YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE

JIM ES
J ON
MIMS
OJ DA JUICEMAN
FLO RIDA
BUN B
ID
DAV ER
BANN D
N’s DA
T-PAI LASTS AKON
B IS BROWN
CHR NN A :
R IHA
& K HACKIN’
SIDEKIC
OZONE MAG // 1
2 // OZONE MAG
OZONE MAG // 3
4 // OZONE MAG
OZONE MAG // 5
6 // OZONE MAG
OZONE MAG // 7
8 // OZONE MAG
OZONE MAG // 9
 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly
MUSIC EDITOR // Randy Roper
FEATURES EDITOR // Eric N. Perrin
ASSOCIATE EDITOR // Maurice G. Garland
GRAPHIC DESIGNER // David KA
ADVERTISING SALES // Che Johnson, Gary Archer, Richard
Spoon
PROMOTIONS DIRECTOR // Malik Abdul
SPECIAL EDITION EDITOR // Jen McKinnon
WEST COAST EDITOR-AT-LARGE // D-Ray
LEGAL CONSULTANT // Kyle P. King, P.A.
SUBSCRIPTIONS MANAGER // Adero Dawson
ADMINISTRATIVE // Kisha Smith
INTERNS // Jee’Van Brown, Torrey Holmes, Memory Martin
CONTRIBUTORS // Anthony Roberts, Bogan, Camilo Smith,
Charlamagne the God, Chuck T, Cierra Middlebrooks, DJ
BackSide, Edward Hall, E-Z Cutt, Gary Archer, Jacquie Holmes,
J Lash, Jason Cordes, Jelani Harper, Joey Colombo, Johnny
Louis, Kay Newell, Keadron Smith, Keita Jones, Keith Ken-
nedy, K.G. Mosley, King Yella, Luis Santana, Luvva J, Luxury

monthly sections
Mindz, Marcus DeWayne, Matt Sonzala, Maurice G. Garland,
Mercedes (Strictly Streets), Natalia Gomez, Portia Jackson,
Ray Tamarra, Rico Da Crook, Rohit Loomba, Shannon McCol-
lum, Spiff, Stan Johnson, Swift, Tamara Palmer, Thaddaeus
McAdams, Ty Watkins, Wally Sparks, Wendy Day
13 10 THINGS I’M HATIN’ ON
26 are you a g?
STREET REPS // 3rd Leg Greg, Adam Murphy, Alex Marin,
Al-My-T, Ant Wright, Anthony Deavers, Baydilla, Benz, Big Brd,
38 board game
B-Lord, Big Ed, Big Teach (Big Mouth), Big Thangs, Big Will, 73 caffeine substitutes
Bigg P-Wee, Bigg V, Black, Bogan, Bo Money, Brandi Garcia,
Brandon “Silkk” Frazier, Brian Eady, Buggah D. Govanah (On
70-71 CD REVIEWS
Point), Bull, C Rola, Cartel, Cedric Walker, Cece Collier, Chad 22 chain reaction
Joseph, Charles Brown, Chill, Chuck T, Christian Flores, Clifton
Sims, Dee1, Demolition Men, DJ Commando, Danielle Scott,
18 Chin Check
DJ Dap, Delight, Derrick the Franchise, DJ Dimepiece, DJ 47 dj booth
D’Lyte, Dolla Bill, Dorian Welch, Dwayne Barnum, Dr. Doom,
Dynasty, Ed the World Famous, DJ E-Feezy, DJ EFN, Episode,
24 Dollar Menu
Eric “Crunkatlanta” Hayes, Erik Tee, F4 Entertainment, Fiya, G 28 D-Ray editorial
Dash, G-Mack, George Lopez, Gorilla Promo, Haziq Ali, Heze-
leo, H-Vidal, Hotgirl Maximum, Hotshot, J Hype, Jacquie “Jax”
74 End Zone
Holmes, Jae Slimm, Jammin’ Jay, DJ Jam-X, Janiro Hawkins, 12 Feedback
Jarvon Lee, Jasmine Crowe, Jay Noii, Jeron Alexander, J
Pragmatic, JLN Photography, Joe Anthony, John Costen,
Johnny Dang, Judah, Judy Jones, Juice, DJ Juice, Kenneth
26 hood deeds
72 Industry 101 interviews
Clark, Kewan Lewis, Klarc Shepard, Kool Laid, DJ KTone, Kurtis 13 jb’s 2 cents 48-51 bun b
Graham, Kydd Joe, Lex, Lucky, Lump, Lutoyua Thompson,
Luvva J, Marco Mall, Mario Grier, Marlei Mar, Maroy, DJ M.O.E., 16 Mathematics 66-67 david banner
Music & More, Natalia Gomez, DJ Nik Bean, Nikki Kancey, 26 names of shame 68-69 Flo Rida
Oscar Garcia, P Love, Pat Pat, Phattlipp, Pimp G, Quest, Quin-
ton Hatfield, DJ Quote, DJ Rage, Rapid Ric, DJ Ricky Ruckus, 32-46 patiently waiting 52-53 OJ Da Juiceman
Rob J Official, Rob Reyes, Robert Lopez, Rob-Lo, Robski, Scor- 17-45 PHOTO GALLERIES 58-59 t-pain’s dad
pio, Seneca, Shauntae Hill, Sherita Saulsberry, Silva Reeves,
Sir Thurl, DJ Skee, Sly Boogy, Southpaw, Spade Spot, Stax, 14-15 Rapquest 20 young capone
DJ Strong, Sweetback, Syd Robertson, Teddy T, TJ’s DJ’s, Tim 30 Sidekick Hackin
Brown, Tonio, Tony Rudd, Tre Dubb, Tril Wil, Trina Edwards,
Troy Kyles, Twin, Vicious, Victor Walker, DJ Vlad, Voodoo, DJ
Warrior, White Boi Pizal, Wild Billo, Will Hustle, William Major,
Wu Chang, Young Harlem, Yung DVS, Zack Cimini

SUBSCRIPTIONS // To subscribe, send check or money order

for $20 to:
Ozone Magazine, Inc.
Attn: Subscriptions Dept
644 Antone St. Suite 6
Atlanta, GA 30318
Phone: 404-350-3887
Fax: 404-350-2497
Website: www.ozonemag.com

COVER CREDITS // Jim Jones photos (cover and this page) by

Ray Tamarra; OJ da Juiceman photo by Terrence Tyson; Mims
photo by Hannibal Matthews; Flo Rida photo by Mark Mann.

DISCLAIMER // OZONE Magazine is published 11 times per

year by OZONE Magazine, Inc. OZONE does not take respon-
sibility for unsolicited materials, misinformation, typographi-
cal errors, or misprints. The views contained herein do not
necessarily reflect those of the publisher or its advertisers.
Ads appearing in this magazine are not an endorsement
cover stories
or validation by OZONE Magazine for products or services
offered. All photos and illustrations are copyrighted by their
61-64 JIM JONES
respective artists. All other content is copyright 2009 OZONE
Magazine, all rights reserved. No portion of this magazine
54-47 MIMS
may be reproduced in any way without the written consent
of the publisher. Printed in the USA.

10 // OZONE MAG
OZONE MAG // 11
 Send your comments to feedback@ozonemag.com
or hit us up at www.myspace.com/ozonemagazine
I loved your 2 Cents. You’re not too deep for me, you’re just real, Julia!
I’m glad to know that both of us are Geminis and I’m not alone in
the way I feel at times. I’ve heard of Pac’s “The Rose That Grew From
Concrete” but I never read it. I was astonished at what was in it, read-
ing from your 2 Cents. Now I see why you’re so cool and genuine. I’m
also thrilled about being mentioned in the same issue of OZONE in
RapQuest. I’m finally getting some recognition.
- Rob Dee, via email
I love the [Prison Diary] article you did on my homeboy Gangsta [Wil-
liams]. He’s the man on compound now.
– Aaron Hollins, via inmatemessage.com (Jesup, GA)
What’s going on? I recently subscribed to your magazine after
OZONE visited Houston for the OZONE Awards. I was looking
through my first issue and I see there was no representation of Hous-
ton in the RapQuest. Why’s that?
– Ghost Da Hustla, via email (Houston, TX)
I love the mag. Keep up the good work. Baltimore’s got talent and
I like how y’all show love to the underground. I’ll be home soon to
grace the cover.
– Vigeta G.N. Eazie, via inmatemessage.com
I check RapQuest every time I get OZONE Mag, and there’s never
anything about Greensboro, NC. There’s a lot of talent brewing in this
area right now. Ed E. Ruger has Bun B and Stat Quo on his new album
and he’s making noise. There’s a lot more artists in Greensboro, but
he’s just an example. All of North Carolina is hot, actually. I would
love to read more about the UpSouth movement sometime in your
mag!
– Stichy C, via email (Greensboro, NC)
Can Connecticut get some light? I love OZONE Mag, for real. I lived
in Georgia for six years but I’m actually from Connecticut and was
featured in one of OZONE’s first issues. I had an album review under
the group name Soul Snatchaz. Anyways, I wanted to let y’all know
that Connecticut’s got mad flavor.
– Jack Beazly, via email (Danbury, CT)
D-Ray, I loved your editorial on psycho bitches. Man, I’m glad I don’t
fuck around in those circles. This is real, a nigga could go through
this anyway, but when the writing is on the wall and everybody else
sees it, dang. You’re crazy, D-Ray.
– Grown up Goddi, via email (Bay Area, CA)
12 // OZONE MAG
On the Exit Strategy article, I’ve gotta say whaddup doe (Detroit
for “whassup”) to Malik Abdul for not leaving the USA. He’s a true
American. The rest of y’all are probably not here legally anyway. I say
OZONE should dedicate a page to the street reps. Show some love
to those who are spreading the good book to the people.
– Eric “Crunkatlanta” Hayes, via email (Detroit, MI)
In Issue #71 of OZONE’s RapQuest, I felt that the city of Galveston,
recently ravaged by Hurricane Ike, was not represented at all. We
have a rapper out here that’s making some waves as big as Galves-
ton Island named Mista Smashsational plus there are other local
cats in Galveston that need to be heard. I appreciate OZONE for kee-
pin’ it real with the cities that are not making mainstream headlines
in the rap scene, but you need to represent Galveston, TX as well.
– Heady Luv, via email (Galveston, TX)
It’s about time that the Borders in Montgomery County, MD started
stocking OZONE in the music magazine section! I can’t tell you how
excited I was to see OZONE Mag sitting on the shelf. It took a while
but the best read in the world has come full circle and I know there
are only bigger things to come for OZONE. Everyone at OZONE Mag
does such an awesome job. I have a subscription but as broke as I
was, I bought the issue at Borders with Lloyd on the cover because
I was so excited. It’s the best read on newsstands out there. I never
get bored reading OZONE, ever. I can’t put it down. I’m gonna read it
after I finish writing this. God bless you JB and team, you all do such
a great job and Ms Rivercity kicks ass on the special editions too!
– UP, via email (Maryland)
Thanks for showing us love; we finally made it into Patiently Waiting
West Coast. It’s a very good look and well-deserved. My business
partners and I have been going over a few ideas for OZONE. We
have a plan to increase the impact that OZONE has in Northern
California and eventually the whole West Coast. This magazine has
so much potential to be the next XXL. You are already shittin’ on The
Source by far and with poor projections for VIBE, OZONE is next up
to bat to cross over into mainstream media but still keeping the un-
derground feel that impressed me back in 2007. I buy the mag every
month and I know it can get more attention that you’re getting. I
congratulate you a thousand times over for being a young woman
that’s holding it down for your region and giving young indie artists
such as myself a chance to shine nationally.
- D.E.O. of EVENODDS, via email (San Francisco, CA)
Correction: We neglected to credit photographer Aaron Petz of
www.aaronpetz.com for his photo of Cut Throat Logic that appeared
in the All Star 2009 special edition.

10THINGS I’M
MOST HATIN’ON
by Shawty Shawty “What My Name Is?”
1. White people that ride bikes
ERIC PERRIN
I just don’t like white people that ride
bikes.
2. 50 Cent
I’m hatin on 50 Cent for hatin’ on Rick Ross.
3. Rick Ross’s Baby MamaS
I’m hating on them for representing baby
mamas all over the world. Great job, you
dumb bitches!
4. The Police
I’m hatin’ on the police for takin a nigga to
jail for weed…after I let this muthafucka
hit my blunt.
5. Random drug tests IN the
workplace
Shit, some people work better high. Look
at Michael Phelps, that’s 8 gold medals.
Nigga, if I win 8 gold medals I’d smoke
RALPH SMITH
more than a joint. I might pop a pill or two.
6. Chris Brown
Punching is okay, but damn, he ain’t have
to bite her. Who the hell did he think he
was fighting, Evander Holyfield? She damn
sure looked like she had been fighting
Holyfield when he was done.
7. All the women hatin’ on
Rihanna for getting back with
Chris Brown
ERIC PERRIN
All y’all women need to stop hatin,’ cause
shit, I love a woman that take a lickin’ and
keep on tickin.’ No PUNch intended.
8. The Recession
I ain’t know pussy stimulated the
economy; it’s going for $25 around my
way. Thank God for Barack Obama!
9. I ain’t hatin’ on Seattle, Wash-
ington
Man, I went to Seattle, Washington and
they had some weed so damn good I was
smoking it by myself, passing the blunt to
nobody whatsoever. I got schizophrenic
and started passing it to my other hand,
like, “Don’t mind if I do!” Big shout out to
Seattle, Washington for having that good-
ass chronic.
10. All this beef shit all over the
internet.
I’m tired of it; it’s fuckin up the industry. I’m
taking all my shit down.
Check out Shawty Shawty at Uptown Comedy
Corner in ATL every other Tuesday
Me & Alex Gidewon @ the
Velvet Room in ATL
Ice skating in Anchorage,
AK with Mistah FAB
Tambra, Mr. Marcus, & me
@ Freelon’s in Jackson, MS
Rick Ross & me in ATL
Me, Thaddaeus McAdams, Eric Perrin, &
Ms Rivercity @ Rick Ross’s listening party
Lil Wayne f/ Drake, Jae Millz, Gudda Gudda & Mack Maine “Every Girl”
Drake f/ Trey Songz & Lil Wayne “Successful”
The All-American Rejects “Gives You Hell”
JB’s 2cents
I
t’s been an interesting month. People are still using the recession
as an excuse not to pay their past-due ad invoices but I feel like the
economic prospects are looking up and things are slightly return-
ing to normal. I just got back from a trip to Alaska with Mistah FAB
and Baydilla and the BD Productions crew (more on that next month).
My quasi-assistant Kisha just welcomed a baby boy (Elijah) into the
world, which was kind of a big deal at the OZONE office being that all
of our employees are now godparents (kidding, kind of ).
The world is currently obsessed with text messaging. Everyone is addicted
to Twitter, even CNN, and whenever they take a break from reporting how
fucked the economy is (it’s not “breaking news” anymore, folks) they’re theo-
rizing on the controversial Chris Brown/Rihanna text. This is headline news?
In case you can’t tell from my recent editorials I’ve been fighting off this disil-
lusionment with the rap game for quite some time. Part of it is that I wonder
if media is even relevant anymore. Technology has made every aspect of
everyone’s life accessible to the world. As a media outlet, we are essentially
middlemen. We - whether reporters, videographers, photographers, journal-
ists, radio personalities, etc. - seek out the interesting and relevant aspects
of an artist’s life and convert it into an easily digestible format for the viewer,
listener, or reader. But now, every aspect of an artist’s life - regardless if it
is interesting and relevant - is now available to the public at the click of a
button. Rap beefs now take place on YouTube, Twitter, and WorldStarHipHop
instead of in the streets or in magazines. Shaq, Mistah FAB, and Trey Songz
no longer need to do interviews with media outlets - they just tweet to their
fans directly while courtside, on the toilet, or in the studio, respectively.
I was thinking along the lines of Charlamagne’s Chin Check (page 18) this
month. The attitude which he refers to as “tabloid morals and pop culture
values” has resulted in a lower quality standard in all forms of media. The art
form isn’t respected as much as it used to be. I think there’s an art to captur-
ing these images and moments, even if it’s just the energy of the newest
trap star performing at a ‘hood nightclub. I like pictures for their aesthetic
value. These days, none of that matters. Why do you need a photographer or
videographer with a good eye who pays attention to detail and quality when
the label rep can just snap a picture with their digital camera or iphone,
upload to their Facebook mobile, and blast out to their blogger email list?
It’s too much. We’re being given too much access into artist’s lives and the
quality isn’t there anymore. It’s become homogenized and everyone’s doing
the same thing. Blogs all post the same rumors (often false). The same effort
isn’t put forth into building relationships and creating a buzz the old-fash-
ioned way. We’re becoming so reliant on technology that we expect the ‘net
to do everything for us - resulting in me receiving 2,000 mp3s every day from
artists who swear their song is the hottest shit but don’t have a local fanbase.
It’s scary to think of how drastically the game has changed even since I got
into it just 7 years ago. Through Twitter, I can now let the world know where
I am and what I’m thinking and what I’m doing at every moment
of the day through text message status updates that are also acces-
sible to my 4,652 Facebook friends and 11,901 Myspace friends.
With Posterous.com I can automatically post pictures and video
links to my blog, Facebook, and Twitter just by sending an email.
And with Qik.com I can stream live video from my cell phone. But
the question is: do I really want to? Sometimes less is more, but
when consumers are being bombarded from all directions, it’s that
much harder for them to know where to find the good shit.
- Julia Beverly, jb@ozonemag.com
T-Pain f/ Kanye West “Flight School”
RE’Splaylist
randy.roper@ozonemag.com
Drake f/ Bun B & Lil Wayne “Uptown”
Cam’ron “Cookies & Applejuice” KiD CuDi “Sky Might Fall”
Lil Brod “Do U Mind”
Surf Club f/ Lil Wayne “I Can’t Miss” Pacific Division “Pac Div”
Joe Budden “I Couldn’t Help It” Thunderkatz “3 AM”
OZONE MAG // 13
 AUSTIN, TX:
David Banner (pictured above), Bun B, Z-Ro, the COD, and more held it down
at the Austin Music Hall for a big show put on by Rozone Productions and Hot
93.3. Rapid Ric just released Volume 5 of his Whut It Dew mixtape series. The
Destiny by Design after-school program performed at the Mexican American
Cultural Center. Gerald G’s “How I Was Raised Music” video premiered on
TheScrewShop.com. Ice Cube came through for a packed show at The Mohawk.
- O.G. of Luxury Mindz (www.luxurymindz.com)
ALBUQUERQUE, NM:
Bamboozle just finished up a 22-track mixtape called Welcome to tha Duke.
Baby Bash, Gemini, and Fat Fish did a show in Roswell, NM where the cops
tried to take everybody to jail! That story is ongoing, stay tuned. Raw Muzik
Store celebrated their third year in business. Twista is coming to the 505 .Tha
Potnus just got signed to Crown Recording/Universal in Europe. The Latin
Invasion Pt. 2, featuring Lil Rob, Kilo, a.k.a. Down, came to Albuquerque and
rocked the house.
- Beno (Beno@eadymusicgroup.com)
CINCINNATI, OH:
With the weather unbearably cold, the streets are a little quieter, but the
studios are buzzing with hot new artists doing their thing. Young Dunny (R&B)
is one of the most remarkable young singers that I have heard in a long time.
Remedy (spoken word with an R&B twist) is the remedy for all your sadness,
low self-esteem or whatever ails you; and the Gwopp Boyz (Street Life Ent.)
have an out-of-this-world roster starting with K.I.D. and Young Maggz. Be on
the lookout for these artists to blow in 2009.
- Judy Jones (Judy@JJonesent.com)
COLUMBUS, GA:
Common recently came to Columbus and got a lot of love. He was all over the
city the entire day, doing events with Foxie 105 and 98.3 The Beat. I’m sure he
ate good, because every other event was at somebody’s restaurant. Common
ended the night celebrating with Foxie 105’s Michael Soul and DJ OO Key for
Soul’s birthday bash and OO Key’s radio anniversary. He did his thing, per-
forming a few new songs and some old favorites. South Florida up and comer
JW did his single “Bayk at It.” Bohagan was also in the house.
- Slick Seville (SlickSeville@gmail.com)
14 // OZONE MAG
COLUMBUS, OH:
We’re back on star status with performances and appearances from
Rocko, Scarface, TOK, Mike Epps, Black (from Flavor of Love), Eric
Roberson, Unk, and more. Locally, Middle Child is touring again and
her new collaboration with producer J Rawls is getting international
recognition. Trav Dave of Mirror Love Productions took over for Illseed
as a guest writer for the day on AllHipHop.com. DJ Mick Boogie recently
interviewed me for his site and we are in the plans to do a collaborative
project so look out for that. A new magazine launched last month called
Hipolicy Magazine. Check them out at www.hipolicymag.com.
- Yohannan Terrell (www.FlyPaperBlog.com)
DALLAS/FT. WORTH, TX:
Ricochet, “Mr. Clean as a Whistle,” from Power Up Ent. connects his
link with Asylum/Warner Bros Music. Dallas now has the official Triple
D hats repping the city from Christopher Cain Clothing. Definition
DJs celebrated their 2 year anniversary. Big Clint is letting local artists
perform at the Fare Strip Club in Aggtown. Blocc Bleeda is in the streets
with his “I Want My City” single. YUMS kicked off their indie tour with B-
HamP and G-Spot Boyz. Power Broker has the entire state on “Escalator.”
PartyChaser.com is your online source to the local night life.
- Edward “Pookie” Hall (urbansouth@gmail.com)
DENVER, CO:
Havoc of Mobb Deep, 40 Glocc, DJ Jelly, and Method Man and Redman
have all hit the Mile High this winter. Hypeman P, Denver’s most promi-
nent hypeman, has been nominated as a finalist for the Scion hypeman
contest and goes to L.A. in January 09. Carmelo Anthony opened up his
new barbershop downtown called Studio 15, and the Denver Broncos
welcomed back running back Tatum Bell. The city shows love and
respect to community leader Kathy Hill-Young who was a victim of a hit
and run accident. She will always be loved and truly missed.
- DJ Ktone (Myspace.com/djktonedotcom)
 INDIANAPOLIS, IN:
Fat Bastard and Big Tuck came to Don Victors and
shut the club down on a weekday night. DJ Geno
power-promoted The Thanksgiving Jam Comedy
Show. B.G. performed at Club Industry on Black
Friday. Dragged Up Music LLC is gearing up for
the 10 year anniversary and is looking forward
to keeping Naptown up to date with Project Pat,
Dragged Up, Swishahouse, Zoe, Boosie, Free
Gucci, OJ Da Juice in every CD player throughout
the city. Will at MidwestStreetRyders.com just
released the Midwest Street Ryders Vol. 4 DVD.
The release party hosted by DJ Black was off the
hook.
- DJ Black (djblackhcp@tmail.com)
JACKSON, MS:
Young Jeezy, Lil Boosie, Murphy Lee, and
Pleasure P all hit the city this month with Tambra
Cherie and DJ Finesse hosting the concert. Stax
had another sell-out afterparty. A new artist by
the name of Goobie has the streets buzzing.
For all your entertainment news, gossip, and
anything else worth knowing about, check out
www.tambracherie.blogspot.com. 1Life1Love
CTE artist Boo is getting better by the day after
his car accident.
- Tambra Cherie (TambraCherie@aol.com) & Stax
(blockwear@tmo.blackberry.net)
JACKSONVILLE, FL:
The Duval Diamond Awards went down in
red carpet fashion. Bigga Rankin held it down
all night along with T-Roy from 93.3 the Beat
and Ms. Dynasty (pictured at left), giving out
over dozens of awards to Jacksonville’s hardest
grinders, and hustlers from all over who support
Jacksonville. On a political note, McCain won
the Jacksonville vote, but we all know the whole
nation wanted to vote for Obama right? Con-
gratulations to Barack, and tell the police to stop
harassing those guys stealing McCain/Palin signs,
they were just “picking up the trash.”
- Lil Rudy (LilRudyRu@yahoo.com)
LAS VEGAS, NV:
Usher, Jazmine Sullivan, and Bobby Valentino
brought some R&B soul right in time for cupcake
season. E-40 held his Ball Street Journal record
release party at Poetry Nightclub. Neffie had a celeb-
rity-filled birthday party at Planet Asia. John Legend, Wu
Tang, and Anthony Hamilton will be at House of Blues. Mike
Epps will also host a comedy show at The Orleans. Magic was
emptier than usual thanks to the recession.
- Portia Jackson (PortiaJ@sprint.blackberry.net)
LOUISVILLE, KY:
Heavy Hitter DJ EFeezy had his 2nd annual birthday bash at The Gillispie
where DJ Q rocked the 1s and 2s. Speaking of Feezy, he and a local rapper
have been beefing for months. After da Show hosted a successful town
hall meeting on the state of Hip Hop in KY. Thanks T-Made. Tony Neal of the
CORE DJs stopped by B96.5 to talk dos and don’ts to artists, and how you
should/shouldn’t approach DJs. D Mawl, KD, and Nova have been added to
radio rotation. I can’t forget to mention Trey Songz who came through.
- Divine Da Liaison (OuttaDaShopEnt@hotmail.com)
MEMPHIS, TN:
Slowly but surely Playa Fly is releasing new singles and is gaining much
respect with fans and radio stations here in the mid-south. Be on the look-
out for the newest single “Great Night” produced by Zaytoven and a new
mixtape in January ‘09. Lord Infamous and Koopsta Nicca both speak out
separately on Memphisrap.com about new management, new labels, Three
6 Mafia rumors, and upcoming projects. Young Memphis is creating a buzz
in the streets with his new album ‘Bout That Time. With this title I’m sure he’s
referring to fame; he’s on his way folks.
- Deanna Brown (Deanna.Brown@MemphisRap.com)
MONTGOMERY, AL:
The streets are still buzzing about the Maxximum Exposure Conference
and Award show held at Boomerangs. Everybody that won is happy but
the ones that didn’t are having fits. Napalm Da Bomb won two awards.
Grade A, DJ Frank, Michael London, DJ Swift, D.B.F., Zeus Entertainment,
and everyone else gets props for their grind and hustle. It was supposed
to be hosted by DJ Aaries and Jacki-O, but Jacki pulled a disappearing
act after receiving the remainder of the balance. Damn, is she really that
broke? Gorilla Zoe held it down at Boomerangs for Pimp’s birthday.
- Hot Girl Maxximum (Maxximummp3@gmail.com)
NASHVILLE, TN:
First and foremost we must give a moment of silence for Manny. SoCash-
ville.com and Total Package Show have hooked up to bring something
new to the scene, just wait and see. Count Bass-D released L7 and the
Underground Kings DVD is set to release Underground Queens DVD featur-
ing women in the South who make it happen. DJ C-Lo teams up with
Phat Kaps to give out turkeys and toys during the holidays (way to make
it happen) and Lovenoise brought Anthony Hamilton to town for a sold
out show.
- Janiro (Janiro@southernentawards.com)
PHOENIX, AZ:
Phoenix welcomed Yung Berg, David Banner and Phoenix’s own Willy
Northpole to the Celebrity Theatre. David Banner stole the show and
Willy Northpole’s performance with an army of steppers and crumpers
was official. The city is rallying behind our hometown favorites HMF’s
Bombay and Tajji Sharp, who both have scheduled releases in the next
few months. Sharp is a protégé and close friend of Kanye West. His
album is sure to be a different sound for the city. NBA All Star weekend
came to the Valley of the Sun.
- Jasmine Crowe (jasmine@mystjazz.com)
PITTSBURGH, PA:
Even though Steeler football took over the city, Pittsburgh’s nightlife and
artists continue to expand. DJ Drama came through twice to kick it and
southern style DJ Jelly brought the south to the north for one night. Biz
Markie made his way through to rock the mic and Steeler Willie Parker
threw a party to remember. Poparazzi is still taking all of the pictures and
Moola Gang, Sledgren, and F Block Records are making a lot of noise.
- Lola Sims (lolasims@gmail.com)
ST. LOUIS, MO:
Ray Goss and DerrtyBoi Montana did interviews for www.mvremix.com.
T Babe is selling her OOHWEE bottled water out of 9 clubs in the area.
Raw Reese is dropping his new album Street Credit 1.5. Craig Black had
Ludacris come through on his Renegade Riverfront Radio show. Jus
Bleezy has been touring and giving out turkeys to the needy. Hakeem
Da Dream was blessed with an article in OZONE’s Patiently Waiting
issue. Unladylike celebrated their new Def Jam deal by partying at Club
Casino. They were recently on BET’s Wild Out Wednesdays and their new
Scummy Dummy will be wang’n out a radio near you soon.
- Jesse James (JesseJames314@aol.com)
TAMPA, FL:
Once again WILD 98.7 Fm took over Tropicana Field for the Last Damn
Show 10, with performances by Tom G, Gym Class Heroes, The Game,
T-Pain, Tay-Dizm, E-40, and others. Derrick “Holly Grove” Hargrove (cast
member from 50 Cent’s The Money and The Power reality show), hosted
a VIP birthday bash at Club 301. Brooklyn Zu/ Wu-Tang affiliate, Silkski,
debuted his single “Sista Love” featuring Cappadonna on “The Hip-Hawk
Hour”. Jojo Pellegrino, DJ Spank (France) and Lounga Lo (Wu-Tang affili-
ate), also stopped by “The Hip-Hawk Hour” to promote their “Staten to
Stardom” Tour appearance at Ritz Ybor.
- Slick Worthington (SlickWorthi813@gmail.com)
WASHINGTON, DC:
Dre “All Day in the Paint” hosts an open mic every Tuesday at The
Legend nightclub. He recently brought Houston rap legend Scarface
to perform. Tae Barz won “Wild-Out Wednesday” on BET’s 106th & Park.
Local artist and producer, Jamil “Face” Johnson, created a tribute song
for fallen Redskin Sean Taylor on the one year anniversary of his death.
The song “Every Given Sunday” features Wale, Kingpin Slim, and Miss
Kim from Rare Essence. Raheem DeVaughn and Lil Mama were at the
Go-Go awards presented by WPGC and the Peaceaholics. The event
went off without any drama and Chuck Brown was inducted into the
Go-Go Hall of Fame.
- Sid “DCSuperSid” Thomas (dcsupersid@aol.com)
OZONE MAG // 15

PRODUCERS & BEATMAKERS | By Wendy Day (www.RAP-CO
O
ver the past ten years, the price of equipment to make beats has come way
down. In addition, the ability to circulate beats quickly, easily, and cheaply
on the internet has made the amount of producers and beatmakers soar
in the urban music industry. And if you also factor in that EVERYONE thinks
they have the perfect ear for music and knows exactly what is missing from the current
music industry, you get exactly what we have today in the music industry: a glut of
producers.
Producers, like rappers, have exploded onto the urban music landscape in droves.
Hundreds of thousands of artists have set up MySpace pages attempting to sell their
music, influence the industry, and take their shot at fame and success. What we have
is way more producers than we need. The supply far outweighs the demand, driving
down the income and opportunity for all producers.
Very few producers really stand out in today’s business. The ones who do rise above
the din most assuredly have platinum hits under their belts. The majority of A and B list
artists and the bulk of label executives seek out the producers who have a track record
of success in delivering hit singles, and are willing to shell out bigger checks to secure
the hits. Meanwhile, there are usually between 10 and 15 songs on a CD, leaving room
for the album filler to be filled by lesser known and new producers. The prevailing at-
titude at labels is that maybe we’ll get lucky, and one of the $1500 to $5000 filler tracks
will be the next big radio hit. The more entrepreneurial rappers have set up production
companies and signed their own production teams so that they can even claim owner-
ship of a larger share of the music on their own releases. Very few are willing to use
producers outside of their own camp because that eats into their profit margin.
At all labels (major or indie), each artist has a recording budget. The budgets are deter-
mined by a mathematical formula based on how many CDs the label projects the artist
can sell either based on previous sales, or based on the buzz and hype of the artist. For
example, 50 Cent or T.I. will have a larger recording budget than Hurricane Chris or Alfa-
mega because of their track record of success. However, Hurricane Chris and Alfamega
will have a larger budget than Roccett or Papa Duck because their buzz is bigger.
An entire album must be delivered within the confines of the recording budget. That
budget includes production, studio time, features, sample clearance, and often mixing
and mastering costs. If an artist has a recording budget of $250,000, then the album
must be delivered to the label without spending more than that $250,000. If mixing
and mastering costs $15,000 and recording at a decent studio is $125 an hour, that
doesn’t leave much for the production of 10 or 15 songs—especially for artists who
believe in recording 25 or more songs and choosing the best 10 or 15 for the album. If
the artist wants a Jazze Pha, Jim Jonsin, Mannie Fresh, or Drumma Boy track that can
cost anywhere from $20,000 to $70,000 depending on the relationship. It is easy to
spend $100,000 or more on the production for three or four hot potential singles. And
since it seems that one out of six Americans is a producer today, finding the remainder
of the album filler is quite easy. The competition to sell tracks today is crazier than I’ve
ever seen it. Even my mailman makes beats on the side.
The best way for an aspiring producer to sell beats is to develop a relationship with the
artists and the label A&Rs who buy beats. Selling tracks is an ongoing thing, because
you never know who is buying beats and when. And because there are so many
producers out here hawking beat CDs, you need to have your music in front of the
decision maker at the exact moment he is buying tracks. Easier said than done!
For a producer without local access to artists (meaning you don’t live in Miami or
Atlanta), and who isn’t able to make regular rounds to the record labels (meaning
you don’t live in New York City or Los Angeles either), this approach can be very dif-
ficult. The next best thing would be to find artists in your local area and provide their
sound—their production, hoping that they blow up and achieve some success. That
way, when they blow up, you blow up. This worked for Beats By The Pound, Mannie
Fresh, and Dr. Dre. Of course, it’s harder now than ever for local acts to break through
and secure the attention of a major label the way No Limit, Cash Money, and Death
Row did back in the 90s.
Some producers have even chosen to take the loss and give up part ownership in their
16 // OZONE MAG
ALITION.COM)
own music to secure a spot in a production company owned by a more established
producer or artist like Jermaine Dupri, Dr. Dre, or Jazze Pha. The thinking is that it’s bet-
ter to give up half now to build a name and reputation underneath someone else. In my
personal opinion, this doesn’t work out very well—just ask Sam Snead, Mellman, Butta,
Ced Keyz, Carl-So-Lowe and the list goes on and on.
So what can a new producer do?
The good thing about the glut in the marketplace is that only the truly dedicated will
survive. The folks doing this because they think it’s easy, or because they think they
can make a quick buck, will give up quickly and leave. When they see how hard it is to
survive, they will move on. Only the folks with music in their blood and souls will be able
to withstand the bullshit.
Also, there are many levels of producers. The key is to figure out where you want to fit
in and go for it. Not every producer needs to be a Dr. Dre. There are many underground
producers in the ‘hood selling beats for $100 to $500, and perfectly content to be that
underground go-to guy. Fearing my article was sounding a bit pessimistic, I put in a call
to the always-positive Drumma Boy for advice. His opinion is that “this industry has al-
ways had a lot of competition making beats. Right now is no different, just the numbers
have changed. It’s important to figure out what level you want to be on as a producer,
and go for it. Opportunities open for those who are prepared and talented. Always have
your beat CD on you. I’ve made connections with artists at the airport. They might not
buy a beat then, but they’ll remember me.”
I asked Drumma if he was a new producer today, what he’d do to sell beats. “It’s still all
about getting to the artists. I’d pop up at studios every night. If I were in a smaller town,
when the artist came to do a show I’d be at the club with my beat CDs. I’d still do what
I did to get on…pop up on the artists. If Jeezy is performing, I’d be at the club pressing
a CD into Jeezy’s hand-- not anyone in his entourage if I can help it, but Jeezy’s hand.
After doing this over and over again, they’ll at least know about you at some point. They
remember the tracks that bump. Every artist wants the hot tracks. Eventually they’ll call
if your beats are hot enough.” Thanks, Drumma!
What else should a new producer do?
It’s important to focus not just on the creative process, but also the business side. Mak-
ing hot music is necessary, but so is understanding how the business works. The price a
producer quotes for his beat is really an advance against backend royalties. Depending
on the budget, and depending on how badly the artist or label wants your track, a
new producer is usually paid $1500 to $5000 by a major label, and $500 to $3000 by an
indie label for a track. The producer almost always goes into the studio with the artist to
record. This is the difference between a beatmaker and a producer. A preliminary agree-
ment called a “producer dec” is usually circulated, prior to recording, between the lawyer
for the artist or label and the producer’s lawyer (yes, you need to have an experienced
entertainment lawyer who is well versed in production agreements on your team).
A producer gets paid half of the advance upfront BEFORE GOING INTO THE STUDIO TO
RECORD, and half after delivering the track (that second half is usually paid when the
album is released, if it’s a major label). The “backend” royalty is whatever you agreed to
accept while negotiating, usually somewhere between 2 points and 5 points (3 points
is average). Those points come out of the artist’s share, and artists rarely recoup. That
means there isn’t always a backend, but be sure to negotiate it just in case there is. If you
don’t understand what points are, there’s an excellent explanation in Donald Passman’s
book “Everything You Ever Wanted To Know About The Music Industry.” At the very least,
read the chapter on points and royalties in your local Barnes and Noble store. Also, at-
tending Sha Money’s producer conference, One Stop Shop, in April in Phoenix is money
well spent--it’s the best convention of all of the ones that I attend each year!
And if you remember nothing else about this article, remember this: keep 100% of your
publishing on ANY track you create. If you choose to sample, monies will be withheld
from your backend and from your publishing to pay for the sample. That is why more
experienced producers rarely sample anymore. Avoid any and all agreements that ask
you to sell your beats as “work for hire.” They are fuck boy contracts.
Even though the production side of the urban music industry is oversaturated, it is pos-
sible for producers to eek out a nice living. If you have the talent and the drive to suc-
ceed, you will. If not, make sure you have a back up plan. This industry can be ruthless. //
(above L-R): Idris Elba & Tigger @ Lebron James birthday party in Miami, FL (Photo: J Lash); Trey Songz & Lola Luv on the set of Ace Hood’s “Ride” remix video shoot in Atlanta, GA
(Photo: Terrence Tyson); Ludacris & DJ Drama @ the Dirty Awards in Atlanta, GA (Photo: Julia Beverly)

01 // Moses Davis & Attitude @ The Biltmore for Warner Bros meet & greet (Atlanta, GA) 02 // DJ Dre, Bossiliny, DJ Lil E, & DJ Drop @ Definition DJs Christmas party (Aggtown,
TX) 03 // Kenny, Trey Songz, & Bobby Fisher @ Club Honey (Malmo, Sweden) 04 // Supastar J Kwik & DJ Spinz @ Club Crucial (Atlanta, GA) 05 // Bigga Rankin & Ashley Morton
@ Duval Diamond Awards @ Plush (Jacksonville, FL) 06 // Busta Rhymes & Geter K on the set of Busta Rhymes’ “Arab Money” (Atlanta, GA) 07 // Young Jeezy & some lucky
Wal-Mart employees @ Wal-Mart for Hittmenn DJ’s Toyz N Da Hood (Atlanta, GA) 08 // Gucci Poochie, Rick Ross, & Block on the set of Gorilla Zoe’s “Lost” (Atlanta, GA) 09 // Mad
Linx, Raekwon, DJ Q45, the RZA, & J Nicks on the set of BET Rap City’s finale (Atlanta, GA) 10 // DJ Drizzle & DJ Scorpio @ Sugar Hill (Atlanta, GA) 11 // Double A, Big Hood, Tum
Tum, Lil Shine, & Yayo @ Definition DJs Christmas party (Aggtown, TX) 12 // David Banner & Tre Dubb @ Austin City Music Hall (Austin, TX) 13 // Shane and Bigga Rankin of Cool
Runnings @ Studio Inc for Ace Hood’s release party (Tampa, FL) 14 // Thunderkatz @ Sugar Hill (Atlanta, GA) 15 // Q da Kid & DJ Bruce Wayne @ TSU (Houston, TX) 16 // Sophia
Fresh & TayDizm @ Tropicana Field for Wild 98.7’s Last Damn Show (St. Petersburg, FL) 17 // Young Jeezy on the set of “My President” (Atlanta, GA) 18 // Ace Hood signing auto-
graphs @ Benchwarmers for Hot 103.5’s birthday bash (Huntsville, AL) 19 // Krystle Coleman, Ted Lucas, Trina, & Wendy Morgan @ The Victor for Slip N Slide’s 15th Anniversary
party (Miami, FL)

Photo Credits: Bogan (19); Edward Hall (02,11); Eric Perrin (07,08,18); Ichigo (15); Julia Beverly (03); Malik Abdul (09,13,16); Ms Rivercity (01,04,10,14); Terrence Tyson (05,06);
Thaddaeus McAdams (17); Tre Dubb (12)

OZONE MAG // 17
 CHIN CHECK
By Charlamagne Tha God
Tablod
Morals
and Pop
Culture
Values
You people kill me. When I say “you people,” I’m
referring to the “new media”: the bloggers and
websites who have taken it upon themselves to
be the so-called journalists of this generation.
I say “so-called” because many of you are not
journalists at all. In fact, there is no journalistic
integrity in 95% of the bullshit y’all report. All you
do is take rumors, gossip, and downright lies and
report them as fact.
Think of all the rumors you’ve read on blogs.
Do any of these rumors ever get proven as fact?
I’m sure a few do, but when I say “a few” it’s
only about 5%. As I stated earlier, 95% of what’s
reported is bullshit. There is no investigative
journalism that goes into your stories.
If I call a blogger right now and say, “Yo, I heard
such and such got beat up last night,” they will
say, “Word? Let me make a few calls.” Within min-
utes, there will be a blog post on their website
saying, “Such and such got beat up last night.”
What investigative journalism did you do to
insure that “such and such” really did get beat
up last night before you put that information
out there to the public? None. You didn’t do any
research because you don’t care about journal-
ism. You care about posting the rumor before
necolebitchie.com or gyantscoop.com does.
You are more concerned about generating traf-
fic to your blog or website than you are about
reporting a factual story. That’s the problem with
the game today; if video killed the radio star, the
internet killed the journalist. Our culture needs
18 // OZONE MAG
more real journalists writing blogs. We need
more real activists and intellectual thinkers like
Boyce Watkins and Michael Eric Dyson to do
video blogs and talk about the issues that affect
our people on a daily basis.
Think of all the hits that sites like mediatakeout.
com and bossip.com get. There comes a point
where you have to ask yourself why there isn’t
more positive content on these sites. Why
aren’t real issues being addressed? How come
everyone cares about Chris Brown whupping
Rihanna’s ass? Is it right for a man to hit a wom-
an? Hell no. Does it happen on a daily basis? Hell
yes. I’ve put my foot up a female’s ass a couple
times (when I was younger, and believe me, I got
bad karma for it) but what is the real issue? Are
you bloggers reporting it because you’re trying
to make people realize that domestic violence
is an issue that needs to be addressed, or is your
site just reporting it because it’s Chris Brown and
Rihanna?
I read a study that said approximately 1.3 mil-
lion women and 835,000 men are physically
assaulted by an intimate partner annually in the
United States. It also said that intimate partner
violence makes up 20% of all non-fatal violent
crime experienced by women. So domestic
violence has always been a major issue, but now
that the victim is Rihanna, all of a sudden y’all
give a fuck?
This is what I call “Tablod Morals and Pop Culture
Values.” Nobody really cares about the issue. They
care about the celebrity.
Case in point: a 15-year-old girl gets arrested
in Seattle, Washington, and placed in a holding
cell where she is beaten up brutally by two male
cops! The cops’ job is to “protect and serve.” I
don’t think “protect” means that a young girl is
supposed to “protect” her skull from the next
blow by these crooked-ass, pig-ass cops. I don’t
think “serve” meant that these two grown-ass
men were supposed to “serve” up a severe ass-
kicking to a minor.
It’s child abuse, abuse of power, and men beat-
ing up a female, but I don’t see you bloggers
outraged about this. There’s even a video online
where you can see the attack and what proved
the officers, but I don’t see you bloggers calling
for these cops’ jobs the way you’re calling for the
death of Chris Brown’s career.
For the record, the cops are only on administra-
tive leave. Don’t you think that if there was more
outrage from the media, more would have been
done? Of course, but you people don’t care
about issues. You care about the celebrity. Tablod
Morals and Pop Culture Values.
Another example of Tablod Morals and Pop Cul-
ture Values is the cartoon in the New York Post
that depicted the cops shooting the monkey
with the caption, “Guess they will have to find
someone else to write the next stimulus bill.” We
all know this was a racial jab thrown at President
Barack Obama, but what if this same cartoon was
published in reference to Al Sharpton or Jesse
Jackson? Would people have cared so much? No,
I don’t think so, because Brother Al and Brother
Jesse are not celebrities on the level that Barack
Obama is.
Rick Ross has been calling 50 Cent a monkey
since their beef started and nobody took of-
fense. Why is it wrong when the Post calls a black
man a monkey? If the actual issue is a black man
being called a monkey, the same people who are
outraged over the Post calling Barack a monkey
should be outraged over Rick Ross calling 50
Cent a monkey, right?
I asked this same question on Twitter and Kitty
Bradshaw responded that it’s okay because 50 is
a rapper and Barack is the president, but to me,
it shouldn’t matter. Black pride should be black
pride whether it’s in reference to a president or a
rapper. The bottom line is, nobody should refer
to another black person as a monkey. But we
don’t care about issues. We care about celebrity,
because we have Tablod Morals and Pop Culture
Values.
In closing, I would like to say that the reason we
are not taken seriously when it comes to real
issues is because people know we are full of shit.
We only protest and complain when it’s the hip
thing to do. When the media makes it cool for
celebrities to get involved (ie.: The Jena 6, the
Sean Bell murder, and Barack Obama’s cam-
paign) we all jump on the bandwagon. Once the
cameras leave and the next scandal breaks out
in Hollywood, we tend to just forget about the
situation and fade away. Ask yourself if you care
about the issues or the celebrity. Tablod Morals
and Pop Culture Values.
Streetfully Yours,
Sincerely,
Gangsta Charlamagne Tha God
(above L-R): The Game & Nu Jerzee Devil @ Wild 98.7’s Last Damn Show in St. Petersburg, FL (Photo: Julia Beverly); DJ Q45 & Big Boi backstage @ the BET Hip Hop Awards in
Atlanta, GA (Photo: Malik Abdul); Lil Boosie & Twaun Pledger @ The Continental for Twaun’s video shoot in Birmingham, AL (Photo: Eric Perrin)

01 // DJ Blak, Tamika Howard, & SWAGG TEAM crew @ The Ebony Club for Hot 103.5’s birthday bash (Huntsville, AL) 02 // Guest & Cory Mo @ Stankonia for Outkast’s Christmas
party (Atlanta, GA) 03 // Playboi Tre, BOB, Wes Fif & guest @ Sugar Hill (Atlanta, GA) 04 // Rob G & Roccett @ Geisha House (Atlanta, GA) 05 // J Nicks & Ms Rivercity @ Motions
(Atlanta, GA) 06 // Kaspa tha Don & Mr Collipark @ the Boyz N Girls Club (Atlanta, GA) 07 // TI with his son and some adoring fans @ Cascade Roller Rink for Christmas Kids Holi-
day event (Atlanta, GA) 08 // DJ Drama & Summer Walker on the set of Ace Hood’s “Ride” remix video shoot (Atlanta, GA) 09 // Bobby Fisher, Trey Songz, DJ Foot, & Inga Nandi @
Debaser (Stockholm Sweden) 10 // MLK & guest @ Club Crucial for DJ Scream’s birthday bash (Atlanta, GA) 11 // Two of TI’s sons @ Cascade Roller Rink for Christmas Kids Holi-
day event (Atlanta, GA) 12 // Attitude & Kane Beatz @ The Biltmore for Warner Bros meet & greet (Atlanta, GA) 13 // OJ da Juiceman & guest @ DBS Sounds for OJ da Juiceman’s
meet & greet (Atlanta, GA) 14 // Don Cannon, DJ Infamous, Shaheim Reid, Spiff, & DJ Nasty on the set of Young Jeezy’s “Who Dat” video shoot (Atlanta, GA) 15 // Rico Brooks
& Tahira Wright on the set of Gorilla Zoe’s “Lost” (Atlanta, GA) 16 // Antonio Tarver & crew @ Karu & Y (Miami, FL) 17 // Young AC, Tony Neal, & Bigga Rankin @ Duval Diamond
Awards @ Plush (Jacksonville, FL) 18 // Lori Harm & John Witherspoon @ Club Skye (Tampa, FL) 19 // Lil Boosie, Turk, & guest @ Trill’s Christmas toy giveaway (Baton Rouge, LA)

Photo Credits: Allwyn Forrester (10); Bogan (16); Eric Perrin (01,02,07,11,15); Julia Beverly (09,18); Leetric Walker (19); Ms Rivercity (03,05,06,12,13); Terrence Tyson (04,08,14,17)

OZONE MAG // 19
 Missing In Action
YOUNG CAPONE
Last Spotted: GeIsha House
in Atlanta, GA filming
“Choosin’” featuring Mario
Two years in real life doesn’t seem like a long
time, but in the rap game it’s an eternity. That’s
how long it’s been since we were expecting
Young Capone’s debut album Big Faces and
Bright Lights from Jermaine Dupri’s So So Def
label. The anticipation was there, but the album
never came out and in a shifty rap game that
moves at a 300 RPH (rappers per hour) Capone
became a buried thought in the minds of most
rap fans, but not all. Occasionally annoyed, but
ultimately motivated by people constantly ask-
ing him, “Where the album at?” Capone sought
a release from So So Def and started his own
label, Trotti Ent. Now, with buzz singles “Shawty,”
“Loud” featuring Maceo and Yung Ralph and
“Choosin’” featuring Mario circulating, Capone is
set to hit the streets with his new album Small
Things To A Giant.
So where have you been?
Recently everybody’s been looking for me. I’ve
been getting out of those contracts with So So
Def. My fans have been wondering what’s going
on. I had to get out of the paperwork, switch my
management, and get my own team. I started
my own label, and I’m getting back out in the
streets. I’m putting an album together and then
I’m going to shop it to the major labels.
Should we be expecting a new sound? Things
are very different from just two years ago.
It’s gonna be the same sound, but people get
to hear me and see what I’m about. It’s pretty
much the same sound, I just ain’t with Nitti no
more. I’ve got my own producers now. You’ll get
to know me better and I’ll be handing business
a little better. When I was with So So all the busi-
ness wasn’t getting done right. I’m being on time
for shows and doing the proper radio interviews
now because I’m trying to take my career to the
next level. I don’t want people thinking I was on
the bullshit when I was at So So. It wasn’t in my
hands because I was just signed as an artist. I
have more creative control this time around.
Why didn’t things work at So So Def?
I think JD believed in my music, but I don’t think
he really knew what to do with my street music.
He had good intentions, but time just passed
and things ain’t work out. We did do BET Access
20 // OZONE MAG
Granted with “I’m Hot” and he planned on taking
me to Def Jam with him. JD was down with me,
but he ain’t know what to do with me. I’m a pro-
ducer too. I always had intentions of having my
own label and being my own man, but people
never understood that because I was young.
What kept you motivated through all of that?
People kept asking me what’s up with my music.
If they didn’t care, they wouldn’t ask. But my
fans never forgot about me. I’m still getting paid
shows all over the world without having a song
on the radio or TV, so that kept me going too. JD
ain’t make me do it, I did it myself from the get
go. I ain’t gonna let nobody discourage me.
Do you consider it a blessing in disguise that
after the whole So So Def situation, you’re able
to come back out and still look fresh?
Yeah. I came in early. I’m 22 now; I came in when
I was 18. It’s a good thing I started early. The
most difficult part is cleaning up some of the
bad business that was done. My music isn’t the
problem. It’s making people understand that
we aren’t doing the same things we did with JD.
People wanna know that [my album] is really
coming out. I just have to be consistent.
What are the “same things” you’re referring to?
I dropped a lot of bad habits. I was around
people with the “I don’t give a fuck” attitude and
it rubbed off on me. With So So Def moving so
slow, it caused me to start moving slow. I’m try-
ing to be more on point all around the board. I’m
stepping my whole game up as an artist, produc-
er and business man. I want to show people that
I got what it takes to do what Jeezy, T.I. and Luda
are doing with their labels. If you ain’t handling
business right, you ain’t going nowhere. //
Words by Maurice G. Garland
Photo by Eric Perrin
Since CAPONE’S Last SINGLE:
Senator Barack Obama is now
President Barack Obama
Boston Celtics Have Gone from last
place to NBA Champions, threatening to
repeat
James Bond Has Come back, twice
Ed Hardy Has Gone Being Exclusive To BE-
ING Available at Ross Dress for Less
(above L-R): D Woods reppin’ Obama in Atlanta, GA (Photo: Thaddaeus McAdams); Ted Lucas & Plies @ The Victor for Slip N Slide’s 15th Anniversary party in Miami, FL (Photo:
Bogan); Lil Boosie & an artist @ Trill’s Christmas toy giveaway in Baton Rouge, LA (Photo: Leetric Walker)

01 // Trey Songz & Inga Nandi on the set of Rebstar’s “Without You” (Stockholm Sweden) 02 // Nick Love, DJ Jelly, & DJ Hotsauce @ Hot Stix for Young Capone’s Meet & Greet
(Atlanta, GA) 03 // City Boyz & Krazy Yogi @ Firestone for Papa Duck’s birthday party (Orlando, FL) 04 // Chuck & Billy Blue @ Mansion for DJ Khaled’s birthday party (Miami,
FL) 05 // Cellski & Roccett @ Geisha House (Atlanta, GA) 06 // DJ Demp, K Foxx, & Iceberg of the Dunk Ryders @ Mansion for DJ Khaled’s birthday party (Miami, FL) 07 // Alesha
Renee & DJ Q45 @ Lucky Strike Bowling Alley (Kansas City, MO) 08 // Rick Ross & Lil Chuckee @ the Dirty Awards (Atlanta, GA) 09 // Ted Lucas cutting the cake @ The Victor for
Slip N Slide’s 15th Anniversary party (Miami, FL) 10 // Young Jeezy on the set of “Crazy World” (Atlanta, GA) 11 // Kim Ellis, Stephanie, & guest on the set of Ace Hood’s “Ride”
remix video shoot (Atlanta, GA) 12 // Jackie Chain & Playboy Tre @ The Ebony Club for Hot 103.5’s birthday bash (Huntsville, AL) 13 // Midget Mac & Steet Money Records @ The
Moon for TJ’s DJ’s (Tallahassee, FL) 14 // So Real Cru, Kiotti, Crisco Kidd, & DJ Coolaid @ 93.3 (Houston, TX) 15 // Guest, Cedric Hollywood, Charles Reed, & DJ Khaled @ The Victor
for Slip N Slide’s 15th Anniversary party (Miami, FL) 16 // Elora Mason & Bigga Rankin @ Pre-Diamond Awards Mixer @ SoHo Lounge (Jacksonville, FL) 17 // Bizzle, Lex, & Ali Mu-
hammad @ FAMU for Vibe’s Yardfest (Tallahassee, FL) 18 // Tai Boogie & TJ Chapman @ BOB’s Meet & Greet (Atlanta, GA) 19 // JC, LA the Darkman, & Rob @ Wildhorse (Nashville,
TN) 20 // Plies & guest @ The Moon for FAMU Homecoming afterparty (Tallahassee, FL)

Photo Credits: Bogan (09,15); Eric Perrin (12); Ichigo (14); Janiro Hawkins (19); Julia Beverly (01,04,06,08); Malik Abdul (03,13); Ms Rivercity (02,18); Terrence Tyson
(05,07,11,16,17,20); Thaddaeus McAdams (10)

OZONE MAG // 21
 She Liked my NECKLACE and started relaxin’, that’s what the fuck I call a…
W hile interviewing Gorilla Zoe for next month’s
Drug Issue, Moe from Ice Box Jewelry stopped
by McCoy Street Studios to drop off Zoe’s new
piece. It impressed us so much we had to rear-
range Chain Reaction to feature Zoe’s new ridiculously large piece.
Gorilla Zoe: Don’t Feed the Animals, that’s what the chain says.
After this, I want OZONE to shut the Chain Reaction section down.
OZONE is not allowed to do any more Chain Reactions after this,
because my chain is shutting it down. Seriously, after this segment,
whoever is in charge of Chain Reaction needs to just quit. This is it.
Moe the Jeweler: This chain is what Zoe is all about: breaking out of
the cage—that was concept for this piece. The gorilla that’s inside
the cage is its own separate piece, we don’t take any shortcuts
or anything. The gorilla has hair on its back and everything, and
it even comes out of the cage, too. When all the album promo is
done, we can take the gorilla out to be worn separately. The gorilla’s
hands even open so it can break out of the cage. It took me about
three months to make this piece, but that’s because Zoe told me
to take my time, as long as it was done before the album dropped.
This chain was made strictly for the album.
Gorilla Zoe: That’s my brother, jeweler of the year. Everything I’ve
ever had on he’s made.
22 // OZONE MAG
GORILLA ZOE
MIGHTY ZOE YOUNG
Moe the Jeweler: Yeah, I’ve done all of Zoe’s past pieces, everything
he ever wore before. We generally make all the pieces by machine,
but the gorilla was harder. It has so much detail we had to do it by
hand. It’s white gold, and as far as the diamond carat weight goes,
the cage, the sign, and the gorilla are all separate carat weights.
The gorilla has the red diamonds on the tongue, the diamonds
in the eyes, the white diamonds on the chest, and the rest of the
body is black diamonds. Even the cage has diamonds on the side
too. It definitely has over a hundred carats all together, but the only
number I really remember is what Zoe paid. I get a wire transfer
from Zoe every month, so it doesn’t matter how much it costs, the
money keeps coming anyway. And I’ve done pieces for everybody:
Bobby Valentino, T-Pain, Bow Wow, all of [Yung] Joc’s pieces, Young
Dro’s stuff, Travis McCoy from Gym Class Heroes, Chingy, and a
bunch of the [Atlanta] Falcons’ pieces, but out of all the pieces I’ve
ever designed, this chain has to be my favorite, because there was
so much invested in it; time and money. Zoe told me he didn’t have
a budget, just keep on working and then let him know what the
price was.
Gorilla Zoe: Show money, man. Show money. I do a lot of shows. //
Words and Photo by Eric Perrin
(above L-R): Chaka Zulu & Plies @ Patchwerk for Plies’ listening party in Atlanta, GA; Young Jeezy & Trae @ Mansion for DJ Khaled’s birthday party in Miami, FL (Photos: Julia
Beverly); Pastor Troy @ FAMU for Vibe’s Yardfest in Tallahassee, FL (Photo: Terrence Tyson)

01 // TayDizm, DJ Demp, Pat Nix, DJ Q45, & Young Cash @ Leon County Civic Center for FAMU’s Homecoming concert (Tallahassee, FL) 02 // Sommore & Kevin Liles @ The Victor
for Slip N Slide’s 15th Anniversary party (Miami, FL) 03 // Big Lip Bandit, Supa Cindy, & DJ Ice @ The Victor for Slip N Slide’s 15th Anniversary party (Miami, FL) 04 // Khia & Ron
White @ The Ebony Club for Hot 103.5’s birthday bash (Huntsville, AL) 05 // Ivory Orr & Kiko @ Leon County Civic Center for FAMU’s Homecoming concert (Tallahassee, FL)
06 // Rick Ross & Carol City Cartel crew @ Karu & Y (Miami, FL) 07 // Sean Garrett, Yung Joc, & Plies @ Patchwerk for Plies’ listening party (Atlanta, GA) 08 // Young Jeezy & Fabo-
lous @ Lebron James birthday party (Miami, FL) 09 // Ace Hood & Brisco @ Roxy for the Florida Classic (Orlando, FL) 10 // DJ Wildhairr & DJ Dre @ Definition DJs Christmas party
(Aggtown, TX) 11 // King Arthur & guest @ Studio 72 for DJ Scorpio’s birthday bash (Atlanta, GA) 12 // Dee Dee Cocheta & DJ Judgemental @ Hot Stix for Young Capone’s Meet
& Greet (Atlanta, GA) 13 // Tony C & guest @ The Moon for TJ’s DJ’s (Tallahassee, FL) 14 // QC Partystarters @ Studio Inc for Ace Hood’s release party (Tampa, FL) 15 // TJ Chap-
man & DJ Fresh @ The Ebony Club for Hot 103.5’s birthday bash (Huntsville, AL) 16 // BOB & ladies @ Sugar Hill (Atlanta, GA) 17 // Lil Will & DJ Mack @ Club Energy (Waco, TX)
18 // Bizzle & Sean D @ Leon County Civic Center for FAMU’s Homecoming concert (Tallahassee, FL) 19 // Gu & DJ Mr Rogers @ SF2’s 3rd store opening (Houston, TX) 20 // Der-
rick Crooms, VIC, & Mr Collipark @ the Boyz N Girls Club (Atlanta, GA)

Photo Credits: Bogan (02,03,06); Edward Hall (10); Eric Perrin (04,15); Ichigo (19); J Lash (08); Janiro Hawkins (11); Julia Beverly (07); Malik Abdul (09,13,14); Ms Rivercity
(12,16,20); Terrence Tyson (01,05,18); Tre Dubb (17)

OZONE MAG // 23
 Most strip club
patrons recklessly fur-
nish their favorite dancers with
STACKS of cash that would make their
accountants sick—unless their ac-
countant is also their favorite stripper.
Meet Jamie, a 25-year-old West Indian import who brings a
whole new meaning to OZONE’s Dollar Menu. Raised in Atlanta,
this Westside resident definitely knows the value of a dollar; in
fact, she just graduated with a degree in accounting and plans
on starting her own business.

“The average customer would say I’m real cool and I have a nice
smile, which is good because hopefully they’ll trust me with
their finances one day,” theorizes the dancer, who does her own
taxes. “I’ll be done dancing as soon as my permit expires, and
then I’ll be going fully into accounting.”

Though her dancing days are numbered, her five years on the
pole certainly led to some memorable experiences. Just last
week, for instance, Jamie was performing a table dance when
her shoe broke, causing her to fall to the floor. When she stood
up understandably embarrassed, no one was laughing, but her
thirsty customers certainly tried to capitalize on her collapse.
“This one dude kept trying to get me to leave the club with him
so he could buy me some new shoes,” she recalls. “But it was 2
o’clock in the morning, where would I get some shoes from at
that time? Some of these guys will try anything to get you to
leave the club with them.”

Though you can’t blame the guys for misjudging her level of
intelligence, Jamie says the strength she exudes at work is
impossible not to notice, even attributing the color of her attire
to her personality.
Words by Eric Perrin
“I’m always wearing black at work because it’s a strong color, and
I’m a strong woman. In my photo shoot I was wearing red, but if Website: Strokersclub.com
you notice my hair, which was also red has a black tint to it. It’s Booking: myspace.com/strokersatl
all about strength,” she adds.
Photography: DC The Brain Supreme
This statement is true in her personal life as well. While most dcphotoimaging.com
dancers spend their free time shopping and frolicking through Make up and Hair Styling by Mike Mike 678-732-5285
Phipps Plaza, Jamie is either shooting pool or riding dirt bikes
and four-wheelers.

“I guess I’m just a different kind of girl,” she says. “You just have to
know me to understand.” //

24 // OZONE MAG
(above L-R): Tigger & guest @ Lebron James birthday party in Miami, FL (Photo: J Lash); Boo da Boss Playa & Roccett on the set of Young Jeezy’s “Who Dat” video shoot in Atlanta,
GA; Papa Duck & Trina @ Club Sensations in Valdosta, GA (Photos: Terrence Tyson)

01 // Bibi Guns & Shaheim Reid on the set of Young Jeezy’s “Who Dat” video shoot (Atlanta, GA) 02 // Chamillionaire, 40 Glocc, & Sun @ Sharpstown Mall (Houston, TX)
03 // Mama Wes & DJ Mr Rogers @ SF2’s 3rd store opening (Houston, TX) 04 // Vanessa Phan with TJ’s DJ’s painting @ The Moon for TJ’s DJ’s (Tallahassee, FL) 05 // DJ Princess Cut
& LA of Trillville @ the Dirty Awards (Atlanta, GA) 06 // Monica & Shawty Shawty @ the Dirty Awards (Atlanta, GA) 07 // Chamillionaire, Madd Hatta, 40 Glocc, Sun, Nnete, & J Mac
@ Sharpstown Mall (Houston, TX) 08 // Guest, TI, & Dr Benjamin Chavis @ Leon County Civic Center for FAMU’s Homecoming concert (Tallahassee, FL) 09 // D Woods making
voter registration calls for Obama (Atlanta, GA) 10 // Fat Pimp, Doughski G, & 8 Seventeen Productions @ The Ranch (Aggtown, TX) 11 // Zillaman, DJ Wildhairr, & guest @ The
Ranch (Aggtown, TX) 12 // Young Jeezy & director Marc Klasfield on the set of “Crazy World” (Atlanta, GA) 13 // Plies, Ted Lucas, & Suga D @ Patchwerk for Plies’ listening party
(Atlanta, GA) 14 // Kool Herc & Pookie @ Minc Lounge (Dallas, TX) 15 // Lola Luv & Fat Boy on the set of Ace Hood’s “Ride” video shoot (Atlanta, GA) 16 // DJ Brad, DJ Aaries,
Kadalack Boys, & guests @ The Gate for DJ Brad’s video shoot (Atlanta, GA) 17 // Stay Fresh, Kane Beatz, Lil Scrappy, & guest @ the Dirty Awards (Atlanta, GA) 18 // Kay Slay,
Patrick Adams, & models @ Cafe Iguana (Ft Lauderdale, FL) 19 // Lil Duval & DJ Demp @ Roxy for the Florida Classic (Orlando, FL)

Photo Credits: Bogan (18); Edward Hall (10,11,14); Ichigo (02,03,07); Julia Beverly (05,06,13); Malik Abdul (04,19); Ms Rivercity (15,16,17); Terrence Tyson (01,08); Thaddaeus
McAdams (09,12)

OZONE MAG // 25
 Talib Kweli, shown here performing in
St. Petersburg, FL in April 2008

Are You a G? abcdefG

7 Questions to FIND OUT if R&B star CASE
is the 7th letter of the alphabet.
A. What’s the worst tattooed on her ass. I without getting into
song you’ve ever hope she doesn’t plan arguments. I argue
recorded? on getting married no with my manager

Hood Deeds
On the last album, time soon. all the time. But my
there was a song I hate This response last fistfight was in
called “Crooked Letter.” earns extra cred- 1999. I had a birthday
[Originally] it had like it. Congratula- party and I thought WORDS By Eric Perrin // PHOTO BY LUIS SANTANA
10 different samples tions, Case. this dude was trying
on it, but as we started to pick-pocket me. With the economy in the toilet and album sales down by devastat-
trying to get the D. Damn, so you go He acted like it was ing proportions, most musicians rely on performances as their main
samples cleared we around initiating an accident, but I source of income. Talib Kweli, however, has chosen to donating a
had to strip it down, groupies asses into punched him in the chunk of his to the Chicago Public School System. Kweli’s parents are
strip it down, strip it the Case Signature face. Then we fought both teachers. He will perform at a series of “Dare 2 Dream” concerts at
down. By the time we Series? Wow…was it a and everybody started Chicago’s House of Blues this May, designed to promote reading and
got done stripping it nice quality ass? laughing like, “How do higher literacy rates among students in the Windy City. The non-profit
down I hated it, but we Yeah, yeah, it was get into it at your own organization WITS (Working in the Schools) will use the proceeds from
had already paid for dynamite. She was a party?” Fuck it. He had the concerts to provide tutoring and mentoring programs.
it, so we put it on the true fan, and I wouldn’t it coming.
album anyway. necessarily call her a For beating ass Chicago Public Schools are infamously known as one of the least ef-
We don’t blame groupie, she was just a on his birthday, fective public school systems in America, graduating only 50% of high
you for not friend of the program. Case gets school freshmen. Among the 50% that do graduate, only a mortifying
wanting to From now on, another point. 6% percent of those finish college.
waste money, but hell, all groupies
you could’ve just sold will be referred G. What’s largest Jeff Sodikoff, President of host Platform One Entertainment, expresses
the song to someone to as “friends of the amount of money you his gratitude: “I’m extremely proud and honored to partner with the in-
else. program.” ever lost gambling? credible Talib Kweli to help foster major awareness and raise important
I lost $3,000 in 1998 funding for Working In The Schools all while continuing our pursuit to
B. How many days E. How often do you betting on the Min- harness the power of music and entertainment to benefit important
out of the week are do the domestic thing nesota Vikings against causes.”
you in the hood? in the kitchen? the Atlanta Falcons in
I used to be in Bank- I cook every day. I’m the NFC Champion-
head kind of often. I about to cook in a little ship game. I had the
was actually in Me- while. I was starving Vikings all day. It was
chanicsville the other after the gym, so I a no-brainer, but they
day, but it doesn’t look cooked two steaks last lost. I’ll never forget,
like Mechanicsville night. My signature I was in Phoenix,
anymore, so I really dish is my smothered Arizona watching the
don’t know. steak with rice and game, and I had bet
Case, the hood’s gravy and some peas. one of my homeboys.
“Missin’ You,” That’s usually works for I actually paid him. If 1. LOOSE GORILLA (www.myspace.com/loosegorilla)
me, every time I make I had won, I would’ve When you hear the words “Loose Gorilla” your first reaction is probably
but we’ll award
that for someone wanted my money. to run. So why a five man rap/singing group that specializes in dance/
you a point for even
they just lose it. But I The Vikings? club music would name themselves that, we
knowing where Bank-
can’t eat it right now, Really? You don’t know. From looking at their myspace
head and Mechanics-
because I’m in the gym deserved to lose page they’re garnering alot of industry atten-
ville are.
training. that 3K, Case. tion, but we’re willing to bet money that the
main reason they aren’t signed yet is probably
C. What’s the most Sorry Case, we
because of that alarming name. They might as
bizarre thing a female can’t award you ScorE: 4/7
G’ points for Though the title of his well call themselves House Fire.
fan ever asked of you?
One girl wanted me to watching your weight. new album The Rose
sign her ass, and then This is OZONE, not Experience doesn’t 2. Clete Nigga (www.myspace.com/cleteatm)
she went and got a Men’s Health. exactly scream “I’m a Imagine this conversation: A: “Have you heard of this guy Clete
tattoo that traced my G!,” Case earns a pass- Nigga?” B: “Clete? No.” A: “No. Clete Nigga.” B: “I don’t no a nigga named
signature. I thought F. When was the last ing grade for fightin’ in Clete.” A: “No nigga, Clete Nigga.” B: “Clete, nigga?” A: “Yes nigga! Clete
she was lying about time you got in a the club and leaving a Nigga. Damn.”
it, but she came to a fight? permanent imprint on
show about two years I get in arguments all his biggest fans. 3. Waka Flocka Flame (www.myspace.com/wakaflockaflame)
later and sure enough, the time; you can’t be We’re speechless with this one.
she had my signature in the music business - Eric Perrin

26 // OZONE MAG
(above L-R): BOB & Wes Fif @ Sugar Hill in Atlanta, GA (Photo: Ms Rivercity); Young Jeezy @ Wal-Mart for Hittmenn DJ’s Toyz N Da Hood in Atlanta, GA (Photo: Eric Perrin); Roccett
& Young Buck @ Geisha House in Atlanta, GA (Photo: Terrence Tyson)

01 // Gator & Big Kuntry @ Leon County Civic Center for FAMU’s Homecoming concert (Tallahassee, FL) 02 // DJ Khaled, DJ Nasty, & Ace Hood @ Roxy for the Florida Classic
(Orlando, FL) 03 // Yung Envy & Juney Boomdata @ Club Crucial (Atlanta, GA) 04 // Vistoso Bosses & Mr Collipark @ the Boyz N Girls Club (Atlanta, GA) 05 // Moses Davis &
Yancey Richardson @ Patchwerk for Plies’ listening party (Atlanta, GA) 06 // Young Jeezy & DJ Q45 @ Leon County Civic Center for FAMU’s Homecoming concert (Tallahassee, FL)
07 // DJ Demp & crew reppin’ CRUNK @ FAMU for Vibe’s Yardfest (Tallahassee, FL) 08 // Plies & BallGreezy @ The Victor for Slip N Slide’s 15th Anniversary party (Miami, FL) 09 //
Diamond & crew @ the Dirty Awards (Atlanta, GA) 10 // Frank Lini & crew & C Wakeley @ The Moon for TJ’s DJ’s (Tallahassee, FL) 11 // Marc Decoca & Twink @ Motions (Atlanta,
GA) 12 // GunPlay, Torch, Masspike Miles, & Geter K on the set of Ace Hood’s “Ride” video shoot (Atlanta, GA) 13 // Bishop of Crunk & Young Capone @ Primetime for DJ Infa-
mous’ birthday party (Atlanta, GA) 14 // Rick Ross & 1st Lady El @ the Florida Entertainment Summit (Miami, FL) 15 // Charlie Hustle & Bankroll Jones @ SF2’s 3rd store opening
(Houston, TX) 16 // Stuart, DJ Drama, DJ Sense, & DJ Beestroh @ Hot 107.9 (Atlanta, GA) 17 // Joy, Malik Abdul, & Courtney Scott @ FAMU for Vibe’s Yardfest (Tallahassee, FL)
18 // Ms Rivercity & DJ Nasty on the set of Ace Hood’s “Ride” remix video shoot (Atlanta, GA) 19 // Kydd Joe & DJ Scream @ Club Crucial for DJ Scream’s birthday bash (Atlanta,
GA)

Photo Credits: Allwyn Forrester (19); Bogan (08); Eric Perrin (13); Ichigo (15); Julia Beverly (05,09); Kingpin (14); Malik Abdul (02,10); Ms Rivercity (03,04,11,12,16); Terrence Tyson
(01,06,07,17,18)

OZONE MAG // 27
 editor’s note
I’m Just Sayin’tho by D-Ray
S
o I have artists swearing daily that I’m hating on their career
by not putting them in the magazine. Well, for one, this is
a national magazine. Two, I’ve been to in-stores of artists
with radio play and artists with no radio play, so let me express this
thought.
I am the West Coast kid. I rep the West Coast until I die! I’m from the
Bay so you already know I’m gonna rep what I know. I’m not going to
co-sign an artist prematurely. I just can’t. That’s like stamping a poor
quality photo with my name. That would be reppin’ me bad.
So I was at a recent in-store, and no one showed up. Hello! We need
to get our promotion tighter or our raps hotter, because the in-store
turnout made it clear that the fanbase isn’t quite there. The visual is
a bitch!
I didn’t hit the same line-up’s in-store in Sacramento, but I inquired
and heard that it was the same turn-out. One of the artists that was
scheduled to be there is the supposed King of Sac. I would have been
very, very, very bugged if I had taken my time to drive to Sac for that.
Sac is a whack drive from the Bay to me. Not sayin’ that they have
whack artists; just sayin’ that the drive sucks! C-Bo comes from Sac
and when I think of the King of Sac, I think of him, not the new artists.
Artists, to be successful, you can’t blame a bad turnout at an in-store
on lack of radio play, because that’s far from the case. Artists like
Mistah FAB, J Diggs, Andre Nickatina, and Messy Marv have in-stores
that are fuckin’ bananas with no radio, period! Then there’s E-40: no
matter what, his in-stores get shut down because he has a never-end-
ing line of fans.
Let’s reflect on what the real problems are and invest in our careers.
Don’t worry about the radio so much. Radio is nice, but most people
listen to CDs and MP3s and satellite radio today anyway. Satellite
Me & Chuy Gomez @ Blush Skin Head Rob, me, & Paul
for Streetcred’s Christmas Wall @ The Mezzanine in San
party in Burlingame Francisco
E-40 f/ Cousin Fik “I Can Sell It”
Nipsey Hussle “Hussle in the House”
Ya Boy f/ Dr. Hollywood “We Run LA”
Keak Da Sneak & San Quinn “Hot N Cool”
Clyde Carson f/ The Game “Touchdown Remix”
Baby Bash f/ Lil’ Jon, Mario, & E-40 “That’s How I Go”
The Jacka, Big Righ, Balance, & Jimmie Reign “Can’t Go”
28 // OZONE MAG
radio is uncensored.
My ear is always to the streets, even if I’m not in them physically, so
miss me with that “why are you hatin’” bullshit. I can’t do anything
but keep it real. I refuse to co-sign a premature artist or project in the
mag. You’ve gotta put your footwork in.
I’m not sayin’ that if I see you out, I won’t take a photo and still rep you
in the photo gallery to help build a buzz. But make sure you’re com-
ing with that heat. Get your product out there. Shake hands and kiss
babies. Your attitude may be standing in the way of your own bless-
ings, and that’s real, so take time to reflect. If your homies are sayin’
your music is hot but other folks are hatin’, well, they’re your homies,
so they’re supposed to say it’s hot. They want to be on stage with you
and have a mic to overpower your lyrics and ad-libs.
Take the time to re-evaluate your situation. Is it you? Is it your man-
ager that’s holding you back? Publicist? Distributor? Promo team?
Homies? Or do you just not have that Lil Wayne fan base yet? Reflect.
Success doesn’t come overnight. Have patience and a good attitude,
not a chip on your shoulder.
There’s an artist out in the Bay right now who has so much talent, but
has a huge chip on his shoulder. He gets radio interviews and spins,
not to mention that the Music Director damn near sucks his ass, but
has absolutely no fans. No loyal fans! Wow! Amazing, huh?
The worst thing is, this wasn’t supposed to be my editorial this
month. I wanted to talk about my Grammy week and how dope it
was. So look out for next month’s editorial. I’m gonna tell you about
the Cash Money party and DJ Quik’s monthly concert. I’m gonna take
you through the Land of Hollywood!
- D-Ray, OZONE West Editor-At-Large
dray@ozonemag.com
Me & J Diggs @ The Phoenix Me & Rydah J. Klyde @
Theater for Merry Thizzmas Pinky’s for Merry Thizzmas in
in Petaluma Sacramento
DJ BACKSIDE’S
TOP 10 SLAPS
Jay Rock “Be on the Block”
Pacific Division “Mayor”
Mistah FAB “Teenage Thug”
(above L-R): Rick Ross & Masspike Miles @ the Florida Entertainment Summit in Miami, FL (Photo: Kingpin); TayDizm & T-Pain @ Wild 98.7’s Last Damn Show in St. Petersburg, FL
(Photo: Julia Beverly); BloodRaw & C Wakeley @ Duval Diamond Awards @ Plush in Jacksonville, FL (Photo: Terrence Tyson)

01 // Papa Duck & Armstrong @ Firestone for Papa Duck’s birthday party (Orlando, FL) 02 // DJ Hustleman, Ne Ne, & DJ Bigg V @ Club Fermier (Cleveland, MS) 03 // Tigger &
ladies @ Lebron James birthday party (Miami, FL) 04 // Rick Ross Geter K @ Mansion for DJ Khaled’s birthday party (Miami, FL) 05 // Fabolous & DJ Q45 backstage @ the BET
Hip Hop Awards (Atlanta, GA) 06 // Young Jeezy & DJ Fahrenheit @ Plush (Jacksonville, FL) 07 // Jarvis & DJ Demp @ Leon County Civic Center for FAMU’s Homecoming concert
(Tallahassee, FL) 08 // Sammie & guest @ the Dirty Awards (Atlanta, GA) 09 // Ms Diva & Lil Wayne backstage @ the BET Hip Hop Awards (Atlanta, GA) 10 // D’Lyte & Pookie
@ Definition DJs Christmas party (Aggtown, TX) 11 // Juney Boomdata & Ms Rivercity @ the Dirty Awards (Atlanta, GA) 12 // DJ Nabs & Chris Smith of Kris Kross @ Aquanox
(Atlanta, GA) 13 // Guest, Fiya, & Q Da Kid @ TSU (Houston, TX) 14 // DJ Bigg V, Jazmine, & J Farmer @ Club Fermier (Cleveland, MS) 15 // Marco Mall, Pat Nix, & Willie Fisher @
Leon County Civic Center for FAMU’s Homecoming concert (Tallahassee, FL) 16 // Ali Muhammad & Kuzzo @ FAMU for Vibe’s Yardfest (Tallahassee, FL) 17 // Plies & DJ Blak @
Patchwerk for Plies’ listening party (Atlanta, GA) 18 // South Models TJ & Cayce with Twaun Pledger @ The Continental for Twaun’s video shoot (Birmingham, AL) 19 // Ike Dirty &
ladies @ The Biltmore for Warner Bros meet & greet (Atlanta, GA)

Photo Credits: Edward Hall (02,10,14); Eric Perrin (18); Ichigo (13); J Lash (03); Julia Beverly (04,08,11,17); Malik Abdul (01,05,09); Ms Rivercity (12,19); Terrence Tyson (06,07,15,16)

OZONE MAG // 29

OZONE EXCLUSIVE
Textin’ is no longer safe now that OZONE’s
dangerous minds have hacked the system.
30 // OZONE MAG
RIHANNA & JAY-Z
JAY-Z: Ri, what up girl?
RIHANNA: Hi. Who is dis?
JAY-Z: It’s ya boy. Young Hova, ya heard. haha
RIHANNA: Oh hey Daddy, I’m so glad you texted me, this nigga Chris went
through my phone and deleted your number. He’s so intimated by you.
JAY-Z: Haha He can’t help but be intimidated, ma. it’s HOV. What’s higher than
numba 1? Hahaha
RIHANNA: This nigga has been acting like a bitch lately.
JAY-Z: Fuck that lil nigga, ma. You got 99 problems but a bitch ain’t one. Ha ha
ha, It’s ya boi.
RIHANNA: It’s not his fault, daddy. He knows I’m unfaithful and it kills him inside.
JAY-Z: He don’t know it’s ya boi, do he? I don’t want that jealous ass nigga try-
ing to fuck up my situation with Bey. You know I got the baddest chick in the
game wearing’ my chain. IT’S THE ROCK!
RIHANNA: Whatever, daddy. I wish you would hurry up and leave that bitch so
we can finally be together.
JAY-Z: LMAO! She wants that old thing back. It’s ya boi. I know what ya like. It’s
HOV
RIHANNA: I’m serious Shawn, I gonna breakup with Chris right after this pre-
grammy party so I can prove how dedicated I am to you daddy.
JAY-Z: You serious? Don’t do no shit like that, ma. That nigga’s in luv. Ha ha! He
ain’t gone let you leave. If you try to break it off that lil mafucka might try to
swing on you or something. And then I’d have to kill him.
RIHANNA: I wish that nigga would try to touch me. I smack that pussy around
everyday and his bitch ass don’t do shit about it.
JAY-Z: You shouldn’t hit your man, ma. But enough of that, Bey wants to do
another 3some. You down? Ha ha ha!
RIHANNA: I can’t talk about this right now, Chris keeps trying to glance at my
phone. But u know I’ll do anything for you daddy.
From the minds of Eric Perrin & Randy Roper
Photo by Kevin Mazur/Wireimage
(above L-R): Ne-Yo & Jadakiss @ Geisha House in Atlanta, GA (Photo: Terrence Tyson); Birmingham J & Twaun Pledger @ The Continental for Twaun’s video shoot in Birmingham,
AL (Photo: Eric Perrin); Talib Kweli & Mistah FAB on the set of BET Rap City’s finale in Atlanta, GA (Photo: Malik Abdul)

01 // DJ Fresh & Khia @ The Ebony Club for Hot 103.5’s birthday bash (Huntsville, AL) 02 // DJ Spinz & Juney Boomdata @ the Dirty Awards (Atlanta, GA) 03 // Creo, Busy Bee,
Kool Herc, & guest @ Minc Lounge (Dallas, TX) 04 // Terrence Tyson & Debra Lee @ Straits (Atlanta, GA) 05 // DJ Ace & Noam Fam @ The Gate for DJ Brad’s video shoot (Atlanta,
GA) 06 // DJ Misbehavior & Frank Lini @ The Gainesville Music Summit (Gainesville, FL) 07 // Nas & Young Jeezy on the set of “My President” (Atlanta, GA) 08 // Clyde Carson
& The Game @ Tampa airport (Tampa, FL) 09 // Rico Brooks, Block, Drumma Boy, Gorilla Zoe, & Rick Ross on the set of Gorilla Zoe’s “Lost” (Atlanta, GA) 10 // Guest, Snoop, &
Gucci Poochie @ Mansion for DJ Khaled’s birthday party (Miami, FL) 11 // Stephanie B, Steve Bellamy, & Shoeb Malik @ The Roxy for Classic Luau (Orlando, FL) 12 // Trae signing
autographs @ T-Town for Trae’s mixtape release (Dallas, TX) 13 // Orlando & ladies @ Wild 98.7’s Last Damn Show (St. Petersburg, FL) 14 // Yancey Richardson & Plies @ Wild 98.7’s
Last Damn Show (St. Petersburg, FL) 15 // Gorilla Zoe & TJ Chapman @ the Dirty Awards (Atlanta, GA) 16 // Guest, Rock City, Young Capone, Roccett, & guests @ Geisha House
on the set of Young Capone’s ‘Choosin’ video shoot (Atlanta, GA) 17 // DJ Q45 & ladies @ The Moon for FAMU Homecoming afterparty (Tallahassee, FL) 18 // Meechie, 40 Glocc,
& Sun @ Blow Studio (Houston, TX)

Photo Credits: Edward Hall (03); Eric Perrin (01,09,16); Ichigo (18); Julia Beverly (08,10,13,14,15); Kurtis Graham (12); Ms Rivercity (02,04,05); Terrence Tyson (06,11,17); Thaddaeus
McAdams (07)

OZONE MAG // 31

“2
0 Bricks,” “Put Me On,” and “Never Be The Same (20 Bricks
Pt. 2)” might not be the most familiar songs on your local
radio station. But given corporate radio’s lack of interest
in many talented local artists, a music video often takes
them to the next level in self-promotion.
Hit up YouTube and type in Laroothh; you’ll see a half-dozen of his recent
music videos of professional quality that even MTV Jams couldn’t deny.
The channel offered the 10-year-rap veteran some well-deserved exposure
for his latest effort The Corporation and its first single, “Money and Power”
featuring Keak The Sneak. “[Videos] are the biggest thing right now,” says
Tha Hard Hitta, a nickname Laroo earned while growing up on the streets
of Richmond, CA. “The game is changin’. Everybody’s [listening to music]
on their iTouch, iPhones, and YouTube. If you’re really tryin’ to push a song,
[those are the best outlets]. If you hear a song so many times you start to
visualize how that shit would look. So I hit ‘em with the visual first, then the
audio. That’s the key right now.”
What’s also key is ownership, which is why Laroo started his own film/video
production company, a subsidiary of his Timeless Music Inc. record label.
He is also CEO of the production company. “I can do a shoot for anybody,”
32 // OZONE MAG
Patiently
Waiting
the shot-caller boasts proudly. “We’ve got a strong staff and we own all our
own equipment. I do professional shoots; I can call a shoot at the drop of a
finger.”
Laroo’s latest side projects are the Rappers and Trappers DVD, an in-depth
look at the Bay’s lifestyle beyond what outsiders think of as “hyphy.” It also
offers an introspective look at trap life in ATL and is the official movie and
soundtrack to 20 Bricks - The Series with The Jacka.
Having released his first album Fear No Fate back in 1998, Laroo has be-
come an integral part of the Yay’s rap scene. He’s spent time with the AWOL
Records rap collective (a tight knit family that includes Marvaless, Killa Tay,
Pizzo and Luni Corleone) before branching out on his own. He recently
signed a deal thru E-40’s Sic Wid It Records to release The Corporation.
Armed with an enormous catalogue (evident on his myspace/laroothahard-
hitta page and itunes) his knowledge of the business was gained thru trial
and error. It’s not just about rap, it’s business first. “This is my time now,” he
says confidently. “I started in the game real young. I went into the business
aspect of it rather than me just rappin’. Now I understand and now I see
results because I understand what I’m doin’. I don’t have to go punch no
clock; I’m able to survive off my talent.”
Words by Kay Newell
(above L-R): Larry Johnson & DJ Q45 @ Lucky Strike Bowling Alley in Kansas City, MO (Photo: Terrence Tyson); Shawty Lo & Juney Boomdata @ Primetime for DJ Infamous’ birth-
day party in Atlanta, GA (Photo: Eric Perrin); Slip N Slide models @ The Victor for Slip N Slide’s 15th Anniversary party in Miami, FL (Photo: Bogan)

01 // DJ D-Strong, Brisco, & DJ Nasty @ Roxy for the Florida Classic (Orlando, FL) 02 // Cory Mo, Bushwick Bill, & Greg Gates @ Studio 72 for DJ Scorpio’s birthday bash (Atlanta,
GA) 03 // Guest, Diddy, & Ump @ Karu & Y (Miami, FL) 04 // Gorilla Zoe, DJ Khaled, Arab, Akon, Soulja Boy, & Busta Rhymes on the set of Busta Rhymes’ “Arab Money” (Atlanta,
GA) 05 // Pitbull & Qwote @ The Victor for Slip N Slide’s 15th Anniversary party (Miami, FL) 06 // Shawty Lo with his lady and daughter @ the Dirty Awards (Atlanta, GA)
07 // Arab & Soulja Boy on the set of Ace Hood’s “Ride” video shoot (Atlanta, GA) 08 // DJ Khaled, Willy Northpole, & Ace Hood on the set of Ace Hood’s “Ride” remix video shoot
(Atlanta, GA) 09 // DJ Scorpio & Mr Collipark @ Studio 72 for DJ Scorpio’s birthday bash (Atlanta, GA) 10 // Guest, Lil Scrappy, & Stay Fresh @ Studio 72 for King Arthur’s Scorpio
bash (Atlanta, GA) 11 // DJ Ace & Bama @ The Gate for Bama’s video shoot (Jonesboro, GA) 12 // Tetraz, P Brown, & Bama @ DJ Brad’s video shoot (Atlanta, GA) 13 // B Rich, DJ
Swats, Playboy Tre, & Moss B @ BOB’s Meet & Greet (Atlanta, GA) 14 // George Lopez, Trae, & the Definition DJs @ T-Town for Trae’s mixtape release (Dallas, TX) 15 // Lil Boosie &
kids @ Trill’s Christmas toy giveaway (Baton Rouge, LA) 16 // Ace Hood, GunPlay, Rick Ross, & Torch of Carol City Cartel @ the Dirty Awards (Atlanta, GA) 17 // Ladies @ Bench-
warmers for Hot 103.5’s birthday bash (Huntsville, AL)

Photo Credits: Bogan (05); Eric Perrin (06,17); J Lash (03); Janiro Hawkins (02,09); Julia Beverly (16); Kurtis Graham (14); Leetric Walker (15); Malik Abdul (01); Ms Rivercity
(07,10,11,12,13); Terrence Tyson (04,08)

OZONE MAG // 33

A
s much as you’re embarrassed to admit it, you’ve had times in
your youth when you were at the crib with your homeboys,
bored, and just started horseplaying and wrestling. You might’ve
broken something in your momma’s house or put a hole in the
wall. Next time you try to judge the GS Boyz and their dance single “Stanky
Leg,” realize that they are not that much different from you.
Hailing from the same Dallas/Ft. Worth/Arlington scene that has brought
you DSR, Lil Will, Damm D and the TMI Boyz over the last couple of years,
the GS Boys are keeping the area’s hit-making tradition alive with their fun
instructional “Stanky Legg.” The dance was birthed in group member Souf
Side’s living room amidst a round of horseplay.
“Me and Prince Charming were at my house, and we’d had the beat riding
for 6 hours. My mom was like, ‘Turn it off, I’ve gotta go to work in the morn-
ing,’” remembers Souf Side. “Prince Charming went to sleep; he had writer’s
block. I started messing with him when he was sleep and he woke up. We
started running around the house acting stupid, then he starting wiggling
his leg and I said, “Oooh, that thang look stanky.” [Editor’s Note: no homo]
Inspired, the group quickly hit the net with a video of them doing the new
34 // OZONE MAG
Patiently
Waiting
dance and it caught on like wildfire, garnering 10,000 views on YouTube
and 50 comments on Myspace throughout the night. Before they knew
it, the GS Boyz were doing paid shows and leaving impressions on very
influential people, like DJ Bay Bay, the inspiration behind Hurricane Chris’
breakthrough record “A Bay Bay.”
“Bay Bay was in Dallas playing [the record] and he wanted us to do a show
at KoKo’s in Shreveport, so we hopped in our cars and went down there
with Big Tuck and Tum Tum,” says Souf Side. “He said we made history at
KoKo’s. They’re known to have a rough crowd, and to get them to dance
was [an accomplishment]. After that Bay Bay said he’d have a deal for us.
Next thing we know, he had Yung Joc on the phone.”
Yung Joc adds, “I had to call into Dallas and do an interview with Bay Bay
and he said he had some little homies that he thought I should help. I did
my research first and saw their radio spins and internet presence. I took it to
Jive first, and I got the green light [on the deal] the next morning.”
Now freshly signed to Joc’s Swagg Team Entertainment (also responsible
for Hot Stylz “Lookin Boy”), Prince Charmin, Marc D, Slizz, Souf Side and D.K.
are looking forward to making the world get a little stanky.
Words by Maurice G. Garland
(above L-R): Rich the Factor & Alfamega @ Barcelona Hall in Kansas City, MO (Photo: Ms Rivercity); J Diggs & Too Short @ Poetry in Las Vegas, NV (Photo: Julia Beverly); Turf Talk &
Mugzi @ Rasputin’s for E-40’s Ball Street Journal release in Berkeley, CA (Photo: D-Ray)

01 // Zoe, Kilo, Big Dante & Beeda Weeda @ Pinky’s for Merry Thizzmas (Sacramento, CA) 02 // MoneyTree Twin & The Jacka @ Stockton Civic Center for E-40’s release party
(Stockton, CA) 03 // Selau, Keak Da Sneak & DJ Krizma @ The Sharks Club for the Wake It Up Tour (Costa Mesa, CA) 04 // J Diggs, G Malone, & Baygeen @ The Phoenix Theater for
Merry Thizzmas (Petaluma, CA) 05 // D-Lo & Mistah FAB @ Pink Diamonds for Mistah FAB’s birthday party (San Francisco, CA) 06 // Richie Rich & Paul Wall @ The Mezzanine (San
Francisco, CA) 07 // Mistah FAB & Lil Twist @ Lil Wayne’s concert (Oakland, CA) 08 // The Game & Ne-Yo @ The Game’s ‘Camera Phone’ video shoot (Los Angeles, CA) 09 // T-Pain,
Jada Fire, Mr Marcus, guest, & DJ Franzen @ Poetry (Las Vegas, NV) 10 // Pro City @ The Sharks Club for the Wake It Up Tour (Costa Mesa, CA) 11 // Why Hate Movement @ Stock-
ton Civic Center for E-40’s release party (Stockton, CA) 12 // Abe Legend & The Jacka @ The Record House Studio (Fremont, CA) 13 // Kilo & Gary Archer @ Rasputin’s for Keak da
Sneak & San Quinn’s meet & greet (Berkeley, CA) 14 // Bavgate & RedBull @ Pinky’s for Merry Thizzmas (Sacramento, CA) 15 // Laroo, E-40 & Turf Talk @ HP Pavillion for 94.9’s Wild
Jam (San Jose, CA) 16 // Tito Bell, J Stalin, & Kilo @ Pink Diamonds for Mistah FAB’s birthday party (San Francisco, CA) 17 // DJ B-Eazy & T-Pain @ Poetry (Las Vegas, NV) 18 // Big
Dant & Kuzzo Fly @ Pink Diamonds for Mistah FAB’s birthday party (San Francisco, CA) 19 // CeCe & DJ Backside @ UGMX Open Mic Night (San Jose, CA)

Photo Credits: D-Ray (01,02,03,04,05,06,07,08,10,11,12,13,14,15,16,18,19); Julia Beverly (09,17)

OZONE MAG // 35
36 // OZONE MAG
(above L-R): T-Pain & Mr Marcus @ Poetry in Las Vegas, NV (Photo: Julia Beverly); Lil Chuckee & Mack Maine @ Lil Wayne’s concert in Oakland, CA; E-40 & his wife @ Blush Night-
club for Streetcred Christmas party in Burlingame, CA (Photos: D-Ray)

01 // Sean Kennedy & Amp Live @ Oakland City Hall for Oscar Grant rally (Oakland, CA) 02 // Rich the Factor & Young Dro @ Barcelona Hall (Kansas City, MO) 03 // Mugzi & B-
Legit @ Rasputin’s for E-40’s Ball Street Journal release (Berkeley, CA) 04 // Oscar Grant’s family @ Oakland City Hall for Oscar Grant rally (Oakland, CA) 05 // DJ Franzen & T-Pain
@ Poetry (Las Vegas, NV) 06 // Sobrante Park Jock & Too $hort @ Poetry (Las Vegas, NV) 07 // Turf Talk & Laroo @ The Sharks Club for the Wake It Up Tour (Costa Mesa, CA)
08 // DJ Big Dee & Mamacita @ Poetry (Las Vegas, NV) 09 // Tito Bell & Benny D @ HP Pavillion for 94.9’s Wild Jam (San Jose, CA) 10 // Keak Da Sneak & DJ Backside @ The Sharks
Club for the Wake It Up Tour (Costa Mesa, CA) 11 // Tito Bell, Mistah FAB, Zoesta Tha Roasta, & Glasses Malone @ The Who The Fuck Is G Malone concert (San Jose, CA)
12 // Guest & Jas Prince @ Lil Wayne’s concert (Oakland, CA) 13 // Young Sprano, Deltrice & Abe Legend @ Record House Studios (Fremont, CA) 14 // Branden Powers, DJ Master-
web, & Mike Goodwin @ Poetry (Las Vegas, NV) 15 // Chuck, E-40, & guest @ Blush Nightclub for Streetcred Christmas party (Burlingame, CA) 16 // Ne-Yo & ladies @ The Game’s
‘Camera Phone’ video shoot (Los Angeles, CA) 17 // Money B & guest @ Pink Diamonds for Mistah FAB’s birthday party (San Francisco, CA) 18 // E-40 signing autographs @
Rasputin’s for E-40’s Ball Street Journal release (Berkeley, CA) 19 // Big Rich & crew @ Blush Nightclub for Streetcred Christmas party (Burlingame, CA) 20 // Hed on the 1’s & 2’s
@ Who The Fuck Is G Malone concert (San Jose, CA)

Photo Credits: D-Ray (01,03,04,07,09,10,11,12,13,15,16,17,18,19,20); Julia Beverly (05,06,08,14); Ms Rivercity (02)

OZONE MAG // 37

O
riginally from Seattle, Tha Bizness consists of (above L-R) Dow
Jones and Henny. Together, they have quickly built a diverse
catalog and sound that has taken many producers nearly a
decade to compile. They’ve worked with the likes of 50 Cent, R.
Kelly, and LL Cool J. Most recently, having producing Young Jeezy’s historic
hit “My President Is Black,” Tha Bizness is definitely going to be in the black
for a long time to come.
Start off by telling us where Tha Bizness comes from.
Henny: Well, we’re cousins and we’re both from Seattle. We were basically
doing our own things. Dow was DJing and doing mixtapes and I was pretty
much a musician at the time trying to become a producer. We both moved
to Los Angeles doing our own thing and we came together 3-4 years ago
and started cracking from there.
Being a team, how do you balance who does what?
Dow: That is what has made us successful. We believe in each other’s tal-
ent, so if someone is better at something, we let them handle it. We never
do one thing the same; we do whatever works the best. So if Henny has
had a relationship with someone forever, why would I talk to him? Why
waste time trying to do an introduction into some new shit? We all know
this game is all about relationships. We didn’t come in the game just trying
to get some money. This was our dream; we’ve been wanting to do this
forever. We’ve studied the game, the contracts, publishing, and how the
game works from the artist perspective to the label perspective to the
producer perspective.
38 // OZONE MAG
//Production Credits
YOUNG JEEZY’s “MY PRESIDENT IS BLACK,”
KILLER MIKE f/ ICE CUBE “PRESSURE,”
R KELLY “HAIRBRAIDER,”
LIL WAYNE & YOUNG MONEY “EVERY GIRL”
Your production style isn’t really one that can easily defined or identified.
Dow: Man, we just keep it real. Niggas be fronting like “Aw, I only listen to
street shit.” Man, we listen to anything. It wasn’t until the 90s came around
that niggas started labeling shit, like, “Oh, this is West Coast,” or whatever.
That was a media thing. Luckily for us and how we were raised, we got to
see different shit. If you can’t get out and see shit, you ain’t gonna know
shit. Last year alone we [produced for] Ice Cube, Killer Mike, and R. Kelly,
and right now we’ve got records with the Black Eyed Peas and Lil Wayne
coming out. And we have the anthem of America with Jeezy’s [“My Presi-
dent Is Black”]. What other producer can you say has done a joint with an
artist from every genre? Plus, we just did a joint with Norman Brown who
is the most critically acclaimed jazz guitarist of our era. We’re touching so
much shit. When you hear the melodies you’ll know its us. That’s why “My
President Is Black” stood out on the Jeezy album. We gave you a Southern
triumphant anthem but it didn’t sound like any other Southern beat on the
album or Southern beat Jeezy has ever been on. We’re giving you some-
thing fresh. Some cats will get one hit and re-rock the same joint. We’re
trying to be on some Quincy Jones shit. Some of our shit, artists tell us its
too advanced for them at this time.
Do you prefer being more hands-on in this age of emailing and IM’ing
beats?
Henny: We’ll do whatever it takes. When you get the chance to work with R.
Kelly but you know that he only works out his house and he doesn’t know
us like that yet, we have to send him the beat. We can’t have an ego, like,
“Oh, he needs to come out and fuck with us.” So he’ll send us back his ideas
and then after that he invites us to Chicago. You have to build relationships
step by step. We work from the bottom up. It’s all about the little steps. //
Photo by Marcus Henderson
(above L-R): Too Short & DJ Franzen @ Poetry in Las Vegas, NV (Photo: Julia Beverly); Keak Da Sneak & E-40 @ The Sharks Club for the Wake It Up Tour in Costa Mesa, CA; Beeda
Weeda & J Stalin @ The Phoenix Theater for Merry Thizzmas in Petaluma, CA (Photos: D-Ray)

01 // AP9, J Stalin, & Dee @ The Phoenix Theater for Merry Thizzmas (Petaluma, CA) 02 // Big Kuntry & Tone @ Barcelona Hall (Kansas City, MO) 03 // J Diggs & guest @ The Phoe-
nix Theater for Merry Thizzmas (Petaluma, CA) 04 // Guest & Kafani @ Poetry (Las Vegas, NV) 05 // E-40 & Omeezy @ The Sharks Club for the Wake It Up Tour (Costa Mesa, CA)
06 // Scoot & DJ Spin @ The Sharks Club for the Wake It Up Tour (Costa Mesa, CA) 07 // Stress of the Federation & Topic @ The Sharks Club for the Wake It Up Tour (Costa Mesa,
CA) 08 // E-40 & Chaz @ Blush Nightclub for Streetcred Christmas party (Burlingame, CA) 09 // Glasses Malone & Mistah FAB @ The Who The Fuck Is G Malone concert (San Jose,
CA) 10 // K-Max & Boobee @ KPOO (San Francisco, CA) 11 // Diva Sarah & Get Paid Spade @ Hawkman’s album release (Ft Collins, CO) 12 // AP9 & ladies @ The Vault for DJ Tito
Bell’s birthday bash (San Jose, CA) 13 // Mohawk Marlon & Willie Joe @ The Phoenix Theater for Merry Thizzmas (Petaluma, CA) 14 // Tito Bell, Mistah FAB, & D-Lo @ The Phoenix
Theater for Merry Thizzmas (Petaluma, CA) 15 // Trey Beatz & X.O. aka Scipio @ The Game’s “Camera Phone” video shoot (Los Angeles, CA) 16 // DJ Big Dee & Big Bank Hank @
Poetry (Las Vegas, NV) 17 // Chuck & Big Von @ Blush Nightclub for Streetcred Christmas party (Burlingame, CA) 18 // Kartoon & DJ Backside @ The Sharks Club for the Wake It
Up Tour (Costa Mesa, CA) 19 // Dem HoodStarz & Cousin Flik @ Stockton Civic Center for E-40’s release party (Stockton, CA)

Photo Credits: D-Ray (01,03,05,06,07,08,09,10,,12,13,14,15,17,18,19); DJ KTone (11); Julia Beverly (04,16); Ms Rivercity (02)

OZONE MAG // 39

S
ince Hayward, California emcee Amon says that his main influences
are Scarface and N.W.A, you’d probably expect for him to have raps
full of angst. But he insists that while the struggle is there, he has a
lot more to offer.
“They can expect realness,” says Amon about his debut album Iller that’s
currently circulating in the streets. “I think for a long time rap has been
saturated with material things and I wanted to talk about what’s real. You’ve
got people who work 9 - 5’s in the hood. I put myself in the position of a cat
on the corner doing what he has to do or the guy who gets up and goes to
work everyday but still finds himself in the struggle.”
Struggle is something Amon got acquainted with early in life. The youngest
of 13 children, Amon has never known what it’s like not have to compete
to get what’s his. Coming from Hayward, he knew that the rap game’s focus
was on Oakland and the rest of the Bay Area. This was nothing but yet
another small obstacle he had to hurdle by making sure his material could
stand alongside other artists from the Bay Area.
“When I write a song, the main focus is the lyrics,” he says. “I like melodic
beats, but a real emcee is always gonna strive to say something on a track.
I don’t wanna be someone that’s just screaming a bunch of rhymes that are
leading people nowhere.”
40 // OZONE MAG
Patiently
Waiting
His career started when he joined the group Prime Suspect. The buzz they
generated led to them signing with indie label Young Gotti Records. The
label’s roster included Sean T and Scoot Dogg of Dem Hoodstarz. But the
label opted to not to treat Prime Suspect as a priority and folded after
releasing Sean T’s album. Amon left the group soon after.
“It was a little discouraging being in a situation like that,” admits Amon. “But
I always felt passionate about my music. Whether I sell one or one million
records, I just want to be able to go to the studio and make music.”
Right now, Amon is getting to do exactly what he wants as his Iller album
features Bay Area vets like Too $hort and San Quinn. Backed by a diverse
array of sounds and production, Amon is poised to become known as one
of the more universal artists in the game.
“My album may have some violent material, but it’s nothing [unrealistic],”
he says. “I wanted to stray away from that and present real situations in the
music. To me, that’s what Hip Hop is all about - making your listeners feel
like they can relate to what you’re talking about.”
Words by Maurice G. Garland
(above L-R): Rick Ross @ the Florida Entertainment Summit in Miami, FL (Photo: Kingpin); Ace Hood @ Benchwarmers for Hot 103.5’s birthday bash in Huntsville, AL (Photo: Eric Perrin);
DJ Khaled @ Mansion for DJ Khaled’s birthday party in Miami, FL (Photo: J Lash)

01 // JuJu of Harlon’s Bar-B-Que @ The Ranch (Aggtown, TX) 02 // Q @ Barfly (Nashville, TN) 03 // Erin & TayDizm @ Icehouse for Steph Yah Game Up Mon (Atlanta, GA)
04 // George Lopez & Trae @ T-Town for Trae’s mixtape release (Dallas, TX) 05 // Roccett & guest @ Geisha House on the set of Young Capone’s “Choosin” video shoot (Atlanta, GA)
06 // Ages The Great @ Mack’s (Killeen, TX) 07 // Big Doughski G & DJ Cap @ Big T Plaza (Oakcliff, TX) 08 // Haitian Fresh & ladies @ The Roxy for Classic Luau (Orlando, FL)
09 // Guest & Jackie Chain @ Benchwarmers for Hot 103.5’s birthday bash (Huntsville, AL) 10 // Shawty @ the Dirty Awards (Atlanta, GA) 11 // Double A & DJ Dre @ Opus Lounge
(Dallas, TX) 12 // DJ Infamous & DJ Smallz @ Primetime for DJ Infamous’ birthday party (Atlanta, GA) 13 // Guest @ Mansion for DJ Khaled’s birthday party (Miami, FL) 14 //
8Ball & MJG @ Hub City Dragway (Hattiesburg, MS) 15 // Deshun Smith & Dolowite @ Barfly (Nashville, TN) 16 // DJ Dr Doom (Jacksonville, FL) 17 // DJ Fresh & Malik Abdul @
Benchwarmers for Hot 103.5’s birthday bash (Huntsville, AL) 18 // Sweetness @ Studio Inc for Ace Hood’s release party (Tampa, FL) 19 // Dru-Ski (Atlanta, GA) 20 // Dance crew
@ The Continental for Twaun’s video shoot (Birmingham, AL) 21 // C Wakeley & 1Lee @ The Gainesville Music Summit (Gainesville, FL) 22 // Yo Gotti @ Hub City Dragway (Hat-
tiesburg, MS) 23 // KG & DJ Du2ce @ T-Town for Trae’s mixtape release (Dallas, TX) 24 // Mario & Kevin Shine @ Geisha House on the set of Young Capone’s “Choosin” video shoot
(Atlanta, GA) 25 // OJ da Juiceman @ Firestone for Papa Duck’s birthday party (Orlando, FL) 26 // Lil C da Mic Wrecka @ Hood Stadium (Ft Hood, TX) 27 // Chaos of Grind Mode
@ Mansion for DJ Khaled’s birthday party (Miami, FL) 28 // Boy Wonder @ Studio Inc for Ace Hood’s release party (Tampa, FL) 29 // Tha Bizness on the set of Young Jeezy’s “My
President Is Black” video shoot (Atlanta, GA) 30 // Twaun Pledger @ The Continental for Twaun’s video shoot (Birmingham, AL) 31 // Torch & DJ Khaled on the set of Ace Hood’s
‘Ride’ video shoot (Atlanta, GA) 32 // Tomeka Pearl @ Definition DJs Christmas party (Aggtown, TX) 33 // Tiffany J & Willy Northpole @ Straits for Ludacris’ Power Brunch (Atlanta,
GA) 34 // Bigga Rankin @ The Roxy for Classic Luau (Orlando, FL) 35 // Bali @ Roxy for the Florida Classic (Orlando, FL)

Photo Credits: Edward Hall (01,07,11,32); Eric Perrin (05,09,10,12,17,20,24,29,30); Ericka Hicks (14,22); J Lash (27); Janiro Hawkins (02,15); Julia Beverly (13); Kurtis Graham (04,23);
Malik Abdul (18,25,28,35); Ms Rivercity (03,19,31); Terrence Tyson (08,16,21,33,34); Tre Dubb (06,26)

OZONE MAG // 41
42 // OZONE MAG
OZONE MAG // 43
 T
his rap shit is nothing to Miami, FL
newcomer Billy Blue. By age 18, he had
already experienced more turmoil than
a shady record exec could ever put him
through. Born to Haitian immigrants in New Ro-
chelle, New York, Blue’s mother passed away when
he was just 10 years old. He was subsequently
shipped away by his father, along with his two
sisters, to an aunt in Miami. “That shit wasn’t easy
at all ’cause when you move, and you don’t have
nobody to lean on around that age, you’re subject
to a lot of fucked up shit,” Blue says.

Hard times living with his aunt forced him into the
streets and landed him behind bars by age 13. The
next few years in a juvenile detention center were
some of the darkest times in Blue’s life. “That was
the craziest time of my life, and I didn’t come back
out until I was like eighteen,” he explains. “[There]
was no prom, no graduation day, none of that high
school shit. So, basically after 6th grade that was it.”

But even after missing out on his wonder years,

Billy’s next destination would be gloomier than the
life he left behind bars. After three years in juve-
nile, Blue was released, only to find himself sent to
Haiti to live with an uncle, in the mist of a Haitian
revolt. “I got out on a Monday morning at 8 o’clock,
by 9 o’clock that same morning, my dad had me on

Patiently
a flight to Haiti,” he recalls. “My dad wasn’t trying to
have nothing [to do woth] me at that time. He sent

Waiting
me down there [to Haiti] when they were trying to
overthrow the government.”

By the grace of God, he survived that nightmare of

late night gunfire and walking over dead bodies
just to get to school, and returned to Miami at 19.
Upon his return to the states, Blue took to rapping,
a hobby he had picked up during his years in
juvy. He recorded a song called “Ball Like A Dog,”
which became a local hit. The record ultimately
landed him a deal with Interscope through a joint
venture with Poe Boy, Akon’s Konvict Music, and
Timbaland’s Mosely Music Group. With a collection
of the music industry’s most powerful record labels
behind him, Billy Blue finds himself the next up in
a lineage of Florida rappers to make waves in the
industry.

“I’m getting love from all the hoods,” he says. “Get-

ting that respect means I’m doing something right.
They’re saying, ‘Let me stop listening to Jeezy and
Ross for a minute and pause the Plies [record] to
hear what Blue has to say. I’m giving them some-
thing different.”

Words by Randy Roper

44 // OZONE MAG
(above L-R): Block on the set of Gorilla Zoe’s ‘Lost’ in Atlanta, GA (Photo: Eric Perrin); Russell Simmons @ Straits for Ludacris’ Power Brunch in Atlanta, GA (Photo: Terrence Tyson); Plies in
Virginia Beach, VA (Photo: Jacquie Holmes)

01 // Juney Boomdata @ Primetime for DJ Infamous’ birthday party (Atlanta, GA) 02 // Joe Gutta @ Studio 72 for King Arthur’s Scorpio bash (Atlanta, GA) 03 // Guest & Rick Ross
on the set of Gorilla Zoe’s “Lost” (Atlanta, GA) 04 // Gipp of 8 Seventeen @ The Ranch (Aggtown, TX) 05 // Shawty Lo (Virginia Beach, VA) 06 // Acafool @ Club Skye (Tampa, FL)
07 // Guest & Sam Sneak @ Mansion for DJ Khaled’s birthday party (Miami, FL) 08 // Rock City @ Geisha House on the set of Young Capone’s “Choosin” video shoot (Atlanta, GA)
09 // Q da Kid @ FAMU for Vibe’s Yardfest (Tallahassee, FL) 10 // DJ Bigg V (Cleveland, MS) 11 // DJ Drop & Kiki J @ Definition DJs Christmas party (Aggtown, TX) 12 // DJ Fresh @
Hot 103.5 (Huntsville, AL) 13 // Al Lozano & Janiro Hawkins @ Barfly (Nashville, TN) 14 // Byrd & Miss Nicole @ Icehouse for Steph Yah Game Up Mon (Atlanta, GA) 15 // Midget
Mac @ Duval Diamond Awards (Jacksonville, FL) 16 // Orlando @ Wild 98.7’s Last Damn Show (St. Petersburg, FL) 17 // Kuzzo @ FAMU for Vibe’s Yardfest (Tallahassee, FL) 18 //
Snoop from The Wire @ Mansion for DJ Khaled’s birthday party (Miami, FL) 19 // Bless @ The Continental (Birmingham, AL) 20 // Teflon & Lil Shine @ Definition DJs Christmas
party (Aggtown, TX) 21 // Birmingham J @ The Continental for Twaun’s video shoot (Birmingham, AL) 22 // Tony Sunshine & Yung Berg @ Calle Orange (Orlando, FL) 23 // Young
Capone @ Geisha House on the set of Young Capone’s “Choosin” video shoot (Atlanta, GA) 24 // Mac Dice & DJ Bigg V @ Club Fermier (Cleveland, MS) 25 // Tina of Greencity &
8 Seventeen Productions @ The Ranch (Aggtown, TX) 26 // Thaddaeus McAdams & Ms Rivercity on the set of Young Jeezy’s “My President Is Black” video shoot (Atlanta, GA) 27
// CORE Model Alondus (Memphis, TN) 28 // Big Kuntry & Lil Duval @ Square One (Jacksonville, FL) 29 // Vanessa Phan @ The Moon for TJ’s DJ’s (Tallahassee, FL) 30 // Torrey
Holmes @ Geisha House on the set of Young Capone’s “Choosin’ video shoot (Atlanta, GA) 31 // DJ Judgemental @ DBS Sounds for OJ da Juiceman’s meet & greet (Atlanta, GA)
32 // Front-Line’s Jessica & Christina Clark @ Roxy for the Florida Classic (Orlando, FL) 33 // E Class @ Definition DJs Christmas party (Aggtown, TX) 34 // Carl Thomas & Ms Rita @
Hood Stadium (Ft Hood, TX) 35 // BallGreezy @ Pre-Diamond Awards Mixer @ SoHo Lounge (Jacksonville, FL)

Photo Credits: CW Photography (27); Edward Hall (04,11,20,24,25,33); Eric Perrin (01,03,08,12,19,21,23,26,30); J Lash (18); Jacquie Holmes (05); Janiro Hawkins (13); Julia Beverly
(06,07,16); Mad Ron (10); Malik Abdul (22,29,32); Ms Rivercity (02,14,31); Terrence Tyson (09,15,17,28,35); Tre Dubb (34)

OZONE MAG // 45
 W
ith Trick Daddy, Trina, Plies and Rick Ross as their flagship
artists, Miami, FL based record label Slip-N-Slide has played a
prominent position in Southern Hip Hop. But R&B music has
never been their forte. That is until now. Slip-N-Slide’s new-
est acquisition, Shonie, is looking to take the label known for Southern rap
classics like “Nann Nigga” and “Shut Up” into a new direction in 2009. While
being the first female R&B artist on Slip-N-Slide is a heavy weight to carry,
Shonie is up for the challenge.
“I feel some pressure when I think about nobody doing this before from
SNS, and everybody is counting me,” says Shonie, the 20-year-old song-
stress. “They’re depending on me and I can’t screw this up. I’ve got to do
what I need to do and do it well.”
Born in the Bronx, New York, Shonie moved with her family to Miami when
she was 9 years old. Shonie’s mother discovered her daughter’s talent when
the young singer joined the church choir, and shortly after, Shonie record-
ed her first song. She continued singing and recording, and at 17, she was
offered a recording deal with Miami independent label South Beat Records.
It was there that she met her manager, James Jackson, who helped her
release her first mixtape, Street Heat Vol. 1, hosted by DJ Khaled.
46 // OZONE MAG
Although her indie deal didn’t work out, her name started becoming
familiar, and buzz from the mixtape started to grow. Shonie began making
headway in the Miami music scene by working with Slip-N-Slide artists
Trina and Qwote, which led to interest from the label’s CEO, Ted Lucas. “I
was working with the label before I signed with [Slip-N-Slide],” she says. “I
was working with Trina on her single ‘I Wish I Never Met You,’ and another
one of their artists, Qwote. So I’ve always been around but I don’t think Ted
[Lucas] really noticed me until I came out with the mixtape.”
She went on to sign with Slip-N-Slide, and since joining the label’s roster,
the blossoming singer has already worked with Flo Rida, Trick Daddy, Cool
& Dre, in addition to her guest appearance on Trina’s album Still da Baddest.
And now that her first single “Can’t Let Go” featuring Fabolous is starting to
bubble, the thugs and goons of SNS better get ready to share the spotlight
with their new R&B princess.
Words by Randy Roper
Patiently
Waiting
DJ HOLIDAY
HOMETOWN: Atlanta, GA
Website: Myspace.com/dj_holiday1
Affiliation: The Aphilliates
Mixtapes: EA Sportscenter (w/ Zaytoven &
Gucci Mane), Culinary Arts (w/ DJ Drama & OJ Da
Juiceman), Feeding Time (w/ Gorilla Zoe)
Clubs (Atlanta, GA): Essos, Ten Pin Alley, Plush
Blue, Arrows, Pearl Bistro & Bar.
3 Songs In Current Rotation: DJ Holiday feat.
Gucci Mane, OJ Da Juiceman, Fabolous, 8Ball &
MJG, Shawty Lo “Bricks (Remix),” Jamie Foxx feat.
T-Pain “Blame It,” OJ Da Juiceman feat. Gucci
Mane “Make The Trap Say Aye”
He’s one of the hottest DJs in the A-Town, and he orchestrated one of
the city’s biggest singles (”Bricks”). Now, find out why Holiday is a DJ to
know in 2009.
You have a major buzz in Atlanta right now. Do you think your buzz
grew more from DJing parties or doing mixtapes?
I would definitely say it was a combination of both. I always had my
own little niche because I love the spotlight but not to a point where
it’s irritating. It’s my job. At the club I’m DJ Holiday; I make sure you
have a good time. I cater to the ladies and make sure they’re good.
When I’m DJing, I’ll focus on two groups of women, and if they’re
not really dancing I feel like I ain’t doing my job. And real talk, I get
nervous because I don’t want to fuck up when I’m DJing. I don’t care
how big or small the party is, I do not want to fuck up the party. I have
to do my thang. I don’t care if it’s 10,000 people in there or 10 people
in there, I rock the party the same way every time.
You’re a new member to the Aphilliates. What do you think they saw in
you to make them want to add you to their DJ crew?
More or less, the grind, man. Stix Malone saw me from afar. I was do-
ing House Nightclub in the Underground and I had a couple of other
spots jumping, so I was really like that street DJ. Everybody knew I
had all the hottest parties with Plush Blue Entertainment. We had the
sexiest ladies and the celebrities were slowly coming in. I was building
my buzz up, knowing who’s who, and the Aphilliates heard about me.
Drama, Sense and Cannon saw something in me. They were look-
ing for somebody who had a buzz going and could represent their
crew in a good manner. They put me in the squad. I think I’m the only
Aphillate that’s actually from the A, so I’m like a hometown hero. I
remember when I was in college, I’d see the Aphilliates [and be] like,
“Damn, that’s Drama,” or “Damn, that’s Cannon, that’s Sense, that’s
Jeezy’s Trap or Die.” So to actually be in [the clique] and to make my
own role [by putting out mixtapes] with Gucci [Mane], OJ [Da Juice-
man], [Gorilla] Zoe, and what I’m doing with Scrappy, Rocko and all of
them, it makes me feel good about doing what I do.
Can you explain that situation about you putting your name on
“Bricks”?
It was the EA Sportscenter mixtape, I could say it was a classic
because everybody fucked with it. It was one of the
biggest mixtapes that came out in the Southeast.
We were all putting songs together for the
mixtape, because we knew we needed about
three classics on there. Zaytoven cooked up a
beat, then we called Yo Gotti, and then we
called Rocko over there and we were just
chilling and burning. We had Popeyes
chicken, drinking, and it was a good
vibe, it was history in the making.
Had I known then how that shit was
going grow, it’s kind of mindbog-
gling. Gucci was in the lab and Zay
just had the beat playing over and
over, and Gucci just laid back and
listened to the beat. He was like,
“Let’s talk about this trap shit, fuck
it,” and then he was like “Bricks! All
white bricks!” Then Yo Gotti came
in later that night and I told him he
had to say his name how he says it
“Yo Gottiiiii!!” I said, “You can say my
name if you want,” but I was joking
though, and he said “This my nigga,
DJ Holiday.” And that was it, it kinda
took off from there.
Words by Randy Roper
OZONE MAG // 47
HARDTO
FOLLOW
With His Partner
Down On Him In Rhyme Loo
king
Fr o
Economy and m Above And The
Down Rap Game Loo
Hard As He CPeriod, Bun B Is Workingking
an
To UGK’s MostTo Make The Follow Up As
S u
Best One Ever ccessful Album The
. See If You Can
Keep Up.
WORDS BY MA
URICE G.
PHOTO BY DER GARLAND
ON NEBLETT
As if his old soul, stoic demeanor and
grown-man aura wasn’t enough evi-
dence, Bun B has been here before. In
what’s surely his umpteenth visit to New
York City, Bun is worming his way through
the Big Apple making his media rounds to
spread awareness about his group UGK’s
upcoming album, UGK 4 Life. Only one day
into his trip, word is already circulating
about the album thanks to music writers
and critics twittering and blogging live
from the listening sessions. Even though
all of the feedback has been positive, Bun
isn’t taking it too seriously.
“How many people do you know would really tell you that they’re not
feeling the album, right there in front of your face?” laughs Bun via phone,
when queried about the pleasantries he’s been getting over the work. “We
don’t have that much honesty running around in the music industry right
now. The way you carry yourself in the game will get you farther than the
music will.”
Having been in the rap game for roughly 20 years, Bun has experienced just
about every pitfall a rapper can ever imagine. Label turmoil, radio politics,
media snubs, shady management and in December 2007, the death of his
rhyme partner, Pimp C.
Though he’s had to promote both of his solo albums, 2005’s Trill and 2008’s
II Trill, with out Pimp by his side due to incarceration and death, respec-
tively, UGK 4 Life will mark the first time that Bun has had to wave the flag
by himself for a group project. Since nearly all of the album’s material was
recorded around the same time as UGK’s previous effort Underground
Kingz, Bun hasn’t had to stretch himself too thin making sure the album
came out to UGK standards.
“Musically, it wasn’t really difficult,” shrugs Bun. “When we ran into a rough
spot we just had to think of the best way Pimp would handle it. The hardest
thing emotionally was just getting over that bridge of hearing the songs
and thinking of different things and getting in the studio and having the
sessions turn into storytelling time and reminiscing. Muthafuckas all up in
there crying and shit. It took a while to get all of that out and get to busi-
ness. Once we did that, it was smooth sailing.”
How much of this album did you have to handle by yourself?
This process was a collective effort. Everybody involved was someone that
worked closely with Pimp. All the of producers with the exception of Akon
were proteges of Pimp C. All of the artists featured on here are all friends of
Pimp C. Cory Mo, DJ B-Do, Steve Beelo, Avirex, Too $hort, Snoop Dogg, Big
Gipp, E-40, B-Legit. These are all brothers to us. So for this last album it was
important that I make this connection to people who already know this.
Our core fanbase already knows that these are people who we break bread
with. It was important to show that.
Since Dirty Money came out so long after “Big Pimpin” hit, it didn’t really
get to capitalize off the buzz. So in essence, this is the first UGK follow-up
album after a big look. Thoughts?
The reality of the situation is that everything built up to the last album.
Pimp’s incarceration, releases, everything led up to the last album. We
came with an incredible single, Three 6 Mafia made an incredible beat, we
had incredible features from Outkast. Both of those groups are extremely
popular, so a lot of that was just coming together at the right place and
time. It wasn’t anything that we tried to make happen. Knowing that, I
can’t try to set out and recreate something that I didn’t create by blueprint
the first time. A lot of that was God showing favor and things just working
themselves out. So I just kinda have to put together the best album I can
and hope that God will show favor again.
In just two years a lot has changed since the last UGK album dropped.
How do you think the album will fit in this current climate? Do you think
people will “get it”?
That’s the thing. UGK has always made a conscious decision about the fact
of whether we’re gonna make music and try to gain new fans every time or
just solidify the base every time and hopefully have people join in. That’s
basically what we’ve done on all our albums. There were extreme amounts
of resources available to me for this UGK album. I can’t think of an artist
in the industry that didn’t want to be a part of this album in some form or
fashion. But it would be far too easy to put the Lil Waynes, Kanyes and Jay-
Zs of the world on the album to exploit the situation. For me that would
just be taking advantage of [Pimp C’s passing]. It’s almost akin to blood
money or blood music, and I don’t want any part of that. I’m trying to make
an album that’s very real to me; an album that means a lot to everybody
that’s been a part of the situation. I didn’t come this far by myself and it’s
not just my situation. So I’m not just gonna do what I want to do with UGK
and I’m not gonna let anyone else do what they want to do with UGK. We’re
gonna do right by the people, the situation, the movement and the music.
We’ve heard rumors, but we have yet to hear it directly from you. Will
this be the last UGK album? Is there no more material?
I don’t control the music so if there’s enough music to make another album,
I wouldn’t know. Keep in mind, there is a Pimp C solo album coming out
after this UGK album. So once this album comes out, I have no idea what
the estate has, but as far as I know this is the last album of new recorded
UGK material for release. I know they’re probably gonna put out a deluxe
edition with a DVD attached to it. There’s the Pimp C solo coming and I’m
sure they’re gonna do a Greatest Hits or anthology through Jive records. But
that’s about it. This UGK 4 Life album is it.
I remember reading Run-DMC interviews after Jam Master Jay was mur-
dered and them coming to grips that there will be no more shows and
tours as a whole group. Have you had that kick in the stomach feeling
yet, like damn, this is the last one?
We went through that in some form or fashion with Pimp’s incarceration.
But as he politely put it, it doesn’t matter if it’s both of us or just me or him,
because we’re always UGK. So a solo album is still a UGK album. It’s just
leaning more on the Bun or Pimp perspective. It still carries traditions, has
themes, and content and intentions on bringing the truth to the street.
There was a lot going on in rap and the world when the last album
dropped. That coupled with the stretch since Dirty Money, you had a lot
of ammo. What will you be touching on with this new album?
UGK 4 Life is about morals and character and how you carry yourself and
how it’s gotten you this far. If it’s gotten you this far, that’s what it is for life.
UGK wasn’t a perfect situation. We had contract and management issues,
but we wouldn’t change us for anything. It made us better men because
of the hardships we had to overcome. This album, regardless of what was
going on, we never let that effect the kind of music we made. I’m still not
doing that now. In this day and age it’s more important for me to stick to
my guns. I think people are looking for something they can count on. I
think people are looking to be rewarded for their loyalty in a very disloyal
world. For all the people that’s been down for all these years, I’m not gonna
get out of character on this album. I’m not gonna sing when I’m a rapper.
I’m not gonna put on skinny jeans when I know I represent for the Dickies
crowd. I’m not gonna dance when I know I’m a fat nigga. I dance, but that
ain’t no shit people want to see. (laughs) I can’t do what other people are
doing to get money. I don’t think anyone should be doing what anybody
else is doing. God bless anyone who finds a niche in this world who does
their own thing. It’s always refreshing for me to see someone who bucks
the system. I don’t understand why dancing ain’t cool now, when that’s all
we fucking did was dance. Half the niggas criticizing shit were breakdanc-
ing back in the day. And if you weren’t breakdancing you were trying to roll
up on some chick or some dumb shit like that. I don’t understand. All the
shit was dancing at the beginning. Pee Wee Herman, Doo Doo Brown and
all that shit. C’mon, man. Biz Markie is the king at making songs like “Pick-
ing Boogers.” We don’t have to take ourselves so seriously.
The funny thing about this music industry that I’ve seen a lot of people de-
fending people that they don’t even really know. I see a lot of people trying
to stand up for this era of Hip Hop, what they like to call the “Golden Era,”
which is the most ridiculous term I’ve ever heard in my life. Hip Hop is still
evolving. Its not like fucking Big Band music that only made a couple styles.
It’s totally different. It’s an ever-expanding thing. All these kids are talking
about who they think is real Hip Hop, and we artists have way more in com-
mon than the consumers will ever know. People always trip out when thy
see me do a song with Talib Kweli, but that’s because you think you know
who Kweli is. You already made up your mind about what kind of person he
is and that he doesn’t fuck with certain things. But Kweli is one of the most
open-minded people I know, period. Who decides what’s “real Hip Hop”?
People don’t get it. No one really made sense dissing Soulja Boy. At the end
of the day nobody had a valid point. You’re just hating.
Where do you think that came from?
Man, I’m still trying to figure out when hating started. If I could pinpoint
when muthafuckas started hating, I’d probably have a better answer. And
OZONE MAG // 49
 I’m serious, about this hating shit. I don’t understand it because the world
wasn’t like this [before]. People ain’t pay attention to people like this before.
People didn’t have opinions. Everybody’s got opinions now. Don’t get me
started on the internet. Everybody on the internet has an opinion that
you better agree with or you’re an asshole. They’re really clowning on the
internet. It’s a good thing, but it’s a two-way street, as bad shit usually is.
Bad shit is usually only good for you some of the time, but bad most of the
time. That’s what people haven’t figured about the internet. The internet
is okay when you want it to be. But when it’s not, it’s bad. It’s real fucked
up and there’s nothing you can do about it. [The internet] is bordering on
being the Antichrist. It’s just a necessary evil, unfortunately. There’s nothing
you can do about it. It’s too ingratiated in too many people’s life. Right now
the net is the best way to get music and get things across to people, but it’s
also the best way to be completely misunderstood.
Speaking of misunderstandings, in the wake of Pimp’s passing, what
steps are you taking to protect or expand the UGK brand?
The best thing you can do is take out the proper trademarks to protect
your brand so people can’t manipulate it the way they want to. As far as
the music is concerned, I don’t control anything. All the Pimp C vocals and
production and all of that is owned by the estate. I don’t have any verses
laying around anyway. Even if I did I couldn’t just do whatever I wanted
without the expressed consent of the estate. So it’s not what we’re doing
to expand the brand, per say. The primary concern is to keep people from
manipulating the brand.
Have you run into a lot of that? When we interviewed Pimp’s artist XVII
last year he said a lot of people Pimp refused to deal with started reach-
ing out to him.
People already know not to come to me with that bullshit. I can sniff a bitch
nigga from a mile away so you ain’t about to just tell me anything. I really
haven’t had problems [aside from] the occasional kid making “R.I.P. Pimp C”
shirts. But no one is trying to stock stores with the shit. You might go to the
mall and see niggas at the picture t-shirt booth trying to get it in. You check
niggas accordingly with that type of shit. I never had that problem because
one, a lot of people have a lot of respect for Pimp and wouldn’t disrespect
him like that. Second, if people don’t think it’s official they aren’t going to
fuck with it anyway. A lot of times when people see something they call
us. The UGK family is extensive. We’ve been here for 17 years now; we’ve
made a lot of friendships with a lot of people in a lot of places. If you try to
just hide in the corner doing something with my name, someone’s gonna
call me and let me know. We’re able to shut shit down if it’s a threat to the
brand. That said, a couple bootleg t-shirts ain’t gonna hurt nothing.
Earlier you talked about things that you will and won’t do to stay
relevant. Why do you think people are acting outside of themselves to
compete? We see people both dressing and talking crazy.
People are scared. Every outlet that’s been available for a lot of these peo-
ple to thrive on in the industry is dying down. My career was never based
on TV or Radio. If the exposure there starts dying down, it means nothing
to me. Exposure there for me is just a plus. It’s not where my core [fans] or
where the ideal UGK fan goes to find music. I will survive without [TV or
radio] but a lot of people’s whole career is built off television or the internet
or magazines. Now a lot of those [outlets and] magazines are closing down,
so how do you get across to people?
How do you feel about some of the new images that we are seeing in the
game? People are getting very fashion conscious.
I don’t mind. I enjoy it all. I don’t look at TV and music videos to influence
me, I just look at it for entertainment. So seeing someone in tight jeans
doesn’t bother me. If it works for them, that’s cool. I just know I can’t do that
shit. Just because I can’t do it don’t mean it ain’t cool. That’s what happens a
lot of times. When people can’t be a part of something they tend to shit on
it, and that’s weak. I’ve seen it all before.
A couple artists we interviewed recently have said that they think rap-
pers shouldn’t be rapping after a certain age. You’re a vet in the game
and you’re still good at it. How do you feel about this attitude that rap-
pers should stop after a certain age?
I don’t give a fuck. I’ma be very real. No man dictates what I can or can’t do.
No blog, no magazine, no Geraldo, none of that shit. I give a fuck what the
populist taste in America is. Populist taste said that UGK ain’t supposed to
be here, ain’t even supposed to get in [the game]. So I’ve been bucking the
trend from day one. To me, all they’re saying is pretty irrelevant. That’s just
hating, man. Nobody gets to dictate how long anybody gets to be around.
I’ve seen cats stay in the game for 20 years and seen other cats last for three
weeks. The same young cats who are trying to talk about how long an old
head has been in the game, they’re not promised to be in the game [that
long] either. So they need to be careful. That’s just young arrogance.
50 // OZONE MAG
Days after his media tour in New York, Bun is back home in Houston with his
wife. Sitting inside the Gucci store at the Galleria Mall as his Queen shops,
Bun is still the center of attention even when he’s trying to be a spectator.
Random shoppers who recognize his face walk up to him just for simple nod
of acknowledgement while others attempt to strike up conversation.
“You do realize I’m doing an interview, right?” he politely asks one fan.
Picking up where we left off. As a vet in the game, do you think there is
such a thing as age appropriate Hip Hop?
I don’t think that when you’re young you should rap about childish shit
either. But as you get older you need to show some of the experience
you’ve gained in life because the people listening are getting older too
and may need some of that game. So you owe it to your fanbase. You can
show growth without compromising the art. Not everybody is able to show
change and evolution the same as a Kanye West, but they should try to
show some evolution.
You did a song with Statik Selektah recently. Some people found that
surprising. Do you think rap music will get back to being more homog-
enous as apposed to the segregation we tend to see right now?
A lot of this is coming from a blog or two, not the real music [listeners].
Just a few opinionated people. But as far as artists are concerned, we’re not
dividing the lines. We try to build with each other as much as possible. Art-
ists are working very hard to tear down the lines. You see a lot of different
people doing this. I heard Gucci Mane and Cam’Ron on a remix together
the other day. We’re working hard to come together once and for all like
how it was when we started.
I want to backtrack for a second. You’ve always held your own as an MC.
But, when Ridin’ Dirty came out you took it to another level with the
flows. I’m curious what happened between Super Tight and Ridin’ Dirty.
I wouldn’t say anything happened. I just started being around people that
were serious about me being the best artist I could be. Pimp C really started
giving me the kind of music that made me write better lyrics. Being around
people like 3-2 and Big Mike, honing my freestyle skills. Having MCs to
bounce ideas and flows off helped. Being around people like Ricky Royal
of Royal Flush, really teaching me how to take one word and expound
on that one word for 16, 24, 48 bars without limiting myself. There were a
lot of opportunities at the time. The game was a little more open. Record
companies were a little more supportive, and we were working in a bigger
and better studio.
“Murder” is a song where that flow was exhibited at its finest. Tell us
about the making of that song.
I had been asking and asking for Pimp to give me something to go hard
on. He found the track and I wrote to it. When I got to the studio I was real
tired. I had partied real hard the night before. We did “Murder” at 3 in the
afternoon. I was pretty tired when I got to the studio. I wrote it and went to
sleep at the control board. They woke me up when it was time to rap and I
went in and did 16 bars straight and messed up a line. Ridin’ Dirty was one
of the first rap albums recorded on ProTools. So they said I could punch in
if I wanted to. I said I didn’t want to, I wanted to make to where it was no
breaks in it, I wanted to spit it all the way through so that when the accapel-
las were made available, people could hear that there were no breaks. So,
we went all the way back to the top and went in.
Over the last year or so we’ve seen you popping on the web supporting
“underground” brands like The Hundreds and Crooks & Castles as well as
a couple sneaker head blogs. When and how did you become the king of
all things underground?
I made an effort to go out and support everything that fell under the un-
derground title, or I wouldn’t be able to call myself the Underground King.
People who knew me personally knew about different stuff I was into, but
I never made anything public, so I started making myself more public and
going out to the Magic convention. Miskeen helped me make connections.
They were one of the first brands to support me. They didn’t tie me down
into an exclusive situation and helped me meet other clothing lines. I was
really getting into this as a businessman so I met Woodie and Jonas from
LRG, starting moving around Fairfax on the West coast, hanging out with
Joey Castillo and he linked me up with Eric Barnett who worked with Ecko,
then Dennis at Crooks & Castles, then Bobby at The Hundreds. We just
made personal relationships and kicked it. I would rock different clothes for
different situation. None of these situations are ones I make any money off
of, it’s just all about the support and the love of the brand. If I’ma call myself
the Underground King, I have to support, not just because someone is giv-
ing me a check. That’s not real and that’s not what UGK stands for.
What does the word “underground” mean to you? We have a lot of artists
claiming to be underground but their music sounds like what is already
on the radio. It’s just that it’s not on the radio.
When you say “underground” as far as UGK is concerned it’s music that was
always commercially viable and commercially conscious but a bit too edgy
for the mainstream’s taste. It wasn’t that we [as UGK] couldn’t make com-
mercial music. It was just the fact that the subject matter or the content
was considered by some individuals to be too edgy for the marketplace at
that time. We never really fit what was going on in the radio or TV formats.
That said, people who liked good music would always find our music and
never had a problem finding UGK.
How do you feel about current rap fans? Some complain about every-
thing, some are lazy listeners and a few are still looking for good music.
I come from a generation where it was “get the music” first and figure out
the people later. We didn’t care about the artist’s personal life or what label
they were signed to. As times changed, music became more accessible as
well as people’s lives becoming accessible. People really stopped car-
ing about the music and wanted to know about the person. They want
to Google them, look them up on Wikipedia, and see them on YouTube
behind the scenes. Nowadays as an artist you’re not just selling the music,
you’re selling yourself. That’s what the fans demand. They aren’t interested
in the music because they can get that with 3 clicks of a mouse. They want
you to give more of yourself to them. People complain about it a lot, but at
the end of the day, the fans are dictating what they want. People are saying
the music ain’t selling because of radio and TV and all that. That has noth-
ing to do with it. The fact is that whatever was helping push you through
or whatever curtain you used to sing behind is pulled back now, so people
can see you for what you are. Don’t complain to the DJs, program direc-
tors or video jockeys. You have to complain to the fans because dictating
everything.
After 2Pac got shot the first time and he actually rapped about it later,
it seemed like we wanted to know everything about rapper’s lives from
that point on. We didn’t know anything about Big Daddy Kane or KRS-
One’s personal lives. That said, how you have you kept your personal life
out of the public eye in this day and age?
I’ve been very lucky to be pretty boring. (laughs) I don’t have a lot of crazy
shit going on. Bun B isn’t having a big party every night. Bun B is usually
watching Lost on Sunday nights, or trying to, anyway. I can’t never get
into it. I’ll watch it one Sunday and it will be incredible and then the next
episode will have no correlation at all. But yeah, me and my home life is
very subdued. I’m not much of an extrovert anymorel those years are pretty
much done for me. So people don’t care to know about that. People tend
to watch me and see what social issue I’m into. If I’m concerned about
something it’s usually affecting the ‘hood so they figure the need to pay at-
tention to it too. People ask me about the economy. A lot of people I know
don’t work for corporate America and don’t have mortgages, so it’s differ-
ent. They wonder how long it’s gonna be bad and how bad it’s gonna get. I
just tell people to be smart about everything. Maybe you don’t need those
sneakers this month. There’s a lot of people that have been over-extending
themselves for a while, but in 2009 it’s not gonna work. Me, I try to get all
the J’s and Air Force One’s, but that’s cool because I’ve got a good job and I
can afford to do these things. I know people in the hood who want to look
fly, but that doesn’t need to be a priority. If you’ve got little ones you need
to be more concerned about their well-being.
Since you’re not much of an extrovert, what do you spend a lot of your
time doing?
I’m an avid reader. I like to read a lot of autobiographies, on artists in
particular to understand the entertainment industry more. I’m reading a lot
about the financial sector. I tell people to put down the fiction novels and
read about the home market. To my urban people, Blacks, Asians, Hispanics,
Middle Eastern, we can’t keep living on the hook-up. Those days are gone.
Trying to move into that new house, buy that new car with the hook-up;
it’s time to start living as who we are and stop fronting. The reality is that
everybody’s broke so it doesn’t make sense to act like we’ve got money
right now. We know who’s rich: Puffy, Jay-Z and couple other folks. That’s
about it. The rest of us are hurting right now. Most artists like myself ain’t
about to get kicked out of our house, but the Gucci purchases are down by
30% and Louis Vuitton is down by 35%. They’re getting ready to close down
some Saks Fifth Avenue stores as well. We just have to start keeping it real.
I’ma say it, I’m doing bad. My Gucci is down by 20%, but my Louie is up by
5%, though. My Jordans and Nikes are at a steady pace, but I have to work
twice as hard to get this money. Ain’t no use in fronting for America. I’m try-
ing to get this money. If you’ve got money for me, holla at me. I’m working.
It’s time for everybody to stop fronting like they’re sitting on mountains of
money. Even the people I know with money are saving because they aren’t
trying to burn cash. Like I said, I ain’t about to get put out my house, ain’t
no meals being missed, but things are slowing down right now. //
“I see a lot
of people
trying to
stand up
for this
era of Hip
Hop, what
they like
to call the
“Golden
Era,” which
is the most
ridiculous
term I’ve
ever heard
in my life.
Hip Hop
is still
evolving.”
OZONE MAG // 51

T
he night Gucci Mane went to jail for violating the terms of
his probation in September 2008, Atlanta radio host & DJ
Greg Street lamented on the air, “It’s the wrong time to go
to jail, Gucci. The wrong time!”
Street was rightfully worried that Gucci’s rising status as one of the
hottest rappers in ATL was in jeopardy. To fickle ran fans, artists are
usually out of sight, out of mind. Going to jail is usually a surefire
way to make fans forget about you—just ask Mystikal. But, unlike
most rappers who get sent to prison, Gucci Mane had a secret
weapon on his side: OJ da Juiceman.
During the entire six months of Gucci’s incarceration, OJ made
sure his childhood friend was not forgotten.
Through Juiceman’s debut album The Otha Side Of The Trap and
numerous mixtapes with DJs like Burn One, Dutty Laundry, Smallz,
Bigga Rankin, Drama and Holiday, OJ has amassed a cult-like
following. Undeniably, da Juiceman has secured his own place as
one of the hottest underground rappers in the country, and he
promises that his rise is just beginning.
How does it feel to be considered one of the hottest new artists in
the game?
It’s actually a beautiful thang, you know? From my perspective, hard
work pays off. You gotta stay down and it does pay off. You’ve gotta
52 // OZONE MAG
WORDS BY RANDY ROPER
PHOTO BY TERRENCE TYSON
work for it. I’m messin’ with the streets right now and trying to put
my album out in stores.
How long have you been doin’ your thing?
Ah man, I’ve been rappin’ since ’99.
What have you been doing since ’99 til right now to get to this
point?
I’ve been doin’ mixtapes and puttin’ ‘em out there, and getting ‘em in
people’s hands. I’ve been puttin’ up posters, passin’ out flyers, showin’
up in clubs, just working my material.
Gucci Mane is one of your partners. How did y’all two get to-
gether?
We grew up in the same area, the same hood, the same apartments.
We’d go from one set of apartments to another set of apartments
pickin’ up cans, tryin’ to make a dollar back in the day. That was the
thang goin’ on when we was younger. He shot off with the music
first, then I shot off second. We started makin’ songs together. I think
it was just a good look for us ‘cause we do make good songs.
As his career was taking off, what was your reaction?
I mean, it was wonderful seein’ somebody from my area, in my
hood, on the corner or whatever, do this. It’s a beautiful thang seein’
somebody come from my hood ‘cause people that usually make it,
9 times out of 10, they aren’t from the hood. With Gucci being from
where we’re from, we just sat back and he shined out the hood on
every verse.
I know you’ve been shot eight times. How did that happen and how
did you make it through that situation?
It was just a lil street situation. I’m just happy a nigga still alive right
now. That was back in the day. I’m alive, I’m well, I’m walkin’. It’s really
nothin’ more on the street level. Right now I’m tryin’ to get more on
the rap level and just keep this thang movin’.
Was rapping always your plan to make it out of the streets? Is that
how you’re looking at it?
Naw. Really my plan for gettin’ out the street was whatever got the
bigger check. It was all about the money. I ain’t never looked at it as
I’ma go with rappin’ and try to get rich and live off the money rappin’.
But by me sittin’ around in the spot with my boys, fuckin’ around with
beats and shit, niggas was like, “Well, you need to fuck with that shit.”
So I just gave it a try and it’s been hittin’ me ever since. It pulled me
out the streets a lil bit.
You’ve been doing a lot of shows around the country now, right?
Yeah, I’ve been booked on the weekends.
What kind of things are you seeing outside of Atlanta now that
you’re on the road that are kinda new for you?
Going to different markets, the expectations are really big for me.
When I go do the show it be jammin’ like a fool in them states. It be
crazy. I’m like, damn I really haven’t even touched these states way up
top and in the Midwest, but when I get there it’s a different level.
People really do consider you to be one of the next dudes. Has that
hit you yet, that you’re on the brink of becoming a big artist?
Ah man, I sure hope to be. I really hope to do good and give these
folks Juiceman all the way. I try not to sugarcoat anythang.
Do you want to stay more of like a hood, underground type artist?
Or do you want to have crossover success?
I mean, the hood, underground artist is tight or whatnot, but I plan
on going super far to where folks come to me with movie scripts, and
muthafuckin’ stupid endorsements, OJ da Juiceman shoes, stuff like
that.
How did you get the deal with Asylum?
Well, they saw and heard about the buzz that was goin’ on in Atlanta
that me and my team has been building for several years. The [“Make
the Trap Say Aye”] song had got kinda big on the radio. Asylum came
down and gave us probably one of the best, serious offers out of ev-
erybody else. Listening to all the labels, Asylum is some real standup
people so far from what I’ve seen. I’m just happy they came to me and
are tryin’ to put your boy in the store.
Your album, The Otha Side of the Trap, is in stores now. Why did you
go with that title?
I went with that title to give these folks the meaning of the drug
world and now I’m tryin’ to venture over into the rap world. It’s like
being caught up in the drug world and tryin’ to make a dollar over
into the rap world. It’s putting both sides together and giving ‘em my
perspective of what the other side of the trap really means.
What can the fans expect from the album? What do you have on
there?
They can expect some crazy shit. I’ve got several singles like “Cop a
Chicken,” “Make the Trap Say Aye,” ”Nah Ming,” and “I’m Gettin Money.”
I got them on there ‘cause the label loved those and the whole world
hasn’t heard them yet. They’ve been on my mixtapes and shows and
had a lil buzz. And I got probably about 7 or 8 new cuts on there. I
got one song on there called “Washin Powder Money.” It’s gonna be a
real big record when it drops to the world’s ears. It’s gonna be big like
“Make the Trap Say Aye.”
Is Zaytoven doing most of your beats?
On this album, yeah Zay got a good handful, but my other producer
Fatboi has a handful on there too. I have Speedy on there and Shawty
Redd too.
Some people have been saying that Soulja Boy took your style and
he’s biting your adlibs. Do you feel that way too?
Nah, I can’t really say nothing about that. Not to speak on nobody’s
name, but I just look at it as Juiceman set a trend. I set a trend with the
“Aye, Ok” and people feel like whatever trend is hot at the time, they
can depend on that train while it’s moving. I just learned to grind hard
and do everythang myself and I never had a handout. I just respect
the game. That’s how it go. That’s just like in the streets, if you catch
somebody stealing, ain’t shit you can do about it but get another one.
You’ve gotta move on.
Is the adlib something you’ve been doing since you first started
rapping? When did you put that into your rhymes?
I wasn’t doing that when I first got into rapping. I got into it maybe
in like ’03. That’s when I did the “Aye,” when I did the song with me,
Courtney C and Gucci called “Street Smart.” We took off from there.
What made you do it like that then?
With the high pitched level? It was probably how my damn voice
came out on the microphone. They were like, “Well, Juiceman that shit
sound good as a fool, boy.” And I just ran with it from there.
I read somewhere that your influences are N.W.A., Spice 1, and KRS-
One. That’s who influenced you coming up?
Yeah, the early 90’s and mid 90’s – everybody who was rappin’ at that
time damn near. Everybody was one hunid then. Right now we’ve got
a lot of sugarcoatin’ and salt shakin’ shit. I ain’t the person to speak on
that, I’m just the one tryin’ to get in the game, feel me?
If everyone else is sugarcoating things, what’s different about you?
I try to keep it one hunid. The shit I say, 9 times out of 10, I’m doing it
or I have done it. Everybody knows I’m a street artist, I’m not just Hip
Hop or making music for the children or whatnot. All my music is on
the street level. People that relate to my music have probably been
through the same thang, are goin’ through the same thang, or are
‘bout to go through the same thang.
How many mixtapes have you done already?
I’ve got about 15 of them thangs if I ain’t mistaken.
Do you have a personal favorite?
Naw, not really ‘cause I don’t wanna leave nobody out. I like all of ‘em.
Which one do you think had the biggest impact on the streets? I
know the one you did with Drama and Holiday was a pretty good
look to get your name out there some more.
I’d probably say the first one that got me stupid was O.J. da Juiceman
hosted by Dutty Laundry.
When Gucci got locked up, did you feel like things were gonna slow
down for you? Or did you feel like it was time for you to step up?
I felt like it stayed neutral on my behalf. Gucci is Gucci, and Juice is
Juice. I’ve got my own fans, he’s got his own fans. I felt like with him
being locked up it was probably gon’ slow him down more than me.
I’m gon’ keep movin’ ‘cause I’m still on the street. That’s just like being
in the dope game. If you and your buddy are workin’ out of the [trap]
house and he goes to jail, you’re still gon’ be movin’. Shit don’t stop.
Have you been in contact with him since he’s been locked up?
Yeah, he calls every now and then. He finna be out in a few minutes.
“Make the Trap Say Aye” is all over the place now. Did you feel like
that was gonna be the single to put you out there? Did you feel
radio was gonna pick up on it, since it’s such a street record?
Naw, not really. I thought they’d pick up on “I’m Gettin Money.” “Make
the Trap Say Aye” has so much street language in there I didn’t think
radio [would play it]. We did the song like a year and a half ago. When
we first did it, it was kinda huge. People were loving it, but I guess we
just had to sit on it for a while, then it got hotter and hotter.
Is there anything else you’d like to say to our readers?
I just need everybody to go pick up that album up. Everybody can log
on to myspace.com/ojdajuiceman and listen to my music. I got videos
on there. For the mixtapes in the streets they can go to datpiff.com
and get all 15 of my mixtapes. //
OZONE MAG // 53
 I

54 // OZONE MAG
GU T V CE
Two years ago MIMS made a mill
UN O O sayin’ nothing on the track—
and now he feels guilty. He
knows most artists spend years

ILT L N NT
building a foundation, hoping
PR
for that ever-elusive hit single,
and he knows many fans don’t
INN

respect his craft. But is it really

Y
I 27 year old Shawn Mims’ fault
that he struck gold without
even trying? If you ask him, he’ll
probably say yes.
E
“[“This Is Why I’m Hot”] was kind of like a gift and a curse,” says MIMS.
“The gift is, I came up with a record that the world received, and the
curse is that I didn’t lay the foundation enough for them to respect
my craft. So it’s my fault, and I do feel a sense of guilt.”

In fact, MIMS feels so guilty that he is titling his sophomore album

after the emotion that has plagued him for the past 24 months: Guilt.
With this release, MIMS is hoping to replicate the commercial suc-
cess he enjoyed on 2007’s Music Is My Savior, but also establish the
respect he never attained from “This Is Why I’m Hot.”

“Coming off a record like ‘This Is Why I’m Hot’ I have to really show
people who MIMS is. Yes, that record put me on, it put money in
my pocket,” he admits. “I’m living good now. I can put my feet up if I
want, but I’m not. I’m a musician, and I want the respect that I think I
deserve as an emcee. I won’t stop ‘til I get it.”

MIMS certainly has felt his share of disrespect. Even before “This Is
Why I’m Hot” fell from the number one position on the Billboard Hot
100 Chart, the Washington Park, New York native faced an onslaught
of hate from every direction. He was ripped apart by virtually every
blogger on the web; they called him a ringtone rapper, and essen-
tially accused him of desecrating the art of Hip Hop. The fact that he
was from New York disenchanted many of his Southern fans, but he
wasn’t New York enough for New Yorkers.

He was laughed off, ridiculed, and labeled a one-hit wonder. But

MIMS insists he’s still hot.

So while his legion of haters continues to hate, Mims has moved

on—literally. He left New York for the South, and now splits his time
between Florida and Georgia. Six months after “This Is Why I’m Hot”
made its mark, MIMS made his first lavish purchase—an 8,000 square
foot home in suburban Atlanta, and tomorrow morning, he will be
inviting MTV into his home for his Cribs debut.

“The way the industry is now, you almost have to go on shows like
Cribs,” says Mims. “Nobody watches music videos on TV anymore. If
they wanna watch a video they just go to YouTube. Cribs is an alter-
native way for me to reach my fan base. I think the most important
thing in this day and age, is to give the public a piece of you.”

Perhaps that will be MIMS’ biggest challenge. We all know he’s

capable of making hit music, but the question is, will his sophomore
album be able to connect with fans on a more personal level? MIMS
feels Guilt contains by far the best music he’s ever made, and is
excited about his second chance.

Today, the Atlanta transplant pulls up to a renovated loft, 892 miles

WORDS BY ERIC PERRIn
PHOTOS BY HANNIBAL MATTHEWS
south of where he grew up. He’s far from New York, but to MIMS At-
lanta feels like home, especially today as global warming apparently
called in sick, creating a frosty Southern Sunday. Mims, along with
his girlfriend, is arriving for his outdoor OZONE cover shoot in an all-
white Range Rover. His manager, stylist, and assistant are all anxious
to begin. The temperature is in the 30’s. It’s freezing and everyone
including the photo shoot assistants—who are insulated in heavy
coats and skull caps—are complaining about the frigid weather, but
MIMS insists the cold doesn’t bother him. His demeanor is deter-
mined, and this is why he’s hot—even if no one else knows it yet.

OZONE MAG // 55
 So, you got the MTV Cribs joint popping off tomorrow. Is your house
clean? Are you nervous?
Naw, I’m ready. They’re coming to my crib tomorrow morning early, like 7
AM, but it’s all good. Normally, I wouldn’t invite the outside world into my
personal space. I’m the type of person that likes being low-key. I don’t like
anyone knowing where I live or how I’m living, or what I’m driving. When it
comes to music, I feel like you can be boisterous on your records, but in real
life you’ve gotta humble yourself because it’s two different worlds. So, with
Cribs coming, it was more or less a decision I made out of necessity. There
are a lot of kids that come from where I come from, and have been through
what I’ve been through, and they don’t really get to see people from their
neighborhood. I feel like MTV Cribs is one of those outlets where—if done
the right way—you can show the kids of your community that there’s a bet-
ter life out there than just selling drugs and going to jail. I was that person
watching Cribs three or four years ago telling myself, “I can’t wait to be in
that position.”
You mentioned that you’re a humble person, and from hanging out with
you for the past few hours that definitely seems evident. But do you
think it can also be a crutch? Do people tend to take advantage of you?
They always say the nice guy finishes last. I’ve always been the underdog,
mainly because my attitude towards life is, “I’m not here to let anybody
bend or shape me into something I’m not.” I came from a community that
had a lot of negativity around it, but I’m not a negative person. I’m not
claiming to be Scarface, or a kingpin, or a gangsta. I don’t walk around
looking for trouble. I’ve always been the guy who wanted to go to school
and get straight A’s and figure my life out from there. But I’m not interested
in being anybody other than who I am, and that’s what I want the world
to see. If that comes off as boring to some people, then so be it, but I think
there’s a lot of people out there who can relate to me because I’m not too
extreme. I’m not the person who’s talking about Liberace diamonds and
things I don’t have the ability to obtain. I keep everything modest and
within my means. Mostly everything I rap about is something I can accom-
plish or already have accomplished.
You talk about New York all day, but you don’t really have a traditional
New York sound.
I think that’s just another part of me. When you talk about influences,
most people would hone down on one thing. But for me, coming up as an
emcee, I got a lot of chances to travel. One of the first tours I went on was
with Method Man and I always talk about this because to me, it was like the
pinnacle of my career being able to see different places. I went to the South
as an underground New York emcee with no deal, nothing, going to the
South to perform at House of Blues. I did a whole House of Blues tour with
Method Man and it allowed me go from the Southern market all the way
to over to the West Coast, and being from New York I already got to travel
the whole Northeast, So when you heard the “This Is Why I’m Hot” record
people thought it was just me trying to ride the wave, but really and truly it
was me trying to pay homage to all the places I’ve visited along the way.
When you’re not on the road where do you call home now?
I’m back and forth. I always say I’ve got three homes: New York, obviously
my first home and a place I love to be, and Florida, a place that influences
me much, and Atlanta. But as of recently, the last year and a half, I moved
out to Atlanta. I kinda get to have the best of all three worlds.
It seems like half the people in the music industry have a place in
Atlanta, regardless of where they’re from. As a New York dude, what
caused you to move to ATL?
For me it’s just square footage. The home buys are a better deal. I always
wanted space; in New York you can’t buy the kind of space you can in
Atlanta. I always wanted to look out my window and see grass and trees.
I grew up in Washington Heights, but I also lived in Long Island for quite
some time, and Long Island is a suburban type area. It’s kind of similar to
Atlanta. When I saw Atlanta and the space it had to offer I was like, “Why
not?” Atlanta is like the Hip Hop home right now. Atlanta is home for Hip
Hop and R&B.
Is that hard for you to admit that, being that you are from New York? A
lot of New Yorkers are resentful towards the South’s prominence.
I definitely don’t. I think that’s what makes me unique and different. I know
a lot of people who hone in on the fact that certain areas aren’t as promis-
ing as they used to be, obviously New York, California and places like that
where 10 years ago they controlled the radio. Now, when you turn on the
radio all you hear is all the Southern markets flourishing. I’m a hater by no
means. Do your thing. I congratulate anybody who gets on. I know how
hard the business is. But I will say this, I’m from New York. I was born and
raised in New York, so if anybody thinks there’s an excuse for why New York
isn’t on the map, or whatever they feel, I’m a New Yorker, so I represent for
56 // OZONE MAG
New York, and I will always represent New York. There’s room for people like
me in the game; you’ve just got to be willing to work as hard as I’m working
right now. If you work hard enough it doesn’t matter where you come from:
Idaho, Wisconsin, New York, wherever.
In 2006-2007 when “This Is Why I’m Hot” dropped, you were arguably
the hottest rapper in the game for a short period of time, and then the
record cooled off. How did that whole journey from cold to hot to cold
feel, the good and the bad?
I guess my biggest challenge was the overnight success. I came from
nowhere and just hit the scene, so I got a whole lot of the “one hit won-
der” titles. At first obviously it starts off real lovely. Everybody loves you,
everybody wants to be your friend, they want to come around you in the
club, show you love, and they might bring you up on a song and mention
your name, and then you slowly start to see the tables turn. As the record
dies out, you start to see a lot of the faces turn and say, “Dude is a one-hit-
wonder, I’m not really messin’ with him. He can’t rap. He’s no good…” And
while people respected the record, that’s all that I became. I became just a
record. I became the, “That’s the ‘This is Why I’m Hot’ dude. That’s the dude
who sung ‘This is Why I’m Hot.’” Half my fans wouldn’t even know my name.
This time around I’m aware of that, and I’m working hard to make people
respect me as an emcee.
How are you planning to do that? It’s hard to re-sculpt a first impression.
You have to let them see who you are as a person. I personally don’t believe
people buy music just because they like it. I think they get an attachment
to a certain artist, and when they feel that certain connection they want to
follow that artist’s career, and that’s what people come to invest in.
You’ve been getting back to your New York roots with the new single
“Bread N Butta.” What made you decide to do a track with a Biggie
sample?
I actually recorded it just as a freestyle record, and we tried going through
the proper motions to see where we could take it. The purpose of that
record was to show my lyrical side, and I think it’s doing me justice right
now. In no way, shape, or form did I intend on taking a Biggie sample on a
record and then utilize it to make me more successful. DJ Absolut in New
York actually brought me the record and I heard it and said, “Man, I gotta be
able to rap to that beat, and do something with it.” So I took it home, and
the next day I came back with something and said, “I got it.”
On the internet it says you released a follow-up album to Music Is My
Savior called More Than Meets the Eye. What was that about?
You know what, I’ve so much about this More Than Meets the Eye album,
and I had no part in that. A good friend of mine had an idea to put out a
mixtape. When you’re in the studio recording you do a lot of records that
don’t make the album and end up in someone’s closet, or on the back of
someone’s computer. So what I think happened is that a lot of the unre-
leased stuff I had done even as far back as 2002 was released on a mixtape.
The dude most have done a good job promoting, because everybody
thought it was an album, but it definitely wasn’t an album. My album is
actually slated to release in March 2009 and it’s called Guilt.
I know this is probably the first question most journalists ask you, but
why are you calling the album Guilt? That’s kind of an ambiguous title.
When someone asks, “What were your emotions going into doing this
album?” my response is that I felt a sense of guilt. Why? I have three aspects
that I can name of the top, but the first one is the economy. Look at what
I went through and what people around me are going through. I went
from being a dude with nothing, to a guy who’s selling millions of digital
downloads, millions of ringtones, and almost 400,000 albums worldwide.
Money is just pouring in. I look around me and businesses are shutting
down, friends of mine are facing foreclosure, and my family is needing
financial help, so while I’m prospering the people around me are going
through the worst times ever. I want to help as many people as I can, but I
know I can’t help everybody because that’ll put me right back in their posi-
tion—and that’s one of the things I feel guilty about. The other reason is
the “This is Why I’m Hot” record. Like I said earlier, it was kind of a gift and a
curse, and in that sense, I kinda feel guilty. Sometimes I wonder if it was the
right move for me to put that record out at that time. The third reason I feel
guilty is because with all this negativity going on throughout the world,
I‘m wondering if what I’m doing is going to last. Is rap going to allow me to
maintain my lifestyle? You hear all these stories about entertainers going
bankrupt and overspending. I’m smart in maintaining my lifestyle, but at
the same time there’s a sense of guilt that says I need to be very cautious
because of the times.
In the three years you’ve been in the mainstream what has been your
most guilty pleasure? Something you splurged on?
Probably when I bought my house. I was about 26 at the time and it was
my biggest, most hefty purchase. I was always the type of dude that was
listening to people talk about jewelry and putting $100,000 and $200,000
around their neck, and I held on to my money. I always said my first big
purchase was going to be my home.
How fast did you see real money after “This Is Why I’m Hot” blew up?
The turnaround was crazy. How fast it all happened was so ridiculous. Ev-
erybody says when it takes off, you’re gonna look back and say, “Damn, that
was quick.” And that’s the truest statement I ever heard. 6 months before I
purchased my home I was living in an attic. I didn’t have cable, didn’t have
the internet, didn’t really have much heat going on. My mattress was on
the floor, and there was nothing to do in my house except work on music.
6 months later I’m at the bank closing on an 8,000 plus square foot home,
and thinking about how surreal the experience was.
What’s the worst thing you’ve ever heard a critic say about you?
I try not to listen to the critics, but we’ve all gotta admit they drive us to
do better. The worst thing I’ve heard is that I’m not a true emcee. That I’m
garbage; the worst thing to ever hit Hip Hop. I know my ability, and I know
what I’m capable of, and anybody who sits in the studio with me can tell
you. I have so many nonbelievers that come in the studio with me and once
they see my creativity and the way I work, they’re like, “You’re good. You’re
very talented, and I can’t see how certain people could even make these
comments.” I think a lot of people overlooked me, and didn’t give me, or
my project a chance to be heard. They just categorized me as a certain type
of emcee just because I was selling ringtones. And I put this on the record:
There’s nothing wrong with selling ringtones. If I could sell another 4 or 5
million ringtones, I’m taking it. There’s nothing in this world that you could
convince me not to take the ringtones.
On the flip side, what’s the best compliment you’ve heard?
The best thing I could ever hear is that I’m one of the most underestimated
emcees. I’ve had people write that, and a few people who have actually had
a chance to work with me also said that. And that makes me feel good, be-
cause I’ve always been an underdog, and that’s the best time to overcome
the controversy. For me to be an underdog and be underestimated, that
just means when this new album comes out, I’m gonna shock the world
because they don’t expect it from me. //

“ ing in an
I was liv idn’t have
attic. I didn’t have
cable, d rnet, didn’t
the inte ave much
really h
heat going
on. My e
th
s as on
w
mattres d there was
floor, anto do in my
nothingxcept work
house e . 6 months
on music at the bank
later I’mon an 8,000
closing are foot
plus squ d thinking
home, anow surreal

”
about h rience was.
the expe

OZONE MAG // 57

(below) Shaheed Najm and his son Fahiym “T-Pain” Najm in Tallahassee, FL, October 2005
I was the manager of the Nappy Headz and also [T-Pain’s] manager for
his solo career. I put [his music] all over this country through my record
label Star Gate Platinum Plus Records. In 2004, I took the underground
version of [T-Pain’s debut album] Rappa Ternt Sanga to a friend of
mine, Greg Harrison in Dothan, Alabama. He took it to Akon.
Akon called us for a couple weeks straight and we went to meet with
him under the guise that T-Pain was gonna get a label deal. At the
meeting, Akon wanted to buy six songs off the album. I told him he’d
lost his mind. We weren’t there to suck off of what [Akon] had. We
wanted my son to become [a star] like [Akon] is.
Akon thought we were a bunch of country boys. They didn’t realize
that our intellectual prowess was, in many ways, superior to theirs. My
son was fascinated with Akon’s stardom but [he and his brother] were
like little boys to me. I respect them for what they do, but I don’t wor-
ship nobody. I told them if they wanted to get involved in the process
of getting [T-Pain] a deal, they’d have to come like businessmen. We
had already spent a lot of money [on T-Pain’s career]. I spent my retire-
ment savings. I had a job for 25 years. Me and my wife were married
for 30 years and we’re still good friends. Nobody can separate us from
our babies. I have 22 grandchildren right now. We’re no joke. I worked
a long time in this community and took care of most of these young
boys. I made a promise to my children that whatever they tried to do,
I’d back them 100%. So I learned the music business.
The reason the Nappy Headz didn’t break through with “Robbery” is
because a label [prematurely] made an announcement that they had
been signed. All the other record labels backed off. Akon’s brother
Bu did the same thing. Bu tried to come off as a friend, but what he
was really doing was interfering. [T-Pain] opened up for a show with
Anthony Hamilton in Tallahassee and Bu got on the mic and said, “I
want to make an announcement that T-Pain just signed with Konvict
Records.” I called Akon and told him what his brother did and he
admitted that he’d been telling people the same thing.
Akon and his brother [Bu] were manipulating my son behind the
scenes. I told Fahiym, my son – T-Pain is his alter ego – that I had
sensed Akon was a dirty dude. I haven’t talked to [Akon] since they
back-stabbed me. They manipulated my son. [My son] will probably
say differently because he wants to protect his friendship with them,
but I don’t give a shit. Akon is a Muslim. We’re Muslims. The dirty
games he plays, sending his little brother Bu to manipulate my son,
offering him all kinds of things and charming him away from his father,
that’s the nastiest shit in the music game. That isn’t how a Muslim is
supposed to act.
We went down to Springfest in Miami to meet with a bunch of record
labels – Slip-N-Slide, Atlantic, Konvict, everybody. Akon pitched his
proposal and we tentatively agreed to it. I told them to put it in writ-
ing. I’ve been down that road too: people will promise you the world,
but none of it is in the contract. With the Nappy Headz deal [that fell
through], I had made the mistake of listening to labels promise us
things and waiting on those promises instead of running an indepen-
dent operation at the same time. I took an oath to never do that again.
When the opportunity for [T-Pain’s] solo deal came along, I explained
to him the pros and cons of each deal from my perspective as a father
58 // OZONE MAG
Family Matters
WORLDWIDE SUPERSTARDOM NEVER COMES WITH-
OUT A PRICE. Many talented musicians have
LEARNED THE TRUE MEANING OF “MORE MONEY,
MORE PROBLEMS,” and AUTOTUNE CROONER/
SONGWRITER T-Pain is no exception. HERE IN
HIS OWN WORDS, T-PAIN’S FATHER AND FORMER
MANAGER SHAHEED NAJM VENTS AND ACCUSES
AKON, HIS BROTHER BU, AND T-PAIN’S CURRENT
MANAGEMENT OF MANIPULATING HIS SON AND
DIVIDING-AND-CONQUERING HIS FAMILY.
[Editor’s Note: This article solely reflects the opinions of Shaheed Najm. OZONE
has not verified the accuracy of any facts or accusations within. T-Pain, Akon,
Bu, Konvict Music, & T-Pain’s management were not contacted for comment.]
and manager. Every step of the way he agreed with me.
Unknown to me, they were having different discussions behind the
scenes. Akon had my son signing papers without contacting me,
knowing that I’m his manager. [Akon and Bu] spread rumors that I’m
on crack. Most folks don’t know this, but I’m on a waiting list for a heart
transplant. I’ve had a triple bypass and a stroke since dealing with the
Nappy Headz. For them to disgrace me like this and treat me like a bad
daddy – that’s why I’m fighting back. I’ve let a lot of things go without
commenting out of respect for my son. And I didn’t sue to get my
money because that’s my child. I love him more than I love money.
T-Pain said in an interview that I so-called blackmailed him for
$250,000. I am the first black male in the damn family. I am the original
black male. (laughs) But I never tried to blackmail him for $250.000.
That’s a goddamn lie. I’ve never asked him for $250,000 to pay my bills.
I asked him to give me and his mother one show per month and let
us split the proceeds. At the time he was only making $20,000 a show.
One show a month. He was doing a whole bunch of shows. That’s
nothing big to ask for. I’ve never asked for $250,000 and I really don’t
appreciate being lied on. I’ve heard all kinds of stuff, but when you
challenge me as a man and as a father, I hate that with a passion.
I love my son more than I love money, and I want to say that louder
than anything else. I hate the fact that we’re at this discourse, but he’s
got so many people interfering. There’s so many niggas on his dick
– excuse my French – tryin’ to get on. Even his management tries to
block me to get me out of the way. I know the game, man, and I’m
sick of people playing these games and destroying families over some
damn money. I’ll go to my grave broke and raggedy like I am right now
if I have to. I hate to speak on this [in a magazine] but that’s the last lie I
want told on me. I will not sit by and hear no more of this bullshit.
When I see my son I graciously greet him and hug him. I don’t ask for
money or anything. I’m trying to share opportunities with him and
management’s trying to keep me blocked out. When my boys become
grown men, I treat them like grown men. I don’t interfere with their
decisions and their life; I don’t try to run their homes. I love my grand-
children with the same love that I gave my children.
I don’t even know anything about the deal [T-Pain signed with Akon].
That’s how far away I was from [the situation]. We had another offer
[at Interscope Records] and when I went out there to meet with them,
Fahiym didn’t even come. You can ask TJ [Chapman]; we were at Inter-
scope apologizing because T-Pain didn’t come out there. They spent
money on us to come out there [to Los Angeles] and T-Pain was in At-
lanta with Bu. We couldn’t negotiate anything because the main man
wasn’t there. While we were sitting there, Bu called them to interfere.
Akon didn’t do anything to develop my son. My son was a finished
product when he left my house. I used to interview them on the couch
in 1999, 2000, 2001, as if they were on the couch at 106th & Park. That’s
why he does interviews well, and if you go back and check the record,
you’ll hear him quoting me on damn near everything he says.
I’m a grown man that has always challenged this society about the
way we’ve been treated. So to anybody out there that’s still trying to
encourage a division between me and my son, they can suck my dick. I
love my son, and I love his children and his family, but I don’t like the way
I’ve been treated by his managers. His managers treat me and my wife
like we’re crackheads. When we come around we have to beg for tickets
[to his shows]. Man, if that was me, I would honor my parents.
They spread rumors about me all over this country. I’m a walking shame.
This should be a time of celebration for me, but it’s almost like my funer-
al instead. [T-Pain] didn’t fall out of the sky. That boy was built. I took him
out of public school at age thirteen and taught him at home and bought
him everything necessary to become the musician he is today.
Akon and Bu are nasty ass niggas. They’re supposed to be Muslims but
there’s nothing Islamic about what they did to my family. They’ve got us
walking around in disgrace because their greedy asses want all the cars,
all the women, all the pleasure, and all the opportunity. They know it’s
fucked up, and I’ll tell ‘em to their face if I’m ever in their presence again.
But they duck me because they know I’ve got a bullshit shield. They
know I’m bullshit-proof; that’s why they back-doored my son.
Akon sends his little brother in [to do the dirty work] so his hands will
be clean. I listened to the dumb stuff that little boy [Bu] said. He couldn’t
hold a good conversation with me so he sold my teenager a bunch of
dreams. I don’t need a dream merchant in my life. I’m not buying dreams.
I’m a grown man. I really don’t appreciate Akon because he has no
integrity. He’s never kept his word. When we first met and he introduced
himself as “Akon,” I’ve got a metaphoric mentality, so I thought, “a con”?
A con what? A con man? A convict? I don’t even know his real name. I’ll
slap the shit outta Akon. He’s a thieving, un-Islamic, back-stabbin’ pussy.
Put that in the book. I’m hotheaded enough to tell him that to his face.
I get a retirement check, but it’s not a lot of money. I’m on my ass right
now, and I don’t deserve to be on my ass. All my money is gone and I’m
struggling like I’m on social security. I should be honored for creating the
most phenomenal thang that ever came out of Tallahassee. I saw [the
talent] God had given [T-Pain] for music. I was him; that’s how I identified
it. I was Mr. Music in high school. I was the drum major, director of the
student choir and concert band; a very popular guy in the Marching 100.
I have one bone to pick with my son. [In his OZONE interview] he said
that my bills are not his responsibility. I’m being kicked to the curb. Every
Tom, Dick, and Harry can come through his world except his father who
built him. He didn’t do this by himself.
A lot of family members didn’t want me to [speak on this], and I respect
that, but you’ve gotta understand everything I went through [for him]. I
had a stroke in Ft. Myers. A promoter wouldn’t pay us and I was trying to
grab that nigga around his neck and I had a stroke. I had a triple bypass
and had to leave my job after 25 years. I was making $30/hour. I walked
away from that on behalf of [my son]. Now everybody’s gonna piss on
me and call it rain? I don’t think so.
I’ve always been by his side, to guide him wisely and gently and calmly
encouraging him along the way. I’ll never try to take his manhood from
him. I call all my sons every year on Father’s Day and on their birthdays.
But I don’t get the same treatment.
I always planned to relinquish the management role in order for [T-Pain]
(above) T-Pain and Bu in Orlando, FL, in April 2005
(left) Akon and T-Pain at Springfest in Miami, FL, in May 2005
Photos by Julia Beverly
to get bigger opportunities. I was gonna reduce myself to his personal
advisor. “Call me when you need me, son.” I’m still there. My phone num-
ber hasn’t changed. I’m still available. I’m not interfering in his business.
Once he [signed the contract with Akon] I left it alone. Was I mad? God-
damn right. I was irate. In my first breath, as a man, I told him I probably
wouldn’t ever talk to him again. In the next breath, as a father, I had to
find out what made my son so desperate to sign a deal with a bunch
of knuckleheads that were selling him dreams. But I did respect him
for making a bold decision on his own. I asked him, “What the fuck is it
about Akon? Did he catch you fuckin’ a rabbit or a fag or something? Do
they have photographs of you doing something nasty that [makes] you
feel obligated to these dudes?” He said, “Daddy, I can’t explain it. It was
just like you taught me; it was like The Matrix.”
In [the movie] The Matrix when Neo asked the Oracle if he was the one,
she told him, “Being the one is like being in love. Nobody can tell you
you’re in love, you just know it.” That’s what Pain told me and that’s why I
left it alone. He made an independent decision. We were business part-
ners and he ran away with the whole business, but I’ve forgiven him.
I told Pain when he first came in the game that he was better than Akon.
He did a parody of Akon’s song “Locked Up” and called it “Fucked Up.”
Akon came to The Moon in Tallahassee and got booed because [the
crowd] thought Akon was taking T-Pain’s stuff as opposed to the other
way around. My son has blown past Akon by now. He’s probably accom-
plished more than Akon has. [T-Pain] had 11 number one hits last year;
two more and he would’ve tied the Beatles. And y’all ain’t even seen the
best of my son yet. That’s why I tried to be quiet. If I had challenged [his
deal] y’all would’ve never seen what you see today. I stayed out of the
way because I don’t want to destroy what I built.
I had to get this stuff off my chest. I’ve been in agony. I have heart prob-
lems and my heart has been hurting ever since I read that [T-Pain said I
tried to blackmail him]. People are trying to play us against each other,
but I never believed in “divide and conquer.” Akon grew up in Africa, but I
grew up in the ghettoes of America. He doesn’t know the rhythms of this
society and he wasn’t in the struggle here like I was.
I haven’t discussed all these things [with my son] because with the level
of our energy, we’d end up arguing. I wouldn’t be heard and understood.
I’ve cried a lot. At his show last year at the
[Leon County] Civic Center [in Tallahas-
see], we got into an argument and one of
the former Nappy Headz was the chief in-
stigator. I won’t call his name out, but at
that time, he destroyed the relationship
between me and my son. I was hurt
like hell. Now when [T-Pain] comes to
town, I graciously honor him for his
accomplishments and keep my old
ass at home. //
OZONE MAG // 59
60 // OZONE MAG
With his hypeman
days long behind
him, Jim Jones is
now all of the
hype, man.
WORDS BY MAURICE G. GARLAND
PHOTOS BY RAY TAMARRA

OZONE MAG // 61
 J im Jones just might have been the one man
that was busier than President Barack
Obama in late-January. WHILE Obama was
taking train rides from Delaware to Wash-
ington D.C., Jones was flying from New York
City to Los Angeles and back within a 24-hour
span. So what if Obama had to hit up eight
Inaugural Balls in one night? at least he got
to stay in the same city. Jimmy was going from
Miami to Atlanta to St. Louis. While Obama was
getting ready to take over the country, Jimmy
was busy flying over it.
“As busy as I’ve been you might have thought I was getting elected president,”
laughs Jim, who after spending the last two weeks promoting his forthcoming
fourth album Pray IV Reign is finally getting a moment to catch his breath in-
side his studio. “I can’t even remember where all I’ve been. It’s a blur right now.”
got a chance to talk about what’s going on and how to change for the better
and get more money. You can’t keep doing the same things and expect differ-
ent results. The most challenging part was completing the album and making
sure you have the right music and not get biased. You get biased to the music
you make because it’s so personal to you, so you have to put your personal
feelings to the side and think from the fans’ perspective.
Should we expect a drastic change with your sound?
Don’t expect a drastic change, but the instrumentation, songs, and everything
has gotten better overall. I’m glad it’s finished because making this album was
like doing homework. But I’m ready to blast off now.
What did you draw inspiration from while making it? Did you listen to any-
one else while recording?
When I get into album mode I listen to Pac, B.I.G., early Jay-Z, and I fuck with
some Jeezy. I listen to some old Dipset tracks to remind me of how nice I’m
getting and how nice I was from the get go. So it’s a few things. I’ve been
working on this project for about a year.

Since setting his foot in the rap game in 1997 alongside his childhood friend
and Diplomats co-founder Cam’ron, the Bronx-born Harlem-made rapper
has been quite a few places, both welcome and unwelcome. Hearing him rap
alongside his surrogate family on Cam’s aptly titled 1998 song “Me, My Mom
and Jimmy,” showed his ability to make himself at home wherever he goes. The
half-Aruban, half-Puerto Rican always stands out from his peers, but finds a
way to blend in at the same time.
“We all came from the same struggle,” insists Jones, who moved from the
Bronx to Harlem’s Taft Projects at 13 years old. “It wasn’t about complexion
or nationality. If you grew up in that hood, it was all about learning how to
survive. The only thing that was different for me was that the girls favored me
a little more. They said I had that ‘good hair.’”
So far it’s been what’s under the “good hair” that’s kept him a float.
“Nothing like Usher, more like a hustler”
— Jim Jones: “Don’t Forget About Me”
You’re pretty much the poster boy for the whole “I’m not a rapper, I’m a
hustler” lane. So, what was your first hustle?
I used to cut Sunday school and go to the store up the block. The guy who
owned it was cool so he’d let us hang out in there. I’d rob them of all their
candy and go to school the next day and sell them shits for 50 cents. Then my
uncle, I forget where he used to work, but he used to bring home boxes of
Oreo cookies and I’d sell them at school for 50 cents. Some days I would make
$100 a day at 14 years old. I was doing pretty good. Then of course after that,
we chose to indulge in the streets and we did our petty hustling, pimping and
looking out. But my first hustle to get my own money was selling candy and
cookies.
At that age, it takes a lot of focus to not “get high on your own supply.”
Well, I ain’t have to re-up, I had candy waiting on me. I had a locker full of
candy and cookies. I have to re-up, and I kept getting weight. I was in. On
an average I was making $300 a week off [candy] in school. I grew up in the
streets of Harlem; it’s what we do. I’m grateful that instead of selling drugs I
got the opportunity to hop in this game and use music as my drug.
Evidently people are buying what you’re selling. Tell us about your new
al bum Prey IV Reign.
The reception has been lovely at
“I hear the streets talking funny, so I laugh /
Tell em keep talking funny, Imma keep talk-
ing money / And all different types, The yens
and the pounds / Nigga just for spite push, the
Bentley round town”
— Jim Jones: “Love Me No More”
Say what you will about Jim, he’s come a long way from the guy you only knew
from cameos in Cam’ron videos. His popularity has grown to a level where
casual Dipset listeners barely remember him ever playing back-up to anyone.
The former hypeman has gone from being the last Dipset member you’d
expect to ever release an album to having the second-most solo efforts out
of the whole crew. Along the way though Jones has grown up, and at some
points, away from what many hardcore fans grew to love from him.
The man who once dubbed his crew “The New Black Panthers” and penned
lines like: “See they tainted our image, it’s fucked up how the game painted
our image / They say we dangerous people, why, because we sell ‘caine to the
people / That don’t be the reason I be aiming this eagle, my aim’s to get equal /
The first and fifteenth’s got some restraints on my people” is now more known
for his fashion sense and slogans like “BAALLLIIIIN’!!!!!” and “Swag Splashin’.”
“Your going to get every bit of them,” says Jim when asked which Jim Jones
listeners will get on Prey IV Reign. “You may not get as much ‘Ryder Muzik’ as
you want, but we got some ‘Ryder Muzik’ on there. You may not have enough
‘Swag Splashing’ but there will be some on there. It’s mixed up, I got you.”
Rather than have a regular listening party for Pray IV Reign you opted to
create an entire off-Broadway play, Hip Hop Monologues: Inside the Life and
Mind of Jim Jones to present the music. How did that turn out?
It was beautiful; it was exciting. I liked showing people that I’m vulnerable,
showing people another side of me. People tend to be afraid of the music we
make and the crowd we attract, but it was good. We had all types of people
there, it was great to see so many people mixed up in one crowd and be classy.
You know, to have people next to the danger without being in danger.
Did you study or attend any plays while making it?
Nah, I ain’t do all that. I’d only been to one play before that and it was one the
director J Kyle Manzay did called The Actors Rap. People ask me how I pulled it
off, but we’re hustlers. We do whatever we put our minds to.

’s very ra re that the shows I’ve been dong. It’s even

“It nds
better when people love you after a You also have a documentary that Dame Dash is promoting and producing

you make frie

hiatus. I was just falling back to get for you. What is it like watching your life on film?
in age,
my album straight. I had a chance It’s about my life, being born in the Bronx, in the working class, breaking out of

a fter a cert a to do an incredible album. I did the poverty running through the city all crazy, and how we started Dipset. It was
ain very new deal at Sony and I really got a

but you do g s with

definitely crazy watching it at first, but it made me feel good to see what I’ve
chance to dig deep into my artistry accomplished, and how much more I have to accomplish. To be here and not
this time. I never got a chance to
good rapport
have to want for nothing is great. To know people have an interest to see the
do that, it’s always been a hustle to
st a
story of my life is crazy.

people. I’ve lo
me. So I’ve gotten to put together

s from
a masterpiece. Since you already know what happens in the story, was there still any room

lot o f f rien d left for shock?

e on What was it like actually sitting

jealousy, soMmE on
Yes. Some of it definitely looks shocking when you are so far gone from it and
down and making this album you see it from the outside. But when you’re in it and you’re doing it, it’s not
instead of cranking it out as fast
my part, SO I’ve lost a
shocking. It’s just survival. I want people to look at this and think, “Anything
as you’re accustomed to? is possible.” I mean that. There’s a lot of us, but only a few that have this op-

their part. ds along

It was a humbling experience. I portunity. If I’m here and [my company is] all-black owned, I’ve got to be doing

lot of frien
he way.”
62 // OZONE MAG

something right. I may not be a role model, but looking in my direction, you’ve
got to be looking in the right direction. Just hustle hard, get what you can
when you can. Get more than what you can, I mean that. They say you don’t
get what you deserve, you get what you negotiate. I hope you get more than
what you negotiate.
I saw a clip in there when you were in a room full of bougie white folks and
they seemed to be enamored with your presence.
It makes me laugh. It’s hilarious to walk into a room of people who wouldn’t
[be near you] under any other circumstance or you know, might think twice
about standing too close to you, but now they’re so elated to see you. These
people are real far gone from where I come from. But, I’m one of those dudes.
If you don’t want to meet me now, you’re gonna have to meet me later.
How often do you go back to Harlem?
There’s always time to go home and hang out. When it’s hot outside I go get
a new car and check out the atmosphere. I’m not that far gone. I love to travel
but home is home. You can never forget your home.
You were still living there during the time they started gentrifying the area,
and I know it probably looks different every time you go back. How do you
feel about the process?
It’s good to get a facelift anywhere poverty is. We deserve that. But what’s not
good is that all the businesses and people with money come into the commu-
nity and don’t want to give the people in the community the opportunity to
get those jobs. That’s what not cool. It has pros and cons but nothing’s wrong
with gentrification if it helps the economy for the people from that area.
What advice do you have to the people living there facing that situation?
I don’t know about advice. When you come into these communities we don’t
have much to offer. It’s not like we have trust funds or silver spoons in our
mouths where we can invest in the communities and build something up and
make money. But I can tell you, hustle hard, take every opportunity that you
can to make money and leave the hood. There’s nothing wrong with that. The
object is to leave and see what else the world has to offer. Hustle hard. If you
wake up everyday and try to make a dollar, I commend you for that. But you
have some people who just sit on their ass and think it’s supposed to be given
to them for some strange reason. Those are the people I can’t understand.
With Barack Obama being elected president, what impact do you think that
will have on communities like yours?
I’m ecstatic to be alive to see that happen. Growing up we always said we were
gonna turn the White House into the Black House. Now we get to see it. Now
we have to ask ourselves, how many excuses are we gonna make as a minor-
ity? At some point we’ve all gotta get off our ass and make something happen.
Do we automatically think everything is gonna be right overnight, no. But he
looks smart enough to make us build bridges and not hate “the man” anymore.
Being that we are in a recession, how do you feel about artists still making
songs about balling out? Songs like your “Na Na Na.”
I got a girl on the record going “Na Na Na,” so it’s a fun record. It makes you
feel good. You need that in the midst of a recession; things that make you feel
good. You can be like “I got some new shoes like ‘Na Na Na.’” I got that reces-
sion music, baby. Ain’t nothing changed.
“A newer version, a younger me / I want him to
go to school, I raise him up gun free / I swear its
some places I don’t want him to be / And I swear
its some things that I don’t want him to see /
But, little Bully, daddy loves you truly, so the
nights you don’t see me know daddy’s on his
duty”
— Jim Jones: “Pray IV Reign”
Jim Jones turns 33 this year. Jim Jones is a father. Jim Jones is a businessman.
Those are three things he doesn’t hide. Jim Jones is obviously a rapper too, but
in his eyes, not for long.
“Rap is like high school,” he says. “You shouldn’t be in your 40’s or remotely
close to your 40’s and still be doing it. It needs to stop.”
Judging from the path Jim is on, it looks like he’s going to be following his own
advice. Plays, documentaries, taking Vice-President roles at Koch Records (his
second label exec job), and clothing lines. It really looks like he’s occupying his
time doing everything but rapping. Can you blame him? Look at how Hip Hop
“[My son] def
makes me be initely
treats their elder states- responsible more
men. They label them
actions in lifas far as my
think about e. I try to
“old” and pass over them
whenever the new flavor
do certain thhim when I
of the month arrives. Jim
Jones has too much pride
I’m gone my m ings. When
to go out like that. But
leaving the rap game to
enter new ones isn’t as
easy as it looks. It takes him, the num ind is on
maturity, prestige and
priority is tober one
home to him.” get back
ultimately an attitude
adjustment.
Your album cover for
Pray IV Reign is different
from your previous looks. Your face isn’t even on it.
Yeah. I know people expect an artist to do the “car and jewelry” cover. To me,
this one is personal. That’s my baby boy with me [on my album cover]. It’s a
day in the life. We were going a picnic that day and the photographer took a
beautiful picture.
How have you enjoyed fatherhood so far? Do you see a lot of yourself in
your son?
I love it. My son is a very smart child. I see my intelligence in him. He goes
to a private school. He’s probably the only black kid in the class, not to say
there’s anything wrong with that. He comes home to my moms, who is not the
conventional grandmother. In school he is pretty much a nerd. It’s fun to go in
there with the other parents and see how he is in the class, because at home
he’s a totally different person. At home he’s a beast. I love him.
How is it balancing fatherhood with your career?
The balance is fucked up. It’s been cool for the last year or so because I’ve
been home a lot. But when I’m on the road a lot, it’s fucked up. I would love
to be next to my son more than anything in the world, but I gotta go get that
money.
How strong of an influence does he have on the decisions you make?
It definitely makes me be more responsible as far as my actions in life. I try to
think about him when I do certain things. When I’m gone my mind is on him,
and the number one priority is to get back home to him.
How is your dive into movies going? The only thing I’ve seen so far is some
clip when they had you shirtless trying to be a sex symbol.
Aw man, you saw that? I hope they burn that. (laughs) I had fun, let me stop.
Acting is pretty good. I’m about to stop rapping in a minute. I’m trying to
do bigger and better things, hopefully. Hopefully I can take Will Smith and
Denzel’s spots because they’re getting old. Ya know, get a haircut, go to Hol-
lywood, TA-DOW!
We aren’t going to see you turn into the new LL, are we? What kind of roles
would you want?
No. I don’t lick my lips and I don’t take my shirt off too often. But who knows,
for the right price? I might not have to cut my hair either, but if it’s a vested
interest and it makes sense, hey, it’s only hair. It grows back. I don’t care if I’m
an astronaut or Brad Pitt in Troy, Ferris Bueller or Forrest Gump.
You say you’re moving on to bigger and better things. We’re hearing this a
lot lately - rappers not wanting to rap anymore, or saying you shouldn’t be
rapping after a certain age. Is there some kind of unspoken rule? Artists in
other genres, for example Frankie Beverly & MAZE, still do music well into
their older years.
R&B is different. It’s melodic and soulful. Rap is about rebelliousness. You can’t
be running around like a rebellious teenager at the age of 43. You should not
aspire to want to dress like a teenager at the age of 43. Did you know Obama
and Jay-Z are the same age? (laughs)
You really enjoy doing that. Why do you talk about dude so much?
I just be having fun. We like to snap where I’m from. I didn’t say anything
wrong. Did I say anything aggressive? I’ll snap on anybody. I’d snap on you if I
knew how you looked.
I hear you talking.
I’m just playing, man.
As far as rebellious nature goes, as you get older, are you trying to get away
from that as well?
I’m in rebellious purgatory right now, if there’s such a place. I know what I need
to do, and I want to straighten up so bad, but these niggas are pissing me off.
OZONE MAG // 63
 I will kick one of these nigga’s asses. I’m stuck between a rock
and a hard place. I’ve damn sure calmed down a little bit, for
the most part. Because there are people that have stepped out
of line that I just wanna, oooooh. But, that’s neither here nor
there. I’m trying to give my brand a facelift. I’m trying to give my
brand gentrification. (laughs)

On your DVD’s or even on other people’s DVD interviews with

you, you seem to run into trouble all the time. Does it feel like
the police are following you?
Well, I haven’t been the best student in the class. I didn’t grew
up as an angel. Since I’ve gotten the notoriety we’ve gotten a
little wilder. We did some things we weren’t supposed to and
some people didn’t appreciate that, so they’re like, “We need to
monitor his actions.” So it’s like, shit, what can I do? But what I
don’t like is how they have us looking like we’re mob bosses or
something. These are legitimate businesses we’re running. So
for them to have a “Hip Hop police” or special force for the Hip
Hop generation, it’s like, wow. They didn’t have that for the rock
& roll or country [music] generation. But you know, I play the
game. I’ll keep it fair. You be respectful, and I’ll be respectful.

As far as conflicts and rebellion, at least you’re going up the

totem pole. We used to hear about you beefing with Tony
Yayo, and now we hear about you getting into it with Ne-Yo
at Louie Vutton stores.
Aw, that’s totally wrong. Shouts out to Ne-Yo. I never touched
Ne-Yo and nothing happened. I saw Ne-Yo in the store shop-
ping, nothing happened. Shouts out to Ne-Yo, I need you to
come do a hook for me. Nothing happened. That’s as serious as
I can tell you. If they got cameras you’ll see [that] nothing hap-
pened. You know how fast rumors fly.

Speaking of rumors, what’s the latest with Dip Set?

It’s still me, Cam, Juelz, Zeek as Dips as a whole. Me Zeek and
Juelz have been doing music, holding it down. We’re about
to do SS7, that’s a big bird that flies high. We gained so much
notoriety that we’re able to do our own endeavors and we still
have a strong brotherhood among anything else. Who knows,
you may see something come back together.

When’s the last time you spoke to Cam?

I haven’t spoken to Cam, so I can’t tell you.

At this point, are you numb to losing the relationship y’all

once had?
I dunno, I’m just waiting for the get back, baby. I’m immune to
the bullshit. I’m a businessman, I like money.

In your ascension in the rap game, have you gained or lost

more friends?
You lose friends and make rapports after a certain age. It’s very
rare that you make friends after a certain age, but you do gain
very good rapports with people. I’ve lost a lot of friends, from
jealousy, some on my part, some maybe on their part. I’ve lost a
lot of friends along the way.

Wrapping up, I just wanted to get something cleared up.

When you said T.I.’s swag was “fabricated,” you weren’t trying
to diss him, were you?
Everybody blows things out of proportion. That was just me
doing me. Who am I to talk about somebody’s swag?

We hear that you work out a lot and you seem to be pretty
fit. How are you able to do that and still smoke weed all the
time?
I’m smoking after I work out. When I wake up, working out is
the first thing I do. No weed, no nothing. Then I smoke before I
go to sleep. If you smoke before you go to sleep, that’s actually
working your metabolism. So that’s actually an ab workout.
You can ask your doctor, but he’s not supposed to tell you that.
(laughs)

Don’t let too many people know that.

I know, right. Niggas gonna think they can smoke their life away
and get a six pack. Nah. But if you’re a person that works out
and smokes, it helps your metabolism burn while you sleep. //

64 // OZONE MAG
OZONE MAG // 65
 U
nited States Army Specialist David Willis couldn’t stop staring at his
watch. Anxiously, he was planning an escape from captivity, but the
man holding him hostage wasn’t allowing it. By the time Willis came
to the harsh conclusion that an early escape just wasn’t part of the
equation, there was nothing the 22-year-old could do except wait and pray for
freedom.
Finally, the bell rang and class was dismissed, forcing the hostile math teacher
to relinquish control of his captives until the following day. Specialist Willis
was left with only a few minutes to run from his on-base college Calculus class
to the outdoor stadium at Camp Beuhring, Kuwait, where Mississippi rapper
David Banner was set to perform.
“I had to rush out of class just to get to the concert, man. By the time I got
there, it was so many people, I had to stand all the way in the back to watch
the show,” remembers Willis. “A lot of my family is from Jackson, Mississippi, so
it kinda felt like a piece of home seeing David Banner perform.”
The United Services Organization (USO) has been bringing pieces of home to
soldiers living overseas since 1941, when Franklin D. Roosevelt founded the
organization to “provide morale and recreation services to U.S. uniformed mili-
tary personnel.” Over the years the USO has brought hundreds of celebrities
and entertainers to appear in front of the troops. Everyone from Redd Foxx to
Frank Sinatra, Marilyn Monroe to Jennifer Lopez, and even the Dallas Cowboys
cheerleaders have performed for the military men and women. Earlier this
year it was David Banner’s turn to answer the call.
The performers are recruited based on requests from the soldiers, however,
many of them decline due to personal or political impediments. Banner
almost passed on the opportunity as well.
“When the [USO] initially approached me about [performing for the troops]
I was conflicted,” he admits. “I don’t agree with the war. There’s young people
dying over there, and a large number of those people just thought they were
going to [Iraq] for a couple weeks and then [coming] back to the crib. But I
decided to go for the troops, not the government.”
Two days before he boarded the 14-hour flight for Kuwait, Banner was seques-
tered by the Government. He was in Washington, D.C., at President Obama’s
Inauguration, sitting close enough to actually see Barack without binoculars.
Surrounded by a slew of the most influential people in America, Banner was
certainly in his element. 48 hours later, while many of his fellow attendees
were still celebrating, Banner was on his way to be with the men and women
our new President is now responsible for.
“I was ten rows away from Obama during the inauguration, and three days
later I was in Kuwait and Iraq. In a week’s time I was a part of history twice,”
marvels Banner. “Regardless of whether we recognize it or not, we are all a
part of history; the question is, what role are we gonna play?”
While there, Banner did much more than just perform a few songs and sign
a few autographs. Throughout his stay he shed his celebrity status and inter-
acted with the troops as if they were old college buddies.
66 // OZONE MAG
“I really enjoyed his performance,” said US Air Force Sergeant Levona Massey,
who saw Banner perform at Joint Base Balad, Iraq. “He was extremely down
to earth and he connected well with the crowd. It wasn’t some over the top
concert; it was more like we were just chillin’ with David Banner. “
Banner even brought his own personal camera and took over 400 pictures
with the troops.
“That was the best part,” says 18-year-old Private First Class Amber Melendez,
who attended the performance at Iraq’s Cob Speicher Base. “When he came
out into the crowd and took pictures with the soldiers, that was great. You
don’t see many artists doing that.”
22-year-old Army Specialist Rejeana Dodson, who also saw Banner at Cob
Speicher, adds, “I’m sure he was tired, but it meant a lot that he was willing to
hang out and sign autographs and take pictures with everyone. I was a fan
before, but after seeing him perform I’m more likely to seek out some of his
music instead of just being a passive listener.”
Not only did Banner gain new fans and take multiple memory cards full of pic-
tures, upon returning home, he uploaded all his photos with the troops onto
his Myspace page so that the soldier’s families could see images of their loved
ones enjoying themselves and having a good time while at war.
The majority of the nearly 200,000 troops currently serving in Iraq and Kuwait
are in their 20s, which allowed Banner to connect with the crowd much more
effectively than many of the other recent USO performers.
“A lot of artists that go perform for the troops aren’t in our demo; they’re not
in our age range,” explains Banner. “They have a lot of country and rock acts
that go over to perform, but most people that are fighting this war like rap. So
for me to go over there and touch their hearts like I was able to was incredible,
and I honestly got into [rap] for that reason—to really touch people.”
Sgt Massey confirmed Banner’s statement. “I went to the USO show because
I’m a fan of rap music and it was a break from the reality of being at war. It was
exactly what I needed—a break from the reality that I’m in Iraq and if some
shit really pops off I might not see my family again.”
“I’ve been a fan of David Banner ever since he first came out with ‘Like A
Pimp,’” proclaims Specialist Willis, who is an aspiring rapper himself. “After the
concert I handed him a copy of my group’s CD. That was my most memorable
moment since I’ve been here, handing my group’s CD to a major artist. It’s not
every day someone gets the chance to hand a mainstream artist their music,
and it’s crazy because I would have never thought I would get the chance to
do that anywhere, let alone here in Kuwait. David Banner coming here was a
blessing.”
And while Banner was a blessing to the troops, he found himself equally im-
pacted. After an Army Commander shared a story detailing the consequences
that can arise from not choosing your words wisely, the outspoken rapper
pledged to be more careful.
“I have a tendency of saying fucked-up shit, and just saying whatever I feel,”
 WORDS BY ERIC PERRIN
PHOTO BY FRED GREAVES
Banner acknowledges. “But I grew really tight with one of Commanders over
there. He told me that he promised all his troops they were gonna get home.
When one of them didn’t make it, another one of his soldiers came up to him
in tears, saying, ‘I thought you said everybody was gonna make it home?’
[And] that situation taught the Commander that when you’re in a position of
power, people really depend on the words you say. You have to be very care-
ful. [He shared that with me] and it made me realize that a lot of people trust
what I say. I have a bigger responsibility than to just spew off at the mouth.”
Though the story resonated with the rapper, Banner still speaks his mind. He
prides himself on being a voice for people who aren’t able to articulate their
concerns, and even exercised this ability on stage in Iraq.
“When I got up there on the stage I said, ‘I don’t support this war, but I sup-
port you.’ A lot of them don’t agree with the war either, but they’re soldiers,
and they gotta do what they gotta do. I’m able to say things that a lot of
troops want to say, but aren’t able to. I’m not in the Army.”
And though Banner isn’t in the Army, for those four days in January it
certainly seemed like he was. During his stay, the producer turned rapper
turned actor turned activist literally lived among the troops. He rode around
in Military vehicles, flew on fighter helicopters, and even ate in the mess halls.
At night, he and his crew slept mostly on Base, not in hotels.
Banner insists he had the time of his life.
“People went out of their way to make sure I had a good time, and I was
enjoying myself so much,” he confesses. “I got to drive a damn tank, I held a
50 caliber gun; I even rode on a Blackhawk [helicopter]. A Blackhawk, man! I
saw a whole different side of the war.”
Despite the obvious dangers a trip to a war zone may present, the former
Southern University SGA President says he was never concerned about his
safety.
“It’s more dangerous in my city than in Iraq,” says the Jackson, Mississippi na-
tive. “The clubs that we go to are the same as being at war, so it’s just a part of
our life. I think we look for reasons not to do the things we’re supposed to do.”
David Banner certainly isn’t the type of person who finds reasons do avoid
doing what he believes are his responsibilities. Throughout his entire career
he has been a benevolent figure in the community, giving more than just
turkeys on Thanksgivings and toys to tots on Christmas. In 2006, Banner was
awarded
a Visionary Award by the
National Black Caucus of the State Legislature for his work
with Heal the Hood after Hurricane Katrina. In September 2007, he testified
in front of Congress at a hearing about African American media stereotypes,
and later that year he went door-to-door in his hometown passing out Christ-
mas presents to the underprivileged.
The son of the ‘Sipp has dedicated more time and personal resources to help
those in need than perhaps any other rapper, yet despite his countless contri-
butions, most of his efforts go unnoticed, much to his dismay. “I wish that we
as Americans applauded positivity as much as we do negativity,” he laments.
And it’s not that David Banner does hood deeds solely for the recognition,
but it wouldn’t bother him if the drama-fueled public would at least acknowl-
edge his acts. In fact, for his journey to Iraq and Kuwait, Banner even hired a
publicist specifically to spread the story.
“Everybody sells their blog sites, magazines, and radio talk shows on being
negative. If somebody says some negative shit everybody will be all over
that, but when I go to Iraq and do something positive, you barely hear about
it,” Banner says, frustrated. “If we put more pressure on people to do positive
things, or if we rewarded people for doing positive things, they would prob-
ably do more.“
However, he doesn’t feel it’s his duty to tell other entertainers to “Get Like Me.”
He feels they should do good deeds out of desire, not forced obligation.
“If helping people in need touches your spirit, do it, but I definitely don’t
expect everybody to do what I do. But I will say this: there are people all
over the world that need help, whether it’s in Mississippi, whether it’s in Iraq,
whether it’s in Africa, or wherever, there’s always something to do.”
Introspectively, Banner concludes, “I hate to say this, but at the end of the
day, what in the fuck are we gonna say we did with our movement? What
are we as rappers gonna say that we did with our time? Selling records and
making money, all that shit’s cool, but when the smoke clears, and people
look back, what can we honestly say our worth was? We as entertainers take
so much from people. We take, we take, we take, but what do we give back?
I want to be able to say I was a man. I want to be able to say that I affected
people, and that I helped people. Maybe one person might be touched by
something I do and feel inspired to push on another day. Just the possibility
of that happening is a blessing.” //
OZONE MAG // 67
GET W ITH
THE FL O
The entire world
has embraced
Flo-Rida’s music;
everyone except
those in the realm
of rap. Hip Hop
loyalists say he’s
become too pop,
but Flo-Rida insists
he’s still in touch
with his R.O.O.T.S.

Words by Eric Perrin

Photos by Mark Mann

68 // OZONE MAG
Flo Rida is stressed out, but he won’t admit it. He’s been on the road pretty
much non-stop since his 2008 hit “Low” topped the charts on 3 different
continents and countless countries (in the US, the ubiquitous hit nestled
at number 1 on the Billboard Hot 100 and stayed there for 10 weeks). And
while his record rapidly traveled across the world, Flo Rida was moving
even faster.
“It’s one thing to travel nationally, but I’ve been travelling internationally,”
explains the Miami rapper. “When I wake up, [people in America] might
just be going to sleep or vice-versa, so it’s hard to have the same level of
communication that I used to have. There’s only 24 hours in a day, and it’s
more important for me to get my rest than to be worried about whether or
not people back home think I’m changing just because I can’t talk to them
all the time anymore.”
Flo-Rida may not have changed all that much, but his life certainly has.
In the last 12 months Poe Boy’s pop star has toured cities he’s never even
heard of, places like Taipei City, Taiwan.
“The only time I had ever heard of Taiwan was when I looked at products
that said, ‘Made in Taiwan.’ I was like, ‘They listen to music over there?’” Flo
remembers. “We got there and my hotel was across the street from the
club. Prior to [my] show, I was getting a massage and decided to walk out-
side, [but] I had to go back in because the line was around the entire block.”
The mayhem and feverish fans extended far beyond just Taiwan. In Malay-
sia, Flo was warned that he would face the death penalty for inciting the
raucous crowd if he took off his shirt. Later, he caused a traffic jam in Paris
when a taxi driver noticed him walking down the street and abandoned his
cab in the middle of the boulevard just to run over and say, “What’s up?”
The soft spoken rapper has gone club-hopping in places like Japan with
Mariah Carey, Paris Hilton and Fergie, and he even opened the Canadian
MTV Awards by flying onto the stage from the top of a five-story building.
But today, Flo-Rida is at home in Florida - Orlando, to be exact. Although
he’s still a three hour drive away from his Carol City origins, just being in
his home state is good enough for him. Though his current single, “Right
Round” has spent three consecutive weeks atop the Billboard charts, many
of his longtime peers in the States have attempted to write him off as a
substance-acking pop star, questioning his transformation as an artist. But
Flo Rida doesn’t pay attention to the naysayers. He’s finally eating his cake
every day, and he could care less what the haters say.
The last time you to spoke to OZONE, you were telling us about the “10
Craziest Places You’ve Ever Performed.” Where have you been lately?
I just went to Abuja, Nigeria for the African MTV Awards. I opened up the
show, closed it, and presented an award.
I hear a lot of entertainers saying women from Africa are the finest women
in the world, but on the Discovery channel they don’t look that good. Hon-
estly, how do African women compare to women in America?
Aw man, [African women] really are pretty. Not all of them are, but when
we did the pre-taping of the show, the dress rehearsal and stuff, there were
all types of models and they were beautiful. During the show there were
definitely some hot girls in the audience.
Did you drink the water over there?
Oh no, I didn’t drink the water. I had to get all kinds of shots before I went
over there, and took all kinds of pills for stuff like malaria. We were touring
for a long time; we went straight from Germany and London to Africa.
You used to be homeless, right?
Actually when I was out in L.A. [I was homeless]. I took a Greyhound from
Miami to L.A., like a three-day trip, with $300. I went out there thinking that
I’d run into somebody, but I wound up living on the streets for a couple of
days. It taught me a lot, though.
How did those few homeless nights affect your mentality towards your
current triumphs?
Right now it’s just like, “Wow!” I’m living a dream. I went from dealing with
the trials and tribulations of not knowing where my next meal was going
to come from to this. I’m blessed, and it’s just from having faith and putting
God first. Now I’m blessed with a situation that can take care of [me] for the
rest of [my] life. Every time I receive an award, every time I’m nominated,
every time I gain a new fan, whether it be in the States or out of country, I
just thank God, because I come from nothing. To have just about every-
thing I want in my grasp is unbelievable.
So life as a pop star is treating you good.
I know that title comes along with [the music I do], but I just feel like I’m
regular ol’ Tramar from the hood. In terms of my music, it’s just me doing
something I love to do. When I did the song “Birthday” talking about how
everybody’s gotta eat, that’s what it was at that time. Some people love it
and some people don’t love it, but you’ve just gotta deal with that. I’m hav-
ing great, great success with the music I’m doing now.
You’ve had so much success on the billboard charts, but it seems like the
more you achieve from a pop standpoint, the less respect you get from Hip
Hop enthusiasts. People always ask, “How did this guy from making hood
songs to making pop songs?” Does that bother you at all?
Not at all, because a lot of times people who say something like that are
less fortunate, or they’re just trying to come in the door themselves. There’s
going to be haters and people who love you wherever you go. I just thank
God that I can go back to my hood and show love, and get love back.
What lane would you say your music follows, if any?
I really think I’m unorthodox, truthfully. I could do any record right now,
and people aren’t gonna say I sold out. My new album R.O.O.T.S., which is in
stores March 31st, is definitely a well-rounded album. “Right Round,” and a
few other records on the album are definitely gonna broaden my horizons
and show people that I’m well-rounded. A few of my records have that “if
you believe it, you can achieve it” theme. Those records are gonna make
people from the hood reevaluate their thoughts if they felt I don’t have
what it takes to be hood. I’m speaking from the roots: everything I’ve been
through, everything I’ve accomplished, and definitely some words of en-
couragement to hopefully inspire someone else who doesn’t have nothing.
What’s the worst part about the success you’re currently having?
I can’t say there is a worst part. I wouldn’t change anything about where I’m
at now, but certain situations can be difficult. Some people think you can
give everybody a job, you know, family members. You’ve gotta deal with
people gettin’ jealous because they feel like you’re leaving them behind.
Everybody wants to know what’s going on with you at all times.
What was it like watching Tom Cruise dance to your song during that scene
in Tropic Thunder? That was everybody’s favorite part of the movie.
Watching Tom Cruise do his thing was like, “Wow!” It just let me know
that one day it will definitely be possible to do acting, because every step
counts and it was a major step having a song in that movie.
Who do you have featured on your new album, R.O.O.T.S.?
It stands for Route Of Overcoming The Struggle. I’ve got my boy Wyclef on
there, Ne-Yo, Pleasure P, Nelly Furtado, and Akon, just to name a few.
Damn, that’s a wide range of artists. You’ve been able to create a formula
that’s like a melting pot of different sounds. Regardless, you make hits.
What’s the secret?
I just work a lot. I’m in the studio all the time. If I’m not in the studio, I’m on
the road, and when I’m overseas I might go in one of the bathrooms and
just spit it in the air to get the acoustic sound. Really, I think people are
intrigued with just having a little more of that melodic sound mixed with
different flows. I’m very picky about choosing records, so instead of just me
sitting back and picking the records, I consult with the entire Poe Boy fam-
ily and the Atlantic family, and I take a lot of criticism. Sometimes I might
spin one record nonstop for a week, maybe two weeks and no matter how
mad people around me may get, I just make sure it’s the right record.
With any type of success criticism inevitably follows, but since you’ve been
in the mainstream has there been anything someone said about you or
your music that particularly bothered you?
There’s nothing really that upset me. I just feel that in this industry you can
be up and you can be down. I don’t get into nobody’s business and I don’t
expect them to get in mine. I’m not here to promote anybody except my-
self. I don’t even get into that negativity because I feel that’s the first thing
that can really stall your career, hurt it, or kill it. I’m all for positivity.
Okay, but I’ve gotta ask, what are your thoughts on the whole 50/Ross
beef?
I know Ross, that’s my boy. I met 50; he’s cool. I think people should just
continue to make hot music and put the negativity aside because you see
what happened with Biggie and ‘Pac. It’s one thing when you’re exchang-
ing words back and forth, but when there’s a funeral involved, trust me,
everybody will change their mind. I recall going to a funeral the other day
and regardless of the differences I had with [him], just to see one of my
homeboys in a casket is an experience that makes it hard to sleep. Both
Ross and 50 are hot artists and I pray that everything works out.
OZONE MAG // 69
 OJ Da Juiceman/Othaside of
the Trap
SO ICEY/ASYLUM
Love it or hate it, OJ Da
Juiceman is the under-
ground’s reigning champ. While he isn’t saying
anything new, people love the way he says it. That
said, if there is one thing that can be said about OJ Da Juiceman’s “debut”
album Othaside of the Trap, it’s that it is an optimistic and accurate
portrayal of the lifestyle he wants to present to the people. You’re not
going to hear any struggling here as OJ’s “othaside” mainly consists of
the fruits of street labor. “I Be Trappin” and “I’m Gettin Money” state the
obvious reasons why OJ is able to afford “Old Skool Cars” and travel the
world and “kick it on resorts and islands” on “Batman.” Though backed
by a backdrop of production that neither drowns or challenges him, OJ
still manages to solidify himself as a personality you will remember and
recognize every time you hear him. Akin to MC Eiht’s trademark “cheya,”
OJ makes sure he staples his “Aye!” on the listener’s brain. Unlike his cata-
logue of mixtapes, though, there aren’t many tracks that make you want
to listen again. Outside of “Make The Trap Say Aye,” it’s hard to find a song
worth repeating. OJ is obviously saving his best product for his official
debut, set to drop later this year. - Maurice G. Garland
Pastor Troy/T.R.O.Y.
MADD Society/Money and
the Power
With countless albums in
his catalog, Pastor Troy has
proved that he can rap in his sleep. Unfortunately
at times on T.R.O.Y., it sounds like that’s exactly what
he’s doing. Sounding more like an appetizer than a full course meal, Troy
goes through the motions for the first half of the album with the only
highlight being his resurrection of Playa G’s classic beat from “Smoke
A Sac” for “Snitch.” But towards the end he manages to open things up
on songs like the Jackson 5-sampling “On The Top.” Known for wearing
emotions on his sleeve, Troy exposes his vulnerable side on relationship-
centered songs like “Can’t Be Her Man” and “Textin’.” Instead of being an
all-out assault, T.R.O.Y. sounds more like Troy is sharpening his sword for
his next attack. - Maurice G. Garland
Project Pat/Real Recognize
Real
Hypnotize Minds/Asylum
Hypnotize Minds artist
Project Pat returns with his
seventh album Real Recognize Real. Pat keeps it all the
way hood with this album, but he probably wouldn’t
have it any other way. “Keep It Hood” is a standout track with the street’s
hottest up-and-comer OJ Da Juice hopping on. “I Be Fresh” is a perfect
track to bump after leaving the mall on a Saturday afternoon. But Pat falls
short on this album, as Hypnotize’s signature eerie production sounds
more like a theme for a scary movies. I guess DJ Paul and Juicy J were
busy trying to score more movies and handed some leftover beats off to
Pat. - Jee’Van Brown
8Ball/Memphis All Stars
8 Ways
Southern rap pioneer 8Ball,
uses his latest project to put
on for his city of Memphis,
Tennessee. With features from artists like Yo Gotti,
Gangsta Boo, La Chat, Skinny Pimp, MJG and many
more, Memphis All Stars features some of the best rappers from Memphis
to ever touch the mic. This album has a ton of standout tracks like “Gang-
sta Luv,”“Getting It In,”“Dollaz” and “This Ain’t,” but some cuts suffer from
the sheer number of guest appearances,. A few the featured artists lack
the ability to hang with Ball on a track. - Randy Roper
70 // OZONE MAG
Lil Scrappy & G’s Up/Silence &
Secrecy: Black Rag Gang
Good Hands/ G$’s Up
In Hip Hop, it seems that it’s a
requirement for every rapper
to put on his homeboys after he gets on. This Lil Scrappy
release, Silence & Secrecy, is that project where Scrap
looks to introduce fans to his G’s Up click, Vet and Pooh Baby. Scrappy’s
two partners are decent rappers, at best, and they do a respectable job of
standing out from their already established front man. Silence & Secrecy
isn’t anything that you haven’t heard before, but there are a few tracks like
“Cell Phone Watch,”“Damn,” and “Yummy Yum” that are worth checking out.
- Randy Roper
Lord Infamous/The Clickhouse
Click: Life After Sics
Oarfin Distribution
Life After Sics is Lord Infamous’
third album, and the second
since the former Three Six Mafia member left Hypnotized
Minds. On this album, Infamous teams up with Memphis
rapper and Da Crime Click representer, II Tone, who appears on 8 of the
album’s 16 tracks. But it’s hard to figure out what II Tone has added to the
album. The album’s strongest points comes from Lord Infamous and his
guest rappers’ rapid-fire rap style, but their lyrical content leaves much to be
desired. In terms of quality of music, Infamous’ life with Three Six might have
been a little better. - Randy Roper
Bobby Valentino/The Rebirth
EMI/Blu Kolla Dreams
After leaving DTP, Bobby Valen-
tino is back in full force with a
new label situation and a new
album appropriately titled The Rebirth. Bobby breaks any
mold that he may have cast himself in for the past few al-
bums, flexing his vocal muscle without letting the melodies miss a note. The
album is carried mostly by Bobby himself, with very few other artists stealing
precious seconds of song from the crooner. The Rebirth is Bobby’s most free,
explorative, and consequently, best work to date. - Rohit Loomba
Ryan Leslie/Ryan Leslie
NextSelection/Casablanca/
Universal Motown
A breath of fresh air is the best
way to describe Ryan Leslie’s
new self-titled album. The producer turned singer/rapper
stands out from the average R&B singer. His self-titled de-
but album is driven by sensual synthesizers, giving some tracks a mellow Hip
Hop aura. Just in time for Valentine’s Day Leslie’s track “Valentine” expresses
his love for his significant other, even though they’re not a couple. And on
“Diamond Girl” and “Addiction,” Leslie proves he can hold down a notable
16 bars. Anyone tired of whiny, string-driven R&B singers will appreciate this
album. - Jee’Van Brown

DJ Infamous, Young Dro &
Yung LA/Black Boy, White
Boy
Grand Hustle partners
Young Dro and Yung LA team up to give you some of
the smoothest futuristic rhymes from the South. Af-
ter killing their verses on “Ain’t I” the duo keeps it coming with multiple
tracks such as “Shower,”“Blessing” where Yung LA thanks the man above,
and “Rats,” a blingin’ hood anthem. But some tracks may be too far out
into space for the average music listener, causing the mixtape to fall
short. - Jee’Van Brown
Drake/So Far Gone
So Far Gone is the third of-
ficial mixtape release from
Canadian actor-turned-
rapper/singer Drake. Whether he’s holding his own
with an underground king on “Uptown” featuring
Bun B, matching Lil Wayne line-for-line on records like “Successful”
(which also features Trey Songz) and “Unstoppable,” or singing duets
with R&B vets on tracks like “A Night Off” with Lloyd and “Bria’s Interlude,”
along with Omarion, the Young Money affiliate showcases a versatil-
ity and poise that is virtually unmatched by today’s newcomers. So Far
Gone is a mixtape that’s better than most albums, and instantaneously
puts Drake’s name in the forefront of Rookie of the Year conversations.
—Randy Roper
Don Cannon & Mack
Maine/This Is Just A
Mixtape Volume 1
Even with all the tremen-
dous success Lil Wayne is experiencing right now, the
general is making sure that all his troops are making
big moves individually as well. Mack Maine takes up arms alongside
Don Cannon for This is Just a Mixtape. Mack’s delivery is on-point
throughout and a noteworthy bar or two are spread throughout the
mixtape. More importantly, Mack remains consistent from start to finish,
waving the Young Money flag proudly. This isn’t just a mixtape, this is a
good mixtape. - Rohit Loomba
Stat Quo/QuoCity
Stat Quo takes us all on
a trip to QuoCity, a world
filled with witty lyricism
that rides waves of solid production. QuoCity may
not have any of the hundreds of Dr. Dre tracks
that Stat has in the vaults but this mixtape still shines. The production
here will give New Yorkers, West Coasters, and Southerners all a little
something to feel at home and helps Quo show off his abilities in all Hip
Hop realms. All in all, QuoCity is growing quickly as the mayor pushes for
even more progress. - Rohit Loomba
La the Darkman & DJ Drama/
Living Notoriously
With LA the Darkman showing
up on pretty much every Gangsta
Grillz, you’d have to be under a
mountain or two to not to have heard a LA verse. But for
those few who somehow have managed to remain unex-
posed, there is now Living Notoriously, an LA edition of Gangsta Grillz. While
LA has his shining moments on tracks like “Black James Bond,” he does little
to prove why he should be called up to the album league from the mixtape
league. - Rohit Loomba
Tity Boi/Trap-A-Velli
Despite the diamond-encrusted
chain hanging around his neck,
Tity Boi shows no signs of taking
off anytime soon. The Tity half
of Playaz Circle brings a weak offering on Trap-A-Velli, not
giving much in terms of lyrics or delivery. While a few tracks
may make your head bob a little, there will be many more that will mysterious-
ly relocate your finger to the skip button. With more potential than he displays
on this tape, Tity needs to bring his best on the next. - Rohit Loomba
Don Cannon & Juice/Position Of
Power
Arizona’s Hip Hop representative,
Juice, is back at it again and this
time he’s riding with none other
than Don Cannon. Juice stays consistent with Position of
Power, a mixtape where he lets everyone know that all is
still well within the Black Wall Street family and that he’s now partnered up
with Amar’e Stoudemaire. Position of Power shows that a mixtape with Juice is
fully fortified with all the lyrical vitamins you need. - Rohit Loomba
Birmingham J & DJ Serious/I’m
The Shit Period
Some people may remember Bir-
mingham J from his appearances
in OZONE way back when, and
yes, he’s is still at it. But while I’m The Shit Period has a good
collection of bass-pounding production, listening to him
rap over these beats is as uncomfortable as a prostate examination. Not even
guest spots from T-Pain, Bobby Valentino and Attitude could save this mixtape
from coaster status. But at least the beats bang. - Randy Roper
U-N-I & Mick Boogie/Before
There Was Love
Saying that Thurzday and Y-O,
better known as U-N-I, are a
breath of fresh air may be cliché,
but after listening to this mixtape, there isn’t a better way to
describe the Cali rap duo’s music. Along with Mick Boogie,
they’ve put together a mixtape that displays their lyricism, creativity, and
innovation. Before There Was Love is both a glimpse of the feel good days of
Hip Hop and a New School twist. Listeners will fall in love with songs like “Cali
Soul,”“Beautiful Day (Remix),”“Yesterday” and numerous others. Emcees like
Talib Kweli, Rapper Big Pooh, Black Milk, Evidence, and Mickey Factz also make
appearances, adding to U-N-I’s lyrical exhibition. - Randy Roper
DJ Scream & Joe Gutta/Grind
Hard
Winner of the OZONE mix-
tape contest with DJ Ace, Joe
Gutta excels in both delivery
and presentation on Grind Hard. The project opens with an
attention-grabbing anthem for money-getters everywhere
on “Grind Hard.” The young Atlanta rapper continues to impress with tracks like
“Stay Down,”“Let’s Go Remix,” and “Dat Bitch,” all featuring Grand Hustle’s JR
Get Money. The production and lyrical content leave a little more to be desired
in the variety category, but all-in-all, Grind Hard is a solid offering for diehard
Southern rap fans. - Ms. Rivercity
OZONE MAG // 71
 Industry 101
Yancey
Richardson
As the Southeastern Regional
Promotions Manager FOR Atlantic
Records Special Ops, Yancey Rich-
ardson handles promotions in
the Dirty, Dirty for Yung Joc, Plies,
Diddy, Lil’ Boosie, Webbie, Gorilla
Zoe, and MANY OTHERS. OZONE poli-
ticked with the marketing guru
from OAKLAND, and discussed the
nature of his daily operations, the
pressures of the industry on his
specific field and the science to
getting the heat to the streets.
How did you get your start in the industry?
It’s actually a long story, but I am from Oakland
and went to the same High School as Dewayne
Wiggins from Tony Toni Tone. I linked up with
him and he gave me my first internship right
around the time he got Destiny’s Child signed. A
few years ago I was on an Internet reality show
called “The Biz,” which aired on AOL. It was a joint
venture between Lyor Cohen, Kevin Liles, AOL,
and Warner Music Group.
Did you win?
Nah, not really. I got second place on the show.
Shortly after the show wrapped, I got a call from
Azim Rashid inviting me to meet him in LA. I
interviewed with Azim and a week later with
the late Ronnie Johnson and they offered me a
position working with them. Azim asked me if I’d
be willing to relocate, and before my mind could
tell my mouth “no,” I said “yes.” Next thing I know
I was being shipped out to Miami. They gave
me my first real start in the industry and have
remained strong mentors in my career.
What were you doing before music?
I was in finance and managed two mortgage
branches.
Wow. That’s a big jump my, man. So which
areas are under your region?
Georgia, Tennessee, Alabama, and Florida.
That’s a wide area. Do you only deal with Hip
Hop?
Not at all. I am responsible for Urban, Rhythmic
and some Urban Adult Contemporary for the
region.
Which artists do you cover for the label?
Man, I have a lot of artists but just to name a few:
Diddy, Plies, Gucci Mane, Gorilla Zoe, Lil’ Boosie,
Pleasure P, Webbie, and Maino.
72 // OZONE MAG
What do your direct responsibilities with those
artists involve?
My job is to look at the market and find ways
that the label can capitalize in my particular re-
gion. I’m not a road manager but I schedule out
an artist’s day while they’re in my region. That
could mean setting up radio station interviews
and on-air promotions, in-store CD signings,
promotional tours, blogger meet and greets,
anything that keeps them visible and fresh in my
area and would make radio remember them and
want to play their records. I do whatever needs
to be done.
After being involved in a totally unrelated
industry do you see much of a difference in
marketing music compared to other products
or services?
I really don’t look at it that way. I generally break
things down to the natural principle behind it.
Music is no different than anything else; it’s all
about supply and demand and relationships. All I
have to do is give people what they want. There’s
always a different way to do things in business,
but when you break it down to it’s basic form,
it’s simple.
How much of a budget do you receive per
artist? Does a more popular artist get a bigger
budget than a new artist who needs that push?
Great question! How do I answer this safely?
Each artist is given a budget that makes sense
for what they need in that particular region.
Budgets are specifically designed for each artist
and what they are trying to do.
Good answer. Do you work more closely with
the A&R, or with an artist and their manage-
ment directly?
Because I live in the major music hub of Atlanta,
it’s a bit different for me. A lot of artists live in my
region, so it’s not uncommon for the artists, their
management or A&Rs, to call me directly. But I
personally report to the Sr. Vice President and VP
of my division, Azim Rashid and James Brown.
What is the hardest part of your job?
Being treated fairly is definitely the hardest part
of my job. Relationships are such a huge part of
this game that even when you get in, “breaking
in” is still difficult. The biggest key is allowing a
relationship to grow and develop. You’ve got to
have the ability to know when to back off and
let a person decide if they can work with you. It’s
not easy getting a fair shot with Radio Program
Directors, not because they are evil but because
there aren’t many open slots for new music and
there is huge competition to fill those slots. Def
Jam sends a box every other week with at least
four new songs to be played, and that’s just [one
label]. You can only imagine how many records
the other labels are sending, and on top of that
you’ve got independent artists trying to get time
on air. It’s like playing musical chairs with forty
people and four chairs.
Are there any new technologies you are using
to help market your artists?
Yeah, I partnered with a media team called Mo-
tion Family and we’ve created a website called
Theradioinc.com. I wanted to find a new way
to get my message across to the radio Program
Directors. I would send emails of my artist’s
pictures and songs that would eventually clog
up their email boxes, so I designed a way to get
that information to them without being intru-
sive. I started sending video messages through
YouTube to the PDs instead of emails and they
responded well to my efforts. I try to stay innova-
tive with the way I communicate and work.
That’s genius!
It’s my job to know what’s hot and get it to the
people. I just consider it part of the job to be
fresh. //
Words by Jared Anderson
Photo by Diwang Valdez
 Eighty81.com &
Don Cannon
“Cool Guys Always Finish First”
1. DJ Chuck T “Down South Slangin’ 56” www.djchuckt.com
While we can’t cosign all the artists on this
2. DJ Scream & MLK “Saks Fifth Series: Louis Vuitton Edition” www.myspace.com/4045405000
mixtape being the coolest, Cool Guys Always
3. DJ Plus “American Express: Expensive Taste” www.myspace.com/djplusm
usic Finish First has a collection of dope tracks from
4. DJ Headbussa “Supply & Demand: Volume 10” Hosted by Project Pat www.myspace.com/djheadbussa underground favorites like Little Brother (“Let’s
5. Sam King “Respect & Honor” www.myspace.com/samkingatl Get Away”), Currensy (“Rooftop”), Naledge
(“Underground Kings”) and Pacific Division
6. DJ Furious Styles & DJ 2Mello “Shine R&B” Hosted by Pharrell & Rock City www.myspace.com/djfuriousstyles (“Lets Go”). This mixtape, spearheaded by
7. DJ Raze One “Return of the Hustle Volume 5” Hosted by Roccett Eight81.com and quarterbacked by Don
Cannon, is one for all the cool kids. And if after
8. DJ Drizzle & Swag Inc “Drizzle Mix Volume 14” www.myspace.com/djdrizzle
listening to this one, if you don’t like it, you’re
9. DJ Shure Shot “Durty South Shootout 4” Hosted by Soundchild Crew probably not that cool.
10. Black Bill Gates “King Shit Radio 5: Valentine’s Day Massacre” www.myspace.com/theblackbillgates
11. DJ Ktone “Playa’s Glide 7” www.myspace.com/djktonedotcom
DJs, send your mix CDs (with a cover) for
12. DJ Delz “Street Soldiers” www.myspace.com/djdelz consideration to:
13. DJ Effect “Welcome Back” Hosted by MQ Beatz www.myspace.com/djeffectsc
OZONE Magazine
14. DJ Scope “Street Certified 46” www.myspace.com/infrareddjscope 644 Antone St. Suite 6
15. DJ Leezy “Tote Tha City 3” www.myspace.com/djleezy352 Atlanta, GA 30318
16. Ill Fat “Coast 2 Coast 66” Hosted by E. Ness www.coast2coastmixtapes.com
17. Legend, DJ Nice & DJ Green Lantern “Back To The Basics 2: The Resurrection” www.onsmash.com
18. Demolition Men “One West Vol. One” Hosted by Glasses Malone www.myspace.com/demolitionmenmusic
19. DJ Bobby Black & Rebel Musik “The Definition of a Rebel” www.myspace.com
/djbobbyblack
20. E-Top “Get Ya Game Up 13” www.myspace.com/etopent
OZONE MAG // 73
 endzone

50 Cent
Event: Bay Bay’s birthday
Venue: Kokopellis
City: Shreveport, LA
Date: March 6th, 2009
Photo: Eric Perrin

74 // OZONE MAG
OZONE MAG // 75
 YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE

MIMS
GUILTY UNTIL
PROVEN T CHRIS
INNOCEN BROWN
& RIHANNA:
JO N ES
JIM JUICEMAN
SIDEKICK
HACKIN’

OJ DA T-PAIN’s DAD
FLO RIDA BLASTS
BUN B AKON
DAV ERID
BANN

76 // OZONE MAG