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PUBLISHERS:Julia Beverty (JB)Chino

EDITOR.IN-CHIEF:Jutia Beverty (JB)

AS5/ST,4NT EDITOR:NoeI Matcolm

IAUSIC EDITOR:CL Mecca

CONTRIBUTORS:ADG, AJ Woodson, Big Eart,Bogan, Brian O'Hare, CharlieBraxton. Chris lmani. CynthiaCoutard. Dain Burroughs, DarinGtoe, Darnelta Dunham, DaveGoodson, Edgar Green, FelitaKnight, FLX, Hasan Brown, lishaHiltmon, Jeska Manrique, JesseJazz, Jessica Kostoq J Lash,Katerina Perez, Keith Kennedy,K.G. Mosley, Latoya Burgess,Matik "Copafeet" Abdut,Mercedes, Mikhate Richards,Natalia Gomez, Raandu Avion,Rayfield Warren, Rohit Loomba,Sptiff, Swift, Watty Sparks

SALES CONSULTANT:Che'Johnson

LEGAL:Kyte P. King, P.A.

ACCOUNTING:Nikki Kancey

CIRCUUTION:Mercedes (Strictty S.T. reets)Buggah D. Govanah (On Point)Efren Mauricio (Direct Promo)

STREET REPS / DISTRIBUTORS:DJ Quest, DJ H Vidat, DJ B Lord,Kamikaze, Jason Brown, DJControtler, Lex, Mad Linx, Musicand More, N'Ron, Red Dawn,Dereck Washington, Dr. Doom,Big Teach, TJ's DJ's

Central Florida Office:1516 E. Colonial Dr. Suite 205Ortando, FL 32803Phone: 407 -447 -6063Fax: 407 -447-6064

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':cver credjts: Anthony B, Wyctef,ard Choppa photos by Julia Beverly.OZONE Magazine is pubtished eleven: nes arnuatly by OZONE Magazine.-.. OZONT does not take responsj-:'r'ti for unsoticited materiaIs, m js-'.iormation, typographicaI errors,.r misprjnts. The views contained-erejn do not necessarjty reflect:i3se of the publisher or its advertis-:-:. nd5 3pps6p;ng in this magazine? r: rot an endorsement or vatidation:;' OZONE Magazine for products.r services offered. At[ photos and'...st.ations are copyrighted by their-esJeclive artists. AiI other contenti :-l,r'ghr 2003 OZONE Magazine,:ii .ignts reserved. No portion of this-did. -: may be reproduced in any

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PUBLIC SER/ICEANNOUNCF},IENT

Warning! lf you are a liar, a con artist, a snitch, acheap asshole, a fake promoter, or just full of shit,you will be exposed! Our PSAs have been known todestroy careers, Today's recipient is Tallahassee'sJustin Proctor (Promote the Vote). I'm glad some-one warned me, "Don't believe a word he says!"

> Janet Jackson's titl*o eplanation n€cessary> E-Class v5. A4r. CharliePoe Boy's CEO (3OO+ tbs) jumps hb formerpartn€r (10O lbs) @ TJ's DJ's Pool meeting.> Uncle Luke w. 99 Jamzuncb L*e csn€t to the aid of local artistsjtst in time to prornote his nerv album> Justin TimberlakeGfietto pass en the verge of being revoked> Mike JmesWho? lr{ike Jo{!e*l Who? lAike Jonesl> 50 Cent @ $e Grammla'How to be Robbed"> Def JamDef Jam - Lyor - Frevin = imminent d€mis€?

> Kanye West> Big Sty> Stat Quo> lilaybachNew required rhyme vocah.:lary

Something here just doesn': ic{k .:gii

Juvenite f/ Soutja Stim "Slow Motion"Anthony B fl Wyclef "Sotdiers"

Kamikaze "U Ain't Hard"Aticia Keys "lf I Ain't Got You"

David Banner f/ Marcus. "My Lord"Usher f/ Lil'Jon & Ludacris

Bohagon fi Ptayboy Tre "l Recommend"White Dawg "Chevy 8oy"Kanye West "Through the Wire"Wyctef f/ Sharissa "Take Me as I .Am"G-Unit "Stay on the Grind"Obie Trice f/ Nate Dogg "Set-Up (remix)"

OZONE MAGAZINE Freau,anv 20M 11

#3S&&KS. REORDT9

Ii't eitlrer faP of ,ell dope, t\ore t\e c\oicer 1 got

Bct any \ay yoq vanna pat iilT st'lt 9et \acaged by t\e copr

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$ql eincel667, ai,'t rUt realiy c\xn9g

And t\ey got a nev na6e, hark oqt t\e kq kkx lOan

V;t\ t\. polic€ v\ooping ^ofe

att t\an HikeTyon \andrI'a 5usi a yoang black rrrar v\o fitr t\e dercciPtion of ail

And t\ey'd cat\ec take it froa ne t\an ree a yocng brot\ec ball

1"\ rcfean\ing tqck all of y'atl, teon yoqc lavr to t\e taXerU\o bqilt t\ir coantry fcon' t\e ground up3 l'1y people put ut on t\e atiar4ring qr for tacaet practice, rend t\e yoqng to 11'tg yoodr

T\ey ny ve all rell dope,but George Bu\ got t\e goodr

In all ciiies qnl loodr, 4it1 it't a billion-doilar bqrinerr

And potiticianr 9et t\e novl n every day's a v\ite C\cirtrnar

5en ele# n'oney rpent on var, +qck a cqce tor AJD5

T\ey'd rat\er \ave ne in t\e voo& rearc\in9 for Saddart loc dayrBut \ey, r\it done c\an9ed rince ?Al

\ov t\ey cealize v\at t\ey do;n ot\er coqntrier ain? fqn

Nr slrikes by t\e ton in t\ere t\ird-vortd phcer5o v\en jrdgerrent day \itr, J \ope t\ey get God's gcacet

- Vito G, vitogagc@ya\oo.coa., 'T\ey Don? Care'

T\ir t\e beginning of t\e end

lnd t\e vibe nlitel can feel it in r'y Pen

5o I scribe and rceibe and cribble it again

Dot ^y

T's, cite ud t?i+ a c\yt\nf'n a vordnfth, ay adjeckvec and verbr littOtt t\e paper and blaze ya i' cqttire

Nov I'lerc ir t\e vocrt vit\ t\e vecrer

T\ir ir a birt\ 9i+t, yaq c?:n'+ re\earre tlu'tT\ir can? be pqcc\ared or dcplicated

Nov yora debating on y\o'r t\e greatertBqt yoq're acgqrtent'r irrelevant

loq"teyet t0 obrefve ot teql4efcqty) t\e 60t\ ete,nrent

loq tiled to be a capper b,tt yoqr r\yraer varn? ill enoqg\

Tried to be a dealec bq+ yo' dia-r- varn? b19 enoag\

Tcied to be t Hetvy H;tter bqt yoq caqldn't {in ro toag\Tried to be a killer bqi yoq ain't grir\y or real enoqg\

T\en yoq Sot f\e aqdacity to ny yoq aln't feeiin' qr?

ltlan, \ie all \arti+y) y'?tt cookr ain? rqn t\e driiB enoqg\

Vit\ t\e M05 uittc y'att dudes voqtdn? be ill enoqg\

T\e boot\'r on tlce, yo Livevirer +inir\ qp

- LRC, L8Cl@valenciacc.edq

J rcer ray t+eP-PoPt get \ooked on t\at anre r\itT\at rry dogr on t\e block sre to ptc\ and nrake t\ey c\ange vith1 look in r\y horrlrrra/r eyet ?nd ree a vonan ready to lie dovn and die

/oq can either lie dovn and ccy

0r con'e oqt rt/ingin'

T\at'r one of t\e nrain fearonr foc all t\e fice J'6 lcinging

T\e ot\er rcator it t\e tvo bcand nev noqtb I Sotta be teeding

V\e+\er it' t l$l oqtside or i0 belov freezing

9o I ain'i got trne +or keePing cp vit\ t\e 5onercr

Jn t\e lab \oning hy cratt, t\e flov'r fecocioqr

l'lix in ro6e hagic, \ocq, pocqt

,(nd yoq've got yoqrrelf a 4nivecral 5oldier

One t\at don'| 9,1, ry*r tongce tor no one

lnd 4its verrer t\at pack t\e btart of a doqbte-baccei r\otgqn

?rop T got one, albeit jqrt a littleAnd J a;n? qrban oe *bucbar, nr3n, I/n rtqck in t\e niddt

- Crack 5, eiackl200l@ya\oo.coh, 'Hard Roadr"

I ray tlck t\e pol;ce, t\at'r \ov f tceat'ernVe bqy oqc vty oqt of iait, bat ve can? bay treedonVe'llbuy t lot o{ clot\er v\en ve don? ls3liy need'erl

T\ing, ve buy to covec ap v\at'r iuide'Caue t\ey lrake qc \ate oqtceluec and love t\ey vealt\T\at'r v\y r\octier \ollerin"V\ere t\e baliar at?'Drug deaierr buy Jodarc, cc?ck\eads bay crackl(nd a v\ite lrran Set Paid oft of all of t\atBqt 7 ain't even gon' act \otier-t\an-t\oqCaqre tqck itl f vent to facob vit\ 25 t\oqBetore f \ad a \oqre and f'd do it again'CaqseT \ianna be onl06t\& Pack pcrUng a Benz

I vanna act balierific like it'r all terrific1 9ot a coqPle past dueb'lls,I. uon't gei tpeqtieI got a probten vit\ 4endin5 betore I 9et itVe all relt-conrciotls,I'a jcrt t\e tic* to adnit it- lqnye V est 1'All tallr Dovn" dCollege Dcopoqt')

Ti99a ceally needc to rhp hatin'on Sean

/'ait r\are t\e 4ne nahe., can? ve ail get along3

Like Rodney and fuginald Denny

le?\lBeyonce's a dine, Hov, r\e'r tar fcott' a penny

Bui iwt tiP o^ torlre Henny, roil a Bklebal6y 51t/oq already got fhe 9icl, git cq;ning 9qyl'lakin'att t\ere pabt;c boa*; and pqbtic toa,y't'Caqre t\e ftyert bifc\ in t\e g?ne ir \agging yoqr f\coat&,cit tcggin't\at boat, brqr\ t\e dirt o++ yoqr r\oqlderr

/oq'ce t\e lqcky 9qy t\at r\e'r vanting to \od \er0ont tsp ,"e yoq'6s atca;d of a little idand tingo

Dextec fcon Janaica and \ir aile-long n'andingo

C""on blg pthpin; t\oqg\t yoq ceptete'.t t\e '\ood3Vell, jwt tecogt'ize garrre and it'r ail good

T\ere'r no need toc yoq to lose yottt bcitc\er, :on

)oq've Sot ?? problens and a bitc\ q;n? one (yet)!

- D Scribe, d-rccibe@btackplanet.coh, '100 ?cobleas'

As rrr;n 4e t\e bell roqndr, 1 nrake a pancUng bag oqt of ay cohPetitior

Not to be onnircientr bqt nine oqt o{ ten tinrer t\eic c\yraer ace not etficientJn nric corrrbat

"P?laqte \odr t\e top po:ition

5\adov boxin' opposition, t\covin'\ool.s and punc\er at opponentr non-exirtent

HiP-\oP i, jrt a \obby, 1'rrr a pcoterrlonal in dick-deaiingBy t\e end of tUr evenlng J intend to \ave yoqc bitc\ rcceahing

Itly nqreroqs nationalitig ?lloy 1t t to experience tcre nixed feel;ngr

fn t\ir gan'e f'll tparc no liver, aPPlaqre i, \ere to ceign

l,lC; ace like bovling Pint earily vit\ one rteike t\ey get reaoved tron t\e gane

keep it gctter, apr,laqee yoq're the Steatet+f rpeak to ray:elf ;n t\e t\icd perron .h be addre*esed at +itt+f\e H9\ ex\aqlted epitonre of I'lCr in t\e 0Z:0!!.E, iltest nrag on eart\Never in yoqr life Vill yoq encoqntef ?bettec uerrc

ff yoq l6nt f\ink J 9et dicty, yoq're a&y 'vrtakenI'a A Soql nigga vit\ rock sPotr like buod clo+ P^tie'.tt

Jn t\eir deat\ bed vaitin'foc 5atan, 4voring every lart bceat\ t\ey tal<rh'Uit\ yoqc perr\irriorr I uutd pqt ny nind to good are and cecrqit +or /oqr co?lition

I giver a'v\at' \ov ill yoq are, even t\e v\ackert l'lC can fit t\e porition

- Eveni t nicca\rean@\othail.corl

Enail yoqc 16 bav to58@l 0Z0N El'1A6. COI'I roc couidecation.

ryr5

0G. =e

,:.:: fl Boo and John reppin'lLife lLove @ Freelon's (Jackson, MS) 02'Darryt, dead prez,&. Buggah reppin'OZONE @ NTZ (NYC) 03--, .lo..lo McToy, Zay, and Btood Raw reppin' OZONE (Tattahassee, FL) 04 - Da Sick One and Viper @ their video shoot (Ortando, FL) 05:;:, - Grandaddy Souf and David Banner @ TJ's DJ's (Tatlahassee, FL) 06 - Da Sick One and Futt-A-Hits (Orlando, FL) 07 - Keith Kennedy;: and Pee Wee Kirktand reppin' OZONE @ The Moon (Tattahassee, FL) 08 - Kamikaze's "2 Broke 2 Batt" retease party (Jackson, MS) 09

. -i.: -DJRajSmoovereppin'OZONE@TheMoon(Tattahassee,FL) 10""Barbershop2"releaseparty(Tampa,FL) 11 -Teach,Pitbutl,..= DJldeat,DJEFN,TonyNea[ @TJ'sDJ's(Tatlahassee,FL) 12-Wyctefvideoshoot(Miami,FL) 13-Twa,B.P.,andb.i.G.f.a,c.e.fam'Fi (Jackson,MS) 1,+'E-Class,Timbaland,andSebastian@Hush(Houston,TX) 15-DJKittatoneandNoet reppin'OZONE(Ortando,FL)+:c,,^.,^c*^^.,^-^f,ttl,,,;l,att^-+^-!D^^^-f,h^^l/l--1,-^^.,ill^Et\4ahttl^^+^l:+.,^^lD:il.,n^-t.l^^n^-^-ln^^t: 16 - Suave Smoove and J-Kwik @ Upstart Record Poo[ (Jacksonville, FL) 17 - DJ Mentatity and Bitty Rankin @ Upstart Record Poot

(Jacksonvitte, FL) 18 - Elora Mason and Fetisha Foxx @ The Roxy (Jacksonvitte, FL) 19 - E-Class @ Hush (Houston, TX) 20 - NicoteWray reppin'0ZONE @ Ctub Crunk (Houston, TX) 21 -DJ Christion reppin'OZONE @ "Barbershop 2" tistening party (Tampa, FL)

01 'Pitbul.t and Lit'Scrappy @ DJ Nasty's birthday party @ Firestone (Ortando, FL) a2 - Boo and Gotti pimpin' @ the 'hood MardiGras parade (New Orteans, LA) 03 - Garfietd, Btack Profit, and the rest of Brimstone reppin' OZONE iOrtando, FL) 04 - Cottin Mouf,Southstar, Bonecrusher, and Smitez cottect easy money backstage @ the FCAT Jam 10riando. FL) 05 - Trjttvilte, Mami Chuta, andJazze Pha @ Trittvitte's retease party (Attanta, GA) 06 - Sharissa and Wyctef on the set of "Take Me as lAm" (Miami, FL) 07 - Gitbert(if you see him, make sure you tett him you saw him in OZONE) poses with Money Mark @ the FCAT Jam (Ortando, FL) 0B - Smilez &Southstar @ Firestone (Ortando, FL) 09 - Lil'Scrappy pisses off Orlando police by showing his ass crack @ Dr. Phittips HS (Orlando,FL) 10- lt's a[[ about the Benjamins (Orlando, FL) 11 -Freeway reppin'OZONE @ Tabu (Ortando, FL) 12 - Sky, PtayboyTre, andBohagon@theVetvetRoom(Atlanta,GA) 13-BME'sRob,Sloane,andVince(Attanta,GA) 14-DavidBanner,h'iscousinSweets,andFLX rep OZONE (Ortando, FL) 1 5 - Roy Jones @ Mardi Gras (New Orteans, LA) 1 6 - Youngbloodz reppin' OZONE (Atlanta, GA) 1 7 - Mr.Vegas (Ft Myers, FL) 1B - Crime Mob reppin'OZONE @ the Vetvet Room (Attanta, GA) 19-Tatiana reppin'OZONE (Tampa, FL)

' i...J.] .. JT]LIA BEVERLY J JAROVACEK

John TierreMiller, otherwiseknown as "Stax,"founded BlockWear clothingin 1999 and itquickty spreadas a regionalphenomenon.Just walk into

any club in Mississippi, like the random photoabove, and chances are at least half thepeople you'll bump into are wearing one ofStax's designs.

How do you feel about clothing lines thatcharge $200 for a sweatshirt, etc?lf you ctaim you're doing it for the streets, forus by us, give us affordabte prices so that a[[of us not just some of us - can have it. BlockWear is priced so that you don't have to stealand kitl to get it.

How did you get started?I started out of my trunk. I started with thestreets, I put it in the hands of the drug deaters,the actors, the entertainers, anybody who wassomebody. I wanted them to wear it, even ifI had to give it away. From there, it caughton. lt started appeating to a younger market,because the same guys who were known forjumping out of the 600 wearing Gucci andPrada, they were wearing Btock Wear. lt gotso hot on the streetsthat I wasn't servingatl my potentialmarket, so I

was forcedinto retait, at

least here locatty. My company reatty wasn't readyto start serving out-of-town accounts, but now l'mready. I have a regional retail store that carries itthroughout Texas, Louisiana, and Mississippi. Herein Jackson there's three retail outtets, and thewebsite - www.blockwear.com - is booming. Nowl've got bittboards, the whote marketing scheme, soit's growing and l'm ready to attack other markets.I promote it just like a tabel woutd promote rapmusic. The t-shirts are the foundation. lt's rea[[ylike a lifestyte t-shirt [ine. We've got the JohnTierre cotlection coming out atso in the Falt.

There's so many celebrities that have clothinglines, how do you plan to compete with them?Oh, I'm ready. Most of them just have licensingdeats. I just catl it tike it is. Most of them aren'thands-on, they not catting the designs, they notpicking and choosing, just using their name andgetting a check off it. Me, l'm in. I can appeat.

Where do you get the ideas for your designs?Most of my ideas come from everyday [ife, but it'sput in a way where it's not corny. lt's stytish andthe designs are clean-cut. I tike to write a [ot. I doa lot of short form stories. I thought I coutd hit thestreets with a design that woutd get their attentionby putting a message on it. We've atso got the5100 bitt, we've got a pint bottte, we've got "GotWork?" we've got designs for the smokers, NBAdesigns, there's so many. We've atso got jeans andjerseys. The "Mississippi" t-shirts sold out in sixweeks. Texas and Lousiana are next.

What are the keys to a successful business?You've got to know your customers. Get out, beamongst them. l'm young, l'm eager, l've gotnothing to [ose. I ain't married, no kids. That'swhy I wear [my Btock Wear chain] around myneck. Every day I get up in the morning with it onmy mind. I don't ever accept "no." No failure, nonothing. Just get out of my way.

How long do you think it will take before you arein stores nationwide?I t won't be Long. Actuatty, at this point,

I'm really looking for a major retaitouttet a Foot Locker. a FootAction - someone who witl buy my

product jn butk and push it aswetl. The chatlenge is that the

lot of product, but they want to lowball youon the price. They want to set the price andset the amount and set the time in whichthey pay, so that gets complicated for a youngentrepreneur.

Someone in the streets see how popularyour clothing is, but how do you translateand explain that to corporate suits?Technotogy is so advanced now with audio andvideo that I can actually take it to them andlet them see if for themsetves. But my productis so hot, believe it or not, that atl generationsare wearing it, so they reatly can't get awayfrom it. lf they're here in this region, there'sno sates pitch. They atready know.

Aside from clothing, what are your goals?The ctothing is a vehicle. Actuatty, I wannaact. l'm not onty setting the company as BlockWear, I'm selting myself as Stax.

Describe your character "Stax."Street smart. Very sharp. You're not gonnabeat me. I've got the performance to back itup, as far as the corporate wortd and thesestreets. I done seen it atl. I do my business witha smite. These are att my customers.

Did you go to college?I have a degree in Business Administration fromJackson State University. Book knowledge gaveme the toots. College equipped me to play thegame, but the streets taught me how to makeit happen, how to mingle, sell my product.

It seems like this region is very supportive.David Banner reatty kicked it off, tettingpeople know that we here. As far as reppin'this area, I was the first to do it in fashion.

What advice would you give to other youngentrepreneurs?Do it. But don't get it twisted, I started witht-shirts. Whatever your niche is, find it, startsma[[, get your money back and just keep itgoing. Hip-hop is headed with a bullet, youcan't stop it. Whatever you wanna do, youcan promote it thorugh hip-hop. Hip-hop iswide open. We're setting records in spendingevery day.

large companies want to buy a

"Stat''Blod(Wbar

Ff

BME/WBrecordingartistLil' l

Scrappy

What were the show restrictions?I did not curse not one time, I was bleepingout the songs. Onty time I cursed is whenthat muthafucker put his paws on me. I amthe prince. You don't put your fuckin' handson me.

Okay, so tell us your side of the story.First of att, let me tetI you [ike this, shawty.I was out there doin' my thing like atways.I jumped off stage, the crowd got crazy, I

got back on stage. Somebody snatched themic, I didn't even know it was a cop. I waswatkin' off, [ike, whatever, it's coot, it's over. [Mymanager Seriousl was teltin' [Ofc. Wittiams], "Youcan't snatch the mic from him, you need to be doin'something about the crowd, you ain't doin' shit."So the cop did Serious wrong, he just bowed him(demonstrates a punch) like that. The cop hit mymanager. So my manager turned around [ike, "Hey,man, you can't be doin' shit like that, shawty, I'ma grown-ass man, I ain't did nothin' to you." So

he bucked on Serious, and I see 'bout, a hundredpolice get on stage. I'm teltin' em, naq it ain'tlike that, chill out. I told [Ofc. Baitey], don't puthis fuckin' hands on us. He tried to throw [my hypemanl off stage, but he hung onto him, [ike, I ain'tgoin' nowhere. lf I go, you goin'with me. 5o I had

[Ofc. Baitey] in front of me, and I'm thinkin' tike, ifI coutd get away or hit him, it'd be coo[.

What was going through your mind when youwere pushed off the stage?Lawsuits, nigga. Big ass lawsuit. That's what I wasthinking about. My back hurt, nigga. Ouch. Thenthey sprayed me. They pulted pistots out on me, inthe schoot, and they tazered me. They put the litttered things, put beams on my head and shit. And youknow what I totd the muthafucker? God honesttruth. I said, "Dawg, what, you gonna shoot me? You

can't shoot me for talking." Then he put the gunaway. That's right, you bitch. And we can't be [ike,"The white man...." NaW it was the black mutha-fucker. That's why it hurt so bad. Can't say nothin'about the white dude, he wasn't here this time.It was the black muthafucker, the nigga that lookjust tike me. Nah, he ain't look like me, he ugly.He btack, and he ugty. You need to get your shitfixed, nigga, turn your teeth into Six Ftags, nigga,they could use it. Then they arrested my manager,they sprayed him for no reason. He was just tryin'to handle business and they had a hundred poticeand shit. That's why the crowd bucked on y'at[.Y'at[ hate on any black mate that watks this earth.That's why y'att be gettin' kitted, nigga, y'alt don'tunderstand that. Use your laws right. I know [aws. I

know I can laugh at you straight in your face and ifyou hit me, l'm suing. l'm going atl the way with it.I don't want your money. I want your badge, yourhouse, I want your life to turn to a living hett. Y'att

OrlandoPotice

OfficerRichard

Bailey

Officer Bailey declined to comment onthe incident. The following is the arrest

affidavit filed for Tommy "Serious" Phil-lips, Lil' Scrappy's manager.

The undersigned has probabte cause tobelieve that the above named defendant,[Tommy Phittips], on the 28th day of February,2004, at approximatety 9:15 PM, did committhe above listed crimes: [two counts of Bat-tery on a Law Enforcement Officer and onecount of Resisting Without Viotencel.

White working off-duty at Dr. Phittips High School(6500 Turkey Lake Rd.), l, Ofc. BaiLey, observed theDefendant Tommy Phittips lV grabbed and pushedOfc. Kevin Wittiams off the stage. Ofc. Baitey andLt. Wittiams ran to the stage to arrest the Defendantfor Battery on a [Law Enforcement Officer].

Upon our arrivat, several peopte were trying to re-strain the defendant as we tended to Ofc. Wittiams.The Defendant and two juvenites began grabbing atofficers trying to get to us. I grabbed one juvenitebackwards and off the stage to remove him fromthe fight. The Defendant continued to resist andgrabbed me from the side after I pushed the juve-ni[e off the stage.

As the crowd continued to push, we went backdown to the corner and I went to arrest the subject.The Defendant continued to resist and not complywith the orders that he was under arrest and to puthis hands behind his back. The Defendant continuedto resist until put under control and taken outsideto the patrolvehicte.

HFErcT

might ptay this shit in courton6 Ojy,

-but I don,t give a (1.) Scrappy starts performing "Head Bussa" and (2) dives into the crowd. (3) As Scrappy

damn, ';cause

th.is islrue- ctimbs back on stage, (4) there are no barricades between security and the stage so the

This is reat fuckin, tife crowd stams into the stage repeatedty. (5) Ofc. Wittiams takes the mic from Scrappy and

nigga. lt's not the fuckini an argument ensues between several police officers and Scrappy, his manager Serious,

movies, so when you put and his hype man. Scrappy's bodyguard hotds him back. (6-7) Scrappy and Ofc. Baitey

your paws on a tiving teg- argue while the others try to separate them. (B-1 1 ) Ofc. Baitey shoves Scrappy back-

end,yougetsued. wardsoff thestage. (12) AsecurityguardcatchesScrappy. (13-14) Poticeandsecuritycorner Scrappy and Serious as the crowd runs up the gym bteachers to get a better view.

What do you get when you mix a big-headedrapper and a big-headed cop with a room fullof high-school girls? That's right: damn good

footage. This concert at Orlando's Dr. PhillipsHigh School turned into a BIG fight. Luckily, noone was seriously injured, although Lil' Scrap-py's manager, Serious, spent the night in jail.(Remember, I'm just an objective observer, so

why hate me for reporting the news? - JB)

ffixr"'---1 ;: ;=**"

20 OZONE MAGMINE Franumv 2004

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WiththeSouthernmoVementdominatingthesoundofhip-hopacrossthe.o,n.ffiGeorgia, is an unsigned artist reaavlo ;;l; #;p..t,bn th" inorrt.v. iiun inorgh he,s been approached bymajor [abets' he's remained tlaup"nolnil'r"l;lilrfie that a deat-r's J,ioiir*'iir".tion

rwant to go.,,He plansto retease his arbum. "Gradv aabf " il;;;;';; #up"no"nt oir,iior.ii" lr",i recoming ,,rost in the masres.,,His first singte' "what *ra-reezv"' ;;ffi;;l'il"f".,rrrng o."iJ e...; ;Jnerated a buzz throushout thesoutheast' His atbum orovides titi"n"ii *iit' in"'opionr'itv i.g", .*rii.i"ili'*i,t, supastishun, who-describes

ffi!;lj;fl,H'iX#;e;,,coaster' it-i;;i'i;; il;"k""r ngril 6,lii,-i.'1, ',ii'i i,, ue1t,,,r!,e wioe vaiieiy or"rn" ini,'i.v,,;t#;;iiJ?:::llH l5e'"':':'"litl,lii;yJy;*iilHTg,.?;iury*:tffili"grill';

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He did it the way hung lrtists are supposed to do it. He stayed on the grind, making sure that his time was

wett-spent and his music *ui n"uit. lttnbugn he's been rhyming since he was,eteven, at first Stat wasn't reatty

focused on trying to get inio in" gut". nalpping was just'a hobby.. N.gry, it's his promising future' Three years

ago, he began mastering his craftl teaving mlxtap"t J.ot.nlng with third-degree rhymes' Both.votumes of his

mixtape cotlection were hiti tnio,jgnort tfie Soutireasiind Miiwest, earning him airptay on major stations and

creating a buzz that t"rt p""pi" n"ungw iot more.,the respect he-gained landea hlm in the same room with

Scarface. Game recogniz" gi.i" - tf'"?u'p icon and the;Pr;sident of 6ef Jam South gave Stat Qu9 the go-ahead'

encouraging him to focus;;;;p;t;;;reer. Shortty after, he submitted a demo to Def Jam South' and atso

shopped around to otner ta'ueGl Gt euo started afta;[ini the streets retenttessty, keeping the underground

fire burning, and eventuatti triio"n- tiu.hed Catifornia. Drl Dre sent for Stat to come work with him' and once

the doors were open, Stat Quo's government name was scribbted on a contract signing him to Shady/Aftermath

Records, a very good pta."ioi!=ut this point in ttre gime. io how has Stat's tife changed since signing his deat?

,,Nothing,s changed," he says, "l'm stitt on the grinJ, stitt working, trying-to.make sure I come out with hot

music.,,His new singte, ,,ei6Uiems,,,from Greenlaniern's "UnderfioundATLVotume 3" mixtape, is spreading

quickty throughout tne couniilliiit tu.tutit"t his upcoming atburi as "my interpretation of life and the things

t,ve been through. I .orn" *iin *iiiv no*t and gritty irairsltrying i9 uTq?n.d the Southern stereotype' we're

stitt iust buitdin-g our roster uf . lt's a countdown to Armageddon'" - Noel Malcolm' noel@ozonemag'com

Picealo LABEL lfife.$enRu./Tomers 4 t;feNNWE GON'MAKE IT'

HOMETOWN SUPPORT El/GATCHY HOOKS Er

IHDEPENDENT HUSTLE ET

Juvenite hatl is usuatty more tike juvenite hett for those who are forced to go, but doing dirt and getting pun-ished for. it.was actuatty one of ,the be-st things that happened to vido r.l""ii.r," and Des Loc. Their stint injuvenite hatl brought them together as Piccatoi Proressio'nit rnt"tiig"ni caih -Coirectea

Advanced Lyricat oh myGodl rhat's their acronym forwhat.they're bringingto tr'. r"p giil".-v* p.-uuotv won,t hear their music oncommercial radio stations yet, but the itreets hivibeen suppoiting them ?oi years . ln 1999, their singte ,,BigMoney Batters" created a buzz and ted them to a deat with the now-derunct rri Records. Even though the songwas poputar in the region, their tabet was unable to convert the buzz into reiord suter. ,r,ruioi riu"ri"rpr**a'interest in signing the group, but EKG was more interested in a deat roitneii'entire roster. No major was in-terested 'in the whote roster, so when EKG went out of business, pi;;ut" *ut'*itnort a home. They continuedputting,out music through their own lnfested Records/Townerii rli"l r..rrirg'on exposing themselves. oncea month they put out a setf-produced mix cD. "We gon'grind'tir tn! *n""iifatt off,,,brags vido No shake.Proudly representing their 'hood.of overtor,,r'n, they'r-e.the"orili.it"itli ii" popurar Miami phrase, ,,Towners!Fo'.tife!" Like many unsigned artists, they took forward to having a major labet finance and market their musicto the masses, but in the meantime,. th-ey're preparing to retdase uicorn^r:ng cottauorations with hometeamfavorites Jacki-o, Dirtbag, Pitbutt, Luke, int cbgnito. ihe good R"rJ"rt J;;"" Jackson atways says to ,,keephope ative," but according to Des Loc, "we been-in tn11 g.am! ro tonitn"i" ui,iit no tire for hoping.,,Jadakissdescribed the Piccato mentatity best: "we Gon' Make lt.; - o.-"liidrnnir,'i"."elladunham@aol.com

ffingabouteXcess'5omethingthatreve[sinVutgarity,depraVity,anddecadence. The human .""d?*v "'tJ

klep',those uppliii"iin check for the sake of appearances

or civitity, but you .un pr"j"u""'io'i.o"rie'" y"rr qui"t ;:;;; *jii xonxr"t"' Their grit witl ruffle

feathers, their edginess *itt ;il ;;;l?o'i"rry, 'rut tr'"it il"i"r.n"ry witl' earn,them permanent

Dracement in vour cD 'n";;"T?;;::biq'rtiii*a l:;;;;il;;;ivi' tratnanial "supa Nate" Et-

der. and James,,Lit,erotnu?iiluiii aJprcttneir reatit-"V-i" giupftit teims' As a.resutt' the mustc

roams from the trap to tn! ti'u to the hearts' titdt:";f;;;s & woment-tn the case of these

three Attanta natives, o''rfr.iii .nlanil; h?,i9 i.a*a pla'i*-a inter-e::1n9,.:dutts' The grimv

streets of Attanta's 'o"n 'li" uiu'invit'ine nut u pilveio'nd' Growing up running an obstacte

course fitted with drugs ".;'ilty;;;V, iinrr"t" at'Ji-i'itpiiuti* rtot.their past' c-Bone cites

rire as their muse: "We ontv write ub".'!Ylil^y:"f i.Y,"T1"Y:.::*;f# Ii:..J#tXtl';rii" as tneir muse: "We 'itY"H:'.T#:i:;'ii"'"$.;;;:;;i.;;; ihis.isn',tsangster-fantasv'

lY:?,ti'ff;i'::"T"??i''ifti:l',i.*liiv *"' eviaent-io-6ut-rast;s eig Boi' who sisned Konkrete

to his own Attanta-based ^ii'it1"i'n"t"ids' "We've it;vs"vailJ ;ltl in music"' muses Big

Boi. ,,There,s a rot of pr",'J;;'i;';i;"--h;pilgnt no*- roiii"t" *un.g"s.to so aeainst the grain'

and stlr make incredibte records!" qf :gif-"^','^t fl:lHtt l*"o.i{:1,:: froui members is Big

lil'r *,li/'

and stitl maKe rncrearDt' ';:;ii; tJr"tii"tt i" the famitv' - Kiera LytleBoi's younger brother' Apparentty' f,a(errL Iurr> rrr Lrre '

CodeRad I-ABEL 503\eaaz

*DO IT YOURSELF'

HOMETOWN SUPPORTCON$IgTENCY

DEDICATION

{urw

on Mobb Deep,s "shook ones Pt. 2," Prodigy boasts. "l'm only 19' bui n-rv ri;inc is ol'ler-"This line also applies

to 18-vear-otd Jinx da Juvy, who, despite his age, ls steadity atlacking hjs cat**n ni-'h lt"e maturity and pas-

:,f,i:i'; ";#;*d";iiuiouui in t'he music lnorttrlili.i *i ci*i""n* anrd signed bv Def Jam's Russetl

simmons, who was irpr"ri"J*itn his tatent. when Jinx $,'as {rot fer tte ->egnc lii:l'e in a potice shootout,

simmons moved him out oiin" iti"ets of Brooktyn where he'd grcuTr .rp.,signed a record deal, and became a

father. The streets were a distractjon for Jinx. pr"uunnng ni- frdm be:ng fu:i1'fccrsed on his music' After [eav-

ing Brooktyn, Jinx was uUt" i" ."t pi"t" nlrt"Uut atUuni' -ito"'' a Y.ot'rig C'iFers'*c-';'re-' Jinx mentions that

the mere thought of ,,just having an album,,is enougn tlo sarislr r'r,ir. o'"-n",.. Lr',e aLbunr truiy reflects Jinx's life

as a whole instead of just focusing on the usuai hip-hop routine oi rrris- r'romer-' ani cash' "l think my atbum

speaks for itsetf," Jinx ""priini,

H-is stor-v and music ;;;;;;;t."*isc-jenr of tiobb Deep's "lnfamous"'with

a straisht East Coast rtyta. H" mentions that ne'c io"e to wcrk vn-'Jr 'r-\obb Deep' but prefers to compare his

l[i]fr=a","ii".L"rsJ,;,n"*onuoi" oouut." His firsrsingte. -Project Haltw'avs-" rs current[v heating up on

the mixtape circuit throughoui in".ornt.l and,it's the fi'r'st oppor-tunity many have had to become famitiar

with Jinx. He recently beat an attempted murder .nuig".-ioi;g that he's 'at*ayt been running into [the

poticel.,,Despite nis youtn, i,ir rt*ggi"t una"*p"ri"n.ii'comUirieO with a powerful' detivery promises that

his upcoming album through Teflon Muzik/Def Jam coutd indeed become a street ctassic' - Rohit Loomba'

LABEI +que+ii&/9qw

,.FA.MILY TIE$''

CELEB CO-$IGNHOMETOWN SUPPORT

AUTHENTICITY

€IFtr

codg Red began when MC Et one and reggae artist Junior Dread began throwing parties togetherin 1998. They later formed a hip.-hop supergroup with producer watii, oi q, Dirrratic, and Man-fred, an MC formerty of the Schitzophrenikl crew. Their mission is to never"compromise, regard-less whether.they get paid,or nor..They heqd up their own independenii"b"i; 502 Headz, andplan .to keep it that way. A distribution d-eat didntt work out, ., on" grdfr"rder exptains, ,,i 01Distribution is having a tot of problems. They were in att FyE,s uni'cot aropp"a, now tney owe

u.s.money and they're doing shady business, io fuck them." lf there'ione pn'r!t" tnut representsthis group, it's "do it yoursetf." wjth no major-tabet backing, ittii" .ol" riL"v,-and no video, thegroup still continues to ptay to sett-out crowds and push thiir tatest r"r"li",',Since Forever TitForever." However, E[ One realizes, "You can't hustie out the trunk forever. At some point youhave to run with the machine." They reatize that they're upprouininftne foint in their careerwhere they'[[ have to either put.up or shut up. Ratheithan trying to gli uig ur.r., rro, a majorlabet, they're doing att the. production, advertising, promotion, ana-viaeoi for theilp.oringalbum in-house' "Good MCs lower their skitls for major tabets, out our sti[i never decrease. we,Lnever go bubbte gum. we made a vow to oursetvesio just do us, and if we oio* *e btow. If not,that's fine. Music needs more creativity. Everybody is singing the same tonl:; Coo" Red promisesthey'l[ never selt-out, but for now, they are fatientty wa-itiigl _ Darin Gloi

ISBEL F,flonl4.wwDetJam

.,PER$PECTIVE''

HAJOR IABEL DEALSTREET CREDIBILTTY

CELEB COSIGH

gwVJinx da JUW

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FR'DAYT}

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How many albums have you already re-leased?This is my seventh album, but this is my firstatbum that wi[[ cross over into the interna-tional market. Like Bob Martey.

How will it be released?l'm signed to Togetherness Records, they arethe ones that have seen the potential in An-thony B's music. We are trying to get distribu-tion from someone who can come in the gameand put in the work, you know? We hopingthat this witt hetp pay off, they come in andchange the game.

After being in the music business for solong, why do you feel like this is the righttime to make that transition?Because after watching and working themusic for years, it's given me maturity. Weunderstand what it takes to rock an inter-nationa[ audience. I think our music hasgrown to a [eve[ where we can make it moreappealing than coming from a younger andinexperienced Jamaican artist just getting inthe game. I think the market has been therefor reggae, but it's been ctosed and openedagain. I woutd say that the medium is opensince 2002, 2003, peopte like Sean Paut. lt'stike hip-hop music was in the 1970's until Dr.Dre and others gave it a different push. PuffDaddy come atong and give it a push. For ourgeneration and our time, this is what we consider to be the new generation. Bob Marteyis considered a pioneer.

What is the message that you're trying to get across to the American audience?We are trying to show people that we are more than just music. We're tatented peoplefrom the istand of Jamaica.

Would you consider yourself a traditional reggae artist or a dancehall artist?I consider mysetf a chanter, a person with a message. For me, dancehatl music is thebeat, reggae music is the beat. Reggae is laid-back, dancehatl is more up-tempo riddimdancing. I do both of these types of riddims. ln order for me to get to the vibrant youth,you have to chant off those dancehatl riddims, and for the authentic peopte who lovethe soulful old styte, I have to chant on that riddim atso. I don't try to be any one styte,I try to be a universal artist.

What topics do you discuss on your music?My message is a wortd of peace, harmony, unity, and [ove. I represent what my labelsays: Togetherness. Because to us. music is the universal language. The logo is twohands: awhite hand and a btack hand hotding together. rep!'esertirg unity'. To us. -:usjcis a great instrument of influence. We are taking the tile t: s-cv, :e::.e -.:+ :: at-preciate the culture and peopte of Jamaica. and R.as:ara-.

You have several collaborations with Wyclef, who is Fiaitian" on lcor$f i-ryornnra aL-bum. What is the retationship like between Jamaicans aftd Haitiars?We are two different languages, but of the same people. -i-rere': a _a-e::: i. -EiE 3-Ea ghetto in Jamaica. We both learn of poverty, Living in a ci:e-to€- s:,a3* - ::rrrr: --f*poor to rich. We share the same cutture, so we retate easii-y. 'sFrcre.

= = !t-en: senn:artist, and it was a great experience doing music with him.

Wyclef is a guest on "Soldiers." Can you explain the message of that song?What we are saying in "Sotdiers" is that we shoutd stop and look at the peopie h.o a..dying. lt's mostty the sotdiers. We're tatking about active soldiers, but we're atso tal,{-ing about we as the common people. We're talking about the people who work 9 to 5who never can get away. They want to take a vacation or get away but they can't quir.Even when you have the opportunity to get away, you can't. lt's so broad what I tatkabout. lt's not even just the sotdiers that fight a war out on the batttefield.

Do you plan on working with other hip-hop artists in the future?Wett, bringing artists together, it's not just about hip-hop and reggae. lf we can showpeople that we in the industry can come together, then even people of different cu[-tures can make it easier to come together. lt woutd make it easier for us to understandeach other. We we start it, it's when peopte witl fottow.

When will the album be released, and what singles should we be listening for?The album is catted "Untouchable," and the release date is yet to be determined. Thefirst singte was "Someone Loves You Honey," and the current singte is "Lighter," fea-turing Bonecrusher and Wyctef. The third singte witl be "Sotdiers," featuring Wyctef.- Photos & interview by Julia Beverly, jb@ozonemag.com

Video after video, rappers just can't seem toget enough cars. But the truth is, most MCsdon't own the cars they show off in their videos,they simpty rent them. One artrst who doesn'thave to rent his cars is Wyctef. The formerFugee has a car cottection that is home to overtwenty cars, inctuding a Ferrari 360 Modena, aV1 2 Pagani Zonda, a McLaren Fl, a Maybach 62,two Benttey Azures, and a Hummer H2, amongothers.

Ctef's Ferrari 360 Modena boasts a VB that putsdown 395 horsepower at a beastty 8500 rpmand 275 [b.-ft. torque al 4750 rpm. This ltatianmasterpiece wit[ take him from zero to sixty in ascant 4.2 seconds. The top speed is 189 mph.

Wyctef's coltection onty gets more exotic afterthe Modena. Atso jn his garage is a red V12Pagani Zonda, a rarity among cars in the wortd.The trademark rear of the Zonda betches outthe exhaust from the V12, which generates 394horses at 5200 rpm and can take C[ef down thestraight-aways at 185 mph when he puts thepedal to the floor.

The true flagship of Wyclef's cottection is hisdark btue Mclaren F1. With a resate value thatpasses the mitlion dollar mark without breakinga sweat, the Fl is perhaps the most wel[-knownmember of Wyctef's cottection. lt's a three-seater, with the driver commanding the 627horsepower F1 from the driver seat located in

the center with the two passenger seats on the sides.With a btistering top speed of 240 mph and a 0-60 timeof 3.2 seconds, the Fl is one of the fastest street legalcars in the world and in Wyclef's driveway.

The sports cars are a must, but sometimes artlsts v/antto sit back and enjoy the ride v,,hile thev surroundthemsetves in and indulge jn the exiravaga^l ire-iesand amenities their car possesses. F:r- :ri: :-'i::=.Wyctef makes a Maybach 52 rirc.:,.:e: .:--.::.., a-<

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lrnean, by now lreatty shoutdn't have to say. With att the music that'scome out since, you shoutd reatly be able to figure out by now whatWyctef did in the group, what Lauryn did in the group. I'm trying to seeanother Fugee atbum, so I don't want no comptications. Me and my cousinJerry Wonder, we dealt with a tot of production. Me, you know I'm thehook man. How many mics do we rip on the daity, catl Mr. Martin.

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When they see me, peopte atways ask, "Witt there be another Fugeesatbum?" I say I don't know, but I hope there's another trio. I wanna do it,so [et's go.

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I reached out tetepathicatly, we've got a Littte ESP thing going.

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tt's att haltucination. When we sit back, we hatlucinate. l'm saying it'sjust a hatlucination because my battle rhyme is just that: a battte rhyme.He went at me and whatever. I ain't say that he didn't write what he said

he wrote, I was just clowning him on the record because it was fun. Andwhen I catted him Mitti Vanitti, I don't mean that he lipsynched, or thathe didn't write his tyrics. lt's just a battle, so I brought it to the block on

some freestyle shit, that's atl it is.

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INTERWEW&PHOTO...q jF-L,4. E$f,lGltrila

on in ihe :ilduEt;-y, bui at th€ :ail* ti:E€, ynu'i+ beeling wilh Pre:?To understand wal you've got to come from war. To bring peace, therefirst has to be war. lt atl started with "Fake Ass Pras," and when I did thatsong, I reflected to myself, and my man Buggah was [ike, "Yo, you can'tbe like that, you atways that nigga, that p.eacher's son." Then I caughtmysetf. That's why in the song I say, "Sometimes when I steep, when I

wake up / I kinda hope the Fugees didn't break up." So from a negative, I

was able to flip it into a positive.

1,*i*+ p=**!e hav*:r:l-i *i blarr:*ri .1rs;t{*r t-e Fugees Lrr*akinq *p, a: iar.1::j=ri i:ei ?c:*g {o!}sid*:-ate f*r Lai:;yii's fe*itng: cnd things like:h*i"Basicatty, you saw me in "Making the Band," right? You coutd either makethe band, or not make the band. You could either make the song, or youcould not make the song. lt's that simpte. Being in the studio, I was defi-nitety a dritl sergeant. I don't have time to ptay. lf you gonna come, beready for it, cause there's a bitLion trying to eat in your spot. That's howI attack the studio, and once I leave the studio, I'm grindin', l'm buggin'out. So I didn't have no problems with Lauryn at at[, because she's a drillsergeant hersetf. We got atong because atl we liked to do was the music.

A 1*i +f peopl* arc wrnd*ring ai:c,..:i l-auryn'5 stiltc !{ rnind :-ight n.:x'I just think that a person's work shoutd be judged by their skilt. Not by oneatbum, not by two atbums, not by just one year. I think that with Lauryn,you're going to have to review the butk of her work in a twenty-year spanbefore you can make an accurate observation. I think what's dope abouther is that she describes what she's going through on her up days and herdown days. She expresses things for a crowd that doesn't have a voice. lngenerat, I think Lauryn represents everyone because "Miseducation" wasa serious atbum, and the acoustic album was another deep album, but itstilt sold a mittion copies. 5o there's a lot of peopte that search for thatkind of music.

. : - assuming that your new album is dedicated to your father?::-. 'i's named after my dad. I took a year and a half mourning the death

:- -_' 'ather, so "The Preacher's Son" is a resurrection. After a dark day:- ::i have a bright day. lt's just taking a[[ the positive stuff my dad

:.:--iri me. The atbum's gonna manifest itsetf. When the music is good,":'- :on't have to say much. All I got to say is, it comes out November the-:,-ir.

-; ,:: rvon't be gone 'til November.',:-. nah, I'm backfrom November (taughing).

' -: i: featured on the album?': got Scarface, Redman, Rah Digga, Patti Labette, Cartos Santana,

,',:-'ca, Buju Banton, Etephant Man, Wayne Wonder, so it's tike "Carnival":,:-i iwo to me, it's so musical. We got the joint with Missy, "Party Titl:rascus," that's ripping through the industry right now.

-: * did you come up with the concept for the "lndustry" video?--it the concept of being in a cab back before you had anything. And I usu-:.r;r be tatking to the cab drivers, and them muthafuckers don't be hearing.-:: I be saying but I stitt tatk. So I've got an a[t-star cast for the video, and:'e interesting part was that everybody showed up.

'::i. you did have qu'ite a variety of characters.: s just my famity, man. I just put in a catl to the whote industry! I put ina call to Russetl Simmons, Whoopi, Queen Latifah, Heather Hunter, and it.':s atl good! (taughing)

', iaI do you plan to retease as the second single?-':er the "Damascus" joint, we've got a lot of vibes going on. We got a

-:int catted "Baby Daddy" with Redman, that's hot right now. The whote:roum is about conversations within a community. Another joint is withFatti Labette, catted "Celebrate," and there's a joint with me, Etephant',ian, and Wayne Wonder catted "The Doctor." My favorite is "Ctass Re-

-nion," with me and Monica talking about when we were in high schoot.

!: ;,,9x l'r6r7s a Nabel called Clef Records, right?reah, I mean, the first thing coming off my [abe[ is me. I know I'm gonna:ell at least a mitlion records, so that's 513 mittion to soLidify us as a record.3mpany. Once we do that then it's on, you feel me?

'rihat kind of arrangernent do you have wlth J Records?i have a 50/50 merger. l'm gonna eat this year. You know how I'm goingout, baby, you know I ain't ptayin'l

=;-ue. Enough money fc'r the kids to eat too./aah, I don't have any kids yet but l'm gonna have some kids next year.I want one boy and one girt, because with two kids I can monitor themand take care of them. I don't want to have kids that are att fucked up ondrugs. I want them to be whatever they want to be, whether they want tobe a star or not. Listen, I'm straight up from Haiti. I'm just gtad I'm hereand speaking Engtish. I'm fortunate for whatever I get. l'm gonna make asmuch paper as I can, get on a ptane, and go right back to Haiti.

ilovv do you feet about the state of hip-hop right now?Man, I miss 1989,1990! You atways knew PE was coming with somethin',Koot G Rap came with the street sh'it, and Rakim came with that street sci-entist shit, you feel me? LL, you know he'd rep for the girls, and of coursewith KRS-One you had to watch what you said or the nigga would cometo a show and murder you! That shit don't exist no more. Everybody tatkabout the struggle, but the minute they make a ti[' money they talk aboutthe bting. And this is my shit right here: nobody shoutd take the credit forthe bting-bting. Give that shit to Third Eye, ptease! (singing) Who's thatwith Supercat? Third Eye! Third Eye! Don't get it twisted.

A, few weeks later, after Wyclef gave us the grand tour of his ownPiatinum Sound Studias in NYC, we finished our canversation..."

i hear you've been working with Jin?Yeah, I'm working with a tot of people, because I'm a producer too. I wearmany hats, that's the best thing about this industry. I was one of those kidsthat was fortunate enough to flip hats whenever I wanted, so I love work-ing with artists that got the grind from the start. Jin is one of those kids.We just did the joint "Speak Chinese, " that joint is vibing hard att over theplace, the video is kitting BET. This cat's buzz is just crazy. He's a foreignertike me, so when I was watching him on 106th & Park, the way he uses hismetaphors, I coutd relate to certain shit he said.

Are you tooking for new talent to work with?Right now I'm in the process of buitding the new Refugee CampAtt Stars.

I'm on the streets finding the newest, hungriest tatent. At one time I hadJohn Forte, you know he's away, then I had Canibus, Canibus went to thearmy. I've been on the streets a tot right now, and I think l've found somekids that are going to bring a new vibe to the game. I spent years looking,cause I can't just sign somebody cause they the illest spitter on the block.That never did it for me. I'm finding these kids that have an attraction tohip-hop, and their stories are imaginative. lt gotta be something beyondthe ice. There gotta be a deeper story than that, but stitl keeping it sexy.We talk about the watches and alt of that, but then what else? You gottabe abte to have more information for the pubtic. My name is Wyclef, so"ctef" stands for the music. I'm trying to buitd my label. Everybody is do-ing they thing in they own way, but for me, I'm not that producer who'srecord is in the ctub every week. That's not what I do. When I write themsongs though, them songs be hitting for centuries. 5o whether it's singers,rhymers, rock and rott, whatever, I'm looking for something that's gonnamove me and make a difference in the game. The change that I'm talkingabout is real simpte. When I was coming up, you had Run-DMC, Koo[ MoDee, Pubtic Enemy, hip-hop totd from three different perspectives, feelme? The Fugees, we looked up to Tribe Calted Quest, De La Sout, Nas, BigL, so it was a lot of different flavors to choose from in hip-hop. Noq I feeltike if you try to be intellectual and lyrical, they say it's not gonna sell.The average hip-hop today, that lyrical continuity doesn't matter. Nas'"lttmatic," that was back when it mattered, you know? Where's the newCommon at? Where's the new rvlos Def? I know there's some young kids outthere spitting murder like that. Where's the new Wyctef? Where's that kidin the hood playing guitar and rhyming? Att of that is out there becausewe influence a tot of that. I was influenced by other cats, and now I justfound these kids out of the Bronx. The youngest one is tike twelve yearsotd - shorty came up and was singing straight R&8. But it was his point ofview, what he was saying, I ain't never heard a kid at the age of twelvecome with a hood point of view tike that before. I'm tooking for sexiness,perspective, but not the preachy shit in any sense. When I selt a record,my intention is not to make a track just for the radio. I do songs. A songencompasses everything. lt's so funny how the hip-hop audience changesevery two seconds. You've gotta atways be on top of the game. That'srea[ty the beautiful thing about hip-hop, and that's why I never see hip-hop dying out, because just when you think it's over you'll hear some kidcome fresh with a certain lingo. I heard this kid, fifteen years otd, Gunz.Tariq's son. Crazy shit.

Do you ever plan on getting to the point where you exclusively producefor other people, rather than being an artist yourself?I'm not sure. I mean, the game needs me because I'm infamous on stage.I don't know who can take me out on stage yet. When I come through,you know you gonna get a reat stage show. Doing records is one thing, butdoing the live etement is another thing. But, of course, when I get older,l'd love to pass my stage baton to someone. But everyone knows if they'redoing a show with me, they can't play. lf Ctef is on this show, they tike,"Who's gonna go on before him?" And they could have bigger records thanme, but it don't matter, because I'tt get up there and do your record bet-ter than you can do it. I tearned from watching Run-DMC, Pubtic Enemy,them cats. When they was doing a show, the shit was an event. You gotthe big budget, you got the big money, so you shoutd be able to do somebig production shit.

Have'you sDoken to Pras lale,y r:,:-., i: ---- ---i'q5;'I mean, I can't mend nothing. because I ain't reaity have no beef withhim. lt's tike, l'm a tyricist. and if you say some stick stuff about me on amixtape then l'm gonna just devour you on a mixtaF. ln hip-hop it soundsso cruet, but it's just boxing. When niggas are boxing, they boxing. I thinkhe realty took it beyond what I said. lf you're gonna take it b€yond that,you shoutdn't have said what you said in the first place cause you knowwhere l'm from and you knowwhat ldo. lf you see me on the street andyou're on some, "Yo, what the fuck is up, nigga?" that's st.eet b€et. Heain't do that. He just said some slick shit on a record and I heard the wax,so I returned my shit on wax. I don't have no beef with him tike that causeit's att lyricat. He was with some kids and they said a few things. and i justended his career. Pras can't put out a rap record no more. And it's notmy fautt. He know he never wrote "Ghetto Superstar," so unless there'sanother "Score," there ain't no coming back.

5o will there be another "Score"? Last month :vc.j ii c \.r : ieacnedout telepathically tc Pras and Lauryn for a Fugee-.respond telepathically?Actuatly, Pras has been trying to get in touch with me. I'm gonna call himback, but things are on my time now. Things are sticky out there rightnow. Everybody is tatking about how they don't have no money, and this isthe worst time in the industry right now, but it ain't affecting what I do atatt. lt's Like, people shoutd have ptanned ahead. But I'm definitety gonnareturn his catt, though.

ffi"{*@i;;i;;; project, which l E- i / Elwas never reteased, theY i , Rlserved as ghostwriters, I E]hype men, and alt-around I , n, Elslip-N-sliae reps. "c.o i ' Hshowed Trina how to raP, t Eihow to pronounce words. -" ""* r r trlI was writing her tYrics. {" { '' : El

fr:"','TJ"."lj"#:?:T': *. i Fput in," MoneY Mark saYs, \ H"We're just peopte, so 6.-,i".,. - . , I G

ili rilir,3l,,l"frli,lili €least made sure we were ffibreathing and eating." €"Every nigga I knew [at Stip-N-Stide], the ontv thing we f"ultv Y,1i!"-q Y: ffito gef oif-tle streeti," Mark continues. "l don't wannabe l-'ut!!llg-utt-ty HtirJ.,, wno is to btame for the missed opportunities? c.o., by phone, qul-

ffietty exptains that he's a politician, not an jnstigator' "l don't bliT: i?X; Hbody except mysetf. I learned a lot from the situation,' and hopelutty I tl

Shave the opporiunity to share my experiences with other younC ar,tt:.t: ,1 ffiwant to show them the ropes so they won't fatl into the same traps l.d-ld'

ffiMoney Mark points out that atthough Lucas is responsible tor att finat 5tlp

Gt'{-Stide Oeciiions, many decisions are influenced by lawyers who are only

Econcernedwiththebottom[ine...lblamelawyers,toacerta]nextent.xMark says, "But the bottom tine is greed. Greed, greed' greg.d: l?tl: T: Xtitte of this muthafuckin' articte: greed. I can give you a tist of.peopte

Nwho witt tett you that Ted Lucas is greedy' He suffers from greed.''

X

"l'm gonna put it tike this," Lucas says firmty. "Trick owns i ?"?'-tilYi Xhousel Trina'owns a beautiful house. I'm in the music busjness, I arn t xin the babysitting business. lf you can bring me a.hit record' ,'- 991i1 Xdo what t've gotlo do for you to be successful'.1'm gonna take care.ol

X

you. ffit r.".or-d, sotue everything. Diss records don't sett',",,So f::i:llY; !6u"ryon" got what they deserved? Lucas smites potiticatty' "l'Y.",991 111 Itove for 1i.O., rVtoney Mark, and Rick Rossl, and-that s wh] I signet-:l:T iin the fir;t ptace. There's no love [ost, no beef' God btess '9t; l.X1nl ?ll !to be successfut. Good tuck." Money Mark is a bit more cynicqt' "llo I wrsn

fr

Stip-N-Slide the best?" he taughs incredutously, "Hel[ no'",He p-a"-"j-,,] I

haven'tevengotattmyptaques! I'mmissingfour,five,sixptaques' lnat's Iiif." rny Super6owt rings! Tl'rat's some buttshit' How you gonna not give a g

rig!. liit pi"qres?l Buihe wishes me the best, right?" Money Mark laughs' !,,irlt tut b care of the niggas around you making sacrifices. They leaving Itf.r"V *1f", kids, sick mom-ia at home just to make sure you eat' "

I

R ick Ross, who was signed to Stip-N-Stide for over two years' says' I

P ;TT"JL;.asl ain't tp"id no money' He gave me a littte weed' but no I

I \tdui .on"y."' From a CEo's perspective, however' Lucas points out I

the costs that a tabet incurs on berratt or an artist. "l put a lot of money I

'into production. Jazze Pha produced a song for. Rick Ross' That wasn't I

free. I flew Rick Ross around the country to sit down with different pro- I

Jr."tt. Lutt give me that one hit record' That's att I need' I can't retease f

an atbum jusi because y'att think it's done"'

iiilt€i:..ii'.1''._ #:.: € I t's a beautiful afternoon on south Beach in tate January; comfortabl'y

I .;"t J";t" iire zun srrtnlne overhead. stip-N-Stide has finished settling

I i"a1]';;il tocation, a cdtorfut home converted to an office just a few

blocks from the beach in an affluent area. lnside, I'm greeted by a f-ew new

iu.ut Uufotu being ted into CEO Ted Lucas' office' a smatt yet c-omfofaf\e

,"", *itt i privite bathroom. The waLts are adorned with Trick Daddy

unO ftinu ptaques and magazine covers' l wait for.him to finish his phone

conversation before comm"enting, "Your name is att over the streets right

no*.; wlinout missing a beat, h1 responds, "That's a good thing"' ln the

v"ui,inl" live Last viiited, the tabet has.endured its share of controversy.

Most recentty, the news of their new distribution deat through Capitat/

Priority Records was overshadowed by various rumors and diss tracks from

aitgiriti"Jurtists. Stip-N-Stide is ctearty at a crossroads' Even though many

"iif," i.JiUa"ats invotved with the tabet's earty successes have left on bad

ierms, Lucas does have several promising projects ahead'

DebbieBennett,aformeremptoyeeofLukeRecords,wasonceStip-N-Stide'sU"rrinJ-in"-t."nes backbone. Aicording to sources, Bennett resigned after

u h"ui"J utgutent with a co-worker' ' Debbie is atways going to be at Slip-

N_Siia"-,; iu"cis insists, ,,1 might put her in the next video just to prove she's

stitt here. Debbie's just taki;g a tittte time away from the music business"'

Jrit ou"t the bridg; tess thai five minutes away, Debbie Bennett' working

behind a desk at the lconz Music Group, declines to comment'

lnterviewing Ted Lucas is a battte of wits' He responds l" t?,1tJ:I"j:l:touestions o-otit"tv' quietty, catmty, with a poker face and a stlgnt smlLe'

il;;; ii il.iiv'i",i,"ttioie to cjtcn him off guard' Even underneath the

trainedexterior,yougetagtimpseofbothofLucas'spersonatities'Accord-ing io hit, g'"re;s re-o Lucis - ihe businessman - and Touch6' the hustter'

Ted Lucas - the businessman - doesn't elaborate when it comes to the

,o".in.t of his mutti-mittion dottar deat' "l'm not the type.to brag about'']i;.-"uJ

h" ";;i.i;t':ert it't the tvpe of deat I've been waiting to get for a

iong t1;n".,, ln'contrast to their eariier loint venture with Atlantic Records,

stip=_r.r_siia",i deat with capitat/priority is a distribution deaI for several

neil artlsts, inctuding Don yute and Duece Poppi' Trick Daddy and Trina's

ZOO+ pt"Jllti *itt t"-tuin distributed by Attantic' Trina's manager' a lol-r"t Siip-'fl-StiOe employee, resigned and djstanced himsetf from the labet'

;;;*;i;c trr"ots tnlt rrini wou-to be handted directtv by Atta.nli:t "That's

iimpLv n"ot true,,, Lucas says, emphasizing that Trina is a stip-N-Slide artist,

;;;'fi"6;tt6one catts duiing our interview regarding her studio time'

lntroduced to dancehatt artist Don Yute (think sean Paut with a 'fro) by Greg

iti""tl Lu.ut signed him after hearing his singte with the Ying Yang Twins'

lizooq, Lucas [tans to retease six a[bums: D.on Yute' Trick Daddy' Trina'

or"i" i"ppi, Loit Trib"t, and a Stip-N-Stide 1 0 Year anniversary compitation

itor.. ri'it( Daddy's cotliUoration with Tupac, "otd Schoot"' and Trina's

controversiat "aig bt' Dick," atready have the streets buzzing'

After ten years, you'd expect a tabet with two superstars' a stable of young

iit"nt, un? six upcoming reteases to hav€ an air of anticipation' But some-

t "*,

ii jrit J"esn't feei that way. The future feets uncertain. Perhaps it'stherumorsthatthetabetis"broke"(whichLucas'sassistant

,, ungritv denied "ll,3xtxirlli;l?li;J.iT'13llij,ffi'WruW

-7?dk/cc i

Ross says that initiatty, he was happy to be. a.part of the Stip-N-Stide fam-

iii. irt tix"iilme to ieatty judge a person's intentions' But I watched mv

jl .:. ;.:++r.--4::i*+i'{-.:r1+:;i'

,_,E e\ri..%, *:cn%.*_

t#"-,i*ttP'dudu{,'iiiiii,;'a*'.ry:!^

Tf#,w;6ffi.rffiii**sd'uLrw -'fufu?€Y/YM

y]lh |hg detaits of Tre,6 16.9. & Mone, ,.,:-. .,tlated_, Lucas says, ,.Reauy. tir" ..rj, _,..'l_'-j=posltron, because if t,o been

"n ;L;;., -).- _.-=

own atbum reteased f ,O fu"t tij"r1."",i1^." "-:1,1:l ciyg thg pubric whar tn"v *."t"t."i _*

oone." Mark and C.O. plan to .nnria.

:::t:*IilTg_ i"r other a rtis ts. * ='".

i:.., -_: ;and-C-.o.'s,iatent, *iit i",or"ty n:,ss:: :: ! .:..

;ilrfl{{i:ry't%yJ'i:1,"?1,}:,;i;,,_-..; =.

lo-1s,.toos.efv arritiaiec ;;it"-,.;;,.i. ,,. =.,

,jstreets with mixtapes and undergro;: ,-.,..

,

':.:a:a s:..t !,ejng nego.'- -:-::- -eS:eCi their,::.. =-: :.-.: nad mv: :. ::,: --- -_-- -..lSiC I': '3::-: :-: -_*e deal is:-: - --:'::a--rS and:--j :-:: \',:.e,' rr,,,ark:.':: ".---- ---:'S aeW-:_ ,^:{ iold

- ::..-! _.:,... Rick:: ::-:---E: -,::.-g :he

: : _':,: _._-:; : :a: _ ::: ---.-:' --r-:

- -e --::,-:.:?S.':r,*: --i-: 4:-: i:-E:e::,-.

-'

t:-:.'it=i++...{.{..i.}+:.i:::+.q+.:: = _i+ :_ r ! +i1r:: Jr,..'t:-o,Tigdgr, who were commirted andtatented. work hard, and their shitwent dnr^rn rx^ ;-^.- l' ). jy::t-^q9*?., rhe drain.,, ouui itr", -* *e_,%% ,*"

l:::,:uu', ,.r came i; ; p;;i *1J""'

:,reallzeg thar Mr. Lucai is not realty a hus_tter. He doesn't want rn ho . m,,r+i _i,,:;i; il;'i""'Tlt,l'ff : ij: !;,

u l''' t ti' nii t t i on a i re' He's com rorta b te wit hsn o,io n ave,ei;; ;i ;;,1"".::1r1ff J;'#*.,exp

toi ted rr"r,iiu'nu.ol-c,. n "

"At Stip N-Stide,,' C.O. says, ,,lt was tike a waitinpwaitins ror? A miracre?,, According to c. d. :' ;;;; li?i:uqi,rl,l"1,.lr;Jl:i+Xiif:lirt "lt Hlr;l'- lrt"',,'""ir"c;",., lilllo.i,.,ratins the tracks.

nusttea ." ,.["'i"fij,;i^t^t:-t::dt to-capitatize off the momen"t. ;-" ;;;and opportun:st-s:"wi'";ilg

nappen' There's a difference betwe;n nrr,t"ittopl i'iti"ifsiril;il"t Det Jam had quit when the suuiti" soy;;J;-J;s a hustter, but [Ted Lucas] rs not a hustter.,,Lucas [aughs at the accusation. ,.Trick

is a thug, Trina,s the baddest bitch,:t11".\5J: :i:iHlT.freve tnal iJui', iJ,'"i money in niggas handsRoss,diss tr*i,'h"i"r).'rjHt llt" truth. I got the lconz a deat.,, on RickbtindfotdeJ tf,",f ."rri;.li

ne atteges that Lucas ,,blindfotded-,:ih" f .-"...':.1

ranticj. They conrrotted ,111:tu'gr't' "l gave the lconz aP&D deat [with At-

iust anvuoJi;;;;;';:; : ,TirryftT,Hf i]i:Ff;":i"rr ",.i Jo',,'l rili'Ted reatty shoutd stoo w;ruckin'TommyMottota.,,illln-g ut9'no with his chest out tike he the btack

:l: j,t";r:t[:TiH,x:,i14:iii#iF:: jfi l:U*:h::::ur:don't reatize the shit,hu;[:f,tik" Trick Daddy u,id,,r,n.. A loi of oeoptet he sou i [ ]t ni';,, ; i :

.

i,rl: ; if i;.XT:,,,ri;: 1[^i,".,," :ln ;:j : I j:.ii;

l:rlX'.t;t*".:l.5ilI:.f:I "'l seern to agree on is-rnc< )as3,. ...-rq,

yonev,vra ri L;;, H,i ;"": ffi l*{l{i r",!"J.li:,

? i . - - :; :; : -=_=_:

-

:ne's no tonger with Stip-N.slid" ,RLrr r.y, L:,'.:;:.;, _:.= .:.:e_ven issuing a chattenge to Trjck,s atlania n;_..:_ .-.: -^__tng around the bush. Nr:gga. ctariry y"rir.ir:'b,: ,"-- - :€::.

tng about in Miami? Don:i tatq to.nl,.itv iiti.li. _... .::.:.::-_- -1."[Ted Lucas] ain't takins

"v," nori.,j*i;j.1":j+it3l"^of his people. so ne r-s: -:: -:.: .-. -:-

p, t t i " e ; ;; ;' i.X]'" ., oli,','

r i,l+'": rr"iff l,',1 l, ;"_.=., _* j -.

. : -;;il:Jiilj::j,fflr.l0,,j,?.,inl,-ain,t uue,ilo-,1"o",,,s,,,.,..s .= u -.,..=]lamilies, o, rii, ;'n*,,lvl:i$ii.il{j

?,],;:i i:l,jll:" ".1,,::.: :1.

:"1""1T;?:; ;:::":ffi. #lyin' wjrh u niu n ;i;;;;i;r situa rio1 : r:a:,s : s l

advance five years un;. ,,I1n3 Mark' Lucas gave htm and c.o. a 520.Gii

f ",:1,"*t:in:ii*t'rs*tii!i?;h:['i::H'*:rru*i;:imoney rhat r n"u;tJ J;#l,ilff :,.jii,.i,^ll"#j; l1..i:. g;i iru*,.'So where did att the ,on:y qg? Money Mark leans back farther into thetrunk, trying to eet comf-ort,a!r". ,;i oi,";i r,ri"ui,,'yor,o.u gotta ask Ted.,,ff ?:#::liY;l"^l?,?ol"qf t sm'e. ;i"or'' ir'"?# wilh tl,e Ran ges. thepoi n ts ou t,n.i,"ii

"i itj;: JT,,:tJ:i,.!| i:ili.ff ;:i; [t: lm. :;:,

- 53-€ \,,3-,--"-*_,:---ia: c: r,.,, a.iio,rutg Jt_+:; -,;,-,:,

,;: 3: _::_: !,g: *.-.;nto- a l,s'aessn-ar i,;6 qse.i;;":-;r*=-- ^"^j "'.--:.:-.:':':. :€ s,::-=dresponcins. ..Rick Ross;#J?J,:}j.. -::-_,-:=-,. --::s s-- :: n^..e

[i !,xl;r':iJ:,t ; * t j::s ;: xj;i jjj ri::i i: iil,; :.;.:;i,"Nah. r'm ;ust respected ,B.-:t!Fit, ill'l!,?#i;;..:il

=,J-:li?,i,3""llTT,'J;,T".1:::: 's.nooocv to ul;;;;;; ;p v,rrn R';ck Ross was"wny *ourJ aiuo"lr'i!"i--l9ney1lta1k looks confused ., u-," qu"rtion.image. But .g.r'erl"/t, . ;:^1*d, PI Ted? I guess he tnes to give off thateatiig. TherJi;'r"8. i;'rtty

ot tife' A reatqanssta would mike;;"'i:;s o r d i e rs, . r,. i,, i u i"i,i. g :,i;j !:",1 lir... l:SJ' trr"""J i"" *t tU,rO *"t

were opened. They eot tirecl of hpina ^;_^^_ ..Lucas' business pracrices f;Srlt$::il:':.t!^-:-.:. :'^g ro Money Mark,get some of rhe hottest ".oJ*, ori "ir"' ..:;=i- ,:l:riil::r;;l ifr:JTii"yi- Mark sighs, ,.Asi< David srrr"r ;r.-_- _., _

#".iX:J"Tii_1,'iL',""J,::1,""i# j",",J-.::,-.-:tJt;ii*

Ylng Yang Twins and Lit Jon. but he said tr-e.. ...:-: ::: ..._:c....

.i ri r.:-: '

tiemi-DrdG f,rrnclr

Youth Power$ummit

Urban Arts Film FestivalUrban Fashion ShowEntertainment lndustry Job/lnternship FairCareer Development FairSpoken Word ShowcaseAwards CeremonyLocal Artists ShowcasePanel DiscussionsBasketba I I Tournarnent

College Recruitment ComponentHigh School Conference Promotional TourDade Public School Student ParticipationHip Hop Elements All-Star Weekend

& Muclt more to be announced...

{954} 34S-2192

#t",..*,1:*,j*..

Miami-Dade Brancl: G 'ce :.:f

wkrrw, H i p H o p E I em e nts. co m

Klrc OFdenim jacket in the cold tobby of a rundown hotelnear downtown Jacksonvitte, Florida. Roughty athousand locats are streaming in and out of thebatlroom amidst amateur security guards withmetal detectors. An unfortunate Christmastree with some hatf-assed decorations lieson its side in the middle of the room, but noone notices. A forty-something man missinga tooth eyes me hungrity, until his gaze isdistracted by two ghetto-fabutous womenwith neon pink sitk flower arrangementsstuck in their weave, matching their see-through neon pink dresses. The GhettoGrammys truly lives up to its name.

lnside the battroom, the semi-sober attend-ees watch the overhyped crowd and placebets on how long it witt be until the mass onthe grinding dancefloor turns into an atl-outmelee. ln the midst of dirty South/reggaebtends, the DJ occasionatly cuts the music lowto announce Ghetto Grammy winners. The drunk danc-ing crowd pays littte attention until the award for RecordLabel of the Year. Psycster, of Jacksonvitte'sLongterm Records South, an intimidating manwith long dreads, easity cuts through the thickcrowd and rises onto the makeshift stage to

about time Jacksonvitte had a real gangsta incharge," he declares with an air of authority,

tomed to this rituat, sits back calmty and observes. Next,it was my turn to interrogate Psycster.

How long has Longtern Records been around?Four years. lt's atways been ptanned, but it's juststarting to take effect.

Did you study other record labels, the indieslike Cash Money, Master P?

Yeah, I studied most of 'em, the indies andthe majors. Most of my ideas actually camefrom the majors. I'd go into their estabtish-ment and see how they operated, and howdependent they were on other things. I

etiminated atl the outside elements thatthey were dependent on. They need some-one for CD duplication, distribution, but we

can do those things ourselves.

How do you distribute your own product?We called atl the stores and buitt up relationships

with them. lf you persuade them enough, they'tlput it in their store. Right now we've got 1BB stores,

atl throughout the Southeast, that carry our records.

What's the first release that you've put out through Long-term Records?"Psycster, Freestyte Fanatic of the South."We sotd 2,000 copies the first week. Our un-derground radio station hetps, because every-

What does the clown logo mean?The ctown is a powerful statement. The history of the btack ctowninvotves the infittration that caused btack people to fa[ into submis-sion. The painting of the face was a reptica, it demanded that peopleshoutd laugh and be happy at atl times. They teft their guard down andthat's when they were infittrated, putted into slavery. With a ctown'sface painted, you can never see his expression, you never see his trueintentions. That's the reason for the yin and yang symbot, and his cot-lar is actually a map of Africa, Asia, and Europe. There shoutd be greenon this map, but the green doesn't come until the money comes. Thatsymbolizes the incentive that we've got for this record labet. We'vebeen tricked out of a lot of thinqs in the past with the music industry, soI've based myself on this. Me personally, I went through some difficultieswith an album I put out a while back, and the ctown symbotizes a certainpoint in my life that I went through.

Was that album also distributed independently?I went through Southern Music Distribution.

Why was it such a bad experience for you?Mostty it was a manager I had hired and this guy named Gary Wade outof Houston. He fucked me out of 550,000 for radio play. Him and my

'uJll A clowil:.saccept his award rhe ""J:,T;5ii'1,11; ;a6 PAIllrED, YCD[, $:#::fiKiil'lll];:'ff:[?,*""?:1acteristicatly quiet as he t

CA]S llHltER SEE HIS need for a radio station here in racksonvirre.

daririg anvone to voice " **:ln"li,"*: -PgFEf,gt- YQU- Hi:',ilffi:iJffl:[:::i^'berore vou gotsneaks. and in this ouickif,:li:fft"'ll,llli,uoil*il:?il:

it's crear cAt nEltER, SEE HIS w"ii l;;-;ustrer, a street hustrer. r wentto prison, and I got this tittte idea white I was

rhree weeks rater, psycster sinks into " TRIrE lllTEIlTlOilS." ilil::l'ffl;?iT?:::il'iuo",. Icame up

I teather chair behind a large gtass desk at with the whote idea, the concept, and cre-I the offices of CTP/LongtSrm- Records South, carefully setting down a ated the ctown, which is our [ogo.

large paper sack from a nearby bookstore. He methodicatty removes each ofthe dozen or so books inside, taying them in rows across his desk with a lookof satisfaction. Thumbing through tittes like "Guerilta Pubticity," "Execu-tion: the Art of Getting Things Done," and "VIBE's History of Hip-Hop," heexptains that this is his ptan to educate the 7+ staff members of LongtermRecords. Psycster is corporate America's worst nightmare: an ex-con wholearned from his mistakes, an educated thug who's motivated, efficient,and organized.

After a tour of Longterm's extensive facitities, it's clear that this isn't thetypicat fly-by-night local record labet. There are no matching iced-outchains to be found - instead, they've invested their funds in two futt-sizestate-of-the-art recording studios, computers, CD dupticators, and shrink-wrapping equipment. The front of the buitding is in the process of beingdevetoped into a storefront, carrying CDs, jerseys, and other misceltaneousitems. ln addition to the tabet and studio, they've also teamed up withOrtando-based Ctientetl radio and brought Jacksonvitte's first pirate radiostation to [ife.

ver dinner, Psycster asks everyone their birthdate, and using hisknowtedge of the Zodiac signs and the Chinese horoscopes, predictseveryone's personalities and future. As much as we hate to admit it,

his anatysis isn't too far from the truth. His partner Kash, obviousty accus-

lAG MLLEmanager were in cahoots. And the manager, he was just a reatly arroganttittle fettow. but I didn't know at the moment. Tim Chapman was my man-ager, Gary Wade was the one that was supposed to handte my radio playthroughout the Southeast but he fucked me royatty. Tim Chapman wassupposed to be managing me, handting everything, but he was so arrogantthat he burned a tot of bridges and it got us to a point where we coutdn'tgo a lot of ptaces. Plus, the distributor who was responsible for puttingour product on the shetves was mad at him, but didn't exptain 'it to me. ltwas just a whote bunch of garbage.

Why did you hire him in the first place?Because he knew what he was doing when it came to the music business.But he was a greedy guy, and the arrogance and the probtems started tocome when he was supposed to be promoting Longterm. He was promot-ing other artists at the same time, and I was spending my money.

How did you regroup from that experience?I v'isited a lot of other companies and went into their establ'ishments toobserve. I noticed everything, showed them my capabitities, and cameback and set up this studio.

I see you've got the studio, CD duplication, CD wrapping, graphic de-sign, what else did I miss that you have here in-house?Movie editing, we film commerciats here and everything's done in-house.

What is your relationship like with other artists in this area? ls there ajealousy factor there?There used to be jealousy. There ain't but one record company in thewhole city. lt's easy to say that you've got a labet, but here we've got areal company. Everybody knows their position. So, we don't realty haveprobtems. lt's more of a respect factor now that didn't used to be there.We've done att the things that we're supposed to do. We atso do a lot ofcommunity activities, we throw free shows, a carnival, a big show in thecotiseum, stuff like that. We've got a truck that turns into a stage, so weuse that to throw shows.

There really aren't any major artists that have come out of the Jack-sonville area, so do you think breaking out of this region is going to bedifficult for you?At first, yes, I thought that way. But now, the way that the CDs havebeen selting, we sotd over 12,000 copies of "Street Wars" in two months."Street Wars" was something I started to kil[ the jeatousy among [oca[ art-ists. I ca[[ them a[[ into the studio and totd 'em, if you've got beef, justlet me know. You can rap for free right here in our stud'io. Whatever yousay about the other person, we're gonna bring 'em in, let them hear whatyou said, and let them respond back. But we don't want no conflict afterthis. Y'att get to say what you have to say, and move on. Everything ransmoothty after "Street Wars."

Jacksonville is a pretty rough city.Probabty the roughest one in the market.

Commercially, how do the corporate radio stations reacttowards local artists? Are they open?At first they wasn't, but I think it's coming to a point wherethey really don't have a choice. They can't hide from it.

So your upcoming project is a collaboration with yourpartner Kash, correct? Can you break down the rest of theartists on the Longterm roster?CC Soprano, he's basicatty an OG. He'tl give you a story or two.Serious L, he's got a :'ttle love in him but he's more of a gangstasinger. I'd cornpare hrm t: ',,late Dogg crossed with Jagged Edge.Big Baby, he's got a big i'3';g. le can sing and rap. TYS: TorturedYoung Souls, that's a grrrLr: :-,3: -'- :'re younger crowds. They ex-press real [ife frwn a yiuJ-rg arJ, . :e.::e-; -e. Then. the fi rst singteoff the Psycho & lGsh a.llrr, s "d,'-er: r'n^?a B€." which is ba-

sicatly me and him expressing what kind of person we can be at a[[ times.

How would you describe yourself as a person?Very intettectual. l've been through a lot of street drama. I just tell it howit is, I came up rough.

Do you regret the upbringing thatyou had?No, actualty I love it. lt washard, it was rough, but I

th'ink it was a necessity.I was an honor student,and I went to college butI didn't graduate. Basi-ca[[y, I'm kinda smart,so books don't evenmatter to me. I runright through books.

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MAGOO INTERVIEW >>What subcategory of hip-hop would you classify your music as?l'd categorize it as ectectic hip-hop, because my views are ectecticwhen you look at the things everybody else is doing. I could be a littlemore lyrical than I actualty have been, though. I coutd be a tittte morepotiticat. ldon't put who lam as a person into my music, ljust leaveit as entertainment. I just try to have fun, I don't take mysetf tooseriousty. When I first started, though, I took everything real seriousty.I had the advantage of being around Jodeci, and I stitl thank thosedudes to this day for giving us the opportunity to be around them andlearn the business. I've been fortunate to be around the game for solong that even before I came out with my own record, I was [ike, "Youknow what? I'm not even going to take my stuff seriousty." lt's almostlike a game. lf you look back ten years ago, who was the hottest dudesthen? Who was the hottest femate rapper? Who was the hottest what-ever? You can't even reatty remember. Whether you're a rapper, or apop artist, or a rock artist, or an R&B artist, your time comes and goesin this business. So you can't take yourself too seriousty. Please! Justtry to have fun with it. I'm not saying that l't[ never do an album bymysetf, as a soto artist, 'cause l've been thinking about doing that, tobe honest with you. But l've got to be able to get out of my contract todo it, because me and Timb are signed as a group. We can't do nothin'untess it's within the parameters of our contract. lf I ever do a soto re-cord, I would probably do something a littte different because Timb &Magoo is what I do with my best friend. What I do as a soto artist woutdbe something comptetely different, peopte woutdn't even recognize itfrom the Timb & Magoo stuff. lt would be more personal.

What new projects do you have coming up?Right now, I'm behind the scenes. I started a production company,and I have some real tatented producers that l've started workingwith. I chose to remain more behind the scenes, because I don't needattention. I just want to make music. I never wanted to be a star, itjust happened because I did the right record at the right time. Beforeeverything started, I was chiltin' with God rest her soul Aatiyah,Ginuwine, Nicote Wray, we had a lot of great, talented people aroundus. Peopte know who I am through my association with Timbaland,Missy, Ginuwine, and alt the great peopte I've been abte to workwith. Other people like Tweet came atong the way. But I never reattywanted to be a huge celebrity, I never even dreamt about it. lt's notsomething that I ever thought about. I just wanted to make the music.I messed around and got lucky, I guess, or was blessed, rather. I look at itas a blessing because for some peopte, that's a[[ they think about. I knowsome entertainers that have atways wanted to be stars, I run into kids allthe time that rap or sing. They want to be stars more than they want tomake money. They just want the attention, they want peopte to see themand know who they are. I don't want that. Stitt, to this day, I trip off thefact that peopte know who you are just because of a record. But they do.

What's the hardest part about being in the music industry?The hardest thing is the business aspect of it. Here's what I wish, but I

know it wi[[ never happen: I wish that MTV woutd create a music REALITYshow. I think "Making the band" was a great show, but it wasn't reatistic.They onty show the parts where there's a fight or an argument. Theyshould get more up-ctose and personat and tet kids see the real things

process of what we're going through right now. From rire cutside lookin'in, you would think, "Okay, maybe they don't reau;,,t;ke each other," or"Why they only put this many records out?" lt's ire\,e:- Deen a probtembetween me and Timbaland, we just had oroller.s y'.jr iie label. 5o theyget a misconception of the reatity of the gal::e a:. ,,."ra:'s feaily gojng on.They think, "Timbaland got so big. h€ dolr't ia,,e.c ceai ,.^;iih Magoo nomore." No! lt ain't that! Timb treats me.ike a l-.::er. Bur rve are in abusiness together. That's the hard thing abcut bei:g fisrcs. rve're stitl inbusiness together. The good thing is tnat we don't inier:\.ijre the busjnesswith the friendship. The fans don't reatty understand the'rruti.

What do you wish the fans would understand?The music is easy, but the music gets complicated inside the business. Yousend your music to the record company, and they're [ike, "There ain'tno hit records up in here." Shit! When's the last time you've been on thestreet? No disrespect to them because it is their company, but they areconfusing. Next thing you know, you're making songs that don't make nofuckin' sense, because you don't know what the record company wantsto hear. You shoutd just be making music for the fans or for yoursetf, butyou end up confused and half out of your damn mind because you're soworried about what the [abe[ is going to think. I wish that fans could seethat part of it, cause that's the most difficutt part. I wish that kids weremore educated about the music business, before they decide they wantto get into it, even in 6th, 7th grade. Some kids jump out of high schoolfor music. lf they could tearn the music side of the business before theydecide they want to be singers or rappers, it woutd be beneficial to them.I know Britney Spears and Justin Timberlake and 50 Cent look like they'rehappy, but for most kids it's a pipe dream. lt's a promise that can't bekept. That's what I think these kids wi[[ never understand. I think toomany kids come into this business in their teens or earty 20s, and theycome out disappointed. I know a lot of peopte that recorded albums thatnever came out. lt's their dream, but they've never reatly been taught sothey don't know how to conduct themsetves and they don't have a back-upptan to protect themselves from sitting on a shelf or getting dropped froma labet. They also need to know how to get the right lawyer, they need toknow about pubtishing - the business is the fucked up part of this game.You either win or you tose in this game, it ain't no in-between. - MikhaleRichards (Photo: JB)

OZONE MAGAZINE FrenuaRY 2004 39x,i:i",

we have to go through. Like forus, peopte don't reatly under-stand what the deat is withTimbatand & Magoo and the

ou don't even have to meet Choppa to realize the influence he'shad on his hometown of New Orleans. Just go to Mardi Gras.Two blocks away from New Orleans' Canal Street, the music and

chatter of the crowd drifts down the street from the annual Mardi Grasparade. Broken strings of beads cover the street. A group of ten girlsapproaching the parade route, slightly drunk, begin singing in unison,"Choppa style, Chop-Chop-Choppa style!" giggling and dancing at thesame time.

After spending the day with Choppa in his own backyard, the WestBank of New Orleans, OZONE had the opportunity to find out whyhe left Master P's New No Limit, formed his own [abe[, and signedwith Roy Jones' Body Head Entertainment. With his new single, "HotPiece," gaining momentum quickly throughout the region, he ispreparing to release "The Real Choppa" in May 2004.

What led you to strike out on your own? You left Master B started yourown label Street Balla Records, and signed with Roy Jones Jr's BodyHead Entertainment?l'm trying to change, and I want to do what's right by rappers. What I

mean is that there's a lot of labels out here eat'ing off rappers. At thesame time, I feel that if you have tatent, you should show the wortd. ltdon't make sense for you to eat by yourself. There's a lot of peopte outhere that know how to rap, and instead of thinking, "This one's gonna bebigger than me so I'm not going to deal with him," I feel [ike, "This onecoutd reatty btow up and hetp our record [abet." You never know. A lotof peopte are scared to take chances. That's what l'm trying not to do.Whatever it is, if we have the money, we gonna do it.

What kind of artists are you looking for?Al[ artists. lt don't matter what kind. On my [abe[ I have a cat catledBrown Cass'ius B, Money, Tim Smooth, Baby Boy, and Freeze. That's mystarting five that l'm working with. Most of them are my boys from theWest Bank, but they've got tatent. I was somebody's boy with tatent andlook at me. You never know what can happen. I'm going to start makingit happen for me and my peopte to eat for rea[.

How did you end up signing your deal with Roy Jones' label, BodyHead Entertainment?Just being hot out here in the streets. I just kept doing my thing. l'mhappy right now, reatty satisfied with the position that i'm in.

40 OZONE MAGAZINE Franumr 2004

Te[[ me about your upcoming album, "The Real Choppa."Att of the songs say something. You may be in the mood to hear this one,or that one. On this atbum here I show my versatitity for reat. I show thatI can do more than two or three things. You won't listen to this album andsay there are two nice songs on it. I didn't rush it. I took my time and thechemistry with the songs just came right there.

What's the first thing people are going to say when they hear thisalbum?They going to say, "l didn't know that boy coutd rap like that." That'swhat I want them to say. Everybody's thinking that Choppa's just "ChoppaStyte" and that's atI they going to hear. A lot of peopte think that's atI I'mabout. They saw the video. I don't want to be classified as having onestyte of rapping. l'm reatty versati[e.

What producers did you work with on your atbum?From New Orteans, I got Soutja, Precise, and Sinista, and in Pensacota, I

got Perion and Timmy Fingaz, that's Body Head. I kept it home. You knowPensacota has adopted me now.

Master P picked you and now Roy Jones signed you, what is it aboutyou?It's that ambition that keeps me going. lf that many are peopte lookingat me and seeing the potentiat, there;s something there. I need to keepgoing and keep that drive. You know I got mysetf hot from the beginning,from day one. I a[ways worked the streets at first with no management.Nowadays l'm just gtad, working with Master P and Roy, that I'm abte towork with different artists.

What was it like the first time you saw yourself on BET?Oh man, I just thanked the Lord. I was [ike, I finatty did it. But that stil(wasn't enough for me. I want more. That was just the beginning. Thedooor was finatty open for me and I have the chance to do what I wantto do and I don't have to answer to nobody. I don't have to work no 9 to5. 'Cause I coutdn't keep no job, from the matl to fast food. God blessedme with this tatent, so I'm going to make sure I use it to the best of myabitity.

A lot of New Orleans rappers get into trouble, like Mystikal's situation,Master P's bankrupcy. What's going on with New Orleans rappers?We're from the streets, so we speak what we see. A lot of them don't

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want to look at it from a bigger perspective. Look out the box. I betieve thatif the right people would have got on top in New Orleans first, we atl woutd'vebeen atright. But you've got peopte on top first that wasn't about seeing i.:;ffnobody etse make it. They just wanted to keep it atl for themselves. Now this i'..'itime around, if everybody survives, we'tL be atright. 'Cause we reatty comingtogether and I respect it. The chemistry with me and Juvie, when we did oursong, it just came like that. When I work with 8.G., it atways come out tight. Alot of us need to get on that page as far as working together, instead of hatred.It's not about that. The peopte in the streets respect you being reat. They don'trespect nothing fake and the streets let you know. That's why peopte fatt, becausethey not showing love back to the streets. As long as you give back, you atwaysgoing to get back. You've gotta make sure you pay your dues in the streets too, notjust in the industry.

What does being from the West Bank of New Orleans mean?The Mississippi River divides the East Bank and the West Bank. l'm from the West Bank,from Bishop to Kennedy Heights. Across the river you have Magnotia, Caltiope, that's allyou hear about from New Orleans. But we from the side that's reat country. Everybody'sreat family. We stick together.

This business isn't the easiest to be in. What keeps you so passionate about thisindustry?It's a risk to take, but at the same time, good things come to those that wait. The rappersout here from New Orteans, we're atl getting together finatly. Like ATL's doing it. Downhere, there wasn't that for a long time. I'mjust gtad that everyone's getting on the samepage.

Ten years from now, where do you want to be?I want to be sitting up, enjoying [ife. I have a 17-month otd son and I just want to raise himright. I don't want him to go through what I went through. I want to show him a better tife.I want to have enough money to take care of my famity.

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JUVENILE.JUVE THE GREAT"CASH IAONEY/UNIVERSALAfter Juvenite's hightypublicized sptit with CashMoney, he formed his ownUTP Records and spentthe majority of his timeproducing - uh, warrantsfor cocaine possessionand faiture to pay chitdsupport. With no visibil-ity, he was in danger of

fatting off the fickle rap map completely. Hisrecent tess-than-triumphant return to Cash

Money feets tike a hatf-hearted attempt to gen-erate some income and remind fans that he stillexists, and the album reflects this mediocrity.The lead singte, "ln My Life," is decent, butnothing in comparison to classic Juve like "Ha,""Set lt Off," and "Back that Ass Up." MannieFresh does come through with a few bangers,including "Bounce Back" and "Cock lt," butthey're interrupted by a few pointless skitsand forgettable tracks. Producer Slice T dropsa few nice cuts, including "Head in Advance"and "Fuckin'With Me," featuring Juve's UTPfamily Wacko and Skip. Make sure you listenthe whole way through, because the standouttrack is easity the [ast cut - "S[ow Motion,"an extended version of a song featured on aprevious Soutja SLim (R.l.P.) atbum. Juve spitsnicety, but Slim straight kitts the track. Eventhough Jwe boasts, "l've got my money right,mind right, tife right," on "Fuckin' With Me,"he just doesn't sound like he's in that zone.Baby actually sounds more comfortable flowingon "Bounce Back" than Juve, proving that prac-tice does indeed make perfect. Juve stitt hashis trademark drawt, but his voice has changedstightty and it's obvious that his time off wasn'tspent honing his skitts. Lyricatty, he addresseshis drug problems on "Bounce Back" and wan-nabe-baby-mama drama on "lt Ain't Mines"("You be scheming alt day, hoe, take a day off /Find another target, this one you need to stayoff / You looking for a reputation? I'mma giveyou one / Far as I'm concerned, that baby couldbe from anyone / ...Saw the grin on your facethe moment I saw you in court / Wish I wouldasaw your face after the test was exposed"). l'mactually a Juvenile fan, but this album isn't agood demonstration of his tatent. Hopefully hecan "Bounce Back" from this btand effort andget back into his element. I do hope this albumselts some units, though, so Abebe Lewis can geta royalty check for mixing "ln My Life." Thingsmust be rough financially over there at CircleHouse studios, since they're taking so longto pay their OZONE invoice. - Julia Beverly,jb@ozonemag.com

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CEE-LO 'CEE-LO GREENIS THE SOUL MACHINE"It's been a long journeyfor Cee-Lo Green. As amember of the unforget-tabte group Goodie Mob,he made a truly soulfulcontribution to hip-hop.With atbums like "Sou[Food," "Stitt Standing,"Dungeon Famity's "Evenin Darkness," 'WorldOrder," and his intense"Liberation," Cee-Lo has

never been afraid to use his lyrics and uniquevoice to soothe your mind, body, and soul.ln 2002 he stepped out onto the scene withhis first solo project, "Cee-Lo Green and His

Perfect lmperfections." Now he's back, and assoulful as ever with his sophomore soto proj-ect. He's from the South, the "A" to be exact,and he's not scared to take you to church andpreach. On "Evening News," he lets you knowwhat reatly goes down in the evening, andentists Pharrell to explain the art of music on"The Art of Noise." Cee-Lo poses phitosophicalquestions throughout the album: "Think aboutit - are you sure you're really tiving?" Despitehis intensity, he manages to have some fun andplay around in the process with the melodywhite throws in some animated vocals. "Some-times" is a gift to spoken word lovers, and whilehe's at it, he throws in a little something forthe battle rappers. The Sou[ Machine offers alittle something for everyone - the onty thing hedoesn't do on this album is fuck around. - lishaHillmon, doopyakal 0@aol.com

KANYE WEST"COLLEGE DROPOUT"ROC-A-FELLA/DEF JAMThe producer behindtracks tike Jay-Z's "lno"and Ludacris' "StandUp" expresses his viewsover the phenomenalproduction we've cometo expect from him. "Cot-lege Dropout" is simptynot a normal atbum.The concepts are amaz-

ingly fresh, unique, and creative, as Kanye rapsabout life, family, and the near-fatal car crashwhich left his jaw in need of reconstructivesurgery. His lyrics provide a clear insight into hisstruggtes and successes, over refined productionwith his distinctive habit of using soul samptes.Very few artists are successful when it comesto serving in the dual rotes of MC and producer;often, their strength lies in one and is lacking inthe other. Kanye, however, does both with tact-fut abitity and precision. The first singte, "StowJamz," featuring Jamie Foxx and Twista, hasbecome a radio stapte. Severa[ other standouttracks inctude "Two Words," featuring Mos Def,Freeway, and the Harlem boys choir; "Atl FallsDown," which borrows its hook from LaurynHitt's "Unptugged" CD; and "Through the Wire,"an intriguing track that seryes as a testamentto Kanye's dedication. He recorded this trackliterally through the wire which hetd his jaw inplace after his car accident. "College Dropout"is a must for hip-hop CD cottections. - RohitLoomba, poombster@aol.com

TRILLVILLE & LIL'SCRAPPYBME/WARNER BROs.Over the past few years,Lil'Jon has proven him-self as the King of Crunk.Now, after securing atabel deal for his ownBME Recordings with War-ner Bros, he presents uswith a sptit atbum fromhis artists Trittvitte andLit' Scrappy. Most of the

tracks, of course, are produced by Lil' Jon, soyou could either criticize the album for its lackof tyrical content or you could appreciate it for

what it's intended to be: a high energy atbum futlof ctub bangers. But with one producer, the beatstend to become btand and repetitive. lndividuatsongs lose their identity, weakening the album.With the exception of a couple tracks, most of thesongs feel [ike sequels or revamps of an originat.On Lit' Scrappy's half of the CD, he presents uswith a tittte over 25 minutes of songs that arealt possible anthems, especiatty the ATL banger,"F.|.L.A. (Forever I Love Attanta)" where we seectassic Lil' Jon production and song structuremarried to Lit' Scrappy's raw description of the"A." On the tritety titted "Diamond in My PinkyRing," we hear a different flavor, with producerBingo's dark synths. Scrappy atso entists the hetpof Casket, Nod, and Grip, who atl drop that heat.As we reach the end of Scrappy's attotment, themost shocking moment of the album comes witha guitar-driven track produced by Lit'Jon. Thisuncharacteristic beat is a spit in the face to any-one who tabets Lit' Jon as just a beatmaker, trulyproving his musical skitts. Moving onto Triltvitte'ssection, after riding out to the popular singte"Neva Eva," the album takes a major dip. Songs

begin to become monotonous and basicatly justfitter materiat. The uninspired production on"Bitch Niggaz" and "Some Cuts," combined withthe many obnoxious skits throughout the atbum,lowers the quatity of the album overall. - ADG,

adg@tmail.com

TWSTA 'KAiAIKAZE"ATLANTIC RECORDSIt was the determinationand passion of the Japa-nese that gave birth to thekamikaze. Day after day,Japanese pilots woutd bidfarewell to their family andfriends, take off, and flythemselves into the decksof unsuspecting Americanwarships during Wortd War

ll. They were so dedicated to their cause theywere witting to die for it. Twista, clearly dedicatedto his own cause, is back to prove himself withthis foltowup to his previous retease, "AdrenalineRush. " Spinning headfirst into the industry Twista'sflow should land him in the Guinness Book of WortdRecords as the fastest rapper. "Kamikaze" atlowslwr_.sta to take his flow to a new [eve[. The trackson this album are consistentty good. "Get ThatDoe (Ain't it Man)," is a banger. Twista spits it forthe ladies on "Stitt Feels So Good" and "Drinks,"a verbal seduction, but he comes off best whenhe switches up his flow, alternating speeds fromfast to stow ("Badunkadunk" and "l Know"). Toomuch of his rapid-fire flow tends to sound re-petitive ("Kitt Us Att"), and when he rhymes atregular speed he sounds like an average rapper("Get Me"). Ludacris' flow is a nice complementon the coltaboration "Higher," and of course bynow you've heard the massive hit, "Stow Jamz,"where he is joined by Kanye West and Jamie Foxx.Twista's unique style is a nice change of pace forone verse, but a whole atbum of tongue-twisting isa bit much to handte unless you're a diehard fan.

l'' He reatizes this, however, and does an admirablejob of mixing up the tempo with a number ofstow tracks, soulful hooks, and col[aborations tobalance it out. I woutd have appreciated Twistaand Beenie Franks' flow on "Shows Over" a lotmore if it wasn't for Freeway's standard off-keyshrieking at the beginning of the track. The atbumctoses out with two more impressive guest appear-ances, "Hope" featuring Cee-Lo and "Lovely Day"featuring Anthony Hamitton. - Rohit Loomba,

46 OZONE ^,IAGAZINE

Fsrumr 2004

poombster@aol.com Rhymes, M.O.P., and Kay Stay. Even though thisROYCE 5'9" atbum has a few fitler tracks, Pitch Black has

"DEATH lS CERTAIN" entisted some of the heavyweights like DJ Pre-With this titte, Royce mier, Foxy Brown, Swizz Beatz, and the newestreminds us of a fact of addition to Dre's army, Busta Bus. The onlytife. But throughout the drawback is the latter part of the album. DJ

atbum, he ensures that Premier and Foxy Brown lend some nice talentdeath is onty physical, to these men, but don't fulty utitize the poten-reteasing bravety hon- tial of these tracks. lt's easy to overlook this,est tracks that hip-hop however, when you get to tracks like "Are Youfans wi[[ be listening to Hard," the Wyclef-influenced "l Shot the Sher-for years to come. His iff," and the mixtape banga "Go Hard." Overa[[,album is loaded with the album's tyrics fit the tracks, with the occa-truth and reality instead sionatmisstepon trackslike "ToBetheBest." ln

Wood's Jamaican heritage is apparent on "GhettoJump," which has that istand feel but deserves afaster tempo track. The production on "Time" and"Cowboy" is weak. As a whole, the album is aver-age. There are a couple great tracks, four or fivesolid songs, and the rest is fil[er, at best. - ADG,adg@tmail.com

KILLER MIKE & GTO..DAT CRACK VOL. 1''GRIND TIA4E

Kitler ,\{ike and his GrindTime Official family lockdown the btock with thisunderground mixtape that'spackin' straight heat. Mostlisteners should atready be

familiar wrth Mike iron his Killer verses on cutslike Outkast's -Whcie Woftc." Jay-Z's "Poppin'Tags." and his o'n':r "A.D.:.].A.S." The Ying YangTwins. L:i' icr. ;.1.. Bone C,.rrsher. and Bun B ofUGK stop by fcr gr"esi ap33arances. This reteaseproves that Ll]e fesi of ris 5TO fam (Jackpot, J,SL, Rocky Dennls. liarc. ;r;.psrooter, Pitt, Zack,GG, Tae, ancj Lji' !'ij.(r 1es skiils to match. Cot-lectivety. they snox' i,5 ae,1cs lh.ey've got thatgood shit wilh scn:s ,'*.: -GTO Anthem" and"Trap Check." wilne.e ,ia.{:rt yeathes Life intothe overused 'Make :: Cia:- ':s:runental, giv-ing Kitler a run for iis r'one.- =re 2*i-'r,.ack albuminctudes skits and CroDs *!^ai ,.:': : r:nape flavorto it. We aiso get -ic ie'*-sr::'ew'eeional hits,tike the stre€t ba-g.. -i=::s.i,,rr r=nixr. '' - ADG,adg@tmail.com

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- Jtr.5-.u5' :3'lOl-. l "Cr.,-E-Ar-3GiACUTlrd'r::::e5 :-c - lelendent:-:--: :-: :*::-'^g mofe: .' ,'- -: - *lLlllll

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direction. in Pitoutr's ci,s+ :.:- :'::- ::..::.:rat-ing with several majcr a::5- :-,: t:-'-g : riom-ising deal wrth TVT Re--:':: -+. :: -: -:: ringhis presence in the stiee- :'---e l'15 :j :::.lsingthe third mixtape ir -'s ---.:-.-rr' -<-:i. '^" lhthe hetp of DJ Rob-l... )---:-.. -i::E.-tj : *-i- ix.ctusive Pitbull freesl,.:s :-: -:s::.:-+:'j :-]pstaken straight from :-acic i--3:,lrs. .i:r::r":ri. ardmixtapes. The real bea-:-. :'--::s :-;: -':-€,:-. js

the several original Htb':l- 5:,-rgs. -'e =*,* -s :ackwith the Diaz Brother' -l':'- : !::': :-': ::..- a

story told over an upterir: :-a:r :;: -,= . '::TOfeel to it. Next. Pii caLs :'- -s 'a- ]-r:': :-cSkope, who flow ove' a :e:: ''-':- :: ---e :.;;:50 "Reatest" trac<. C- :-€ -,_si.7: :-:-+-"Hustler Withdrawa..- :-€ :-€-::_. -' --:

=-':his producers the Da: B'c::'e": l: :i:i:-:r- i-i: ':proves that he's a mcre s€-scriea s:rs*ar3' ---,1-

you might think. He a53 .::3::s --'s :xq- !;r'qsover some wetl-kno'n'n :Ti-r---er=i --:::fi ..rs

with "Represent." -Sa.5-:.:- -=- : -- E:.-i:€cut "That's Nast.v. " a-c --s :--=-: ;;.-;*- '-- :. -As the atbum comes io a :-:s: f€ :s- : :..a-e'view of Ht as he acc:-p:-'*'.:::-,: :-:':E :.:-:knowtedge on Jonr Le^-:-': :.:r--.: ' -,:i-:-'- ADG, adg@tmail.com

JOi\ -l3E

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:'-: .-:-:-3: *- le listen-irg :c r-rs Cl. This mixtape's :acra3ed !ery welt, even

of the usual sex, drugs and rims. Throughoutthe fifteen tracks, he shares his wisdom. Thisalbum wasn't recorded for the radio or thefans, it was recorded for Royce. lt's a reinven-tion of himsetf, a real atbum with real meaning,a rebirth of a tatented MC with knowtedge toshare. These tracks feel like an epiphany, lacedwith anger, rage, and an acknowtedgement andadvisory. The "parental advisory" sticker onthis album shouldn't be for expticit content butrather for expticit truth. Some listeners mightnot be ready for this. Musically, the produc-tion throughout the album is perfectty fittedfor Royce's styte and message, provided by avariety of producers inctuding Cartos "6 Juty"Broady, DJ Premier, and Asar. Standout tracksinctude "l & Me," "Beef," "Something's Wrong,"and "Death is Certain Paft7." Hip-hop is bleed-ing, and Royce has put together a solid album toheat the wound caused by a lack of concepts.By abandoning the concept of creating radio-friendty commercial tracks, he focused on theraw strife and struggle of life. - Rohit Loomba,

poombster@ao1. com

RAN ROVER"RIDE WIT'YA BOY''BOTTOM GROUNDRan Rover's debut albumis fitted with a variety ofsubject matter, rangingfrom the expticit "She'sa Freak" to the sticky-icky-influenced "SmokeWith U," where Snoop"the non-smoker" takesa second to give us yetanother verse 'bout

that ganja. Atthough this is Ran's atbum, thewhole Bottom Grounds camp shows up repeat-edty, especialty Chad and G-Stimm. The atbum'sproduction isn't credited, but it's basicatlyhit-or-miss. Production on "Oooh" and the tittetrack seems unfinished, especiatly compared toblazing tracks from JT tike "Ridin' Heavy." Wealso see solid production on the hightight of theatbum, "Drama in the Ctub," where Juve theGreat lends 16 but Ran outdoes him with spit-fire lyrics and delivery. Appearances by othermembers of the camp (Krush, Big Chad, Dean,G-Stimm, and Mika) uttimatety hurt the album'sflow - ADG, adg@tmail.com

PITCH BLACK"PITCH BLACK LAW"UNIVERSAL RECORDSln 1995, D.G., Devious,Fast, G.O.D., and Zakee,cottectively known asPitch Black, graced uswith an EP that stayedunder the radar. Theyhaven't stopped hustt'ingsince, getting the at-tention of artists tikeWyctef, Koo[ G Rap, Busta

ctosing, the last atbum that truly embodied therawness of hip-hop tike "Pitch Btack Law" has tobe Screwbatl's "Y2K: The Atbum." Word! - ADG,adg@tmail.com

J SUPER & ROB FAiAE

"PEOPLE GET READY"SUPERSTANG ENT.lf I had to summarize Su-per & Fame in two words,I'd say: "Comin' Up!" Theduo shows a lot of poten-tiat with this release, andthe production is incred-ibte. From the menacingviotins in the intro to thelow-end synth used onthe Mississippi anthem"Where You From (601 ),"

each of the etements implemented throughoutthe album serves its purpose welt. The soutfulsampte used on "Peopte Get Ready" witl have acertain Roc-A-Fetta producer/rapper hittin' therewind button. Halfway through the atbum, wetake a tittte detour and get hit with four or fivestraight fil[er tracks. With a guest appearancefrom Orynda on "Freaky," we reach the weak-est part of the atbum, where everything fromthe flow to the production sounds unmotivated.The subject matter throughout the atbum isvaried, and for the most part Super and Fameseem to be focused on the good in life and thepossibilities that tie ahead, like on tracks like"Strange" ("1'm sorry for the way my brain op-erates, waitin' on the better day, but right nowI feel strange / And I don't want to feet strangeno more / Man, l'[[ tetl you, I can't live this wayno more"). With the exception of a few tracks,this is a good, solid atbum. Good lyrics, sotidproduction, and nice detivery from both MCs.Guest appearances are kept to a minimal, [eav-ing J Super & Rob Fame with plenty of time toshine. - ADG, adg@tmail.com

DIALECT"MUSIC OF A CULTURE"ONE LIFE ENT.When most artists form agroup, their album repre-sents the group as a wholeand sti[[ leaves that finetine between membersto accentuate the flavorthey bring to the group.ln the case of Burns,Jenkins, & Wood, thesetines are rea[y bturred.

Most of the time this works for them, but oc-casionatly it hinders the atbum. On the jump-offtrack "Gettjn' Bent." the production seems toovershadow the skitls of atl three artists. Abouta third of the wav iirouqh. ho.,vever. with songs[ike "Fuck Shit" and "Riie.' lne Deats of Steph.Jenkins, Fred Freeman ani Saini Denson slartto fit Diatect the majoriiy oi :ie i':ie. rri :x-eemembers claim Dade Cor"i, ic :\: ju..:s:. lJ:

OZONE MAGAZINE FrsnuA,R/ 2004 47

coming with a Busta Rhymes audio sample fromHot 97. John Doe, Timbaland's newest artist,has a very versatile voice and is abte to cre-ate a presence for himsetf on virtuatty a[[ thesetracks. He's mastered the art of pimpin' hisvoice. His voice has a slight resembtance to thelate B.l.G.'s, but if you're a true hip-hop headyou can tetl the difference immediatety. Withthe majority of these tracks "jacked" from oth-er artists, you get a good idea of what his skittis, first bangin'it out on the DJ Muggs/RZAIGZAtrack "3rd Word War" and then flippin' it to lastyear's "What Happened to That Boy." R&B? LikeI said, he comes fulty equipped. JD manages togive us an att-star remix of Mya's "My Love istike Whoa," making you question if this wasthe originaI or the remix. lf atI else faits to grabyour attention, the cover artwork witt. - ADG,adg@tmail.com

CURTAINS..YOUNG BROOKLYN #1"Atbum mixtapes are a

dime a dozen: take an-other artist's beat andfreestyte over it, add afew skits, a tittte bit oforiginal materiat, a cou-pte estab[ished artist's

guest appearances, and BAM! lnstant promo-tion. Where most of these toots fail is the over-abundance of material that shows nothing but afreestyte MC and useless skits. Curtains skatespast this ditemma and uses his skits to poke funat the mixtape game and the state of hip-hopin generat. On this album, we get more thanjust freestytes. Curtains uses well-known beats[ike "l'm Ready" (Diptomats) and "G'd Up" (G-Unit) to create his own songs with compteteconcepts. Two of my personal favorites are"Johnny" and "Doin'My Job," the latter simptybecause it feets sincere, Iike Jay-Z's stept-on"Song Cry." On "How I Does lt," Curtains' ar-rogant flow takes a page from Nas, ctaiming,"l got bad chicks, but understand this, homey/ I don't kick game, chicks just understand mystory." The 35+ minutes I spent [istening to thisdisc was wetl-spent, with very few exceptions.- ADG, adg@tmail.com

CARL THOMAS"LET'S TALK ABOUT IT"(SAMPLER)BAD BOY/UNIVERSALThis 15-minute sampter-offers more artistry thanmost atbums five times astong. P. Diddy hits us withan intro, letting us know

he's confident in his artist. We get a gtimpseof his brittiance with "Let's Tatk About lt," a

track that coutd easity fit into the 70's soul era.After this, we jump into the tivest track on thesampler, which actuatly sounds a bit forced.Next we encounter a Just Blaze track thatsounds a bit too similar to last year's F-A-B-Oand Ashanti/Tamia's hit, and a generic LL Coot J

verse on the first singte, "She ls." The remainingsongs are just fitter tracks, nothing outstanding.It sounds [ike Carl might have caught that soph-omore jinx, but don't quote me on that - it'sjust a sampler. - ADG, adg@tmail.com

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01 - Psychster "Who Am I

02 - fr1ike Jones freestyle03 - Lit' Eussy "Do lt Big"04 - Psycho and Kash "Tee Tag"05-SeriousL"Hey"06 - White Dawg "Pop a Pitt"07 - Juvenite "ln My Life"08 - G-Unit "Pop Them Thangs"09 - Lit'Scrappy "Head Bussa"10 - Serious L "Lil' Moe (remix)"

01 - Daddy Stro "Low Low"02 - Piccalo "Get Loose"03 - Kieran "R U Awake"04 - Jacki-O "Slow Down"05 - Mike Winans "What's it Gonna Be"06 - Nappy Heads "What They Do"07 - Backwood Slick "Wisha Woutd"

01 - Hi-C f/ DJ Quik "Let Me Know"02 - Jadakiss "Kiss of Death"03 - Ltoyd fl Ashanti "Southside"04 - Ludacris f/ 50 Cent "8low (rmx)"05 - Mystikat, Dirtbag, & Busta Rhymes

"Keep Doin'it"06 - Bubba Sparxxx, Sean Paul, Pastor

Troy "Back in the Mudd (remix)"07 - Bonecrusher "Run"08 - Drag-On f/ Fiend & Yung Wun

"Troubte (remix)"

01 - l-20 f/ Lit' Fate, Tity Boy, & Chingy"Fightin'in the Ctub"

02 - Kay Slay f/ Three 6 Mafia, Lit' Wyte,& Frayser Boy "Who Gives A Fuck"

03 - Master P "Them Jeans"04 - Goapete "Closer"05 -T.O.K. "Gal You a Lead"06 - Sty Boogy "California (remix)"07 - Ghostface Kittah f/ Jadakiss "Run"

DJ Vlad, Dirty Harry, Green Lantern"2Pac: Rap Phenomenon ll"www. Rap Phenomenon. com

01 - TWista, Kanye Wesl, Jamie Foxx "Slow Jamz"02 - Ying Yang Twins f/ Lil' Jon "Salt Shaker"03 - Memphis Bteek f/ Trick & T"l. "Round Here"04 - Baby Cham "Vitamin 5"05 - Petey Pabto "Freek-A-Leek"06 - T.I. "Rubber Band Man"07 - David Banner f/ Static "Crank it Up"08 - Trillvitte f/ Li['Jon "Neva Eva"09 - Mystikat, Dirtbag, Busta "Keep Doin' lt"10 - Mecca "Ayesien"

01 - Joe f / G-Unit "Ride Wit U"02 - Rik Rok f/ Shaggy "Your Eyes"03 - Ghostface Kitlah f/ Jadakiss "Run"04 - Kadittak "Wassup"

05 - Chingy "One Call Away"06 - Drag-On "Bang Bang Boom"07 - Ludacris "Splash Waterfalls"08 - David Banner f1 Statik "Crank it Up"09 - Anthony B fl Wyctef "Lighter"10 - Djlated Peoples f/ Kanye West "This Way"11 - Davjd Banner f/ Marcus. "Pop That"12 - Jay-7'Dirt Off Your Shoulders"1 3 - FLoetry f/ Mos Def "WannBwhereUR"14 - 112 f / Ludacris & Chingy "Hot & Wet (rmx)"15 - Mr. Vegas "Pul[ Up"

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