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Ozone Magazine #23 - May 2004
Ozone Magazine #23 - May 2004
Ozone Magazine #23 - May 2004
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Koslow, J Lash, Katerina Perez,
Keith Kennedy, K.G. Mostey, Matik
"Copafeet" Abdul, Mercedes,
Mikhate Richards, Natatia Gomez, :.. r; i'-,-*'-aii' -; - *
Noe[ Matcotm, Raandu Avion,
Rayfield Warren, Rohit Loomba,
-j€5=$H;
Swift, Walty Sparks
SALES CONSUTIANT
Che' Johnson
ln&fi101:
Soq Dirty
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LEGAL AFFAIRS: HtA20
Kyte P. King, P.A.
ACCOUNTING:
Nikki Kancey
CIRCUATION:
Mercedes (Strictty Streets)
Buggah D. Govanah (On Point)
Big Teach (Big Mouth)
Efren Mauricio (Direct Promo)
ffi:"i*i"JTL".:''.10.',::u,.,I'?: llqd
rnformation, typographicat Bqd15
errors, or misprints. The
views' contain'ed herein pgt Bl&t5
do not necessarity reflect ''
:P;il;i.i$i;,r*:i*:i
appearing in this magazine
not an endorsement or vatidation
are
J $ Rev*err$S mi@xpg Bl9-211
May 2003: One year ago, OZONE was onty November 2003: Jacki-O became the first
distributed in Ortando and Miami (we are now female to grace OZONE's cover for our sex edi-
distributed in more than 11 states). To introduce tion" Our interview subjects were either very
oursetves to the Miami market and the rest of uncomfortabte (Murphy Lee, Smitez & Southstar,
Ftorida, our first anniversary issue featured Lil Ftip, Chingy) or very open (Dirty, Grandaddy
Miami's DJ Khated and Orlando's Dawgman on Souf, Etephant Man, Fietd Mob). We somehow
the cover. lnside, we interviewed thirty of the lost the tape of the most explicit interview: Lu,
most influential figures in Ftorida's music busi- dacris' DJ Jaycee, so we had to improvise. This
ness, with Ctear Channel's Doc Wynter, WEDR's issue atso featured "Abebe: the cheap asshole,"
program director Cedric Hotlywood, and TJ's DJ's and Noet's controversial LiI Kim feature, which
owner TJ Chapman ranking at the top of the [ist. prompted an angry catl from Queen Bee Records. .
:==s.:-
June 2003: Rated R talked a lot of shit about t, Dec 2003 / Jan 2004t David Banner handpicked
his rival Tampa Tony during his cover interview his photo for the first cover of the New Year,
'-t
but we had to tone it down for management and irrl since our original selection made him look "too
their beef quickty ended. This issue atso featured nice." lnside, Banner, KitterMike, Pitbu[, and
then-unknown artists [ike Pitbull and Jacki-O tt) Rico Wade a[ gave incredibte interviews. Pitbutl
(who both are now signed to TVT), Attitude (who summed up the Southern philosophy by tetting
recentty signed to Timbaland's Beat Ctub), and New York labets: "Thank you for overtooking us
Akon (who's debut atbum is about to be released and teaching us how to grind and make our own
on SRC). Kitter Mike put in the extra effort to relationships. You put us in a position where we
L:
drop some knowledge on Noe[ and I during his f.:; had to learn how to do it ourselves. Thank you
interview in Daytona Beach at BET's Spring Bling. very much. I will laugh a[[ my way to the bank."
3###54
July 2003: Cash Money February 2004: I saw snow for the first time in
lined up for this posse pic ten years while trekking up north for Wyclef's
on the set of "Gangsta photo shoot, then basked in the Miami sun and
Girt" in South Beach. Right patronized the [oca[ ice cream truck white
before taking this picture, waiting forAnthony B's photo shoot. Put them
I'd learned via 2way that together and you've got our February cover. I did
Pure Pain's artist Camo- a lit'
[i[' research for the ctassic artist vi.
vs. CEO piece,
flauge had been shot and "The Future of Stip-N-Stide," and managed to to I
kitted in Savannah. His [a- piss off a few more people, like a certain Orlan-
Orlan- il
betmate, Micnificent, paid do police officer who I captured on fil.m
fi[m throwing
throwing ],
tribute on the flip cover. Lit' Scrappy off stage, and Choppa's pubticist.
August 2003: Miami's Humbte Thugs graced the i. March 2004: The original cover photo of Ques-
cover, and the 305 was buzzing about our cover- 1,, tion and his crew looked a littte too much like
age of the Big Lip Bandit (99 Jamz radio person- f. Big Wit's March 2003 cover (rest in peace), so he
atity) vs. Funkmaster O[ty (underground ctub DJ) il went for the Sandman look instead. For me, the
fistfight (fueted by Detre faxing advance copies : hightight of this issue was sitting down with Li['
of the articte to atl Miami media outtets). I inter- , Jon to find out what makes him tick. I even got
viewed Juetz Santana during a memorable week i
a free dinner out of the interview (journalism
in NYC, white Noet and Rayfietd caught up with it doesn't pay wetl but it does have its perks). Bad
Chingy and Mr. Vegas in Ortando. An anonymous Boy hooked me up with a Mario Winans interview
groupie dropped off an embarrassing picture of i,,, in NYC, and I caught up with a heated Mr. Vegas
Peedi Crakk at our Miami office. after a run-in with Pitbutt in Orlando.
i,
September 2003: September is atways a rough i
month, but despite a few setbacks we made it i
through. Raandu came through in the ctutch with D.E.C.A. Records producer Papa Duck for the
a hot cover picture of Murphy Lee, white T.l. and cover story. Our valuable correspondent Jessica
David Banner totd me the meaning of "Rubber Koslow came through with Young Buck, l-20, and
Band Man." Our first "Patientty Waiting" edition Lit' Ftip interviews. I chased down a few industry
was on point, with features on Li[ Scrappy & execs in NYC, finatty got a coherent interview
Trittvitle; many artists who are about to drop ma- out of the Ying Yang Twins during a photo assign-
jor reteases (Pitbutt, Jacki-0, Akon, Duece Poppi, I,,, FT {h{; ment for VIBE in Birmingham, AL, and came back
Grandaddy Souf); and others who stit[ deserve a ; tlilF lmffm" *, home to Ortando to tet Sonny Chulo reflect on
deal (Kamikaze, P.M., Smoke D, and more). E SE[E![
: ill t*:-Gtffi3
r.x EI5"$ the past year since his mentor Big Wit's death.
:
1O OZONEIdAGAZINETWOYEARANNIVERSARTMAY2OO4
#pr*arii1llt,fi), :.3rd i.:irthi*y q**il i:ur ?Lrr:
iss,i*), ir'r h*r+l i* h'.li!e.,r* ihal ii': ilZilf.i['-c > G-Unit wifebeaters
!'r*._v*;:f *fj;ij\r*t1,jry. I :pell!. :l* m**.1 v€;l:': l:'ti-:eli- Guys, if you are out of shape, wearing this
int ini*::i*i:i i:nrjer*i:*, N li"jll partie .f i!*.fi ; Sri ssk*f iol iil. is not a subslitute for going to th€ gym
'ih*l'q:": iii*r-v qil*i*s:Lut"k :t i:i-it t'#* thti Le{,il}e
':-'y ltaitci, > Blackberry PDAs
ilrillt*;i+ fi'iin f lli*i*y: "il .v** r,ir*rio ?* iieiurs:r *+ii f*f :{}
fr1:/
Why aren't they called Blueberrys?
?sei"1. l{jrri:!'"arii{.e y*-u wlil *t urr*h*c11'." *nii i}evjij **r":n*ll "!
ir"i:.t icepi rir*rki*s. s.* i!&rJ i f*rgilt l*eIe w*s 6*ifig in i:e n p*y*f;." !**lr:- > Von Thug/Von Bitch tees
,".'h*r*i* i,hr f;1rt f*w y*:':r:;, i've ir*writtingl;r i:*carne n rc!.* rn*d*i. i* It was only a matter of time
**i"l*i* **i:*l* r;i-r* l*+li r* ir:i r1r,* *t:t1 ;,ti"i hr:w i g*l:tnrtt*d. > Antonio Tarver's KO
Maybe Roy Jones has been spending a
5.j. tiJda:n l'1i givei r:'*u *li an *:*ijf hisi*r't' l.*s:t:*" *.1/tr**l{:ler *r*4 d
:lai'i** SrienC*'l fir:t *rli*r: *:*g.izii]€ in i:iliiiJ: E31g Lii*. ! 'r;as halfh*er{**iy *ti*r';li*g iliP. tittle too much time appearing in music
::al"rring ri C*!]:*iiter 5cis-:i.lc*. i i:al*d r;-'ll*g*. Ei ai:y giv*n iir**, { r:r;.:*ll'rr haej at is*:t fo,.;i- *r' videos and not enough time in the gym
iv* ;*ti:: ilil:*rf J;is:*ir*r: -i*Jrs ie;-rJ" iasilir'!- ;:i * tai:ci';.'si*r*" a{f+r.iftt*ili *a e ijis*rqanle*il > Li['Boosie
tr*h h*slinq {*nrp"frfiy; *lii[i] rrJanefr:' ;t rn .ivii" i*isirafkctirrg frf$], ir+rlt*il *rti:t si Pisi':*y > SMACK DVD
\&*ild, ifiir i€ihili{irirr *l Lrksrl's ihrliri i.fr3, :ei'vei ai e pi::e piate. foh&l*vqf ! heil l* ri* t*
**t" i ha* a [*t *f Cesi< j*hs'.,i'r€r'+ i i**::17 deslg*ed ,sei:s!tel i*r i::11 *v;* clie:-rts *n {*mp*ny > "We got room keys"
tiine. ilv*nti;ally, l :r:tii*d inio .: "r**1" -jr:* ar an iT l*sna*€r i*fiire **rd; i*r ' * aidhit#':lu|iii It's not funny anymore, so stop saying it
firm. Afler * ]i€;tr, ! v**: f**ii*q s:jii*:cated i.i ih* **rFcr*l* **!'ir-$i"rmefit. i $i6pp{}d g*ii-rg ir > Soul Ptane
*;r,;flis.. **t Jirr.d, c;:sh*d a i*l r*v*r'et:r* rl-;*:c:t. anci :1,;ciE I'ci nq"'*r w.rrh a t*al j*|} again.
"20th century coonery & bufoonery" ac-
cording to Spike Lee
fr*e t+ lv+rk l"*y *!rn hn*ui:, I :laitrd hitlirg i*e clL:i::, 4*iileriiig pi-r+i*grillilh:r arC v.r** rj*si*rt
{ii*nts 8fid liiripq n* *i1ke {j*ds r*r*t. fig Ljie .\i:*ir.qd nre un with a i*.w n-i+ilia i:a:st-t i*l i*c*1.
{*Rafir'i3, h*t *'"'fiji:il.3lly lhe ;-ragerine i&Ced alv3-?. .Ab,ii-1t e ff{rlilij laif i, in m;ri-?Ll*1, a d*,
sig**r i'rl s:ei: iien** "icss*,"j*Z; ii:ld r:*'eh*l h!:; b*ss, i+*|i l]*e;;*e, .w;15 Fulti** s*t a !r"iaga"
:jrir r,lit*d *rlanrj* Srxr:'c.r" Hrg:inq l': g'31 ffl*t*,s*ilq **;i f-r.illcSri Lrh*l*grt!ih€:l ! rnr:t lvi|h
WTF?!? &WAMffi
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'waich:ng. :-li! *a!il ir* **rh, ;:h,.:* *ff+r"*d *;t 3{}l*a1riil*i'Ehip !n lhc r*n:p;l:r'! insi;:a* *f h*ilrir,
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"J:* irLlt Th* i+t.r:-r:* lr4aqailils w*:; preparfrg ts iakf t€*ai.
vr*: f*rjilu:. ! Ci*ji:'i ar:*'ov it ai lir* iiine,
eilli*rl &fiei*sl r;s f*i'th* *.eifir. idei'i *lr* l!"1*ie*'t i]* sil+*kifig i*rfi*, -c,f fl* t*l'4 hir:1sta-r
ti: inf*rryr mr liiei the rcega:i*e rrqa'i *+.':e. I ii:;:si*** - i s;*fiied lrj pul sr.J:.". ; fais^.,sa:tl rlr*e
i:"i:tead ci jilsi {iiljitinf. #n* *{ I'ij: iij*-,*dl - ;: r*ai:i, i;i:r:rani *::i:*le - :.qw t*e ttrt{licl ar:rJ
starl*d i:is.rbrn iil*grl:i*e. i:r:pi;:q i* pirlo: r"ip eii *ur edverli::+r:. ir,*,";liil't'il.til* ths th*Lighi
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fr,:;* ti:*'dl*ril*rial/r43s sugg*riee! tir* ii*ix* *i*l.i* {wi:i{,h *:ean: l}!?i-Af i0*i i*r rrr ?V:h*+r fifie ryls.e tinre,.,and whal's rvith th* bandaid?
t*:hich r:Evd-jr ffi*lefii:lj;*rd, ***',\'iih *is *l*:lrr':q j *d.'rFie* the elir$s i*t i;:i'iii::t*1jiie. Ti:+ l*av
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y*it, *** per'::pi.e lhat h;:le.;**, !* V{:U'ie !:o*C*d Lhf iithl dils,:ti,:;:." Tha: {:.;*n'r 11"i!nq j5, ;i,'5
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cir*':it'tt **i gi:r"o: ts f i.icji si:!ri irny::*r:;:**: *1:l*r:,:*: !rir.r,"stLI r,"r )tr " a.t q've Li'i':i' *nd -qL:fi*l
i*i il. i r:hrir:se Lhe ::*'J,i:i1ij *pii*n, .*vi.:r;; "r1r**" l't'' ;ll flt l.jlhlag ' .-i,- 1:,j --uait. Ti:.ri': '#*"f
i'iL *iwx"7s a*m* *Lri *frl-*i:, r'r,;*i"ri1':.:r ai li:l pajJr lmrglti, *i:ij*r* iii i!:a *r*i:*::.
1F/e 1ferr fashi*nably late for vp &eesrd$' ?5th
Anniversary c*ncer[, $o Fsw*r S5.]': Jjt{ Strada
,Aeuvi ng {+rgv*rd - * ri I i * Sev*rii'. *rF*;**
j * r:: *g "
**r* qot {reative ts ge! ils ifi. Shsuts 1€ H{}wie, to$.
I \atg to vake cp, 'nuf\ec day tryna rtack t\at cake qp Stilt ;itent v\en 1 neacly nade it
LooUn' at t\e
tirre b,* T ain't lookin' at no Jacob instead 1"l droppng one of t\e veaker+ r\y,,,er I've ever perforr,,ed
\o food in the'trigeeatoc, no toilet paper t\e btind
ltlenp\ Bleek raid vanted to neet q;
Vonderin' \ov \e nade it, n l\at raake ne a \atec ",an
T\at'r fqnnyr'caqre in \ip-\op, Bteek'r ?boql 7t birnd ar \e i;
flnot\er rapper vit\ big dcearar Bit ay tongae and didn? ark foc l'1.0.P.
f"tr on t\e oqtride tookin'in at t\ir big cceen Starin' at Daae, Bleek, and free, t\e'\ell no't\ree
Like tlv'r Ait ain? been t\e ;al52 3irt.e Pac and B59ie d;ed Do yor UC3 Hel) no! Rerpect ne? Helt no!
I'rt, Vir\in't\at fhir fap ga,ie Voqid bcing Lii'Bqcn alive Voqd yoa be \eee vit\oqt Tay-23 Heil nol
Bqt v\at t\e fqck i, ny opinion V\en niggtr; oqt \ere nrakin'nrillionr /oq fqclen' :iaple-nrinded br,nd to t\e +aet idio+t
And I
ain? 9ol a godda"'n di"'e Cant reenr h ree t\at
X \od nroce \ip-\op tn one of ny fingertrpr
\o pal to pitt i\ rap't t\e onty tUng J can lay rr,lne ft even iart one of you \ad a fqckjn' oqnc€ of pennanrhip
5o I'a ortt \ere on^y
t\e yind loq'd wder++arl an tlC battte and v\at ;ti er',bedded vif\
Tart tryna get in v\ere I fit T\e )oang Gtnz are iike Oovn'r 5yndor"e kidr on redativer
Caqre on the rtreet 1'n, t\e Ait qnd nigar gqlfln'for nr to get legit Nouenre falling oqt t\eic n'oqt\,;f t\ey don? get t\eic nedifine
T\ey knov it'r all good \llien Bqrn conre t\coqg\ t\e \ood like 5anta T\e'Can? Stop,Vot't Stop,'beai jq* sotti be evidence
And decoeate t\e v\ote Atabana T\at bqttlUt'r gonntr fiy vUte J rit and va;t toc ay generir...
* Lil'Bqrn One 'T\at'r V\y I' (+eo, Dirtyi alba,,,) Nov The Soqrce vanna get caci* to settle *tces
Benzino CDr are gat\ering dqtt ai the cecord rhorer
Lool lls1., I'aabe reai vitc\a Peirnl up a balLUt piece tvo norrt\r after t\e Nev /eae
lji'rr?n?r ail qp in rry pictqre vant ne to rtick it vit\ ny ditt pickte 5o v\at'; a real l'1C aafta do to get t\roqg\ \ece3
l4y *preae q@e ?l\yiiqge b *perb And after I 9et a page ap;n XXL
tly play on vordr 9ot'err feeding ,te \ocr d'oeqvcer T\e 5oqc* vantr to act tike 1r\oqtdn? troqblg rrr.,1
I'n, nrak n' \oney dip iore t\ey clrrpotqte I'd rat\er \ave a p;ctuce rtqck qp in t\e aic and:\ot
T\ey beggin'r€ to corre ovec o t\ey can get cloref T\en get five nricr foc eveey fqcle,n'albqri dropf
T\ey vant clorqfe +con dcinUn't\eyrelvs robec - Vrechonizq 'Roc-A-Fetta di*' (j05\ip\op.con nriX CD)
Hopin'that if f\ey bend ovec t\ey'il 9et bent by rrry cobra
0\l 6irlr a4ir;ng to get reac-ended by r',y extended cab Ve ?re ?ll \ece tor a rearon on a pacticalar pat\
l1y *teet talk ir 4lendid )oq don? need a cqrricqlqrrr to knov t\at yoq're a part of t\e rrat\
l conre v;th gahe rharper t\fl otilette l'iac\ 1 Catr think T'n deliriottsrbql I'a co dar$ ceri6u:
One of a Und conver4tioD yoq cqn'l oqt-tatk he T\at'r v\y I expote hy roql to t\e giobe, t\e vord
f\ey vant porition in ll,it u^peli+io\ t\ey on a n';ion T'a tcyiry to nake it better for t\se trttte boy; and gictr
uiiv'n't\at t\ey var hirin'on hy cnhporit;on I'a not 'ytt anaf\er individqat, ay eirit ir a part of t\ir
T\ey got anbitpnr t\ey dcean to nanage hy exten ion T\at'r v\y 7 get 4icituat, brl T get ny \ynru tronr Hin,
Bqi il\ic convention needr an interhirri0n... 5o it'trrol te, it't He t\at ir iyrical
0n t\e ceaf f gyt a rrroqf\p;sc€ I'rtr nuf a ;;gcle., J'nr a \eaven-rent inrhqnrent
T\at1t \ave'en, dio,antting t\ey cobe and taying n?ked on hy coqc\ l'ly r\yt\n'atic cegirrlen navigater nrelodic noter {or yoqr oql ?nd yoqr rrpyr131
seatt T\at'r v\y J'h lnrfcqitent?i
It don't take rrrac! every tirr,e ay rrroqt\ 4s115 - 1-Iuy, 'Never Let /oq Dovn' (fron, Kanye Vesl's'Couege Dropoq{ atbqn)
I notice t\at t\e region aroqnd t\ey croac\ leak;
1 geadaated fcon t\e ttq 5\q Acade",y 5onenig\t gertion it I ve got t\e right to reeite \ihat X rfit
I: t\at t\e
eeaon vhy t\e*
girts'boytciendt nad at ne? 'CaqteI never been itfilcted, or divlded a bc;ck
Too arrc\ of ny ragar nrig\t give 'en a c?vrt/ Bqt lite it grrt, all typet of *i4r and Ait
o\, no, ve can? \ave t\at, nov can ve? "'y
And T decided to rirk it al to tcy to dide in f\e rrix and 9et v\at J coqd 9et
l'1y preneditated propaganda SeerI'a tig\ting negative oddr
Oot'en in t\ey brft\day ,qit iike a Peeping Torrr'r dancer 1 knev it voudn? be easy but no one totd ne it'd be \acd
)ea[ t\ey texy) and 1 knov t\at f", \ando'ae At i+ ir I
raeanr t\e evil in t\e \eaetr of there nren
Bqt don'i a* t\e gertion ;f yorr don? vant t\e auvec Got nte vonderin'if 1'll evec ree t\e revacd at t\e end of t\e coad
T\af aeanr don? a4 it 1 cetreaber yoqf nah€ Xt" ktnda \ard to renren ber /o(1r 9o?lr
T gcob'ty don'lrbut Ibet T.lrig\t reraenber yoqr brain V\en yoq groV V\ere not nany live to get otd
5tca;9\t ufuI'rar,a tell ;f f6 yoq ti^pte and pialn' f
7 ptayed t\e cardr var yven and never lirten to t\ore
l got Sart'e, ir t\efe ?n/ wre ge*i'l,':?, V\o tUnk dr'ffecernl, 'caqle t\ey inner roqi b bitter and cod
- PaqrVattr 'V\y loq Peepin'I,le' (CHck |rlagnet') f reen tolk 5et dethoyedby dope
\evect\ele*, 7'abletted, n yoqt by got \ope
1 kept rrry
"toqt\
rhqt t\roqg\ rign-qp;, kegt to nyrelf J;\ov love - to get it ir a beacfitrt feeling
Uatc\ed t\se r\ittalkecr tall vit\oqt
needing ny \elp And;f yoq \ate nre t\en btov a dickr'c^ttse it's a rrqtqat feeling
I kept ny hoqt\ r\qt v\ile ot\er cats dreaaed of t\ir vealt\ - PoPPy, 'An Vtl31 I A",'(fro", ?aqtVatt't 'CUck t'lasnet' atbq,n!
And t\ocg\t aboqt nry yocnger brothec arovin/ qp and \tr \eatth
kept nry r'oqt\ Aqt throqg\ pfolrror and lack of atteniion
And vatc\ed 9r0vn hen fig\t ?oc a CE\'s petvie rcetion
lly aoqt\ var ;\qf t\roug\ repetitrve nngcreditt
Ernail yoqc 16
-fBA
bav to
Vit\ atbq"rr coraing rofter than lrlaria\ Carey C\cirtna; recocdr 0Z0N Elt'146. C0l'1 ror couiderarion.
On anybody else, a navy btue and gotd sweatshirt woutdn't have merited "l don't think the industry gives Troy credit for how deep his writing is
any extra attention, but you have to understand who we're talking about because they can't took past his rap styte," says wetl-known Southern DJ
here. This is the man who has "D.S.G.8.," the acronym for his group Down Greg Street. "Troy is one of the greatest writers out right now, I think that
South Georgia Boyz, tattooed across his chest, and is atso known for wearing he is in the top ten of atl the writers that's out if you listen to some of the
a University of Georgia footbatt helmet on stage as he performs. Th'is the shit he be saying." Betieve or not, there is a whote region of people that
man who bought The Bounce, one of Attanta's crunkest ctubs. Oh, and just agrees with Street. Troy has aquired a loyal fan base that buy his records
'in case you didn't kno4 this is the same dude that who took part in this faithfutty, even though he doesn't get the same promotion and marketing
2001 phoner with Attanta radio personatity Coco Brother: musc(e that his Universat Records cohorts Netty and Cash Money receive.
Coco Brother: What's up ATL, you just heard the new joint from Nas, "He's got that star quality. He leaves peopte with something to tatk
"One l{ic." How you tike that, Troy? about," theorizes DJ Toomp, who produced three songs on By Any Means
Pastor Troy: [unenthused] lt's straight... Necessary, inctuding the lead singte, "Ridin' Big Yo." "Ptus, he happens
Coco Brother: What! You don't like that new Nas? to have [those] ctassic records that you can drop in the ctub and make
Pastor Troy: It's straight. I like Georgia music. everybody go crazy. lf you throw on 'No Mo Ptay ln G.A.'or'Vice Versa,'
niggas stitl gonna respond tike it just came out."
"l'm ctosed-minded with my musica[ tastes," says Troy when reminded of
this conversation that was broadcast atl over the A-Town. "Nas' [music] is Speaking of star quatity, Troy has been receiving the star treatment
cool but he'd probabty respond the same way to my shit." Now, before you latety, in an E! True Hollywood Story kind of way. Being that Troy entered
go running your mouth saying you read an articte where Troy dissed Nas, the rap game by dissing Master P back in '98, its more naturat than ironic
understand the context in which the man speaks. Troy knows how peopte that some artists have tried the same thing at Troy's expense. Troy re-
respond to his music in the ctub, on the radio, and most importantly - at the spects the attacks, but on one condition: "l respect niggas that come in
cash register. There's a reason why his shit wilt pop up on a DJ Jetty mixtape the game in that fashion and stay." He pauses to take a catl from ctose
before it appears on DJ Ctue's. There's a reason why Troy wi[[ be asked to friend and Washington Redskins runningback Ctinton Portis, to whom he
perform in Daytona before he's asked to perform at Hot 97's Summer Jam. gave his trademark championship belt last year. "Hatf them niggas that be
"lts not just about setting in the South. I want to setl where peopte love it," coming with that buttshit be fly-by-night. They diss a nigga and we don't
says Troy, strok'ing his goatee. "lf it ain't no tove, then you ain't gonna be hear from them no gotdamn more, they fatl off the map fucking around
invited there to perform there any gotdamn way. I just want to go where trying to diss Troy. Ya't[ boys need to concentrate on ya' raps."
l'm se[[ing. lf l'm setting like a muh'fucka in New York, then that's where
I want to be, if I'm selling in Omaha then that's where lwant to go just to Of course, when you appear to be at the top of your game, peopte come
show them that I appreciate their support. But, I sell in the South, so that's for what you have inctuding the cops. By now you've heard the unusuat
-
where I be." (and stightty comical) story about Troy being putled over by an Attanta
potice officer for possession of weed. But the sticky-icky isn't what made
Its obvious that Troy is toyal to his fans in the Bibte Bett, but you get the the headtines. When the officer asked Troy his name, the Pastor broke
sense that he woutd love to be considered a top tier artist nationalty rather a commandment and [ied. "l didn't know what they was coming for,"
than a heratded Southern rapper. Troy got a taste of nationwide recognition explains Troy. "They came up just tike how you saw it on the news. Ain't
two summers ago when he hooked up with Timbatand for the ctub hit, "Are nobody just gonna be tike, 'Yeah, take me with ya't[,' Fuck that, I want
We Cuttin'," which was the lead single for the movie XXX. His record spins to know what's going on." The tie didn't last long because many passerbys
increased and so did his performance fee. He appeared on Soul Train.Troy were Pastor Troy fans who probabty thought he was shooting a video and
was just one more radio smash away from being as universat as his tabet. coutdn't hetp but shout his name. Then, the officer recognized his face
on the CDs inside the vehicte, When asked if he was the least bit embar-
"l just ain't tike that shit," retorts Troy when asked why he opted not to go rassed, Troy shrugs he shoulders and bturts, "Het[ na4 I aint give a fuck,"
the radio-friendty route after "Are We Cuttin'." "lt's too many people who stressing the "u". "They was taking me to jait anyway so that shit ain't
love me for who i am and what I am. I ain't with none of that buttshit. When matter worth a damn." He showed that it didn't matter when he posted
I bring it, it's just gonna be straight-up me. Same ot'gotdamn hood thang. bond and went to Ctub Mirage in Decatur later that night to announce
Take it or teave it, nigga. " And that's exactty what happened. His toyat fans that he woutd be performing there the fottowing weekend.
bought the Hell To Pay and D.5.G.8. albums, while the rest of the country
left it atone tike an ugly chick at the ctub. And yet now, Southern artists Even if his episode with the APD doesn't prove it, one thing that does
are setting at att-time highs as the rest of the country has become obsessed matter to Troy is the truth. The truth is, even though he doesn't have a
with the music they used to catl "country." By Any l{eans Necessaryis really wall fult of ptaques or a trophy case busting at the seams, he has a cutt
the first chance Troy's had to release a major labet solo album during this fottowing that most trophy-winning artists would kitt for. "l don't need
Southern invasion. the credit or accotades, everybody knows who PT is," says Troy with a
satisfied grin. "We [D.S.G.B.] gave ATL some batts. Outkast was k'icking it,
Though Troy is excited to get in on the action and spread his gospe[, there's Goodie Mob was kicking it, but niggas wasn't reatly talking about fucking
one more obstacle for him: it starts with a "c" and ends with a "k," and niggas up. We brought some gangsta shit in it," Be careful, Troy, before
it's not crack. His probtem is that some chitdish music listeners try to fit his critics start tabeting your music "gangsta" instead of "crunk."
Like mixtapes and spinning at clubs? So now that you've teamed up with Chris Lighty, should we expect
Not even just clubs and mixtapes, it's more [ike making yoursetf into a to see DJ endorsements and things like that?
namebrand. That's the onty thing you have in this business, your name. Of course! We gonna use every marketing toot that we can. I been
Names tike Busta Rhymes and David Banner, those are brands that knowing Chris Lighty since '95, I been seeing him do his thing and he
other companies feel [ike they can make money from. Especiatty with been seeing me do my thing, we used to atways bump heads ind have
the urban tifestyte marketing that's been big tatety - you've got Remy, these whote conversations. I was [ike, man, this dude is an executive
Seagram's Gin, Mountain Dew putting money into the urban community. but he stitt has retationships. He used to carry crates for Red Atert, so
he comes from the DJ side. His name used to be Baby Chris. He,s been
So if there's no beef between you and Ran, why did you decide to in this game a tong time. I tike to brand mysetf with peopte who gonna
break off and start another DJ organization? take it to the next levet. My mom didn't raise no fool. lt's a business
I've got a question for you. Why did Lyor teave Def Jam? first. I think people think it's DJing first and then business. Nah, it,s
business first and then DJing for me, When lwas 18 or i9, I'd DJ a
For a better opportunity? party for free. l'm trying to change that - right now the industry is in
Wett, then. l'tt put it tike this. I'm 31 years old. When you 31 years otd, shambles. Look at all the mergers. I'mma telt you this too, and lwant
you have to grow in this business. You can't grow being stuck to one you to print this: A&Rs, you need to start signing some better shit.
thing. The industry changes every 24 hours. Just like your magazine, Then the promoters can promote better shit, the DJs can ptay better
OZONE, are you gonna keep writing your own stories or have someone shit, guess what? The game won't be in shambtes no more. That's the
else come in with new ideas and bring it to another levet? That's what key to this game - sign better shit. Do your research. Don't just look at
it's there for. BDS and see how many times a record got spun, nah, get your ass out
your seat, You making 90k a year, so get off your ass and go find out
So what's the name of the new organization? who's the hot artist in those markets. lt start with the A&Rs first. Not
It's the New Violator Att-Star DJs. There's no beef with none of the that dude sitting in an office rubbing his chest hairs tatking about going
other DJs. We tryin'to bring every DJ into the pot: Tech.Nitions, Heavy gotfing. Fee[ me? I just had to get that off my chest.
Hitters, [Big Dawg] Pitbutl.s, Assassins, everybody. We're just showing
them another way to make some money and not be out here struggting. I Do you feel like there's too much conflict within the DJ community?
can sumit up in one word: coalition. Like a Ran vs. Rene type thing?
I don't get into their business, I stay to
Are you going to have a lot of DJs, tike mysetf. I change my numbers, emait,
Tech.Nitions, or be more selective 2way every few months because I hate
like Heavy Hitters, for example? negative energy. lf you took at lsaiah
It's going to be an elite group. 53:7 in the Bibte, he talking about
Everybody can't be a part of it, we the lsraelites trying to take a journey.
choose the ones we want. You can't just It took them 40 years to make an 'l 1
come off the street and be a part of it, month trip because they had so much
but at the same time we have open negative energy they coutdn't focus
arms to everybody. lf you're the man in on the trip. Fee[ what l'm sayin'? I'd
your market, even if you in Littte Rock, rather not have negativity and keep
Arkansas, we comin' to get you. Some the positive energy around me. I check
DJs send me resumes, but what I do is my voicemail at Viotator, it's people
get off my ass and do road trips. That's calling from atl over the country 'cause
what I've been doing tatety. I look at they love what I'm doing. But then you
their whote set of knowledge, what have the ones that don't know anything
can they bring to the tabte? What's the about this game that have this negative
sense in having being a DJ if you don't energy, comptaining, "Ran don't do
utilize the power you've got? A lot of this," or "Rene did that." I ain't got
DJs do that. They get comfortabte nothing against Rene or Ran, I tove
with their situation. They end up being everybody if they love me. lf they don't
otder, 34-35, with no health insurance. love me, that's their problem, 'cause
They stitt DJing in clubs, no 401k, so I'm a likeable guy. But don't get it
that's where we come in at. Right now twisted, I do have that other side of me.
we have a committee. lt's what me and I'm an ex-gang member. I came from
Chris [L'ighty] and my other partners gangbangin'. I was an unknown vicetord
catl the nucleus. We have different 'ti[ my mom put me in Catholic schoot.
people who handte different things. Now I just chill, you know?
Like my man, Kwasi Kwa, he's part of
the nucleus. He makes decisions. lt's - Julia Beverly, jb@ozonemag.com
tike having a board member. I can't (Photo: Jaro Vacek)
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,.Att them DJs out there, y'at[ gotta fuck with this indie niggas comin' up. They got heat, bruh, fo' reat. Just
+l give ,em a chance. " Witnilr a month of saying this, Wes Fif has atready acquired many valuabte atlies, inctt tding
F:: 6J Suggabtack, DJ Fusion, Dawgman, DJ Jesse Jazz, DJ Sptack, and Big Cee Jay. Wes Fif adopted his name from
West 56, a staie road running right through the heart of the city he catts home: Ortando, FL. With a hustte that's
wd
matched by very few MCs and i catatog of tracks that has already gotten him radio and mixtape recognition,
Wes is rising tnrough the ranks quickty. His sound is Southern, without a doubt, and sometimes reminiscent
of
*€
B.G. Over iSO Cent instrumentat, Wei informs us that he's "tike a damn stam dunk," and he spits fire over the
tr instrumentat to Tupac's "Reatest Niggaz." Wes rises above the rest of the industry hopefuts and lays it down
*itfr fo*"r and vigor, demanding reifect. He's begun making a name for himsetf locatty, showing his knack for
M un"rjiting crowds'almost effortGssty. Wes has beeh hard at work trying to esta.blish himself in Ortando' hitting
€.#
#* tne 5attt6 circuit. "l live for that aipect, dawg," comments Wes. "l'm very big on the lyricat aspect_of the
music. I've started to veer away from the battting scene, but if anybody want it, hotta!" But Wes himsetf knows
eG thit the greatest battte MCs have been overtooked, and exptains why he deserves a listen: "Att kitter' no
dawg. Giaranteed. I'mma say some shit that'tt make you rewind it, every track"' Wes looks forward to
fitter,"u"n
ffi loii.Ooruting with artists tike Seaniay and Chamittionaire as he expands his own musical abilities and buitds a
g,T reputation f6r his tabet, Choppin' Up Records. He can be summed up in one word, the t'itle of one of his songs:
,.Fantasgreat." - Rohit Loomba, ctpros@arcaneproductioncompany.com
W6s fif is simpty
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ilAJolAJA3,y""*?+ #
FI
qt
Ever since John singteton's "Baby Boy,"
?t there has been a.ne-w respect for dudes
IiS.xT;liii:?:lI ?:T:,,::-,:i:*li,l"^:::tii"dy6;#
started writing rhvmes, however, loov aion'i il'il;;;i" lill,iffil;Yl"rl,ff,
eip"ii rt t.i become ; ..i"*;rll,'r',
with the name Jody. As the first
that respect. when he nrst
know what I mean?" he savs calmtv, iri t.ia+ii'r,-o'ru;1.-'iirii
As he grew otder' Jodv rouna musii t" "i" l"i,'t",=j" ,',/no* no* to do it. r just feet i:tJ
ir.,,
. p*iti""'innueni'e ini
had to start pavin' bilis, vou know *nuif r∋; ;*.y;; him to stay out of the streets. ,,1
at a radio station in Mu.?!: GA, and got l.ris big
;; i;G;;.-Ril;il;i;il ; way of rife. He began working
uie-ukit.
attention of Jazze Pha's manager, who-was scouiine'for .;;;;h ;;"ritn" station hetd. He caueht the
he'd found somebodv' He took-me t"ntiiruin"'v.ery n"* tur"ni.;;ir;;iH Jazze right away and t;tc nim
spot [to his new tabei' shoNuff ne.orasj.;ooi. next day, t rappeo-ioiJazze, andhe signed me on
i" iiirn", cl, .'*iiii"*"'Jrirou n,r.n,a, Jody the
big city to pursue his dream' since tnen', n"i moved to the
u"""-*o*lirg
album' A Dav in the Life of Jody ar:"elr:e,i L'ii"rpi.n.t"w *lttliir"i;ffi'"d tracks for his upcomine debut
concept wticr' Jioni.res his everyday tife.
though he's a newcomer, Li,av'i .rorr p;;;;ih;iil
Daddv, Mannie Fresh, sean piutof the'vourcBi;;,
can hotd tris b*n atongiide seasoned vererans
Even
tike Trick
;;
mixtapes throughout the south, ant.his sinlt-es';ii-u'utorutr', recently started hosting
"i;;;;",'J;#'i=h'jiH",,
rra ;vir.,ri" r""i;iure ,preuoing through the ctub
iil3#ffi:"Jl;1"3i. ilL'li""f;;llu6:j::jff,'r"f"li;o":;;Tn'fi!n'w.,n". s,.o,i - .,u,i; i""".rv,
MIXTAPE SUPPORT tr
tr
Sqad tlp STREET CREDIBILITY
INDEPENDENT HUSTLE tr
Naw0rlaans,
Louisfana
t-ABEt_ HIA
*sTlLL GRINDIN"'
, . HOMETOWN SUPPORT
LONGTV|TY
tr
m'
IfIIDU$TRY ExpFRIEHCE tr
Lit' Ya and rech 9 formed UNLV (Uptown Niggas Living viotent)
New orleans' cash Monev Records'*.r u nu-t-ion.liy-recognized
in the earty 90,s, long before
brand. Their singte, ,,Another
Bitch," began stirrins in'the ctub.;5"*,.gi.f i".1i""i1- oivlrng'-"ntrupreneurs Baby
and s[im. They signed a contract with the taoet, uiinging
in a third member, yettow Boy, who has
since passed away. "We were young and didn'i havi.tawyers,', ya
says. ,,we thought we knew
what we were doing, but we didn'[." wittr itnum situ,
approached Babv and totd him he was interest"J in pi.h,ie di.r.iilg rp-rt!"aitv,"nup-A-Lot Records
opportunities because Baby is setfish...[He woutd] he'auouihow
rp dNlV.;il;'i".ti."a. ,,we missed
,r.h;;;;;; getting per show,
att kinds of shit." Five atbums rater, ur.jLV
with impressive Soundscan numberi rrom urlr-vi
*urliiir'*ifril; M;il #;#'nl i,r,r,or,ion dear.
secured cash Money an unprecedented deat witiifroilct
ana other artists, negotiator wendy Day
u'niversat Records. But uNLv never benefited
from the situation. "We were taken advantag" oi, .uu"o,"
vu ctuimr.;v" nltpeo to estabtish
cash Monev and were never paid.for.il yv"!Ji"i1i"*ibte
ior bri;ti;;J;;;iie-ano a.c. to cash
Money. " when their contract expired in r 992, uNlVleit
for good. striving independentty, they,re
stitl well-known in New orleans. Having formeJ trreii own g
released their second .rbrl:,:::.!r...iing.crr,r.- i"ipiy
ieat rntertai-nrunl tnuv'u" recently
picking up spins throughout the south. - fro.a,
crrto. C*r"ntti,'ir,"iiii"gr" ,,Go DJ,,, is
jriri?'I".,"r1"!];",1i
"nf,ph*;'ilJrrii#l/;rr"
greeted like a
Putting up to a video shoot in a btack Benz and customized throwback, 23-year-otd Jeezy is are
like Monica, Petey Pabto, Lit' Jon, and Bonecrusher
,up"iitui But it isn't actuatty i,is viOeo shoot; cetebs
;t|";t ; *t- rne wetcomiig ieceptlon isn'i surprising, though, since just yesterday the Atlanta native was
iitti.gi. LA R"id's office. ,:puir ouoliv catted in..We hal a confirence catt," he says nonchatantty' The rapper
,.Reat. That's it. I'm on some husttin', gettin' money shit..l don't just rap 'cause
describes his styte in one word:
not some video-type
th;;;A rnyme. t Oon,t ;uit say words 'cause they go together. I spilfrom the heart. lt's
Pha by frequenting Attanta's
sh'it. lt's for reat." At a yol.rnj f'uttter, Jeezy nrst iiugtritne attention of Jazze
so he asked me what I do'"
ctub scene. "Every time n" tia" tV in nu* B"nr, h6'd see me in a new Benz,
irpr"r*Jum hii ,;r"atn"tt,l' Juri" and" Jeezy (try saying that five times fast) recentty inked a joint venture
to Jeezy, Def Jam
with Def Jam for nis ,pcorlhg soto-proiect, tlnLarted foir retease this summer. According got the track record' I
didn,t choose him - he cnose tTrem. 'lThur" *"re other tabets interested, [but Def Jam]
becoming a club.favorite in
feet tike l,m a Def Lar-typ" nlgga.;' Hii singte with Bun B, "Over Here," ii atready
aspiring rapperi'viouta be saiisfied with a 6ef Jam soto contract, but for Jeezy, that's onty hatf
the ATL. Most
(Jeezy, Big Gee, Big Duke, and Jody Breeze), piqued Puff
tr,1" pt... Hii?Lrrii,"*ri"ilioup, eovzln the Hood
"i g.Jg6y..;ntrult is currentty being'neg6tiated.-iither.way, Jeezy is-confident that his
ouoav'', int"r"st, and a
I just put [the money] away'
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Goodie Mob are not only at the top of their game right now, they're
at the top of The Time Hotel in midtown Manhattan. And they're
you don't take it.
sweating. Not because their first album without Cee-Lo is about to What is meant by the title, One lAonkey Don't Stop No Show?
drop, but because the heat from the sun is reflecting off the walls of Khujo: lt's atl the adversity we were up against. Like, Ya'tt can't do it
the Glasshouse, where today's interviews are taking place. Like old without Arista. Ya'[1 can't do it without Cee-Lo. Or without Organized
friends chopping it up, Khujo, T-Mo and Big Gipp trade turns answer- Noize producing your whole atbum. lt's muttipte meanings. Like when I
ing the questions. lt's not important who speaks, because all three was in the accident, I couldn't perform and get out there and do what I
MCs are definitely on the same page, with the same focus and same had to do but time permitted me to get back up and not let that monkey
mission: to bare their Southern souls and give Goodie advice. hinder me as much. There's a lot of positive stuff around this atbum. We
heard our elders say it long before we decided to put it on wax. lt's a per-
How have each of you grown since the release of World Party five fect time for the whole country. Like 9/11, they didn't let that stop the
years ago? show All the tights came back on. People went back to work. Goodie Mob
Khujo: ln the past five years, I've gotten a littte bigger (laughing). I just is about retating far beyond one person.
try to learn something every day, one thing every day for 365 days. lt's
basicatty learning where music is going, how to relate a message where What happened with Cee-Lo?
it won't be like you're trying to catch a whote bunch of bees with a Khujo: I think it was a breakdown in communication on my part. Then you
stick. You catch more bees with honey, being abte to come back to the leave a lot for room for assumptions. We want to have our own record
industry with something new and innovative. tabet. You down with us or not? You not. OK, coot. With the mercy of the
I-it4o: I think l've grown the most in becoming a man, taking on the Most High, here we are right now. We stitl have something to say and have
responsibitity of becoming a man. I've learned to be more mature. Like the medium to get it out. And we making more money off our records. It's
my preacher says, I can listen before I react instead of react before I a change for the better.
listen. That comes with time and maturity. I'm married now, got my first
tittte boy on the way. With that comes responsibility atso. I can't be a How do you feel Goodie's sound is different without him?
witd ctub head anymore. Now l'm a man trying to do what I feet tike is T-Mo: The absence of his voice. He did have a unique voice. But Goodie
the right thing. Mob wasn't buitt on his voice. lt was built behind a message. lt's definitety
Gipp: The same as T-Mo, knowing how to take care of mysetf in this a difference but it's up to the listening pubtic to decide whether they
industry, And having the opportunity to start our own record [abe[ and want to stay with us or move on. lf they enjoy his voice, peopte can pur-
now we're in control of ourselves and our name. chase his two solo CDs or old Goodie Mob. lt's unfortunate that he's not
with us. lt hurt us inside. We tike being a foursome. lt was his decision to
Khujo, do you feeI different since your accident? not be a part of Goodie Mob so we got to move on.
Khujo: I was put in a situation I had never deatt with before and then
at the same time had to deal with a lot of emotions and other peopte's How are all your previous albums different from each other?
emotions, then personal stuff. lt was a big brick that dropped on me, Gipp: Soul Food was a time when we were breaking the South sound and
but why not me? I'm just happy that the Most High had mercy on me. breaking what we d'id as musicians. Sfill Standing was when we came in
I'm thankful that I can stitt do it with the best of them like T-Mo and and said, we don't dance no more. White everybody else dancing and put-
Gipp, and hotd up the Goodie Mob flag, One Monkey Don't Stop No Show. ting on shiny suits, we gonna say something. Then here comes World Party
And make down-South funkadelic music that everyone can retate to. and a[[ we were saying was, we been abte to take four kids from the South
I didn't want to get down or make anyone feet sorry for me. l'm just and we done took our message a[[ through the 50 states and over seas.
gtad to be sti[[ here amongst the living, hetping my brothers make the That's what World Party was about, a celebration of Goodie Mob being not
mark that we was ptaced here to do. You can hit me on my website, just a neighborhood act but an international act.
www.KhujoGoodie.com. T-h1o: Soul Food was our introductory atbum. lt was a monumental atbum,
Platinum. With Stil{ Standing it took us out into the wortd. We created
Tell me about the new album. a nice little buzz with Soul Food and everyone was highty anticipating
T-lAo: ll was a stow process putting this atbum together, a stress-free our Still Standing album. We went gotd in a week. With the World Party
process. We were waiting to see if we were going to have atl of our CD I feet Like the anticipation was just as great but tike I said, our tabet
members together to continue, but the powers that be didn't attow for was merging and it was bad timing. This album is a monumental album
us to come together as the foursome that the wortd knows. We had to because we lost a member and we done been though a lot and I know
push on. That's not to disrespect any hetp that Cee-Lo ever gave to the everybody want to hear about it. We got something to ride to.
group. He lost love for the group. That's the only thing we can come up
with. But me, Khujo, and Gipp got a lot in common. We a[[ the same What's up with the Dungeon Famity?
age. We a[[ went to the same high schoot. We atl graduated in the same We're about to come together and put out a Dungeon Family 2 album
year, ctass of 1990. That right there means something to me. lfeel like within the next year. - Jessica Koslow, lovehiphop@aol.com
for us to a[[ be a part of the pioneering process of
Southern hip-hop, it made working on this atbum
important because we know the type of responsi-
bitity we have. The expectation for this atbum was
great. Because some peopte feel like World Porty
wasn't out greatest effort. That was potiticat.
That was L.A. Reid's transition period from LaFace
to Arista. He didn't want Goodie Mob to say the
wrong thing on a record that may jeopardize his
promotion at Arista. He had to make sure we came
out with something commercial enough without
causing any pot'itical probtems. Sorry that we disap-
pointed the fans that we did disappoint. But we're
going to make up for it on this atbum, One Monkey
Don't Stop No Show.
Gipp: This atbum is reatty soulfut. We fett like our
backs were up against the watt again to prove who
we were and what we were here for. I think the
record isn't geared for the clubs and cars, but for
you to sit down and listen to it. We got something
to say.
Khujo: I think what the Goodie Mob brings to the
hip-hop tabte is good advice. That's the title of one
of our songs. You don't have to go by it. We're not
going to beat you upside the head. You take it or
How did growing up in Brooklyn prepare you for your careers? What does your name mean?
D.G.: What better way to be prepared than growing up in Brooktyn? New G.O.D.: My name means Greatest Oratorical Detivery. As far as Pitch
York is the heart of hip-hop, where it a[ started. So, to live within the five Btack, the name represents the struggte, the human struggte. Pitch
boroughs is great training. Everything moves fast for us in the city; we ab- Btack represents integrity in the music. The name comes from an otd
sorb things so fast and spit it out, so by the time other people catch it, we verse I had where I was locked up in a concentration camp. The guards
onto something etse. By growing up in Nl we are children of the original were steeping on the job and I made my way through the underground
era of hip-hop. And we were taught by the greats. We grew up watching raitroad. ln the underground raitroad, I couldn't see. lt was just roaches
the greats, from as far back as we could remember. lt's a great thing being and rats. lt was "pitch black." Somehow I got out through the tight that
from BK, the home of Biggie and Jay-Z. God shone on me. That represents what the name means, Pitch Black is
the tight that came through and shone on everybody.
Your first single, "lt's all Real," was produced by DJ Premiere, and has a
distinct feel to it. How did the collabo with him come about? Every group has an outspoken member - who is it in your group?
Fasf: We used to work with a producer named Rich Btack, formerty of the G.O.D.: Everybody in the group is outspoken. lf you want to know who
Beat Minerz, and we used to work out of D&D. We worked in the A room says the dumb shit out of nowhere (taughing), we atl have our days.
and Premiere worked in the B room. So, one day we were recording, and D.G.: I'm partiatty to blame, I speak my mind in pretty much everything
Rich Btack passed the tape to Premiere. He heard it and was [ike, "l'm I say. lf you hear me quiet, l'm trying to be good.
feetin'these dudes." He wanted to work with us, but at the time he was
What will keep your group together when you face a tough time?
D.6.: I don't know if we can answer that. Right now we're going
through a tough time. Betief in oursetves and in God kept us going
through this whote thing. Ptus, we're famity, so we can't escape each
other. We keep it going because this is our tive. This is what we've
always wanted to do.
Who have been your mentors, and what have you learned from
them?
D.G.: We've worked with Wyctef, Busta, atl the greats. They sat down
with us and we take in what they're dishing out, 'cause it can be benefi-
cial to our careers and our lives in generat. Throughout my [ife, people
have come to me when I was in dire need, and them saying a good word
and patting me on the back prevented me from quitting. God atways
seems to bring someone or something in your tife to make something
happen. - Rohit Loomba, ctpros@arcaneproductioncompany.com
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because you're only there for a short time. You shoutd take it serious,
though. Overatt, you know the whole inner-workings of the company.
When I interned, I had the choice of working three or five days. I chose
five days, and I was atways the first one there and the last person to
teave.
How did you make the transition from being in front of the camera to
being behind the camera?
AIfI,ISI{) EDU(AIT When I got to MTV there was a guy who actuatty ended up being a good
rc[K5 friend - he was a news anchor but couldn't realty do his own stories. I saw
REAI.S{NJTHIRN this as a way to get in by being good enough to be in front of the camera,
yet do the work behind too so I wouldn't be a tatking head on screen. ln
CUITURTWTH HIS learning this process, I learned that I had a real different way of covering
"DIRTYSTRTESOF issues and people, so I ran with it. but no one was trying to hear me. They
AMERI(f DVII .. felt me, but that was because of me and not my work. So I had to create
my own options. No one was letting me in the door. I know that I have
tatent, but everyone may not recognize your tatent at that time. I know
be fooled by his Manhattan apartment. James "FLX" Smith I have tatent on both ends of the camera, so I do both. I make dreams
-\on't
I I left his heart in Baton Rouge. As an aspiring actor and filmmaker happen for other peopte and look out for myself as wett.
V in a small town in Louisilna, he never knew that his hustle
and entrepreneurial spirit would pay off in such a major way. After It's kind of strange that you're such an advocate for Southern culture,
six months of an unpaid internship in the Mry news department, he but you live in New York.
began serving as an off-screen MTV2 host, as well as producing video It's a[[ a misunderstanding, because there aren't enough journatists
packages for The Source Awards and capturing the backstage antics on covering the South. lt's not North vs. South or West vs. East, it's just that
tour with Ludacris, Chingy, Bun B, Scarface, and David Banner. Despite some people aren't letting us into some of the doors. That's obvious. We
brushing shoulders with celebs, FLX is stitl humble and unassuming. His have to take that Southernptayatistic attitude and create our own doors
latest brainchild, the Dirty States of America DVD documentary, is a and stop letting peopte use our cutture to embrace their brand without
tribute to the Southern mentality that raised him. FLX is a true hustler, putting something back. Break bread or go home. A lot of avenues that
traveling through every city in the South, meeting with key DJs and were open to other people weren't really open to the South on purpose,
promoters to push his product and staying in touch with his people. lf because we have a different way of doing things. A lot of peopte get
you don't believe that he's still country consider the fact that OZONE caught up in the music, but that goes back to the street. That's at every
was directed to a S1.50 car wash in the 'hood to meet FLX at 4:30am level of entertainment. There's a book called, "Framing of the South."
en route to Jacksonville, FL. After a good rinse, we hit up the local The South has been framed since the days of the Beverty Hittbitties, that's
Denny's. Over breakfast, we found out how he plans to bridge the gap when peopte started making fun of country peopte. We have to change
between the real South and the common perception of the South. the infrastructure of how the South is seen on TV. The South has to create
its own megastars. We don't wanna pay 520k a month on pubticity, but
What's your background? How did you get into film? that is what makes this game go round sometimes. When I was growing
ln high school I acted in plays. I was atways interested in acting, but I up, I atways wondered what made Scarface, Wittie D, JT Money, Ba[[ and
never thought it woutd be reatity, coming from Baton Rouge. G, or UGK any different from Biggie, Puff, LL, Snoop, Busta, and Dre. lt's
just the media. These guys are atl legends, but you never see them in any
What were your career ptans? "greatest" hip-hop books or countdowns. Fee[ me? We're never included.
To go to coltege and get this money. I atways had businesses in high school. So, coot. We know what to do. lf journatists aren't from here and don't
I made t-shirts, prom shirts, played drums, washed cars, did togos. I did know how much we love these cats, of course we're never chosen. But
the btue and gold logo for Southern University when I was in high school. 'it's getting better, we just gotta keep pushing. We can turn our whote
economy around in the hood if shit keep going tike it's going. No cryin' no
Where did you go to college? more, [et's hustte. And learn how to know when you're being ptayed as a
I started out at the world-famous Southern University, but I graduated foo[, 'cause some cats stit[ do approach us with dumb shit. You got to know
from Northwestern State. I started off as an accounting major, but that when a company or a cat is reatty just trying to get to your consumers.
shit didn't work out. Then I changed it to bus'iness, but that also didn't It happens atl the time in business, so we can't get mad. But this is our
work out. I was getting frustrated because I wanted the money now. That cutture, and we can't keep giving it away. BB King didn't ptay the blues
was my thing: give me the money now I switched around: marketing, for that. Marvin didn't sing for that. Michael did not grab his nuts for that.
journalism, theatre, everything. I kept hopping around, because l'd find We've come too far to keep setting our media-based businesses. lf you
out what I needed to know and get bored. I graduated with a degree in want otd Luther footage or LL Coo[ J footage, look who you have to buy it
Graphic Communications. I was going to go to Catifornia to pursue acting, from. How much of that do they get? Remember, our ancestors were out
but instead I moved to New York because I got an internship with MTV's in the fietds. lt's a reason they stuck together.
news department.
What do you think of Bad Boy South collaboration with SBall E MJG?
How did you initially get the internship at MTV? 8Batt & MJG are smart. They've been around the btock several times, so
I was strategic about who I sent my resume to. I'm a strategic guy. we have to trust them. I bought five copies of the atbum because I believe
in supporting legends. l't[ atways buy what they put out. But with Bad Boy
What did you do as an intern? South, you can't just stap a [abe[ "South" on your company and think you
Slave, stave, slave. I did everything and anything to hetp. lnterning is the have a Southern company. There's a lifestyte of humbleness and many
best thing because you get to see the internal movements of the company other characteristics that come along with being Southern. So we't[ just
and you're not responsibte for anything. You can't reatty lose your job have to watch, wait, and see. lt's funny to me, because now everybody's
Tell me about your debut, fhe Hunger For hlore. Since you like laid-back rappers, how do you feel about Mase's come-
I started working on my project during the Roc The Mic tour this past sum- back?
mer with Jay-7, Snoop Dogg, Fabotous, Bone Crusher, Chingy, Lit' Mo, a tot I just heard [his] record ["Wetcome Back"] yesterday. He sounds tike
of artists. I had the chance to see what works and what doesn't work. I'm a he never teft. H6 reatty didn't. He was on a hiatus. He nrur aware of
critic, but I look for the things that artists do good. lt's easy to find out what the game. I respect the reasons he teft. He had to ctear his mind. Him
somebody's flaws are. I look to see what's making them setl records, and I coming back, it;s at a good time. Kanye West has,.Jesus Watks." I think
buitd it into what I can do. I had the privilege of making a percentage of my i
that woutd have been good way for l1ase to come back. you can speak
album in Southside Jamaica, Queens, where I grew up, and I had the ptea- about your betiefs but y6u have to make it retevant to where you came
sure of making the rest of my album atl around the wortd. That made my from. Everybody you're tatking to, nine times out of ten, is not doing
music more appeating to the masses 'cause l've been everywhere. Japan, the right thing.'You don't want to scare them. you want to show theml
Germany, London, everywhere. You see different things. The th'ings you go i
emit message. I think a tot of people emutated Mase. He made it coot
through make you who you are. That's why I feet tike I had the privilege to be taid-bacl.
of having the best of both worlds. I gave you what I feet tike you need to
know from my personal experiences and I gave you what I've been learn- G-unit ever feel like D12 on their single ,.My Band?,'
Do you and
ing. Like when Michael Jackson did his "Btack OrWhite" video with the kids I understood it. For the most part we don,t have ihat piobtem. Maybe
morphing from different races. When I seen that I was young and didn't whenwegooverseas,theybui[dtheinterviewaround50becausehewas
understand the significance. But when you go around the wortd you start the forefiont. Then again, there was onty three of us from the begin-
seeing everything, now I know why he did it. Because there's somebody in ning. That's different irom six. And my voice is distinct. And young B-uck
everycountry,that'sgoing, "Helookstikeme,"andthentheyretatetothe because of his stang. And Yayo has a high pitch. We,re so different in
music. Even if they don't understand Engtish. I think I have records on my terms of voice, tonei, stytes. in the begin-n.ing peopte used to confuse me
first album that could have made my second album because of the broad- and 50, because when I went with 50 that was tne first time I ever was
ness. Things that I'm talking about and seen. For the most part, my mind recording in a stud'io. D12 came straight to mainstream with the video.
state was stitl from my neighborhood, because just last year the finances NYC has a whote different set up. lt,s-tike boot camp. My beginning was
weren't there so I remember. So it's stitt the struggle there, just mixed in. on the mixtapes. ln NYC the mixiape market is so nii. fn-ere'iover-eight
Kjnd of tike when Biggie did his first atlum, I actuatty put my album to the mittion peop[e in NYC. 50 was downtoaded 300,000 tire, ou", computer.
side to finish my performance on the G-Unit album, Beg For lvlercy. Once I I have over 200 freestytes in the streets right now. There,s my refeience.
was done with that, I was already 18-19 tracks deep into my solo project. That's what made peopte think it's not ahuke. Now it goes from street
Before I knew it I had 50 records. My probtem was setecting the records I to the mainstream. I aiready have the street behind m/Oact<. Now I got
wanted to go on the album. to convince the mainstreamthat lcoutd do both.
ls The Hunger For lvlore similar to Get Rich Or Die Tryin' and Beg For What does G-Unit mean to you?
hlercy? G-Unit is a brand to the wortd. To me it's my famity. To the wortd it's
Me and 50 have been working together for so long that your ear kind of sneakers, ctothes, rap, movies, cartoons. lt,s a movement. I have
spreads. I kind of have the ear that he has. I could tetl what kind of separate ventures but it stitt ties back into G-Unit as a whote. you
record he woutd [ike. Same with him. He might hear a beat and not
-**
ffi, have to know the chain of command and ptay your posit.ion. I'd
necessarity want to rap on it but know I coutd make it something rather be a key ptayer on a winning teim itran the star on a
speciat. My project is the same quatity performance, quatity pro- Gt reFl losing team.
-
duction as Get Rich and Beg For Mercy.l got Nottz, Hi-Tek, Eminem, Eflf t
Tmbaland, a tot of new pioducers. i ev6n got a 6eat from a dude
in Germany. ffi I wnut are your outside ventures?
I have an adutt fitm/video game coming out. when I was on the
-G
Did you have rull creative contro-r over your project, or nF.
1X'"T;ri1:"?ilJ 21X,11it81:|!n:iffi!1t":,f: il:::ilil
didyouhavetogettheapprova1from50,Eminem,andff,&k.not'performing,justinitiating'lt,snot-youraverageadutt
Dre?ryn*fufith.tt'san-advancedDVD-towhereyou.undetermine
Just50.lgetattmyanswersfromhim'lgetmydirectionretheenvironmentandoutcome.lthinkthat,swhat,sgo-
fromhim.That,stheon[ypersonlhavetosatisfy'Hehudffiingtoseparateitfromeveryotherthingoutthere-.l
EmandDre,ljustgot50.Wheneverthingsarenotgoingred.iditbecauselfetttikelcoutdchangeIhegame'lt,s
right, lask 50. a wide open market there. The hig-hest-se-tt'ing DVD
was 60,000 copies, Jenna Jameson, And we sold over
W.hydidyoupick..onFire,'asyourfirstsingte?re8o0,0o0copieiofihe,.N"*Breed''DVDoffthe6et
"on Fire" means l'm the shit. l'm really what's happen Rich or Dii Tryin,cD. once I tap into that market,
ing right now lt's been done. l've heard the term. But it won't be taboo anymore. lnytning that happeni
nothing's new. "on Fire" was one of the last records , new they don't run *itn it. rhey ooi't e"p".iit ut
recorded. Eminem produced it. lt came at a time when I att. Nobody woutd,ve expected 50 Cent to selt ,l
1
had a lot of singtes. But that was the ctub one. I wanted million records wortdw.ide off a buzz created from
to get in the club because I perform more than the aver- a mixtape.
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As Living Legends, what do you want people to remember about you? MJG: We're making people who woutd never identify themselves with the
88all: Just us, man. Peopte that know us outside the music. lf you met us street want to be ident'ified with the street. We're making peopte move out
inside the music, you'd think we're the most tow-down pimpin' mutha- of the suburbs into the ghetto.
fuckers you ever met in your [ife. 88o11: We just want them to [isten to our atbum and not think about that
lvlJG: We are peopte. We're just everyday cats, shit. We not trying to make everybody be [ike us, we just want them to buy
SBoll: We got famities, kids. We regutar peopte too. our shit and enjoy it. Don't throw on our record when you're feeting miti-
tan| throw it on when you're feeling good. When you're about to go to the
So, 8Ball, do you think Bonecrusher is biting off your whole ,.Fat ctub, or when you're cleaning the house.
Mack" thing?
SBall: (laughing) That man can't help it that he fat. I can't hetp it either. For each of you personally, what is your favorite song on the album? ls
That's my dawg. He doing what he do. there one song in particular that's meaningful to you?
lvlJG:tNe got about ten potential singles on there. I reatty can,t say. There's
Do either of you plan on doing another solo album? a bunch of them bouncing in my head right now
SBall: I do, definitety. MJG got an atbum. He won't tet anybody hear it, SBall: I love the whote atbum. "Memphis City Blues" might be one of my
though (laughing). favorites.
When you do your solo project, is that going to be independent or What's your opinion on the hip-hop game in general right now? Do you
through Bad Boy also? think changes need to be made?
SBall: I don't know l'm doing a tot of stuff. I've got my own labet, SWays i/JG: I just think it needs to keep doing what it's doing. We've seen in
Entertainment. We got a bunch of live stuff we been working with. Some the past that hip-hop has been buitding up, and everything happens for a
bands, a lot of shit going on. reason. And if we went back and changed something that happened, how
would that affect us now? History repeats itsetf. Don't try and change noth-
Were you happy with the way the video for your first single, .,You ing. lf you change something that's meant to be, then you're going to mess
Don't Want Drama," came out? something up.
88all: Definitety. MTV woutdn't ptay the whote thing, though. I guess 88all: We getting back to the raw. lf you realty can't get on stage and rap,
they fett "Don't make me ki[[ no muthafucker in here" is offensive. How and have to lip-sync and att that, you may as wett go be a news reporter or
is that offensive? They ptayed the video, but cut the end off. BET ptayed camerarnan or something. Straight up.
the entire video.
What's your opinion on the hip-hop game in general right now, do you
I've heard some people comment that the video was surprising to think any changes need to be made, what do you think the industry
them; it didn't really look the way they expected. Were you switching needs right now?
it up intentiona[ly? l4JG: I just think it needs to keep doing what its doing. We've seen in
8Ball: We wanted to dive in. We didn't wanna ptay with it and try some- the past that hip hop has been building up, and everything happens for a
thing so artsy that peopte would hate the change. We just wanted to reason. And if we went back and changed something that happened, how
dive in. woutd that affect us now. History repeats itsetf. Don't try and change noth-
ing. lf you change something that is meant to be, then you're going to mess
Now that you have a little more pressure to appeal to mainstream something up.
audiences, do you think you'lt still be able to keep your street audi- 8Boll: We getting back to the raw. lf you reatty can't get on stage and rap,
ence? and have to tip-sync and a[[ that, you may as wetl be a news reporter or
8Ball: We're hoping to attract a larger audience of street fans. cameraman or something. Straight up.
. =i*t
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DJ Quest
"Solthern Fried Gumbo Vol. 1"
www.DeeJayQuett.com
manager Phantom @ 497-7'16-3178
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$S - Yr:r;*gli*'#; "$5'" il,1r *w*'r*&?
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+;F' -Tidf{fl Firi*,€*i-r "Y* {!",a'e'i'" DJs, send your mix CDs (include a cover) to:
1516 E. Colonial Dr Suite 205 Orlando FL 32803
The 3'd Quarter 2004 Tastemakers Onty will be held on C. Rena'/ I Don't Want To Say Goodbye - Brown Street
Juty 21st, 2004, at The Moon in Tatlahassee, FL. For more Contact: C. Rena' - 813.789,2362
information, join the 10 mitlion others who have visited Tampa native C. Rena' merges perfectty with this moody
www.TJsDJs.com or cat[ 850-877-6090. track to provide a voice for a stormy night with rain press-
ing upon the window. Best known for her work on the
TASTEMAKERS ONLY XCLUSIVES (2"d Quarter 2004 - April hook for Krazy's "Leave The Ctub, " C. Rena' is now reach-
14) Disc 2 ing out with a tune that feels more personal than busi-
ness. She is torn, knowing it's time to move on from her
Total Kaos / Slow Ya Roll - So Phatt love of three years. With a voice this moving, I woutdn't
Contact: Shampoo - 850.942.1713 want her to say goodbye either.
Returning after dropping the homie anthem, "That's My
Dawg," Totat Kaos puts the streets of Deerfietd Beach on Ee-De / Let's Get lt Low (The Krunk Love Song) - NME
his back once again. This time around, Kaos is here to let Contact: Renee Wilson - 404.885.5754
the detractors know if you have any issues with him, understand,
T.ra
@.crtut
D.ra
It is tough to imagine how a love song could be crunk, but Ee-De's
Kaos "hear[s] you tatkin' bout beef, but you don't want that." honeyed singing voice over a mid-tempo bounce track putts it off.
After hearing this track, you't[ know the difference between Kaos Before [ong, you reatize Ee-De has set it off on your speakerbox
and other rappers: "They're industry whi[e he's in these streets." and your head is bopping and your feet are tapping. Ee-De's stage
show is also impressive, with crisp movements and seasoned danc-
Jody Breeze, Sean Paul, Trick Daddy / AKs & Chevrolets - Sho Nuff ers. lf you get the opportunity to check him out, don't miss it.
Contact: Eric Johnston - 4O4.488.9702
Entisting the hetp of two of the South's finest, Sean Pau[ (from Young- B.A.M.A. / Sweet Home AL - Vision
btoodz, not the white dude from Jamaica) and Mr. M.l.A. himself, Trick Contact: Brian Miller - 334.230.9455
Daddy, Jazze Pha's new artist Jody Breeze flows over the heavy bass and The hardest thing about sampting old white (excuse the term, but hey)
gunshot sampled track with ease. Breeze dectares, "l ride, you ride / Att music is getting the samptes cleared. Wett, in the case of Boyz After Mon-
day, att night / You spray, I drive" so easity, I almost gassed up the Pacer eyAlways (B.A.M.A.), sample clearance was not a problem. lf you have
and went to kitl somebody mysetf. ***DISCUIII[ER**" - No one was harmed not guessed by now, B.A.M.A. sampled Lynard Skynard's monumental hit
in the making of this song or this review, song of the same name. Listen to me now folks, love it or hate it, this
song has every etement to be HUGE. B.A.M.A. keeps it simple but tight,
Suthernfolk / Strictly 4 Da Grindaz - Jangalang leaving the hook similar to the originat. Listen out for this song at every
Contact: G - 404.512.2422 Atabama-based sporting event for years to come.
Once again, Jangatang Entertainment shows that you don't need to live in
a major market to make good music. These Atbany, GA natives are on the Sanchez / Alcohol or Music - Chronic
scene as a group that provides a unique sound with quality production. This Contact: Byron A{alcolm - 3O5.512.4774
song focuses on celebrating those that are in an everyday struggle that Sanchez is known primarity for his lover's rock tunes that have femate
are trying to "[ine ya pockets so you don't feet the wrath of a fucked-up fans craving his next note. Today, he has reteased "Atcohot or Music" on
economy." Rest assured, the Suthernfolk wi[[ continue to grind until their Chronic Records. He rhetoricatty croons, "ls it the juice you're sipping on
champagne wishes and caviar dreams are futfilted. or the music that makes you feel so right?" The rhythm is so stirring that
it is difficutt to tett which you're under the influence of.
Thrill Da Playa f. Smoke / Yo Chevy - Homebass
Contact: D. Green - 904.233,4384 Reallionaire / 24 lnch - Reallionaire
Listening to the stow, melodic production of this song naturatly evokes vi- Contact: Bag - 954.558.47 68
sions of a lazy afternoon rolting down the street with an elbow outside. lf This is for those that are fortunate to have a 24-inch chrome wheels on
you've got a sweet candy ride and some hump, or even an '86 Corotla with their ride. lf you can't swing it, live vicariousty through Rea[tionaire as
three ctashing cotors, this song is for you. The great thing about this tune is they tett what it's like to ride large spinners. Let Reatlionaire's Bag tett
that Thritt makes you proud of your ride no matter the condition. it, girls witl instantty begin to notice your ride cuz your wheels are so big
and wide. "lf I'm tyin', I'm flyin'."
Money Mark f. Roc Fa Real / Strippa Chick - Realionnaire
Contact: Bag - 954.558.4768 Snook f. Sean Pau[ / When You See Me - Southern Dynasty
This track is the epitome of strip club music! No, seriousty, ctose your eyes Contact: Chris Etheridge - 803.73O.1974
and imagine a stripper chick giving you a lapdance. lf there was music in Question: where is da best place to meet a star? No not the
the background, "Strippa Chick" would be the song ptaying. Using the Art courthouse! According to Snook, it's at the bar. ATL native and Jim
of Noise sampte perfectty, Money Mark and Roc Fa Rea[ tetl atl the profes- Crow member Snook gets some hetp from fettowATLien Sean Paul (again,
sionats that it's okay. Mark's flow is different than the usual M.l.A. drawt, from Youngbtoodz not the other one) to let atl the ladies know where
opting for more of a Three 6 Mafia tone. "Got mysetf a strippa chick / Just you can hotta at him. This is ATL boastfut ba[[in' to the finest on a
as fine as she can be / Get a nigga money up / Put a nigga dick to sleep." lf metlow but upbeat track with similarities to earty west coast funk.
that does not make you want a "Strippa Chick," I have no idea what witt. And att myATL shawties, make sure you [isten for your side because
these ni&&as love ALL the ATL women!
Triple J / 16 Years Old - Bad Business
Contact: Triple J - 56'1.452.6802 G.V. f. Walt Love / Who U ls (Roll Call) - Philaso
This is a cautionary rap tate wrapped in a smooth R&B styte case of a Contact: Walt Love - 352.219.6280
popular rapper misted by a girt who's "just 16 years otd, thinking she's Straight from the streets of Gatorvitte, FL, G.V. and Walt Love combine to
grown." Who woulda thunk it if he met a 5' 5" '135 tbs. girt in a ctub with show love to many of their homeboys. The mesmerizing production atlows
thick thighs, big eyes, big lips, big ass, big hips who is experienced, and the tistener to zone out and truty get a feel for where they're coming
real mature. Ptus, he met her in a ctub, with a cup, and she picked him up from. Especialty if you get tit and represent tike they do. Be on notice,
in her car white buying the hotel room. As Triple J learned, everything that Gainesville now has an official voice.
gtitters ain't gotd, so make sure you check lD. She just might be 16 years
otd, *On o side note, we wish Triple J of Palm Beach a speedy recovery Shimmy & Black Dice / M.l.A. - T.O.K,
from multiple gunshot wounds he suffered this post April.. Contact: Sean Washington - 850.528.6374
Shimmy & Btack Dice are checking in to submit their respect to Miami.
G. Womack / Groove Wit You - Another Level The beat has a funky satsa-esque cadence, atlowing visions of Spanish
Contact: Tony Neal - 414.406.9836 mamis shaking their bom-boms. With Shimmy & Dice on the mic, you
This sitky tune is purely for the grown. This tune is reminiscent of the jazz notice that they give hints of future brittiance that should mature as they
cotton ctubs, where you woutd witness fotks in their best button-ups simpty cont'inue to record. Hopefutty, they't[ continue to be hungry and stay in
grooving to the melodies. Couptes move in time to the sultry sounds with the booth.
dresses flowing as the sexy ladies twirl in and out of their partner's arms.
This song woutd be a great soundtrack for a candlelit dinner, but please be - Keith "1st Prophet" Kennedy, keith@tjsdjs.com
careful with this tune or you may be paying for it over the next 18 years. - Malik Darby, malik@tjsdjs.cotTt rNrce rv. Matikt
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4thof ply
New Sinqle
"Dress Shbss"