YOUR FAVORITE RAPPER’S FAVORITE MAGAZINE

B.o.B.
GVFINRTEHSEH
LIL JON
IYAZ
DE
DUDE

MYSTIKAL
RR E N$Y
CUSSY MARV
OI
ME

BIG B
OZONE MAG // 1
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 PUBLISHER/EDITOR-IN-CHIEF // Julia Beverly
MUSIC EDITOR // Randy Roper
ASSOCIATE EDITOR // Maurice G. Garland
GRAPHIC DESIGNER // David KA
features
ADVERTISING SALES // Che Johnson, Gary Archer
58 DEEPER THAN RAP

interviews
PROMOTIONS DIRECTOR // Malik Abdul
SPECIAL EDITION EDITOR // Jen McKinnon
WEST COAST EDITOR-AT-LARGE // D-Ray
50-51 B.O.B.
LEGAL CONSULTANT // Kyle P. King, P.A.
SUBSCRIPTIONS MANAGER // Adero Dawson
44-45 CURREN$Y
ADMINISTRATIVE // Kisha Smith
60 DEVIN THE DUDE
INTERNS // Devon Buckner, Jee’Van Brown, Ms Ja
W16-19 FREEWAY RICKY ROSS
CONTRIBUTORS // Anthony Roberts, Blogxilla, Bogan, Camilo
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Perrin, E-Z Cutt, Gary Archer, Hannibal Matthews, Jacquie 52-53 MYSTIKAL
Holmes, J Lash, Jason Cordes, Jelani Harper, Joey Colombo,
Johnny Louis, Kay Newell, Keadron Smith, Keita Jones, Keith
49 TONY NEAL
Kennedy, K.G. Mosley, King Yella, Luis Santana, Luvva J, 56 WIZ KHALIFA
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STREET REPS // 3rd Leg Greg, Adam Murphy, Alex Marin,

Al-My-T, Ant Wright, Anthony Deavers, Baydilla, Benz, Big Brd,
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monthly sections
Brandon “Silkk” Frazier, Brian Eady, Buggah D. Govanah (On 11 10 THINGS I’M HATIN’ ON
Point), Bull, C Rola, Cartel, Cedric Walker, Cece Collier, Chad
Joseph, Charles Brown, Chill, Chuck T, Christian Flores, Clifton
43 BOARD GAME
Sims, Dee1, Demolition Men, DJ Commando, Danielle Scott, 65 CAFFEINE SUBSTITUTES
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10 FEEDBACK
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11 JB’S 2 CENTS
pio, Seneca, Shauntae Hill, Sherita Saulsberry, Silva Reeves, 14 MATHEMATICS
Sir Thurl, DJ Skee, Sly Boogy, Southpaw, Spade Spot, Stax,
DJ Strong, Sweetback, Syd Robertson, Teddy T, TJ’s DJ’s, Tim
16 NAMES OF SHAME
Brown, Tonio, Tony Rudd, Tre Dubb, Tril Wil, Trina Edwards, 26-34 PATIENTLY WAITING
Troy Kyles, Twin, Vicious, Victor Walker, DJ Vlad, Voodoo, DJ
Warrior, White Boi Pizal, Wild Billo, Will Hustle, William Major, 15-37 PHOTO GALLERIES
Wu Chang, Young Harlem, Yung DVS, Zack Cimini 12-13 RAPQUEST
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COVER CREDITS // Big Boi photo by Diwang Valdez; G Fresh
photo by Julia Beverly; Tony Neal photo by Ms. Rivercity.

DISCLAIMER // OZONE Magazine is published 11 times per cover stories

40-42 BIG BOI
year by OZONE Magazine, Inc. OZONE does not take respon-
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cal errors, or misprints. The views contained herein do not
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Ads appearing in this magazine are not an endorsement 46-48 G FRESH
W14-15 NEW MONEY
or validation by OZONE Magazine for products or services
offered. All photos and illustrations are copyrighted by their
respective artists. All other content is copyright 2010 OZONE
Magazine, all rights reserved. No portion of this magazine
may be reproduced in any way without the written consent
of the publisher. Printed in the USA.

8 // OZONE MAG
OZONE MAG // 9
 Send your comments to feedback@ozonemag.com
JB, your article on Gucci Mane’s management was a well-written and fair
and balanced piece of work. At a time when the bar for Hip Hop journal-
ism has been reduced to a bunch of self-proclaimed “Hip Hop writers” who
are just glorified bloggers with delusions of grandeur, it was refreshing to
see someone actually do the due diligence and write a good piece. To be
honest, I had you pegged for one of those “industry types” who just wanted
to be in and around the game for status or whatever reason. Now, I must
apologize for being so presumptuous. You showed me that you put in hard
work just as I do and I have to give much respect for that. In an industry full
of people who don’t want to work, you showed me that you are about your
business.
- BJ Wheeler, via email
I read your article about So Icey. I’m sure this isn’t on the scale of fraud that
you are researching, but I manage a producer who has submitted tracks to
So Icey for Gucci. Since they were submitted, several of those tracks have
been released on Waka Flocka and Gucci’s mixtapes. So Icey’s in-house
producer has tried to mute out my producer’s tags in the beginning of the
tracks and calling them his own. Gotta love shady business.
- Evan Rosin-Pritchard, via email
JB, I’m not part of your primary demographic. I’m into jazz and older forms
of rap. Anyway, I ran into your bio quite by accident on twitter. You’re quite
an interesting young person and I wish you well. You’ve embarked on a
journey into a world that most would not view as most comfortable for
you. You’re navigating the waters well and proving your detractors wrong.
Good for you! About some of the hateful things that have been said, some
of these men are using defense tactics to cover the fact that they’re inter-
ested in you. Keep up the good work and let the haters do what they do
best. In the meantime, you’ve got a magazine to run!
- Richard Williams, via email
I was reading the new edition of OZONE and I saw that a fan wrote in and
asked about labels that signed deals and disappeared. I feel like the story
of T-Town and DSR is newsworthy, even though it’s like opening a can of
worms. After six years of passing out flyers ,hitting the road, lugging tools
and working my way up to management at T-Town, til this day I’ve never
just asked, “What the fuck happened?” Me personally, I’ve moved on. But I
busted my ass to blow up the “Not a Stain On Me” record with Big Tuck and
Fat B with a lot of industry assistance. I even had major labels considering
re-signing the company, which basically redeemed me in the eyes of the
industry and many major label execs. I was promoted to label manager of
T-Town in the middle of the process of signing a deal, but I was in a helpless
situation. You can’t sail a ship that’s already sinking. I took the proceeds
from the “Not a Stain On Me” project and me and George’s former partner
Trini started MPR Entertainment: Money, Power, Respect, which is stronger
than ever. Our buzz with Fab B is bananas because he was signed to T-Town
and was able to get some label support. He was part of DSR but the big
budget never made it his way. This has given me the opportunity to start
10 // OZONE MAG
www.myspace.com/ozonemagazine
www.twitter.com/ozonemag
with a clean slate and re-brand and sell him under a new imprint, but still
be able to keep his monstrous fan base and continue to move forward. -
Paco, via email (Dallas, TX)
I’m a Hip Hop head/producer/journalist/DJ here in France and you put
me on for an article about French rap on OZONE’s website back then. Just
wanted to say that I appreciate what you’re trying to bring with the maga-
zine. It’s more than just music and hype. That’s where I’m at right now per-
sonally, a Hip Hop/hood guy finding out how much bullshit I’ve grown up
with. I see you trying to show your readers it ain’t all about money, power,
and respect. I always felt like OZONE, the title, speaks for itself. It’s about air
and life. It’s more than just music and lights. Continue speaking your mind!
It’s been so hard for me to do it out here.
- Joy Stik, via Facebook (France)
I just finished reading JB’s 2 Cents in Issue #81. Great article. I really enjoyed
the article and its focus on overcoming fear. My favorite part is pushing
yourself as if you’re training for a marathon. Step it up and the results are
inevitable. Thanks for an interesting read.
- E Collins, via email
JB, your name came up in a conversation, and this person spoke so rever-
ently about you as an entrepreneur that I was impressed from afar. Then I
read your article Scam Afta Scam. The way you took Johnnie [Cabbell] to
task about his business dealings was worthy of not only a Hood Pulitzer but
a real Pulitzer! It was like a good book; a real page turner!
- Stephen Carter, via email (Atlanta, GA)
JB, your Scam Afta Scam article was very well-written. So many emotions
were running through me as I read it (I’m a retired promoter, and my com-
pany has done every artist under the sun except for Gucci Mane). I usually
don’t type these kinds of ‘feedback’ emails, but I really was impressed with
your article because I too am a fellow journalist. So I take writing to heart.
I felt your reporting on the situation was done well, and it was actually
the first time I’ve ever read OZONE Magazine. The reason I got emotional
while reading your article is because there were so many personal friends
mentioned in your story who were hurt by this situation. It brought back
memories of how many people in your article had to grind to get to the
point they’re at today, only to have one group of people fuck up their repu-
tations. I also enjoyed your newest interview with Lil Wayne in the annual
sex issue. The comments about Lil Wayne saying he needed to be #1 or #2
in his kids’ life were intriguing. That was a profound comment coming from
him. So many times we as fans misjudge an artist based on what we see on
television or read in a magazine. But your article portrayed him in a differ-
ent light. I’ve heard a lot of good things about you over the years and truly
respect your tenacity to produce OZONE and still have it standing when so
many of your competitors have fallen to the side. Keep up the great work.
- Charlie Chase, via email (Dominican Republic)

10THINGS I’M
HATIN’ON
by @Eleven8
1. KAT STACKS
How is it possible that a creature resembling
a mole rat, with a voice like a police siren
and bangs hanging down to the nostrils,
gets more tail than a barnyard?
2. Nicki Minaj’s Wigs
I love Nicki Minaj, but her wigs are some-
thing out of this world! I swear, everytime
I see her on 106th & Park she has another
fried, dyed, and blow dried animal on her
head. I don’t remember Barbie looking like a
cosmic crackhead when I was younger.
3. Drake’s Right Arm
Drake is a great guy who makes great music,
but when you see him perform that damn
right arm is such a distraction. Drake’s right
arm is more hype than he is. It’s like his hype
man, always jumping around the stage.
4. Kanye West’s hiatus
We need some new music, a new album,
anything! I know greatness takes time, but
I’ve been impatiently waiting for years and I
can only survive on features for so long.
5. Shyne’s Comeback
I loved Shyne....in the 90s. Since he’s been
locked away for a decade it seems his
rhymes are stuck in the 90s. Even Mystikal is
having better luck at a comeback.
6. Lil Wayne’s Baby Mamas
How many young women has Weezy
impregnated? I lost count at around 12.
Seriously, we all know how babies are made
at this point, so why are so many chicks get-
ting pregnant by the SAME GUY!?
7. Dr. Dre
I have been through rehab, relapses, and
rehab again and still haven’t heard one
single from Detox. It’s nothing but a hoax,
like Bigfoot and Tupac’s death.
8. Ray J
I’m hating on the fact that this young man
is still on my television screen. I made it
through two seasons of him pretending to
look for love when he was really looking for
some tail (and a check). Now I have to en-
dure another season of the whole Norwood
family on VH1?
9. The Basketball Wives
Only one of these chicks is a wife and the
others are rejects. Then they have the nerve
to hate on groupies.
10. Fabolous
If you follow Fabolous on Twitter you’d think
he didn’t have anything to do with his time
but create dumb trending topics and go in
on people who are obviously not online.
Shouldn’t he be out promoting Loso’s Way?
Omega Red (center) flew
me (left), Mecca (right), & a
bunch of media folks out
to Puerto Rico....
MAURICE GARLAND
...where me, Chuck (left),
& Maurice (right) drove
4wheelers to the river...
MAURICE GARLAND
...and painted our faces
to become part of the
Kabalinati Tribe
I spent my birthday
skydiving...you should try it!
In ATL with Cam’ron &
Angela Yee
B.o.B. f/ T.I. & Playboy Tre “Bet I Bust”
B.o.B. f/ Hayley Williams “Airplanes”
Da Boi Boi YG f/ Lil Brod – “My Hood Up”
Big K.R.I.T. f/ Curren$y & Smoke DZA – “No Wheaties”
Smoke DZA f/ Devin, Curren$y, Asher Roth, June Summers – “Marley & Me”
Curren$y f/ Stalley “Address”
Erykah Badu “Window Seat”
JB’s 2cents
The funniest thing about the entertainment business is the people in the
game who have delusions of their own grandeur. But the saddest thing is
all the people trying to get in it who think there’s real money to be made
here. I supposed there is, if you happen to be one of the 1% who succeeds,
but it’s become so ridiculous that “oversaturated” is an understatement.
The fact is, we can’t all be rappers, producers, singers, models, or “media.”
It’s not as easy as you think, and it takes a certain type of person to really
live this lifestyle and be able to support yourself without the security of a bi-
weekly paycheck.
I’ve been traveling a lot this year overseas and the most refreshing thing about
the international shows is the fact that people are just fans. You don’t see too
much of that in the States anymore; everybody’s got a motive for wanting to
meet their favorite rapper. Everybody’s trying to pass them a demo or take their
picture or interview them on a Flip cam for their blog or get signed to their label
or borrow a few dollars. Don’t get me wrong, I never knock the hustle, but like I
said - everyone isn’t cut out for this. Some people should just be fans.
I went on a book-buying spree not too long ago, mostly because I had a huge
bookcase to fill up, but also because I enjoy reading about all kinds of topics.
Even though I haven’t had time to read them all yet, I like to imagine that just by
them being in my house I absorb some sort of knowledge from them. Anyway,
one of the books I did read is called Waiter Rant. It’s basically a waiter bitching
about being a waiter, the same way people in the entertainment business bitch
about our jobs (and everyone else about their jobs, for that matter). Overall it
wasn’t my favorite book but there was one section that stood out so much I
passed it along to Wendy Day because it’s perfect for OZONE’s Mathematics col-
umn. The author’s main point was that the way waiters (or rappers, or hustlers,
etc.) make their money is similar to gambling. It’s not really the money that we
make, it’s the way we make it. Dry days or dry weeks or even months or years of
struggle, all with the hope of a big payoff one day. And when you do get a big
chunk of change all at once, the impulse is to spend it the same way - all at once.
Do all the losses - and all the time you’ve put in - justify the few wins?
But with that said - fuck your day job. Go for your dreams. But make sure they’re
your dreams. Don’t just aspire to become a rapper or an actor or a model because
that’s what everyone else is doing. Be more creative than that; be cutting edge.
Invent your own path. When I was 19, I started taking pictures at nightclubs and
concerts because (a) I wanted a job where I could wear jeans and sneakers to
work and (b) I learned that free food is available backstage at concerts. Okay, I’m
semi-joking - mainly, it was because I loved the music and capturing the energy
of an artist interacting with the crowd. But at the time, hardly anyone else was
doing it. I never imagined that 10 years later the path would have taken me
all over the world to some incredible places as a magazine editor, award show
producer, tour videographer, booking agent, and all the million other things that
I do. In case you don’t follow me on Twitter (@JuliaBeverly) it’s a running joke that
when folks ask me what I do, I invent creative job titles. But it’s true; I never turn
down a new opportunity. Today, everybody is a club photographer, and it ruins
the fun for me. I want to break new ground, and the only way you can do that is
by trying new things. Do you, not what everyone else is doing.
When it comes to the music, I’m not feeling inspired by most of this new shit I’m
hearing. Of course, the “is Hip Hop dead?” question is cliche by now, but I was
scrolling through some rock radio stations the other day when the answer hit
me. The biggest thing Hip Hop has lost is its subtlety. Good rock lyrics sound like
they mean something deep and complex, but you aren’t quite sure what - so
you’re left to wonder. Good Hip Hop lyrics are the same way - think Kid Cudi’s
“Day N Nite” or Kanye’s “Heartless.” Make me think a little - enough with booty-
shaking stripper anthems and bragging about how much money you have. :)
- Julia Beverly, jb@ozonemag.com
Roscoe Dash “Show Out”
RE’Splaylist
randy.roper@ozonemag.com
Jeezy “Mama Told Me”
Drake “Over”
Wiz Khalifa “B.A.R.”
Dom Kennedy “1997”
OZONE MAG // 11
 AUSTIN, TX:
NiceKicks.com had their retail store grand opening off the drag downtown.
Bun B, DJ Clark Kent, DJ Mike Swing and DJ Kurupt all took part in the open-
ing festivities. Common came though Georgetown for a show at Southwest-
ern University. The Cool Kids performed a Huston-Tillotson Homecoming
Party at The Mohawk. 2010 SXSW music festival update coming soon.
- O.G. of Luxury Mindz (www.luxurymindz.com)
BAY ST. LOUIS, MS:
Guitars & Cadillacs played host to Bone Thugs N Harmony, and man, what
a mess that was. The group was fighting amongst themselves and Bizzy
Bone performed by himself for a few minutes before Lazy Bone came and
unplugged everything. In other news, Juvenile and his producer went to jail
for possession of marijuana. Welcome home Mystikal. If you missed the return
of the big dog, you missed a good one.
- DJ Deliyte (unodasound@yahoo.com)
BIRMINGHAM, AL:
It was a pretty good month around the city with J. Holiday coming to Club
Asia, and Charlie Wilson and Ginuwine coming to P.H. Lounge. The V.S. Lounge
was busy with Street Talk Magazine coming through for their event. Master-
Mindz also held their open mic and beat battle which turned out great. The
event also had performances by Big Chuck Ent., Kuntraversy of Murc Camp,
plus many more of the city’s favorite artists. Murc Heist also dropped Some
Kin 2 the Streets. Eskimo Joe dropped L.L. Cool Joe digitally. Minthol Kings
dropped new mixtape as well.
- K. Bibbs (AllOrNothingPromo@hotmail.com)
CHICAGO, IL:
The number one record in Chicago is a tie between John Blu’s “In Love with
Your Booty” and Dat Boy Hot’s “Up N Down.” Both are burning up the clubs
and radio. Bo Deal’s record “Outta Those Clothes” is a new and good look for
him. Mixtape Mondays at Club Exodus is the best way to start off the week
for artists wanting to perform. Check out these DJs on Power 92’s weekend
club mix: DJ Shotime, DJ Ransom, The Bigg DM (CORE DJs), DJ Clent, and DJ
Nephets.
- Jamal Hooks (JHooks@tmail.com)
12 // OZONE MAG
COLUMBUS, GA:
The Columbus area has been all over television, having been featured
on Bridezilla, Extreme Home Makeover, and a few talk shows. Columbus
athletes even played in the Super Bowl and the Olympics. Everyone
who has turned 30 this year had a birthday bash at Club After 5…
everyone. I am going to petition Congress for a law that requires parties
to be as interesting and fun as the flyers that promote them. A new
spot called Sky opened up. Haven’t been yet, but I hear it’s cool. Spices
Restaurant also has live DJs on the weekend.
- Slick Seville (SlickSeville@gmail.com)
COLUMBUS, OH:
After the snowiest month on record, Columbus is left to recover. But
because two of XXL’s featured Freshman artists graced Columbus with
their presence, many of us have forgotten about cold temperatures,
snow, and ice. Pittsburgh rapper Wiz Khalifa came through on his Deal
or No Deal tour, and brought capacity crowds with him. New Orleans
native Jay Electronica stopped through as well and gave us one of the
best shows the city has seen from an up-and-coming rapper. We held
yet another Help for Haiti benefit concert and basketball tournament,
showing more of our city’s human spirit.
- KayJay of the FlyPaper (designsbykayjay@gmail.com)
FORT MYERS/NAPLES, FL:
DJ Quest holds it down at Club Neo every Wednesday and Friday night.
Queen Unique and Hell Bound Entertainment are grinding every other
Thursday night at the Lion’s Den. They host Acoustic Affairs, SWFL’s first
open mic, poetry, and arts night. Local band Strange Arrangement is
buzzing in the streets with their fusion of funk, rock, jazz and hip hop.
- Jae Rae (JaeRae1055@aol.com)
 GAINESVILLE, FL:
Gainesville recently got to rock out with two of the
biggest acts in the game right now: Travis Porter
and Waka Flocka. Travis Porter put on a crazy
show, but Waka brought out the type of crowd
you only see during FISS weekend. Speaking of
FISS (Florida Invitational Step Show), I don’t know
if I’m getting older or it’s just getting whacker, but
something needs to change, ASAP. All the local
artists, Mr. V, as well as KB da Boss, are keeping up
the grind. Don’t forget to check out FeedoffRap.
com for all the latest.
- Jett Jackson (g5jett@gmail.com)
JACKSON, MS:
Nelly and Bow Wow hit the city this month for
the Derrty Ent. vs. Cash Money Ent. celebrity bas-
ketball game. Nelly and Bow Wow were the only
celebs we saw though, but Bow Wow did have
Russell Simmons’ daughter, Angela, with him. Did
I mention he had to ice his knees and ankles after
the game? They all hit up Dreamz for the after
party. Lil Ru, Party Boyz, Webbie, and Lil Duval hit
up Freelon’s this month. Webbie was scheduled to
perform at Mardi Gras, but word was he wanted
to bring his pistol in the club and security refused
so he left. Congrats to Jackson’s own R & B duo
Recognition for performing on BET’s 106th & Park.
They recently signed to Capitol Records.
- Tambra Cherie (TambraCherie@aol.com) & Stax
(blockwear@tmo.blackberry.net)
KILLEEN/BELTON/FT. HOOD/
TEMPLE/WACO, TX:
Harker Heights Texas is now the home for In
Da Cuts Studio. Doors have officially opened.
Producer and artist Joon Cartier dropped a new
single entitled “Case of the Mondays.” You can hear
his mixtape Euphoric Depression on DatPiff. Belton
Texas super-producer Noki Swazay released a free
downloadable mixtape The Vaccine, as well as
an album called The Antidote available in Centex
stores. Be on the lookout for J.P. The Pyrexican
with his street anthem “Workin My Wrist.”
- Chris OA (jupzchris@gmail.com)
TAMPA, FL:
Laws and Don Cannon released 4:57, a 17-song
street album with elite production from DJ Khalil,
L.A. The Craftzman, Feb 9, M-Phazes, TN2 Productions,
9th Wonder, and in-house producers, J.U.S.T.I.C.E. League.
(Free Download here: www.myspace.com/lawshiphop).
While Tampa braces for the next Tampahiphop.com “Battle
Basics” in April, Skillet won Aych’s “Da Cypher Emcee Battle,” as a
fight erupted among bar patrons to close out the night. Bigga Rankin
and Swazy Baby were among guests on Pirate Radio Invasion along
with local favorites Dynasty, Mason Caine, and Prophit. Laws appeared
on WiLd 94.1’s“The Sunday Session” with Orlando.
- Slick Worthington (Myspace.com/SlickWorthington)
LAS VEGAS, NV:
Prive Nightclub, located inside Planet Hollywood, is step-
ping up to be the only Vegas club spinning Hip Hop every
weekend. Fabolous and Lloyd both rocked Prive on different
nights. Jay-Z ended his BP3 Tour here, along with Trey Songz
and Jeezy at the Pearl Concert Theater. The Floyd “Money”
Mayweather vs. “Sugar” Shane Mosley fight at the MGM
Grand Arena was the talk of the town and the Vegas odds
were in favor of “Money,” who won. With summer fast ap-
proaching, Vegas is gearing up to be the place to be.
- Portia Jackson (PortiaJ@sprint.blackberry.net)
MEMPHIS, TN:
The Memphis in May music lineup has been announced
and Al Kapone and Yo Gotti are both set to perform. There’s
nothing better than rap on the river! Up and coming artist
Foley was crowned Master of the Microphone at Hard Rock
Café after a battle rap competition. He won bragging rights, a huge
golden microphone trophy, and a song produced by award-winning
Al Kapone. Gospel rapper Mr. Del became Memphis’ first rapper nomi-
nated for Gospel’s highest honor. Another local artist you might want
to peep out is Tha Bank. He has been doing shows in and out of town
and really pushing his new single “Ball Out.” You can check him out at
www.memphisrap.com/THABANK.
- Deanna Brown (Deanna.Brown@MemphisRap.com)
MONTGOMERY, AL:
Congrats to DJ Swift for getting on at the Big Station. Chize Money of
Deuce Komradz is acting up out the gate. “Rich Shit” and “Bow Down”
got everybody going ham, even in the Ham. So look out for Star Playa
Ent. Congrats to Frank White on winning the Impact DJ of the Year
award at the SEAs and Maxximum on winning On Air personality of
the year at the Real Talk Awards. Other winners include: Chappy for
the new single “Body of a Goddess,” and King David. Apollo Wednes-
day still has the open mic on lock at Boomerangs. May 8th- 10th is
the next Maxximum Exposure Conference and Awards (The Street
Edition).
- Hot Girl Maxximum (Maxximummp3@gmail.com)
PITTSBURGH, PA:
Even though the weather had a lot of people snowed in, Young
Money and Lil Kim came out to the Burgh to kick it. Local artists S.
Money, SK, Boaz, & Wiz Khalifa are all going hard in the studio for
summer mixtape projects and buzz releases, while F-Block Records is
extending its reach all over the South. Fab 5 Ent. is still holding down
the party scene from here to Atlanta. Expect big features and produc-
tion coming from Pittsburgh soon.
- Lola Sims (lolasims@gmail.com)
SALT LAKE CITY, UT:
Hip Hop Station U92 is home to some of the area’s most talented art-
ists and DJs, like U92/Bumsquad DJs E-Flexx, Handsome Hands, and
DJ Latu; and 2004 US DMC Finalist DJ Poetik C, as well as many others.
Besides showcasing their skills on the turntables, they also showcase
their talent on various mixtapes and albums. Check out TML’s Power-
house Duo Lump Sum, who’s mixtape Pressure, Pipes and Diamonds,
is produced by DJ Brisk One and Mixed by DJ Poetik C., and The Com-
mission’s New Album, as well as many others. You can check all of
these peeps out at Summer Jam and at various events in the city.
- Nasha Nelson (nashagyrl@yahoo.com)
WASHINGTON, DC:
The Diamond District (XO, Oddisee & YU) kicked off 2010 with a Eu-
ropean tour. Tarica June released the thought provoking Moonlight
Revolution mixtape. She also has a nice blog at www.taricajune.
net. Likeblood and Bobby Valentino shot the “Money Over Here”
video at the Ibiza nightclub. The video is currently in heavy rotation
on MTV Jams. Promoter Dre “All Day In The Paint” brought Freeway
and Yo Gotti to perform in DC on consecutive weeks. The Blood Link
Cartel just dropped a hard-hitting CD entitled Da Family. “Goblin” is
Southeast Slim new single produced by the Hitter Quitter Boyz. Eezy
Money has two nice tracks out right now: “Jockin” and “Get Paid.” And
finally Team Jomo from Capitol Heights, MD has a hot song entitled
“Sidekick” featuring Nia Owens on the hook.
- Sid “DCSuperSid” Thomas (dcsupersid@aol.com)
OZONE MAG // 13
 MISTAKES ARTISTS MAKE | By Wendy Day (www.RAP-COALITION.COM)
I’ve learned so much from mistakes—both my own and others’. These are in no
particular order of importance…
Surrounding Yourself With The Wrong Team: If the best player in the NBA
stepped out on the court alone, against the worst team in the NBA, the worst
team would win. There’s a powerful force that occurs when multiple people
come together with one goal in mind—especially if each person plays their
role and stays in their lane. And teamwork is especially powerful if you have key
players who are the best at what they do, all coming together to move forward
towards one goal.
New artists don’t often choose the best teams. They often surround themselves
with friends and family who know very little about the music industry or how
the business works. Whether due to trust issues or laziness in finding the right
people, I’ve seen more careers end because artists have trusted their careers to
the wrong people.
There are people in the music business who are good at what they do, and even
more who are not. Unfortunately, because it’s a “who you know” business, one’s
popularity in the music business is not conditional upon being good at what one
does. If an artist doesn’t do thorough research on a person to find out if their skill
level is sub-par, they could very easily have a team member who sucks at what
they do. For example, having managed a major recording artist is NOT a sign of
aptitude, it’s a sign of access. Managing multiple recording artists successfully IS
a sign of strong management skill.
A team consists of a manager, an entertainment lawyer, an accountant, a book-
ing agent, and a publicist (I am the only person I know who includes a publicist
as a mandatory part of the team, but if there’s no one broadcasting the artists’
moves and triumphs, no one will know). Since this is a “who you know” business,
relationships, connections, experience, and aptitude are all important.
A contract can protect your rights, but it can also hurt you. It’s important to have
a well-connected, experienced entertainment attorney look over everything be-
fore you sign it. It’s often what’s missing from a contract that can hurt you more
than what’s in there. You need professionals on your side to advise you.
Waiting Too Long To Realize Something Is Wrong: As I was writing this article, I
got a call from a major platinum producer who informed me that he was never
paid his royalties on a number of #1 hits he had back in the early 1990s. By law,
there is a statute of limitations on everything including collecting back royalties,
and except in a case of fraud (which is difficult to prove) an artist has a limited
time to file a claim for royalties due. That time can be anywhere from 2 to 4 years,
and is stipulated in whatever agreement was signed at the time.
Additionally, most artists and producers have limited financial resources for
legal fees and filing lawsuits against labels that are international conglomerates
with very deep pockets and lawyers on staff. It’s important to chase your money
immediately—twice a year, every year, so you don’t have to sue. Royalties are
paid in March and September of each year and part of your team’s job is to chase
money due, audit regularly, and keep track of what’s owed and outstanding.
Do not let a label or powerful artist bully you. By speaking up for what’s due you,
you are NOT hurting your career, nor stopping more work coming your way, nor
creating tension. By not being paid properly, they are fucking you out of what’s
rightfully yours. If the money isn’t coming to you, it’s going to somebody—you
earned it, so collect it in a timely fashion. You don’t want to be left with no
money and no work.
14 // OZONE MAG
Self-Destructing and Making Bad Decisions: This mistake is the most popular
one I see artists, producers, and DJs make in our industry. I don’t have a solution
for this one beyond getting your shit together as an artist and getting some
professional help if you continually do dumb shit and can’t stop yourself. Often
this occurs when an artist is surrounded by drugs and alcohol. The music industry
is naturally a “party” industry. Most artists spend their time in clubs when they
aren’t recording, so the influence is constant. But many artists take partying to
the extreme--to the point where they miss important events in their schedules,
get arrested, exercise bad judgment, or do inferior work. I’m not saying not to
have fun. I’m saying that if you have to take drugs or have “chemical cocktails” on
a regular basis, you are a junkie (the industry seems to have a fascination with
syrup, ecstasy, Viagra, pills, cocaine, and weed—and often mix them).
But self-destruction doesn’t just come in the guise of excessive partying. I’ve seen
rappers have babies like they are accessories, spend more money than they make,
fight to prove their “realness,” beef with people who ether them, make music that
is outside of their lane, date the wrong women, do prison bids mid-career, die, not
pay people properly, say or do dumb stuff publicly without having a publicist in
place to do damage control, etc. Self-destructive behavior comes in many forms,
and almost always affects your work and your money.
Not Understanding How The Industry Works: Back in the 80s and early 90s, I
understood how artists got jerked. It was difficult to learn how the label system
worked and hard to do any research on the aspects of the industry that effect
artists. But in the mid-90s all of that changed with the internet. Today, anyone can
research and find out anything they need to know about anyone or anything. Not
understanding how this industry works is unacceptable for anyone considering
a career in the music industry. So if you come into this industry just thinking you
can rap, sing, make beats, or DJ and that’s all you need to know, you are an idiot.
You don’t get “put on” in this industry without getting pimped—so building your
own buzz and leverage to put yourself on is a good career move. A great connec-
tion doesn’t lead to a great career, but it does lead to making someone else a ton
of money at your own expense. Sending out demos to record labels won’t get you
“discovered,” but it will allow an idea, a beat, or a whole song to be stolen from you
(even if you copyright your songs, do you have enough money to sue and enough
proof that they took your song?). Promoting yourself at industry convention
after industry convention doesn’t build your buzz with fans and people who buy
records (the ones who REALLY get labels’ attention). Getting signed to a record
deal isn’t a guarantee that your career will take off or that you will be successful.
More people sign to labels each year than come out by those labels. Just because
you have the funding to start your own label doesn’t mean you have the talent or
know-how to do so. I’ve seen mediocre artists spend millions of dollars to fail.
Take the time to study the industry, learn who the players are, and find out who’s
on the teams behind each successful artist (this shouldn’t be difficult to do since
so few artists are successful today). Attend industry events and actually network
with industry people and attend the panel discussions instead of just trying to
pick up girls (or guys). Read as much as you can about the music industry. Some
great books are Confessions Of A Record Producer (Moses Avalon), Everything You
Need To Know About The Music Industry (Donald Passman), Dancing With The Devil
(Mark Curry), Hit Men (Fredric Dannen), etc. Meet with as many successful people
who are doing what you want to do, as will meet with you. Many won’t take the
time for you, but many will. Build relationships with those who will.
A solid understanding of how publishing works, performance rights societies
(ASCAP and BMI), and how to get a record deal, will prevent you from getting
jerked out of money by others. A little bit of education goes a long way in this
business. We can’t stop the huge amount of fuck boys in this industry who will
try to steal your dreams from you to make themselves a quick buck, but you can
educate yourself so their pitch doesn’t make good business sense to you. You can
keep yourself from being a victim.
For more Mistakes, see www.MathematicsArchive.com. //
(above L-R): BG & Birdman @ Dolce for Lil Wayne’s going away party in Miami, FL; Drake & Lil Wayne @ Dolce for Lil Wayne’s going away party in Miami, FL (Photos: Julia Beverly);
Omarion & DJ Drama @ Luckie Lounge in Atlanta, GA (Photo: Terrence Tyson)

01 // Gucci Poochie, DJ Nasty, & DJ Khaled on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 02 // Roscoe Dash, Kuzzo Fly, & Zone 4 street team on South Beach (Miami, FL)
03 // Director Jason Deleon & Trae on the set of Trae’s “Inkredible” video shoot (Miami, FL) 04 // Hoodboss, Playboii, & JBar on the set of “Daze” (Atlanta, GA) 05 // Huey, Lil Twist,
Nio Tha Gift, & Lil Chuckee on the set of “Girl I Got You” (Miami, FL) 06 // Nas, Busta Rhymes, & Stacks @ Sobe Live (Miami, FL) 07 // Tambra Cherie & Bow Wow @ the Cash Money
vs. Derrty Ent celebrity basketball game (Jackson, MS) 08 // Ladies’ reppin’ DJ Smallz @ Wildsplash (Clearwater, FL) 09 // Lil Wayne & Shanell @ Dolce for Lil Wayne’s going away
party (Miami, FL) 10 // MOE, Zaytoven, & Humble G @ Block Entertainment Studios (Atlanta, GA) 11 // Spiff TV & Dru Brett of The Runners on the set of DJ Khaled’s “All I Do Is
Win” (Miami, FL) 12 // DJ Khaled, DJ Nasty, Dre, The Runners, & Gil Green on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 13 // Coach & his wife @ Phillips Arena for Jingle
Bash (Atlanta, GA) 14 // Papa Duck & Supa Unit @ Boomers (Port Charlotte, FL) 15 // Jeff Panzer & Slim on the set of Young Money’s “Roger That” video shoot (Miami, FL)
16 // Young Capone & Bama on the set of “Unlimited Ammo” (Atlanta, GA) 17 // DJ Drama, Rasheeda, LA the Darkman, Kandi, & DJ Sense on the set of LA the Darkman’s video
shoot (Atlanta, GA) 18 // Zaytoven & Bigga Rankin @ Atrium for Salute the DJs Award Show (Atlanta, GA) 19 // Big Omeezy, Boo, Too $hort, P.O., & E-40 @ Yokohama Bay Hall
(Tokyo, Japan)

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

OZONE MAG // 15
 CHIN CHECK
By Charlamagne Tha God
IMAGINARY
PLAYERS
HAVE
IMAGINARY
HATERS
I hate delusional people. Delusion is the reason a
lot of people can’t progress in life. Until you deal
with the reality of your situation, you’ll continue
to exist in this make-believe fantasy world that
you have created for yourself. It’s a world where
you are in control, where you feel comfortable,
and no one can judge the stupid shit you do. And
if they do judge, they’re hating!
In 2010, the internet has become the epicenter
of delusion. People front of Facebook and thug
on Twitter. Everybody is fabulous, everybody
is making major moves, everybody is getting
money, everybody is having so much big fun. All
I can do is sit back and think, “The easiest person
to deceive is yourself.”
I personally know people who aren’t doing shit
with their lives. These are people that I care for
as individuals, and I believe they are talented,
but their fucked-up mentalities and negative
characteristics supersede their talent. Their at-
titude makes me not want to have any dealings
with them whatsoever. You know what they say:
the company we choose is always a reflection of
our character. The people around me reflect who
I am. Winners don’t hang out with losers. If you
are a winner surrounded by a bunch of losers, the
perception people will have of you is that you’re
a loser too!
The sad part of the situation is that those who
are losing in life often refuse to take constructive
criticism from someone who’s doing better than
them. Instead, they’ll say that person is “hating”
on them, or they’ll get defensive and pick out
negative things about the person who’s trying to
help them.
Nobody is perfect, but the truth is that there are
people on this planet who are doing better than
you! I don’t care who you are: there is always
someone more experienced, more power-
ful, more spiritual, more intelligent, wealthier,
stronger, and faster. If you are really trying to do
better for yourself, you’ll stop, observe, and listen
to what this person is saying! It can only benefit
you in the long run!
I know what I just said made sense, but not to
these Imaginary Players who have Imaginary
Haters. In their minds, they are doing it! They
have a raggedy car, no place to live, and their
character is so foul that people don’t even enjoy
being in their company, but in their mind they
are THE BEST. They are the GREATEST. It’s not
self-confidence either; it’s delusion, a false sense
16 // OZONE MAG
of entitlement, a sense that the world owes could be playing for real, but they lack the cour-
them everything so they don’t have to work for age to TRY.
anything. I see these people online all the time
shouting out their haters and shouting out to So, you Imaginary Players with Imaginary Haters
the people that don’t want to see them shine, can continue to pretend in your imaginary world,
thinking that every constructive criticism that or you can deal with reality like I do. Some of y’all
comes their way is negative. will just choose to talk shit about everything I
just wrote. It’s okay if you do, because the reality
To all of those people, I say: The worst of all is that people (Imaginary Players) cannot change
frauds is to cheat yourself. You’re not lying to truth, but truth can change people.
me or the world, Imaginary Player. You’re lying
to yourself. These Imaginary Haters you speak Peace and blessings,
of don’t exist, because in reality they see you for Charlamagne Tha God
the loser you are. The biggest hater you have is
you! If you look in the mirror every day and see Follow Me On Twitter
perfection, you are delusional, and that is what www.twitter.com/cthagod
Imaginary Players do. They hate on themselves
because they are only taking in what they want
to hear in life. What you want to hear is not
always what you need to hear. Sometimes, what
you need to hear is harsh - but as long as it’s
honest, it’s not “hate.”
There is one thing for which you Imaginary
Players can be thankful: Only you and God know
all the facts about yourself. It’s great because
you know what’s really wrong and God knows
exactly what to do to correct it, but first you have
to stop being delusional and recognize that you
do have issues and then pray to God to give you
the strength to fix them.
After you deal with those issues, you can start
utilizing your God-given talents and become a
Real Player with Real Haters. Real Haters hate
on people who are doing so much better than
them; not because they actually hate them, but
because the Real Players have the courage to try
to succeed in ways that the Imaginary Players
don’t. Imaginary Players hate the fact that they
1. COCO BROWN a.k.a. Ms. No TonsEls
www.myspace.com/cocobrownakamsnotonsels
An alias like “Ms. No Tonsels” makes Lil Kim’s entire catalog sound like
a Sesame Street soundtrack. There’s not a lot of information floating
around on this chick, but all you need to know is that she has a song
called “Fuck My Face” circulating on the internet.
2. DJ PIMPFLOW
www.myspace.com/djpimpflow
Wonder why he chose to name himself Pimpflow? We’re guessing its
because Mack Daddy and Daddy Mack were already taken. And since
you asked, DJ Pimpflow is a white guy from Delaware, which we all know is home of the pimps.
3. MC FRONTALOTT
www.myspace.com/mcfrontalott
We really can’t poke fun at someone who makes fun of themselves. The self-proclaimed creator
of Nerdcore Hip Hop, it’s obvious that this guy isn’t taking himself too seriously. His latest album
is available on iTunes, by the way, if you’re into rap music that sounds like it was made for a Pine
Sol commercial.
Words by Maurice G. Garland
(above L-R): Lil Wayne & Shanell on the set of Young Money’s “Roger That” video shoot in Miami, FL (Photo: Julia Beverly); Drumma Boy & Gangsta Boo @ the SEAs in Memphis,
TN (Photo: Deshun Smith); Snoop Dogg & Rick Ross on the set of DJ Khaled’s “All I Do Is Win” in Miami, FL (Photo: Terrence Tyson)

01 // Guest & Lil Ru @ Rain (Jacksonville, FL) 02 // Kyjuan, DJ Demp, Tony Neal, & Murphy Lee @ Demp Week celebrity basketball game (Tallahassee, FL) 03 // JBar & ladies on the
set of “Daze” (Atlanta, GA) 04 // Mack Maine & Tezz on the set of Lil Wayne’s “Da Da Da” video shoot (Miami, FL) 05 // Guest & Trae on the set of Trae’s “Inkredible” (Miami, FL) 06
// DJ Q45 & Kid capri @ Sobe Live (Miami, FL) 07 // Tity Boi showing off his new piece on the set of Playaz Circle “Big Dawg” video shoot (Atlanta, GA) 08 // PI Bang & Slim-E @
Antigua (Orlando, FL) 09 // Lil Wayne, Gudda, & Sean Garrett @ Dolce for Lil Wayne’s going away party (Miami, FL) 10 // Fantasia & Ricco Barrino @ Obsessions (Atlanta, GA) 11 //
Models reppin’ OZONE on the set of 8Ball & MJG’s video shoot (Atlanta, GA) 12 // DJ Hella Yella, Dorrough, & DJ Du2ce @ Mansion for Dorrough’s Gangsta Grillz & OZONE release
party (Dallas, TX) 13 // Bless & Baby on the set of Young Money’s “Roger That” video shoot (Miami, FL) 14 // Supplya & Rip @ Block Entertainment Studios (Atlanta, GA) 15 //
Wendy Day & 211 @ Atrium for Salute the DJs Award Show (Atlanta, GA) 16 // Lil Chuckee’s sister Whitney & Nicki Minaj on the set of Lil Wayne’s video shoot (Miami, FL) 17 //
Trae, Mack Maine, & Drake @ Dolce for Lil Wayne’s going away party (Miami, FL) 18 // Problem, Kuzzo Fly, Nio Tha Gift, & Kurupt on South Beach (Miami, FL) 19 // Slim & Tyga on
the set of Young Money’s “Roger That” video shoot (Miami, FL) 20 // Bay Bay & Mr Nike @ Ice Bar (Dallas, TX)

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

OZONE MAG // 17
 She Liked my NECKLACE and started relaxin’, that’s what the fuck I call a…
T
he Prime Time piece is my biggest and most expensive
piece. The chain was $10k by itself. It’s a real thick 24 carat
white gold chain. Prime Time is my label. The piece is my
exact logo; it fits my whole image. Every video I’m in, I
make sure I wear that piece, not just to show off the jewelry, but to
show off my brand. The retail value is $100k and it weights 95 carats.
I got a real good deal. To any other rapper, it’d be a good deal, but to
anybody else, I’m a fool for payin’ for it. But I love jewelry.
The music game is a different game. On my first album I’ve got
songs talkin’ about pieces and jewels swangin’. I talk about jewels
on my fingers. “Stay iced up like TV Johnny.” I’ve always been a fan
of jewelry. I don’t get jewelry because I want to look like I’ve got a
lot of money, it’s just that jewelry has always caught my attention.
Even when I didn’t have it, it was something I always loved and
had a real passion for. It’s an investment in my career also, because
people wanna see [jewelry] when I do shows. The Prime Time piece
represents my brand, so I’m winning with it.
In addition to [my label Prime Time], I’m also president of NGenius
Entertainment. I was the first artist signed and I helped to brand
it. DJ Merk is the CEO. Anywhere I go that’s visual, like a show or a
video, I make sure I have those two pieces on. I’m all about branding.
[The NGenius logo] is a monkey named Frank. We had another logo
that was a monkey, but we wanted something more futuristic. It’s
like a monkey in a space helmet. A lot of females and kids love the
logo and when they see it on my jewelry hanging from my neck, it
catches their attention. The NGenius piece was expensive as well.
The retail value is $74k, and that’s just the piece by itself.
18 // OZONE MAG
DORROUGH MUSIC
I like the Scrooge McDuck character because on the show, he was all
about his money. To some people he symbolizes greed, but I just felt
like he was about stacking his money. He’s holding a money bag on
the chain. I thought it was something different, and I like animation.
I wanted to do something nobody else had thought of.
The Scrooge McDuck and the Super Mario piece are my two favorite
chains. I wear them every day out and about. I really don’t wear the
Prime Time and NGenius piece unless I’m filming a video or some-
thing, but the Scrooge and Super Mario pieces are small enough
that I can wear them every day no matter what I’ve got on. Kids love
both of ‘em. They always think it’s Daffy Duck or Donald Duck; the
Mr. Scrooge is a little before their time. I pay attention to some of the
pieces other rappers get so I can do something different.
The Scrooge McDuck piece is $65k retail price and 20 carats. It’s a
little piece, but it’s heavier than it looks. The Super Mario piece was
my cheapest one. It’s $25k retail price, 15 carats. It’s real small but it
has a lot of diamonds in there. They’re small but they’re actually my
iciest pieces. Every diamond in there is VVS and they’re real small
and cut, so when they hit the light they shine extra hard.
The Prime Time piece, the Scrooge McDuck piece, and the Super Ma-
rio piece were all done by a jeweler out of Dallas named Ali. He goes
by Ali the Celebrity Jeweler (TreasuresJewelers.com). The NGenius
piece was done by TV Johnny (www.TVJohnny.net). //
As told to Julia Beverly
Photos courtesy of Jason of Beverly Hills
(above L-R): Lil Wayne & his daughter Reginae on the set of Lil Wayne’s video shoot in Miami, FL (Photo: D-Ray); Travis Porter @ their ‘Unbelievable’ movie premiere in Atlanta, GA
(Photo: Ms Rivercity); Fat Joe & JW on the set of DJ Khaled’s “All I Do Is Win” in Miami, FL (Photo: Terrence Tyson)

01 // Matt Sonzala & Trae @ Zona La Rosa for SXSW (Austin, TX) 02 // Lil Chuckee & Shanell on the set of Young Money’s “Roger That” video shoot (Miami, FL) 03 // King Solo &
crew @ Zona La Rosa for SXSW (Austin, TX) 04 // Gucci Poochie & Sam Sneak @ Club Flow for All Star weekend (Dallas, TX) 05 // Jae Millz & Bishop of Crunk @ Phillips Arena for
Jingle Bash (Atlanta, GA) 06 // Kevin Cossom & Haitian Fresh @ Demp Week celebrity basketball game (Tallahassee, FL) 07 // Royal-T, T-Pain & his wife Amber @ T-Pain’s private
Christmas party (Atlanta, GA) 08 // Wale & DJ Omega on the set of The Mo’Nique Show (Atlanta, GA) 09 // Dorrough & Fat Pimp @ Zona La Rosa for SXSW (Austin, TX) 10 // Lil
Twist, Birdman, & Lil Chuckee on the set of “Girl I Got You” (Miami, FL) 11 // Oleria & Jeevan Brown @ Antigua for Young City’s Birthday Bash (Orlando, FL) 12 // M.O.E. Click @ The
Moon for Demp Week (Tallahassee, FL) 13 // Prince Rick & Treal Lee @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 14 // DJ Paul, DJ Dre, Juicy J, &
DJ Wildhairr @ Club Bijou (Arlington, TX) 15 // Haitian Fresh & Supastar J Kwik @ The Moon for Demp Week (Tallahassee, FL) 16 // Trae & Brian Angel @ Zona La Rosa for SXSW
(Austin, TX) 17 // Rosa Acosta & friends @ Wish (Dallas, TX) 18 // Tezz & Lil Twist on the set of Lil Wayne’s ‘Da Da Da’ video shoot (Miami, FL) 19 // T-Pain battling Mr Marcus with a
lightsaber @ T-Pain’s private Christmas party (Atlanta, GA) 20 // Sway & Bonecide @ Club Bijou (Arlington, TX)

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

OZONE MAG // 19
 Sasha. Seductive, Classy and
Simply CHARMING. Having the
chance to sit down and chat it up with this
sexy shoe model AND Stripper was a com-
plete honor.
Like most strippers, since Sasha couldn’t take out financial aid
for college, she decided to take her Coke-bottle frame and hit
the clubs for some easy money. She started dancing on the
weekends, and before she knew it, she was getting showered
with $1,500 in tips on a nightly basis.

Sasha knows how to take care of every man who visits her
in the strip club. This private dancer explains that if a man is
having a stressful day, he can come see her and be entertained.
“Then they can go back to their wives without having a really
bad attitude, because they released their stress at the strip
club,” she reasons. Well, from the looks of Sasha, she can release
my stress any day.

When Sasha is not helping men release some stress, she’s pull-
ing the ladies to the side to give them a bit of training in per-
sonal hygiene. So what does she do if one of the other ladies in
the club isn’t particularly fresh one day? “I pull her to the side
and let her know so she can go fix herself,” Sasha explains.

This stripper has dreams of owning her own hair shop and
being married with two houses. Any man would be lucky to
have Sasha on his arm, even as his wife. Sasha knows about
responsibility. With her biggest tip, she paid her license off. And
fellas, you don’t have to worry about her crashing the whip.
She’s not a fast driver, she likes to take her time. Just like with
her dance style.

“My dancing style is simple, but classy,” she muses. “I’m not re-
ally a performer, but I do enough to keep a person’s attention.
Some girls do pole tricks, but I’m just simple and classy.”

Words by Blogxilla (of Blogxilla.com)

Measurements: 36-25-42
Website: Strokersclub.com
Booking: twitter.com/strokersclub or 770-270-0350
Photography: DC Glenn - Mayhem #226909
Make up Artist: Mike Mike 678-732-5285
Hairstylist: Baby Boy 404-396-2739

20 // OZONE MAG
(above L-R): Trae & Yo Gotti on the set of ‘Men Lie Women Lie’ in Miami, FL (Photo: D-Ray); Nelly & Bow Wow @ the Cash Money vs. Derrty Ent celebrity basketball game in Jack-
son, MS (Photo: Erica Hicks); Juelz Santana & Lil Wayne on the set of Lil Wayne’s video shoot in Miami, FL (Photo: D-Ray)

01 // Magazeen, Gunplay, & Gucci Poochie on board the Venetian Lady yacht for Rick Ross’s birthday bash (Miami, FL) 02 // Trell, Mack Maine, & Tyga on the set of “Girl I Got
You” (Miami, FL) 03 // Baby Boy & Bola @ Atrium for Salute the DJs Award Show (Atlanta, GA) 04 // Sean Paul, DJ MLK, & Clay Evans @ 255 for DJ Mixer (Atlanta, GA) 05 // Clip-D,
Troublesum, & Brian Angel @ Zona La Rosa for SXSW (Austin, TX) 06 // JW & Mack Maine on the set of Trae’s “Inkredible” video shoot (Miami, FL) 07 // Nicki Minaj, Lil Wayne,
Gudda, Short Dawg, & Jae Millz @ Dolce for Lil Wayne’s going away party (Miami, FL) 08 // Lloyd contemplating the lack of toilet paper in the restroom at his studio (Atlanta, GA)
09 // Gorilla Zoe, Princess, & Zaytoven @ Block Entertainment Studios (Atlanta, GA) 10 // Kaspa & DJ T-Roc @ Atrium for Salute the DJs Award Show (Atlanta, GA) 11 // Guest, P
Stones, & Yung Envy @ Atrium for Salute the DJs Award Show (Atlanta, GA) 12 // Stix Malone, Amir Boyd, DJ Hollywood, & Stay Fresh @ Phillips Arena for Jingle Bash (Atlanta,
GA) 13 // Lenny & DJ Nasty of Nasty Beatmakers on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 14 // Diamond & guest @ Maximedia Studios for Texas Summer Music Con-
ference (Dallas, TX) 15 // Playa Fly, DJ Scream, & Yung Ralph @ Libra for DJ Scream’s birthday bash (Atlanta, GA) 16 // Tony Neal, Lil Scrappy, Dorrough, & Dr Teeth @ Maximedia
Studios for Texas Summer Music Conference (Dallas, TX) 17 // Rick Ross & JW on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 18 // Trina & guests @ Trina’s birthday party
(Miami, FL)

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

OZONE MAG // 21
 The History of the Jesus Piece
JEWELER’s
CORNER

Written By: Mo the Jeweler, ICEBOX & “Frank Mucus”

Jacob’s
Jesus < Tito’s Jesus
piece When it comes to Hip Hop artists and jewelry, there are few surprises; from T-Pain’s Big Ass piece design
design > Chain to Soulja Boy Tell Em’s remote-controlled Lamborghini, iced-out chains have become
their own form of extravagant art. While custom pieces continue to grow in popularity, the
Jesus piece has always remained the most respected piece of jewelry in the game. Ghostface
Killah maintains he was the first to wear a Jesus piece, purchased off Canal Street in 1995. De-
spite Ghost’s claims, the style was not popularized until the end of 1996, when it was brought
on to the scene by rapper Christopher “Notorious B.I.G.” Wallace.

B.I.G. initially purchased two pieces, one for himself and the other for his best friend Damion “D-
Roc” Butler. Inspired by his manager, Sean “Puffy” Combs’ smaller, more delicate Jesus pendant,
B.I.G. decided his reproduction would be four times as large and with a more intricate design. A
common misconception is that B.I.G.’s Jesus piece was purchased from Jacob Arabo, a.k.a. Jacob
the Jeweler. In actuality, both pieces were purchased from Tito, a jeweler who is no longer in the
game.

B.I.G.’s pieces generated buzz in the streets because of their modified design and the addition of diamonds for the hair
and beard. Tito’s design also included prong set diamonds within the head, exaggerating the appearance of the crown
of thorns. This design is considered to be prototype upon which all future reincarnations of the Jesus pendant would
take form.

Taking a cue from the popularity of B.I.G.’s piece, jeweler Jacob Arabo of Jacob & Co. created his own rendition of this
style mold, cleaning up the lines within the face as well as switching from the prong set thorns to bezel set diamonds,
said to resemble a kufi. The nose was also slimmed slightly and the beard was cleaned up with a restructuring akin to a triangle. The “Jacob Jesus mold”
quickly became the choice pendant for New York rappers. By the late 90s the piece was further modified by replacing the prominent traditional vertical
bail, with a slightly smaller bail, pavéd entirely with diamonds.

In 2004, emerging rapper Kanye West once again revitalized the popularity of the Jesus piece. Known for his ingenuity and fondness for aesthetics, West
collaborated with Jacob & Co to create a new version of the famed pendant. Rooted in realism, West’s Jesus pendant covered the traditional gold face with
a layer of enamel, lending to a more vivid and life-like appearance. The new mold also diminished the prominent brows and redefined the lips to more
closely resemble human proportions. Also, gone were the prongs and the bezel set diamonds from the previous versions. The top half featured pavéd
diamonds representing the visible hair, adorned with an intricately intertwined crown of thorns. To top it off, ruby tears flowed from the corner of the left
eye representing the suffering Jesus endured.

After his death in 1997, B.I.G.’s Jesus piece was set aside for his son CJ. Due to the boy’s young age, B.I.G.’s friends would hold onto the piece, with artists like
Jay-Z occasionally borrowing it for good luck. In hindsight, the impact of the Jesus piece in the jewelry industry and music game is immeasurable. Since
B.I.G.’s original debut, many artists have rocked Jesus pieces. There have also been many renditions of the popularized pendant, from ones composed of
the traditional gold and diamonds to the more recently popularized, but less ornate wood incarnations.

Today, almost every respectable Jeweler has attempted to recreate their own version of the Jesus piece, aiming to be the ideal. With a basic gold and dia-
mond piece starting at $1,500 and going upwards of $23,000 for a more intricate and detailed pendant, almost anyone can afford an iced out Jesus piece.
After all, it would be sacrilege not to. //

If you liked this article or learned something new, feel free to check out our blog online at www.iceboxjewelry.com/blog. On the website, you’ll see more
articles like this one and pictures of our custom work as well.

ASK

I
’d like to take a moment to introduce myself and personally thank you for taking a moment to read MAJA
this column that I hope will enrich your life in some capacity.

My name is Maja Sly and I’m an Entrepreneur, Business Owner, Real Estate and Insurance Broker, as well as a Financial
Planner. After years of helping my brother (rapper BloodRaw) through the rigors of credit issues, home purchases, insur-
ance and family planning, I’ve come to realize that most of us that do this for a living take it for granted. The majority of
people that read this column have no clue about their credit rating, how to boost their credit, how much life insurance they
need, how the new health care reform bill will impact them, foreclosures, repossessions….you name it! I get questions ev-
eryday from my own personal clients and friends, but what most people don’t understand, I’ve been a sponge in educating
myself on for the past 15 years and it will be my honor to help you improve your lives through real estate, debt manage-
ment, insurance and financial planning.

Given this economy and everything that’s going on, unemployment has impacted our generation in a way that most were
not prepared for. But if you’re a student of history, and you have the right information, you can use this as an opportunity to improve your financial situ-
ation, dreams and ambitions beyond your wildest imagination! So each month, my goal will be to bring you information that will improve your business
and personal life. I will also answer the most frequently asked question for the month. This column will NOT give you a “get rich quick” scheme, but it will
give you the basic, plain language tools you need to know to help you build a better life for you and your family. More millionaires will be made over the
next few years than any other time in our lifetime! So, having the right attitudes, information and resources will put you ahead of the game. So…Ask
Maja! Email me at askmaja@gmail.com

My goal is to help the Hip Hop generation that may have been shut out due to lack of resources and accurate information. I want you to use the money
you make and grow it for your future. Purchase property in this economy…you can buy a home in cities like Atlanta, Detroit and Birmingham for $10,000!
These are major cities! You will never have deals like this. I’ll teach you how to pool your resources with your friends and buy that first house as an invest-
ment, rent it and build a portfolio. Take $10 per week and put it towards an insurance policy for your children and leave them a legacy, so that they will
have a leg-up going forward. But more than anything, I want to teach you the power of good credit and ownership! //

22 // OZONE MAG
(above L-R): Paul Wall & Yelawolf @ Zona La Rosa for SXSW in Austin, TX (Photo: Julia Beverly); Fella & Big Gates @ Wildsplash in Clearwater, FL (Photo: Travis Pendergrass); Shanell
& Birdman on the set of Young Money’s “Roger That” video shoot in Miami, FL (Photo: D-Ray)

01 // JBar, Soulja Boy, & Rage on the set of “Daze” (Atlanta, GA) 02 // Lil Twist, Tyga, & Gudda on the set of Young Money’s “Roger That” video shoot (Miami, FL) 03 // Triple C’s
Gunplay, Torch, Youngbreed, & Rick Ross on board the Venetian Lady yacht for Rick Ross’s birthday party (Miami, FL) 04 // Gudda & Jae Millz on the set of Young Money’s “Roger
That” video shoot (Miami, FL) 05 // Big Omeezy & Chaz @ Yokohama Bay Hall (Tokyo, Japan) 06 // T-Pain & Ne-Yo @ T-Pain’s private Christmas party (Atlanta, GA) 07 // Nelly &
Tambra Cherie @ the Cash Money vs. Derrty Ent celebrity basketball game (Jackson, MS) 08 // Dorrough & Diamond @ Maximedia Studios for Texas Summer Music Conference
(Dallas, TX) 09 // Birdman & Jae Millz on the set of Young Money’s “Roger That” video shoot (Miami, FL) 10 // Mack Maine, Chris Johnson, Lil Wayne, & Gudda @ Dolce for Lil
Wayne’s going away party (Miami, FL) 11 // Roccett, Myko, & ladies @ Luckie Lounge (Atlanta, GA) 12 // Slim Dunkin & Sean Teezy on the set of “We Outside” (Atlanta, GA) 13 //
Bonecide & Dolla Bill @ Club Bijou (Arlington, TX) 14 // 5 Star Angels @ Atrium for Salute the DJs Award Show (Atlanta, GA) 15 // Tony Neal, DJ Tex, & Rapid Ric @ Zona La Rosa
for SXSW (Austin, TX) 16 // John Costen, Freddie Hott Sauce, & Kafani @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 17 // Lil Chuckee & family on
the set of “Girl I Got You” (Miami, FL) 18 // Yung LA & Spodee @ Atrium for Salute the DJs Award Show (Atlanta, GA) 19 // PI Bang & Young City @ Antigua (Orlando, FL) 20 // Bigg
V & Kaspa the Don @ Duval Diamond Awards (Jacksonville, FL)

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

OZONE MAG // 23

OZONE EXCLUSIVE
Textin’ is no longer safe now that OZONE’s
dangerous minds have hacked the system.
24 // OZONE MAG
DJ KHALED & SHYNE
Shyne: Yo Khaled.
DJ Khaled: Who this? WE THE BEST!
Shyne: What you mean who this? It’s Po....
Khaled: I don’t know nobody Po. I represent the ghetto, I represent the streets,
I represent the hoods, but I don’t represent being Po. WE THE BEST!
Shyne: Stop playing. This Po.
Khaled: No. I don’t know Po. I got money on my mind, I can never get enough.
We The Best, and you can’t be the best being Po. WE THE BEST!
Shyne: This Shyne Po, nigga!
Khaled: That’s sand nigga to you! How’d you get my new number? I told you I
wasn’t gonna be your A&R. WE THE BEST!
Shyne: How you gonna play me like that? When I first got home you was beg-
ging me to get on your record. Now you avoiding my calls, ignoring my texts,
matter of fact it feels like everybody @ Def Jam is ignoring me. How could y’all
do the godfather like this?
Khaled: I don’t know any godfathers, all I know is dons, like Teflon Don. Rick
Ross new album in stores now.....WE THE BEST!
Shyne: Is this what this is about? You mad cause I didn’t collab with Ross? I’ve
been around COs for the past 10 years, so I’m trying to avoid them.
Khaled: Well, we trying to avoid losing. All we do is win, win, win, no matter
what, and your flow is not a winner. Your flow is not the best, your flow is not
taking over. Shyne, Def Jam is Fed Up with your voice!
Shyne: I don’t understand.
Khaled: We don’t understand! WE DON’T UNDERSTAND! Nobody understands!
Do you even understand? Are you writing to the beats you’re sent? It sounds
like you’re spitting rhymes you wrote when you first went to prison in 2001.
Shyne: In order for me to move forward with my life, I have to make drastic
changes and the old Bad Boy flow is one of them. I don’t care if I only sell one
album.
Khaled: You should’ve told L.A. Reid this before you took all that money! Only
person allowed to sell one album @ Def Jam is Ace Hood! Now Ace Hood
probably won’t get another album because you fucked up the budget! Look, I
gotta go promote Teflon Don.
Shyne: Wait. I heard you’re rapping now. Let me write something for you.
Khaled: No, L.A. Reid told me to write something for you. Besides, your rhymes
are too dated for me.
Shyne: We The Best, we so great / You other DJs can’t even carry my crates.
Khaled: See, no! No, No! DJs don’t even carry crates anymore. We use Serato
and Final Scratch. Shyne, get out of the Hot Tub Time Machine, get out of Be-
lize, shake that prison shit off and come to the States to see what’s going on.
Shyne: So you’re telling me to stop rapping and work on getting my citizenship
back to the US? What else should I do?
Khaled: That’s exactly what I’m saying! L.A. Reid said please stop fucking up
good records from Def Jam artists. He hated what you did to Rihanna’s “Rude
Boy.” Look, I’ma have Young Sav email you this F.L.Y. and new Lil Ru record.
Nobody @ Def Jam cares about those projects so you can practice on those.
Oh, and make sure you get on Twitter. WE THE BEST!
Shyne: Twitter? What’s a Twitter?
From the mind of Charlamagne Tha God
DJ Khaled photo by Terrence Tyson
(above L-R): Lil Chuckee & Lil Twist on the set of “Girl I Got You” in Miami, FL (Photo: D-Ray); Rick Ross & Trae on the set of Trae’s “Inkredible” video shoot in Miami, FL (Photo: Ter-
rence Tyson); Dorrough & Michael Watts @ Zona La Rosa for SXSW in Austin, TX (Photo: Julia Beverly)

01 // Julia Beverly, Dorrough, Short Dillan, & Corey Cleghorn @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 02 // Lloyd & Godfatha @ Lloyd’s studio
(Atlanta, GA) 03 // DJ Infamous & DJ Holiday @ Atrium for Salute the DJs Award Show (Atlanta, GA) 04 // MJG & Shawty Shawty on the set of 8Ball & MJG’s video shoot (Atlanta,
GA) 05 // Nio Tha Gift & Tyga on the set of “Girl I Got You” (Miami, FL) 06 // BG, Chris Johnson, Mack Maine, Lil Wayne, Short Dawg, & Young Money crew @ Dolce for Lil Wayne’s
going away party (Miami, FL) 07 // Dorrough, Lil Scrappy, Fabo, & Diamond @ Phillips Arena for Jingle Bash (Atlanta, GA) 08 // Shawty Shawty & DJ Holiday @ Atrium for Salute
the DJs Award Show (Atlanta, GA) 09 // JW & Lil Wayne on the set of Trae’s “Inkredible” video shoot (Miami, FL) 10 // DJ Drop, Lil Wil, & Doughski G @ Mansion for All Star week-
end DJ Mixer (Dallas, TX) 11 // TJ Chapman, Shane, DJ Storm, & Keith Kennedy @ The Moon for Demp Week (Tallahassee, FL) 12 // Rick Ross & Sam Sneak @ Club Flow (Dallas,
TX) 13 // Spiff TV & JW on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 14 // Guest, Ed from Miskeen, MJG, & Dawu on the set of 8Ball & MJG’s video shoot (Atlanta, GA)
15 // Lil Chuckee, Santa Claus, & Midget Mac @ T-Pain’s private Christmas party (Atlanta, GA) 16 // Kurupt, D-Ray, & Problem on South Beach (Miami, FL) 17 // Trae & Bernice
Burgos on the set of Trae’s “Inkredible” (Miami, FL) 18 // DJ Blu & DJ Teknikz @ Sub Zero (Atlanta, GA) 19 // DJ Drop, Lil Duval, & Dorrough @ Mansion for Dorrough’s Gangsta
Grillz & OZONE release party (Dallas, TX)

Photo Credits: D-Ray (05,16); Julia Beverly (01,02,06,07,15,17); Malik Abdul (04,11,14); Ms Rivercity (10,12,1,18,19); Terrence Tyson (03,08,09,13)

OZONE MAG // 25
 Patiently
Waiting
B
elting out harmonious choruses be-
tween rap verses, Chalie Boy’s fusion of
R&B and Hip Hop have made him well-
known in the Lone Star State. Since aligning with
Dirty 3rd Records in 2000, the artist from Hearne/
Calvert, TX has been professionally preparing
himself for the mainstream. The breakthrough
eventually came with his single “I Look Good.”
Heavily influenced by his childhood years in the
church choir, Chalie Boy’s soulful voice found its
place in rap music by accident. “By miscommu-
nication, I was going to see DJ Bull [of Dirty 3rd
Records] thinking I was supposed to sing a hook
or do ad-libs for this group of guys,” he explains.
“They didn’t want me to waste my time, so he
asked if I could come up with 16 [bars] for a mix-
tape they were working on.” Though it was spur
of the moment, Chalie Boy wrote his first rhyme
and it was well-received.
“I jumped on a couple more mixtapes, and after
26 // OZONE MAG
that, they asked me to join the label,” Chalie Boy
recalls. He went on to do several more projects
with the Freestyle Kingz, including an under-
ground album. In 2004, his first solo mixtape
Making My Way hit the streets, followed by the
Chalie Boy’s Greatest Hits series. The 2006 release
of Versatyle Child, featuring the popular song
“Bumpa Grill,” solidified Chalie Boy as an artist to
watch.
Over the next several years, the label focused on
building connections and learning the business.
“At the time, we felt we weren’t ready yet to
make major steps,” he says. While establishing
himself as an artist, Chalie Boy and his label
networked with premiere DJs and radio person-
alities in his region. Once the foundation was in
place, they decided it was time to take it to the
next level.
Hitting the studio specifically with radio-ready
hits in mind, Chalie Boy came up with “I Look
Good” in early 2009. He began a heavy campaign
which included DJ servicing, eblasts to fans, and
street and radio promotions, among other suc-
cessful tactics, to get the summertime anthem
spinning. By fall of 2009, the song was in rotation
nationwide, attracting the attention of Battery/
Jive. They offered Chalie Boy a deal and he ac-
cepted.
Currently a second campaign is underway for
Chalie Boy’s follow-up single “Look Like Money,
Smell Like Dollaz.” His debut album is in the mak-
ing, with a release date to be announced, and
Chalie Boy is optimistic about bringing his talent
to the masses.
“I try to connect with the people no matter if I’m
singing or rapping,” he says, while describing the
passion in his craft. “It comes from my heart, and
you’ll hear that in the music.”
Words by Ms. Rivercity
(above L-R): Chamillionaire & Paul Wall @ Zona La Rosa for their SXSW reunion show in Austin, TX (Photo: Julia Beverly); Rick Ross & Chad Ochocinco on board the Venetian Lady
yacht for Rick Ross’s birthday bash in Miami, FL (Photo: Terrence Tyson); Drake & Nicki Minaj @ Dolce for Lil Wayne’s going away party in Miami, FL (Photo: Julia Beverly)

01 // Big Man, Short Dawg, Paul White, & Jae Millz on the set of Young Money’s “Roger That” video shoot (Miami, FL) 02 // Big Bank Black & Olori Swank @ Atrium for Salute the
DJs Award Show (Atlanta, GA) 03 // DJ Q45 & DJ Dr Doom @ Sobe Live (Miami, FL) 04 // G Boy & Young Cash @ T-Pain’s private Christmas party (Atlanta, GA) 05 // DJ Merk &
Hella Yella @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 06 // DJ Infamous & Roccett @ Atrium for Salute the DJs Award Show (Atlanta, GA)
07 // Young Buck & Rick Ross @ Club Flow (Dallas, TX) 08 // DJ Khaled, Ludacris, Snoop Dogg, & Rick Ross on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 09 // Lil Duval, Trae,
& Von of TWW @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 10 // Bu, DJ Greg Street, & Jon Geezy on the set of Big Bank Black’s ‘Try It Out’ video
shoot (Atlanta, GA) 11 // Guest, Lil Kee, Strizzo, Javon Black, & guest @ Wildsplash (Clearwater, FL) 12 // Kyjuan, Murphy Lee, & the Demp Girls @ Demp Week celebrity basketball
game (Tallahassee, FL) 13 // Stay Fresh & Fabo @ Phillips Arena for Jingle Bash (Atlanta, GA) 14 // Marques Colston & guest @ Dolce for Lil Wayne’s going away party (Miami, FL)
15 // Slim & Bow Wow @ the Cash Money vs. Derrty Ent celebrity basketball game (Jackson, MS) 16 // Lloyd & K Major @ Lloyd’s studio (Atlanta, GA) 17 // JW & Trae on the set
of Trae’s “Inkredible” video shoot (Miami, FL) 18 // Theda Sandiford & Chuck Creekmur @ Zona La Rosa for SXSW (Austin, TX) 19 // B, DJ Merk, Pookie, Porsha, & Da Block Boi @
Urban South Radio (Dallas, TX)

Photo Credits: D-Ray (01); Edward Hall (19); Erica Hicks (15); Julia Beverly (04,09,13,14,16,18); Malik Abdul (12); Ms Rivercity (02,05,07,10); Terrence Tyson (03,06,08,17); Travis
Pendergrass (11)

OZONE MAG // 27

K
edrian “Iyaz” Jones always knew he
wanted to be involved in music. Born
in the British Virgin Islands, Iyaz grew
up singing in the choir, and years later, studied
recording and engineering in college. “I always
[wanted to work in music], I didn’t care what it
was,” he says. “I was just getting prepared for any
field they would put me in.”
In 2005, when his song “Island Girl,” (a song Iyaz
recorded with fellow artists Shotta and Young
Diction), started buzzing in the Caribbean, his
path into music became somewhat clearer. Still,
when opportunity knocked in the form of Epic
recording artist Sean Kingston, Iyaz was skeptical
about answering. “Sean Kingston started send-
ing me messages on Myspace, like, ‘I love your
music,’” the 23-year-old singer/rapper recalls. “I’m
28 // OZONE MAG
like, ‘Whatever, this isn’t Sean Kingston,’ and I just
kept deleting the messages. I did this for like a
week. I finally got sick and tired of him sending
me messages, so I gave him my number.”
To his surprise, Sean Kingston contacted him,
and flew the aspiring artist to Miami the next
day. Subsequently, Iyaz signed a deal with
Kingston’s upstart imprint Time Is Money and
J.R. Rotem’s Beluga Heights. Fast-forwarding to
this moment, his Rotem-produced debut single
“Replay” has topped U.S. and international
charts, and he insists his debut album Replay will
carry move of the same “Island Pop” sound as his
breakthrough single. “When you think of ‘Island
Pop,’ I want you to think of the Islands; fun, happy
times, vacation, cruises, stuff that make you feel
good,” he says of his upbeat Caribbean fused
Patiently
Waiting
sound. “And when I think Pop, I just think main-
stream music. Island Pop is a mixture of Reggae,
Calypso, R&B, Rap, Rock, everything in one.”
Still a novice, Iyaz’s international star status
seems bright. He began pursuing music, not
knowing where he’d fit in. Today, with a number
one record sitting atop the United Kingdom
Singles Chart, he’s already accomplished a
lifelong dream. “I always just wanted to have my
music heard worldwide, everywhere,” he says
cheerfully. “That was my major goal. A number
one [single], that’s perfect.”
Words by Randy Roper
Photo by Nabil
(above L-R): Brisco & Jae Millz on the set of Young Money’s “Roger That” video shoot in Miami, FL (Photo: Julia Beverly); Lil Twist & Lil Wayne Ustreaming on the set of Lil Wayne’s
video shoot in Miami, FL (Photo: D-Ray); Dorrough & Lil Duval @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party in Dallas, TX (Photo: Julia Beverly)

01 // DJ Paul, Da Block Boi, Juicy J, DJ Drop, & Lady C @ Club Bijou (Arlington, TX) 02 // Mr Collipark & JBar on the set of “Daze” (Atlanta, GA) 03 // Huey, Kuzzo Fly, Nio Tha Gift,
& Zoe on South Beach (Miami, FL) 04 // Gil Green & K Foxx on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 05 // DJ Ace & Parlae @ Atrium for Salute the DJs Award Show
(Atlanta, GA) 06 // Bonecrusher & Lil Jon @ Phillips Arena for Jingle Bash (Atlanta, GA) 07 // Birdman & Mack Maine @ Dolce for Lil Wayne’s going away party (Miami, FL)
08 // Ace Hood & Dru Brett of The Runners on the set of DJ Khaled’s “All I Do Is Win” (Miami, FL) 09 // DJ Khaled, DJ Nasty, Snoop Dogg, & Rick Ross on the set of DJ Khaled’s “All I
Do Is Win” (Miami, FL) 10 // Lloyd, Kenny, & Castro @ Lloyd’s studio (Atlanta, GA) 11 // Terrence Tyson & ladies @ Club Ink (Miami, FL) 12 // DJ EFX & guest @ Dolce for Lil Wayne’s
going away party (Miami, FL) 13 // DJ Red Alert, Clay Evans, & Malcolm @ 255 for DJ Mixer (Atlanta, GA) 14 // Young Cash & Lil Hen @ Rain (Jacksonville, FL) 15 // Lil Bankhead,
Spodee, Bola, & Baby Boy @ Obsessions (Atlanta, GA) 16 // Scrapp DeLeon & Lloyd @ Lloyd’s studio (Atlanta, GA) 17 // Trae, Tony Neal, & Michael Watts @ Zona La Rosa for SXSW
(Austin, TX) 18 // Slim & Tambra Cherie @ the Cash Money vs. Derrty Ent celebrity basketball game (Jackson, MS) 19 // Playaz Circle on the set of Playaz Circle ‘Big Dawg’ video
shoot (Atlanta, GA)

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

OZONE MAG // 29
 W
ith Nashville, Tennessee being home to both
Elvis Presley and Young Buck, musical diversity is
easily one of the city’s strong suits. So it comes
as no surprise that when rapper/producer/songwriter
Spree Wilson was growing up there, he heard a little bit of
everything.

In the process of being bussed out of his neighborhood to

attend art schools, Spree wound up growing up on both
Led Zeppelin and Snoop Dogg. Add that with playing the
saxophone, writing his first rap at six years old and teaching
himself guitar at 17, and you’d understand why years later
Spree’s music, namely his Evil Angel EP, is drawing compari-
sons to The Pharcyde and Outkast.

More than capable of holding his own on the mic, as proven

with his guest verse on Novel’s “I Am” also featuring Talib
Kweli, he is just as skilled on the guitar. This makes his style
of music sound authentic and practiced, instead of forced
like some your favorite rappers who have become fond of
the stringed instrument lately.

“People actually used to laugh at me when I would carry a

guitar,” remembers Spree, recalling the days when he left
Nashville and moved to Atlanta to attend Clark Atlanta Uni-
versity (he studied music and film and also happened to be
college roommates with DJ/producer Don Cannon). “They
always knew that I rapped, but when they saw me with the
guitar, they thought I was a hobo.”

While not quite a hobo, it was Spree’s quest for work that
opened more doors for his music. When he landed a job at
uber-producer Dallas Austin’s Rowdy clothing boutique he
would still bring his guitar with him. One day while working,
Austin walked in and noticed Spree’s instrument of choice
and made conversation with him.

“When you see a big star, you think they’re gonna break out
a contract right there,” he laughs. “I’m thinking he’s about to
sign me. But he was just like, ‘Oh, you play guitar. Cool.’ And
he walked out.”

Feeling that he still had an opportunity, Spree sought an

internship at Rowdy Records and hounded Austin to listen
to his music. After losing three of the CDs Spree gave him,
he finally listened and became a fan.

Patiently
While a record deal never worked between the two, Spree
has built a name for himself elsewhere, doing production

Waiting
work for artists like Cee-Lo, Jazmine Sullivan, Common,
dead prez, Joell Ortiz and Asher Roth. His effort have also
been noticed by his peers, garnering him massive co-signs
from Rico Wade, Q-Tip and No ID, to name a few.

“I don’t feel pressure from the co-signs,” says Spree, who was
also the man behind the music for Wal-Mart’s 2007 Back-to-
School campaign. “I just feel like I’m doing something right.
I’d be feeling pressure if no one was responding.”

Words by Maurice G. Garland

Photo by Nikita Gale

30 // OZONE MAG
(above L-R): BG & Lil Wayne @ Dolce for Lil Wayne’s going away party in Miami, FL; 8Ball, Paul Wall, & Trae @ Zona La Rosa for SXSW in Austin, TX (Photos: Julia Beverly); Bobby V &
Nas @ Sobe Live in Miami, FL (Photo: Terrence Tyson)

01 // Jeff Panzer & Lil Wayne on the set of Young Money’s “Roger That” video shoot (Miami, FL) 02 // Spodee & Rob Green @ Luckie Lounge (Atlanta, GA) 03 // DJ MLK & Yung
Ralph @ Phillips Arena for Jingle Bash (Atlanta, GA) 04 // Guest, Yung LA, Baby Boy, & Spodee @ Atrium for Salute the DJs Award Show (Atlanta, GA) 05 // CSR Promotions @
Antigua for Young City’s Birthday Bash (Orlando, FL) 06 // Bola & Mac Bre Z @ Obsessions (Atlanta, GA) 07 // Lil Jon & Sean Garrett @ Phillips Arena for Jingle Bash (Atlanta, GA)
08 // Mack Maine, Lil Wayne, & Trae on the set of Trae’s “Inkredible” video shoot (Miami, FL) 09 // Bobby V & DJ Q45 @ Sobe Live (Miami, FL) 10 // Young Jeezy, Bu, & JW @ Club
Ink (Miami, FL) 11 // CORE models Holly Daniels & DJ Daisy Dukes @ Zona La Rosa for SXSW (Austin, TX) 12 // Tony Neal, Bigg DM, & guest @ the SEAs (Memphis, TN) 13 // DJ
Fahrenheit & Bigga Rankin @ Atrium for Salute the DJs Award Show (Atlanta, GA) 14 // Bishop, Young Cash, & Lil Henn @ Club 2020 during Demp Week (Tallahassee, FL)
15 // Cyhi da Prynce, Greg Street, & Bu @ Cyhi da Prynce’s meet & greet (Atlanta, GA) 16 // Debra Lee & guest @ BET’s SOS Haitian Benefit Telethon (Miami, FL) 17 // Red Rum
& DJ Khaled @ Club Flow (Dallas, TX) 18 // B Rich, TJ Chapman, B.o.B., & Playboy Tre @ Wildsplash (Clearwater, FL) 19 // Sean Garrett & Trae @ Dolce for Lil Wayne’s going away
party (Miami, FL) 20 // Big Hoodboss & Tomeka Pearl @ 8 Lounge for Dorrough’s birthday bash (Dallas, TX)

Photo Credits: Deshun Smith (12); Edward Hall (20); Julia Beverly (01,03,07,11,19); Malik Abdul (05,14); Ms Rivercity (04,06,15,17); Terrence Tyson (02,08,09,10,13,16); Travis
Pendergrass (18)

OZONE MAG // 31
 I
n the rural city of Atlanta, Texas – population 5,475
– the chances of becoming a Hip Hop chart topper
are slim, but the odds didn’t deter Bone, who’s record
“Homegurl” landed him a deal with Def Jam last year. A
small-town kid with big dreams, Bone was chasing a rap
career before he was even old enough to hit the stage.

“Rapping was something I always did, since I was little,” he

says, recalling his visions of stardom. “Being from a small
town, there really wasn’t an opportunity – I knew I’d have
to leave eventually.”

In high school, Bone was working at a barbershop that also

contained a studio, where he recorded his earlier material.
He and another rapper, Young Kazz, released their first un-
derground CD, which Bone admits was “horrible.” After the
reality check, he began studying the craft and improving
his skills before releasing his solo project, which was well
received in his hometown.

With some beginner’s experience under his belt, Bone

left for college at Prairie View University (also attended by
Dorrough, Supastaar, and the Party Boyz). He joined with
fellow student/producer JB and a few other rappers to
form the group R2. After completing several mixtapes with
the group, things weren’t moving the way Bone wanted, so
he started working on his idea for “Homegurl.”

In 2008, he recorded “Homegurl” in Ft. Worth, Texas where

he was staying with his manager during the Hurricane Ike
evacuation. But the song didn’t take off until the following
year.

Swishahouse DJ Michael “5000” Watts was one of the first

Patiently
major supporters of the record outside of Dallas. “It got
popular after Definition DJ Tuss broke it in the club, and
then it spread to the other Definition DJs,” he explains, of

Waiting
the song’s movement. “Michael Watts put it on his I45 2K8
mixtape and then more DJs picked up on it.”

His explosive performance at the 2009 Texas Summer Mu-

sic Conference caught the attention of CORE DJs’ CEO Tony
Neal, who introduced Bone to music executive Citi. “Citi
got me the opportunity to perform for L.A. Reid,” he says,
laughing as he remembers the exact moment he became a
Def Jam artist. “L.A. liked what he saw, and signed me that
day. That was October 16th, I believe it was 11:32 PM.”

Bone’s personality and the catchy hook on “Homegurl”

helped the record become a top priority. “Def Jam really
got behind me,” he says. “It’s truly a blessing.” Recently, the
song was remixed to include Rick Ross, The Dream, and
Bun B, keeping the momentum going.

Representing the “college boy movement,” Bone is cur-

rently working on a summertime album release while earn-
ing his history degree at Prairie View. Back home, Bone is a
celebrity, and in the nearby city of Dallas, he contributed
to the growing list of dance song alumni, in a good way.
“The dance songs are a foundation – now it’s time to build
up,” he stresses. “There’s a lot of real artists here making real
music.”

Words by Ms. Rivercity

Photo by Hannibal Matthews

32 // OZONE MAG
(above L-R): Debra Lee & Spike Lee on board the Venetian Lady yacht for Rick Ross’s birthday bash in Miami, FL (Photo: Terrence Tyson); Bow Wow & Jas Prince @ Dolce for Lil
Wayne’s going away party in Miami, FL (Photo: Julia Beverly); Kid Capri & Dre on the set of DJ Khaled’s “All I Do Is Win” in Miami, FL (Photo: Terrence Tyson)

01 // Grit Boys @ Zona La Rosa for SXSW (Austin, TX) 02 // Kyle & B.o.B. @ The Tabernacle (Atlanta, GA) 03 // Mert & G Money @ Antigua for Young City’s Birthday Bash (Orlando,
FL) 04 // Lil Tony & DJ Merk @ Zona La Rosa for SXSW (Austin, TX) 05 // Javon Black & New Boyz @ Wildsplash (Clearwater, FL) 06 // Birdman, Dr Teeth, & Tity Boi on the set of
Playaz Circle “Big Dawg” video shoot (Atlanta, GA) 07 // Bobby V gets some love @ Sobe Live (Miami, FL) 08 // Trae & video models on the set of Trae’s “Inkredible” (Miami, FL)
09 // Travis Porter & Lil Jon @ their “Unbelievable” movie premiere (Atlanta, GA) 10 // Beat Doctor, Mia X, B.G, Wild Wayne, The Show, KLC, & Fiend @ The Chocolate Bar for BG’s
listening party (New Orleans, LA) 11 // Steve Raze & Tony Neal @ Zona La Rosa for SXSW (Austin, TX) 12 // DJ Phat, Sho, & Loaded (Ruston, LA) 13 // Rick Ross, Elora Mason, &
Thaddaeus McAdams on board the Venetian Lady yacht for Rick Ross’s birthday bash (Miami, FL) 14 // Sho-Zoe & DJ Quest @ Ultra for Sho-Zoe’s mixtape release party (Ft Myers,
FL) 15 // Cartoon Network execs checkin’ out T-Pain’s jewelry @ T-Pain’s private Christmas party (Atlanta, GA) 16 // Webbie, guest, Papa Duck, & guest @ Boomers (Port Charlotte,
FL) 17 // Chris Turner & Slim-E @ Antigua (Orlando, FL) 18 // DJ Fahrenheit, Roccett, Rick Edwards, & ladies @ Atrium for Salute the DJs Award Show (Atlanta, GA)

Photo Credits: DJ Quest (14); Edward Hall (12); Julia Beverly (01,02,04,06,08,11,15); Malik Abdul (03); Marcus DeWayne (10); Ms Rivercity (09); Terrence Tyson (07,13,17,18); Travis
Pendergrass (05,16)

OZONE MAG // 33
 A
sk a rapper when he was introduced to
rap, and he’s probably going to say since
he was born or when he was little. But
that’s not the case with Konvict/Def Jam record-
ing artist Cy Hi Da Prynce.

“I didn’t grow up on rap,” he admits. “I was so

bad as a little boy, so my mom would only let my
hear gospel music. I only got into rap because
I ran out of things to do after playing football,
running track and singing in the school chorus.”

Starting off writing poems for girls in class,

Prynce’s early days as a wordsmith were full of
hurry up and wait. Discovered by Kyle of the R&B
group Jagged Edge, Prynce was able to meet
plenty of industry people who had the power to
sign him, but none of them did. He wound up
getting a break when he and some neighbor-
hood friends started the group Hoodlum and
put out mixtapes with DJ Scream in 2006.
By 2007 the group was signed to Jazze Pha’s
Shonuff Records with backing from Def Jam.
Unfortunately and ironically, Hoodlum received
the “Jody Breeze treatment” they fearfully spoke
of in their 2007 OZONE Patiently Waiting feature,
as their album never dropped, with Sho’Nuff
disappearing soon after.

Prynce bounced back as solo artist in 2009 after

uber-star Akon’s brother Bu Thiam heard his mu-
sic and walked him back into the Def Jam build-
ing, this time as a Konvict artist. So far, Prynce
has made a name for himself via his What The
DEC Been Missing mixtape series hosted by Greg
Street. With strong song concepts, Prynce seeks
to carve out his own niche that offers superior
lyricism, all the while dropping off a message.

“Niggas don’t be giving a fuck about what they

be saying,” says Prynce. “I realize a kid may pick
up my CD, so why not at least give him some-
thing to think about? I want to be a person who
has a Black History project done on me, not just
another rapper who made a bunch of money.”

Currently recording his debut album The Hard

Way Musical, Prynce will whet listeners appetites

Patiently
with another mixtape series that will feature
him as the Prynce of Jacks (beat jacking), Spades
(streets), Hearts (girl records) and Diamonds

Waiting
(struggle/celebratory).

“I feel like I have a message to spread,” says

Prynce, who will also showcase his acting skills
in Stomp The Yard 2. “I’m not just rapping about
Friday and Saturday. I’m rapping about Sunday
through Thursday. When you hear this, you
gonna say ‘this ain’t rap, this is preaching on a
beat.’”

Words by Maurice G. Garland

34 // OZONE MAG
(above L-R): Ludacris on the set of DJ Khaled’s “All I Do Is Win” in Miami, FL (Photo: Terrence Tyson); Trae & Jay’Ton @ Zona La Rosa for SXSW in Austin, TX (Photo: Julia Beverly); Plies @
Wild 94.1’s Last Damn Show in St Petersburg, FL (Photo: Travis Pendergrass)

01 // Frank Lini @ The Hall (Palmetto, FL) 02 // Gloria Velez & Vince Carter @ Antigua for Young City’s Birthday Bash (Orlando, FL) 03 // Jadakiss @ Club Society (St. Louis, MO)
04 // 2 Pistols @ Wild 94.1’s Last Damn Show (St Petersburg, FL) 05 // Amar’e Stoudemire @ Opera (Atlanta, GA) 06 // Big Gates @ Wildsplash (Clearwater, FL) 07 // Buck, Young
Black, & Que P of Richmind Records @ Club Che (Dallas, TX) 08 // Tomeka Pearl @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 09 // DJ Smallz @
Wild 94.1’s Last Damn Show (St Petersburg, FL) 10 // DJ Smiley on the set of “United We Ball Divided We Fall” (Dallas, TX) 11 // Dolla Boi on the set of Playaz Circle “Big Dawg”
video shoot (Atlanta, GA) 12 // Haitian Fresh @ The Moon for Demp Week (Tallahassee, FL) 13 // Kaye Dunaway @ Opera (Atlanta, GA) 14 // Grade A @ Throbacks for ATL Record
Pool (Atlanta, GA) 15 // Roccett @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 16 // Twista & guest @ Wild 94.1’s Last Damn Show (St Petersburg,
FL) 17 // Chuck Creekmur & Grouchy Greg @ Zona La Rosa for SXSW (Austin, TX) 18 // DJ Dap @ Demp Week celebrity basketball game (Tallahassee, FL) 19 // DJ Kun Luv during
All Star weekend (Dallas, TX) 20 // DJ Dre & DJ Tuss @ Rackdaddy’s (Arlington, TX) 21 // Young Cash @ Soakin Wet car show (Ft Lauderdale, FL) 22 // Teyana Taylor @ Opera (At-
lanta, GA) 23 // Naughty by Nature @ Throbacks for ATL Record Pool (Atlanta, GA) 24 // Papa Duck (Palmetto, FL) 25 // DJ Grip @ Killeen Civic Center (Killeen, TX) 26 // Suga D @
Antigua (Orlando, FL) 27 // Yung Feddi @ 8 Lounge for Dorrough’s birthday bash (Dallas, TX) 28 // Yahta, D’Lyte, & Shayla @ Tony Neal’s birthday bash (Dallas, TX) 29 // Tity Boi
& Lil Chuckee on the set of Playaz Circle “Big Dawg” video shoot (Atlanta, GA) 30 // Fonzworth & DJ AJ (St Louis, MO) 31 // Dose on the set of Lil Wayne’s “Da Da Da” video shoot
(Miami, FL) 32 // Da Block Boi @ 8 Lounge for Dorrough’s birthday bash (Dallas, TX) 33 // DJ Merk @ Zona La Rosa for SXSW (Austin, TX) 34 // Lil O & ladies @ Killeen Civic Center
(Killeen, TX) 35 // Maria Moore & Benny @ Opera (Atlanta, GA)

Photo Credits: Edward Hall (07,10,20,27,28,32); Malik Abdul (02,05,12,13,18,19,22,35); Ms Rivercity (08,14,15,23); Julia Beverly (11,17,29,33); King Yella (03,30); Terrence Tyson
(26,31); Travis Pendergrass (01,04,06,09,16,21,24); Tre Dubb (25,34)

OZONE MAG // 35
36 // OZONE MAG
(above L-R): Lil Ru @ Rain in Jacksonville, FL (Photo: Terrence Tyson); Big Hoodboss @ 8 Lounge for Dorrough’s birthday bash in Dallas, TX (Photo: Edward Hall); Lil Twist on the set of
Playaz Circle ‘Big Dawg’ video shoot in Atlanta, GA (Photo: Julia Beverly)

01 // Lil Jon @ Phillips Arena for Jingle Bash (Atlanta, GA) 02 // Young Buck @ Antigua (Orlando, FL) 03 // DJ Drama & Bobby V on the set of LA the Darkman’s video shoot (At-
lanta, GA) 04 // Brian Angel @ Zona La Rosa for SXSW (Austin, TX) 05 // Hoopz @ Antigua (Orlando, FL) 06 // Jas Prince @ Onyx (Dallas, TX) 07 // Kia Shine, DJ Fresh, & Dorrough
@ Blue Box (Huntsville, AL) 08 // Chalie Boy @ Zona La Rosa for SXSW (Austin, TX) 09 // DJ Drop @ Mansion for Dorrough’s Gangsta Grillz & OZONE release party (Dallas, TX) 10
// Trae @ Zona La Rosa for SXSW (Austin, TX) 11 // Loaded & Big Hoodboss @ 8 Lounge for Dorrough’s birthday bash (Dallas, TX) 12 // Tity Boi, Short Dawg, & Lil Twist on the set
of Playaz Circle ‘Big Dawg’ video shoot (Atlanta, GA) 13 // Young Joe & 2 Pistols @ Wild 94.1’s Last Damn Show (St Petersburg, FL) 14 // Big Gates & ___ @ Wildsplash (Clearwater,
FL) 15 // DJ D Rocc & Kaye Dunaway @ Opera (Atlanta, GA) 16 // Teddy T @ Demp Week celebrity basketball game (Tallahassee, FL) 17 // Murphy Lee @ Demp Week celebrity
basketball game (Tallahassee, FL) 18 // Tito Bell & Dorrough @ Zona La Rosa for SXSW (Austin, TX) 19 // Tony Neal @ The Moon for Demp Week (Tallahassee, FL) 20 // Slim E @
Antigua for Young City’s Birthday Bash (Orlando, FL) 21 // DJ Kun Luv & Clinton Sparks @ Aura (Dallas, TX) 22 // Ricochet @ Club Bijou (Arlington, TX) 23 // PI Bang & Disco JR @
Antigua (Orlando, FL) 24 // YG, Mr Nike, & Ray Paul @ Ice Bar (Dallas, TX) 25 // 8Ball & MJG on the set of 8Ball & MJG’s video shoot (Atlanta, GA) 26 // Ed & Dawu of Miskeen on
the set of 8Ball & MJG’s video shoot (Atlanta, GA) 27 // DJ Slikk Louisiana Cash @ Mansion for All Star weekend DJ Mixer (Dallas, TX) 28 // Citi & Frank White @ Stankonia for Big
Boi’s listening party (Atlanta, GA) 29 // General & Kim Ellis @ Havana Club for BMI showcase (Atlanta, GA) 30 // Lil Hen @ Plush (Jacksonville, FL) 31 // Tarvoria @ The Coliseum
for Plies concert (Daytona Beach, FL) 32 // Virgie Man @ Club Nuvo (Leland, MS) 33 // Sweetness & Cole @ Plush (Jacksonville, FL) 34 // Z-Ro & Willie D @ House of Blues (Hous-
ton, TX) 35 // DJ Frosty @ Stankonia for Big Boi’s listening party (Atlanta, GA)

Photo Credits: Edward Hall (11,22,24,32); Julia Beverly (04,08,10,12,18,28,29,34,35);Malik Abdul (01,06,07,15,16,17,19,20,21,25,26); Ms Ja (03); Ms Rivercity (09,27);
Terrence Tyson (02,05,23,30,31,33); Travis Pendergrass (13,14)

OZONE MAG // 37
38 // OZONE MAG
OZONE MAG // 39
 'You can't
think
about
anything
you've
done in
the past;
you can't
base fu-
ture works
on what
you've
already
done. You
gotta act
like you
never
came out
before.'

40 // OZONE MAG
Being “alone” can be looked at the same way as that “half-full/half-
empty” argument. On one hand you have perks like going where you
want to, when you want to and leaving when you feel like it. On the
other hand, you’re talking to yourself because no one else is around.
Life can be cheap because you’re only looking out for self, but it can
also get costly trying to compensate for lack of company.
Big Boi is figuring out where he stands on being “alone.” As a mem-
ber of Outkast with his rhyme partner Andre 3000, Big Boi has made
history, blazed trails and helped build the entity that is “Southern Hip
Hop.” Even as the group began to show noticeable splits in personal-
ity, dress and musical direction, the pair was still just that - a pair. But
in 2003 when Outkast released their most successful album to date,
Speakerboxx/The Love Below, the split started becoming even more
apparent. Not only did they release two different albums, but Dre also
elected to stop touring after its release. Three years later when they
put out the soundtrack to their movie Idlewild, rumors and rumblings
said Outkast had broken up as a group. To this day, neither Big or Dre
has confirmed any break up, but that hasn’t stopped the people from
forming their own opinions.
Big Boi, obviously the more outgoing half of the group, hears these
conspiracies and questions often. Why? Because he’s the only one out
there still making music, doing shows and being amongst the people.
For the last four years Big Boi has used the Outkast logo and both a
shield and flag to let people know that the music has not died. Similar
to Bun B’s “Free Pimp C” campaign, Big Boi has been in the streets go-
ing at it alone trying to juggle a label and friendships along the way.
But in his case, he wasn’t crusading to free a person. He was actually
trying to get his own album out.
After working on it for the past 3 years and experiencing numerous
delays, Big Boi’s solo album Sir Lucious Leftfoot: The Son of Chico Dusty
is finally seeing the light of day. The journey started on Jive Records,
but is now ending on Def Jam Records. Def Jam has finally given the
project a solid release date of July 6th. His move to the house that
Russell built reunites him with the man who signed him to his first
deal, LaFace Records co-founder Antonio “L.A.” Reid. With many former
LaFace staff now working under Reid at Def Jam, Big Boi compares his
new situation to a family reunion.
Now, all eyes are on Big Boi to see if he can deliver the same ground-
breaking music he did as a member of Outkast, alone.
OZONE caught up with Big over a span of weeks to find out about out-
rageous label demands, making moves in this current musical climate,
and the status of his Purple Ribbon Entertainment record label.
So you are officially signed to Def Jam Records now? The last time this
news leaked out, you came back and refuted it.
I’m signed to Def Jam as of a week ago. Jive let me go. I asked to be
released due to creative differences. I’m back with the man [Antonio “L.A.”
Reid] who understands my music and the creative process. Much respect to
Barry Weiss at Jive though. Much thanks to him for respecting my craft and
letting me do what I gotta do.
Did you ever imagine yourself being signed to Def Jam?
I always loved Def Jam since Krush Groove, but I never imagined being over
there. But I don’t care where I’m at, as long as the team has the marketing
and promotion to get it where it needs to be. That’s all that matters.
You said the final straw was when Jive asked you to record your own
version of Lil Wayne’s “Lollipop.” Why would they think that would be a
good idea?
They don’t know us like that. Up until Speakerboxx/The Love Below, Outkast
was not a radio-driven group. We are Soul Funk crusaders. The type of mu-
sic we make, we weren’t seeing eye-to-eye with the label on it. For a man to
tell me to go make my own version of “Lollipop?” That doesn’t even sound
right. That’s what the president of Jive told me. When he told me that, that’s
when I had to start putting my own songs out. I was leaking songs just try-
ing to figure out how to make the right moves. I want to put this album out
under the right circumstances. Things weren’t jelling over there.
Did you take a suggestion like that as disrespectful?
At first, you take it as disrespect, but then you realize that they just don’t
know any better. They’re just trying to work the radio. It’s not about integ-
rity with music anymore. We make music. We’re not just making songs for
your phone to ring to, were making music for you to live by. [Jive] didn’t get
that. They didn’t get that memo.
There was a time that whenever an Outkast song left the studio, whether
OZONE MAG // 41
 by design or by mistake, radio was all over it almost instantly. Why aren’t
we hearing any of the joints you leaked on the air?
It’s programming. The people are not picking the music, it’s the suits now
picking the music for the people to listen to. There’s not a lot of respect for
it. It’s all about the dollar, so they want what sells the fastest. With music
being such a fast burn nowadays, there’s a new song today and a new song
tomorrow and another one on Wednesday. My thing is, my focus is to make
timeless classics and not conform into what’s going on now. Ice Cube said it
best: “Don’t follow trends, set them.” Don’t let them dictate to you. I’ve been
doing that, and it’s working.
With all the success he’s achieved, you’d think Big Boi would be the last
person to have any record label drama. He’s proven that he can make
great music and sell a couple records. No Outkast album has gone less
than platinum. When you combine all of their albums totals, it reaches
25 million. That’s more than Luther Vandross, Sade, Earth, Wind and
Fire, Green Day and Nirvana, to name a few. They are the only rap
group to win six Grammys. Aside from Run-DMC, they are widely con-
sidered the greatest rap group of all time.
So it goes without saying that whatever Big Boi has been doing for the
past 17 years must be working. Unfortunately, the industry doesn’t
work the same way. The consensus right now is that “music sucks” and
if you’re not on the radio or 106th & Park, you’re not going to do well.
Anybody that really still listens to rap music will tell you that there’s
actually quite a bit of great music out there, it’s just not being broad-
cast. But the reality is that yes, for an artist of Big Boi’s stature, radio
and TV has to be an option that is exploited. Big knows this and has
made the best adjustments he can without “selling out” in the process.
You’ve been working on this album for a while now. You played a couple
of the songs during your listening session at the 2008 TJ’s DJ’s Confer-
ence / OZONE Awards in Houston. Has anything changed since then?
I added a few things. I’ve been done with it for year now. I’ve got a couple
new songs that Dre produced and a record with Janelle Monae. To me, it’s
not done until they say, “Give it to me,” so I’m still recording. Instead of be-
ing in the club everyday, I’m still in the lab.
Earlier you said Outkast is not a radio-driven group, but the reality is that
you’re going to have to get on there somehow.
I definitely have songs that can go to radio. I’ve got 8 or 9 singles on the al-
bum. The first single is “Shutterbugg” produced by Scott Storch. I shot a video
for it. When you have a team that knows where you come from, it helps.
Listening to the album, it sounds like you escaped and went into a cave
while recording. It sounds like nothing else that’s out right now. Do even
keep up with the current music?
I don’t listen to the radio, I just keep my iPod on shuffle. From day one, we
listened to the radio, but we didn’t let it influence us. That weak-ass shit can
rub off on you. You can’t listen to the same song every hour on the hour.
You have a song called “Shine Blockers” with Gucci Mane on the album.
That caught a couple people off guard. You must be paying some atten-
tion to what’s going on out there.
That’s why I do stuff like that, to throw people off. I’m still in the strip clubs
and the clubs. I listen to everything from Gucci Mane to Johnny Cash. I’m
gonna bring out the best in whoever’s on a song with me. I’m not gonna
do anything halfway, I’m gonna make them bring it. I saw comments on the
‘net like, “I can’t stand Gucci, but he’s bustin’ on Big Boi’s song.” You have to
let people grow and get better and accept it. If you can’t, get the hell on.
You have a wide range of features on the album, everyone from Lil Jon
to Jamie Foxx. But none of them necessarily stole the show with their
appearances. How did you get all of these big personalities to contribute
to your sound and vision?
Everything has to be organically done. I did a song call “Night Night” and
B.o.B was recording down the hall, so he got on it and smashed it. I had one
song that I wanted Prince on, but I couldn’t get him. Then I wanted Beyonce
and Rihanna, after that didn’t happen I was like, “Fuck it.” Then I saw Jamie
Foxx in L.A. and we knocked it out.
You also have George Clinton on your album on “For Your Sorrows” with
Too $hort. What was it like working with him?
We always started out on funk, so it was great. We worked with him before
on “Synthesizer” from the Aquemini album. He has a plethora of informa-
tion. He loved the record “For Your Sorrows.” He shot it back within a day. It’s
about organic positive energy. You have to respect your forefathers.
Respect seems like it’s something Big Boi is working to get, again.
42 // OZONE MAG
Recently, some have said that Big needs Dre and that Big is not as
good as Dre. Some may even infer that Big has lost his larger-than-life
appeal. He seems “normal” now, some would say. No doubt, he is a
lot more accessible. You might just run into him at Wal-Mart. You just
might pull up next to him at a stoplight. He’s a father, so you might
catch him at a little league football game. He even responds to his fans
on Twitter like a “regular” guy.
The other side to this reality is that, for the first time since Outkast
came on the scene in 1994, Big Boi isn’t the main focus of people’s
music tastes. With new stars being born since Outkast’s last album, the
internet and an influx of “artists” outnumbering actual fans, people
have more options than ever before. Big Boi is no longer the “event.”
Of course, this doesn’t really bother him. If you pose a question about
any of this, he’s probably going to chuckle, puff his Black N’ Mild cigar
and keep it moving. However, Big is aware of the current climate and
where he fits in.
The main thing that people always appreciated about Outkast’s music
was that you weren’t afraid to try new things. Times have changed,
obviously. Do you fear that your music in this day and age may go over
people’s heads?
I don’t think it’s going over anybody’s head. If it’s jamming it’s jamming. The
response I’ve been getting from playing it for people over the last year and
a half is that they miss the music. They always say, “Oh, this is real music,”
“Oh, this is layers of music,” and “We miss the music.” They love the guitars
and pianos. This is music. It’s not loops and the same rhyme patterns and
niggas sounding the same on every song. No two songs on the album
sound alike. This is some of the best work I’ve done in my life.
It seems to be the hardest you’ve ever worked in your life as well. You’ve
been touring as a solo artist since 2003. Has it taken a toll?
No, I just reinvented myself, doing outside appearances and things like that.
I’ve got a vicious pen, I love to rap and perform, and it made me better as
an artist. If I didn’t want to do it, I wouldn’t be doing it no more. Outkast is
supergroup. We actually started off that way, but people didn’t get it. Even
when we did Speakerboxx/The Love Below they still didn’t get that. So now
with the solo [album] coming out, you get to see Big.
Has it been a humbling experience for you? As one-half of the most suc-
cessful rap group of all time, it’s kind of a surprise to hear you pop up on
the umpteenth verse on DJ Khaled’s “I’m So Hood” remix.
You can’t think about anything you’ve done in the past. You can’t base
future works on what you’ve already done. You’ve gotta act like you never
came out before. That’s how I approached his album, like I’m starting all
over from scratch. I’m doing shit like going to the OZONE Awards and
everything me and Dre went through early on, before they made the game
a bunch of Wrigley’s gum. When I get on a song…first of all, I don’t get on
songs I don’t like. Niggas send me bullshit all day. I don’t care who else is
on the song. When I get on tracks I try to set the bar so high you can’t jump
over it. But it’s about the people.
That’s why me and Dre hopped
'It's not about in- on [DJ Unk’s] “Walk It Out” remix.
tegrity with music That’s why I have Gucci Mane on
anymore. We make my album. It’s about the people.
music. We're not Cool people do cool shit. Once
you start shitting on people,
just making songs that’s not a good look. Inter-
for your phone viewers try to get me to shit on
to ring to, we're people all the time. Certain songs
making music for are for dancing while others are
you to live by. Jive not. You can’t have that dancing
on the radio all the time, though.
didn't get that.
They didn't get What’s the status of your label
that memo.' Purple Ribbon?
I’ve still got Purple Ribbon. I
have [artists like] Vonnegutt, Janelle Monae, Blackowned C-Bone and Cutty
Cartel (formerly of Jim Crow, the group that also featured producer Polow
Da Don). I just supply like the dope house. I have three rooms in the studio
and a squad of producers. That’s how I’ve been able to work and also get
complete albums [done] on them.
You have a diamond-selling album and Grammy Awards. How do you
maintain the hunger after achieving great success?
Just wanting to make some new shit. It’s what we were put here to do. We
ain’t get into it for the paper and hoes. We started as 20 niggas in a base-
ment who love Hip Hop and funk music. When you relax, it shows, because
you don’t sound as good as you used to. //
K.E. On The Track, the producer
that turnt parties all the way up
and incited clubs to rock right
to left in a swag surfin’ mo-
tion, fills us in on how his beats
turned into club bangers.
I had a buzz because J Futuristic got me
through the door. Me, Yung L.A. and J Money
kinda started a sound; this futuristic, kinda me-
lodic, friendly-type tracks. There was one song
I did with J Money featuring Shawty Lo called
“Trapper Of The Year,” and once that dropped,
that’s when I got my buzz in the streets. I did J
Money “First Name, Last Name,” Yung L.A. “36
O’s,” and all these records were giving me the
buzz in the streets.
F.L.Y. hit me up on Myspace; they said they
wanted some tracks. I checked their music out
and they had potential, so I sent four or five
tracks. They called me three or four months
later and were like, “We came up with this
song. There’s a dance to it, you gotta come
here to Atlanta and see it.” They said the club
was going crazy.
Pretty Boi Tank was the DJ, and he was like,
“Watch what happens when I play the record.”
He played it and the crowd was surfin’ right
to left. Right then it took off, and just started
building. It happened so fast, once it took off, it
started to catch on in every club. I knew [F.L.Y.]
was going to do something tight because of
their music I heard, but I didn’t know it was
actually going to be a movement like that.
When the song took off, everybody wanted a
beat that was kinda similar to that. Ever since
then I’ve been getting calls from everybody:
Juelz Santana, Fabolous, a lot of rappers ev-
erywhere. My career took off fast because that
song really opened up doors, and that was a
breaking point for me.
There’s obviously two different versions [to
“All The Way Turnt Up”]. The first version is
Roscoe [Dash] and Travis Porter. Roscoe was an
unknown artist trying to get on. Travis Porter
had the bigger buzz. He went to them for the
feature, and that shit took off. They put it out
on I’m a Differenter 2, but they labeled it as
Travis Porter featuring ATL and YT. Roscoe’s
name was ATL at the time. So, the song took
off. I guess they were trying to claim [Roscoe’s
song]. I thought it was their song, too, but
somebody told me, “That’s not their song, it’s
this dude named ATL.”
I got somebody to introduce me to him, and
me and L.A. [Da Boomman] talked to him,
cause we were like, “Damn, you’re just gonna
get D-Bo’ed and let somebody take your song,
and get paid off your song?” We he came to the
realization, he signed to us. I redid the beat, I
called Soulja Boy and asked him if he wanted
to get on it, and he said cool. So, we took Travis
Porter off, just so we could show that it was his
song, and it went from there. I think he got a
deal like four days later.
The original beat was from a SoundClick
producer named Vybe. What happened with
the original beat was he sold the masters to
the original beat to like 100 different rappers.
Everybody had that beat, so we couldn’t use
it. So, I had to remake it. But just me being the
person I am, I still gave Vybe a piece of the
publishing since he was the original creator.
Me and L.A. have a record company called
M.M.I., we signed Roscoe, that’s our first artist.
So, when we signed Roscoe, what we did was,
we recorded “Turnt Up” and then we recorded
“Show Out.” After that, me and L.A. pretty much
know all the label heads and all the presidents.
We pretty much contacted all of them, let them
know the deal, and the bidding war was on
from there. We did a situation with Music Line,
that’s who F.L.Y. was signed to, too, through
Def Jam. So, it’s M.M.I., Music Line and Zone 4,
which is Polow Da Don.
Me and Nicki Minaj have a lot of stuff, Lil
Chuckee, Lil Twist, Shanell of Young Money,
Yung Berg, Wiz Khalifa, Juelz Santana. Soulja
Boy, I’m working on his album right now. Then
there’s a lot of different R&B and Pop people,
David Archuleta, who’s one of the American
Idol singers from last year, Slim of 112. Pretty
much everybody’s who’s hot, pretty much
every rapper in Atlanta. Then I’m working with
a lot of rappers up North that are hot, 50 Cent,
Red Café. I’m pretty much doing it all. I don’t do
just one style of music. //
//Production Credits
J FUTURISTIC “FIRST NAME, LAST NAME,”
F.L.Y. “SWAG SURFIN’,” ROSCOE DASH f/
SOULJA BOY “ALL THE WAY TURNT UP”
OZONE
OZONEMAG
MAG////43
43
 The name Curren$y suggests one DEDICATED PURPOSE: get-
ting to the money. And yes, that’s a large benefit OF IMPEND-
ING fame and a new partnership with Dame Dash’s BluRoc im-
print – but monetary gains do not directly drive Curren$y.
“I’ma just be happy,” he expresses in a New Orleans accent that’s slightly
worn off from his travels. “I can’t say I’ma have a Scarface house and I
can’t say I’ma live under the interstate – but I’m pretty sure that with me
doing what I want to do, I’ma end up with the Scarface house.”
And what Curren$y wants to do tends to be the opposite of what major
labels want. After several attempts to fit into the “music industry ma-
chine,” Spitta realized he fit no one’s mold, especially with his unortho-
dox ways. He ventured out on his own, releasing two digital albums,
This Ain’t No Mixtape and Jet Files, and last year caught the attention of
Dame Dash. Dame is now on board for Curren$y’s third album – Pilot
Talk. It’s a venture that will allow Curren$y to take flight and remain
independently grounded as well, with full creative control. It’s exactly
what Curren$y has been looking for.
How did the situation with you and Dame Dash come about?
His son and two of his nephews put him onto my music. He asked around
about who he should get on the Blakroc project, and my name was
brought up. Somebody gave him my number and he called. I flew out to
New York the next day, and everything was everything.
How would you compare Pilot Talk and your last album Jet Files?
Based on the way I recorded Jet Files, it was a hybrid project – like an
alb-tape or a mix-album, but it was all original music. The shit that made
my mixtapes pop, I did that. I was doing my mixtapes in three days. I made
Jet Files in four days. This time I’ve been recording for a minute, since the
time me and Dame Dash linked up until now. And also, this time there will
be physical copies. It’ll be in chain stores nationwide. This will be the first
time people can go buy the CD in a store.
It seems like you’ve made a big push on the business side of things, but
what about the content of Pilot Talk? What can people expect?
I have Devin the Dude on this album, Wiz Khalifa is on two joints, Jay
Electronica, and Mos Def. Mos Def produced a joint for me too, so he’s on
a song vocally and he produced a track called “Breakfast.” Mos did the beat
in like 3 minutes and I wrote the verse in like 10 minutes. That was crazy.
Outside of that, Big K.R.I.T. from Mississippi, he’s big, he’s killing it. I had the
opportunity to get down with Ski Beatz. Just to have his opinion on shit
that I’m doin’ and have him appreciate what I do, that was tight.
You’re known for being anti-industry, or “anti-machine.” How does the
new situation with Dame Dash’s label fit into your own personal beliefs?
I’m absolutely still independent. Me and Dame Dash are just splitting
the risk and we’ll reap the benefits at the end of the day. I’m still my own
entity and my own company, Jets. Me and homie partnered up on this
project as far as getting it shelved – that’s his department. As far as saying
whatever I want, smoking as much as I want, and doing whatever I want,
that’s my department. Dame Dash is one of the realest people I’ve met. He
had no problems doing what everybody else was scared to do.
With you being one person, without a major label machine for so long,
how have you been able to achieve so much?
By me dealing with the right people in places all over the country, people
I can trust, people with the right virtues, like-minded people. I push the
music in different places where it’ll get developed. My shit is with my
friends. Like my manager is my homie, my artists are my friends, nobody’s
tryin’ to do nothin’ underhanded. It’s just a good situation.
So for you, mixing friends and business has been a good thing?
Yeah. You know what kind of friends you have. You have your go-out
friends; you have your friend you can call if you get a flat tire; you know
what friend you might be able to sell a pound of weed with and they not
gon’ fuck the money up. I knew who I could [go into business] with, and
now we’re putting these records out. We not sellin’ weed. (laughs)
When did you realize you stood out? Not just musically, but in life?
Since elementary school. People always asked what’s wrong [with me], or
why I don’t wanna do what everyone else was doing. That’s always been a
struggle in my life, with me just wanting to do what I want, and trying to
exist in this industry, in this machine, and still do what I want to do – try-
ing to win the game and do it the way I want.
Did you have problems with authority and following rules in school?
44 // OZONE MAG
Yeah, and it’s crazy ‘cause I went to the best schools. I went to magnet
schools, and I was in gifted and talented classes, but I had the worst
grades – it just never synced up. I would talk a lot ‘cause I was bored.
That’s ironic, because it seems like going against the grain is turning
out to be a good thing for you now, with your growing fan base.
Well, I never thought about how good of a thing it was – I just knew it was
what I wanted to do. It wasn’t really about monetary success or anything
tangible. It just so happened that as soon as I started doing exactly what I
wanted, everything fell into place.
So what’s your fascination with jets and airplanes?
You can go anywhere. It’s amazing. I’m fascinated being so many places. I
scared everybody on the plane [the first time] I saw the Statue of Liberty.
I screamed at everybody to look at it. I might have been like 9 years old.
My mom liked to travel. I had been to Europe, everywhere, before I was in
high school. I might not have had too much shit, but we definitely went
everywhere. When you get exposed to that type of shit, you can’t live no
other way. Now I can’t stay in one spot. By me seeing all that shit, I knew I
had to always be able to afford to do this shit, to do whatever I want.
So you decided rapping was the way to afford it?
My first rap was about Dennis the Menace, and then I quit. The dude from
down the street was supposed to put some drug money behind us when
we were little kids. He went to jail though. After that, I quit worrying about
it until I got out of high school. Once I went to college, I did a semester
and realized I didn’t want to do that, so I started writing again.
When did you get good at it?
Like the year before last. I was good, but I didn’t know what I was talkin’
about. Prior to doing what I wanted to do, I wasn’t talkin’ about my life. I
realized I didn’t have to do that. If you hear some of the stuff I said…I had
a song when I was with No Limit that started out talking about an AK-47
and clearing a whole street of people. You see me – how likely is that? Do I
strike you as that guy? I wasn’t him then, but I said that shit.
For those who don’t know, what was your history with No Limit?
I started out with Tough Guy and when Dough got killed, C [Murder]
looked out and I was on Tru Records. Then that situation happened with
him unfortunately, and P stepped in, so that’s how I ended up with No
Limit. I learned some shit from P too. After that, I went independent. Then
I hollered at [Lil Wayne] about a verse and he was like, “Let’s hook up and
do some shit.” I flew to Miami and we put that [YM] situation together.
Do you still talk to the Young Money crew?
I don’t have the same number anymore. I’m just doing my thing. There’s
no love lost. I’m pretty sure everybody’s busy. I’m damn busy.
Makes sense. So with you having flown around the world, how would
you compare your hometown New Orleans to other places you go?
It’s not as much eff’d up shit goin’ on. I watch the news in other cities just
to see what’s happening. Everybody’s got their problems, but at home,
the news is an hour of murder, shots fired, it’s never anything else. It’ll
get better though. I’m about to pop and kill all that shit. The message
in the shit I’m doin’, soon as I get in position, people will be like, “Alright,
maybe we should smoke weed and buy shoes, and not shoot people, then
everything will be straight.” After my rap shit is done I’ma run for office too.
So the solution to all problems is to smoke weed and buy shoes?
Yeah, there’s way cooler shit to do than shoot guns. We went to Wal-Mart
today. That was cool, we had a great time. There’s options.
Why do you think people don’t see those other options?
Because of the machine! The machine perpetuates the bullshit. It’s out of
control. We might get shot at the club ‘cause we have to live in this shit,
but they don’t give a fuck. All that matters with their machine is ringtones
and shit. They control the audio and visuals people get; all the destruction.
How many Mos Def videos do you see? It’s not like it was in the 90s. You’d
see an N.W.A video, then a Tribe Called Quest video. Now it’s all like the
same song. It’s not about music. It’s a pay cut to do the real shit.
Earlier you mentioned your artists. Who are they and what are your
plans after the album comes out?
Yeah The Jets – that’s Young Roddy, Trademark the Skydiver, and Street
Wiz. We’re doing a group project. I have a few secret projects that I’m put-
tin’ together with them, as well as a company you’ll hear a lot about called
The Serve. Look for The Serve DVD coming out. I got some other mixtapes
coming out, and I got an EP I’ma put out with The Serve. //
 Words by Ms Rivercity

“The machine perpetu-

ates the bullshit... They
control the audio
and visuals people
get; all the destruc-
tion. How many Mos
Def videos do you see?
It’s not like it was in
the 90s. You’d see an
N.W.A video, then a
Tribe Called Quest
video. Now it’s all like
the same song.”

OZONE MAG // 45
46 // OZONE MAG
 YOU DON'T WANT NO
PROBLEMS WHEN HIS INITIAL PLANS FOR MUNKI BOI ENTERTAIN-
MENT DIDN’T DEVELOP QUITE AS EXPECTED, CEO
G FRESH DID WHAT HE’S ALWAYS DONE: TAKE CHARGE
AND DO IT HIMSELF. NOW BOASTING ONE OF THE
HOTTEST INDIE RECORDS IN THE MIDWEST, HE PLANS
TO USE ALL HIS RESOURCES TO BRING INDIANAPOLIS
TO THE FOREFRONT OF THE HIP HOP SCENE. ON HIS
MOMMA!
Words & Photos by Julia Beverly

So you’re both the CEO and the lead artist on Munki Boi Entertainment,
right? Is that how you’d describe yourself?
G Fresh is the CEO and now is the artist too, yes. I started out doing more of
the business side of things. I had four other artists on my label: [the group]
Nappyville, Young Tone, Gold E. Patron, and Riddles. They’re all still on my
label.
Nappyville had a few hot records and some movement. What made you
decide to switch over to the artist side yourself?
[The CORE DJs CEO] Tony Neal kinda brought it up. I mean, basically, it was
behind my whole image that the label was created. [Indianapolis] had the
buzz already. Everything I’ve done in the city prior to that, as far as shows and
parties, was to brand Munki Boi. Aside from Nappyville doing their thing, I
was just making creative music. Munki Boi is a statement. When we roll, we
roll gorilla heavy.
How did you come up with that logo?
The whole concept, man, I don’t know. We were actually in Atlanta when
Munki Boi was created. We were sitting around talking about different situ-
ations. We were touring through cities with Nappyville, and that’s when we
came up with the whole concept. We drew the actual Munki Boi logo and
trademarked it when we got back.
Indianapolis hasn’t really made its mark yet on the Hip Hop map.
Exactly, cause they aren’t known for breaking music. There’s one of two
radio stations that everybody listens to, and all they play is Billboard music.
Whatever’s hot on the Billboard charts, that’s what they play. For an artist to
come out of Indianapolis or even get airplay, that’s real big, because they
won’t even play half the national artists unless you’re on top of the Billboard
charts. But there’s a lot of talent, so more than likely, a lot of people from the
Midwest gotta either go to the South or East to get on. But now, I think I’ve
kinda broken a barrier by getting out there.
Does the music scene in Indianapolis kinda gravitate towards Southern
music?
We listen to a lot of Southern music, like the Boosies and Webbies and Gottis
and Waynes. So yeah, it gravitates towards the South, but it’s also kinda
mixed too. We also listen to the East Coast and the West Coast. So we get it
from every angle.
Would you say the music you’re putting out has Southern-style beats?
Nah, everybody in the Midwest is kinda gangsta. They hard. Ain’t no dances,
ain’t no two-steppin’ in the club and all that, comin’ in doing the stanky leg.
I’m not knocking [those records] but people from the Midwest are kinda
thorough, just holdin’ up the wall. My style is very unique. I’m not trying to
sound like I’m from the South or the West or anywhere else. I have a balance,
of course, of street records and club records. I have some sexy shit too. I try to
hit every angle. I really can’t compare myself to anybody as far as my musical
style. I think I’ve got my own style and my own flavor. I ain’t no Jeezy, I ain’t
no Gucci, none of them. I’m a street dude and I’m telling my own story about
everything that I’ve seen and where I come from.
Mostly street stories or just life in general?
I’m telling relationship stories, street stories, the come up, you know what I
mean? The blueprint to anything. If you listen to anything I’m talking about,
it’s all real.
Is there one record you have that’s really personal to you?
“On My Momma.” That’s just a Midwest saying. Everybody says it, and it’s like,
“I mean it.” It just emphasizes that the story is true or whatever. When I say
“On My Momma,” I mean, this is for real. It ain’t no play-play.
Are you planning on going straight independent with this project or is the
goal to get a deal through a major label as far as distribution?
I’m just trying to hustle the music and the movement. It is possible [to put
the project out ourselves] and it can happen right where we’re at. We’re
making them believe. If it goes to a major that’s fine too, but that’s not my
goal right now. The goal is just to get the music out there and work and see
it pays off.
What methods are you using to get the music out there?
Mixtapes, of course. We’ve been on the road since we started. My song is
getting over 100 plays a week right now in over 30 different markets, so it’s
all work, no play. We just drove from Indianapolis to Memphis yesterday for a
show, and then from Memphis to Atlanta last night just to get it in.
You’ve been doing a lot of things with The CORE DJs, right?
The CORE DJs, The GO DJs, the Definition DJs… we’ve got a lot of good
relationships with a lot of the DJs. A lot of the good relationships we have
with them are based off of the artists I had before. I’m still pushing the whole
movement; it ain’t just based on G Fresh or Nappyville as artists. It’s based on
Munki Boi as a movement.
Since people associate you so strongly with Munki Boi, is it a challenge to
brand the name G Fresh?
I’m branding both. I currently have my video on MTV2, BET, and MTV.com.
They can also go to MunkiBoiEnt.com and hit me up on Twitter and Face-
book, MunkiBoiCEO.
Obviously you’ve had good success as an indie label being able to build
relationships with these DJs. A lot of indie labels have tried to do the same.
What’s a good method?
DJs are real people, and everybody else in the business are real people too.
When it comes to meeting them, I come with business first. I guess it’s just
like anything else. You feel people out and figure out how to approach them
and keep it 100. I ain’t gonna go up to nobody and just be like, “Hey, put
me on!” It doesn’t just happen like that. People are working in this industry
and trying to get money in this industry, so don’t just think that everybody’s
gonna put you on for nothing.
What about features and production? Are you working with anyone in
particular?
I just got some beats from Zaytoven that I’m currently working on. We’ve had

OZONE MAG // 47
 features from a few other artists in the past like Boosie, 8Ball, Young Buck,
and OJ da Juiceman. We’ve worked with a lot of people, but I want to brand
my own label and my own movement. I wanted to show how we are in the
Midwest. I didn’t wanna put a whole bunch of features on my album and
nobody gets a feel for me.
What’s the title of your upcoming album?
I’m not putting out an album yet, but the mixtape is called iHustle. We’re
dropping the mixtape and we’re just gonna see what happens from there.
We’re gonna drop my second single and then we’re shooting for a [distribu-
tion] situation. If everything goes right from there, we’ll have an album out
by the summer.
How has your background as a CEO helped you as an artist?
I’ve done other things before rap. I own franchises. I own businesses. So I was
already ready. Becoming an artist was just a transition. Now, like any busi-
ness, once you do it you’ve gotta get serious about it. Business is all the same
[no matter what industry]. You just have to keep it real and watch who you
deal with. Like any business, you could get taken. You’ve gotta have checks
and balances at the end of the day.
Do you think it’s overdue for the Midwest to have a big movement?
Of course. There’s been a lot of good people to come from the Midwest.
Michael Jackson came from the Midwest. Vivica Fox, Mike Epps – I think
even when Nelly came out, it was a new sound at the time, but Nelly’s music
doesn’t quite represent the Midwest. If you’re closer to Chicago, they’re more
East Coast. But at the end of the day, the Midwest is all the same. Every-
body’s real hardcore. So I think it’s time for it to happen.
Would you say part of the reason that Munki Boi has been able to be suc-
cessful is the fact that you have a lot of in-house facilities?
Yeah, we do a lot of stuff in-house. That’s what got me going independently,
before I started working with Zaytoven or anybody like that. The city is
pushing for something like this to happen. I basically put the city on my back
to make a situation. It was no big production. It was all in-house produc-
tion, the beats and the music. We have a studio, a camera crew, [a film crew]
Glitch Films, you know, the whole nine. We all work together so everybody
can eat.
movement, everybody supported. But how often does that happen? There’s
millions of people in Chicago, you know?
Do you ultimately hope to see yourself in a position like a Nelly or Kanye
West, as an internationally-known star out of the Midwest? Or do you see
yourself more as an underground representative?
Whatever situation comes out of this, I want it to be my own situation. I
don’t want to be “like” anybody else. But of course I see myself becoming a
star. The thing about it is, everybody wants to hear somebody’s story that
they can relate to. I’m sure there’s some people out here that wanna hear the
same story you tell them. If you tell them where you come from and how
you came out of it, they wanna know how to do the same. There’s a lot of
people who have never been to Indiana that think it’s just [fields of] corn.
But shit, we’ve got hoods here just like everybody else, you know? All of the
“On My Momma” record was done in-house: the beat, the production, the
video, everything. I don’t sound like nobody. That doesn’t sound like a down
South beat. My record with OJ da Juiceman [“iHustle”] was a good song, but
this one [“On My Momma”] is the one that really picked up. This is the one
everybody selected. The city was behind it from the jump. I thought the OJ
record was gonna be the one [to take off], and this is when OJ’s buzz was re-
ally at its peak, so I was thinking it was gonna work. People were feeling the
record, don’t get me wrong. But they really loved “On My Momma.” It was
the best thing that could happen, though, because now you get a feel for G
Fresh and the Midwest, Indianapolis, instead of just me on an OJ song.
And a few of your artists are featured on “On My Momma” also, right?
Riddles, one of my artists, is the producer on this record. Young Tone, who’s
featured on the song with me, is my artist, as well as Gold E. Patron who’s
singing the hook. We shot the video ourselves.
Do you feel pressure being at the forefront of this India-
napolis movement, like the city is kinda depending on
you?
Nah, I don’t feel no pressure. I’m used to the pres-
sure. It’s just business. I took it, I embraced it, and
put the city on my back. If I do it, I do it. If I don’t,
I don’t. Thanks to everybody for supporting the
movement. //

A lot of indie labels have had the same concept, but not
everybody is able to pull it off properly. How are you
able to be that organized and have everything in-
house? What would you say is the secret?
I don’t think there’s one way. I just think everybody
was working towards the same goal. A lot of times
people are working together but everybody is try-
ing to do their own thing and everybody has a dif-
ferent vision of how it’s supposed to go, and it gets
messed up. Everybody [in our camp] was just trying
to get a good product and have a good situation.
That’s how we were able to get on MTV2 and VH1 – I
ended up going back to all the DJs at home, and all the
people have supported us.

Do you see any other artists in the Indianapolis area

aside from your camp who are generating a similar buzz
to help out the Midwest movement?
Yeah, I think we’re setting a trend for it, though. The ones
that are out there have been doing the music and doing
their thing for a while. I think we’re kinda setting
our own pace, like a Roc-A-Fella or No Limit
or Cash Money. We’re that group that’s
setting the bar for Indianapolis. There’s
a lot of talent in Indianapolis, period,
but in the Midwest nobody really rode
behind each other’s music or supported
each other’s music. In this situation,
with my music coming out, the fact that
everybody’s behind the music – the West
Side, the East Side, the South Side, and
the North Side – that’s real big in Indiana
because that doesn’t happen. And it’s not
just Indianapolis, but it’s also Fort Wayne,
Terra Haute, and all the surrounding cities
as well that are backing the whole move-
ment. That doesn’t happen all the time.
In Chicago, you’ve got somebody like R
Kelly from the West Side, but because his
music was what it was and he had such a

48 // OZONE MAG
CORE DJs CEO
TONY NEAL
You just had the most recent CORE DJs event this past weekend in Or-
lando. Tell us a little about that.
It was the best one. It was more about the independent artists, which is
what we wanted to do in the first place, especially with the climate of the
industry now. We’re not like them. Other people throw their conference
while other things are going on, but we don’t do that shit. We don’t just
latch onto other shit. How are you going to focus on an artist when there’s
another big event going on that same weekend? It just doesn’t make sense,
so we went back to how it was in the beginning and that shit was beautiful.
We broadcasted it more to independent artists this time around. We didn’t
go at the majors, we just left it up to them. Interscope came in and partici-
pated but other than that, if they came, they came.
What brought about that change this year? I’ve been to a few CORE
Retreats and it always seemed like the major labels had a big presence.
The majors are trying to find other ways to break records. Maybe they’re
taking alternate routes because the money is short. Since we do the
retreats twice a year, I would say they’re trying to reduce spending. They’re
trying to go viral, but that shit ain’t working. You’ve got to hit these streets.
But who am I? This is only the 12th conference, 14 if you include the Texas
conference.
Who were some of the artists you had down there this year?
There were a lot of indie artists. Of course Waka and them came, but they’re
not considered indie, and Mystikal popped up. We had a lot of sponsors
get involved. There were a lot of different artists from different regions. The
Midwest was real deep this year. Being from Milwaukee, I was happy to
see that. The Carolinas, Texas, the Bay Area, and the Midwest were all real
deep. And of course the South was deep because it was held in the South.
Orlando came out and supported and they had their own showcase too.
Having done 12 retreats, what do you think it is about the CORE DJs that
still appeals to people? There might be folks who have gone to every one
and didn’t get the results they wanted.
If you don’t get something out of it, even if it’s just networking, then
something is wrong with you. There’s too many DJs there for you not to
get something out of it. [As an artist] you’re not going to be around 600
or 700 DJs and not get something out of it. You ain’t never gonna run into
that many DJs at one time on your own. So if you don’t get something out
of being around that many DJs, industry people, and A&Rs, something is
wrong with you, and I think you should try to find an alternate career.
Earlier we were talking about how labels are trying to find alternate ways
to push artists, whether it’s the web or new media or whatever. Where
does that leave the DJ?
I think DJs have got to keep up with it too or you’re going to become obso-
lete. One thing they fail to realize is that it’s always going to be about the
DJ, man. I don’t care what new technology they come up with; it’s always
going to be about the DJ. But the DJs have an obligation to stay current
too, and if they don’t, they’re going to get lost in the sauce like the label.
They industry is going digital and it’s all about single sales and digital sales.
I think [the process] just flushes out the muthafuckers that really don’t need
to be in it. Only the strong survive, and it’s flushing out those who don’t be-
long. A lot of cats just don’t belong. And you can’t stop time. You can’t stop
cats from getting older. Stations flipping [formats]. If you don’t stay current,
stay up on these magazines, stay up on what’s going on around you, you’re
just going to lose.
You announced during the CORE DJs Retreat in New Orleans that you
were starting a label with Konvict Music. Is that still happening?
That’s still my people, my family, but we just put that on hold for a minute.
We’re doing some regrouping.
From here and beyond, what are the CORE DJs offering to people that
want to join The CORE or attend one of the retreats?
We bring the masses together. It’s needed. As far as the retreats, it’s all
about what you make out of it. If you come to play you’re not going to get
anything out of it. If you come there to talk to chicks and act like you’re
signed, with your jewelry on, you’re not going to get nothing out of it. I
think any [indie artist] that acts like they’re signed already shouldn’t even
show up.
Do you get a lot of feedback after the conferences and success stories?
All you’ve got to do is check my timeline. Check Twitter (@TheCoreDJs)
from last week. You’ll see how much encouragement it gives people in
the industry, how rejuvenated they feel, how many contacts they got.
People are getting in situations with labels for digital deals [through The
CORE]. The most unlikely people turn out certain showcases and show out,
like Mz. Skittles at this past conference. We did the DJ competition. We’re
helping Def Jam launch the Def Jam rap star video game, which is like Hip
Hop karaoke. There were a lot of things going on. Once you get everybody
together to find a way to work together, it’s always a good situation.
There are a lot of members of The CORE, and a lot of them aren’t actually
DJs. What are the requirements for being a part of The CORE?
DJs can’t just run it. The industry is run by more than the DJs, so that’s how
we look at the CORE. We’ve got publicists, models, DJs, radio DJs, mixtape
DJs, street DJs, underground DJs, magazine publishers. It’s like a big family,
and that’s what makes it attractive to [artists]. It’s a one-stop shop. We call
The CORE DJs a big-ass 360. The CORE DJs is a 360 deal - label, video direc-
tors, we’ve got all that. You can stop right here and tell us what you want to
do and we’ll make it happen. Another thing we do in The CORE is that a lot
of the DJs and models have other careers outside of DJing and modeling.
There might be somebody in real estate, for example. If you’re successful in
your own life, you’ll always be a better DJ or model. We can help you with
whatever you have going on in your life. It’s like a union. It’s not a [DJ] crew
at all. Far from that.
For the past several years The CORE DJs have been one of the most
recognizable brands, as far as DJ coalitions are concerned. How do you
think you’ve been able to stick around so long and stay relevant?
That’s a good ass question. It’s because we’re reachable. We’re not Hol-
lywood, we’re blue collar. There are stars in The CORE and legends in
The CORE, but for the most part we’ve just kinda leveled off. We all work
consistently. Consistent work. Every month or so, we have a conference call
or an event or something. Twitter and Facebook and all that makes it easier;
it’s an excellent way [to communicate]. We never run commercials or ads or
none of that shit for our retreats. We just use word of mouth and internet
and always stay in their face. It’s always something that someone in The
CORE is doing; we always support each other, and other people see that.
What do you have planned for the 13th and 14th retreats?
We take time and do them when we feel like it’s the right time. And there’s
so much music that comes out every year that you can’t cram it all into one
conference. That’s why we call it a “retreat,” because it’s more comfortable.
The DJs and the artists get more personal than just a “conference.”
Is there anything else you want to add?
There are a bunch of things I’m working on. I’m in a couple movies. Shout
out to all the organizations that came to the conference. It’s not just about
us. It was named The CORE because the DJ is the center of the industry, so
that’s where the name comes from. We started the [idea of ] DJs not paying
for conference registration. We saw this shit coming five years ago when we
started The CORE. So we’re just trying to maintain now. Go to the website
CoreDJs.com and MoreMixshows.com. 877-333-9940 is the hotline. //
Words by Maurice G. Garland // Photo by Ms Rivercity
OZONE MAG // 49
 B.o.B.
Words by Randy Roper
Photo by Wuz Good

50 // OZONE MAG
Despite what new fans might think, Bobby Ray Simmons is far
from an overnight celebrity. In fact, it’s been nearly a year since B.o.B.
joined Asher Roth, KiD CuDi and Pac Div on the Great Hangover Tour.
It’s been two years since he graced the cover of your favorite rapper’s
favorite magazine, long before most people even knew who he was.
It’s been roughly three years since his underground hit “Haterz”
made its way onto radio station playlists and into nightclubs
throughout the Southeast. And it’s been almost four years since this
Atlanta, GA rapper/producer signed a major label deal with Rebel
Rock/Atlantic Records at the tender age of 17.
Yes, it may seem to some that B.o.B., due to the success of his now
platinum chart-topping single “Nothing On You,” came out of no-
where, but that couldn’t be farther from the truth. Bobby Ray spent
the last four years of his life working and preparing for the release
of his long-awaited debut album, B.o.B. Presents The Adventures of
Bobby Ray.
Just weeks before his album hits stores, and while touring with his
Atlantic labelmate Lupe Fiasco, B.o.B. took a few moments out from
his busy schedule to fill OZONE in on everything that has transpired
since his cover story.
It’s been two years since you were on the cover of OZONE. What’s
been going on since then?
Since that cover, I thought my album was gonna be out, but it didn’t
come out. Then I went through a period where it was really frustrat-
ing for me; just trying to get everything organized and get everything
right with the label and my album. It seems like it took a decline and
just went up from there. I’ve just been working and trying to make the
moment relevant.
Some people heard your single “Nothing On You” and thought you
blew up overnight. A lot of people don’t understand that you’ve
been signed for almost four years. How do you feel when people say
you came out of nowhere?
That’s just silly. A real B.o.B. fan knows I’ve been doing this for a minute.
That’s something that I’m not even worried about, but people can
perceive it as an overnight success.
During that period when your album didn’t come out, there was a
rumor that you wanted to retire. Did you get to the point that you
wanted to quit?
Nah, that was just a rumor that escalated. Something happened…
sometimes stuff gets crazy, so there was a rumor that I quit and it just
escalated from there.
After that rumor, you came back as Bobby Ray. What was the reason
behind the name change?
I just wanted to use my real government name, cause I wanted people
to know me. I wanted to make the music that I made and the music I
wanted people to know me by. Basically, it’s like unveiling a mask, that
[was] really the unveiling. I’m B.o.B., but Bobby Ray is the guy behind it.
It’s seemed like there was a change in the style of music that you
made, too. Was that part of the process when you unveiled yourself
as Bobby Ray?
You can call me B.o.B., but just know that my name’s Bobby Ray. But it
doesn’t matter anyway; the main thing that matters is the music. That’s
the thing that brings it all together.
It seems like your music now involves playing the guitar and singing
more. Is that the direction you wanted your music to go in from the
beginning, as opposed to rapping?
Nah, not really. I always loved rapping. But it’s kinda like it had to bal-
ance out, cause I was doing so much of what the label and industry
wanted me to do. I wasn’t doing enough of what I wanted to do. So, I
went through a period where there was a reverse, and I had to flip it up
into what I wanted to do.
Let’s talk about your label situation. How did your joint venture with
Grand Hustle come together?
We knew Grand Hustle just from being in Atlanta. Eventually, the whole
Grand Hustle thing came about when we felt like the timing was right.
How crazy has it been over the last few months, since your single has
taken off?
It’s crazy because…it’s just amazing seeing how the story unfolds.
Even for me, it’s like being on the inside looking outward at everything,
and it’s just as exciting for me as it is for everybody else. And I feel like
there’s something that’s special about everything.
Is it what you expected it to be when you got to this point?
Not really, man. I expected it, but not this soon. Even though I spent a
long time getting things developed and just letting the project grow, I
didn’t expect everything. So the way it’s all coming together now is just
surprising.
How did “Nothing On You” come about?
“Nothing On You” is a song that speaks to the population and audience
that understands monogamy, being in a relationship, the tempta-
tions and the challenges that come about through that. Basically, for
that song, I’m kinda like writing a movie. You have to pull from actual
experiences and bring them to life. And I feel like I’ve been through the
experiences required to bring it to life.
Did you think that was going to be the record that would ultimately
break through to the mainstream?
No, I didn’t think it was going to take me out of here. I thought it was a
nice album cut.
How did you react when you saw it climbing the charts?
It was crazy. We started seeing it added, and you know how radio is.
You know how hard it is to get a song on the radio. From the label’s
perspective, it’s challenging. But the song started moving so smoothly
and growing that I knew there was something special about it. And it’s
just crazy because you never know. It’s like rolling dice; you just keep
rolling them until you get a seven. Everything that I did in the past pre-
pared me for now. When you can get to a certain level with mainstream
radio, there’s a lot that’s required of you. Whether you’re prepared or
not, you get thrown out there because you have a hit single. So, I feel
really prepared for everything because of that.
Did you expect your previous songs like “Haterz” and “I’ll Be In The
Sky” to take off? Did you get frustrated when they didn’t?
I actually thought “Haterz” and “I’ll Be In The Sky” were gonna be that
[breakthrough] song. So, I didn’t know how everything was gonna un-
fold. But it just seems like everything happened how it was supposed
to happen, as opposed to how I wanted it to happen. And I’d rather
have it that way any day.
What can you tell me about your album?
I worked with a lot of people. I worked with Jim Jonsin, I worked with
T.I.,and I did a lot of production on there myself. And basically, it’s a
really good mixture of different sounds and I feel like it’s well-rounded. I
feel good about it. I got Lupe Fiasco on there. I got Eminem on there.
How was it working with Eminem?
Em is crazy because when you go in the studio they just record
everything. Basically, even if we just mess around with some ideas, we
record it. So, if we get some funky ideas and we wanna go back to it, we
can just go back to the sessions. It’s crazy cause he ran up to me and
was like, “B.o.B., you’re a star, man.” And I’m like, “You’re the star.” (laughs)
What about T.I.? What’s the most important thing you’ve learned
from working with him?
He told me a quote, and I already knew this, but it stood out. “Everyone
is not wrong,” meaning that if 100 people told you something, and
you’re the only one that says something [different], chances are you’re
either a revolutionary visionary or you’re wrong. (laughs) I took the
advice well; especially coming from Tip, cause he’s a guy that’s been in
it for a while now. Back when I was an aspiring artist, doing open mics,
he’s been in it. So, it’s a good thing to have that type of insight.
How are you taking in everything?
I’m at the point where everything that I’m doing now is new. A lot of
people tell me to enjoy these times, cause these are the first times that
you do this. And I’m like, that’s cool, but I wanna keep that excitement.
I don’t want to let something get monotonous and boring, or run
something into the ground. I’d rather something be exciting and keep
it exciting. //
OZONE MAG // 51
 MYSTIKAL
Words
Words x
x Photo
Photo by
by Julia
Julia Beverly
Beverly

Having been incarcerated since 2004, the former No Limit

soldier has plenty to catch up on - like Twitter, mp3s, and email.
Although he declined to discuss the charges for which he was
incarcerated (extortion and sexual battery), he did detail his
plans to recapture the rap game in 2010 with his new album
and new label, Big Truck Records.

You’ve been gone for over six years. What are you doing to
update your sound?
Man, production. It has changed so much in only six years. I listen
to the boy Plies; I listened to his shit. I listened to a lot of Lil Wayne
shit, and the boy Drake when he first hit the scene.

What’s changed the most since you’ve been gone?

Just this fucking technology. I’ve been telling people to Fedex
me and they said they were going to email me [tracks]. I was like,
“Stop playing with me.” (laughs) I was fucking with the Pro Tools
prior to me leaving, but I didn’t know muthafuckers could email
me a beat now. Everything is so vital.

A lot of other artists who have been to prison have continued

doing interviews and tried to really stay in contact with their
fans throughout their time, but you seemed to do the complete
opposite. Was that intentional? What was the purpose?
To keep the anticipation. It was a real delicate situation. I didn’t

52 // OZONE MAG
want to appear to be alright. I thought maybe if people don’t know what
they fuck is going on they’ll think I’m in more despair than I am. I was
alright, but I didn’t want to do interviews and have [the authorities] be like,
“Aw, that muthafucker ain’t learn nothing. Let him stay in there and hurt
some more.” In Louisiana, with the kind of charge I had, it was high profile.
They didn’t give a fuck.
Now that you’ve served your time, are you open to talking about the
actual situation that led to your incarceration?
Some parts of it. I have a confidentiality clause I signed, for the allegations
and all that shit.
The basic gist of it was that the girl stole money from you and –
Julia, baby, we not even going to get into that shit, because that there is
over and done. I’m out. I gave that muthafucker enough of my time.
Okay, fair enough. So you’ve got a new record out with Lloyd. What else
do you have coming?
Yeah, that’s his records. Me and Wayne did something prior to him leaving.
I got a chance to talk to him and give him some advice and let him know
that’s how I had success [while incarcerated]. Leave Lil Wayne out at the
gate. Let him wait for you. Go in that muthafucker as Dwayne, knock that
shit out, and come on back to the people and do what you do.
Gucci just came out, T.I. just got home, Wayne just went in – why do you
think so many rappers are doing time?
Cause we crazy. We’re fucking crazy. A lot of times it’s our fault. If we don’t
give them a reason to fuck with us, then they can’t. We’re just not be-
ing smart. We’re not dotting our i’s and crossing our t’s. We’re not being
conscious of who the fuck we’re hanging around and what the fuck we’re
doing. We get so much power and we start trippin’. I’m not saying that
I’m guilty of what them people was saying [I did] but I still am ultimately
responsible for a lot of the shit that happens.
That sounds like a good philosophy, because you hear a lot of the con-
spiracy theories and the “they’re targeting me” excuses.
That has a lot of truth to it also. But if you don’t give them a reason to fuck
with you, they can’t. They can just be mad from a distance, looking at you
rich and enjoying your life.
What did you spend most of your time in prison doing?
Reading OZONE Magazine. Thank you so much for that. That was so helpful
and gave me a lot of opportunities to plug in and see a lot of faces I hadn’t
seen in a long time. I thank you so much for sending me those magazines. I
could not wait to come and tell you that personally.
You just performed here in Houston and in addition to a lot of Houston
folks like Willie D and Z-Ro, some other folks like Mannie Fresh and KLC
were in the building. Is everybody from the former No Limit/Cash Money
crews on good terms?
It is what it is. We had a lot of success so it just depends on what you were
able to do with it afterwards to enhance your career. When we were at our
height we went crazy. I saw where it was going, so I was plotting my next
move.
Do you see any No Limit reunions in the future?
Yeah, we’re about to head to New York for the Hip Hop Honors show. We’re
performing “It Ain’t My Fault,” if I’m not mistaken. It’s going to be fire. It’s
been a long time.
How do you feel about that? I know some people, like Scarface and Uncle
Luke, felt like it shouldn’t have been categorized as “Dirty South.”
I think they should’ve made it a lot more broad. Don’t separate it like that.
Do you have a planned release date for your next album?
I’m shooting for the fall. I’ve got a meeting with the people at [my label]
to see what kind of agreement we can come to. To be honest, Julia, right
now to me it’s kinda like, “Get the fuck out of my way.” Just let me do what I
do. I trusted them with my whole career and that shit doesn’t add up – the
money I’m making and the money they’re making. So they need to let me
do me, and we’ll negotiate somewhere in the middle. I’ve been calling [the
album] “The Big Shake Back,” but that’s unofficial. It’s like James Brown with
The Big Pay Back.
You’re based in Baton Rouge now, right? Is there a noticeable difference
in Louisiana compared to pre-Katrina?
It’s kind of balanced out a little bit. It was tough looking at that shit from
jail, not being able to help my people swimming in the water. I was sup-
posed to be out there with them. But I was able to get my entire family –
my immediate family, my cousins and all of that – out of New Orleans. They
all came to my house in Baton Rouge and stayed with my mom. I had them
safe and secure.
Do you think that New Orleans is going to come back to prominence?
You fucking right. Time heals everything. It’s just a matter of time. We came
a long way and we still have a ways to go.
Do you feel like you didn’t get as much support from the Hip Hop com-
munity compared to other artists due to the type of crime you were
convicted of?
Oh, fuck no. They showed me love. Man, I’m a fucking gangster, and them
people really fucked with me. I really got the opportunity to see that shit
and it was mind-boggling. There’s some rappers that stay away from the
scene for six months and people aren’t checkin’ for them no more. I was
gone for six years and that shit never wavered. Shaquille O’Neal came to
the jail to see me. Roy Jones Jr., Busta Rhymes, Luda, Snoop, fucking right,
I’m a good dude. Ain’t nobody believe that shit [about me].
Since you’ve been gone there’s been a lot of groupies kissing and telling.
That shit is funny.
You were mentioned in Superhead’s book.
Yeah, man. I’m telling my girlfriend, “Man, I ain’t fuck with that girl. I’m
telling you!” and then she read that fucking book. But she didn’t say we did
anything. I knew she wasn’t going to play with me like that. She was talking
about Ja Rule had his fucking legs in the air! But that goes to show you, that
shit you do in the dark is going to come to light. She couldn’t say nothing
about the pimp, nothing. But I had that work, shit. Somebody told me she
[said more] in part two, but in part one she was real bland with my shit.
And now we’ve got Kat Stacks.
What the fuck is that?
A bootleg Superhead.
You read her book too? She said something about me?
Nah.
(laughs) Oh, okay. Good.
It seems like there aren’t a whole lot of opportunities for women in Hip
Hop anymore. There’s only a handful of female rappers. So it seems like
some women think that’s the only way to get publicity.
Desperate times call for desperate measures, so it is what it is. I used to read
OZONE’s Groupie Confessions and be nervous. I was like, “Somebody gonna
tell!” (laughs) I was foul out there. But ain’t nobody rat on me so I was al-
right. Some of those Groupie Confessions were cold-fuckin’-blooded, man.
Big Truck Records is your record company, right? I see you kinda played
off of the No Limit logo to create your logo.
Yeah, big vehicle coming through the street. What are you gonna do when
you see that? You’re gonna get the fuck out the way, right?
Are there other artists signed to Big Truck Records?
Yeah, I got a couple. It was so much talent inside those fuckin’ walls, so I
was kinda scouting when I was going through it. I was watching how they
move. If you can survive and stay out of trouble when you’re in [prison],
you can do that when you come out here. The guys that were talented but
knuckleheads, I can’t do nothing with them, because they’re gonna come
out here and do that same thing. You ain’t learn shit; you retarded. The ones
that had sense, though, y’all are gonna be hearing from them. Trust me.
Why did you decide to cut off your braids?
I was in jail; that wasn’t my call. If that was the case, my shit would be down
to my knees right now. They people told me, “No, none of that.” I felt like
Sampson; all my superpowers went away. But I was too old for that shit, so
eventually I was gonna have to do it anyway.
Do you see the South maintaining our position at the top of the music
charts for a while?
That’s where we at? I’m out here, aren’t I? Well, shit. You know better than
to ask that question. I’m not playing with these dudes, man. I gave them
dudes six years to frolic their ass across that stage and get my awards. I’m
not playing with these niggas, man.
Is there anything else you’d like to say?
I just want to tell the fans, thank y’all for the love and support throughout
that ordeal, through my time and moment of despair. I really needed that,
and the music is going to be well worth the wait. //
OZONE MAG // 53
 CRUNK
THE
WORLD
LIL JON, THE CRUNKEST O.G. IN RAP
Words by Maurice G. Garland

54 // OZONE MAG

Blame Dave Chappelle for taking Lil Jon away from “us.” Ever since
he started making his “A Day In the Life of Lil Jon” skits on his sketch
comedy show, Lil Jon was taken from nightclubs in the South to liv-
ing rooms all over America.
“That Dave Chappelle skit was funny, and it was good for business,”
says Jon. “I thank him in every interview and every time I talk to him.
Those skits made me a pop and cultural icon that will be recognized
forever.”
To his credit, Jon has taken full advantage and transformed himself
into one of the most recognizable figures in music. Producing hits for
everyone from Usher to Pitbull, Jon has proven himself to be one of
the more diverse producers of the past decade.
With his new album Crunk Rock (finally) hitting stores this summer,
Jon sat down with OZONE to talk about partying all over the world
and becoming bigger than the sound he helped create.
Where in the world are you right now?
I’m in New York right now, but I go to Brazil tomorrow. I have four or five
shows and I’m shooting a video out there.
We all know what Brazil is known for. Is this going to be an NSFW
video?
If I get some crazy stuff, I guess I’ll make the Magic City version, but
Brazil style. I have a song called “Machuka.” In Brazil they have Bali Funk;
it’s like Miami bass music [was] in the 80s. They talk about the same
shit, and they even have the dancers. I did the song with Mr. Catra and
Mulher File.
You’ve been making party music for 15 years now. Did you think
what you were doing back then would take you to where you are
now?
I just wanted to make good records, from the beginning until now.
I’m known as the party guy. When I step in the room, people want to
start getting drunk. This has taken me around the world from Brazil to
Australia. I just got back from Bulgaria and Finland. I was in Malaysia;
I’ve been all around the world. Toured Australia three times. Toured the
whole U.S.; been everywhere. Argentina, Sweden, Switzerland. I never
thought starting with “Who You Wit’” that it would get this big.
Your new album Crunk Rock has been five years in the making. Have
you made any changes from what it was originally supposed to be?
Really, just two major changes. I started off collaborating with a lot of
rock musicians and then me and the label I was signed to [TVT Record-
ings] fell out and they went under. There was a break, then the new
label that bought them, acquired me. Then I got out of that deal and
signed to Universal Republic. I wanted to come fresh so I went and got
Swizz Beatz and Drumma Boy right away. I stepped back from produc-
ing myself so I can concentrate on the vocals. It gave me a new energy.
It was a combination of things that made it feel fresh again. I started
DJing again all over the world, so I was back in my roots. I didn’t have so
much pressure on my back because I didn’t have to do everything.
Do you miss producing at all?
Nah! That’s a lot of stress and work to do. Making 15 songs and pulling
hits out of that? I did production work on this album, but I gave most of
it to other cats. I don’t miss doing whole albums. I might do that again
after this album comes out. Eventually I’m gonna get back in the studio
and make records for other people again. But I had to get this record
out. I signed a contract, so I have to get this record out.
In working with other producers, did you encourage them to do their
own thing? Did they come in trying to make their own version of
your beats?
I tell them what I’m looking for and let them do them. We figure
out what direction we’re going in after that. I got a lot of respect for
Drumma Boy because he went in and knocked out 10 beats right away.
Producers and rapper work a lot faster that they did in years past,
due to technology and the overall standards for music not being
as high anymore. How do you feel about the frequency a rapper or
producer can just crank music out now?
Well, the records I was making with the Eastside Boyz, those records
never went away. They’re still here. To me, it’s to each his own. If you’re
putting out a new mixtape every month and that’s how you’re eating,
do what you do. But for me, that doesn’t work. To me you’re just giving
away music. But if that’s how you get your buzz up, do what you do.
A lot of the songs you made, people criticized for the same reason
they do a lot of music now. It was thought of as just “easy” to make.
What actually goes into the song-making process for you?
I go in, get the beat done. Vibe to it, write, then go lay it down. I’ve
got a song on the new album called “Get In, Get Out” where I freestyle
on it. When I made it, I listened to the beat, recorded a verse, got out,
listened, went back in, got out. I never did that before. Back when we
started doing it, studio time was very valuable, so we couldn’t afford to
waste time. We had to do the beat and the vocals before we even hit
the studio. On this album I just did a bunch of new different shit and
had fun making it.
Granted your album still has the word in it, and you own the energy
drink CRUNK!!!, but do you think you have surpassed “crunk music?”
I started off doing crunk. But everything I get on, I make it crunk.
“Crunk” is always going to mean “a lot of energy.” With the album, it
went from being about the rock songs, to being about a crunk rock
lifestyle. That means can’t nobody can’t tell you shit, we want to have a
good time, forget about the messed up shit. Just living life to the fullest.
So it’s not just about crunk music anymore. I’ve got Waka Flocka, Pastor
Troy and Soulja Boy on there, so it’s still there.
A lot of people who are fans of your older work say your style has
changed. Do you see the difference?
The thing with me is that I’ve always been able to do other shit. I
had “Yeah” with Usher when I had the Kings of Crunk album out. I did
Pitbull’s big songs too; I can do different stuff. My fanbase is broader
than crunk music because I can jump on other records. I’ve got different
records that appeal to every fan I got. This new album showcases every
Lil Jon you know. I’ve got a song with Ying Yang that may remind you of
“Get Low.”
You’ve toured all over the world. Do you see a difference in the way
people party or react to your kind of music?
In the urban club, people don’t get crunk anymore. When crunk was
at the forefront people were slamdancing and the whole nine. Now in
the urban clubs people are just standing around looking at each other.
When you go to the house music clubs, they’re going crazy, wilding out.
I’m trying to bring energy back to urban clubs. Niggas want to stand
on tables and wild out again. Thanks to Waka Flocka, he’s helping bring
that shit back. We’ve actually talked. He said he grew up on crunk and
he’s bringing it back.
You’ve been around for a minute and you’re considered to be the
originator of a sound, so that makes you a elder statesman. Are you
trying to reach back to the younger cats at all?
Me and Waka done had conversations. He’s spitting my lyrics to me. I’ve
talked to Roscoe Dash; he said his brother played nothing but crunk.
Travis Porter invited me out to rock with them. I respect anybody who
respects me. They’re showing the upmost respect by calling me an O.G.
in this shit. //
OZONE MAG // 55

WIZ
KHALIFA
In April, Wiz Khalifa released his Kush & Orange Juice mixtape on the in-
ternet. With the phrase “#kushandorangejuice” making its way to the top
of Twitter’s trending topics and “kush and orange juice download” ap-
pearing at No. 1 on Google’s search trends, without a doubt there were
quite a few people looking at their computer screens thinking, “What the
fuck is a Wiz Khalifa?” But for thousands of others already familiar with
this former Warner Bros. artist, Kush & Orange Juice was just the latest
free offering in a long line of Wiz Khalifa projects.
After a 2009 independent album Deal or No Deal that landed at #1 on
iTunes Rap albums, followed by a Deal or No Deal tour through 40-plus
US cities and the success of Kush & Orange Juice, we figured now is as
good a time as any to introduce OZONE readers to Pittsburgh’s Wiz
Khalifa.
How hard was it to come out of Pittsburgh, compared to other cities like
Atlanta or New York?
It wasn’t really hard. I never focused on the fact that I wasn’t from a major
city. I just focused on the fact that I had dope music, and that I felt like
people really needed to hear that shit. So, I figured out a way to put it out,
and it took off. It took a lot of time, but all the time that it took to get there,
now we’re here. So, it’s like, we’re at least gonna last that long. I’ve been
working for almost ten years, so that means I’m at least gonna be here for
ten years.
What happened to your major deal with Warner Bros.?
I think they had me figured out to be a different kind of artist. I’m a multi-
dimensional type of dude. I make different types of songs. I’ve got a lot of
radio-friendly, hit-potential songs, and I’ve got real creative and fun shit
that I do, too. I think they wanted me to stay in this box where I wasn’t com-
fortable. I just had to decide to be a boss. I was in a situation where I could
just sit there, cool out and have all these handouts, or I could really make
56 // OZONE MAG
the type of career that I want for myself. And that’s what I did. I just bossed
up and bounced. And it worked for me.
Did it frustrate you when major deal didn’t work out like you’d hoped?
It didn’t frustrate me afterwards; it was frustrating during. Because when
you sign a deal they always tell you, “We have your best interest,” and, “We
know this and we know that.” I felt like when I signed the deal they thought
they knew what they were talking about, so in the middle of it I was a little
bit frustrated. But soon as I figured out how the game was going and what
I needed to do, I let all feelings go, and just started going hard. And right
when I did that it started paying off.
What was your plan at that time?
Smoke hella weed, get on the internet, be way cooler than anybody else
that was trying to do what I do, and make the best music possible. And I
realized how valuable the internet was and who my true fans were, so I just
went after that.
How would you describe your fan base?
They definitely smoke hella weed, they like to party, they like to have fun,
them muthafuckas are crazy, dawg. Like, my fans are crazy. It’s mixed, black,
white, Mexican, Chinese, everybody comes out to the concerts. It’s crazy.
Lets talk about your album, Deal or No Deal. When you saw it doing big
numbers independently, did that surprise you?
Yeah, definitely, it did. Cause I’ve been working so long, and just putting
shit out, and I’m so used to being looked over. When I put it out, I expected
to make a couple bucks off it and then just go on to the next project. But
when it got received like it did and did the numbers that it did, I was like,
“Aight, cool.” I didn’t have too many expectations, but it’s been on and pop-
pin’ ever since.
What about your Kush & Orange Juice mixtape?
I’m just gonna go on record and say Kush & Orange Juice is the best tape of
this year, the best body of work that anybody’s gonna give out for free. This
is it right here. I just really zoned out on this one, just on some creative shit.
I tried a lot of different shit. I brought some stuff that people already expect
from me and know, and then I meshed it up with a bunch of new shit. I’m
rappin’ a little bit different on there. I always try to switch it up every tape.
Not totally different, but it’s like a more abstract, poetic type shit. It’s easy
listening, man. Anybody can listen to it, from straight Hip Hop fans to like
a gangsta nigga that wants to shoot people all day. He’s gonna fuck with
Kush & Orange Juice, too. He’s gonna shoot somebody and then listen to
Kush & Orange Juice.
What do you have planned next?
Right now I’m about to smoke this Headband. I’ma finish this tour up. We
did 40 cities; my voice is almost done! My dog is gonna kill me when I get
home, cause she misses me so bad. Finish that up, do the album this year.
Keep smoking different types of weed and shit…and um…just try to rule
the world, man. Nothing major, I’m just here.
Last year you released the How Fly mixtape with Curren$y, and you col-
laborated numerous other times. What’s your relationship with him like?
That’s my fucking brother! I meet a lot of people in the industry, I’m cool
with a lot of people, but that’s my nigga. We just be on the same shit, just
some G shit. I meet him through the internet, but then kicked it on some
cool shit. His grind is unmatched, his music is crazy, his fan base is like none
other. And we share a lot of the same fans, too. That’s what was so powerful
about me and him getting together like we did. I think it opened people
up to a whole different type of music, a whole different type of living, then
what they expect from music. So it’ll be fun to see what happens in the
next couple years after this shit, but we’re always gon’ be working together.
We got movies in the making, more CDs, collectibles for people, it’s gon’ be
crazy.
Are you planning to stay independent or are you looking to sign back
with a major?
If a situation presents itself, I’m not against it. I went independent because
that was the move. But now that I did what I did with my independent
shit, if a major situation presents itself that’s better, of course if the money
is right and the terms are right, as far as creative control, it could work.
Also, I’m a boss, I make what’s gonna work, work, you know what I mean?
And if that ain’t the situation, then I’ll bounce and get some money from
somewhere else. But whatever is gonna happen is gonna happen. I’m out
selling these shows out and working on a great album. I have a wonderful
fan base, so just based off that I could keep going forever. //
- Words by Randy Roper / Photo by Clevis Harrison
DJ Burn One
Hometown: Atlanta, GA
Website: Blvdst.com, Twitter.com/djburnone
DJ Affiliation: Coalition DJs
Artist Affiliations: Gucci Mane, Pill, Yelawolf
Mixtapes: Gucci Mane’s Chicken Talk, PilL’s Prescription 4180, Yela-
wolf’s Trunk Muzik
3 Songs In Current Rotation: Pill “In They Eyes,” Freddie Gibbs
“Crushin’ Feelings,” Yelawolf “My Box Chevy Pt. 3”
He started out selling mixtapes in high school, and after playing
his part in breaking artists like Gucci Mane, OJ Da Juiceman and
Pill, this sought-after ATL mixtape DJ TELLS HOW HE PLANS TO MAKE
THE transition into sought-AFTER ATL producer:
I always listened to music. I grew up on No Limit and Cash Money. When I was 16, my friend got a
program called Sony Acid, and we started finding instrumentals and matching them with acap-
pellas. A lot of it was pretty terrible, so I’m glad I lost the tapes. But that’s how it started. Then me
and my friend started selling CDs at school. People would come and ask me for the top 10 or 20
rap songs that were out, so I started putting them together. Then I got a job at a local mom & pop
store called Super Sound and I started selling mix CDs out of there. I was selling like 100 a week
in the 9th grade. I grew up on DJ Jelly tape’s and heavy mixing, [but] I heard [DJ] Drama with the
exclusives, so I started to seek out artists to build relationships with. I met T.I. through Xtaci and I
got him to host a tape. That’s really when everything started picking up a lot.

I first met Gucci Mane when they’d put out “Black Tee” as a response to “White Tee.” I met Zaytoven
through Gucci. Gucci was recording at his house and they had just done “So Icey.” I met [Gucci
Mane] from there, and he did some freestyles for me. I caught up with him about 2 or 3 years later
after he got out of jail, and I talked him into doing a tape.

I worked with Young Dro. I did his first tape. I met him at Grand Hustle when he had just signed
over there. I hung around for a month and gathered up a whole bunch of songs to do a tape. The
week the tape came out, “Shoulder Lean” just got added to Hot 107.9, so it was the perfect time
for them to come together. It proved that he could make a radio record but still could rap. So, that
really helped solidify his fan base, as opposed to just being a guy with a song.

I just did a tape on Starlito, All Star from Cash Money. It’s really just the model of tape that I’m
trying to do from now on. I’m dong all the production, or at least the majority. It’s 11 songs, so we
kept it short. It’s just something that we own. It’s not freestyles, it’s real street albums. This tape
we put it straight to iTunes. You don’t need a million dollars to put behind a project; we did this
ourselves.

I’m trying to [keep this formula] with most of the stuff I’m doing. Sometimes people have their
music already done, and they just want me to host it. That’s fine, but I just want to be more
involved. After the [DJ] Drama [RIAA] bust, a lot of mixtape stores clammed up and stopped sell-
ing mixtapes. So, if we can get real albums into the stores or iTunes, and make real money, I think
that’s the next phase of mixtapes and where they’re going. Or at least where I’m going.

I did Gucci’s first tape, OJ Da Juiceman’s, Dro’s. I did Pill’s last year and he signed with Asylum in
January. I did Yelawolf’s tape back in January. I try to find people that I really am a fan of and that
I know will translate to most other people. I think I have a pretty good ear for what people would
like to hear.

I wasn’t really doing tapes last year. I did Pill and a couple others but I was really just sitting at
home working on beats. I feel like all the work I was doing is starting to pick up some steam,
finally getting love on blogs, different artists are starting to reach out to me to work. I think
production is really my calling but I’d still like to stay on the road. I’m about to be touring with
Yelawolf a lot. I enjoy being on the road but I like to be able to sit down and work on beats, work
on albums and stuff to keep residual money. Show money’s cool, but it’s not going to come to
you while you’re sitting at home.

I’m really trying to work on my project, the Burn One album. I want to produce the majority of it. I
might have DJ Toomp do something on it. I look up to him, so I’d love to have him do some stuff
on there. I just wanna capture all this new talent that’s coming out right now—Freddie Gibbs, Pill,
Yelawolf—there’s a whole new crop that’s starting to rise, but no one has really captured that in
an album yet. They’re all doing their own thing but I think I can do a good job [capturing them
together], so that’s probably the next project that I’m working on.

As told to Randy Roper

OZONE MAG // 57
 With Hip Hop Getting More Digital By The Day, ARTISTS
SHOULD BE PAYING Attention To Professional
Computer Hackers Like Gregory Evans
Words by Maurice g. garland

58 // OZONE MAG
Typically, the mic and the turntable are the first tools that come to mind
when thinking about Hip Hop. But over the last decade, the computer
has become just as important. Artists, producers, DJs and music insid-
ers store everything from albums, exclusive remixes, contacts, photos,
invoices to itineraries on their computers.
You’d think for these things to be so valuable to their existence, they’d
go above and beyond to protect them. But according to Gregory Evans,
CEO/Founder of Ligatt Security (pictured below), your favorite artists are
spending more money rolling with an entourage and popping bottles in
the club than protecting the very thing that makes them money.
Evans is a professional computer hacker who gets paid to hack into the
computer systems of corporate companies and tell them how they can
better protect themselves. But he wasn’t always on the right side of
the fence. The Maryland native has done everything from hack into the
coroner’s office to “kill” someone to run a multi-million dollar telephone
fraud scheme that landed him in prison for 2 years. After serving his
time (and paying back $10 million in restitution) Evans is hacking legiti-
mately and wants the Hip Hop community to know that they can and
should put forth more effort to protect their creative properties.
What exactly do you and your company do?
We are hackers. We teach people how to hack, but
legally. We write our own software. Say someone
hacked into your studio system, stole your songs
and put them on the internet, or somebody is
trying to extort you or install spyware on your
machine…that’s where we come in.
At what point does hacking become legal?
Hacking becomes legal when you have permission to hack into a person’s
computer. Back in the day I used to hack illegally, that’s how I got my skills.
When I got caught and wound up paying back a lot of money, I switched it
around. Now people give me permission to actually do it.
Why should the Hip Hop community pay more attention to this?
Hackers can mess up your album sales. Hackers can hack into your comput-
er anytime we want and leak your songs. This has been going on for years.
People in Hip Hop consider “security” to be guns and homeboys, metal
detectors, pit bulls, etc. But they don’t think about computer security.
When people hear the word “hacker,” they [picture] a nerdy white kid hack-
ing into school computers. But in reality, cybercrime brings in more money
than all the drug trafficking in the world. Let’s say you’re recording at your
home studio, or a big studio in New York. There’s four people in the room:
you, the producer, the engineer and one of your homeboys. You just came
up with a song, he came up with the beat, and you wrote the song and
recorded the song that night. As soon as you hit save, a hacker can already
be in your computer. Or they might have installed spyware, so everything
you do gets emailed to them. Now your song ends up on the net or the
radio. You’re mad and blaming your people, looking at them sideways.
Some of these studios have cameras, metal detectors and elevator cards,
thinking they have all the security taken care of. But they didn’t install
firewalls on their computers and configure them correctly. All studios have
internet with people inside checking their emails, facebooks, doing online
banking and making reservations. Everything you’re doing can be emailed
to someone else. Studio executives don’t understand this. They think that
just because they have an IT person running their network, they’re pro-
tected. IT managers are not security people. That’s like comparing a nurse
to a doctor. People like me do nothing but hack. Your IT person’s job is just
to connect your computers to the internet and to the printer.
Does the hacker need to be at the studio to hack into the system?
No, there are two ways they can do it. They can find out where a studio is,
drive up, park outside and if they have a wireless network, they can crack
it in 5 minutes or 6 hours. Once they crack it, all they have to do is install
the software they need, leave, and never come back. Or they can get the
IP address of the studio. You don’t have to be in the same country to hack.
They can send an email and as soon as you touch that email, to read it or
delete it, doesn’t matter. As soon as you touch that email, it send me back
an IP address. You IP address is like your SSN. Everyone only gets one. Once
they get that, they will start scanning looking for open ports. Every com-
puter has at least 65,000 ports on it. Imagine walking around a house with
nothing but doors and windows, but not going in. That’s what scanning is,
and it’s not illegal. So they’ll walk around the house and notice that door
34,553 is open, or 53,832 is ajar. Those are considered open ports, so they’ll
use that to hack in. Or, I can just send out an email saying “check out Jay-Z’s
new track” to get people to check it out, and I’ll put a link in there. As soon
as you click on that link, you’ve got spyware on your computer. Or when
you click on the link I can have a javascript open a port on your computer,
so can log in directly to that port and access your computer.
Can you give us an example of how hacking has affected an artist?
This is a true story, but I can’t tell you who the artist was. Two people are
beefing, and they’ve both got albums coming out. One of them hires a
hacker and gets him to steal the other rapper’s tracks, and even used some
of his lyrics. He wound up dropping his album before his. Now the victim is
accusing people of stealing his stuff and looking at everyone in his camp.
You can mess people’s numbers up by hacking SoundScan too.
So you’ve dealt with high profile people then?
Oh yeah, artists, producers, CEOs, studios. One studio in NYC had a hacker
stealing stuff and leaking it. But they never told people it was happening.
We went in and shutdown the studio and tracked down the person who
did it. But the rappers affected never stopped to ask, “What do we all have
in common?” They all worked at the same studio and most of the songs
that were leaked were linked back to the same studio. All these big artists
have studios in their home thinking they can’t be hacked because it came
with Norton [Anti-Virus]. That stops the wannabees, not the real hackers.
What can people do to protect themselves?
They can’t call the [Best Buy] Geek Squad. They need a real hacker to go in
and show them how it happens. That’s what they need. Calling your boy
who happens to be an IT person is not gonna work. Citibank got hacked
a couple weeks ago. They have IT people with fancy degrees but still got
hacked. They don’t employ real hackers. The same way rappers hire body-
guards with street cred, they need to hire a hacker with some credibility.
Can you tell us some of the people you’ve done work for?
We can’t name names because we sign confidentiality agreements. Last
year, we worked for a multi-platinum artist. This person was being extorted.
Someone got ahold of all their music, [private] pictures, and personal stuff,
and a hacker contacted them asking for money. One of their managers
had dealt with me in the past. They wanted to call the police, but then it
would have gotten out to the press. So they called me and we actually got
into the hacker’s computer and deleted everything he had downloaded so
he didn’t have to pay. The artist was one of the top four selling artists that
year, as far as album sales. I’ve seen some stuff, man. You wouldn’t believe
some of the lifestyles some of these guys live. Some of them are gay on the
down low and they save this shit on their computer thinking they’re safe.
Some of these guys don’t even put passwords or encryption on their com-
puters. Let’s say you don’t get hacked, but someone steals your computer.
Why are you putting all this shit on your computer? Or the passwords are
easy to figure out. I don’t even see why rappers are beefing with guns. Get
a hacker and you can mess up somebody forever.
So you think this is going to be the new way to beef?
It’s already the new way. White people know. But brothas on the street
don’t, they need to get hip to the game. They need to get a bad hacker
on their team. Say if Ross and Eminem are beefing. Em has more money
and he hires a hacker like me, not me because I don’t do stuff like this, but
somebody like me, and says, “I want you to deal with Ross.” I’ll ask how bad?
If he says real bad, I can hack into Ross’s computer and put child porn on
his computer and call the authorities. Then, bam! Rick gets busted with
child porn. I ain’t saying I’ll do that, but that’s what can happen.
So some people are getting framed?
Man, I’ve framed so many people. When I was in high school my teacher
gave me a B in class. Me and my friends were hacking and changing grades
in school back then. We changed the teacher’s credit, got his house fore-
closed on, got his car repossessed. We even killed somebody with a com-
puter. Back in the day, you could hack into the coroner office’s computer
and make someone deceased. That goes out to the credit bureaus and the
DMV. We waited a week and called the police while this teacher was driv-
ing, said somebody stole his car and had been driving around using a dead
man’s ID. They pulled him over and he showed them his ID, but when they
ran his name it said deceased. They arrested him and he had to prove who
he was. Back then fingerprints didn’t come fast. He was locked up for while.
He shouldn’t gave me a B.
How much does it cost to protect yourself from hackers?
You can spend less than 5 grand, but make sure you hire the real McCoy.
Before this, I was hitting phone companies for a million a week in LA. I had
to pay back $10 million in restitution and spend 24 months in prison. I did
my time, got out, and started doing it legit. You want to make sure you get
somebody that knows what they’re doing. //
OZONE MAG // 59
 DEVIN
the
DUDE
Words by Randy Roper
Just weeks before the release of his latest album, Suite #420, and the
start of his 420 Tour, Devin “The Dude” Copeland is in a good mood. And
why shouldn’t he be? While most rap careers are about as stable as Greg
Oden’s knees, Devin The Dude has spent damn near 20 years eating
good and smoking even better off the music business. Devin talks to
OZONE about this year’s monumental international Cannabis holiday.
For people that don’t know, can you explain what 4/20 is?
4/20 is like a smoke time and it turned out to be an international smoker
holiday, April 20th. It started off, at 4:20 PM, some college guys out in
California used to take a smoke break everyday at this particular time.
It turned into a trend and became worldwide. So, Suite #420 is a special
occasion. It’s a blessing for me to come out with another album, man. It’s
been quite a minute since my first album. It’s kinda sweet for me to be still
in it and putting out records. Suite #420 is like having a hotel suite with
your friends and people over there that smoke, to just chill. Everybody’s
letting the weed break the ice, and ain’t nobody trippin’ on color or race
or whatever. It’s just coming together, sharing ideas and passing the weed
over. We want the album to portray that. Just smoke, chill, have fun and
enjoy what’s here.
How many years have you been celebrating 4/20?
I don’t really celebrate it like that. I’m usually high on 4/20 anyway. But on
April 20th I would probably call a couple friends, my Coughee Brothers
and sisters, and ask them if they’re putting it in the air for 4/20 and just
wish them a Happy 4/20. Stuff like that. I don’t throw no huge party.
You don’t have any big 4/20 plans this year?
Actually, man, yeah, the nationwide tour starts on 4/20. It’s going to begin
in Houston, then a few shows in Texas, then we’re going to head out to the
West, then the Pacific Northwest, then go to the Midwest, then the East
Coast, back around to the South, we’re going to make a circle. We’re going
to be out for like a month and a half.
Who else is going on tour with you?
The Odd Squad, the Coughee Brothaz, actually we’re still trying to accumu-
late another artists right now as we speak. We’re just trying to get a solid
show together and get ready for the road in April.
This is going to be your third album since you left J. Prince and Rap-A-
Lot, so what’s been the biggest difference since you left Rap-A-Lot and
joined Razor & Tie Entertainment?
There hasn’t been too much of a change. Our music is still the same and
60 // OZONE MAG
our work ethic is pretty much the same. We still have the same format of
how we do things and the studios we go to for mixing and mastering.
You’re been grinding for a long time. Even though you have a strong
fan base, do you ever get frustrated and feel like you should be a bigger
star?
Nah, not frustrated. I never thought when I started rapping in the 11th
grade that I’d be in the presence of artists I looked up to and admired most
in my life. I never could have imagined I’d be in the presence of some of
these people and help them with their projects, and vice versa, get them
to help me with my projects. Like Nas and [Dr.] Dre and De La Soul and Ra-
fael Saadiq, Too $hort, [DJ] Premier, just to name a few. There have been so
many blessings that came my way, no record sales could account for that.
I’m not saying I don’t want to sell records. Every rapper would want a lot of
units sold, of course. But the respect and appreciation goes a long way.
There was a recent interview online where you were talking about Am-
sterdam. Have you been there recently?
Man, I’ve been to Amsterdam about three times. I haven’t recently been,
but I’m looking to go again. It’s real cool out there, man. It’s carefree. You
can smoke and drink and chill at the same place, and ain’t nobody really
trippin’ on that.
Is the weed better over there?
I think they have a better variety, simply because it’s not frowned upon. It’s
not necessarily “legal,” but they don’t really trip. Since the availability is so
broad, they’ve got all different kinds of weed. But it’s some pretty nice stuff
out there. It’s probably the same stuff that you’ll see in the dispensaries out
in California.
Obviously, you think they should legalize weed in America, right?
I sure hope so and I’m sure waiting for that time. If not legalize it, at least
decriminalize it. It’s messing up a lot of families and putting a lot of money
towards lawyers and jail. It’s simply a grass that grows, that’s actually a
medicine, and it’s good for you. But they want to try and portray it as
something bad. It helps millions of people. It’s never killed one and the
powers that be want to make it seem like it’s a bad thing.
So, on 4/20, what do you want fans to do after they buy your album?
I want them to twist up something first. So, make sure they have some-
thing in a bong, a bowl, weed pipe or something, take a few hits and put
the record on. And hopefully they like a few songs that they hear on the
album. //
Industry 101
MOTION
FAMILY
With music fans increasingly
changing their music video view-
ing habits from the television to
the computer, many artists are
scaling back on trying to make
extravagant videos like the ones
Busta Rhymes and Missy Elliot
used to SpLURGE ON. While technol-
ogy has opened up the door for
virtually everyone with the money
to afford a nice camera to call
themselves a “director,” Motion
Family is setting the standard on
how to make potent music videos
in today’s climate.
The three-man team consisting
of photographer Diwang Valdez
(RIGHT), videographer Sebastian
“C Bass” Urrea (LEFT) and graphic
designer David KA (CENTER) are
emerging as the go-to team for
music videos and OVERALL ARTIST
IMAGING. After shooting career-
altering videos for the likes of Lil
Boosie and Pill, Mo Fam are set to
revolutionize music videoS. OZONE
caught up with the team at their
Atlanta headquarters to find out
how it all started and where it’s
going.
Can you start off by telling us how the Motion
Family got started?
David KA: It started in 2004. C Bass and I were at
Savannah College of Art & Design (SCAD) and
we had the idea to start a full service agency. We
graduated, C Bass moved to Tampa, and we had
the dream to do videos. I convinced C Bass to
move back here when I was working at Dapper
Magazine. Diwang was there too; that’s how I
met him. From there we connected and formed
MF as an agency. We linked up with Yancey Rich-
ardson [at Atlantic Records] and he believed in
what we were doing. He brought some work and
videos to the table like Yung Joc, Gucci Mane,
and Yung Ralph. Joc’s song “Posted At the Store”
was our first major look. After that we did Pill’s
“Trap Goin’ Ham,” and that’s the video that got us
recognition.
With three people being on the team, how do
you stay on the same accord creatively?
C Bass: It’s a natural vibe that occurs, because MF
was formed off natural occurances. Everybody
plays their part and respects each other and
trusts each other. There’s not a moment where
I can’t tell them to do what they feel. When it
works it works. We just flow with it. MF has been
together since college, it just worked.
Diwang: When we’re on set, I know David and C
Bass’ work and what they capable of. So there is
no question. We have 3 different perspectives
but the same goal in mind.
David KA: We all shoot, so if we’re feeling a shot,
one of us might hop in. All our videos are like
a collaboration of 3 different visions. If you sit
down and look, I can tell who shot what, but oth-
ers won’t be able to. But when we do our videos
it’s 3 different visions. We might do 3 different
looks per verse.
Diwang: If the 3 of us are shooting, out of all of
us, we always know what shot is the best. We’re
non-biased. If it’s dope it’s dope.
How long did it take you to research things and
really get in the game?
David KA: Technology has changed recently.
When we started in 2004, film was real big and
digital was just hitting the scene. With film you
still need that 25 person crew. But with digital,
depending on how you work, you can pull it off.
We have a documentary style. We like to shoot
real life, with no set-ups. If you know how to
work your cameras, you can take advantage and
the possibilities are endless. Back in the day you
needed $150k to even get started, but now you
might only need $5k to $15k. It’s crazy. If you’re
into technology and how shit works, everything
is at your fingertips.
Diwang: Plus, we’re fans of the culture and we
listen to the music already. This is what we like
to do. We already have a good grasp on what we
like to see.
David KA: We’re getting in the game when
budgets are the worst ever, but we have a love
for this. The money will get better, but we love
to do this.
Do you think you’re changing the game?
People don’t seem to want to do big budget
videos anymore.
David: It’s hard to say. We don’t want to put it
out there that you can just do it for nothing. But
we’re proving that you don’t need the $100k
budgets to do videos that pop. If you have a
vision and a feeling, and confidence in what you
put out, it can work.
Diwang: It’s about keeping true to the artist. With
Yelawolf and Pill, we went to where they’re from.
We didn’t stage anything or set up anything. This
is his hood, these are his friends, these are his
parents, everything was really natural.
C Bass: None of us set out trying to prove a point
that you could shoot videos for less. We were just
on a grind and trying to do our best with what
we have. With technology switching, it’s been in
our favor. It can be said that we made the point,
but we weren’t trying to prove it.
Do you write treatments?
David: I hate treatments.
C Bass: I don’t like treatments, but I respect the
planning of it. For MF it’s been the plan of events;
we’ve done treatments and executed. As long as
we’re on the same page, we deliver. We’ve gone
to Louisiana with Boosie and we won’t know
what song we’re shooting for until we get there.
We show up, listen to the song, bounce some
ideas and locations around, and then “Mind of
Maniac” is delivered.
Diwang: Boosie trusts us. He’s all about doing
the work. That’s what’s great about working with
him. He’s been the easiest artist to work with.
Everybody seems to trust you. Do you talk with
the artists directly all the time?
C Bass: Sometimes it works how it’s supposed to.
Most times we do our thing; sometimes Yancy
brings some work. But most times it comes
down to the vibe with the artist and MF. When
we work directly with the artist, they really open
up.
Diwang: We get a feeling of who they are and
how they want to be portrayed. We’ve talked
and built rapport with them, so it works more
naturally that way.
A lot your videos are shot in dangerous ‘hoods.
Have you ever been worried?
David: At any point you do have to realize that
people might snatch the camera, but we don’t
really think about it.
Diwang: We usually aren’t worried because the
artist we’re with is respected. We feel completely
comfortable in the hoods and situations because
the guys are really from there. So we don’t worry
about security when we know we’re with some-
body that’s respected. //
Words by Maurice G. Garland
OZONE MAG // 61
 & Laws & Don Cannon
DJ Khaled/Victory
If you heard Khaled’s 2008 album
We Global or his 2007 album
We The Best, you should already
know what his latest album,
Victory, sounds like. But this time around Khaled’s formula
of A-list collaborations (well, B-list and C-list, too), mostly
over Runners’ beats, sounds staler than ever. Songs like “All I Do Is Win,”“Put
Your Hands Up” and “Fed Up” should sound better than they do considering
they feature the likes of Rick Ross, T-Pain, Young Jeezy, Lil Wayne and Drake.
Plus, as the album plays, the features get weaker and much more skippable.
Victory isn’t completely trash, but Khaled may want to consider switching it
up on the next one if he plans to continue winning. – Randy Roper
Ludacris/Battle of the SexeS
DTP/Def Jam
What started out as a collabora-
tion album between Luda and
Shawnna ended with Shawnna
being dropped from the duet and ‘Cris bringing in a long
list of features to pull off his Battle of the Sexes theme.
Unfortunately, the end result pretty much sounds like an extended version of
“What’s Your Fantasy,” or “P-Poppin’” or “Money Maker,” or “One More Drink,” or
any other song Luda has delivered over the last 10 years. Still, Chris Bridges is
one of the best rappers in the game, and his new album has enough quality
songs and radio friendly records to make this a decent album. Just don’t set
your expectations too high. – Randy Roper
B.o.B./The Adventures of Bobby
Ray
Atlantic/Rebel Rock/Grand
Hustle
B.o.B. has never been one to
break out cookie-cutter tracks to get attention; his
creativity and persistence has been the formula by which
his music succeeds. The Adventures of Bobby Ray is different right from the
beginning with the pianos on “Don’t Let Me Fall,” which open up this uncon-
ventional Hip Hop opus. B.o.B. brings tracks such as “Airplanes” and “Ghost in
the Machine” which cross musical boundaries and convey his feelings rather
than focusing on sex, drugs, and rims. A welcome, refreshing break from Hip
Hop’s monotony, this album is a must-have. – Rohit Loomba
Alley Boy, DJ Holiday & The
Empire/Definition of Fuck Shit
Alley Boy doesn’t make the type
of music futuristic Atlanta rap
fans can relate to. Matter of fact,
Definition of Fuck Shit is the exact opposite of the swag
music that’s been coming out of ATL over the last couple years. Jack-boy
songs like “Rappin’ & Robbin’ featuring Princess and Waka Flocka Flame and
“Shoot 4 That,” along with the Young Dro-assisted “Tall,” an ode to riding 24”
rims or better, make for a list of standouts. And even with a few misses (“BIG,”
“Don’t Hate Me”), Alley Boy is without a doubt one of the few new Atlanta
rappers making quality street music. – Randy Roper
Fabolous & DJ Drama
There Is No Competition 2
This long overdue follow-up to
Fabolous & Drama’s 2008 mix-
tape was well worth the wait.
Much like Fab’s other tapes, No
Competiton 2 is arguably better than his last album, Loso’s
Way, as Mr. F-A-B-O and his Street Family, Paul Cain and Freck Billionaire, go
on a massive jackin’ for beats mission. From beginning to end, Loso’s punch-
lines and one-liners are solid over borrowed tracks like Rihanna’s “Hard,” Waka
Flocka’s “O Let’s Do It” and The Clipse’s “Popular Demand.” And once again Fab
used the mixtape circuit to prove why bar for bar for nearly a decade, he’s
been one of Hip Hop’s nicest MCs. – Randy Roper
62 // OZONE MAG
4:57 PM
It’s been over a year since
Laws’ Your Future Favorite
Rapper mixtape dropped,
and on his new project, the Warner Bros. signee
gets a step closer to fulfilling that title. Through 17
tracks, Laws shows his talent on “Number One” alongside Jay Rock, over
the 9th Wonder-produced “Shining,” and “We Like It,” produced by Da
Honorable C.N.O.T.E. Laws does stumble when he goes too left field try-
ing to cater to his diverse fanbase with “My Chick” and “Colors (I Don’t
Care),” but overall, his good beat selection and lyricism make this tape a
good listen no matter what time of day. – Randy Roper
Chris Brown, DJ Drama &
DJ Sense
In My Zone
This isn’t saying much, but
Chris Brown’s Aphilliates-
assisted mixtape might actually be better than his
subpar last album, Graffitti. Songs like “Madusa,”
“Twitter” and “Perfume” aren’t bad, and Breezy is often entertaining
when he’s showing off his rap skills on cuts like “Too Freaky” and “I Get
Around.” But other songs are either corny (“Big Booty Judy”), unargu-
ably wack (“Shoes”), or just bad ideas, like the Trey Songz “Invented Sex”
rendition, “Invented Head.” Really, Chris? Really? Brown might want to
think about releasing better music if he wants fans to forget about the
beating he put on Rihanna, as In My Zone appears to be another black
eye on his résumé. – Randy Roper
Cyhi Da Prynce, DJ Green
Lantern, DJ Greg Street &
DJ Infamous
The Prynce of Jacks
The Prynce of Jacks is actu-
ally what the title would suggest, and on this tape
the Konvict Muzik MC jacks everyone for beats from
Trey Songz’s “Say Ahh” to the Pharcyde’s “Passin Me By” to Luda’s “How
Low,” and flips them all with his own slick flow. Since Cyhi is a gifted
MC, listening to his rhymes is entertaining, but after a while, 23 tracks
of beat jackin’ and no original music is a bit much to listen to, no matter
whom the artist is. – Randy Roper
Willie The Kid & DJ Woogie
The Cure
Though WTK’s newest
mixtape is just around 30
minutes long, and only
one song is longer than
three minutes, DJ Drama’s first round draft pick
packs enough punchlines and wordplay into half an hour for The Cure
be worthy of a few listens. As always, Willie is lyrically on point, but the
briefness of this mixtape makes it play more like a sample of things to
come than a cure for any aliment. – Randy Roper
Asher Roth & DJ Wrecki-
neyez
Seared Foie Gras With
Quince And Cranberry
After a flopped album
(even by today’s standards) and a Twitter update
gone wrong, Asher Roth returns with a new mixtape
that won’t win over any naysayers, but it’s will appease his core fans.
Depending on your mixtape taste, DJ Wreckineyez’s mixing and blend-
ing can be a positive or a negative addition to Roth’s rhymes. But still,
Asher’s slick bars over jacked Kanye, Just Blaze and J Dilla beats, along
with collabs with B.o.B, Talib Kweli and Blu makes for a solid tape. –
Randy Roper
 Stuey Rock, Shawty Redd & DJ
Scream/Jekyll & Hyde
From Stuey Rock’s fusion of juke
music, slow jams, and strip club
anthems to Shawty Redd’s unex-
pected vocals, Jekyll & Hyde is an interesting experiment.
Fun yet grown and sexy, Rock & Redd combine their
solo work into one project, creating a list of hits like “What’s It Gonna Be,”
“Nympho Maniac,”“Stroker Lovin,”“Get It Girl,” and “For Love.” At time’s Redd’s
rapping is off and the creativity is a bit overboard, but it’s a minor nuisance.
Appearances by Snoop Dogg, Bobby Valentino, Alley Boy, and production
from KE, C-Note, Marvelous J, Fat Boi, and Nard & B make this a must-have
mixtape. #FreeShawtyRedd. – Ms. Rivercity
Roscoe Dash & DJ Kutt Throat
Can’t Catch the Lambo
Roscoe has proven himself
with several club favorites
following the controversial “All
the Way Turnt Up” (which he addresses on “WTH is Goin
On”). Almost weekly the 19-year-old hook master records
another smash, and Can’t Catch the Lambo is like a Best of Roscoe Dash Col-
labs mixtape. Featuring “Na Na Na” (Yung LA & J Money), “I’m So Gone” (F.L.Y.),
“Dey on My Dick” Remix (LA da Boomman/Waka), and Roscoe’s solo single
“Show Out,” this tape is fast-paced and entertaining. Excluding some skits,
DJ shout outs, and filler tracks that interrupt the vibe, Roscoe has a great
project. – Ms. Rivercity
Baby Boy, DJ MLK & DJ Scream/
Play Pen – Pacify-Her
Grand Hustle/Hypocalypto’s
young songster shows his flex-
ibility with this dual-themed
mixtape. The first half features baller-geared records like
“Stuntin” featuring Yung LA, “Getting Money” featuring
Young Dro, and “Bossed Up” featuring Trap and Alley Boy. Approaching the
second half, Baby Boy gets more mature with songs like “Go Deep” and “Pas-
sions of a Goon.” Overall this feels incomplete, with an abrupt ending, but
the quality is highly commendable for a mixtape. Even though the content
switches up, Baby Boy’s sound and well-written hooks stay consistent, mak-
ing the transition effortless and enjoyable. – Ms. Rivercity
Rocko x DJ Scream
Wild Life
Say what you want about Rocko
as an artist, but he can be
considered to be somewhat of a
trendsetter. Nobody was rapping about swag (in excess)
before him, but after him, everybody ran it into the
ground. On Wildlife, Rocko reunites with DJ Scream, and while it isn’t as good
at Swag Season, the mixtape does reintroduce Rocko with a slightly grittier
sound this time around. Guess the recession might’ve hit him just like the
rest of us. - Maurice G. Garland
Chalie Boy & DJ Mr. Rogers/I’m
Here
Whether you like it or not, Chalie
Boy’s hit single “I Look Good”
got him on, record deal and
all, and he’s here. On this mixtape with DJ Mr. Rogers,
appropriately entitled I’m Here, Charlie Boy sing-raps his
way through 18 cuts (37 if you count the slowed-n-chopped songs). While
it’s hard to tell if he seriously believes he can sing, or if he chooses to sing
regardless of the fact, there are some songs like “I’m Here” and “Change” that
are undeniably strong. Chalie is a decent rapper, but since he sings more of-
ten than he rhymes, it’s difficult trying to get through this entire release. But
if it’s any consolation, Chalie Boy’s music sounds a lot more bearable when
it’s slowed-n-chopped. – Randy Roper
Freeway and Jake One
The Stimulus Package
Contrary to popular belief,
Freeway didn’t fall off. He’s
actually been dropping
albums and mixtapes consistently over the last 4
years, but none of them came with the Roc-A-Fella
hype. His new project with producer Jake One, The Stimulus Package,
marks Free’s official comeback and return to rap supremacy. Offering a
well balanced attack of lyricism on “Microphone Killer,” storytelling on
“Money” and even some “girl records” with “She Makes Me Feel Alright,”
Free proves that he can stand alone with or without the Roc. Jake One
holds up his end of the bargain by crafting beats that bring the right
emotions for the subjects at hand. The Stimulus Package sets a new
standard for what a complete rap album should be in 2010. Let’s see if
anybody takes notice. - Maurice G. Garland
Yung Ralph & DJ Scream
The Juug Man (The Sequel)
With the number of street
hits falling short of Juug
Man Pt. 1, this second
offering from Yung Ralph leaves something to be
desired. Though he doesn’t lack material, as his
internet releases are continuous, this tape doesn’t represent all that the
Big Cat rapper brings to the table. Becoming an underground favorite
with songs like “About a Bitch” and “Look Like Money,” Ralph keeps true
to that sound with new hits like “I Bought That” and “Campaign,” but
there’s an overall absence of hunger. This tape is good, but maybe not
enough to satisfy faithful Yung Ralph followers. – Ms. Rivercity
Trai’D & DJ Drop
Young Thundacat
This Young Thundacat con-
sistently makes likeable,
club-ready music, similar to
the quality that’s kept Ludacris relevant long-term.
Starting with “I’m Loaded” featuring HP Miss & Fat B,
Trai’D keeps the momentum going with songs like “Fonzie,”“iDoobie,”
and “Gutta Chick.” It’s obvious Trai’D records mostly for the ladies
and partying, and his strong point isn’t insightful storytelling, but he
doesn’t try to be something he’s not, and he can rap. A shortcoming of
this tape is the music is dated, with a majority of the hits being released
early 2009, if not earlier. Being that Trai’D is still under the radar, it’s
forgivable. With the right push, this Hitz Committee signee could bring
Dallas even more spotlight. – Ms. Rivercity
Tity Boi x DJ Black Bill
Gates
Me Against The World 2
(Codeine Withdrawl)
Tity Boi of Playaz Circle
may very well be the 2010 version of Treach of
Naughty By Nature. Everyone seems to think he will
fare better as a solo artist, but he doesn’t seem to be interested. Per-
haps he’s heard the whispers and decided to put out this solo mixtape.
He comes across as somewhere between Gucci Mane and Lil Wayne,
but never as a guy that can stand alone, which is why being in a group
is better suited for his style. - Maurice G. Garland
Dorrough & DJ Drama
Number 23
I’m not sure what makes
Dorrough think he com-
pares to Lebron James
but Number 23 doesn’t measure up to King James’
stature by any magnitude. However, if you liked “Ice
Cream Paint Job,” you should find a few tracks on this tape to ride to,
like “I Stay” and the title track “Number 23.” Still, Dorrough should have
rethought this the mixtape title. Number 31 would have been better,
because it’s more like the Dallas Mavericks guard Jason Terry - good for
a few minutes of burn. - Randy Roper
OZONE MAG // 63
 DJ SCREAM & MLK
SAKS FIFTH: ROCKIN’ REPUBLIC EDITION
HOSTED BY LIL DUVAL
Twitter.com/DJ Scream
1. DJ Black Bill Gates “Black Diamond Radio” Blackbillgates.podomatic.com

2. DJ 5150 & Dre “NO To The BR 2” Twitter.com/dj5150br

3. DJ Chuck T “Down South Slangin’ 67” Djchuckt.com
4. DJ Ames “International Hustle 15” Hosted by T-Shyne & Charlie Boy Twitter.com/DjAmesUK
5. DJ Holiday “Holiday Season 3: Heartbeat To The Streets” Twitter.com
/djholiday
6. DJ IQ & DJ Whiteboi “Sexual Climaxx Vol. III” twitter.com/iamDJiq
7. DJ Knucklez “Knuckle Up Round 10” Twitter.com/djknucklez
DJ Scream and MLK got their hands on a few
exclusives and ATL underground hits, but hav-
ing Lil Duval host this mixtape is what makes
this the Mix of the Month. Duval’s skits are
hilarious, but this mixtape’s gem is Lil Duval’s
very own single “Basic Chick.”

8. DJ Kut “Everybody Loves Chris” Twitter.com/djkut

9. DJ Sense “Rhythm & Streets 14” featuring Keri Hilson Twitter.com/DJSense DJs, send your mix CDs (with a cover) for
consideration to:
10. DJ Skillz “Roc-A-Fella The Golden Years Part 1” Skillzthedj.com
11. DJ Smallz “Follow Me! RnB Volume Two” Hosted by Baby Boy Djsmallz.c OZONE Magazine
om
644 Antone St. Suite 6
12. DJ Spinz “Heart of the City 9” Twitter.com/spinzhoodrich Atlanta, GA 30318
13. DJ E-Top “Get Ya Game Up 15” Twitter.com/djetop

14. DJ Woogie & Mz Stylez “Southern Sippin 16” Twitter.com/Djwoogie

15. DJ Suga & Exclusive J “Boss Chicks-R-Us Chapter 1”

16. Lil Fats “Coast 2 Coast 116” Hosted Kurupt www.coast2coastmixtapes.com

17. DJ Mr. King “Bedroom Blendz Vol. 3” Twitter.com/djmrking www.djmrking.com

18. Shoot 5 Ent. “Dirty South G’s Vol. 14” Hosted Alley Boy
19. DJ Spinatik “Street Runnaz 45” Djspinatik.com

20. DJ Smooth Denali “Best of 2009 Hip Hop Edition” Djsmoothdenali.com

OZONE MAG // 65
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Young Jeezy
Event: Blueprint 3 Tour
Venue: Phillips Arena
City: Atlanta, GA
Date: February 27th, 2010
Photo: Thaddaeus McAdams

66 // OZONE WEST
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