ozone magazine #22 - apr 2004

8/7/2019 Ozone Magazine #22 - Apr 2004

1/51

THE SOUTHffiS V8Iffi ffiF ffi*P-Ffi&P ffiA$SK

. " ' lfl: {r{,,,,1

GIGNS

' ', iti ; :f lrsil#fiil I l'lIit I I rlfr r I t'il I t I,ttflt.llilll'*nll:ilrtt FSI'E#U APRLM4lllffi lllillffi llll lllllllll


2/51

#h*c 7l-.*1Fqn\JF*.- l-thJ F-


3/51

ac.,*|-S,ffi,\wffiww={wajEf;- =\F&dR,=U=

\ -,*WT A%w&h.E L'FT_\E {JR'!ntune@ FE1*red #. I-".wP Gqr it Wi ff 3w iY \ f i.*E gl-gl-.EfI-5=ffi :- jttL -I .,rrlh ggWE '*--" -'- iffii 'ii* TcFftlJed4Hffi5\; qrF+=iA.wt-**- o=la.Fq nqrL .e ifrw':b.r&tf tr! >.[ruJ;eff t]ry ;!&'fi"*"*,,ffi\mwi(6\:sqryri'"s"j

ffi PLLLJ Y-ir-- 56

r*sFffi* **L*HffiffiMtud Mrdffi&F*

ls\&VlrFryF#,&.r1wffi@r,ffi\#Jr"frryJw -d,@wffi\s\&ffiww*fs\f\h@p 'cft[-ry- 1hqww\s\#

\g)r-IH.tldrht,\#w@ffi

ldhd{vFd{qrdP.#sh;

f*ktr*qMf*ryrc


4/51

"Pana llucK'


5/51

,qllq i*P"; rs 5" VOLUME 30INLUDE$ EONU$ OVD FFATURING GHOSTFACE + MOBB OFEP

OAVID BANNER + TRICK DANDY + PITBULL + NORE + MORE

MIAMI'S MIXTAPE KING## ffiffiruffi$m*ry Ese HPe* ffimtu*reW*#trffi# ffi# cs + DVDlncludes bonus DVD featuring ov80 rninutes of footage.*ffu#'r* *,t*zg? ffi* #H#

H*oking tnfe: 3$5.$71.9$31F-mail : h i*h*p&*razyhssd"csmwwucrazyhood.com

tu6.6.p


6/51

Mllslkh*xx Fl*s*rding S*udi* rtritl*spr*vid* its ,ilieruf,x l*rith th$."lgh$ quafffi,tlf ,rviixing and, ,.,recCIrding equipment.t, , t: ' yuur s*u*d using ffurtl# Syntnm with Sg channels at ll8T**[* S* Fadsr trr*-Gsntralul*ipl* high quality Micraphsne Fres.snd Apcge* #anverters

Sn Tritnn Fln*kMp* **** & 4**#gS**, *9"/t frRnlmnd XVSSSSEquip


7/51


8/51

Coalition OflndependentNews(916) MagazineSacramento, CAwww.the916.com916-452-2482

Don Diva MagazineNewYork, NY877-366-3482

ACE MagazineWest Palm Beach, FL772-332-7979

Exposure MagazineChicago, lL847-366-8915

Crunk MagazineAtlanta, GAwww. crunkmag.com404-756-9868Da Streetz MagazinNewYork, NYwww. dastreetzon li ne.212-589-1009

www.exposuremagazines.com NY NY 10128F.E.D.S. MagazineNew York, NY1369 Madison Ave #4O6

Tha Hole MagazineHuntsville, AL256-6s2-0804www.thahole.comHo[[a MagazineAtlanta, GAwww. hollamag.com770^438-0112

OZONE MagazineOrlando, FL407-447-6063www. ozonemag. com

Kronick MagazineLos Angeles, CAwww.kronick.com

Rude MagazineNew Orleans, LA504-246-1491

Xplosive MagazineSan Francisco, CA925-427-9330finishyourbiz@ao[.co

Dog MagazineLos Angeles, CAmurderdog.com707-553-'t 850

MVP MagazineJacksonville, FLmvpthemagazine.com904-493-6075New Power Magazine Next Level MagazineColumbus, MS New York, NY662-251-0075 thenextlevelmagazine.comnewpowermagazine.com

Magazine Street Masters MagazineLos Angeles, CA Memphis, TN510-481-3080 901-888-1003Streetz Magazine Urban Pages MagazineVirginia Charleston, SC8OO-77O-1078 [email protected]

UrbLife MagazineMontgomery, ALwww.urblife.com888-683-0677

Check out other magazines like ours online at www.MAGCOALlTlON.com


9/51

Ye 8jR.rr FrnI23 M.i'-s.^ayrhdtt US f234j rti:.OZONE M.!iri!.Ab: F6cdk:l8.li"L?'ts*"'*,0,l*v* *;$itifl i4agaziil*" I lhink it'r one *flhe holt*st rnag&:ifies that doesn't just talkeb*lit th* s3.ni+ eriistc *v*r and over anct*v*r agaift. Keep d*ing your thin*" - Sh*itra,t*y*t*?** ?,@yah**. {sir'i

I g*i a c*py *f ycur rlagazine when ! was eilt ifi i.l*w *rleans f*r ttre{h*ppa press jx:nksi" lt was the tirst time I've heard *b*ut G:Ol',ifbec*use i'm based in l-*s Ange[*s. Anyway, !'vs b*en :-*eriiftfl y*iiredit*ri*l, Jfl's ? Cents, and { just wanteel t* say, keep d*'ing y*ur thing.Ysur edlt*ri*l is a g*orJ read, very enlertainiiig. l{eep ii *p guysi - Jagjay*@belterstat*c. nst$ZfJl'.lt ir4*ga:iile fittarks and :landerr i*cal artisii" i re*ei:tly read nn*r-Licl* in *I*t"jf, &Aagazirle lha"r was abo*t scrne rum*r: cf nr* talking loiXs pn AIJL lnsf.ant ],4*ss*nq*r. Ysu rnLlst r*wr';ts this :iary inrmeeJiai*lyhecause it's l-l*t accurate at aill These ai{egations ar* very jnac.{Jrate.i never hacl a converiatisn wiih any magazine edilcir *rilirre, n*r have! ever misrepresented nryself by pr*tei'rding tc h*a kid that :vjtl kilt himsell or a prograrl direct*rcf an'y radi* stnti*n. i-i*wev*r, I think that tne Diwho is supporting these *i.i*gaticns h*s sorne ki*dc{ p*rsor:al .rendetta. lt is *ur *nderstaneling thathe spoke *qeinrt th Lit' Jon sanrple in ih* ssnge*tittd" "SK," and yet he put anoiher group's songon his mix Cn thet featui"ed Tupac's af,apella vocals.The s*ng "ilK," sid include e Lil' Jon saflpl, but 'itvras oniy frr demc purposes fbr Lil' Jon to aciuaii;rgel oil the scng" U:"ifortunately, it was nct deliveredta Li[' Jen in tin.]e before it was teaked $ut intoth streets, *nd it turnd *ut to b* the tatk *f thenrusi* induslry anci an r-rndengr.rund hit. We here atDr*amer Visiun R,ecsrds are open with aur nfficcsand our recordi*g facitity. Sur e*mput*rs are *peilto riany pr*ducers, so we have nn idea who the ilJin questioii was taiking i*. S*t, w* wilI ii-]yestigatthis rnattr fLrrlher". The 5ou!"ce attackifig fiminemS:SNf, attac{! Pl*tinum$oyfC..} - what's nexl forhip-hop beef? - Pletinun$*yFCJ, .Jennif*r$platinunrb*yfci,cen:

I rvanl tc r.!'*!'k rcith y'*l! jilst la h*ip g+:l yr:';r!T*E orit ii'r{il *th*r ple{es ih*t C*r;'l kn*vgeb*ui *Z*i{t. i ii*n'i w*nt *n-v i-**n*y *ranything like thfit" I j**t i"+*nn* s** s*rns*nsvglro work: as hard as y*li sn l*p lik* lirey'resupp**cd tiJ ile. il*t ki::ing a:s, *ul yo*r inagis hlel,t*r ihail XXL, anei I iave Tl* *s:urce i* {ieath i:i,jt eyeir ihe'f cai'}'tiouch wi:a{. y$tj've cre*led. l've *ni.y i-l"}*i:rflrj. -}S. r::tc*, i:i.:t y*u i*ft nr*with e g6$* ir*t:r*ssiqr* ihat tsriit b* nitlr i".r* f*r a i*r:g tir-l:*, *nd r:nc* ther*st cf th* idfirld g*ts i] l**k al y*ur nr*g {'m sure ih*y'il be as n*alled asianr. Y*ur rnag i3 ih* sliii" - *li*lc ei* Fin'l;:, etrawb*i'rie5*?@a*l.s*i?!! reaLly wa:-rt ir thark y*r, f*r $iiilti:rg *"ry s!':*t; [in th* h,,.rsines: pr*fiLe*1,'$l*ek't'sear': eEO 5:ax]. i don't think tr've ?er :e*n colnrs ol n:y tricsp;"inted lj{* t.-ai. *ax i-q ais* v*ry :in*;-essed anrl you fafi $s* him tir*s*Cay: wal:.1'ing ain,ind b,,it!i tn t;Zr:ilf 1"1*g in hls hanrJs everywh*re h*gces. I alsc must say thai iisx dia :,.c:rr j*b Or*nrcting in -Iacirs**, i,iS.becaus* recenlL;v everytirne : sh*w up scnewhere wilh a {*irera ! geia:ked !f i weri.: ioi *Z*Nf, or r.vhere they {eft gtone, becaure ihev lrrani tc eet a ;*p-v. Gr*.at j*i:i- Jaro V*cek, r*ntofixgaoi"csti"!

I'm a f*rmer re:iden: o: Orlando, *rd j lhink y*ur"maga;ine is ih* rhit. I se n l;i *f :*'9 friends andc:rLleaques {,,rt-tl i:re Ci'ianCo a:ea :'.1 :'': ::3)i, irtyo*r m*g+zine. Thaniss fer aLl l*e |c,.,'e cn {ar:'i*n &the S'!pta':rats. Peece - -.1. Ge*rge, *ipi*:"*atifice-A-Feila fr.eeords Hxecutive d"& ft., **i lai-:ai l"e*:*fcrrs:fion: t** pfrctc cre*ii.: ** sa-


10/51

'lil** 1,:r;r"s ..e*, ern+*:,..,ltir * n+v; i.,ljk*n *r:d *.rill-= -.::ii::i *i br.*;Tii* ;l *h+l*g:"3pher, I h****ej 'tS,-r.rt 1o ]a:11-:ia i*r il'rs""' i:ln:irig ri ilE i'; {ir:t "5,prir:33i:;:q." i;n*;-a: i,{efg :r{ii pil',rv;*d. rifi ;1ic: i!1lirijii*d 1* rtr'yi1 ii:r l3:t *f th*r fiiring nr-r*.. Sn**r; wal irst{rr-:jr-!9, i,,ii:* i:*:.;i* b;reiy.e* him.ir'l si+g* ii:r,;l;qh il*-v s;1r*1i i**:" {i*rir* *ir:a1,, i *Filr**{.h** * *h*t*#rn}h*r **ar th* li*g* *nd a:ke* h*'lire =*t a pns:. i--le r{a:.iiii;r t;:e *riard* Seiliinei. "*+';i i,le i*.,:i riii? l+s(i:ri-irdfi 5lagjr gefte i*g*tr*r. il.*:nelar*ef i::ei" h* *sii*d. i *i1*":,, *t;t \r*crit:d *iryway. "l-hai.': ih* *Lilr ysir ne*d to c*ik l*," t:e t*t: +re, r-Rin:'iirg, "Th+t's f*b." i t*kl F*,ir i +:as tryi':E l* Al * jilb ai a rnaga;ir:* *i:d !!-:*e{i*d iri*iufe* i*r:n-v **l"ii*lk:" i-l* *i*;:'t s;rir:nuch, jList, "[*ll*"r, *:*."5**r, i rqir* *4.diief*';:iil: fr+* reign. 5;:*i-.3:t*p;:*d *ff ;1a** 'ei'id w*.s q:"*+:*d hy i-hr: t'4ay*rci i?,e'::i.*;:n. l'l*ii:a lr*Ll.;e* p*st, g*id ?.*ill!: ;li*;il1fit, a:r# sl*pp*C i* $*5* a*f * fe'oj ih+t:. *iii*i;li:i*i r;;lix*# i:y. **n,,:ir:* '.'r+l:ta*e!jr:q *.jxi i* lTie, sL.;*k1*q *i: ,: i*iii;;** ;rii{ i.*lki*g i* A"i irr:ry:l**t:l * f*r"il. T**r:" lh*r* wai f r** f**:* a;:* ;i;'i::ks *il, dey" il !."r*: i{i**i - ! r+*s :r*r.iq*C,otve*r Later, i lr+d *r i*giii*:&t* re*!*ii 1,3 r*v*rr $pri*; *ii*9" i :*nr r,JFi*::]i *r-\.'i-r:*ga;:fi l*ft+* {*ili:fi;ii..u er.,e:'-} irsntir, nn*i wh*il *,:yl*n* ;-*ii.*# are*iir.i" i srn::il** i:i* r,:iir:6 i*r * palr,Ftr rr*r'i;;f ii:* rv*+k**d, il ,.yJs -tusi :rr-= e*.i a l;:iiJfut *l *t!r*;'i:h*t*?r4fi:fs ln Lh* "pii."th*:r--*il eie 5rpaiaiiirg inr {iswd fran: tie it;l*e" *'r'i&C {{r;-y lii*r*il1;1 r:p-:i*-re anci *ei-s*n*i .3r:i.:esg.;irh**ti rv*ii** nrrvi-:*sly *nili:i*?* v':iih i:*;'rr.rij-rr::" j:efr:rr h*r .li ri;rr*i::\'-;.Trearh g:*v* m': a h''.:g" ! +l*lke* {:*.i:k i* ihr *f*ssiif ifl;::'i }ia r'qith i:"v il,*ii!, .4i i' rr4ir. cl,:\;pi:rnped iii: fisl s*thiisli*st'ically, sf;r:i:ii;:g ": l*r'* ;--y j".:i:i" i,: n* i:rt*,'l;: ;rnri!al'.*r.i.lor,,', P"ab i: "i:* i*i"!Aer',rith iil i*ifip.3fir!" iir.i *IT l*;'i*g 5ii-g i: ri* l=rgei iu*" li's i*gu-iat*i. cc;i:tr,*li,:rj, ;;::d ili:r:fifr. il'5 nc! {v*fr iiii**i at ii:* i:e;eh ri!-ri/lr:r-r. !i'* * ir:i i"fi4:rf p:':{-lir;ll **r;i*ie ir*fiic ir *+l n: hr:avy in i:i:is i*i;ii*::. a::el ! ***'t hev*:+ i'igiri r*:"*-gl erswd:+t rra;':d, pi*piirg firer: {ii v*u t.*ink i'r e::agg+rali-9" :r.ii hev* -*v'*r i:*** t,:: fi{fi.; i* q*t,ilier+, 3?.it- it's j,;sl ililt lii{r ii us*d t* i:*. Th* telei:rily iii:e** *':' **i-f+rr:er: :night b* 4r-+*1f*r vi*'+*t:, li',:i ft:i- ihe prrsi ir,l* V{r*f:, r"h* ,'**dia irealrner:i l':a: i".**:n t*rribi*. Til*y't"a1 gr;1-i*i: l,*r l,'i!1. ;il i*rge cril{e}-ts *r ie:livialr. "ir*tlia" *r "Y!F"5*ii,,i.rii-t er* *Lt**51 *iv';ay; a rr'**t j*1'.*. Thtfi iricit },'oLr inistilrnkl*g 1v,:i":'i* geltir:g :;r-;r*r:lili:rt *pe.r!,,ri, *ui 1l'-q ir*ra iii{*ju;"r,- iir-;ly. T**'ri: Lr*:1r:e.l.i-v ir::l h+.i:rg srtri*llir{i :rJ :ile!cari e:ilrtrci yr:*" ']'h*y'll *iu:*y: *!.ai::e it. ** 3*niliii:J, L:*lth*t': bl.llii:il. Ti:1: ,-ear, ail*r plck!n4 ilf in'y ffi.?.1!a ir+ij*;:-ii&ls, !li'1: 1:r"* i***v',;i r*nl*r* haqs :*{ ih* ii:al;l lJ*tstl{:r*1'f . i'h* s;.,*r"liil;; gL:arC :hrugg*cl. "{i* ai:*a*." []eyi" ! 1{'*:ir::"-:|rn*:i iha: ifir;*dcl* t*.*i: lrJ il:* "rnr,i;e l"*t:i," ex4 !i9rve: "r-:'.:gl:i" it"r r:rr1r r,;lher;:rra t;ithr:*l * "3il'f r::c'r;-|,";::-v e:'r:ii+ni1;gi tt*ulti i:* {-{:i-rll-.:iiat*ii *;:',j ! ;r'l;:':irj ';t *:k**l* ii:i.ve ip*r-r-fir*;*1y.". h*h,xir*i. 1* il': ir:ci "t: *:* =':v{n$i{:ift ireg;-0 rtniiggis r:'; E'capens. as i*:i*:: ii:l'i::,,:'11*fJ t+ ti:* r*Ffrii.i*r ;ri*ri*:* *r*;:t "ieiilrii,",." ?l=.t=, '-r:t;*v+:. z: a ZZ7-=-=ts-

r + -qt: : c, t 6 *. *+,*, 7{ :.,r. = + =-'S=*tl1n4 tttj?:aj** =a E*+ -**t-id*i+ri*r-. #,* j":'!*i:le iiia ti:*:**r* pri;*l*** - {*r *:ver'gthirg

iil* * i*r::tr*pi:*N:]j{ f*r " :'e*S!;: t**ts. "J*l1a *ev*rly. ji:S*x***rr-:*g.e**:

A i#r:}Fi* Sf,F-r*firfs**d ph6tn'.*rJ*$ a;:y*fi* r**ily e,"*l,:t 1* EefJa6g*d Edge; iri {i#*s *f * "*{; "ili.}ig'*r. r+*iii!'A *!:**:9' grii:s ;inr3

t;IThe +.r*dta i+rttr :r r'ici gx6r:ily e itl+,:* vill'a: !",=al: :,: :*e-d ii:a**rJ*i'*. i:': ilLlt, i:hsf+ is il* l.+il, ii+ i*r:i if;xt"*i:l ,: i+r.^: b*S: *i**ii*t* {nipi:, *ni-i *r: iiriRk;;" iiftisi! ihal ui::t, ih* *:*di,: *r**ef* *iagqf{i i;::el'. +:-:d l.}r-th *et\veen ili iili{:{visws ail'j ;aeii*ir*p:. 'iit*:";" a rli{il** "i}l-!*i+tr;lrh*i':" *;lit i*r p;*:iri*r'l ,,rui:i!.eih* ari:iri s;,ifii:i ifi fr*ni r:f * tlilT:iqn Lr:r:rii-:q l"r-rr*d. f.lrxt t*ihr "fii*ljie i+::1" is ih* ieaii,: j:1'} "*f ei:ri r+{rffr"' i+nt ;rrr-Fi+tewllil i*rrt |*+ii:;:r' qc*ches, ierr--:d a*d *ri*k:, * l*rq* :rr**n -iV,*::d {*l*l}!-itre..*" 's?it ai* c*nv*r:i*nily rii:,r* *n*lrth 1* 1* ih*"q;"*en r**;=;. " h;l *ap;-*::l5r ir.rri::rider; ir*in *illdiii !"!9.I ff:utrJ g* *il fu:l*r.*r" *t ih* fiik *i s+i:*r11r:4 ii!-.* *:r *nqr,*iefl;lhji{h, biri. *.::::',:ll. isiili. hed i*n.,*,*'irlv*y',,1!r* i:***s a r-neLjiep*s:, lvh*e-- *atilts *nrmil yrsij ih*ir *wr: pirs i:iioills t+ Lll Jcn!?Ih*i:i: t*: {hr: q**d p**pi* *i SIT rqh:: fci*i'*i** *iy .r::11piffinls.\*e'r* ali juai d*ing *r-r j*hs. rig*l? l.i+ri. y*;rr, f**ri a*;l *ri::li:"'.r,li:!r:f be nire" *,neJ renlemi:*r. p-\*l*gilei-:h*r5 nl* lp*el*i.

> Rick Ross> Jacki-ORumors abound when the "Madam ofMiami" skips her own signing party> Grandaddy SoufMics mysteriously cut off in Tallahasseeright before per{orming "Fuck Da Law"> Cash Money ReunionNever saw this one coming> Da Band dismantled?Never saw this one coming, either> King RonJacksonville's own wins BET DJ battle> Uncle LukeHe's going white and never going back> G-UnitHow much limelight do they have leftbefore the inevitable backlash?> Nelty vs. Spellman girlsSome offended by credit-card ass swiping

Dirty fl Lil' Burn One "That's Why l"Ying Yang Twins f/ Trlck Daddy "What's Happenin"'Lloyd Banks f/ 50 Cent "Porno star"Kanye West f I Jay-Z & J lvy "Never Let Me Down"Carl Thomas "A4ake it Alright"Sean Paul f/ Sasha "l'm Still in Love with You"

Ric-A-Che "Coo Coo CheeYoungbloodz "Lean Low"Arrogant "Swing on His Ass"Akon fl Stytes P "Locked Up"SBalt & MJG "Confessions"ilaroon 5 "This Love"

I guess you've gotta start somewhere.

Uh...ls that Ja Rute? {Photo: i'lcrcsdes}

The n*w spinfler chains, in ctore* nowOZONE MAGAZINE Apnrr 2004


11/51

Aboqt a gicl ;n nry \ood, see aoct niggar call \er \oe and dig \erCAwe ;\e's joyly gcov'n' qP tobe like \ec older rirterJ\e got a bad cepatation so yoq drln't \old or k rr \er,{nd aftec one converration yoqptob'ly totd oc tvirt \ecTt ain'l \acd to tett t\at \oney dqr'bJhe 16 goin'on 2! nr?nr? don? knov V\ere r\e 9et \ec nroney fconHoppin'in and oqt of cav, stutled in t\e backreatLookin'to rcofe bi9'caq* r\e tqck all t\e at\leter5oraet\in9 like a trincr, gone VfongLbed iobe a ballerina, nov rhe Pecforn'r'fo f\e'T\ong 5ong'V\at haPP.n"d to yo(rc p13n5 to enroll in coliegeSNov yoq'd rathec rlide dovn netal Poler +0r dollartfingernai]; and yoqc toet is ?otistedB,* yoqc brain'; on 4.l.eeze, in ot\er vocdr., fcozen knoyleJgeAll yoqr planr ?nd yoql goa)r denolir\ed/oq gr.v ap on t\e Soql\Side, vhy n;9935 knov yoq a \oe in Hollir3...J /1ll ren'enber \ov it ali *acted in rc\ool, cqttin/ {ronr clarrEvecy boy yoq knev toqc\;n'your arr1 ain? gonna liet slpttlt f ared to laug\Hov yoq var t\e nrain hpic in l4at\J reen \ec in t\e nall AoPPingr nori f'rrr conteraPlating'boqt rtoPPing\Caqre rhe coqld gef rae off, like CochcaneBack t\en it vas poppin', tPoiled., \er daddy vat pu^pin'He probably t\oqg\t Ae'd gcov cp and get nrarried oc rorretUn'Bqt iittle did \e lnog Ur little ?tit\cctt vat t\e cify 1''69Pretty 0ace, t\e type trolr t\e videoDann, t\ir bitc\ t\ick, r\e on that Lit'l("' rUt9ee, \ec \air n'ate\ t\e calor o+ \er liP*ick- Lbyd Bankr,'Pocno Stac'Lltten,!'rn a 5?' n;99q tryin' to cape and k,tt itT\int aboqt honey every five-eig\t\r a nrnrtteT\at'r vhy t\ere n;99qr vant ne 0.0.A.V\en f co'ae t\roqg\ cockin'9atr t\ey iike, 'He don? Pay!'And ray niggar rtacUn'cUPr like Frih LayHey, v\o da fqct vanna rqn it todaySVhy y'att taggot-a* ni9gar tfying rUct for :lectTort'rt'y Gqnz'll rock-a-+ella like I'rrr Dirt llcGictLrte to gazzle Hypnotig gol a t\ic;t for 5riqrfs?i+li7'' +atet in da \ood in a pqrpie \earre1 knov on'e killaz t\at are ro goriliaHave yoq dqcUn'and dodgin'balletr like da l4atrix hotion PictqreDun'p yoq off i\e bcidge, yoq can fake t\e ocean vit'ya/oq ain? on ny level, dog I'tl let onre \oer coae get y?1 knov ya d;dn? t\inr CityBoy vat ^y t+yteIt't a pity boy., rt'y ovn city didn't knov I"tt t\ir vild- Toa br 'Jntro' (0efinit;on of Hangry")Itl ,'lre end of f\e vay of t;te ar ve knov itT\ir is t\e latt strav, George Bcr\'boqt to declare t\e latt var5o tell everybody yoq love, yoq *ill love'errAnd if yoq 9ot kdt t\en take trr"e to \s9'er"X don? ceatty tUnk t\at y'alt knov v\at ni9931 ir tac;ngVe ace near t\e end of ^ +.vit+ed civilizationTl\it i^'t a nation - cqt att the raoney toc edqcationAnd bOtd hore Pfironr at a rePlacerntHov ir it t\at t\ey can bqild a var againrt teccor andJn t\e g\etto vs +ill loring t\e var againrt \ero;n3V\ere aee all t\e t\oroug\ ;,en, t\e l'1artinr, t\e l4atcolrt'r3T\e oner t\at'll lore t\ey life to c\3nge t\e oqtcone?- 5ai9on, 'kirr t\e Babier"

l4e uef srtt yuB Ttta+'t ]ft.e celigron \ertqi tciencePeoPle believe in yoq, fool, bat 1 prove t\at f'n nofe feliairit''lore defiant, kid, yoa letting dovn your pr,de5o davy betore yoq get anplqggel iike an applianc'Caqre like :trong and orange, t\at cat be barely t\yningand J a;n? nevec lying, v\o y'att tUnk ir t\e illert?/oq coqld \ide bott'br qnder tny r\eetr and J rtili voqidnt feel itltle, I'rt' rt'oce like acfylig gotta go p* ay rqf+ac/oqr c\ynrin' ir like 5an Bovie rook e c?lcdcr'caqce t\ey vortNerrl4y ,tec*t \ave yoq in t\e 'ER' like *caeonrYoq uqldn'+ Jive yoqrglf propr i+ yoq va, rapping in tlvrd perronf rPit iike a crhPq+er Progfar!;rq'f\lfqckef, f'n' Vord Perfectkeep talUng and act like Cain and get "'ccdeced1 rtrake any tool l''licroott VorktrVersionsr rtop vorKng1"\ not ceftain that yoq even derefve to ree t\e Eaft\ rPinJo f nrig\t +qck qP yoqr v\ole lite, like yoq Adan and 1'rrr t\e recpent0\ yea\ and yoqc airl ir like CN$ t\. \ead r"e or"et\in9 nev- Eltiot Tayior, nicca\reane\othail.c0h1 a;n? gofta yAill *e,I/nr cl?inng ay orin t\rone16Bar: n 4c!-it's potlqttng t\e 0Z0NEHold c\ronre tt\at 4in:r 1 aint talle'n"boqt ciasSee?, pull, pop and pat one in yoqr c\inLaqderdate is l\e city I'a inT\ey can rrc t\e voice, no c\o;ce., yoq 90tta lirten to \inrDfr ain? giving he t?i^t qnlett1 P yTUr ganre ir +qcked ap and getr yocre every dayTlrey sayl \e tay, t\at \e': aiig\tHe Ay,4te ay, t\at Ur tloy '19515\e ray t\ey *aced\caqse \e rorrnl 6r1t15o t\ey \atel it'r okay'caqre \e gon'fi9;tI see tle irdwtcy i: r\ady v\en lig\tr ir onBqt t\ere can? be any r\ade v\en t\e lig\tr ir goneIt't dacl aroqnd the vay on t\e pat\ f'n onTo Pqt c\alk aroqnd t\e J?ne.1 clt1ls ?lqz l\as u^e- ?lqz V q\ plqzvqne\ofhail.corr ('knock gqlnd's Voice of t\e City')! uar put \ece ar a tavor to y'all in all rr'y glocyLett ny rput cereeved in \eaven and travekd t\eorrg\ pq1r1tb,tTapped 5atan on t\e r\oqlder and totd \in to nrove arideAnd Aortened qp t\e d;rtance perrirfin"tveen yoq and iI got angeB on ny r\oqldec; and devilr cpon ny teetAnd t\e* cats is diabeiiq t\ey tUnHng t\at r\it is tveetHittin't\e concrete apon beatr and acnrs \ave fallen/'an ain? ever reac\ t\e p\one, brt 1'n, auveeing nry c?llingAnd nov t\e operator, engains divin. vond"ctV\ite f'r \aving crnverrationr vit\ 5eils yoqr nnd riqnberrBett *ay vitUn yoqf cornerc v\ile yoq( deity +eals0r elre t\e vordt'lt trap yout toql and yoq ain? teeirr teleateRenro'ii breat\ 'trtobeatc vUle \e'r 6314n9 t\e vofdr danceVUie t\e tpifitt qpon \eaven and \ell and t\e sqlf\ c\3nt'Cacre ry vocdr on t\e fqtqre \od a n'aiority of torceAnd t\e day t\at 1 rtop rpealeng/t a hinority report- Godaaw R\yne 'lron Vitt (renix)'(iC0N t\e l'1ic king'r 'Intrieate Spectrua W"\

Errail yoqc]BEOZON 16 bacr toEn AG .C0lt1 ." con','.derar,on.


12/51


13/51


14/51


15/51


16/51


17/51


18/51


19/51

Hffirffie*sc*g

.t:,titn -, .- .,1lr.' .-,,.. .t;:il%-q+#.

OZONE MAGAZINE Aparr- 2004


20/51

#&.s0?*#6r.At,$,&,d,Fsaturins

{arty* Stepfrens

"L:ttl&"'lifhite Lie'otrt's a Fityttl . , '*'Tsk, him maek,*


21/51


22/51

crime Mob's singte "Knuck.it v9l,eucrl' u99?',5lltJ.'?*t3)t:^'11f.il"oro:;:lY ff:":l"l?Tillil

- woiat E photo bY lisha Hitlmon

Lnme MoD s srrrgts : video dropping soon, tn(i:l.f$;'Tl*:;:wl*:: *1,ilU?""4'lliii;;;;;'""b"'"1 the-group'l srnete ciugthe attention of Def Jam, sJ',tvll"i i" sooet' crime'ffit it-;;;A;J tv S6rious (Lit'scrappvmanager), so the group 9#i ; ;g*t:e ;iL1v-t1;t"eioth"it iht;ugn Llt' scrappv's

crunkand Lit, Jon,s BME necorornli. rney -ptarito usher in u irtoi" n"w phaie in the crunk moveme,,high-schoot crunk.,,rn" rir'."rOfr!'lpry.no etu.f,biinJ"it, r'r.r.'C" KittaC' Lit'J' and Diamo- are att sophomores, 1".,;.,;;";iors-in nlgh,sctt""t.'er-iltl"t graduation, their educatio#;;i:,;#,"d.'114irtpL::^,,?#pnt..*linU:,t,'l;'.'ff Uii:1fl';"'il',?'J"'i::iWhen it comes to batanclhomework, and go straigh'iiJin" r].";i". ii a" a"n1i?nlt-nlii nu" ln tire miorninq' some dateave the studio and g" il;g;il-r.noot." rn"i, atuurl'ufprop.iatety named';on the Risexotains their quick t.,r"'i""*=.i'o" t..iio-piuviitts. Ai;,; ilii"'p"""ti.titv coco Brother foraved ,,Knuck if vou eucxiion Hli ioi.s'i "rjig it or'ditn-it,'; and it quickty became mainstre'"nci tn" q,roup signed . o"tr']r'r'i'c' iurniii up 5v tuvi'ie";w! maxe il'it shii' we're voung andmake hits. Head Banger tii#iiiilI';i; [;d''-;?w.i't"'i. in" iiu, cooking beats tike"' crac

LA,BE; Cr.udf$llF/ltrat?f Bros' HIT SltlGLbRADIO $UPPORTCELHS COSIGNERSwtrg,.HIGHCHOOL CRUNIK'lffil;r

LA'HL #0{tlrFry#,- ,_,."csuHluhllcAill*G'n

hIAJCIR LABET NHALnAnlo $Rpt*AYHIT $IT{Gffitrtrtrio-A-Chs1firffi,

*,ft-al HOIUETOVyII suPponTDJ $UPPORTIT.IDEPENNENT HU$TLE uffWThe Tattahassee-based Nappy Headz (not to be confused with Kentucky,s Nappy Roots) first gainedregional notoriety with "Robbery" the gangsta version of the popuiai inii-rll"ro, ,,My Neck, MBack." Faheim, one of the six members of lhe groul and atso the producer, exptains, ,,,Robberywas just a ptay-around song. r had just cteaned-up the studio and ii was rooftn;'empty, so we waslike, man, [et's get some peopte rn nere to do a i6ng. " rh,.t ril" nrent, ;ri#uuiv" was ptayed inthe ctub, and reached the ears of influentiat record'poot owner rl Enipru,i.-ir.l,, DJ,s reachedout to [DJs everywhere] the next day with that recola,', says Faheim. ,,r tove him for that ,causehe made us." Their fottow-up.singtes, "fU,,anA;Whut in"V Oo,;; f"ji"rl.g Totat Kaos, alsoroved to be successful regionatty..Attend any tocal show and it's easy to see that rattahassee haslove for the Nappy Headz, -wrro'u6 r


23/51

*mE{bcr


24/51

f,R'T}AYSF * noorrro Rrn

DJ PROSTYJIT4MY JA}'ZDJ JASR&8r H|P-HOOLD SCHOIOPil ' tanLTDIES ' 8- frlE$5 ssFonr I$ro rrrs


25/51

$pmi'4-d"!*'-. :-r r :r::t;)i:!ar::r.::..i-...,

Fwwmwsswffi&reTpcffi


26/51

; -.':';

ffirryi

i*li$t,-'TW

4?grN* *


27/51

push your project


28/51

.:,:aa.arta...

no major artists that really have come outgf;F.tl:&d-i:t,s1,','',you think that will make it harder for you? ;1i;it;*!;;rl*lri,i''-...,,.1::,11::..:,.,:,Actuatty, there was, Taytor Boy, Creo-D and L.A.5howi.ilhfli:6ioke..0tlt&ld*::r,lrl:i.he-re;:,. i!!i,11Dajsy Duke." That's kinda otd, though. They were tro*'tn,,n.',,""'' .Gtade. But it's a hard city to live in. lf you can make it out of here, youmake it tr:om Ci{i;Mliei* Anvwhere you qo.g$'.rut.it:fryi 1* Anywhere you so.

:6l,fa r a3,,'b.tnft i.gg.rgco rds i n th i s a rea ?lllirr.,bur r it :ril!!.r&trf,lc{eq:,!,9,b!p-:hop. It'srndre'Gospet and counffy

But you can pick up ttle Palm Beach stations?Yeah, we can pick up X 102.3 and the underground stations overiir-PalmBeach.88.5 and 97.5.96.3 Ravto and Dem Damn Doees station,t:.:ilt :::: ... ...-...-...--land Dem Damn Doggs station':t:::::*:ri.::::,:::,: :r'j,What's your plans right noq are you pushing the "Muck City" atbumalbum? ',-.,--..,:jnthe near future, butlal*his point, the plan is to promote the r::ir:'::;;album eind break the singles offillh4ntbum, "Dirty South" and "Shorty I ::tir::,:::li:::lJaari Al".n' 'r Vr tr,Heard About Ya." ,:1t::il. ,.,_,.,,.,.... ..:r:::i:i-

have a timeframe wtren y1lflre looking to drop a solo album? "'"t:1:,I woutd say, once we've estabtished a fan base to be abt6 to hotd our own

. ground, we't[ go out and do soto albums.... - : :.:::a'is the name of the atb($? What:s,thrname of the groqp, r,:irri.:i:::

So production-wise, do you have any other artists,ittidt.,yodpworking with currently?Yes, and l've atso received catls from Piccato, Tampa T@!$;:r,Fitbull'5.manager, and Ludacris' manager. lf someone is interested in:S6ats;tlheVcan hit me on my cett, 561-644-5704, or at the studio, 561:9:9?:958S' .The studio address is 2405 Patm Glades Dr., Bel.Le Gtade, FLr7fi,A.,;,,'.'.,;,,;,,lf people want to purchase the album, where should they lociKfbt:it?':,ls it in mom & pop stores or online?It's pretty much out the trunk right now. They coutd email us [email protected] or go on the website, www.decarecords.net.Have you been happy with the response to the album?Yeah, we've been getting a good response. "Muck Cily 2"'is the nextatbum we've got coming, that's coming soon.Why do you call Belle Glade "Muck City"?We catt it "Muck City" because reatly, we're surrounded by nothing butmuck. But it's the richest soiI in the world. We're more agricuttural thanmost cities. We supply a lot of the United States with sugar.What's the main products that come out of this area?AgricutturaI products.I see you're all wearing "Muck Wear" clothing. Is that your line?Greg, the owner of Muck Wear Clothing, we're a[[ from the same 'hood,doing the same thing, so we just rep for him. Att us are ctose, goodfriends, whatever. You can contact him at 850-322-3866.Anything else you want to add?Oh yeah, there's a coupte fotks we want to thank for hetpini:irs-,9ut:Be[[e Gtade the whole (M.U.C.K.), Masterlab, E Ctass, 720, D S.ijaVe'thebaddest graphics guy in the whote damn wortdr Gienddaddy;sot4fi.5lhStr, SuaveSmooth, Tripte J, PGB Records, 88;5;rr:Ray Goody,lRuf-flMofld,Dem Damn Doggs, the whole Patm Beach Couitty,.?1:Rese,"bLii;,DownSouth Dope Boys, Konfusion, Btack Beach Records, l'lqnry,;:Filpl,and mybrother Eye aka PINT. And there's three of.1$ in'the group; blit d.!e of...uqain't here right now - M.D. aka Fuck Boy.(i!!g[ .1,1.,- Photo and interview by Julia Beverly, [email protected]


29/51


30/51


31/51

He's the newest addition to the GGGGGG-Unit, and his solo debut "Straight Out OfNashville" is already due to drop in July2004. He's the only MC in 50's crew reppingthe South, and he just might be the mosttalkative. Listen up as dirty dishes about hishard knock life.Tell me a little about your childhood in Nashville.Coming up as a chitd my life wasn't no different than the average ghettohood n-gga. I come from a famity where it was just me and my sister, andmy mother had custody of her sister's kids. My father was a crack fiend.From day one I had to take over as the man of the house. So I did what Ihad to do at a very young age to get money. I started selting drugs at theage of 13. I never took to nobody who was younger than me. I always ranwith otder cats so that's where you get the name Young Buck. I was one ofthe youngest n.ggas out there trying to get money with the big boys. Theyrespected me enough to at least altow me to do my thing. From there I usedto hustte in the very same spot where my daddy used to smoke his sh.t at. Ilived a crazy [ife. Even before I lived in the projects, I lived in [ow-incomehouses around the projects.How did you meet Juvenile?By the time I was 16-years-old, I was in the streets, probabty doing alittle more than the average 16-year-otd. One of my partners, Lit Jimmy,he's in the federal penitentiary right now, he picked up a B.G. ChopperCity CD and looked where it said booking'information and calted. Baby[of Cash Money] picked up the phone. They [CM] came to Nashville and Ididn't make the show but from there, they came back two days laterto record in the studio and my homie called me and said cometo the studio and I came. Baby said spit something. I endedup rapping and he called Turk into the room. Everybody wasthere, Juvenite, B.G., Turk, Wayne. Turk started rapping andwe started battting. He catted Wayne in there. We going at it. Iwouldn't say nobody won. l't[ say I left the situation respected.Cause the next day I got a ca[[ from Li[ Jimmy saying Babywanted me to fly down and see about signing me. I left school inthe 9th grade and went straight to New Orteans. I would recordsongs but none of the songs wou[d make any projects that wasgetting put out. I was getting pushed to the back slowly andwatching their careers take off. I spent two years of my lifedoing that, back and forth from Nashville to New Orleans. lnbetween that time me and Juvenile became close. Me and himwoutd run together when I was there and when I wasn't withBaby. Most of the time I woutd just ride around with Baby andhe wou[d drop Turk and Wayne off at school sometime. I woutdsit around with Baby at his office. I was supposed to be inschool but I was trying to chase my career. I reatizedthat woutdn't work. I was 18. I didn't have anymoney, traveting back and forth. From there,I was at square one. I went back to Nashvitte,back to the streets. I ran into Jeff Pringle whohad his own independent [abe[ catted NextLevel Records. I was rushing the situation andended up jumping into a contract that wasbogus with dude. Me and my partner D-Tayreteased a project catted Thuggin' Tit TheEnd. lt sold about 5-6,000. We woutd havehad to setl 30,000 to see profit. I did what Ihad to do to get out of that contract. I hadlearned a lot but I wanted to do it mysetf.I started doing demos, get homies'tracksI knew, putting together 12-13 songs,making me a CD. From there I woutdpress up 1,000 CDs for 5330 and se[[them for 510 a piece. I turned a CITGOgas station into my record store. Rightby TSU Cottege. I knew a lot of out-of-towners came to schoot. I did ittike that for a coupte of years. Doingwhatever to make money. Until I was21, Buck was on the strott. By the timeI was 21 I got a ca[[ from Baby again.He said he wanted to try to make thisatbum with me and his nephew cattedHeadbussas. Here we go. I thought,why not take this shot again? The nextday I flew back to New Orleans. A lot ofshit changed. The boys had diamondsand cars. I found mysetf sitting there,OZONEMAGAZINEApTT20&l

-?4+4J-4tr*.

NGJESSICA two days passed. Three days passed. l'mnoticing I ain't seeing the bond of Juvenite,Wayne, Mannie. I ain't seen them the wholetime since I had got back there. I was tryingto figure out what was going on. Four dayspassed. I made it up in my mind l'm notgoing to be sitting here like when I was16. I'm going to head back home. The fourth day I was getting ready toleave and Juvenile putted up to the office and he said, what you doinghere? Juveni[e asked if I wanted to take a ride. I jumped in the car. Juvieputted up in a Rolts Royce, diamonds and a[[ the riches from the game.He looked like he was doing we[[. I said, last time I saw you, you was in aBtue Camaro with brown raiting stripes. He said everything ain't how it'slooking. He said Baby owe him money. And I looked at the cat like he wasthe most successfuI at Cash Money. The more that he totd me it addedup. He said he was starting his own tabet, UTP. He took me by his studioto meet Skip, Wacko and Corey C, his artists. He said lcan't promise younothing but he said I can be heard over here. That's atl I wanted was tobe heard. And let the peopte be the judge of me. I atways fett like I had astory to be totd. I decided [et's do it. At the time Juvenile was looking toput out Skip. That was his homie. I decided to just rotl atong and be a partof the situation. Juvie put so much time and money into that project andit didn't selt so much. And he was trying to get away from Cash Money.He let me know he was getting a littte bit unstable with his situation. So Istarled preparing mysetf to do other things. He was going back and forthto NY dealing with lawyers at the time. So one day we came to NY and Iwas playing 50 Cent and the bus driver said he knew how to get at dude.I said I got to meet him. From the beginning me and 50 hit it off. lcoutdnever compare our lives. 50 been shot nine times. I been shot twice.

50's mom is dead. Mine's stitl tiving. 50 don't know his father. Iknow mine is a crack fiend. But at the same time I respect wehad some of the same struggles. lt made me feel that wecoutd have longevity in business with this sh.t. I ptayedrecords for 50 that I had. One of the records I ptayed forhim was later titled "Blood Hound" which was reteasedon his atbum, "Get Rich Or Die Tryin'." He bought therecord from me and put his twist on it. He just totd meif everything happened he woutd come back and holla atme and give me that shot I always wanted. Guess whathappened? He hetd his word.What have you learned about the industry from Baby,Juvenile and 50?I learned never burn no bridges. You never know when yougotta come back and see that same person again.Atways be humble about situations. Don't look for

troubte but handle your business when you dohave troubte. Sometimes everything that lookgood ain't good.What can we expect from your solodebut, "Straight Out Of Nashville?"I want to bring that down South feet. Mebeing the onty Southern artist within thegroup. I wanted to make it a Dirty South/everything etse type of atbum. I reachedout to Lit' Jon, DJ Pau[ from Three 6Mafia. I worked with David Banner, Li['Ftip, T.l. I reatty think Southern artistsare more respected for their stangthan [yricaI content. I'm [yricat-typeartist. So I had to cover everythingelse. There's no "Wanna Get To Know

You" or Joe-type records. That wasn'ta part of my [ife. I left the relationshiptype records out of the picture for nowand gave you a harder edge, more of all- street-type atbum.What are your future plans?One of the biggest things I wanna dois venture off into acting. I want to startmy own labet. l'm onty one person thatmade it. I come from a big bubbte. Whenyou think of Nashvitte you think of countrymusic. But when you get there the hip-hopscene overshadows a[[ of that. There's ptentymore Young Bucks where I come from. I'mjust one that made it. I want to presentmore artists in my area to the game.


32/51

He's the cameo king: Beyonce's "NaughtyGir[" and J-Kwon's "Tipsy" remixes, DavidBanner's "Like a Pimp," Three 6 Mafia's"Ridin' Spinners" and more. And noweverybody's yelting his name on his latesthit, "Game Over." OZONE sat down withLil' Flip at the W Hotel in Manhattan to rapabout his new album, " U Gotta Feel Me, " thereason he's Sucka Free, and what his huge,new diamond-encrusted Clover G Recordsneck chain stands for. Flip, Flip, Ftip!Talk about your new album, "U Gotta Feel Me."

with different men and going throughtheir pockets, steating money and jewetry.When I watk through the c[ub, they handit to Ftip.What's the name of your new label?Clover G Records, distributed throughCotumbia Records.

ffiffi ffi-ffi%ffi ffiI NIERI/I EW: J ESSICA KOS|OWPH0l0: JULIA BMRIY

This atbum is a little bit different from my last album because I put a lotmore energy into it. I made a lot more tracks for the crowd to participatewith. What peopte don't understand is that not every track you record isgoing to be a track you can perform in concert. So, I got a lot of tracks thatlcan perform at my shows on this album. I got Ludacris on the atbum. I'vegot a track with Cam'ron. Of course, David Banner, Three 6 Mafia. lt's justa big step from the last atbum. I went out and found some more hungrycats. Every album I do, I try to find some cats without a deat, without aname, and do some work with them to give them a chance. So, I let somehungry cats produce about hatf of my atbum. I got two Red Spyda tracks, aNeptunes track, Heatmakerz, ya know.Did the Neptunes send you a Southern-style track?It's like a smokin', laid-back track. Down South. My flavor.You recently went through some label drama with your own independentlabel, Sucka Free.We[[, I was told that I owned the company, and when I looked at thepaperwork my name wasn't on there. And show money discrepancies werecomin' about. So I decided to form my own tabet, that way I coutd knoweverything that's going on. I can be invotved with everything. Because Iwas just doing the rap before, just making sure the atbum was right. I drawatl the covers, everything. Now I handle everything. I just co-directed myvideo with Benny Boom, the "Game Over" video during At[-Star Weekend.What's the theme of the video?I was reatty tatking about the rap game. I didn't want it to be a kiddiegame video. See, I take themes from movies. When I did "The Way WeBatt," ltook the theme from "Brewster's Mitlion." I had to spend a miltiondottars in one day. And this one is the theme from "Btow." They weighthe money up on the scate, and l'm watking through the crowdand everywhere I go they want F[ip. The women are dancing

ITRYIOWORK

Was it an emotional split with SuckaFree?Yeah, my partner was friends with my dad and I put a tot of trust in him,so I expected more. Out of atl the people I knew, I didn't figure him to dosomething tike that, taking money and stuff. But you learn. That makesme real'ize that you've gotta back-track everything. lf a person tetts yousomething, you can't betieve everything a person says. You gotta go seefor yoursetf.Having been in the game for a while, what other lessons have youlearned?You just gotta represent you. Can't nobody represent you like you. And ifyou're in the presence to talk for yoursetf, that's the best thing. 'Causea lot of cats get tazy and don't wanna work, and they think it's cool tohave atl kinds of managers. I tike to handle everything on my own, thatway there won't be any mix-ups.Did your popularity grow after being featured on David Banner's "Likea Pimp?"Yeah, 'cause when we did that track I didn't even expect it to do likethat. I just thought it was an atright track. And Banner calted me andsaid they were lovin' it. That hetped me out, that pushed my album toptatinum. I onty had one video, for "The Way We Bat[." lwas stitl doingshows off "Like a Pimp," and right after that, [Three 6 Mafia's] "Ridin'Spinners" came out. Then I did a track with Fam-Lay, Pharrell's artist.I've just been doing features and staying afloat like that.I read that you had a 50 Cent-like experience with being shot?It happened real quick a couple years ago. I'd rather not discuss that.Did coming that close to death give you a new perspective on life?Yeah, it makes you take advantage of every situation you're in, andit makes you pay attention. You observe more. I woutd go ptaces withno security before. But when that happened, it made me moreobservant. Like, right now, I coutd tetl you what everyone inthis room has on if something was to happen. lt makes youg reatize how to treat people, too. That wasn't a probtem'1 before.

1, What's next for you?I got my own liquor coming out. lt's called Lucky Nites.did the "Naughty Girt" remix for Beyonce and the J-Kwon"Tipsy" remix. I got a track on NFL Street, "NBA Live."I'm a new character on Def Jam Vendetta Part ll. ln thefuture, I'm going to get into directing. a +

+4

..EVER[WITHDEA[,IHET',I A

WTHOUI AAND GIVE


33/51OZONE MAGAZINE Apnrr 2004

l've noticed that different record labels have different philosophieswhen it comes to signing and promoting artists. Universal tends tolook for regional hits, and it's been said that Universal's philosophyis to "throw a bunch of stuff out and see what sticks." How accurateis that?Wett, overatl I woutdn't say that's completety accurate. But I do thinkthat's the phil.osophy of a lot of record companies: sign a lot of acts, puta lot of product out there, see what sticks, and then they chase it. AtMotown especiatly, we pride oursetves on developing artists like Erykah[Badu] or lnd'ia [Arie]. I think from a Universal side - and I've been herefor the longest, I was there when it was founded I think initiatty, asa new company, you tend to sign a lot of artists and put out a lot ofrecords because you're trying to create your niche and dominate someof the market share. I think any new company that's introduced to anyindustry is bound to do that initiatty. Throughout the years, they tendto become a lot more selective. lf you look at the fact that Universathas been in the top 10 or top 5 position in terms of market share, andconsidering how young they are, you have to commend them on thefact that whatever their phitosophy is, it's working. They definitely aremoving more towards artist devetopment, spending a lot more timedevetoping the acts. What happens at record labets is the same thingthat happens in society. Sometimes we don't have the money or themeans to stay behind every act, so you have to prioritize. You pick theacts that you feel are going to have the most [ongevity; the most career-oriented acts.Have you ever seen a situation where prioritizing one artist has hurtanother artists' career?No, I never feel like that. Because I think the hits atways - you know,the cream atways rises to the top. lf you take Mario Winans on Bad Boy,for exampte. Peopte heard about the "l Don't Wanna Know" record onmixtapes, and Universal heard about it from the radio staff. NoW thatrecord is over a hundred million in audience. My point is, no one hasever denied a real hit record. Hits surface. lf it's not a hit, it's notgoing to rise. Att it takes is one radio station to put it on, and that'swhat happens. What tends to happen with some artists is this: theradio station's not feeting it, there's no one asking for it in stores, andthe artist is tike, "You not pushing it." Listen, it's about getting theproduct out there and [etting the consumer react. lf the radio stationisn't ptaying it and nobody's asking for it in stores in that region, that'snot a hit record. I do think that there's times where we coutd stay on arecord and push it a tit' Longer, but it's hard. The best indication of a hitrecord is to get one betiever in any format, whether it's radio or videoor a club. Or maybe just word of mouth; that determines if that recordis a hit. The majority of the time, a hithappens real fast.Universal seems to be one of thefew record labels that places ahigh priority on reaching out tounderground/grassroots publications.Why is that?Then that shows you that we dobetieve in grassroots marketing anddevelopment. I think that's theopposite of just throwing stuff outthere. But we have to give creditto Wendy Washington and our pressdepartment for actuatty organizingthat. Our phitosophy is this: if you'renot hitting in your own hometown,then there's a problem. At[ hometownsbetong to a region, so your best chanceat having a national record is to break itout of that region. That inctudes press,retail, and radio stations. Then, youjust go graduatly from region to regionuntiI it's an international record. That'swhat it's about. lt just depends on thegenre and format.For our Florida readers in particular,I know that at one point, Universalwas considering signing Jacki-O basedon a regional hit record, "Nookie."Using that as an example, could

a little further. lt might have been happening in the Ftorida region inthe South, and then record companies - not just mysetf, but Etektra,Atlantic, etc. - they get involved and want to try to take the recordfurther. I think that's normat in the record business, to try to break outof a region.How do you feel about all the mergers and layoffs going on in theindustry right now?Wett, I feel bad for the turmoil, but 'it's due to the downtoadingand disrespecting of music in terms of an art form. The artists, theperformers, the studio engineers and manufacturers, a lot of peopteare being put out of work and put out of business. I feel bad becausea lot of those peopte have families. I feel bad that consumers and alot of peopte don't see the hurt that they're causing. And from theperspective of the mergers, I don't necessari[y tike that because'it'scongtomerate business. What tends to happen is that you end up witha singte entity that's controtting the type of music that comes out.Whenever there's no variety, the music suffers.Do you plan on picking up any new employees?Wett, we try to always have the best. We're happy with the peopte thatwe have now, but we were one of the first to go through a merger sowe've already gone through the [tayoffs]. I think we're okay, but if themarket doesn't get better then you never know. I think that wheneveryou have a new format - whether it's the 45 or the Strack or thecassette or the CD, now you've got the digitat downtoads - wheneverthere's a new format that can't be defined then you'tl have thatshakeup. Eventualty it witl get better.

How active are you personally insigning new acts?I'm very active. I signed lndia, Erykahpersona[[y.What would be your advice to anaspiring artist, how can they get theattention of someone like yourself?Trying to get my attention is part ofthe process of becoming an artist. But,I think if the artist has the means to gettheir song on the air in their region orin the clubs, that's one way. Anotherway is to try to hook up with somebodythat's got a production company thatcan hetp get their demos out. lt's adog-eat-dog world out there. lt's veryharsh. But there's so many ways whereyou can get your music out there - notjust to me but to record companies.You can even start out as an intern ifyou're trying to be an artist, and yourdemo might wind up on someone's desk.You just have to be creative. There's noreal set way, you just have to be a goodmarketing person and know how to getsomeone's attention.- lnterview & photo by Julia Beverly,[email protected]

you explainthe process thatusually happenswith a regionalrecord?Wett, I was onlyinvolved in thatsituation from a certainperspective. But I thinkthat what happens isbasicalty the foundation of hip-hop. With a lot of big recordsand indie companies, a recordstarts off in a certain region, anda major gets invotved and wantsto take that record and hetp theindependent company spread it

.THER['S SO IVIANYWAYS IO GEI YOUR MUSICOUT THERE. YOU CAl,l STARIOI'TASAN INTERN,AND

YOUR DEfl,IO MrcHTWND UPON SOMEONE'S DESKYOUJUSI HAVE IO BE CR[ATIVE.''


34/51

What's your official title here at BET?My name is lmohate Rice, my titte is Tatent Coordinator. I basicatty dealwith bookings of signed acts forl06th & Park, 106th & Park Prime, andThe Center, as wetl as bookings of DJs for Rap City.What's your background? Did you go to college?Yeah, I went to Westchester Community College for Communications &Media Arts. But it was kinda broken up, like a semester here and there.I went there for a semester, went to Leeman Cottege, couldn't affordthat, went back to Westchester to try to finish up. From there, I justtook the road of internships. My first internship was with News 12, andI realty focused on news editing. I wouldn't say that it wasn't fun, butit was just not for me deating with the reatity of other people's bads'ituations. Then I was offered a job and it fet[ through, so I just took mychances coming down to BET every single day for ['ike two weeks to tryto get an internship. I was an intern for like a year and a hatf. lt was anunpaid internship, so I was working another futt-time job as a securityguard overnight. I was rea[ty busting my tait.When you were going to college, is this the job you hoped to get?I atways knew I wanted to be in entertainment as far as television. Usu-atty, cottege students have a minor or something they can fa[[ back on. Ididn't have that. lt was just tetevision a[[ the way around. I woutda beenanybody's intern for however tong to get here,What were your responsibilities as an intern?When I started at BEI I was the 106th & Park intern. I was learninghow to create a format and learning the whole structure of the show. Itearned how they do a cett, how they break it down, how they switch toa video and come back, just tittte things of that nature.What surprised you the most working at BET? ln other words, what doyou think is the biggest misconception when it comes to television?For one, I think peopte get the misconception of how big a studio is. Iwalked in there [ike, 0h.... lt's reatty sma[[. And a lot of my friends thinkthat Tigga's reatty shooting a show in his crib, in his mother's basement.It's not Iike that at att.How do you choose which artists to book?We deal directty with the record labels and their video promotionsdepartment. lf an artist has a video out that we're airing, that artist ismore accessibte as far as getting booked.Have you ever gone out on a limb and booked somebody that reallywasn't getting played at the time?Not reatty. I think my first witnessingof that woutd be B2K, way before theywere hot. But I don't think that a lot ofpeopte outside the industry understandthat BET creates a lot of careers for atot of individuats. Hatf the time, youwon't see these people on MTV or VHIuntess we're hightighting them first.That's just the truth.ls the Top 10 list really based onviewer's votes?(taughing) I'm gonna pass on that one.What's a typical day like for you?I'm reatty the individual who greets theartist, makes sure they're prepped, andmakes sure that they know what topicsare going to be discussed on the show. Ihave to make sure the producer meetsup with them, and I have to make surethey're actuatty in the studio on timeso we're not running [ate. I'm just thea[t-around guy.Have you had any crazy fans flippingout on set or anything?Our security team is reat serious. Younot getting past. But, we had a lot ofincidents where fans witt try to comein the buildting and say that they're

a part of theentourage. I'veseen it att. lt'sfunny to me, but Idon't taugh out toudbecause I know if Iwasn't 'in this positionI might act like they do. "IJUSTIOOKII'IYeople do a lot of crazythings when it comes to CHANCES COMING DOWN TOBEIEvtRtStNGtE DAYTRT-ING III GEI AI{ INTERNSHIP.'artists. The real eye-opener forme was when I first went to SpringBting, and 50 Cent was out there.This girt was completety naked,danc'ing from her hotet room, trying to get his attention.Have you had an artist that was a real diva, somebody that requireda lot of attention?Actuatly, I would have to say Jaheim. He's a cool guy, though. Basicatty,we have two green rooms. One is bigger than the other. lt was a daywhere we had Tyrese and Jaheim on the same show, so obviouslyTyreseis going to have the bigger room because he's a more established art-'ist as wetl as a performer and actor. Jaheim basicatly took the biggerroom and we were [ike... uh, okay... But it worked out, because Tyresedoesn't have a big head. He didn't argue about the room.What's the worst part about your job?I love it at[. I realty can't comptain because I think about att the jobs Ihad before this. I was a customer service manager at the Whiz, an elec-tronics store. I worked at Modett's in the sneaker department. I coutdstilt be working there, so I appreciate my job.Are there any celebrities that you were really excited to meet?Yeah, l'm a real fan of Jay-L, I got to meet him, he's real coot. He's realquiet. The funny thing is, before I got to BET I thought I woutd be realexcited. The first star I met here was P Diddy, and my whole responseto it was tike, "Oh. He's here. Okay." lt wasn't rea[ty nothing big. Ev-erything after that, I just treat it tike my job. I can't act like a fan eventhough I [ike alt their music.What's your ultimate career goal?My uttimate goal is to be a director, and right now I produce my ownshow out here locatty called "Volume 2: Another Sound of Hip-Hop." Idon't ptan on staying in television though, I hope to break into fitm.But I know that tetevision is easier asfar as making a name for yoursetf, andthen you can branch off and do differ-ent things.

How do you choose which DJs appearon Rap City?lf they have a wett-put-together presskit with a bio and a mix CD, they goto the top of the pile. Other than that,as I receive 'em I reatly try to put ev-erytbody on. But they definitety haveto send something in. Even if a DJ hasalready buitt up a name for themselves,I always request a press kit because theproducers want to know more about theDJs. Especialty if it's a situation wherethey don't have a guest on the show,they want to focus more on the DJ anda[ow them to promote their CD or radiostation or whatever they wanna pro-mote. We don't want the DJs to be bor-ing, 'cause this is their time to shine.don't think there's many outtets for DJsto get the shine they deserve, so RapCity is reatty the best show for them.DJs can send a press kit to: BEI Attn:lmohaile Rice, 555 West 57th St. 10thFloor, New York, NY't0019.- lnterview & photo by Julia Beverly,[email protected]

OZONE MAGMINE Apnu 2004


35/51

"Orlandotakes i6talent forgrantd'331 I ad a dream," I said, "About who?"l-l he said / "About Wit," I said, "Shit,I I tf,ut't reat." he said / The first thingI asked was the reason that he's dead / 'Causeword in the O, you got clapped over some bread/ I catch flashbacks of the night of your wake /Cause that night was too much for your niggato take / Takin' slow steps 'cause I coutdn't seeyour face / Everybody crying, but some of themtears was fake / As for me, I coutdn't hotd thewaterfalls from my eyes / Feeting like I can'tproceed without you by my side / Remember thebeginning? Max-A-Mi[ heavy on the rise / TookOrtando by storm and the streets by surprise /95 Live, or that night at The Quest / You put up5350 to show your team was the best / Hit thestudio for hours til we fett burnt out / But it'sfucked up the way that some niggas turned out/ Bravo, homie's there, yeah / He sti[[ on hisgrind, he keeps you in his heart / And you coutdhear it in his rhymes / Southstar popped off, buthis partner's a bitch / I recentty found out thatSmitez is a snitch / Me and Statty had a fatl-out,we no longer friends / I guess it's onty so longfake niggas pretend / P kept me alive when Ithought it was over / Hetped me realize I hadtwo angels on my shoutders / As for me, yeah,you know I'm stitt doin' my thing / Buitding anempire sick enough to change the game / Butwithout you here it could never be the same /So everytime I rock it's in your name / I missyou, nigga.

A year after the unsolved murder of Max-A-Million Records' CEO Big Wil, his closestfriends and artists Sonny Chulo and JonnyBravo linked up to perform a live tribute oftheir verses from DJ June Buhg's "Bigger ThanLife" mix CD. A year after Wi['s passing, Sonnyreflects on the past and speaks on the future.Wi[ raised me. I was his first artist. You know,everybody screams "famity," but it's not toomany people that mean it. Me and Bravo wasdefinitety the first. Bravo lived with him at onetime, I stayed with him at one time. Sometimesthere was no lights in the studio and we hadcandles. lt's different when you're just anartist, but we was family to that nigga. Not toomany peopte coutd get a hug from his pops orhis brother, and that's what it boils down to.And what certain peopte did when he passed- l'm not here to judge nobody. I just keep Wil inmy heart with everything I do, and I know thatBravo and P-Scheezy are the same way. lt's likehe's helping me. Everything he can't do for mephysicatty, I'm very confident he's gonna do forme spiritualty. lf I do pop off, a lot of it is owedto him. I've learned a lot from his mistakes. ButI just know that I miss my dawg every day. lt'sfunny, I see a lot of these niggas out here lookin'like mini Max-A-Mits. Same way you see thesewannabes comin' out with mini-OZONEs. And Ijust laugh.As far as Max-A-Mit as a labet, I haven't heardshit about it. Max-A-Mit, to me, is me andBravo. I lost a littte respect for Southstar. Hedidn't show up to the tribute, send his bless'ingsor anything. But I guess two bitches belongtogether. Smitez basicalty just thinks he's hotterthan me. I know he's not. And he's a [iar. Heshoutd never speak no gangsta shit in his rhymesbecause he broke rute number one. The firstrute of the streets: you never get the cops. Idon't care if it's your fuckin' father that's acop. Basicatty, it was an ongoing thing, but Ihad seen Smitez and everything was deaded.But I totd him I was gonna get him back forthat whack trash freestyle he did on Voice of

Chulo rememben hisand mento4 Max-A-Million


36/51

Da Streetz' mixtape. lt's just my duty. I rep thestreets so there's no way l'd let him get thelast word. Anyway, a member of his entourage- that homo, Witdchitd, with the big teeth?That nigga's a bitch too. That nigga's pussy.Print that. He came up to me at the ctub, andit was a Li[ Jon record on so he was gettingcrunk [ike, "Yeah, we heard that diss record."l'm [ike, "That's why I did it, nigga, y'all niggasis pussy." Don't step to me untess you ready torock. Besides this rap shit, I'm a man. This niggawent outside and got the cops - one of the copsis Smitez brother - then he went and got Smilez.Smitez came up to me after the cops did. Hisbrother who looks like the Nutty Professor- put his hand in my face and said some stickshit. The cops hit me with a coupte cheap shots.It's gonna take more then bitty clubs, though.l've been hit by fifteen niggas and I'm stillhere. Those littte cheap shots ain't shit, butdon't hide behind your badge. When you getout of your uniform, we could get shit poppin'.That's why Smitez is a bitch. Smitez is a rappin'name, and he don't get no respect from me asa rapper, that's why I catt him Rodney. We ain'tpop, nigga. We don't do that bubbtegum shit.And he needs to talk to his partner Southstar tofind out how we get down. I don't know why hispartner is frontin' like we ain't save his life atthe D12 concert. And this shit l'm saying to younow, I woutd say to their face anytime.Right now, I've got my own labet, GoodFetlaz.I've been doing freestytes here and there, butthe conversion from a rapper to an artist iswhat's going on right now. As far as featuresfor the atbum, we're [ooking at Fat Joe andTony Sunshine of course, and trying to politicsome shit with Mr. Vegas, Akon, and the singerLtoyd. Coo[ dude. I don't care if he's withMurder lnc. or got beef with 50, whatever, it'sjust whatever could benefit me. The beats isUrban Child atl day, my man Shawn Starr. He'sfuckin' ridicutous. He's a singer too. We gothetla joints, we doing our own version of the"Best of Both Worlds." My atbum is basicattywrapped up, it's calted "l Promise." We gonnaput out a singte near the end of this month. l'mgonna have a listening party to decide what thesingle should be. We just trying to capture thestreets first, 'cause peopte look at Orlando likeit's a pop city.We kinda shied away from the battte scene,'cause I got nothing to gain no more. I feet likeI won every battte that reatty counted. I wonThe Quest, I won the lnterscope battte. Madshouts to Kevin Black, too, that's my nigga. Andhonestly, I took my time with this atbum. Youmight feet like you're ready at one point, butyou're not. l'm not better than nobody now,but nobody's better than me either. We doingthis without the Just Btazes, the Kanye Wests,without the cosigners, and we stitl rockin'. Wegonna see, though. lf Ortando chooses to bebiased and not accept it just 'cause l'm fromhere, that's on them. They'tI appreciate aNew York artist before they'll appreciate this.Niggas witt look at me different just 'cause l'mfrom Orlando. Honestty, though, l'm differentfrom a lot of cats. They out here tatking aboutshotguns, and when I see 'em they weigh likeforty pounds. lf they really btasted off, that shitwould knock them backwards. Rea[ recognizerea[, though, so if you don't come from thatdaisy shit you'[[ appreciate my music. Ortandotakes its talent for granted sometimes. And ifanybody knows that, it's you. I can't betieveyou stitl givin' these mags out for free. - As toldto Julia Beverly, [email protected]

l-20: Setf bplanatoryThis Disturbing Tha Peace member stole the show on Ludacris' "Move Bitch," one of 2002'sbiggest hits. Claiming he reps the "Disturbed" in "Disturbing the Peace," he's about to showus why on his debut, "Self Explanatory."What should we expect from your debut?This is letting everyone know that I've arrived. My songs are atl across the board, I try to makea lot of different songs that I feet are a reflection of me. I named the album "Self Explanatory"because I wanted to exptain myself and let people get a better feel of who I am, what I feeabout hip-hop, and what my rote is in hip-hop. The basic theme of the album is just me breakingmyself down in a tot of different ways. I feel that every song represents my interpretation oSouthern hip-hop.How did you hook up with Ludacris and Disturbing Tha Peace?Actuatty, I've been cool with Cris since high schoot. We became friends long before we thoughtof the name Disturbing Tha Peace. A mutuat friend introduced us when we were 18 or 19, andwe had a common interest in rapping and trying to get in the game. We just became friends anddecided it might be easier to obtan our goals if we alt work together.You're on the road now. What are you promoting?l'm out here promoting the release of my atbum and l'm on Ludacris' "Chicken & Beer Tour" withChingy, David Banner, and in some cities, Knoc-Turn'at. I have my own set within Chingy's set andof course I come out severat times during Ludacris' set.Do you think people are ready for your solo joint?Definitety. lt's been a btessing. I've been btessed that people were ready for me to be a soloartist after "Move Bitch." People have been asking me every day when my album's coming oubecause that record was so huge, and I was the onty unfam'itiar artist featured on that track.That's why it took me so tong to do my solo atbum, because I didn't want to lose the fottowingI was buitding. I wanted to take the time to make the best possible atbum so nobody woutd bedisappointed. I feet tike I've done that.Do you feel pressure being the first artist from DTP to release a solo album?Chingy was the first outside of Ludacris to release a solo album from DTP. I feel pressure, but it'sgood pressure. I'm one of those peopte that works well under pressure. I want to be abte to sereatistic goats and exceed them. I feel pressure, but it's more tike excitement. Of course, I'm alittle nervous. You're atways neryous because when you work on something and put your hearinto it, you want peopte to love it the way you tove it. l'm anxious, if anything.Southern hip-hop is hot right now.When you're from the South - I'm born and raised in Atabama I've been there from the timewhen they weren't trying to hear anything from us, weren't ptaying any records by us. We hadno videos on BET or MTV. We were just considered country backwards, and two years behind,for the most part. So for us to basically be dominating the charts with songs that sound like stufwe've been doing for ten years, and even hearing other cities try to imitate us, I feel my roleis to just continue that and broaden the idea of what Southern hip-hop is and just continue onwith that movement.Would you say that you've learned a lot from Ludacris?We learned together. We came into this game together. One of the things we learned is thadoing it yourself is the best way to go, and to be patient and take your time. Stay true to whayou do. lf you are you, that makes you originat because nobody's gonna do what you do, the wayyou do it or the way you see it. The biggest thing we learned is to be originattake your time, and learn as much about the business as you can.

What would you like to be doing in two or three years?Not just in two or three years, but for as long as I can I hope l'm stitdoing hip-hop because I love it. I tove the music. I lovedoing it. I think l've got the best job in the wortd. lntwo or three years, I hope to be reteasing another album. I hope the first one is successfut. I tried out foa coupte movie rotes, too. Hopefu[y, l'[[ be actingWho knows? The biggest thing for me is to try andstay positive, make the best possibte music I canand keep praying.Being on the road so much and being in this shadybusiness, how do you stay positive?Because l'm doing what I [ove. There are a lot oother people out there that are less fortunate thawoutd kitt to be in my pos'ition. I do maybe thirty minutes of work a night and get paid what some peoplemake in a year. And that's a btessing. A lot of peoptestrive every day to do the one thing they [ove, andmaybe they do it and don't get paid for it. I'm getting paid we[[ to do something I'd do for free.- Jessica Koslow (Photo: Raandu Avion)

OZONE i AGMINE APRIL 2004


37/51

ffi?pcffiffiffiffiffiffi

srffiPhone: 407.354.2375 Fax 497.t94.23744{t77 W. Oakridge Rd. Orlando, FL 32809o

Hm{nGnrA}ITIHGluTt{TlfficoLp(ill

1%sm-HcrlTf;lvtsWTTHT}[SgOtFOltl


38/51

Who erle? said ffi&kinaobvipurlg w ef,t w os exy efisiv ewyong"pl&{{....tnusxcfothem@ffiffiffi*%wm

$tate af the Arr Facility Equipped wirh:Pro Tools TDM, 22' inch flat screen, Deluxe MlDl Center, PC's, and many more exrCall to schedule an appointment today: l407f 2Zb-6838lPlo"Tools TDM System Conlrol 24 "Power Mac"s G4, Kor0 T.iton, Mo phatt, Roland 3080XV gxpanded, EMV Proteus 2800, MpC 4000XL, MpC 2000XL,Midi Timepiece, Alesis Adat, ocnon MiniDisc Player, HR824 Mackie Monitors, oigi Design 888 l/O, Digi Design tf.zz vO, Neuman ,.eold Series" Micl


39/51

VING '$illNS' : 1J { \(":\.:li'1 :*'- Jt 1 \'\" HXfi H ? ??.tt'ffi*1,*rlJ'ff#i*{*ijl[D-Roc, the taller half of the Ying Yang something different, it's like hold on now, lookaTwins, responds to my questior wlth a, here. lhat'i why I just make my own ptate. I

;::l::l::::,:;,,1;, r . r tin' there, she gonna be tike, "l wonder what hemore mellow D-Roc and doing now... what he doing now... what he doingtheir hotel rooms af- now?" She gotta go to work. Come in with yourieett$d&l*i[!*$tD-Roc teans back against ends, too, so you don't need my money! Whoo!llicks through stations ongn_the Disney Channel. You make a lot of strip club anthems. What'swhere the "twins" the best strip club in Atlanta?mode. D-Roc: The best strip ctub in Attanta? oh, I got' - --' several of 'em. You know, Pin Up, Magic City,i working on now? Do you Body Tap, Jazzie T's. They got different days.in progress? Kone: Wednesday is Pin Up's, Jazzie T's is

::,loua snort. lt's mid-2002, and w6'ie iii the don't tike my food all mixed up, I tike mine oneof an impromptu intrvieW ou!$de at a time. So if they just put atl my food and,,Club 112. The hiiper,i{!:ive"C!roi'9. stap it att together...attention span is limited and my patiencerhin,quickrv' .:, ,r::ri:r. "":i'i'....irir,i:Rvoocl il.il,riffTxl Hj!:T""::i""r#ilLr.I'm standing in front of She gotta clean up. And shE gotta go to wor[.with their road manager Der- She gotta get out the house, 'cause that's whatrickj,flThey:aren't dumb," Derrick pauses makes a retationship stronger. lf she just sittin'ht a,cigarette. "Despite what people there tooking for something to get into, you. fight think, it's just enteitainment." gotta give her something to do. lf she just sit-

start working on it, but Sundayls:i,Body Tap, they be off the chain onjust 0$i'.:ing to get [our last atbum, "Me Saturdail,r'y Brother,"l ptatinum. We atready gotd, D-Roc: Preach on!we about 150k away from platinum. We'reexcited cause we ain't never got that What's the best way for a stripper to get big-{^- a^l A ,^,^,,,^- h-^^,, -k^, ,+ +k-+ a, ,+ ^l -+i -^, +i^- a,^r ,,^,,)far. Gotd, we was happy about that. But ptati- ger tips from you?",num??! And we've got Don Yute's first singte, D-Roc: I dunno, I just go in the ctub and havehe's a Jamaican dancehall cat on Stip-N- fun. That's my fun time. lf I'mma spend, l'mmaStide, we got Bonecrusher's first singte "Take spend. lf I'm feeting like it that day.Ya Ctothes Off," and then we got a joint on Kane: Our album sales are a direct reflectionBritney Spears' atbum. We on Nick Cannon's of the strip clubs. So it's not that we go just tonew atbum, and we got a tittte came on the go, we go because the money we invest in stripmovie sour Prane' :l'i:',5;."JIffi"r?:'i#;'Jr;ff fll;f.'i;Britney Spears and Nick Cannon "." ,nrru"l the weekend, but they onty making thalrtype ofcollaborations. How did you hook that up? money when songs tike ours are being ptayed.D-Roc: They folks catted us, so, BOOM! lt was We went from being nobody to being the fa-tike, aight. Britney atready had the song, we vorite group in the X-rated ctubs, so what youjust went in there and put the Ying Yang on see in our sales comej'from when we keep put-there, so it came out FIYAH! ting out music. That'i lhe Same reason we outhere chittin'. We sett a[[ our singtes to the stripYou just shot the video for "What's c[ub, we don't setl 'em to the wortd. The worldHappnin"' with Trick Daddy - who came up comes into it. They wanna dance again, yeah,dance, dance, keep dancin'l

So isn't "What's Happnin"' a crunk song?Kane: Yeah, you could say that the way wemake music and act might make'someone put us,in the "crunk" category. But the diffeience is,we rap about something tike, (raps) "She a reatyou rn a


40/51

f #F

freak, tryn'a make those ends meet, don't and we stitl humbte artists. People find this hardbe tryna mu'fuckin' tease me." But this is to deal with, hard to betieve that we're at thecrunk: (screaming) "YOU GOTA POCKET FULL [eve[ of the game that we're at. We're at thisO' MONEY BWOYYY??? I DON'T GIVE A FUCK!" [eve[ because btessing comes from work. Btess-That's crunk. ings don't come when y'att just sitting on your.:,.:.. rlru.r:..,biitt begging.Rico Wade commented that you are more D-Roc: Hard work and making good music.talented as a rapper and freestyler than That's the two things we do.people think. Do you'rrth,ink, people.'re.ipect Kane: We aiways knew we was gonna make it.'-*'*ts.F3,:3' .t Li. {.r_ \!r\l\

_,-1

your talent? D-Roc: Marna,said if you work hard for it, you

.days'y'att gonna see. thing that's come to pass with us began withthe peopte, but you have to see it first before it5it.do.,!,tbu feel like your album "Me & My happens. Smurf saw it before we saw it. Me and" represents your skills completely? D-Roc, we dropped an atbum in 1997, with no;Lll.a person listens to our atbum, you't[ hetp, no hetp. D-Roc and the 2-Time Ctick, "Tru

Kane: They:havrii,!o.:rg!peet it 'causq ritli.:got,",,could ge! it too. (taughing)the game at a :standltitt;. We,rdonlt think.they:' , ' ,;:. : .futty respect it;'bitir:i4e goJ',the,:garne:ilbcked:r:,, Soire y'alt really brothers?down. Peopl0 haven't eVrii:reeO the who[e'.::O'Ro: Nahh...group. Th'is ain't nothing. Th::dodtf,r'just go,!,,. Konq: The questions that we get asked.. some-opened so we,can put in:WhAtr'Wgire,,t0tq{y1,,'rl'9ne]:iatty needs to get us on Behind the Music,capabte of. My brother, D.Roc, is.',,nioiiti,tj[g.:j:1r1111;5 6 person that coutd better explain us ascrowd pteaser. l'm a lyricist. And'6ne of these a group to the peopte woutd be Smurf. Every-

.kiiOW, we got skitts. 'cause the whote Dawg." But we had no representation.;..rye':{Ap. We don't just have bootyrgSr.iri .::r. So the album caught Smurf's attention?b,6pt*.dnn't understand the fact that Kone: Yeah, 'cause we were 17. No dudes had,11o.ur,riV.diEds as inStiuments. You know, did that as young as we were. And we had cameor ptaying an instrument is part of up with "Get Low" then.'rllQ9.--&:lq!9l- ne.&l}9l'll:PqL:: . llf:.{Olc oll :,',...::i.. .:of,:,ihqit l{: ili't!:d thi:inrtfdment. Ar:,:Didn't,:iihe ':Get Low" hook originally comeof people try to come up with some kinda from a fraternity chant?ot of people try to come up with some kinda from a fraternity chant?..:::igfta:tije:!vsi!d,nbt'ilori'Ofiryhat typ6 of music Kone:,:W6,dJiilt neVer bEen to,cotlegdilq',ltieattywe doing or why it ain't tike everybody etse's. coutdn't tett ya. We came up with that one justlliJ8S:ltieiads6:we'itudied out future. Whatever sittin' at thd crib. Wherever"iit4rnei.tfolil:.jt:D-Roc is good at, he studied it to get tike camefromonevoicetoanothervoiceanditgotthat. Whatever I'm capable of, to the best heard from around the wortd. I mean, that "Getof my abil,ities, I studied it to get tike that. Low" shit is otd as hett. lt didn't come out untitWhen you tooking at the Ying Yang Twins as we turned 25, cause we gave it to Lit'Jon when

0::I9!,rr,

l:l'middlpf the street. We crunk. TheOnly art:

to.speakon it;,:hfs,just the overseer.of the bums, so we atw

Where do you come up with song ideas? Why did you call the

df6 being isindustry it'shigh demand

whote crurt!,,:erA :The peopte of Atliihta],own When he was at $|*'&q[hg:g,e{.,i$!i&ltli{&ii&!i:,:ilthat crunkness, he tiked it, so he put that on pitation, "So So Def Bass Att Stars Vo[, 3," thgta worldwid::5!ii{dril';lt,r:: ,i.l:.' was the nrst majOiltlili

my btood. Being a

awhole, lror;'re lookirig.at.entertainers. Werhe,agked.fqf it.,.Therels.alotof stuff that'soldain,lt.grunk iappers.'Ct.uiili.:is:rour way of be:':,,4i helt bti{jt'wqn'tcoiiirii''out now.ing::iFhat'inea6;, before'Wrf Eirie.,gq!, when r.,':i:::t:.,:Master Pidin.,6rt with the N0:Limit:soldiers, 5o,dq you have any more hidden hits?we useal'tO U6.,il the ctub. ma *hen thg.ttuU. fanEililliigleah.,,We ain:f t gonna tett you nuthin'was too packed we'd be in the middte of about 'em though, you gonna have to hear forthe street in our van, rockin' the'ritiii.::in.thd yoursetf. You gotta'hear 'em.;:$f,ihetilteppjn' that right now is Litf Jon, no Being on the same:',!a'bel,a5. Lil Jon, has there':0theiiiitigt'lhirtrtted that crunk side. We dOn't been any friendly C.qfnFltjlion belWe,e-n y'all?,,want:nobildy'to take it wrong when w_e-have D-Roc: Nah, Lit' Jon:ibeentn..:al!:..Xtgt'b.A9:A.l

Kane: Just deQ!$gtwj,t!*eth other. We don't er" if you aren't brotheiglliXil*,:t,i.1':;nliiiil*:,1deat outiid,qft:liitlii(rinade us what we are to- Kane: 'Cause that exptdriiiili;lli*iiiiiffgigfislliaaday. Wq.,ldellikewi$ shoutd say what the next When he nighttime, t'm Aiy!!$6{1fi&gifeI!$!persqn.r:W0illdn't say. We atways wanted to ,goo{, I ain't feetin' good..lf:IfFC-.t$C&!$i,lll9]e!l.{$say liihiktyqur ass" or "bounce that booty" feetih'good. ,,.i .x, , 'without saying those words. A mittion peoptecaii.m,Akdt$iii,idi:lh-a! say "shake" or "bounce" How did you p6sfJ:l:lli:in it, but a tot of peop[e can't fit other types Kane: Juit watkin' down theof words around it that mean the same thing. walkin' down the street, he wa.r:5o if tfii1drlril!,lafq$l!:,gqq1!q!S.hAd..fsr,.,,.hq6q*tt9sald, 'i5hawty!" and Ii':::them ro.rii&ista6.ll:t]lt:.tl .fqitge0.p!elld0ilt:::i:.!eii.eid;::i:lE3dci,i!1Isaid, "Lel'understaiiiliitr,makSi:it:,ea$iifpi'thm!: toiti:bri:ri]nr'ever,Sndiililve were prot i{i.Ftg:lI Jih&i$ts,':::rrrrl:.i:atl:ti''..', :::rr::i::1.rli:r. . . i..j:i::i:t.iand.,eriticize and:stahe.:E:lli$aniFEllili:,.dii_fiii)iii,:i;,rHevei:tou .alwajii wanted to:iap? , ]'1'rrjllaa,vihy this shoti1dt',li:bgl.fh.e::i*sotiit{hirte D-Roc::Oh, yeah. We atways did. lt's entertain-

know what'em whatthe most

ment that's atways the great ones,


41/51

ffipg*sx {x"*sffi*frISX#sffis

FL

FA*l\ff -HS nVF*ffi*mrF*$$? S. m$lftrY" Sf*L?S*r SL

ffi.trmnfiffiffi"FffimFnfffistfiffid'sffift?*I

ffi.fffffid*ffiffi**ffiffi fidffiesfrrttrhffgmffi

*wffiW


42/51

health & fitness: push, push, push by James Gaspard, CSCS

ou've peeped those pecs on 50 and LL. Wett, even if you haven't, you know some girl has. Ever wonderwhy your chest doesn't look like theirs? Wet[, it's about time you caught up by taking the classic push-upto the next [eve[. Push, push, push, and you'[[ have a cut and tight chest region. lt's as simple as usingyour own body weight and some stuff you have lying around the house. You can use a chair, a park bench,or the steps of a staircase. Etevating the feet during push-ups not onty increases the intensity, but the angteatso places more emphasis on the upperchest. >Simpty grab a chair, bench, C-m@fCor 'tind some steps and "'""'{' """begin in the regutar push-up position with your feet together andflexed. Your back should be straight, abs tight, hands around chest [eve[ and a litter wider than your shoutderwidth with fingers spread, pointing straight ahead. Have the chair, bench, or step a full body-tength awaybut a few inches away from your feet. Raise one foot up and then the other, extend your arms and reset yourback. Make sure you and your equipment are stable and secure - trust me, you don't want a chair slidingon you in the middle of o repetition. You should be close to paratlel to the floor at the top of the exercise.Keeping your body straight and your head neutrat, take a deep breathe and lower your chest towards theground. Pause when your etbows are at a right angte, hold for two seconds, and push back up by straighteningyour arms, exhating through difficutt points. Keep it nice and controtted. Repeat for three sets of 1 5. - Formore information visit wwwencorefitness.net or contact James Gaspard, [email protected] Consult your physician before beginning ony exercise progrom,Results not typicol. lndividuol resuLts moy vory. Best results areochieved through proper nutritionaL and exercise plon.


43/51


44/51

PASTOR TROY"BY ANY MEANS NECES.SARY"UniversalWithout resorting to pop,it takes time for an art-ist to bui[d a fan basenationwide. With that inmind, atl of Pastor Troy'sprior independent albumshad that gritty Southernflavor that he is knownfor, specificalty designedto ptease his regionalfans. On his first major retease he switched upa littte to appeal to fans nationwide, and I mustadmit Timbatand's hard-hittin drums had mecuttin'l But it's a new year and a new atbum,and we hear a littte less of Mr. Revetations andmuch more Mr. Universal. "Ridin' Big Yo" hashetped him get a tittte exposure, but there's noctear-cut radio singte on this atbum, with thepossible exception of "Crazy," a diamond-in-the-rough. 8Bat[ and Juveni[e drop so-so verseson "Nice Change" and "Boys to Men," which'is a big let-down, especiatty since both comeequipped with very decent hooks and equatlydecent beats. A few filler tracks are expectedon any atbum, but the DJ Mars-narrated, Taj Ma-hat-produced "Benz" 'is just ptain awful. Usingthe worn-out Whodini sample from "Friends"to drop a song dedicated to whips woutd havebeen better as an excusabte intertude or skit.Throughout the atbum, it seems like Troy isabout to drop that heat, but never quite comesthrough. White trying to make that awkwardchange to appeal to national playlists, Troy'slost some of his appeal to loyal fans. - ADG,[email protected].,RIBS IS TOUCHIN'"BRICKHOUSE/LIGHTYEARUnconventionalty, Driftatlows P-N-C ChynkShowtime to btaze hisintro first, with bars [ike,"Dawg, I'm att aboutbusiness and I don't re-atly care about sendin'four shots at the witness/ You on my hittist, watchya lip bitch, I got a clip

seryes a purpose. lt's a tittle call-and-responsetrack, easy to remember and sing to. The CDeven comes equipped with the BET Uncut videofor "Don't Catl Me." - ADG, adg@tmai[.comLAURA DIAI,iANTE"STYLES UPON SWLES''lntros are important be-cause they set the stagefor the album. Laurasettles with the overty-used phone catl intro. ltwouldn't be that bad, butfour and a hatf minutes ofhearing cetebrities hotlaat you is a [ittte ridicu-lous. Seconds into thesecond song, "My DJ,"I see that her intentionwas good, but short is sweeter sometimes.Virtuatty unknown artist Vortex spits a few lamebars and kitls the feel of this banga. The produc-tion of Nick Fury on "Move With Me" is just assotid as his other three songs ("My DJ," "MCs,"and "De-Ja Vu"), but the menacing productionof Btackout on "Da Bounce Track" atlows Laurato demonstrate her lyricat abitity, kicking tyricsat Twista speed. On "MCs," Laura spits bars thatcan easily compare to a Remy Martin or LadyLuck flow Six of the eight songs could easity bepromoted as a lead single, but since the albumis only ten tracks deep, it's hard to rate thisalbum on the same scate of a fut[-tength atbum.Laura comes with a comptete product, but ifyou [ike that Skitttes Pop that has been saturat-ing urban radio for a minute this might not befor you. - ADG, [email protected] TOUCH"THE PIECE MAKER 2"Koch RecordsWhen you pop in a CD andthe first thing you hear isa toddler saying: "Warn-ing, the Surgeon Generalof Brooktyn, New York,has determined ONCEAGAIN that the soundsyou're about to hearcan be devastating toyour ears," you probabtythink it's nothing morethan a simpte intro. By the end of this effort,however, you understand that this warning wasrealty necessary. Tony Touch has been a ground-breaker on the mixtape circuit for years as aDJ as wetl as venturing into different aspects ofhip-hop. With atmost a four-year gap since theoriginal Piece Maker atbum, we see that Tocahas gotten a littte more invotved in the pro-duction and stepped his game up a bit. Otherbeats are provided by the likes of RZA ("RockSteady"), Beatnuts ("Capicu" and "A BeautifulDay"), Erick Sermon ("How You Want lt"), SeanC., and a few others. Most, however, can't becompared to the beat Pete Rock drops on "OutDa Box." You can almost taste the cutture, withLarge Professor, Pete Rock, Masta Ace, and Tocasprinkting their updated otd-school flavor. DooWop returns to once again give us that DiazBrothers' duo on "Ctick Bang." Atmost atl theartists entisted for this atbum exemptify hip-hopin its purest essence for the past decade. Na-ture, Sean Paut, G. Dep, and the dead prez hotdit down for the newest generation of artists. Onhis last atbum, we saw Toca come together withsome of Total for a radio singte. This time Toca

has decided to drop "Capicu" / "Out Da Box" firstbut you can overtook the R&B formula when iworks. Tony is at his finest on both production andDJing on "Just Be Good To Me," with hetp fromMC Lyte vocal sample from the classic, "Poor Georgie." With a few exceptions, each song deservesits own review. I believe l've given you enoughto go by, and l't[ end this piece by describing thiship-hop album in two words: CLICK BANG! - [email protected]

SAIGON"WARNING SHOTS"SURE SHOT RECORDINGSA warning shot is a shostraight in the air in ordeto draw attention, or gaincontrol of a situation. Buwhy does Saigon feel like hehas to buck a few shots before his debut? Saigon takesyou through freestylesstreetbangs, and songs fromhis upcoming album. "Thiscopy is intended for promoW

pffi

tional use onty. (pause) Do not get your ass beat(pause) lt's not worth it. Promotional use onty.Saigon follows this ctip with the Julia Andrews-in-spired "Favorite Things," where Sai specificatty informs us what his favorite things are. We[[, excepfor his favorite groupie, because, "Um, there's awhole bunch of them!" Atthough this is a simpteconcept, homie pu[[s it off nicelyl lf you're [ook'ing for more intense wordptay, tune into "StickingCap" or "We Want ln," where Ati Vegas, MekkaMi[2, and Sai ride a guitar riff driven track to perfection. On "Papi (35 a Gram)" we hear sai's talesof hustling, cooking, wheeting and deating drugsMidway through the atbum we see the human sideof Saigon's character, with tracks like "Huh Mama"and the potitical "Kiss the Babies." He also flirtswith the idea of Big Brother's responsibitity fodrugs and guns in Americ and "Pop Quizare two more comptete songs, but I believe Sai puthe most effort into "1f," a dedication to his moth-er. The last four tracks are freestytes courtesy oKay Stay, DJ Shok, DJ Absotut, and Whoo Kid, thelatter of which raises a few questions inctudingthe current trend of NY artists dickriding Southernartists, and the lost art of hip-hop in completealbums. These warning shots definitety got my attention, but there are no gold or platinum singteson this album. He won't setl 8 mittion retail andwon't have a world tour with this release. ls thagood or bad? A few years ago, KRS-One stated, "l'drather have a hundred-thousand real heads buyme than one mittion of your fake fanatics behindme." I think Saigon feets the same way. - [email protected]"THE PRETTY TONEY ALBUM"Def JamWu-Tang this, Wu-Tang that"ls the Wu coming with another atbum?" "Where Shaolin's finest at?" So manypeopte are asking thesequestions. On the intro toGhostface's fourth solorelease, "The Pretty ToneAtbum," he te[[s us that theWu witt have another albumtogether as soon as atl the individual projects arereteased. This atbum revisits Ghost's soul vibelnstead of using beats with sped up vocal samptes

earty you can get beforeChristmas." Drift then one-ups him with his ownbraggadocios verse. The atbum then moves froma gangster feel to a tittte ctub ditty, where Mottyhetps with the catt-and-response infected hook.You might want to listen to this one a few timescarefully, because it's easy to nod your headto the beat and miss the wordptay. Drift spitsmetaphors tike "Taking ya ptace like Loon didMase" and "Hit you with a shotgun like EtmerFudd or Jayson Wittiams." We get a bonus with"Don't Cat[ Me Pt. 2," where Remy Martin dropsa pretty credible verse which clarifies, "Niggasis dumb and bitches is dumber." The atbum isonty twetve tracks deep, keeping the focus onthe music. There's no skits or needless mate-rial, just the meat! Other notable tracks inctudethe solo cuts "We Coutd Do This," "Att I KnoW"and "Where They At." On the titte track, Driftexemplifies his flow to perfection. His wordptayon this song coutd be compared to that of Jay-Z, Jadakiss, and Eminem. Fitter material on theatbum is kept to a minimal. The weakest trackon here is the single, "Don't Ca[[ Me," but itOZONEMAGAZINEApnu20@


45/51

Ghostface uses vocal samples at original tempoon tracks like "Save Me Dear" and "Hotta." Pro-duction on the album is provided by Citvaringz,No lD, K-Def, Minnesota, and RZA, whose styteis ctearty evident on "Kunta Fty Shit." Thedrums and trumpets at the beginning of thistrack are ctearty RZA, if you coutdn't tett bythe name atone. No lD comes with the trackfor "Metal Lungies," one of the best trackson the entire atbum, which is rerniniscent ofWu-Tang in its heyday. Production is sotid, andfeatures inctude Trife, Sheek Louch, Missy El-liot, Jadakiss, Jacki-O, Musiq, and K-Fox. Thisdiverse group is a testament to Ghostface'sversatitity and experimentation. "Biscuits" is atrack which seems to capture Ghost's very es-sence. He doesn't lock himsetf down to specificdelivery patterns, and thus can motd himselfaround the beat. He comes strong on othertracks like "Be This Way" and "run." "Love," arather unique track, features the vocal finesseof Musiq and K-Fox. lt doesn't sound like some-thing you'd necessarity hear from Ghostface. Hedetves into his definition and questions aboutlove on this track, proving that he didn't teavesubstance at the door with this release. "Tush,"featuring Missy Ettiot, is a radio-friendly trackwhich shou[d draw praise from the crossover au-dience. lf you're a fan of either Missy Eltiot orGhostface, you definitety want to check for thistrack. Both MCs do a wonderful job of adjustingto the production, and Ghostface drops somehot vocats. Att in att, "The Pretty Toney Atbum"is a good buy. lf you liked Ghostface's eartierwork

ozone magazine #22 - apr 2004

Documents