaica,
mean by hopping the wortd? Just getting my ca- a lot of cottabos, tinking up with Ying Yang and and Ying Yang, of course. Me and Trick have
reer out there. Don Yute is a dancehatL DJ from peopte like them. After that, him catl me one one of the baddest tunes right now, "Ho[d
the dirty South. Normatly, reggae artists don't day, "Go to Ted for ya deall" I was [ike, "You're On." That's more of an uptifting vibe. Not a
come out of the South, but I just retate to the fucking around." I was [ike, yeah, right. 5o me go preacher thing, just an uptifting vibe, cause
IifestyIe. down there and me ptay him my stuff. In them everybody's on the same thing. Them gangsta,
eartier stages, it was me, Sean [Paul], and Mr. them crunk, them beating up this one, them
How did you link up with Lil Jon and some of the Vegas, so that took me up another levet. Ted hear kicking down them baby rnomma. We have to
other Southern artists you mentioned? the Sean Paul and Don Yute and Ying Yang and tweak the minds" We always positive. Trick
I was in Atlanta when Jon had Dynamic Duo with Don Yute, and them say, the A&R there Jutian always positive. I never hear Trick negative
another partner of mine. That was the name of was [ike, "This one's the singte." yet, so that's why I tike the strong them of it
his production company. He was atso an A&R at cause I knew him would feel it. lt's a differ-
So So Def. Them never really hear dancehall bass What made you decide to go with Slip-N-Slide? ent vibe.
before. Everybody was tetling him that I coutd flow Wett, truty, I didn't know them reputation stitt,
on a bass track, so, we linked up and I flowed on but I knew they had Trick and Trina. lt's a break, Who did most of the production?
[a track for the So 5o Def compilation]. The atbum you know, because it was a time in my life when Smurf, that's Ying Yang manager, him do tike
went gotd. We basicalty keep in touch and it's my career needed to make a move. The whote of four tracks on the atbum. There are some
true networking, true peopte like Jon and Jazze Jamaica, and the world, been anticipating me for other name producers, but I don't really know
Pha. Anytime them want a dancehalt artist, them a long time and lwas [ike, "Let me just get in." them. Them never reaIty te[[ me them names,
request me, ya know? So I just go and link with Ted. they just qive me beats and I choose. I know a
lot of fresh producers. New ideas.
What is the difference between the Jamaican How is the single, "Row da Boat," doing? You
music scene and the American music scene? said it was number one in North Carolina? Anything else you want to say?
The Jamaican music scene is reatly a foundation. Wett, it's getting crazy spins everywhere. Miami is Just check for the aIbum, look on DonYute.com
Up here [in the States] you realty have more re- slow, but the whote of the dirty South is giving it and request my song in your area if ya feeting
sources to get out to a large audience. Like being crazy spins right now. I'm serious, every market. me. lf ya not feeting me, it's gravy. Everybody
me, instead of being stereotyped as Don Yute try- Mashin' up them shows, too. be themsetves and be true to the matter at
ing to do the dancehatI thing, I can do the hip-hop hand. Don't wonder where you're going, just
thing too. What's the next single after that? know where you're at. That's atl.

OZONEMAGAZ|NEAucusr2004 21
 As VP of Urban A&R for TVT Records, Harlem-born Bryan Leach was for on the first
one of the first industry execs to see the potential of the "crunk" record. One of
movement. His artists (including Lil'Jon & the East Side Boyz and the biggest things I
the Ying Yang Twins) have collectively sold over five million records do for Jon is protect
in the past two years, and he's currently working on developing the his vision. I'm an
careers of his newest acquisitions: Miami's Pitbutl and Jacki-O, Bryan executive producer
is more hands-on than most execs. He spends the majority of his time on every atbum, atong
on the road, between video shoots and studio sessions with TVT's with Rob Mac, Jon,
current artists as well as scouting for new talent. The man even has Vince, and Searcy at BME. mu$0wAs
"[soltTHERN
his own publicist, if that's any indication of how busy he is, A typical Even though Jon is the
day for Bryan goes something tike this: fly from New York to Miami, creative force, he's not a rapper and JusrlwnvErHAf wAs
oversee the creation of Jacki-O's video shoot for "Fine," attend the I have to make sure he isn't forced colr/ltl{G, AND tT's JusT A
Billboard Hip-Hop and R&B awards to accept TVT's award for Best to compete with what other artists TTSTAft1EMTO HOWSMART
lndependent Record Label, eat dinner with Pitbutl and crew, meet do. I think we're equatty important I}IESE ARTISIS ART. THEY'RE
up with video director Bernard Gourley for drinks at the hotel bar, to each other's careers.
STEPPINGTHEIRGA'NE UP
sleep for a few hours, and catch a flight to Chicago. Somewhere in the
midst of this, we were able to catch up with him for an interview: How did you meet Lil' Jon? AND RTALIZINGTHATTHTY
I was in Attanta meeting with WANT IO HAVE A BIGGER
How did you get started in the music business? Organized Noize back in 2000. I was PIECE OF THT PIE. IN ORDER
just looking in Atlanta for tatent.
I started out in artist management. I was work'ing with Dick Scott, who TO ('NTROT YOUR qREER,
was managing New Kids on the Block. I was fuckin' with Martey Mart Pastor Troy was available. Lit' Jon
and Howie G, producers back in the day. I started managing some acts and the East Side Boyz' name just YOU'VE GOTTO PROVETHAT
on Sony, the Misfits and the Hoodrats, from Queens. They were Onyx kept coming up and I saw that they YOU CAN HANDIE IT."
prot6g6s. I had a production deal over at Epic, and through that I met had two records getting spun on the
this guy named Julio Cario who was running ihis tabel, TVT. He runs J charts: "Just a Bitch" and "l Like Them Girts." And then, what reatly
Lo's product'ion company now. He brought me over to TVT eight years sotd me was when I went to their show. I saw, you know, capacity
ago, but it wasn't TW when I got there, it was Btunt Records. crowd: guys with their shirts off sweating, basicatty stam dancing. lt
was the energy of an Onyx show with the intensity of a rock show with
TW is the largest independent label, right? How are you different the hardness and darkness of a Public Enemy or NWA. lt was just crazy
from a "major" Iabel? to me. Coming from New York, I had never saw no shit like that before
We're self-distributed, we're not owned by any of the four majors. We so I was blown away. I figured if everybody etse could see the same
setl directty to retail. We're tike a mini-major. Back in the day, there thing that I saw, then we could setl a shittoad of records.
used to be a bunch of mini-majors. Arista, Jive, they used to be mini-
majors. Everybody got ate up. That same phitosophy that everybody's When you approached Jon, what could you offer him as an
trying to do now, we've been doing that since '95, We're not worrying independent label? How did you pitch it to him?
about market share; we don't have sharehotders that we've got to I think Jon and [his tabet] BME knew that I personatty saw their vision.
please, We just make sure we pay attention to every act, and we try to A lot of major labels just wanted to pick him up cause he was setling
sell through before we move onto the next project. We're able to give records, but I don't think a lot of peopte understood what made him
the attention of an independent with the resources of a major. tick. Besides being an artist and producer, he's A&R, he's promotions,
he's worn every hat. So I approached him the same way everybody is
When you first came to TVT, was it an entry level position? approaching him now. When I signed Jon, I signed Chyna White at the
I came as head of artist devetopment and marketing. ln three months same time. I did a production deal with BME.
I started doing A&R. lrv Gotti and I were co-A&Rs for Mic Geronimo's
Vendetta album. That's when it was Btunt Records. We were Since you were born and raised in New York, why do you think you
disappointed with the performance of the record. lrv left and went relate to an act like Lil Jon & the East
to Def Jam, and I was about to leave Side Boyz or the Ying Yang Twins? lt
but I was offered the VP of Urban A&R seems like two different mentalities.
position to stay at TVT. It is. But coming from New York, 'it's just
like every other ptace, even Atlanta: in
Most people know that an A&R is both cities, there's a lot of peopte who
responsible for signing new acts, but ain't never teft their btock before, so
what other responsibilities does an to speak. I think that my background
A&R have? was wett-rounded. l've been traveling
A&R is probabty the most important since I was a kid, teading up to my music
person at the tabel. From the career, so I reatized that the world is
beginning, they deat with the artists, round and shit and it ain't flat. So I've
finding them and signing them. Then, had an open mind from the beginning.
they work with the artist to actuatty
make the record for eight months to a Did Jon lead you to Ying Yang?
year before they even hand 'em over Once I was introduced to what Li[' Jon
to the rest of the company. Then, they did, I was introduced to that whote
work as a cheerteader for the rest of world, and I realized the history of
the company to get everybody excited. [Ying Yang's producer/manager] DJ
They've tived with the project for a Smurf, Kizzy Rock, Sammy Sam, Pastor
year, and a lot of the peopte have just Troy, a whote lot of people. So Smurf
been introduced. was somebody I'd met because Jon had
done records with Ying Yang before.
So it's similar to management, since Smurf holtered at me because they were
you're sort of a liaison between the looking to do a deat. We were stow on
artist and the label. What's the most that. I wanted to sign 'em, but I don't
challenging part of your job? think that TVT as a company realty
Trying to protect the vision of your saw how big that whole movement
artist. Li[' Jon, for exarnple. lt's ctear was gonna be. So by the time we were
to everybody now what makes him ready to talk, he had already signed
tatented, but internatty, he stitt fights with Koch. But we kept in contact,
for the same thing that we fought and he was smart enough to just do a

22 OZONE MAGAZINE Aucusr 2004

one-album dea[. He saw the job we did with Jon, so when they became
availabte, we signed Ying Yang right away.
So with Lil' Jon and the East Side Boyz, they basicalty got their deal
because they had abuzz, radio airplay, and you were blown away by
their stage show. ls that the usual process?
Recentty, yeah. I think that's become the norm. Some peopte argue
that as an A&R, that's the lazy way. I don't think that's a diss to A&Rs,
think that's a testament to how smart these artists have become. lf you
look at the wave, I was just early. When you see what came after Jon
- T.1., David Banner, Bonecrusher - a[[ these artists did it the same way.
Bonecrusher had "Neva Scared" before he got picked up by So So Def.
After T.l.'s deal with Arista, he kept mixtapes out on the street, doing
the 50 Cent approach. David Banner was grinding for years; I met him at
[Lit Jon & the East Side Boyz'] "Bia Bia" video shoot when he was btowing
fire. lt was just a wave that was coming, and it's just a testament to how
smart these artists are. They're stepping their game up and reatizing
that they want to have a bigger piece of the pie. ln order to control your
career, you've got to be abte to prove that you can handle it.
You mentioned Pastor Troy - are there any other artists you had the
opportunity to sign and didn't?
Ying Yang the first time around. I had a big window to sign Bonecrusher
when he was part of the Lyricat Giants. [TVT was] going through a tot of
things at the time, we were about to go into the whote Def Jam triat, so
there were a lot of distractions that prevented us from doing that. David
Banner, same thing. Trittvitte & Lit' Scrappy. I was in the running to sign
Ludacris when he had "What's Your Fantasy." We do offer competitive
deats, but one of the downsides to being an ind'ie is that we can't sign as
much shit as we want to sign. lf lsee ten artists and I know it's gonna be
a whole wave so I want to sign all ten, that could cotlectively cost tike
five mittion dottars. So, as an indie, you gotta pick and choose. But, at
the end of the day, when you tine up atl the artists, I think I've gotten
a huge chunk of the pie. Arguabty, l've got the number one and number
two artists from the new wave: Li[' Jon and the Ying Yang Twins. Pitbull
and Jacki-O, they're the future. I atso recently signed yo Gotti out of
Memphis.
As an A&R, what irritates you about people trying to get on? What's
the worst way for someone to approach you?
The worst thing they could do is send those ugly yettow envelopes and
shit, unsolicited, and think that somebody is gonna [isten to the shit.
Point btank. lf it was that easy to get into any industry, then everybody
woutd be in it. They betieve peopte are gonna open that package and
listen to that record when it was unsolicited, and there's nothing
creative about the packaging.
So you don't listen to most of the demos you receive?
I tisten to everything eventually, either me or somebody in my office.
But based on my years in the business, 95% of the stuff that comes in
is trash.
Have you ever signed someone off a demo?
Never. Mostty off referrats, word-of-mouth, or buzz. Every act doesn't
have to put out their record and get BDS or Soundscan like Lit'Jon and
Ying Yang did, but there has to be something that stands out.
When you go back to your superiors and tell them that you want to
sign an act, what do you have to show them?
It's a business a[[ the way around. Sometimes they trust my judgment,
other times I might have to fight hard. Generatty, it's just me and [TW
president and ownerl Steve Gottlieb in terms of the A&R process. We
make decisions together, and usuatly we see eye to eye.
What's the best way for an artist to catch your attention?
With Jacki-O's deat, I approached Poe Boy when I came to Miami
Memoriat Day weekend last year. Anybody who was down here that
weekend heard "Nookie" ptaying on the radio and witnessed the
amazing job that Poe Boy did to create awareness around their art'ist.
I think it was britliant. And it was natural, it wasn't forced. They had a
hit record, so everything they were tatking shit about - and they were
tatking a lot of shit - they were able to back it up. They've got an
amazing artist, a promising group of peopte behind Poe Boy, and the
resources to promote it. With Pitbutt, we were just around each other
through P'it's retationship with Jon. I had plenty of opportunities to jump
on Pit before, but I watched Pit develop, as I'm sure everybody etse did.
He's developed, he's a sma:"t art'ist, and he reminds me so much of Jon
in terms of his hustle and his intelligence, aside from his tatent. The
packaging was great, and they stitt kilt mixtapes as if he didn't have a
deat. He's professional and he's got a great team behind him. That's
just as important as the talent.
On the flip side, what advice would you give to someone that's
I aspiring to become an A&R, or work in the industry behind-the-
scenes?
I've been in this game for atmost fifteen years, and as an A&R I've
accomplished a [ot. I've got artists that I've signed personalty who have
cotlectivety sold five miltion records in two years, and I'm stitt out here
at video shoots, on the road, grinding. l'm not afraid to get my hands
dirty. I think a lot of people fatl into the big-time syndrome where they
just wanna be fly and don't want to get their hands dirty. Execs: don,t
believe the hype. You gotta get out there and work. Everybody in this
business knows what I mean when I say you've got to want to be in
this business in order to be successfut. lf you ain't in this for the right
reasons, you're not gonna be successfut.
What about entry-level? What's the best way to get into this
business: college or internships?
lnternships. lf you want to get into the A&R, creative side of things,
you need to do internships and work harder than your boss. you can
steep when you're dead. You won't even reatize how much shit you're
learning untiI the time comes to appty it,
What are the drawbacks to your job?
You've got a shitty personal life sometimes. You don,t have a lot of
time to do some other things you want to do, but it beats working
sanitation.
So what keeps you motivated to be in this game?
Besides my love for music? Wett, just my tove for money, and my
competitiveness.
As an A&R, do you get a higher paycheck if you sign an artist who
sells well?
As an A&R if you're fortunate enough to have success and negotiate
wetl for yourself, if you have an artist that sells a few mittion records,
your bonuses alone can be three times your salary. So you could make
a nice chunk of money, but never as much as you coutd make with your
own shit.
So what's the future for you?
I think it's time to move onto the next phase of my career. I think the
game has changed. I'm not trying to be Baby and Cash Money. I mean,
those people are great at what they do, but it's a crowded house
in terms of peopte going the indie route. I wanna do my own thing,
creating records as wetl as marketing opportunities and other ways for
an artist to make money. The labet sjde, to me, is the smaltest aspect.
This is the onty business where your direct ctient - the artist you bring to
a [abe[ - can generate 30-40 mittion dollars for the company, and your
percentage of that money is disrespectfut. That appties to most A&Rs,
no matter what your salary or bonus structure is, it witl never add up to
what your true percentage of that money shoutd be.
But the label is taking a risk by signing the artist.
Yes, but there does come a point where you've clearly turned a profit.
We atl take a risk, because if I have a string of records that don,t
se[[, then I'm fired. My risk is just as h'igh as the company's risk. And
speaking for every A&R, we put 110% into this shit and we have the
smaltest abitity to btame other people. We don't have nobody to btame:
we either make a hit or we don't make a hit. But if we have success,
then everybody wants to share in the success. So it is what it is. I'm not
comptaining, l'm just looking to adjust my career so the batance isn't
so disrespectfut.
Anything else you want to say?
OZONE needs to be nationwide. And plug my artists' atbums: pitbutt,s
atbum drops August 24th, Jacki-O drops Sep 4th. Lit, Jon and the East
Side Boyz Crunk Juice drops November 9th, featuring R Ketty, Ludacris,
the Ying Yang Twins, lce Cube, Christina Mitian, Rick Rubin, Witt Smith,
T.1., Bun B, Jadakiss, Nas, Snoop Dogg, Nate Dogg, Sugarfree, Bad
Brains for those old rock heads, and Tommy Lee from Mottey Crue.
lnterview and photo by Julia Beverly, jb@ozonemag.com
OZONE AGAZINE Aucusr 20O4 23
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