- 6SUEp5 J,'LY 2004'

tiltffiilillilllfiil iltil
 ro
5

,ffi,

)pi

+a:
 J.
'd :.::itil

€dttrt€*.

s*

ffitrffiffitrtiltoN,uNtTY
UHSELFISH A]TD SELFLEI
IHTERGHAHGEABLY";

DJ BEHIND"
llJ's
DJ SCRAF BIRTY OR
ECUTIVE COMfI'IITTEE
l 4gs-sg 32
Design*d by Rcdini af Maximum Grcfx Design Group b31,.643,4i qO '
 re$ffiffiffi
ffi#TSl$$ffiffJffis
9TIN@
reBOSEffi#HHK
 :.. ..:1:4a.,:: . ::

1,. ::tl:.;t
'r:.1 11.::..
::.':: j
PUBLISHERS:
Jutia Beverty (JB)
ffi{pgLt10
Chino
JB's?ffipgAIl
EDITOR-IN-CHIEF:
Jutia Beverty (J8,) 16BrrspgiAt2
ITUSIC EDITOR:
ADG gUIF{f tuo fillhntos pgr At$t6, BI-tg
CONTRIBUTORS:
Bobby Novoa, Bogan, Brian O'Hare,
Chris lmani, Cynthia Coutard, Dain
Burroughs, Darnella Dunham, Dave
Goodson, Fetisha Foxx, Felita
Knight, Hasan Brown, lisha Hitt-
mon, Jaro Vacek, Jeska Manrique,
Jesse Jazz, Jessica Kostow, J Lash,
Katerina Perez, Keith Kennedy,
K.G. Mostey, Matik "Copafeet"
Abdut, Nada Taha, Natalia Gomez,
Noe[ Matcotm, Rayfietd Warren,
Rohit Loomba, Spiff, Swift, Walty
Sparks

SALES CONSULTANT:
Che' Johnson (Gotta Boogie tlgmt)

LEGAL AFFAIRS:
Kyte P. King, P.A. (King Law Firm)

ACCOUNTING:
Nikki Kancey

CIRCUATION:
Mercedes (Strictly Streets)
Buggah D. Govanah (On Point)
zo
Big Teach (Big ltouth)
Efren Mauricio (Direct Promo)

SIREEI REPS I DISTRIBUTORS:

B-Lord, Bitt Rickett, Btack, Butt,
Chitt, Chitty C, Controller, Dap,
tr#
T.l.vcliil'ffip
Dereck Washington, Derek Jurand,
Dewayne Barnum, Dr. Doom, pgrBt2-13
Ed the Wortd Famous, Episode,
H-Vida[, Hottywood, Janky, Jason
Brown, Kamikaze, Ktarc Shepard, &i,er Slerg
Kydd Joe, Lex, Lump, Marco Malt,
Music & More, N'Ron, Nick@Nite, Isrs Sucd
Pat Pat, P Boy Stone, Phattlipp,
Pimp G, Quest, Red Dawn, Rob-Lo,
p$AI&22
Sharon, Statik, TJ's DJ's

To subscribe, send a check or

money order for 5'l 1 (1 year) to:

Irlain office:
1 51 6 E. Cotoniat Dr. Suite 205
Ortando, FL 32803
Phone: 407 "447 -6063
Fax: 407-447 -6064
Web: www.ozonemag.com

l(iami office:
555 NE 15th St. Suite 7731
Miami, FL 33132
Cover credits: Terror Squad and DJ
Khated photos by Jutia Beverty; Lit'
Ftip photo by Dan Higgins; Remy Martin
photo by Bogan. OZONE Magazine is Pimpw.
pubtished eteven times annuatty by
OZONE Magazine, lnc. OZONE does Audd
not take responsibitity for unsolicited tselbst lmkrlry l0l:
materiats, misinformation, typographi-
cal errors, or misprints. The views pgrAlT
(MesDbsr
contained herein do not necessarity pgr Bl I
reflect those of the pubtisher or its
advertisers. Ads appearing in this
magazine are not an endorsement or
validation by OZONE Magazine for prod- h!*rerMhlff
ucts or services offered. Atl photos and
iltustrations are copyrighted by their
pg. Bl8
respective artists. Att other content
is copyright 2004 OZONE Magazine,
att rights reseryed. No portion of this
$ nenimr&mi&es p$ B[$2I Isnr Poffy
magazine may be reproduced in any nDR€iliairsp$Bn2 E)qess
way without the written consent of
the publisher. Printed in the USA.
klbnlhW{ilirq p$Arg
Vkleo Gon* Re*tr'rrr pgr B?3 pgt 825
OZONE MA@ZINEJULY 2OO4 9
 t23 Main sr
Atyrh€.q .-**ffi
,iryi.,
US 123,+j

. .:r'jl :"{,,r""". / " tt..r- ,rDoy.,.,

ftrxF*
. .! .'i: '. rrl :J,r lL :ts tgntu;\nt: llifuf;ffi""*",o' :". i1?qa, kj'$lj
tl"*n::i:e h*aiilvccis. i.rat:.' -=': :::. :ir-qh.
:i:*ir-{i:r./
:r :ir*ilf il-s5 !iii*
:iliJ+{. i,y' :ii*1jf r h;:r i*
tF\{: {liai tfi *ii*;'t
*::*;-] +i}
+;} l}K* [nat. :
ijkf', t;lAt. ilti:+:':, ?'eii :ilsi n=== ir,::::-r:r:,ir:= *:6d
f,::-; *';ked f;li lhe *qh: qili*:ti++i *!tii Sci l*v* i* ih* r*ai :ti*e: *-:. r'la lr*,- :i:] nLlb^
tt.eiqi:i'lijt.srji't I ti:*,i' I i tu|g i,** :ryl*rldfr hl*. L.'" .. | .
'5Jo'.. 3i '* ...- -: : :
ii*ep ijl ti't*' gi**i liretk. - flerl S+s=*. l_nneirnar* ili-tt*re$i*rE*r:i -+;'r si:ll,: iovs. sh+w Ci:=-leli li: riega
f*riM"r'itt**, car {Lr*r:**6:**i.*.*:* {il{i*art, fl L} *ir s*!=* tc.,'*. irc= =i; ci i-*it ai"*:+ilt* real ri:$ st.a=-i J_i*<.=i= : --:=a!'i.
y*t <*lI ji*rJi Ft== tne C:C].:l s,-:::-:,]w the ijii-:t'iil s**l* i*ve. ,i=.:ii:aid"
! i***j y*rur;rrtici* ** ili8'{i*** cjirert*rs, ihe Fat {.:ts, and ii;:t s+::iee* ir;rd J l1k* ail t::e rie:. ::c. - l:**i i=:t*, ii*nre+id*tredtt€:joti::+i:.r.*iy.r
t* lsi yilt-r kr*ir h*rv r"ud*:-irey e"'*l* l* t"it*. i +*r &iso llt*s+itl at the Lil*, :{, l"*nd:. FL }
acii:.-id*o:1n{,r1, ;ifid w** h;ritcrng :tt pror}lcii+nir ,-*rr {*-:. I iiteffiFi*=
i* hi:i:d * {i: l': ,}ntr *{ t*e il*t i+l:. ail{i he g!'e*:riil ffie'.,"{.:l;1 a cr:ki sh*ui- Y*, i r,ara: lusl iir my b*ii,:*r:hc= i;:.iil:::' ;== ; ltur+ y'*li maga;ine nnci
rJ*r. I unci*r:ialld that he w*: el r.,nrk, i:i.:l hs,Jid*'t:**il1 tc *e i:u:y ;rt r*;ld *li ':i lf" l;usi wan:*d tc s=:rd in;:ppreci=i:=-. ..*uau:-1c:i r.t"tanv
l;"1* itir-is. i ;e;;itrecl hirr !ii*t the iD ""vas fre* end l +;asn't eskiflq -1in i* lr*n$s *re'fiilt:* cover ti:s 1c-:i:rn -:-::: icei*. y,aii er+ *:*:.iiilg it
i*t *!e i t'fl{*l'* ij*aI sr *f_:yt_hinq. j rr*v* rv*rKeej !* pr*n:*ii*ns imr a l*ng E*:i*r fi:r \.oiln* biy$ ljk* r*e tc k*ovr r:-ei': tr-:::' ,
ii;ns. atrc ha,/* :.':*v*i i:**n :::::::n*d lirat +,*;: by nni; *ther e*iel:rilj*:,, !u,lli " :Ftrb* str{,,th..1er rJrck}.r-tvilt*. "L, =::. ){*r* l-la{*,
tr':aiii*, er avti! a ?ide$ #1:'*ri*t. l{ th* *ppr:rtunitV trver .ine: :lln!
iri'{r.$l i* sh**t a vid** in the fi:l',*;'*, }N$ti cs!.} h* d+m* rLlre the i+i il*t: ! j';st r*ad y,:*r "p*ii+:-":iiy v,i.rtijilfi" afajai* on jl.;.ril on '.'*::r wel:::i*"
'r,,ilIl't h* ciirerii*t it" - S**giw {At[*r-:i*, SA] l**': si,ve*l as {a;rk. I{fl*F iJrilppiftg tiat !1*i rhiii - *i3 fr+**** l,
di;*c.b{-Syehm*, {*fil
I l,Jv* i:l{-}i"fil ir*c*uss'+'al1 h*lri i: *,:wn f*r ih* inrJi* l*|:*i: *i:d q;r,e l*-
ri}{ frri'rlii a c!:irlri* ts *:i*f#s: th*:r i*.1*nt, *i:= i:-:ii', c+,.i|. *i*,ae p*:::- i1.**r*ri:€ i:iur: :i:ls iit*nih. The pi+::i:r rn ig.i-,ly Any !,;+s i":.-aF:EiV
irtg *::r *.ih*:e *r.il. fif ihe irilnk. ,#h*n *ilr nfx: r,ve,ll n:*,t.= :=pr*:::..'*, cfii :;{jilr j+inl *n l:"}€ *rr€ix-i:.r.:d Sanrji: lric!:. !+r;l*n
=ib*m =r*p',,
silrr i*.:i lire :iiivfl n ***pi* r"if paq*s i+ *Z*Nf 'cer,::e *.rr on-Frlii:t_. l-j€'i ct"lE *f *:y ai["tine fa'rsiii*i.
1;'*il ;:re ti:* ihit.. ^ &1*i-J*y, *r#nfid# R***rds, Yeiv go** rv*rk and solid r**ient. Nr: i-h:lf. j,.;:l
r**ljaytfiillf *y*hs$.rr-:r* {S{i+lei, Fr-i sl:"i,:i:;: hip-h,i;F. Ti€+i wnrk! : T*ny flr:hih*,
i==tf; *h!::aia.lft cle!piti*, n*t {{-\rlenfio, FLl
i ti,;:t s*,r' i:ilfit y*ijt r**ga:i**:: ri*es +{i*r re;li
lltlqirt io *rh*t ii f*kes trr fiurk{t ii Ii: tiriL; jrtngi* ; just pi{lied up the f,4r-r.y 1si,:e r-:'f *l*l'.if tf*4"
' i" rl fo .1, '. ji .rr":r.. r", .t L. .:i. :"'I",ta-qr f**re'l jij;lr o*r. ward !:* de:crih* il: FIR[! Y+i
!-1artil4tan u:{l ,v*:-;r iilng*:in* ilti ;tn 1iil:lif;fl l{} **t t]*ys ar* rj*fil-:!:=l'g workirig +jth s*in*tliing h*r*.
*'.,vfi pili.lt {t}:i:ai,i}tiri, *r'hsiilr.t it's.:+ *d fs:r: Ke*g: - p lh* g*i:ei nr*:'k. 'i**'ve g*t ft fi€w *L:::*
*n:si{ {**},#*t:*r ir j*si a leatu:-e *i: ** a!'t'isi *f *criixri. - F5 tr *.leln-f,.i, eeg*m*it?***l.rom {bVm*t
ffHfi'Jl:ve" l"ltr::;c ".,^r*rd: T1efrn :t +:uth lc t::es* *i F*1n: tfrmach, fli-j
t.;:; whr} +i*t lryiilS t* nr*k* gr:*ti rn*:i:. We want i=
l-i{} {ifit*ri*jfi;n6} i:+ :.1:.*:* wh* ;qr* iisteni*g *;rs::aliy, r*t I wn* jr"r:t li:eii<irg flt F*iJr wf;f"l$itf afid J jilst
bul *ls* fuNfilLing
-Nix"rs+
l* th*sf; !irl*{} iltr*? list*ritiifi fr"iti- -{frr'?*i] *irJ i-ritlr-*r* in 5ri:i:r negaxl** flf Fe**i
**lly, are t!.,/* it;ndary:*ntal* *{ nil5i{ Lili}t. ir*k;<. in th* l:all:l*h. H*w rjlcj ysu S*ifs flfft the:
* ll:r $1';:4f$Fl* *+*'t $**ffi fil gr;rsi:. **t y*u *er *;;tilre i: whul l'* uv*nslei-irr{.1? i always th*ljHljt
n;.:k+ th*q p*lnf *l+;:rw{lfi *very tssilci y*{rr} p:,:i:iisil. :hat. Fe*d: irilkk "*;:s ;n very i-:.**rls*r:l* nigea, hul
liir*ut**t:r tfi Ti ih*pffl!*n f*r *p*::!;":* tlly *yel l+) lhis pi{ti.ri* Ec*fe:; ffieli - ftachere{ #*W*si:!ngt*n,
i:i:{: $red'jdt thi}i: ',c,*ir st t};#ltI rfiak* e*n:* t* Life t'{s*$p'ittufrsye}i*r:"esm *';s:*n, TXi
{l.f
d\'*i"ir ix*!:l*. if th*i* +i*;i*y i:irittr+i: g!..'* l;syot-i
i*wardl *:tebl?:hi*S *ur r*<*rsj i*b+i, pl=*:e d*:+ ffr1f{*:' I**
:"*s;..............:r:,r'iils; :
Si;iilre av: *r*rX.rp+# by *#
heca*;* yo{lr !-;srd! *r* -ili€ g+ld. " jay,C. **ad #* rir?dlri*y*i*i.rii J'*r.+*i*l cf cu.i lfii#il1i *1.r** *{:r*ll* *
Srok* ft***r'*{*- **r*eg"lt*:-aairnent,s**l;::ai i. cc*: ys#r #i?*" Fi'e *,i;Jn'{ $rf.i:t i* l* r:ui F*scjj *$ #{#.'if;
{Yetri*fue*s**. F}-} " " ;r" t ;t :.Vh1 ". ",i.i o r,. "". 19.

-l*. I juei i+*e1 ;.*+:i;:' ? eents ;:thsut hevr .y*1.J g*l stariel witli ths *:ega- !*rr :::=3azi=* is the pui.:e oi th* sir+r€is. I fur-i'*!:l:y wr:lk el Sjrci it."
uiil*. I qfi( r*uch 1*v* {::r y*il i:*ei ysui"g*il*. Ksep it e*;njn,l - Fig {** j;:1 and i=vE tr*en a :tr ci :+;r n::q+;rire lin{e r.h* i:eqi*ri.ififr. t g*t
Jag, big**+jay{*:C*p#{.it*f:ir:s6:r"*mu{i**.**m {5t, F*t*rsbr.:rg, -l} =ig
reeu*::5 fr-=r:r ine=:=s he:'s;ii th*:i:ne ls;+*tl.i thFin a {.fl$_}y uf iie
'!
r?aga:ine, *::i lih:-:.: ihat's hi:;ri*i":s. lilst wantte{l !.o t€il y*il gu:j$ t*
trantrsE i*r i,h*v',rrrq i|y l{et s.;ire l*v* ii: ycur rr':*gexin*. i just h*ar"e.l hil 14e*p up {h* q$si n'r'orir.. = !3*rr*l! 5c*tt, hiq:;{l}tt(r5#Hehc*,<*t=
il*il{'5fi!r* ** ?9 J*i-+; the *t+*r dav. 1t'* ** refres*ing io h**i s*i.n* fit{"tsi{ {Sr-
le*d*, F{*}
wilii r+*l iirric:" r*pres*;:ti:-:g il+*+ {*uilty ii!!.r* hig;-hop ai iiie sHrft€ tifii*.
! lik* *iilll3+g, i:r:t h:s:;.ylc ig:.; i:mjtcrl t: *i1 dirtsJi a*i ce{r!+ Firr;:;*s ?irag:ks fwn y**r {*v*r $tsry *ri Fttb*:i. I're {u**n t**. ,;l*ci tt's *:*t
thai h* iot*-: rn*. Sty isil't jils'r ft*+fh*r fiilft]e* *rr fi tt;if:i.. li seeixls t* !"i* t*:ai Flt*uli 'i:: *u!*a* f !!q* :::*" i#* *on't giv* a fu*k oreuss fis {ut*ams
tltal !:e's q*t fl Let fi*r€ ift $t*r+ i*r us. { **::'t thiilk,lriami *i hip*h*i_: i: ws $h*y the :a***, di* tfo* sa-:*. and ;"i** *y t[r* saffie hai:*, *n *t,s
r*edy f*!- this li,iat" +c's hri*.ti1-rg irac.k 1'/!i*r drew fit$ri tf r_;s t* *j="h*::. alt fihr:Lct sff*:"t, i rvle:: *j{t}r".rll lj:* be:t. ir: *vunyt*ing }te {i**s. - S**l**i,
Ai.t ihat giiil*!'*hi{t fi:::*1ilg i-q n*l i+}:*l hip-h*J:r.'*: aLl ah*ut ba*k rh*:-:, :4l!1-ht***g*ft" !"r.{etlr i*riend*, -l-}
s* ',,re'v*r **i |*s .*ai trll* quaiity nf lryi*i ti'te art h$s t* *{fsr'" Ti:+ pas-
si*!r" trLi:"-fi. +n* sr*l $f th€ *iiistt tr ca* i**i ali thet 1-:uilger and *iiv* i*,'recli l.ls: ?.+sre n ers i.r,'J ii.:a,=.'t9cl F:&*a* aop*{s*s {r:} ptr_q€ !# tsf *tii
ti: i:iy's d+-*1i'/sf't. li**p ilp lh* t{rod o.*r*rF. *ver nf *i*N5. - !-i*:rr:*sty, Jilr]r *di*isff: ##8 w+;.4mdr* :t*ird#.r:;;-e and {J:j.i,foi# frsl{s G FlrrEst*n*
h*n**ssylSSFh*l{s**tfi"fiet {A4t*rni, F{-} f+;"rlc'rvgnr*i, ': *frfr:*kg: s61+', *Fs #?# w*s 6{r. $1*$,".iei'n ar:d #j Anfjcs
rS fiu*.44nnsf+::" Ift* jc:;rth pcr:*;s in
Fi*I* #li *!l F*SF ?-! ',r,*s fr*iig #
Srle*;$*, w!i*i's rh y'ati? I ;***n, ycl!_! gst ti:is durj* fi i1&*|:ey kts+i*q
r-lp wf i,. irlp #p&J(i-f, Ftrert. -., ;dn',
ever'1'$;;iiy's in th* rrrjti( gfrln*, *nd tfren h+ qets i:ilsteri f,:r ssli-
+EE
i*g h**tl*g {l}s and *Vlis at th* r*il#id trall" L*r::e *rr, di-;de, y*!r'rs 4F ;1j;J, ws itrren*lF receivgd + *h*n* c::i{ in r*g*rds t,3 *#r *tij&e ,,piJ=fiffif -
y6+15 fl[d. T*#t'! jiti€r*ilg stuff. lit yn *Li: ass,j*t+n. A+cj what'-c *r- erjit'l i'y r'sdf tn j:{'=,"u" c:-l;5a= .* j-jl' S**:ie" J.r fJ**f nrfjejc, '.q,f j!rc*i-r.*ffly
fifif
{lit+'nteLl raeli*, *;her+ lheni i*N! *tl lhe}- r,i:*s d*ing t:1*ir thin#. j j:*ar }*lfffen ii:{rf So=:is has "n$ :-Eiors ,J*nl, ** fix.r*ssrnts*i. *nd lj* ;iror--
m**y Le{ h*:t{tl d*iirg +:liri:s. *r:* Whitfl nci frie*l, h*': siiil doi*s +j: a*fing slc;f" " !i;? *o*id li*e i* rsfi'd;rf fh#t *rl*fflr?r*#f. :fur* if fijms
tiuiq dizzi.*. l"i1rtl +** hir h*y L; *.4erl{o, th*i; **i on€ +{ il-ifl cr**k*lt lp*ti *uf fF*i #a*::'* #*ss **.rer cl ,t:*:;*gsr s*d is $i-gfi*# f6 Fir,:p fl.s ?ri{{
r:n n :+;.urcj*y liifii1t". A++ *;irv !: Fr*style rn hrigh*aciecl. h* ni*,t ab*uq f;l-ifsilrriri::*;if. #;s ,.nynris_q Ftri|nsr t4fuS$is ry*s ei{sc *si nrs+{j*:::*d
shil" Y'::if l;.e*;: hi*wir:* his tread r:; i:iie he *cme :e*i filckt+' rupers{ar. rr? lhc ffrfi{is.

ffiH#ru# ffirymx*r*m ilw$#flv#ffi efu* #ght ** *dfrtr $*mdfu*mfiq s€*fufie.+€sm$mffis 9ffifl **mr*ftg *n RmaryHfu.

10 OZONE MAGAZINE JULY 2OO4


Lil Boosie & Webbie f/ Mr. Magic "Do it Big"
Ee-De "Let's Get To lt (The Krunk Love Song)"
Jadakiss il Anthony Hamilton "Why"
Shawnna f/ Ludacris "Shake That Shit"
DirtBag # Fat Jo€ "Trouble"
Ghostface f/ Jacki-O "Tooken Back"
> Chamillionaire o lvtike Jones
Pubticity stunt or real beef? Your call
> Stupid fashion trends
Leaving the tag on your clothes
> Mr. [{agic I Boosie & Webbie
Same song, same beat, different title
>'l]om G
> Dirty Stsfes of America
Yeah, you need to go cop the DVD
> Jadakiss
> Music Conferences
They're everywhere!
> Mike Tyson
ls this the end?
> Fahrenheit 911
Biased? Yes. Amusing? Yes. lnformative? Yes,
> Franchize's "White Tees"
FIR- J?IARSHAt-L' 5 AWA*,S
OtherHjs€ knolyi as lhe "Toi Many Peotle on
Stage Award." SqaC Up wins ihis one easily for
iilejr rel*asr pa.ty in New Or-leans
*EST ALIIN l,lAPREsSlON
:o.ry- i,..1 lust lac easy.
, sTsP! AWA**
I'lcrrr **es J$'ffraine Dupri ge!.
\r
o* everyb*dy's r*mix?
$HA#HLISS PRS*4*?i*N aw*q*
15 it jrrr'! n'i*, cr **es it seem
jnatlp.opriate ts fax a press
release to promote a failed
murdar attempt? Atlhiphop.
ccm poxted a iaxed pres$
release resarding *ana 'em
Srirurf {FS Cent'r Lleutenant
Mario Winans "5o Fine" turfted en€myl that reads:
Ms. B'Havin "Sottle Action" "A* attsrnpt w&s mad* sn
th* life sf Eang 'em
TQ "Righi On" Smurf .."in Ssuth Jarilaica,
Lil' Scrappy "No Problem" Queens. Sources said,..he
Lloyd Banks "5o Fly" gave * dap m som*b*cfy"..i
andl as soon as he lurned
Clarall Petey Pablo "Goodies" nls nadK ifte K1d rtred a
eh*t...thet l*cki[y missed. "
 {}1#BAHS "
FESR}SF

*;{iaifl.......ftflui1

Iirrt of alt, 6 Veteran

J'rrr a Clover T\ey tell;n' ae tlip 4gned, Slia toot bqt koopa \e ain? tcq.
And y'an aheady knov v\o better t\an Ii He ain? dqe tobe f\e nextl v\y \e ain? btevS
/'att knov T .L can'+ frrck vit\ ne 1 vent to Nev /ock and 1 nade t rnention of 0J Jccev
/oq a teat\eeveig\t yoq don? even veij\ a bqck +i+ty Atl t\e ;ndartry A&Rr va; tookin'at r'e lfr.e, 'DJ U\D?'
Nigga you lqcky i\y plane got dehyed Are yoq ftrioqt? 0\, t\at'r t\e rearn I flev up \ere
i
Cawe voqda knoeked yoqr pqnk a;; oft t\e *a9e 9o you uutd iceat nry cqltqre like a tlea n'acket roqvenier
/og a reven-firae felon, v\at /04 c?re abotg 4 g4es2 ltly confidence ra;ned \ece, v\at t\e \eil ?a doing \ere? I
/ea\ yoq got octta jail early caqte yott vorUng vith t\e rtate, *itc\ /;n? no c\oppn'or rcrevin'\ere, I knev it vat tcue, it's cleac
)oa a bifc\, been ?, !;|g5, rtitt a bitc\ Vhat happened to yor eac2. I ;vear I'nt t\e \acdst
,{nd yealy t\at lePcechaqn suit got ae +ilt\y rtc\ X heacd t\e actbtt you;igned befoce raerT *teac t\ey var garbage
I Aoqlda knovn yo.t va, a rnake I'nna be back tike Terainator, and 1 rveac tlrat'; a proaite
U\en yoq var at T\e 5oqrc€ p\oto s\oot jwt;rrling at nry face 'Caqte indwtry niggar 90 fo college ja;t fo end cp cetarded
Trying to get on t\e '6a,ne 0ver' renix bqt T totd yoq w lea\,7 nid it, retarded. I ended up at kay Stayl crib
J rlr'ty do trackr vit\ ni99a, t\at I tlv'nk are dope Ve e\affini
\e teltin'rt'e'boqt \ov Aady t\e gane ir
/oq n;99& knov in t\e ttreetc I'a t\e \ardst l felt lr'ke I
*epped oqt a deeah and into t\e llatrix
5o 9\y in t\e tqck voqtdl disc a 9od actirt kay 5lay var realer t\an t\ea ni99ar t\af claih it
I"tr €rott' t\e dirty dicty and I cepretent I+" tl\a^e it'r t\e laraer in t\e Ug\e;t lo4tiots
I 9et \ead like t\e rrrqthafqckin'Prerrdent T\e ^ ni99ar be :pittrng and t\e laner don? even tirten
eeal
ioq+Vide and ve ride on 70 irr-let To get 'en' oql is ay rnitfion, aaybe ctart a petrtion f\t
X 9ot a nillion dollar; 1'n n* a penny pincher Otay, Ii
pcob'ty iart v;rlvn'
Holla back f'n' ;traig\t tron, t\e 4reeb Iorget t\at raittion, X.' n trippin'
Sanrp oat the jeep vit\ t\e k and the \eat 1 Ut Jcarface on t\e p\one ard \e var giving ne 9ar,e
T\t pttt yA la''e in ya tap ya brAn in ya lap And C\art;e Braxton in l4ii'issippi alvayr give nre t\e rarr,e
T'aceppin H-tovn J prt t\e clovec on t\e nr?p T\ey bot\ iet ae knov t\at ignocance i; really to blane
f got nry niie and hy ,tfap &'ty an id;af don't reatize \e'r tosc\ing f\e tla,te
Ererybody pubetter get t\e \ell back Hov crqld yos not feel hy pain3 /os gon'feel it regacdlett
Vhen flip pops up I leave ya a* deopgin' dead Record hbet; and t\eir arlittt ate rhetting iike rigar\ortit
Suttlvide ve don? +rip over btqe aid red Fcotanrarket to narket, eappev dead v\ece park I it
Xll leave ya ctippted vit\ ny pi*ol in ya backend V\;te yoq talk it X1t valk itl and I'a it$t harlang hy tacaet...
ltlake ya cl,est do a ftrcUng backbend 'Caure t\ey'll never qndec;tand rrre, t\en, nig9a, ir cotton candy
HDllaback X"', trota t\e rfreetl davg T\ey jurt envirion anot\ec GcAaay, don't give a dan'n aboqt nry farnity
And J1t tnocX ya ar off ya feet, davg \ov t\at X tlvnk aboqt it, t\e a,ti;/'t are nevec \appy
U\at'r beef? Beet ir v\en a nigga like yoqcan'+ eat The;r c4nt cDnvince ne that l"tt nat a pcize,l von? tet 'en, have re
Uake qp v;f\ no appetih qnd yoq cant eat Itly bcot\er ean co-rign \ov nany tinetl done c\anged ny nrind
Better look but\ vayr befoee yoq valk in t\e rtreetr Bqt f never doved do\iD all t\e tirre I *ayed on n'y gr,nd
Cause you don? vant to bun'p \ead: vr't\ a ni99a tike ne T\e p\one ringing ati f\e tine, I p;cX up t\e ot\er tine
vrt\ t\af,{k l}vt 'C\airilli0naire, y\0, and ve reatly vant
Rqbber nan it'r yoq knov yoq to rign'
Firrt atbqh ftopped vrt\ t\at ce9gae lUt - C\ar\iiliohaire, 'T\e I'lixtape llerrial\ ValB' (DJ Snatlz"5oqt\ern itroke 17")
Holla back n;99a
- l:tl' ftip't tetponie +o T ,L Hcre coner t\e boon', ?ii's 3tn' fip to clear cp t\ere ccnorr
I didn'| vant to do it bth f feet t\at \ave tof
Hov long yoq tlvnk if'r gon'take ceal ni9915 h cealize Hopefally after yoqf tetrrr cone laag\tec
T\ere ain? no *biect rrratter in \alf t\ere lit' gqyr Vegar, conte on,?ull Up's jrrrt a \ot line
T *ay uittt a +lar\y look Bq+ Cqto3 T\at f\ere ir a \ot ons
Even t\oqgh \alf t\e indurtcy crcnk vith a calc\y \ook Uor;t tUng is,T vas at 5pcing lesl and /o(r ovn people r\oved no tove
See, tlre hajorr Vanna rign V\at'r trendy Lyin'to f\e people, telling'er', Pit robbed yoqr d?v9 v\at'r ap?
Iqck if X'ntnta vat Ait otrlt Pttl it dovn y;1t everytlvng 1 got in rte Lyin' h
}Z}ltE) tetting'err yoq \oilered ?f ;re and Jon, davg, vlrat't up?,
6ot a Cardier vort\ v\at t\ey giving yoq qp +ronf It take a geniqr to f;gqre out v\y yoae ron! ain? ptaying
don't
5o T don'+ give a ?ack v\at f\ey giving yoq qp +rorf I'latter of lact, it'; lgite iaple: no one kno\,,r v\at t\e tuck yoc're rtrying
/oa c\qnpe ain? a part o{ qr lt1r. Vegar, lookr like at
tlre end of t\e day /oq need Sean ?aql
X'll gi'teyouay addre*, if yoq really \ianna cDhe body q,
nig9a, ,{nd to top if att 0++, f
\eard yoqG 9of a glan jav
And Tek got nry cell, \e'll gve it to yoa /oq'd be r+raiglrt i€ yoq coqtd break recocd; like t\ey broke yoqj ia,
If yoq 1gq||y vant it rJt+\ 0*, ve'll give it to yoq 0\, t"y bad, yoq only riake rcco(dt caqte t\ey broke yoqf jav
Xt 7'a putn, nigga/ betfer PrDve it Ve tcied to be gentlelren, bqt nov if" tinre ve bceak yoq off
T ctitl co^e f\roq96 1}'. VenetitrD ni994 Prove if | rcen yoqc con,hacl, t\ey pctted yoqr rUrt ap and bcoke yoc ott
l4?nt yott actin'tike I'a *Ated - ?;lbqtt 0'1r. VeSar dirr)
Nt99a, X travel vi+\ t\q9t
Ve tucn G* into ConAirr
l''le and ya boy ain't battle, :top lying Enail yoqc 16 bars to
Vt\a+ 7 lvt \ir \oe or pr',ethin'3 Stop crying
did)
'58910
- P.l'l. tree;tyle Of Rob-N/0J ldeat l'leaoriai Day ,"ixtape) Z0NEl,lA6. c0l'l ror conriderarion.
01 - Porn star Vanessa Btue @ Ying Yang Twins ptatinum party (Los Angetes, CA) 02 - Rudegat, DJ Trademark, Chico, DJ Nasty, and Mr
Easy @ Tabu (Orlando, FL) 03 - Supa and Lee reppin' OZONE @ Sqad Up's release party (New Orteans, LA) 04 - DJ Prostyle reppin'
OZONE @ Tabu (Orlando, FL) 05 - Suave Smooth @ Caribbean Beach (Ortando, FL) 06 - TJ Chapman, Joe, and J-Kwik @ Ctub Deep
(Taltahassee, FL) 07 - Prodigy and Jin @ Funkmaster Flex's car show (Ortando, FL) 08 - DJ Whoo Kid (Ortando, FL) 09 . Jacki-O and
Houston (Los Angetes, CA) 10 - Free @ the BET Awards (Los Angeles, CA) 1 1 - Tampa Tony and Bitty Rankins reppin' OZONE @ come
Together Day (Jacksonvitte, FL) 12 - Fonsworth Benttey gets mobbed on the red carpet (Los Angetes, CA) 1 3 - King, Suga D, Mr. C,
andGrandaddySouf@OrtandoMusicFestival (Orlando,FL) 14-PimpGandfriendsinthetimo(Jacksonvitte,FL) 15-T.l.,Lit'..ton,
andRyanCameron@Hot107'sBirthdayBash(Atlanta,GA) 16-BigCottenandFutureShock(NewOrteans,LA) 17-E-Ctass,J.R.,
andLuisDuran(Jacksonvitte,FL) 18-SteepyBrownandBigGipp(Atlanta,GA) 19-VideodirectorLittteX(Miami,FL) 20"Pitbutt
@theBETAwards(LosAngetes,CA) 21 -DJCaesarandBigEar[ (Ortando,Fl) 22- StixdaForeignerandGary(Ortando,FL)
 TASTE TEST
With Netly and Lil' Jon each expanding their empires to include energy drinks,
we at o?ONE decided to conduct our own live videotaped taste tert {in the
intsrest of lcience, of course). Randorn attendcas at TJ's DJ's Tastemakers
record pool meeting in Tallaharsee, FL, were each given one can of Pimp Juice
and one can of Crunk! Juice to decide which they preferred. Here are the overall
results, and a few comment5:

pilnp JurcE c*ufH$ t$sF r:i'::#f;,,w7;:;,'y:;x"tr;#{::;:;:;,x::::litr::#Fr:x:::::::,,,.

< "Crunk! Jsice < "Fimp Juire < "lf ydr want < n'Crunkl Juice . "Pimp Juke is

m ffi M
has kind of a har gnt that nrore impact, go is more energiz- like some sugary

@
Yitamin after- with Crunkl ing. Pimp Juice is Fhwaiian Punch.

@
sweet sweetness,
ta:te, tike those This is me all day. Juice, lfyou tm soft for me- " l\lothin'but pure
Flintstones chew- ,itix it with a lil' want a smooth sugar. Crunkl
ablesycu wed to bit ofthat drank. Cratoradetyp€ '"The Fimp Juice Juice actually
hawwhenlrou feel me?" flavor, go with is good, but the has flavor to it."

& M @
werea hd, Pimp Pimp Juice." Crunkl Juice got
Juice is a pineap- me right. lfeel < "l likeCrunkl

@ ffi
< "l did a blind
piy subrtance," taste test. I don't < "l can't really energized," Juice, l'm about
know what they choose one. Pimp to be bouncing
< "l gotta go with put in Crunkl Juic€ is s{€etcr, < "Crunk! Jui{e off the walls."
Pimp Juice. Juice, but it's but Crunkl Juke woke me up. lt
Crunk! i5 a littls nasty. I like the wilt get ya right," tastes like an "l need Crunkl in
too harsh for rne. Pimp Juice," energy drink. lt's mysystem!"

K
lil too strong." "Yx.r could mix got more kick to

ffi M M
< "Crunkl Juice 'em@edurrd it, Pimp Juice is < "lffhat did the
bo watery like

@
< "Pimp Juice it awful, lt tarter get a crurf( pimp." five knuckles say
gro€! down a lot like a man! fratorade." to $€ face?"
easief. lt's kind of drink. I like the < "Depen& on (piw staps the
tike Red Bull Pimp Juice, you the mood. Crunkl < 'This is defi- Pinq Juice ean)

ffi
witho* leaving could mix it with Juke tastes just nttely Crunk!. I'll 'Smack! I liks the
that nasty tittle Lrypnotiq or like the name, corne back in ten Crunk! Juire."

ffi m ffi
kick in your somethlng llke and Pirnp Juie minutes and let

M
nrouth." that." tastes just tike p: knowif it < "l've been in
the name-" kicked in," love with Crunk!
< "Fimp Juice is . "l gofta go with .,luice *nce the

reffi much smoother

than Crunk!
Nelly on this one.
Pimp J$ice i5
< "lt! alt good,
could go with
I < "l like Crunk!
better because of
ftrst time I had it.
Pimp Juice is too

&2s/o
Juke." nice rn' sweet." either one." the taste." sweet for me. "
(brushes dirt off

4t}Vo @ lOo/o M
shatlders) < "l'il not eyen
from the South,
< "l like Pinrp lrnt l'm gonna
Juice. This (runk have to go with
shit tastes that Crunkl
p*F:nnffi punp JurcE nasty."
tfltDgctDF Juice-" pnscnnE cRuru$ rur03
 Latino rap-
(A plane flies by overhead, advertislng Fat Joeis iv€*i.tgtE
South Beach. "See that?" he points. "That's.why.thqj';re-''|i;ad:!)
:.,1., ,r -:
I heard you just bought your wife a new cai?: ., .r:. . , .

I stay buying her some shit (laughing) , '

How do you balance your personal and professional lives? , . . ,.-

td,:nrce'dude. ljust got this vibe, and my intuition is atways (shokes head) I don't know. lt's hard to balance both, but I try my best,

Do yOU
UO KIOS,
you have any kids? r : ,.,. , ;. :1.-
Yes, I have two sons: Joey and Ryan. They come and visit all the.time. My-i-- :.-' =:. :.:
-4..1::,
son just
iust told me he doesn't have summer camp, cominE to.'bbwith" iri ,:,r,i:
camD. so he's comingto.bb.vdth:riri.:,-;,::
me every day. I totd him I was going on tour, but you know, l've got to fig- .

ure it out somehow. We're on the Latin Kings of Hip-Hop il-our. ltrs'mgani{,::.,::,:1.r:,1
a bunch of poputar Spanish rappers. I'm the headtiner, of course.

Do you think Latinos get respect in hip-hop? . .r. jr;i : i,

!.,::.-:,'i:r : t:'i.1r i...i:.1 Fuck respect. I don't care about that. lt ain't about respect, just hot rT.uF .:.
is he one of the reasons you're always in Miami? sic. They never give us our respect though. Fat Joe been in the gane ten ,, '
I . Yeah, this is my second home. My place will be finished in two months. years, setting mittions, yet they still don't consider us. I sotd fo.urmillion
,r,
ii1i1i:l'i,.{,t'iea 1 come down here, I stay at Khated's house. We recorded the whole on my own.
,. . [Terror Squad] atbum at Khated's studio, Jerusatem. I love Khated. I can
, cpunt atl the peopte I love on one hand. Whenever l'm stressed out and Joe What do you think it will take to get that respect? ..' ,'.
the wortd is going wrong, Khated is there for me. We continuousty keep coming back with hits, winning the Rucker, we ther i"-:
_'f:.;.$*lleelstikd livest out there. We're making movies and we stilt don't get recognized. I

.,',S-b' this upcorning album a compitation album? don't know what they want from us. ' . , ,' l-
'.riitiS a'Tgrror: Squad atbum. Remy Martin is on there, Tony [Sunshine] got so-
:,los;,Armageddon and Prospect are on there, and [Big] Pun is on there. I got Are you coming out with a solo album soon? ' .

" &
We're working on my atbum and Remy's album. Welye got Khated, Cool
,aJoint.on lhe atbum with me, Big L, and Pun. lt's crazy, verses from Big L
ah{ you neyer heard before. lt's catled "Bring 'em Back." lt's sick. Dre, Street Runnerz, and DirtBag so far.
fun
I r,roticed.you switch up your flow a lot. Anything else you want to say?
At'timesyou have to be inventing stuff. That what hetps you have longev- We love Miami!
.jty. !'ve come up with so many names, come back so many times. You have
ffto ceme back with a new flow every time. I feet tike I'm the best I've ever
t. been. ['rn tetting myself be creative, and tatk about different things. I'm
. just expanding right now, and not afraid to take a chance.

,.':(Joe interrupts the interview when his right-hand man lvlacho arrives with
:','suntan lotion, "No homo... l4ach, put that shit on my back, please!")
.. t'..
:":.tl[ow did you still keep that New York feel to your music when you're
.:..,down here in Miami so often?
l
:. r'l,t'trlr so- New York. I'm the King of New York, nobody else. I know everyone
-:
: ;:w.ho owns anything in New York, even the guys who own the Frankfurter
:ir,stands. l come down here and get that Southern vibe. {sings) "Ohhh, I tike
,::it tike that, Stow motion for me." That shit don't be poppin' in New York
a :, ::,"but
PUI I De be UP on it.
up On Now II'm
lf . NOW m starting to fwlsf
Starung fO twist rlly
my flow
ltow celLalll
certain ways, 5(J now it
so llow lL
' can only help me. l've always got that New York hardcore hip-hop vibe. I

i.d,::,: am that. That's what I tive and breathe. Being in the South just attows me
i.;1, ,;to open up and try some new shit.

Are you still on Atlantic Records?

,i.. My sotodeal is through Attantic. They're offering me too much moneyfor
j,,. me to leave. The Terror Squad album is through SRC/Universal. I love Steve'
r Ini*ina]. I never met another rap executive better than Steve Rifkind.:
::'' , He's a real [oya[ dude. When this business is sometime-ish, he looks out..

Are the other members of TS on SRC as solo artists?

No, they're on Terror Squad/Universat. I've got a joint venture with them
right now, and l'm on Atlantic. So I've got like two joint ventures.

ls Terror Squad more like a clique or a label?

We function as a [abe[, but it is a clique.

What appeals to you about the other members of Terror Squad?

Prospect is dope. He's just got to get really, reatly focused. He brings a
Pun-like etement. Pun atways [iked the way Prospect rhymed more than
anyone etse. He spits that vintage flow.

There was a rumor going around that you and Cuban Link had an
altercation in a hotel down here in Miami?
*' Wow. I haven't heard that name in so [ong. Actua[ty, the day he
said I did that, I was sitting front row at the Heat game. I'm not .q
s r.1

{ueds & $:sh$: julia hletU - design: mby nCItma}


to sign with Cool & Dre's label, Epidemic?
atbum. I was signed to Loud Records,
'andwhen thby fotded, it was'hard for me to get signed to another
'bEcause
of po$tics and being Hispanic. Coot & Dre seen my struggle,
the5rlvg'lalyrays been there for me. They had their own situation going
1roh Aq:,Jivb,' and they fett that they had to come back and get the kid.
appreciate them and love them forever, they saved my tife. They're Terror
.'squqd; so'itt9 always important to keep it within the famity.
ls your album complete?
.ltlf,basicdtty-wrapfed up. We're in the middte of mixing and mastering,
aed:l've:got to lay some ad-tib vocals down. I recorded hatf the atbum in
,\eWYo;:k-andthe other hatf here in Miami. lt's definitely an R&B atbum for
tadies. But l'm not your regular R&B dude, so of course l've got two or
I rginlsta joints on there for the fettas.
lff-hat's your ultimate goal?
,vly defini,tion of success is being abte to take care of my chitdren. As long
as I can.put a roof over their head and provide clothing, I'm happy. That's
Success for me. Everybody strives for their highest position in [ife. I want
to:enjoy money, I want to enjoy nice cars, nice things, but most of atl
nine, I discovered soul music and R&8. My mother had B-tracks with Ste-
vie Wonder, Lionel Richie, and Patti LaBe[te. I fetl in love with that style
of music and knew that was what I wanted to do. But, you know, growing
up in the Bronx is hard. I started getting into troubte, getting off-track
and losing focus. That kept me away from my music for a while, but as I
grew otder, listening to Pun and Joe helped me get my life together. Years
later, Coo[ & Dre came atong, so here I am. I'm in the gym trying to get
I my physique right for the ladies. I was a littte overweight for a minute.
Me and Joe got scared, so now I got the gunman Pistol Pete with me. He
goes everywhere with me, hotds me down, punches people in the face for
me. ln every aspect of the game, he's a legend.
Are you trying to get that LL Cool J physique?
I can't get the LL, but l'm just trying to trim down a tittle bit. Not too big
or butky, I'm just trying to be right for myself and my health. I've got to
be right. I can't be losing my breath on stage.
So you won't be labeled "soft."
No, that's what separates me from other R&B singers. Not to say that
every R&B singer is soft, I know some who hotd their ground. But I'm the
onty R&B singer that watks through with goons and gangstas. l'm not [ook-
ing for other dudes to help me. I hotd my ground myself.
I

lvarit to take care of my chitdren. ljust love working. I'm happy when l'm
Do you write most of your songs?
I do write, but on this album, I didn't get the opportunity to get down
the way I wanted to. Coo[ & Dre did most of the writing and production,
but it mostty came from my emotions and feetings. They hetped me write
what I was feeting at the moment. They'd ask me how I fett about certain
situations, I expressed my feetings, and they wrote about it. lt's crazy.
Coo[ & Dre are incredibte songwriters and producers. As far as my career
goes, I owe it att to Joe and Coo[ & Dre, man.

mthealbuml. Everyone:says l,lm i.he Hispanic R Ketty,

i to watk in. R Ketty is incredibte. Right now he's the
ite R&B game.
.

,6.rF;..1t.I;;,ViCeoJ1 ",rj t-ilrhrlie;do.+os?'

vitd, I might bq a party animat, but when it comes to the
rsay that I've diirespected her.
ladyJay..that her,rwitliiiut
Without thd
the 1a!ies,
tadies, II
to be. Ladies are the ones who witt spend their money .:,
!i
lies, I show tnqm ttre utmost respect. eut ltthey wani . .t
w the hd some love, that's a different issue.
.- .
;=f
':
,rf'11\i !.':l1r:"::.:::=,jt;j;1::l::-.::::jrr'::"1.
women disiespett themselves?
: :l . -.,.-,,,,

des that are aggressive and don't have respect. But

p.to
, ittp.up to tlle
tltgY,q{qg'{'e: Youive gqlto
femate. Ytiu'Ve got to respect
respecrt.iraaetf
!otlt-6Y,qrfa*{'e:Yqu'{g€qt'torespecli.ouasetf) and
.and.::
irn'f t*rdiif
nt you ain't tryin' +^ be t^;d:r:t*ti+in
to laa loose. lt's up ra,rrnri
to you. :-l
. 1 r.!!ij!.! ::::..'.: : :::i--::- i:i:..:-

r you and Cool & Dre?

1ey were the mixing tinks. After Pun
lng time. I didn't know what I was go-
goihg to be a rapper. I forgot
e to the tabte, they were [ike,
Tlrey said I had incredibte tat-

,qleij
brothei:s
'....'...'. ..;,
Are you everCaf iiiiioih
I started off :when,:.lr wes;
Spanish battads. I sung with a
Spanish industry as a

ttvords & plptos: julia beveff).::i

 Fl emember back in the day when there were the cool kids,
I{ tn" jocks, the cheerteaders, and inevitabty, the tosers? of
I \.orir" you do. But remember how it atwiys seemed that
the cool people let a few losers hang around with them because they had
something usefut? Wett, I hate to make this comparison, but it seems like
Terror Squad foltows a similar pattern and the loser of the group is Prospect.
Lyricatly crafty and smooth in his delivery, Prospect's rap ski[[s don't seem
to gain him much respect from fellow Terror Squad members with the ex-
ception of Remy Martin. Prospect, however, seems complacent just chittin'
in the hood.
Right now, Remy is concentrating on the Terror Squad atbum, which she
says is designed to prepare listeners for the upcoming soto atbums from
TS MCs. "The atbum is a ctassic atready," she brags. "We reatly brought..
it back to New York." At the same time, she says, the atbum incorporates:'
Southern and reggae influences on hip-hop. "l feet tike the album realty
takes it back to the essence of BX," she says. "lJnless-a couple buitdings .
fatl on the day of the retease, we're good."

Prospect grew up ctose to Big Pun, who happened to be his cousin's best
friend. Pun had formed a [oca[ crew and invited Prospect to join after hear-
ing his demo. "l knew he was about to pop off," Prospect recatls. "But that
was my man, so I ain't even ask him to help me out. I was [ike, 'Fuck the
rap shit. "' Pun eventuatty introduced Prospect to Fat Joe.
Prospect Avenue was where Prospect grew up and eventually drew his name
from, but this New York MC atso draws from the definition of the word: up-
coming success. With some input from Pun, Prospect adopted the word as
his stage name. Aside from Terror Squad, Prospect is working on some per-
sonal projects inctuding a DVD and compitation atbum with a French group
in BK. As far as a solo album, Prospect is more focused on putting together
soto tracks. "l'm not realty looking for a deal with a major [abe[ right now,"
he says. "My crew has connects, but you know, it's not easy to get numbers
from everyone tike that."
"Everyone is on their own fucking dickl" Remy exctaims when irsked-to..
describe her Terror Squad famity, but there's nothing but love for thQ
clique. "Everyone's [ike, the same," she giggtes. "lt's tike youlre'deatin!
with yoursetf four times att day!" According to Remy, she's considered
the probtem chitd of the group. "l must state my opinion!" she taughs.-i
"But, I'm the nice one, in my opinion. I always remember to buy looth- i,
paste for everyone. I'm the one who remembers to buy mitk for the i'
cereat, and remembers that we need spoons instead of forks."
i \l
Another crew that Remy reps is the Murda Mamis, a group of industry
females which includes Gloria Velez and MTV's La La. "The concept of
Murda Mamis," exptains Remy, "ls that it's a cottaboration of girls
a[[ over." There are DJs, promoters, MCs, and other industry figures
volved. Remy continued by discussing the role of femates in the
noting that it's never been a probtem for her.

When it comes to the new Terror Squad compitation atbum through SRC/
Universal, Prospect offers, "l didn't have much input on the atbum, but
I'm on a couple of joints." You can tett a relationship is a littte weak when
a whole group except one member goes on vacation. When Terror Squad
went down to Miami for Memorial Day weekend, Prospect says, "l was in the
'hood. I was in the projects, man. The whote squad was there, but I was
in the projects. They didn't catl for me, they left me in the hood." He stitl
looks at the bright side, however. "As long as they had a good time, it's atl
good. " Reatty, Prospect?
As far as her own projects, Remy has a solo atbum in the works
she began recording before the Terror Squad album. After the
is reteased, she fears she won't have much time to record.
considered putting out a ctothing [ine, but is waiting for t
"l wouldn't want to endorse it just for the check." We atso h
on the possibitity of her endorsing Remy Martin liquor*"That'tt
the tine somewhere. I reatty don't know;" she says.
\"
"")" ' ".-'--- -'
Overa[[, it's ctear that Remy enjoys tife and simpty does v,itl4tFver: sh6

"Nobody but the [ate, great Big Pun," Prospect says when asked about
his mentors. "He didn't teach me to rap, but he just totd me how to ptay
around with my style." Pun kept Prospect focused on rap and gave him mo-
tivation. "He schooted me to the ups and downs of the whote game when he
made it big," remembers Prospect.

Since's Pun's passing, however, it seems that the distance between Prospect
and the rest of Terror Squad has grown. When asked about Summer Jam,
Prospect reptied, "l heard something about that. I think we might be out
there." Odd, considering that less than thirty minutes ago, Remy Martin was
going out of her mind with excitement for the Terror Squad appearance at
Summer Jam. lt even seems that Prospect has been financially left out of
the picture. He has no car, and mentioned that the videos aren't making
him any money. Don't forget the obvious indicator of his tack of Fat Joe
weatth: Prospect's home, in the hood, is "stitt humbte." He interrupted our
interview briefly to tetl someone to stop and let him out of the car. A Terror
Squad MC hitching a ride?!? Prospect seems to be using his thumb to do the
"Lean Back. "

Maybe one day, another aspiring artist witt be abte to hetp Prospect out by
giving him a ride and picking up some of his wisdom. When you barety see
your groupmates outside of the studio, are you reatty a part of the group?
Hard to say who's fautt that is, though. Maybe Prospect prefers being soto.

prom the beginning of our interview, it was clear that something had
h 1gr1e1 Squad's femate MC Remy Martin extremety hyped up. ln fact,
I "giddy" best describes her state of mind. "l'm mad happy, I'm in a
great mood!" she votunteered. lt turned out that she was gushing over Hot
97's Summer Jam., which was coming up the fottowing day. Terror. S_quad
was stated to make an appearance. "We're not even showcasing," Rem{''a {i.
\
exptained. "We're coming out as a surprise guest with someone eGe." ".ol
\ !
With Remy so excited about Summer Jam, the interview was off and run- \.
ning. I coutdn't have even stopped Remy if I tried as she excitedty shared \.
story after story. One of the stories she shared with lots of vigor was Me-
morial Day Weekend, which atso happened to be her birthday weekend.
ln good ot' hip-hop fashion, Remy made a trip to Miami, Vice City itsetf,
with fettow TS members Fat Joe, Tony Sunshine, and their entourage. she

i$t'*:""wl+*rult+#eW4$ffi
loomh}
1*-*
w
{words:rohit ** --}q-t* !k .*ar'-.".!e,

;ir,
it':
rl.
iri
Howdo you motivate someone to exercise?
You've gotta tet them know it's a good thing. it
rnakes you strong. Working out is good for you, pe-
riod.'You can't atways be mentalty strong, you've
got to be physicatly strong as wett. A tot of rappers
have money and don't take care of themsetves,
so they wind up with diabetes and high btood
pressure. I just try to motivate them, especiatly
my farnily. l'm here to support my Terror Squad
'knows what coutd have happehed.' . .. ,,:.:. '
ln his situation, did he have a certain medicil condi-
tion that caused him to gain weight?
Yeah, probabty so. They don't even reatize what
they're doing to themsetves until it's too tate. I just
try to give the best advice that I can. l'r,n training Tony,
and Tony is difficult to train because he likes to eat and
drink. When you're a celebrity, poppin' bottles, Moet
and Cristat, that's not heatthy. That's one of the most
important things I totd Joe: to tose weight, you've got
to stop drinking. And he did stop. I hate cigarettes. I've
been on Tony about that, but every man can make their
own decisions. lt's his life, he's the one that wants to
smoke a cigarette. lt a[[ depends on the individuat. The
most important thing is that we atl get focused. l'm
here to train whoever wants to be trained.
It must be hard trying to find weights when you're on
the road. What if you don't have access to a gym?
We go outside and do a littte calisthenics. Push-ups,
putt-ups. We take it back to the jait mentality. ln jait,
you don't always have the weights and the luxury of
a gum. When lwas in jail lwas a bad guy, so if you're
misbehaving they punish you. I was in a cell atl day, so
I had to make the best of it. Keep my stomach right. I

famity. Joe's my brother, I love Joe. lf it wasn't
for him, I probabty wouldn't be here right now.
He was atways there when I was incarcerated,
and he's there now. When I was in the hatfway
house, Joe :was there for me. You've got to ap-
preciate those sma[[ things. I stay in contact with
everybody in jait right now, cause I've got a lot
of homies doing life. I send them pictures, I do
everything I can for them.
Do you think prison can rehabilitate someone?
Onty if you want it to. lt's got to come from
within your heart. Jai[ was a terribte ptace to be.
I wouldn't wish that on my worst enemy. lt's not
coot at att. Betieve me, I know.
How did.you pass the time?
Working bUt. I love weights. I haven't eaten meat
in fifteen years, so l'm strong as hetl.
did a tot of push-ups, crunches, leg raises, and working
my abs right. I atso used to meditate a [ot. I used to sit
on my head for hatf an hour a day.
What's the advantage of sitting on your head?
I coutd feel the btood rush from the bottom of my legs
atl the way to my head. lt put me in a zone where I
could be at peace. When you're misbehaving in jait,
they put you on diets to try to make you weak. I'd give
my neighbor cake, and he'd give me his chicken.
How could someone contact you for training?
They can reach me at 347 -234-8834 or 917 -703-3903.
F,
1
..F

\{hat kindof physical changes did you see when

you stopped eating meat?
You lose a tittte weight, you feet better. Nowa-
days, the chemicaLs they use for cows to grow,
it's terribte. I eat a lot of fish and chicken, but I

don't eat red meat. I drink a lot of water and eat

vegetabtes and satads.

:.. lf you're trying to lose weight, what kinds of

foods should you avoid?
To [os6 weight, the most important thing is to de-
: crease your carbs and get on a high-protein diet.

ll
i

ii:

ilii.
iil:'.

$.i*ir'fl}
 ..* .. . ".j.*,. *=..".1,.)

:.
wa{Fg j":G#_fi€.f\sffiffWm__6m*m$*Wmd:;"Fu=##"f#U
,..;,i:t?tu:#;1/
usstrF'il@ru$e *{"ry p""ef"eemgk"WMrymqs ffi ep$w
g** ' ="_r,=_,Ti-=#s
r$€ LAFEL *yanfiqhtylgFi( I {tnvprsat
Si,t
-l
ffit
tig NEDrcANON ill'
*;d
, 1i4
CELEB COLLABORATORS gr
+d
${

llli.'.!3$;ii'JJi,iil',1*filt;,f,:x:liP_,xl*j:1"'_*r ffi
l:#;l:*1"tffi
ii;;;l=.ijfi'l:,cused right now. rwant to

ffii$'ffi
'%- ffi *.**':,1i,':'r:ir"l+{lt*rttr+si,+**tn,**ri,+}$*:*ii"-,,,i:t
be

ff
-
ffi t=* ffi ffi$**Hl-'#frfl1ifrlli{frihtlffifr
','ffi}*gi}i"n$fi',}ffi

K@MWI

le:
e*l i urllGlJs srvtn ffi"
--ii
:. MOTIVATION tH'
,!!1r l

'oLocKEo UP'o RSJLL.LIFH EXPERIEHCES ry

.!lFl
1*:
t*s:
Raised in poverty, 40 atways saw selting drugs as his best
option for survival' "A reat job wasn't feasibte at the
:f--:
s€
,,t come?rom u ole,lpare-nt nom". ir,LiJ was tour of us kids, and even though momma used
time,,, he reasons. got
ru: to work two or three :our, ii n"u"igot'ui nowhere. Living check-to-check seemed tike a stupid way'" 40
I v,v"iiin a Federal prison for conspiracy and drug-retated
*ilh. caught up in the drug gur" una served
ffiu "*nluatty proued to be an entightening experience' "l
charges. Even though it r""r"a tike a seiback, nls iniarceration
,.lt was tike a re-education, a re-conditionihg. A person gotta go through some things in
found me,,, he reflects. I've
tife to finatty see what they,re meant to see." 4O_ haa pt"ntv of tim6 to reflect-on hiiexperiences. "since
""ili.{ ,,But in'prison, it was unadulterated and uncut. The true inner
been out, l,ve written a tot oi siuff,,' he says.
thoughts invotving tne struglie within a person s own.mind,
wiestting with his own sanity"' lnfluenced by artists
W€ the C"t" e.;ii, aot dennitiue Texas drawt has hetpe-d him devetop a unique styte' After hitting
tike Tupac and
of undeground tracks, +o piuni to retease his debut atbum independentty, titled
iCE t]
gl+ the streets with a steady flow
got to imass something white I'm here to leave something
+d Bury Me Rich. "Weatth lsn;t everythirig, but-l've
fl*s for my wife unc t*oiior. i'u" g;t to feed t-henr.;'As 40 reflects on his tite, his struggtes' his h.ardships,
behind
h,ilf S past and moved on' "l did my time"' he says
#*:i and pain through music, it-'i ct,ear thit he's learned from the
i*I]?flu ,,Stood taLt tniough it att, and now I'm back out here to get my crown'" Don't worry' though' he's
confidentty. ;;in -ortnll to big, and t-h"r"'i to many different stytes"'says 40'
not trying to ctaim ne's xin"e; t';"-i"rtn-
si: * :;a;;;i ;;bodt ciown ftrems'eiv"i xing or the south." - words & photo bv Julia Beverlv, ib@ozonemag'com
:===
:*dj
nifilll I

flffift

?'
lwshular LABEL HUMNL* ATflTUSH
IT{*U$TRY KI'IOWLEDGE
#
ffi'
ilULrI-TAIENT*U &r

cleavon shuler, better known as."lce" shuter, had a dream. He'd

ts: atways envisioned himsetf going from the
projects to the basketbatl court, but shuter found that rrit
or"amt oiiuJlu*"i'r"r" were doing exactly what
he did on the court: fading,away. Everything happens for a-leas9n
== rnrr+,;cnB Wett, in shuter,s case, he
says "the ba[[ bounced off the court anl intdthe streets" or aroor.tyn;ii"uii.grt
tg,4
erolu.t for a very good rea-
= son' Shuter believes that he was meant to rap. He was introduced t6
a relationship based on their common goat to become estabtished in H"ttJn in 1992, and they estabtished
wir
fli
t'I the music industry. with the hetp of
Helton's record Board of Directors and H-etton's partner Nat Etmore,
tr 'l shuter released ,.We,re Here Now.,, New
g# York's Hot 97 backed the project'..which eventultty moved over z,ooo
,nii, anJ createo a buzz for shuter. He
atso landed a position at steve Rifkind's tabet sRci ana is now-worti;c;;';
# ief for Attantic Records- iniougn
=:. his day jobs, he's found unique ways to estabtish contacts within
the-music industry that can atso benefit his
=
€=
rap career' He's determined the capitatize on a[[ the opportunities
he comes across, and tre,s atreaoy ofenea
for artists like 50 cent, Jadakiss, and Digitat Underground..Atong witir
nir tong ttt", of opening appearances,
shuter has atso made the mixtape rounds. You can"hear him ar5pping
i l\tr
York from DJs tike Kay Stay, Ctue, and Koot Kid. one of shuferir
ve;i"on tn" hottest mixtapes in New
,l
il.'tr
and down-to'earth. He's witting.to work with anyone and ir!.t?ri.rt"tl, no*"uur, is that he,s humbte
.+j "r aon;l nuul to [rap],,, he comments. ,,rt,s
': not my only way out. I choose to do this becauie I have "u.ryon-u.
poombster@aol.com
a taient that needs to be inj#a." - nor,it-loomou,
Who ev er s oid ffiokina tnus,c w $s e?cy ens iv e?
abv io u tl1 weilt ts the w r ong" yloc {...

ffi@roffiffi-%w@

$tate sf the Art Facility Equipped With:

Pro Tools TDM, 22' inth llat screen, Deluxe MlDl Centel, PC's, and many more extra's.
Call to schedule an appointment today: 14071 275-6338
gMV Proteus 2500, MPC 4C00XL, MPC 2$0tlXL,
lPro"Tool$ TDM Syst€m Conrrol 24 "Power Mac"s 64, Korg Tliton, Mo Fhatt. Roland 30$0XV Expanded,
Midi Timepiece, Alesis Adat, Denon MiniDisc Play€i, HR824 Mackie Monitors, Digi ne$ign 888 VO, Digi Design 1S22 l/O, Neuman "6old Seties" Micl
 Coalition Of
Independent (916) Magazine ACE Magazine Block 2 Block Magazine Da Streetz Magazine
Sacramento, CA West Palm Beach, FL Grand Prairie, TX New York, NY
News www.the916.com
916-452-2482
772-332-7979 214-597-0883
block2blockonline.com
www. dastreetzonli ne.com
21 2-589-1 009

Don Diva Magazine Exposure Magazine F.E,D.S. Magazine Tha Hole Magazine Holla Magazine Kronick Magazine
New York, NY Chicago, lL New York, NY Huntsville, AL Atlanta, GA LosAngeles, CA
877-366-3482 847-366-8915 1369 lvladison Ave #406 256-652-0804 www. hollamag.com www.kronick.com
www.exposuremagazines.com NY NY 10128 www.thahole,com 770-438-0112

Murder Dog Magazine MVP Magazine New Power Magazine Next Level Magazine OZONE Magazine Rude Magazine
LosAngeles, CA Jacksonville, FL Columbus, MS New York, NY Orlando, FL New Orleans, LA
www. murderdog.com mvpthemagazi ne. com 662-251-0075 thenextlevelmagazine.com 407-447-6063 504-246-1491
707-s53-1 850 904-493-6075 newpowermagazine. com wwwozonemag.com

Showcase Magazine Streetz Magazine Strip Joint Magazine Urban Pages Magazine UrbLife Magazine Xplosive Ailagazine
LosAngeles, CA Virginia Miami, FL Charleston, SC Montgomery AL San Francisco, CA
510-481-3080 800-770-1078 954-447-7246 urbanpagesmag@aol.com wwwurblife.com 925-427-9330
www stripjointmag. com 843-747-5131 888-683-0677 finishyourbiz@aol,com

Check out other indie magazines online at www.MAGCOALlTlON.com

 rB&
Ir fils $i{
"#-*s:-'ffiffiff"ffi *ffi ffi-ff *rb,

nlano
wtnans
 ,"'t-

,- 41,.-t )+,

't$itE P5 I'LY2IT}4

ililliltl llllllllllllltl tilll

it;"
'i wqt^yake rt:
*ot*tl#ttu"ittg" i
Give Praise it t
efwg.,il=
The best way to describe "Sir" Charles Dixon is by using an example. but it doesn't
Let me begin with a story from back when I was a young buck, calling mean that you're
him as TJ's DJ's Record Pool music director to request vinyl servicing, going to reach a
Since he was my contact at Columbia Records, I spoke with him on large audience.
several occasions to build a relationship, but one conversation in Take the Lumidee
particular stuck out. During our exchange he explained to me the ["Uh-0h"] record, for
work that he needed to do on a Sunday, For me personally, I use example, that came
that particular day to follow the Supreme guideline and try to r€st. out on Universal. lt was
I was curious to find out why a vet in the industry, who's been the one of the most ptayed "GET IYOURI REORD HOT
link between some of the nation's largest record labels and DJs, stilt records last summer and IN TIIE SIRTEIS FIRSI, SO
needed to grind on a traditionally quiet day, He responded, "Because had over 6-8,000 spins a week,
everyone else is still sleeping." That captured the personality of Sir but in the end it onty sold about wH Eli Viiiii/iilCiiiat illbib;
Charles. Always working hard to get ahead, but stitl taking time to 30,000 records. So that proves Illff
'[1 100K UKE GEl,llUSES.
educate, Here, Sir Charles Dixon was willing to take some time to that radio alone doesn't have R'DIO IS USEDTO DISCOVER
educate OZONE readers about the politics of the music industry when the impact. You must have a hot RECORDS THAT ARE ALREAI'Y
it comes to the relationship between artists, DJs, record labels, and record on the streets through HOT, NOT BREAK REORDS."
radio stations. the DJ. When I was on TW and
promoted the Li[ Jon "Bia Bia" record, we worked that song for ten
What are some of the record labels you've worked for? months! That's why TW is successful, because they take time with
I've worked for Columbia, TVT, MCA, and Tommy Boy, just to name a their artists.
few.
So what is the best way for a record label or an artist to utilize
How did you break into the game and begin to work for the major radio?
labels? Why run to the radio straight from the studio before there is a sotid
I started as a DJ. ln 1990, I teft WPGC, and atthough there have always base? Att radio cares about is their listener base and Arbiton ratings. Get
been mixshows, it was a station that created the commercial mixshow the record hot in the streets first, so when they do take it to radio, they
format. I had a Saturday 7-midnight, fulty Arbitron rated show in D.C. We took Like geniuses. That's how it used to be. Now A&Rs take the records
went from number 22 to number 1 in the market in two and hatf years. straight from the studio to the air, then when the record doesn't test
After it went number 1, they put shows [ike mine on 40 different stations we[[ because nobody has heard of it, the station putls it off of the air.
inctuding New York's Hot 97. From that background, I was brought in by Plus, radio never goes back on a record because they feel [ike, "You
the majors to manage DJs. tricked me once and the record's not hot." When a record takes the
time to become hot, they won't believe it because they tried it already
How are DJs perceived by tabels? and don't want to be wrong. Radio is about ptaying commerciats, they
DJs are perceived as entry [eve[ people to some labels. My first job don't care about the music because they make their money through
was being a DJ. DJs are my speciatty. I feet that DJs are on the cutting commercials. lf the same song that's played keeps you listening, then
edge and are the doorway to the industry. The key to breaking a record they'[[ continue to ptay it. Radio is used to discover records already
is to take it from the streets to the mixshows to create a buzz. DJs hot, not break records.
are extremety important in devetoping an artists' career from the
beginning. Do you see any artists that are hot on the horizon?
ln Orlando, I reatly tike Apotto Kreed. Down in Miami, I think that
Why does it seem as if there is little difference between many of Jacki-O is one hit away from being a superstar. She has a tight flow and
today's DJs? she's got the body to back up att of her sexy-style lyrics. And Cipha,
The prob[em is tatety, there aren't a lot of DJs breaking music. They are I think he's set to become the next don of reggae music. His voice 'is
ptaying the same records waiting for someone else to break them. When i ncredibte.

I was coming up as a DJ in the earty

80's, we would try to break styles from So what projects are you currently
others to find what was different and working on?
cover up the records so you couldn't Right now, I've started my own
see what we were playing and couldn't marketing, promotions, and production
play the same record. Today, DJs are company that's calted 5ir Charles
playing records that are onty on the Entertainment Productions, LLC. Having
videos. DJs today are being constrained my own company allows me to have
by their PDs, consultants, and ptaylists. more of a neutral position to better
Radio won't tet DJs be DJs. help achieve a common goal. Today,
peopte have sold out on originatity in
\{hy is it important for a DJ to learn exchange for a quick turnover. Back in
about the world outside of the the 80's, we were originat, but it seems
booth? tike the industry works on a twenty year
A DJ should know what the PD knows, rotation. What was hot twenty years
learn what he learns, and then you'tt ago is beginning to resurface now. l'm
have a better of understanding of looking for the new trends that will
where he's coming from. You shoutd come from the streets. I'm doing this to
learn about quarter hours, BDS, be a pioneer and innovator, not just to
Arbitron and ratings so you have more do it. P[us, I also have a live hip-hop/
power. Today, most DJs are lazy and RftB mixshow on Music Choice through
just want a show to te[[ their friends Direct TV and Digitat Cabte that reaches
and famity. lt's not like it was ten years a customer base of over 35 million
ago. BDS and Soundscan have affected tisteners.
the playl.ists. lf a record was hot, we
ptayed it and weren't concerned with What's the best way for someone to
BDS. Labets today are more concerned get in contact with you?
with first week numbers. Labels need They can email me at SirCD@ao[.com or
to understand that just because you're catt me at 201 -81 6-8607.
getting spin, that doesn't mean that
you're going to have sales. You can - Keith "1st Prophet" Kennedy,
have 1,000 spins on an overnight, keith@tjsdjs.com

OZONE MAGAZINE JULY 2OO4 11

 When T.l. dissed you at Birthday Bash, ti ls it true that you tried to get on Flip's
were you already at the venue? il
ln front of 20,000+ people at Hot 107's Birth- "Game Over" remix?
My plane got delayed. We didn't tand tit day Bash in Atlanta, T,l. (released from prison Att that shit about me being in his trailer
1 1pm, and by the time we got to the venue for work release) performed a rhyme dissing is absotutely false. Everybody was using that
it was 11:30. When we got there, dude was Lil' Flip and encouraged the crowd to chant, muthafuckin' trailer at the photo shoot. lf it
on stage. We tried to get out there, but the "Fuck Flip." Show officials soon turned off was his traiter, why was I in there smoking and
potice woutdn't let us go. They knew some- T.l.'s mic and announced the show was over. kickin' it? The nigga who produced ["Game
thing was fin'a go down. They wouldn't let Here, we asked them both to explain the beef: Over"l, Fury, produced 'l Stitt Love You"
us get to the stage. Somebody came back - lnterviews by Julia Beverly (Lil' Flip photo dt left on [my atbum Trap Muzikl. Fury had catted
and totd me what was going on. by Dan Higgins, T.l. photo below by Julia Beverly) Jason, my partner in Grand Hustte and atso
my manager, and asked Jason if I would put
T.l. claims he was responding to com- a verse on there for him. I didn't even know
ments you'd made dissing him at shows in Ftip at the time. Since [me and Fury] had
Atlanta, claiming to be the King of the South. already estabtished a retationship, it wasn't no big
Naw. lf anything, I gave that nigga a shoutout. I had deat. ln the traiter I totd Ft'ip I did the verse, and he was
a freestyte that I performed at Music Midtown that went "ALL THAT 'KtHc or tnr being att Hollywood and shit, talkin' about, "l did three
[ike, "You know my favorite rappers is Tupac and B. I. / But Souttt' sHrr rs BULLsHrr. THE remixes, one for the West Coast, one for Down South, and
I rock 24's just tike T.1." ONLY WAY WE CAN M,AKE IT one for the East Coast." And I'm thinking, man, you ain't
DOWN HERE IS BY SHOWING EACH my kinda nigga right there. Shawty, I coutd see it, but
Do you think he misinterpreted that as a diss? oTHER LovE." - PtrsuLt- back then I didn't have no probtem with him.
Man, that nigga is just stupid. lf you from the street and
ttTHE
somebody comes and telts you some info, before you re- BorroM L|NE rs, A Lor So when did you start having a problem with him?
act to it, go make sure it's true. I guess he got out of jait, OF RAPPERS WERE HAPPY WHEN White I was locked up he was doing shows in Atlanta,
seen me on the cover of The Source, and got mad. He's THEY HEARD THE RUMOR THAT asking "Who's the King of the South?" I guess he objects
got somebody putting the key in his back. He don't even T.l. wls coNNA sERVE THREE to me catting mysetf the King of the South. When peopte
understand what he's gotten himsetf into. YEARS. IF LII-' FLIp REALLY SAID would answer, "T.1.," he'd say, "Oh yeah? Tet[ that nigga
WHAT T. l. sAYs HE DtD, HE wAs I say'Game Over."'At one show, [Ftip] was tryna hotta at
So do you think you've lost any fans because of this OUT OF LINE. FLIP TTIS ALWAYS some broads that happen to be affiliated with me person-
whole incident? HAD BEEF WITH OTHER RAP- atty. They some ghetto broads from my hood, and they
Nah, he lost fans. Since he disrespected me, he disre- PERS." - PaulMll was in the ctub getting drunk and kickin' it. He had his
spected the whole Screwed Up Ctique, the whole Texas. partner walk over and say, "Ftip wanna holta at you." 5o
''AFTER 'PAc aNo Btccte oteo, they walk over to Ftip and he's [ike, "Why don't you do
What about the people who are caught in the middle EVERYBODY WAS QU|CK TO SAY, that dance for me on stage?" They was [ike, "Nah, I ain't
between you two, like Bun B, David Banner? 'l'M sonRY.'ANo t-oox row finna dance for you," so he tries to putl his Holtywood
Bun B let me know, "Dude is on stage trying some hoe-ass QUICKLY EVERYBODY FORGETS.,, card [ike, "l run the A. I got this on [ock." Everybody with
shit." You know Bun is from Houston, and he ain't like - Davro BaNNrn him is [ike, "Hotd up. Tip run this shit." So he turns to his
that shit. Don't nobody like that shit. And I knew Banner partners, giggting and shit. He's like, "l got something for
way longer than [T. l. ]. T. l. even started shit with Ludacris. "'lF I ArN'T M,AD ITHAT You that nigga, just wait for my show." That's when he did
How you gonna start shit with Ludacris, who been reppin' CALL YOURSELF TH-E KING OF his tittle "Game Over" shit, tryna shine for the broads.
A-Town? He the onty dude from down South that's sold THE SourH], THEN ArN'T No- And l'm sti[[ locked up at the time, hearing all this shit.
three mitlion records. BODY GOT A RIGHT TO BE MAD. ' And now he's denying it, but a nigga can't tetl me shit,
Tur's WHAT TRrcK DADDy honestly. And atl that other shit niggas tatking about - l'm
5o you think T.l. just did it to get attention? -
TOLD ME.,' T.I. jeatous about this, mad about that shit, that's abso-
Yeah, he just trying to get attention. lutety false. He wants to te[ them that
Shit, if it took me four videos to go gold, just to gain support. I ain't got no reason
I'd be trying to get some attention too. to be jeatous of no nigga. l'm my own
But not like that. Man, I would never be man, I stand on my own two, I catt my
in his position. I wouldn't be running own shots, make my own music. lf I was
around saying, "l'm a seven-time felon, to envy a nigga, it damn sure wouldn't
what I care about a case?" He must not be a nigga with as littte respect in the
give a damn about his kids, so I see what streets as [Ftip].
kind of mentatity he got. He ain't no real
thinker, man. I heard that you filmed a video in prison
the night before Birthday Bash?
Any chance y'al[ can just squash this? Wett, yeah, it was supposed to be an
Naw, ain't no making up now. That dude intro to my show. The camera showed
[T.1.] was in my traiter for The Source me inside my celt saying, "l'm sorry I
photo shoot, trying to get on the "Game wasn't abte to make it." Then, later on
Over" remix. lf the dude had a probtem, in the shot, I'm [ike, "l got to make it,
he should have said something back it's Birthday Bash," so then two officers
then. We could've did it tike men, cause I walk up and ask me if I'm ready. Then
box. I would have knocked his tittte hun- they escort me out and I'm basicatty just
dred-pound ass out! I ain't with att that tatkin' shit the whole time.
going back and forth shit. I ain't friendty.
I'd rather fuck with R&B cats instead of How did you get the film crew in your
rappers. So to these rappers: when you cell?
be in pubtic, exchanging numbers, I ain't I got authorization from an officer and he
(continued on following page) > (continued on following page) >

12 OZONEMAGAZINEJULY2OO4
 Srime Mab
*Knuek lf Ya BucK'
< (Lil' Flip continued)
with that shit. lf you ain't fuck wit' me then, don't fuck wit' me now. That's
how I look at it.

So on another note, you said your album is almost double-platinum?

Yeah, almost, 'cause it's a double album. Whatever I se[[, it counts twice.
I'm at 780,000, so that's tike 'l .4 mi[lion.

What made you decide to release a song like "Sunshine" which is obvi'
ously directed more towards the ladies?
I mean, everybody tiked it. When I do my albums, I let the DJs tetl me what
they [ike, the labet, my homeboys, instead of me just going with what I

wanna go with. Sometimes you can lose like then when you go with your
ego. I took everybody's advice and the radio just started playing it.

5o you've also got a liquor coming out?

Yeah, I got my liquor coming out September 1st: Lucky Nites. We got the
Clover G atbum coming out with Glo, Gloria Vetez on the album. A[[ the
fans, tetl 'em good tookin' on the support.

,,SCARFACE How do you feel about the Diplomats com-

ISTHE ing out with a liquor called Sizzurp?
REAL KING OF THE That's good shit. We att trying to migrate and
SOUTH." . LIL'FLIP make money. I'm also on Def Jam's "Vendetta
Pt. 2," and I got my own DVD coming out.

Does your character look like you in Vendetta?

Oh, he[[ yeah. I got my big Ctover chain on, tattoos and everything. Yeah,
man, it's crazy.

What happened with the Sucka Free/Sony situation?

l'm with Sony, and l've got my own [abe[, Clover G's. How can I put albums
out for a person who doesn't give me money for the atbums? He was taking
show money too, and atso my advances. He told Sony to give him money
for my atbum, but I recorded my whole atbum in Dattas. So what did you
do with the money? I didn't record in Houston. But it's att good, man, I'm
ptatinum again.

Anything else you want to say?

Scarface is the real King of the South. Make sure you print that.

< (T.1. continued)

said he had to get authorization from his superiors. So I thought it was a[[
a go. Honestty, man, if that other incident never took ptace I don't think it
woutd have been a probtem. Then, at the Birthday Bash, [the officers] were
kinda backing up and saying, "Nah, I didn't
know nothing about that."
"I'M THROUGH
TALKING ABOUT THIS lt seems tike you have problems with a
SHIT. ITAIN'T FOR lot of rappers: Ludacris, Trick, now Flip.
rHE puBltc." - r.t. I:'"Tl'r,"1T,i::l',j,,li?3l:l:,,ffii1,1t',iir
was on 106th & Park, Trick hit me up [ike,
"Man, that old fuck nigga on TV tatkin' about you, shawty." Trick was like,
"Man, I told niggas att that King of the South shit don't mean nothin'." Any
real nigga can recognize a reat nigga. As far as Luda, that was me and one
of his partnas. Since I been out of jait, me and 'Cris sat down and resotved
the issue. We ain't got no probtems no more, even though there's a song out
right now where he's going at me and I'm going at him. Basicalty I totd the
nigga straight up, you ain't really never did shit to me. lt was just people on
the outside looking in, keeping shit going. Att that shit has been resolved. I

got a problem with one nigga. Onty one nigga in my scope.

What about the people that are cool with both you and Flip? Bun B per-
formed with you, and then after you dissed Flip he was backstage on his
cell lookin' upset.
Are you serious? That's you taking what you think and basically making it
into whatever you woutd like for it to be. I tatk to Bun B every other day.
l'm up here in the studio right now with PautWatt and a gang of niggas from
Clovertand. lf a nigga is cool with him and me too, hey, I apotogize if you
feet tike you being placed in the middte but the best thing to do is just stay
out the shit and tet him stand on his own two feet.

So is there any chance of y'all just squashing the beef?

Man, man, man. That's between me and him. That ain't nothing to be pub-
lished in no magazine. lt'd surprise the hett out of me, but who knows. l'm
through tatking about this shit. This shit ain't for the pubtic.

Anything else you want to say?

My new atbum Urban Legend is coming in November.

OZONE MAGAZINE JULY 2OO4 13

There are places where you can rest your head, but Jerusatem is Jerusa-
lem.
Who else has worked at Jerusalem?
Wyclef, Bounty Kitter, and Timbatand's artist John Doe, but mainty it's just
a Terror Squad studio. That's where I make my beats. lt just so happened
that [Fat] Joe came through when I was recording my beats and he wanted
to record the whote album there. Reatty, I just use it to smoke out and
make crazy beats.
So what's the advantage of recording there?
It's private, I get more work done, and there's just a vibe there. lnstead of
spending money at a studio, l'[[ just come from the club or something and
start making music. That's how it was when we recorded the Terror Squad
atbum. We'd just come home from the ctub, recording. lt was just vibes.
How long have you been doing production?
l've actualty been doing production since I lived in Ortando, back in the
Hitmen days. lt's been a long time. I stopped for a littte white.
Why did you stop?
I was so heavy into my DJ game, I wanted to make sure my DJ game was
right in Miami in the ctubs and on the radio. Since I've got that stabte, I'm
back to producing music. What realty made me get back into it was [Fat]
Joe, cause he was on his grind recording the Terror Squad album. I heard
a lot of the beats peopte were giving him, and they didn't impress me. So
I knew it was time for me to get back in the studio and make these fire
joints. I know what Joe wants.
How many tracks did you do on the Terror Squad album?
I did the intro, "Nothing's Gonna Stop," and a song with
me and Joe, "Yes Them to Death."
How do you think your DJ experience has helped
you as a producer?
It hetped me a [ot. DJs know how records start
and break, and know about tempos. lf you're
a DJ and you're a producer, if a track doesn't
come out hot from your drum machine, you
have to ask yoursetf if you would ptay it. DJs
don't like whack records. So as a DJ, being
a producer, you know you've gotta make hot
records. Not every DJ is a good producer, but I matter, what's the purpose?
know one thing: l'm gonna be crazy in the game.
I'm the Beat Novocain.
Do you feel like it's caused you to scale back on
DJing at all?
No, I could never scale back on the DJing aspect at al[. I New York is one of the biggest markets, and F[ex hetps
coutd say that it's a great connection, though. Being a DJ and
producer is the best way for me to expand my career in the game and
make sure that I'tt have longevity.
Do you plan on ever scaling back as a DJ and focusing on production?
I love radio too much. I'tt probabty be 80 years otd stitt doing radio.
What's your club and radio schedule right now?
l'm in the ctubs Friday through Sunday, on the radio Monday through Fri-
day, and then I'm in the studio whenever I'm not at the ctub. l'm traveting
a lot more, too. I just produced a record for Fabolous, it's crazy. Me and
DJ Nasty did Camron's song, "Lord I Know." I did two songs on the Terror
Squad album. I did a joint for Smitty. He's signed to J Records, he's gonna
be realty big. Remember that name. I did a joint on Pitbutt's atbum featur-
ing Trick Daddy, and a joint with Ja Rule and Ashanti.
Since you started out in the game DJing with DJ Nasty, are you two go-
ing to do any more production collabos?
Definitety. Nasty's my man. Whatever he wants to do, I'm down. When it
comes to music, me and Nasty have this vibe. I'tt be in town or he't[ be in
town and we't[ just knock it out. We don't ever stop working.
Do you feel like the production quality of your beats has gotten better
since you've been working at it?
Yeah, because I made myself step my game up. The more I progressed, I
was [ike, damn. I'm the Beat Novocain.
Where did you come up with that name, the Beat Novocain?
When you hear the Terror Squad album, there's a line where Joe says, "l
picked up a few producers and with Khated, dammit man, we did it again,
the Beat Novocain."
Since you're so well-known as a DJ, do you think people have a hard
time taking you seriously as a producer?
No. A tot of the artists know me because I'm a DJ. When I tett them I have
beats, they don't say anything until they've heard it. Then they be [ike,
damn, I didn't expect that. I can't read their minds, but I know it messes
their head up to hear that l'm making dope beats.
Where do you get your ideas from? Do you sample?
Yeah, I am a sampting guy. Most of my songs use samptes. I just add a key-
board here and there to beef up the track. My motivation comes from Joe,
and me wanting to stay in the game. I [ove making inusic and being in the
studio. lf it was my choice, l'd be in the studio every day. I love it.
Do you want to break down the technical aspects of the studio, like
what type of equipment do you have?
I use an MPC 3000, the btack [imited edition. I use other models, but
basically I just use my creativity. I make them street bangers. I use my
creativity to make them hard-core joints. Like Nas' "New York State of
Mind," I make those type of records. You won't hear it on the radio, but
everyone likes it anyway.
You don't make radio singles?
Iwant to make radio singles too, but my specialty is that street, hard-core
shit. The Beat Novocain.
Last time I saw you in the studio, you were working on a compilation.
Yeah, I did a song for Viotator's compilation atbum. I was featured on
there. Me and Kay Stay witt be doing an atbum together on TW Records.
ls itgoing to be a North meets South vibe?
Yeah, like the best of both wortds, from a DJ stand-
point.
So is it a mixtape or an album?
Nah, it's gonna be atl original tracks.
We haven't
reatty sat down and combined a[[ our ideas yet.
This atbum is going to be crazy: New York and
Miami connecting on another levet. This is
going to be the biggest DJ atbum in the game.
What's the advantage of being a part of the
Big Dawg Pitbulls? Or any DJ clique, for that
The biggest advantage of being a Big Dawg
Pitbutl is Funkmaster F[ex. He took the DJ game
to another [eve[. When I go to New York, I get
embraced like I'm at home. I go to Hot 97 and get
on the radio. Even when I'm not there, I stitl get [ove.
me out there 100% since I'm a Big Dawg Pitbutt. lf there's a
road btock, my affiliation gets me through.
There are a lot of DJ cliques, so how did you choose to go with Big
Dawg Pitbulls?
Flex stepped to Joe and was asking questions about me, and then he
calted me and asked if I wanted to get down. lt wasn't about choosing a
team, because I've a[ways been on my own team. When Ftex asked me,
I was honored. A man with status like that, asking me to be down? That's
love.
What other projects are you working on?
Wett, there's the Kay S[ay and DJ Khated atbum, Fat Joe's album, the
Terror Squad album which is dropping in Juty, the intro to Tony Sunshine's
atbum, and Remy Martin's atbum.
Do you think there's any conflict of interest with you serving as both a
producer and a DJ? Like, you can produce a record and automatically
get it on the radio?
I see what you're saying. But if everyone around me feets like it ain't hot,
then it ain't hot. lf it's hot, it's hot. I don't care. lf I make a record and
it's a hit, I'm gonna go qazy with it.
What if you made a record that you feel is hot and another DJ isn't
feeling it, do you think you'd second-guess yourself?
You can't give up until the song is buried. That's just one DJ's opinion.
Anything else you wanna say?
OZONE's the #1 magazine in the world. Don't get it fucked up.
- lnterview and photo by Julia Beverly, jb@ozonemag.com
OZONE MAGMINE JULY 2OO4 1 5
 H
H
ffi
r
t
I
x
T
I
r
t
I
x
l
E
T.
I
n
s
a

G
0
il

<iEttAu?tNq N ftft-Hor r4uq( { fA<}+toAJ €V€Nr<

TT COO FD I N ATION. ?FOI4OI/ON <, 1,4 /.FK€TI Nq,
il-i ?uBuc R€|IrtoN< t AFTttr DEv€lA?F4€Nr

cu€Nr<
tNtulpe,
-\fi-fr<JA€
psrtrt4
-TAT< GA
-re{B/lLq€/le
-*Iorq* ren
- *+{ADq€/le
{?*firfl/f€/lF
- nJrrrn
ylAr&+€<
-rtt14A
Ftl;l lUlOllE IHFO CIOIsrnGT BE!|HICE @ 4cnr-g7$-6973t
(lll ElllrlAtl. EExl]iI(ll.I.|G t @ACtr*lBOm or BI(EEA]ILPRC}II@IACIL,{BOIUI
::rreffiWhere would people know you from?
I was a part of Beats by the Pound. Me, Moby I have other peopte to do that. I have an atl- body. Everybody finatty got their first break to
Dick, Craig B, and Odett used to be the in-house star [ineup: Mystikat, Snoop, Juvenile, L'it' Jon, be put out on a major, so it reatty didn't matter
producers for No Limit. There was another cat Soulja Slim, B.G., Daz Dillinger, Fiend, Mr. Serv- whose atbum it was. We atl came together in one
named Cartos who's no longer with us. I produce On, Don Yute, C-Nite, Beautifut, and a lot of room and made an atbum, and had fun doing it.
soto now, with Medicine Men. other artists. Fiend is on the lead singte, "Down It was never one person individuatty making his
South." lt's stitt the same Pound: me, Craig B, own record. lt started getting like that later on
Why did you end up leaving No Limit? How did Moby Dick, and Odetl. down the ['ine.
things deteriorate?
When people bring up the money I do tatk about Are you putting the album out independently What other projects are you working on?
it, but it wasn't the money that made us leave. or looking for a major distributor? We just signed a cat named Calico, and we're
It was the communication. When [Master P] de- It alI depends if the tabels start acting right. ln- working on his project. We're also working on a
cided to go pursue his basketbalt career, it fucked dependent is offering me better money than the Medicine Man album called Beafs by the Pound.
up our communication. Whenever we had to tatk majors. Peopte want it, but if the majors ain't B.G. and Soutja Stim atso got an album together
to him, we had to go through somebody. When it tatking right, then l'tt go independent. l't[ make catled .Ain'f No Limit to my Cash l4oney. It's hot
goes through somebody, it gets back to him att more money but l't[ have to go out and work as fuck. lt's probabty the most gangsta shit you't[
fucked up. That started some bullshit. Money the record more, which is actuatly something I ever hear in a long time. Everyone atways won-
didn't have anything to do with us leaving, but need to do. Peopte don't know me, they know dered what it would be tike if Cash Money and
after we teft, shit, he started sending papers to my music. No Limit worked together. Soutja S[im actuatly
our lawyers about "faiture to report to work." brought B.G. to me, so his death reatly brought
So we were tike, fuck it. We were never signed Why did you decide to change the name? me and B.G. real ctose. When me and B.G. do a
to a contract, so we wasn't even tripping on the When we left No Limit, P had some other pro- song together he'[t flow on it, but [Stim's death]
money. We just wanted out. There were several ducers working under the name "Beats by the witl fuck with him. lt reatly does affect him. lt
times when we, [Beats by the Pound], tried to Pound." His production was so fucked up, it was real hard for both me and him. Stim and B.G.
tatk to h'im to get the situation solved, because burned the name. Anything after "Fuck Them was real ctose, even when that Cash Money/No
it was some minor shit. lt was just his pride. And Other Niggas," we didn't produce. Limit shit was going on. Nothing broke their
one thing I know from experience is that he's bond. Nothing. That's how it is with me and Man-
a real good person, but he's influenced by the Why did Master P fite bankruptcy? nie [Fresh]; a lot of peopte don't know that cause
peopte around him. So a lot of the decisions that P stitI has loyaI fans, but tike I said, it's att about they never see us. Me and Mannie are real tight.
he made didn't realty come from him, it was just chemistry. People want to hear him on our shit. We have the utmost respect for each other when
what other muthafuckers was tetling him. Whenever Snoop puts out a record, they stitt it comes to our work. He loves what I do and I
want to hear him on a Dr. Dre beat. Whatever love what he does.
What did you see happen to No Limit after you Missy puts out, they wanna hear her on a Tim-
left? batand beat. Beats by the Pound created the No Anything else you want to say?
He broke chemistry. You can't do that. These Limit sound from day one. Since 1995. When I Be on the lookout for the new KLC atbum, KLC
days in music, production is the key focus. I'm hooked up with P in 1995, he was stitl in Oak- the Drum Major, coming in August.
not taking nothing away from no rappers, but land. He was buying beats from like
it's just at that point where everyone wants the ten producers. When we came up,
right beat. They can't do nothing without that it just fit. I hooked him up with the
beat. Whenever a [abe[ goes shopping for a deal, beat for "Bout lt, Bout lt," and that
the majors want to know who's producing your turned out to be the biggest song on
records. Look at Cash Money: Baby ain't stupid. his first album.
Juvenite teft, B.G. left, Turk left, but Mannie stitt
there. He won't let him go. How does the creative process
work when you have four people in
ls there anything P could have said or done to a production team?
make you stay? Offer you more money? It atl depends. Most of the time we
You know what it was? Att he had to do was come work individuatty, but there comes a
to us and admit he's wrong sometimes. Att he had point on the record where we might
to do was say, "Man, my bad, l fucked up." But do three or four songs together. We
he'd rather shit out 530,000 or $40,000. He'd each have an individuat sound, so
rather give us money instead of admitting he that's why it balances out on the re-
was wrong. cord. A real No Limit fan or Beats by
the Pound fan could listen to a record
When did you finally leave No Limit? and know which one of us did it.
We left in 1999. As a matter of fact, the last song
I produced on No Limit was "Fuck Them Other Were you close to Soulja Slim?
Niggas." After I did that song, shit just ain't get Soutja Slim was actuatty my very first
worked out. We had a meeting with him where artist. Back in 1991, before I hooked
he finatty offered us a contract, but the contract up with Beats by the Pound, I had
wasn't good. He was in a conference catt, prob- a record [abe[. Mystikat, Mr. Serv-
abty somewhere in L.A., and we were waiting for On, Soutja Stim, Pound, and Fiend,
him to ca[t. After waiting six or seven hours, he those were my artists. A lot of peopte
finalty catted. The meeting went [ike this: P said, don't know that I brought them to No
"lf you're not going to sign the contract, get the Limit. Me and P damn near got into
fuck out my face. " So we got the fuck out his face 'it over Soutja Stim and Fiend, when I

and never went back. first brought them in. This was at the
beginning, when P was buitding the
What have you been doing since then? company. Eventua[[y, everyone came
Working on my atbum and producing some other to an agreement. Fiend was on the
things. I did the "Move Bitch" record for Ludac- "Bout lt" soundtrack, and after he
ris, and I'm working on some tracks for T.l. and did that song, it was official that P
Trick Daddy. I also have my album coming out. wanted to fuck with him.

Are you rapping on the album, or mostly just So who would you credit with No
producing? Limit's success?
Just a lit' somethin', somethin'. lt ain't serious. It was a cottective effort from every-

1 8 OZONE A,TAGAZINE JULY 2OO4

ffiffi',@@e
DJ q45, otherwise known as "the ladies favorite DJ," has come up
'*U
Kamikaze
Ain't Hard"
(Jackson. MS)
G'lass Entdrtaifiment

quickly in the entertainment business due to his outgoing, friendly

personality as well as his DJ skills. Based in Jacksonville, he's re-
cently appeared on BET's Rap City, 106th & Park, and Spring Bling.

Tell me about yourself?

I'm from St. Augustine, FL. I was strange as a chitd, no one liked me. I

am stitl a strange, strange man. lt was hard for me. I went to a private
school where I was the only black kid, so I had to fend for mysetf. I

decided to get into entertainment because everyone in the videos had

so many friends. I became a Dj to find friends. Everyone in the videos
was hugging Jam Master Jay and having a good time. I wanted that. I

started DJing when I was about 18. I wanted to take it to every [eve[:
MTV, BET, and right now l'm there. I was the first DJ from this area to
be on Rap City and 106th & Park. I was the first, don't get it twisted.
The first. I did counttess mix shows, l've done every singte club in the
city. I was the first DJ to do a live TV show from a club. I'm proud of the
peopte who like "rea[" music and come to see me ptay. l've ptayed for
8,000 peopte, but I atso could have fun with just eleven people.

lf you were stranded on a desert island with turntables, what es-

sential records would you need to have with you?
"Planet Rock," "Peter Piper," "Clear" by Cybertron, and anything by
Luke, because his atbum covers have nice pictures of women. I'm
stranded on an istand, so I might need those to entertain mysetf.

What are your future goals?

I want to be a Music Director or Program Director for a radio station.
Honestty, though, I want to meet and help as many peopte as possible.
I want to start a charity foundation for everyone who doesn't have
friends. Now that I'm a DJ, everybody's my friend. Peopte I don't even
like are my friends now. Girts that didn't even speak to me give me
H-E-A-D. Thanks, Mase (loughing). I'm humbte. But if you ever test me
on two turntables and a m'ic, I't[ kitt you. ldon't care who you are;
my wrath is deadty. I want to be a Heavy Hitter. Pro, Enuff, hotla at
your boy. I'm trying. What do I have to do? For rea[, though, their style
is tike mine. I don't want to be a part of a DJ clique that has hke a
hundred DJs. I just want to deal with peopte [ike me. Everybody seems
cooI at Heavy Hitters. These are not fighting words, it's at[ love. I just
want to be a Heavy Hitter, that's att. I'm not worried about anything
else. People will hate me for saying this, but it's just friendly beef.

DJ
e45
WORDS &
PHOTO
JULTT
BEYERLY

j
T
:1
:

OZONE MAGAZINE JULY 2OO4 19

 << CD reviews will be back in full effect next
month.
B.G.
"Life After Cash Money"
Koch
B.G. has already released
an atbum since his de-
parture from Cash Money
Records, but nonethetess,
his newest retease is
lionaire is mad at him. He makes a few generic
references and mentions that Mike included him
on the intro to his DVD, "as if I was co-signing
that shit." Sounds petty. When it comes to real
beef, one or two diss tracks is usuatly sufficient.
But damn, nineteen? Overatl, his ptan backfires,
because it comes across like a weak pubticity
stunt and in the end he's onty promoting Mike
Jones. Chamittionaire mostty accuses Mike of
being fake and lying in his rhymes. What rapper
doesn't? If a listener is guttibte enough to be-
tener a better perspective of where he's coming
from. Moving onto the third disc, which is mostly
Chamittionaire and Rasaq, it's a retief to onty hear
a few Mike Jones references. Chamittionaire is at
his best when he's just focused on his own music.
He spits over instrumentats like "Stow Motion,"
"You Don't Want Drama," and "Stow Jamz," prov-
ing that he can compete with the best of 'em.
There are atso several original cuts, like "Ca[[
Some Hoes," featuring Kanye West and Stat Quo,
and "Platinum Stars," featuring Lit' Ftip and Bun

ffi'
entitled Life After Cash lieve that Mike is moving as much weight as he B. Other appearances inctude Stim Thug, Young
fo go along with
lvloney. claims, they might also betieve that Chamit[ion- Ro, and Big Gem. Another standout track is "l"m
the titte, B.G. utilizes aire is getting as much pussy as he claims. The a Ba[[a," with Far East and Ptay & Skittz. Chamil-
his slow languid flow to repeated swipes at "Dyke Jones" eventuatty lionaire gives a interesting vocal introduction to
share his insights about come off sounding chitdish. ln the war against this track, explaining how it atl came together.
his former Cash Money Mike Jones, Chamillionaire only scores twice: Chamiltionaire shoutd just focus on running his
crew and his falten comrade Soutja Stim. lt's first with the amusing "Tatk Show lnterlude" own race instead of trying to stop Mike Jones. lt's
no surprise that B.G. spends more than a few and second with the final track, "The Truth," ctear they're both headed in the same direction.
bars on Cash Money, bragging that he'tt "Get it where Chamiltionaire speaks and gives the [is- - Julia Beverly, jb@ozonemag.com
without a nigga." On "Geezy Where U Been,"
featuring Ziggter the Wiggter, B.G. proclaims,
"Everybody Baby teft hanging, l'm comin' back
to get ya... Not one Maybach, ten 'Lac's comin' rl
through." Hopefutty B-Gizzle atready has the 't,
g
ten Cadittacs, because I don't think this CD cr
wi[[ be abte to fund them. B.G. also touches on Fj
Cash Money founders Stim and Birdman on "My
't:
{q
Life" with lines [ike, "How you play me, I can't g
respect that." The first singte, however, the DJ ..1
Smurf-produced "l Want lt," isn't as powerful {i
as it shoutd be. The beat has potential for tre-
mendous energy, but its deep horns just aren't {rcg
q€reEi rrn
matched by B.G.'s flow. He predicts, "When
it's over, I bet I see a profit," but I think he
might be wrong. The atbum is flawed by simpte
production, the same rhyme patterns he used
an-g
rdE 5
n
$
on Checkmote, and his nearty lethargic flow. ,€EfF ;J
One track that's worth a listen is "Get Witd
With lt," where the Ying Yang Twins seem to
HEF
-n
#E s
infuse a little more animation into B.G.'s de-
tivery. "Street Nigga," featuring T.1., is another
standout track. "l Wanna Fuck," produced by
rcHH
=n:
G-Sta, has an interesting beat but is otherwise
lacking. One other track you should check for
ITH
ffil;
is "Don't Wanna Be Without U," featuring Gar
and Reat. This album witt probabty be appreci-
ated by Cash Money fans, since they can catch
ptenty of Cash Money references throughout
the album. Diehard B.G. fans wi[[ also want rPr#su
to pick up this album to get a good look inside .ll;trfidhfl
the mind of B-Gizzle himsetf. Aside from that, rF.l[ffi.t*
if you're just a general hip-hop fan, I wouldn't r tusdplrdq
advise spending too much time sampling this r HgdPlffH$ml
at your [oca[ record store. - Rohit Loomba, rSmrd&#th*tlm
poombster@yahoo.com
.ll*irto ryqp/
Chamillionaire 3#rasiFsldfi€*h
"The Mixtape Messiah" . #Dccilgs
Houston has a stew of
independent artists with E
massive fan bases, and o
from the outside [ook-
q
ing in it might appear o
that they're att one F
big happy famity. On o
Chamillionaire's newest retease, however, he
comes out swinging at one particutar target: a
Mike Jones. We've all seen double-disc CDs,
but this is a tittle unusuat: three CDs in one.
53
The first CD is almost entirely dedicated to diss-
ing "Dyke Jones." The second CD, of course, is
s
screwed & chopped by O.G. Ron C. The third CD E
is a mixture of freestyles, original songs, and .g
slinging a littte more mud at Mike Jones. After -c
hearing more than a dozen tracks about Mike
Jones, l'm sti[[ not sure why exactly Chamit- F
;
B
20 OZONE A4AGAZINE JULY 2OO4
ffi phylists
I

01 - Jwenile, Wacko, & Skip "Nolia Clap {remix)'

02 - Aticia Keys f/ Tony Toni Tone "Diary"
: 03 - Lenny Kravik f/ Jay-Z "Storm
{remix)"
04 - Cu* Cru-Sho f/ 6 Rob "Lets cet Freaky"
05 - LL Cool J f/ Timbatand "Headsprung'
01 - Juvenile fl Soutja Slim "Slow Motion" 01 - Juvenile, Wacko, & Skip "Notia Clap" 06 - Tony Sunshine f/ P Diddy *
Dirt8ag'Oh $ly God"
02 - Lil Flip f/ Lea "Sunshine" 02 - Usher'Throwback" 07 - David Banrer f/ Sky "fop That"
03 - Usher "Confessions Pt" 2" 03 - Nas 'Thief's Theme" 08 - Lil'Wayne "Go DJ"
04 - Ciara fl Petey Pablo "6oodies" 04 - Ciara fl Petey Pabio "6oodies" : 09 Dirty States (Fiend, LG.) "Fired Up"
-
TJe DJA

05 - Houston f/ Chingy & Nate Dogg 05 - Lloyd Banks "On Fire" , 10 Ludacris "Oiamond in the BacK'
-
"l Like That" 06 - Triltvitte "6el Some Crunk'in Yo System" : 1'l Federation "0o Dumb"
-
06 - Ltoyd Banks "On Fire" 07 - Twista fl R Kelty "5o 5exy" : 12 - Ciara fl Petey Pablo "6ood'ies"
07 - Terror Squad "Lean 8ack" 08 - Janet Jackson "Alt Nite {Oon't stop)" 13 Jody Breeze "AKs & Chevrolets"
08 - Nina Sky "lfiove Ya Body" 09 - Mario "18" 14 " BloodRaw f/ lastor Troy & Grandaddy Souf
09 - Ying Yang Twins fl Trick Daddy 10 - Bonecrusher fl Ying Yang Twins "Take ya 'My Block Burn"
"What's Happ'nin!" Ctothes Ofi" 15 - iAike Jones "Got it Sowed Up'
'10 - Lloyd fl Ashanti "Southside"

01 - Suave Smooth "Back Up (remix)"

02 - Tha Addicts f/ Snoop Dogg & J Red
"What it's About (remix)" ga
03 - TripLe J "Jump" AtOl:.
04 - J Red "Ain't 2 ManY" Yt'/
05 - Pi and Non-U "Body Rubbin' (remix)"
06 - J Smoove "Can I ChilL Wit You"
07 - 6-8oy "What lAakes You Hot"
08 - C"R.U. "l Love Hip-Hop" ,;

09 - RX "Peeps in the 50uth" !i!

l0 - Street Smarts "On Da 6rind" I

01 - Juvenile, Wacko, &.5kip "Nolia Ctap"

02 - Young Buck "Let Me ln"
03 - Lil'Serappy "No Froblem"
04 - Shawnna f/
Ludacris
"Shake Dat Shit"
05 - l-20 "Fightin'in the Ctub"
06 - S$all & MJG "You Don't Want
(screwed)"

01 - Akon f1 Stytes P "Locked Up"

02 - De{ "Careless Whiiper"
03 - Kevin Lyttle "Turn Me On"
04 - Kanye West "Jesus Walks"
05 - Lil Scrappy "No Problem"
06 - Luddy f/ Timbaland "Horne Tonight"
07 - Pitbull f/ Lil Jon "Culo"
08 - Terror Squad f/ Fat Joe & Remy
"Lean 8ack"
09 - T.l. "Let's Get Away"
10 - Juvenile, Wacko, & Skip "Nolia Clap

ii

li
ln
Clinton Sparks
rii
"When All You Want is the HiB" ii:
www,ClintonSparks.corn i,:
ii

1:
DJs, send your mix CDs (include a cover) to:
1516 E. Colonial Dr Suite 205 Orlando FL 32803
 dvd reviews:
Dirty States of America, both educational and entertaining, is essentiatly a cottection of interviews and
footage pieced together to te[[ the comprehensive history of Southern music culture. The ctips are orga-
nized in a fast-paced, attention-grabbing manner, and even though the DVD is ninety minutes [ong, there's
no time wasted. Producer/director FLX uses a simple yet effective layout which clearty shows who's
speaking, where they're from, and tites of other relevant clips. Throughout the DVD, we travel state.by-
state, exploring the origins of each region's music. We begin in Memphis with the "gangsta watk," where Setect-O-Hits' J-Dawg
'ittustrates the walk for amusement purposes. Moving into Florida, FLX emphasizes the importance of bass music pioneers like
Uncle Luke, Magic Mike, and Jam Pony Express. Khia, known for cursing out program directors, expresses her pricetess opinion on
corporate radio. Of course, you can't tatk about bass music without ptenty of ass-shaking footage. We've atl seen those amateur
Spring Break DVDs, but at least in this case the ass-shaking footage is retevant to the subject matter. However - the stowed-down
sequence of a rather large woman dancing naked to a Mike Jones song - I reatty did not need to see that. Anyway, moving into the
Texas segment on screwed & chopped music, FLX again does an excellent job of capturing the true influence that DJ Screw, the
Geto Boys, and UGK have had on Southern music. PautWalt defines "drank, syrup, lean," while other Texas artists tike Lit' Ftip,
Stim Thug, and Chamittionaire throw in their two cents. The Atlanta segment focuses on underground favorites like Sammy Sam as we[[ as the "King of
Crunk," Lit' Jon and co. The crunk segment naturatty features some great live performance footage (David Banner throwing chairs Jerry Springer-styte;
Bonecrusher and Kitler Mike poppin' botttes and drenching the audience). Lit' Scrappy and Triltville's acapetta rendition of "Neva Eva" is the most
visuatty entertaining footage on the DVD. Moving into Mississippi, FLX touches on the KKK, the civil rights movement, and the influence of stavery on
Southern cutture as a whote. Finally, we exptore the jazz elements of New Orteans' bounce music.

One of the most refreshing aspects of this DVD is that it isn't [imited just to cetebrities; there are plenty of useful soundbites from underground tegends,
up-and-coming artists, and just ptain ot' regular peopte. Don't get me wrong, though, there is plenty of star power: Lit' Ftip sips on some drank, David
Banner explains where his New York animosity comes from, and other big names like Juvenile, Lit' Jon, Bubba Spaxxx, Ki[[er Mike, and T.l. speak can-
didty. Of course, no Southern DVD woutd be complete without a segment on rims. DJs give an extensive explanation of "parking tot pimpin'," fottowed
by Petey Pablo's humorous and accurate description of "treal niggas" who spend more money pimpin' their car than the actual car cost.

There are a few brief intertudes of artists kicking rhymes: Sean Pau[ of the YoungBtoodz (GA), Smoke D (MS), Fiend (LA), ESG (TX), Chyna White (GA),
Chamiltionaire (TX), and Cottard Greens (SC), just to name a few. ESG drops a long and impressive freestyle, which he laughingty dismisses as "buttshit."
The onty thing I coutd possibty criticize about this DVD is that sometimes the audio levets vary from ctip to ctip, so you might find yoursetf adjusting
the volume a few times. As far as content, though, it can best be summarized by the description on the back cover: "The most comprehensive, in your
face, no bultshit fitm on hip-hop ever made. From screw to crunk to bounce, Dirty States gives you the 'trill shit' you need to know as totd by tegends
and superstars of the Southern scene." (www.lmage-Entertoinment.com) - Julia Beverly, jb@ozonemag.com

: .r ., : I don't like to knock anybody's hustle, but with this Cornbread Street Heat DVD lvlagazine,l've got to be
,'. honest. Everything - the fitm-quatity, fhe "interviews," the menu layout - is stoppy. From the cover, it ap-
.' pears to have some potential, promising "real videos, rea[ concerts, real interviews, reat fights" atong with
appearances by "Twista, Aticia Keys, Lit' Ftip, Mike Jones, David Banner, Too Short, Big Tymers, Young-
Btoodz, T.1." and more. But, I was apprehensive once I popped in the DVD, since it had a hand-written title
on a CompUSA DVD. The menu is extremety ptain and boring, with onty five options. There's no way to skip from one "interview"
or "concert" to the next, so it's possible that there was some interesting content on here that I couldn't figure out how to get to.
From what I saw of the "rea[ concerts," it was basically just really bad footage of crowds of peopte. Most of the "tive interviews"
are actuatty just drops. A[so, when you first ctick on the menu options, you have to watch an entire music video before getting
to the actual "content." The music videos - from artists tike D.S.R. and Roscoe - are actualty the hightights of the DVD, but it's
irritating to have to sit through a whole video without being abte to skip forward. lf you're gonna put out a product, don't put
out a half-ass product. lt irritates those of us who take pride in our work. - Julia Beverly, jb@ozonemag.com

Here we have the sixth instattment of,4ll Access: the DVD lvlagazine, the "Southern" edition. From the be-
ginning, this DVD has quality cover graphics and an easy-to-navigate menu. We start off in Attanta, where

$#fK the atways entertaining Hot '107 radio host Coco Brother attempts to get some dirt out of Timbaland. Coco
tries to find out how much Timbatand hates Jermaine Dupri, if the chemistry with Missy Ettiott extends from
the studio to the bedroom, and how much he charges for a beat. Timb drops a few soundbites ("lf I brought
Lit' Kim back, I could bring anybody back," when asked about Bubba Sparxxx) and even gets uncharacteristicatly heated when
discussing radio potitics. Next, ,4ll Access stops by David Banner's tour bus en route to Lit' Jon's ptatinum party in NYC. Banner
emptoys his signature a[[-up-in-the-camera interview styte to express some backstage thoughts on his three favorite subjects:
Mississippi, God, and titties. Lit' Jon, Bonecrusher, the Ying Yang Twins, and a few others make cameo appearances.

Other features include car segments calted "parkin' lot pimpin"' and a model search for Appte Bottom jeans. It's ctear that this
DVD is directed towards men, because there's ptenty of gratuitous ass shots. The camera man seems to have a difficult time
keeping the lens on Jacki-O's face while she's being interviewed, but we do get plenty of ctoseup shots of the rest of her body.
There's atso a lot more eye candy for the guys during the feature interview with Uncle Luke: slow-mo shots of a girt with two tongue rings, staircase
up-the-girls'-skirts footage, and of course, ptenty of strip club action. The segment is titted "48 Hours with Uncle Luke." I'm not sure if this titte is
comptetely accurate, but nonethetess, the drawback to having 48 hours of footage is that it moves at a rather slow pace. There are a few scenes (Uncle
Luke hocking a loogie out of his car window on l-95, Uncte Luke and Disco Rick watking down a hattway, Uncte Luke watking down the stairs) that seem
stow and unnecessary. Sometimes questions are posed as text and flash slowly across the screen, which is lengthy and distracting. After the stow radio
station sequence with Tigger, Avant, and Loon, however, Luke gets more comfortabte with the camera and things start to get really interesting. lnside
the comfort of his own home, Luke proctaims that R Ketty will become "a hero," but notes, "l'm not eating no stray bitch's ass |ike R Ketty did on that
video tapel. That's not clean." After smashing his pimp cup against a wa[[, he has a few choice words for Snoop Dogg. "l don't need no nigga to give me
no gtass to put me in the pussy game. This is real pimpin'. At[ them niggas with those cups need
to listen to my atbum real close. You do not get a cup and turn into a fuckin' pimp overnight.
Don Juan is stitt pimpin': he's pimpin' them rap niggas. Now that's deep, y'att. He started by
pimpin'hoes, now he's pimpin'them rap niggas. Theythe new hoes."

A[[ Access does a great job of branding, with the togo appearing on screen throughout most
of the DVD. They also get points for having a customized, fast-paced introduction and being
easy to navigate. The DVD woutd be bettelif it had a little more content, maybe a few more
interviews, but I guess that's what the next issue is for. (www.TheDVDA4agazine.com) - Julia
Beverly, jb@ozonemag.com

22 OZONE A4AGAZINE JULY 2OO4

Rockstar is stowly becoming c*e of my favorite develapers. We haven't seen a..wack title from them yetl l
and Red Dead REvo[ver is nb exceptiair tc this rule. lnitially hearing about this gamellthoug,hti.]{OK,'h€*CI$
anotner lame attempt At
another ga#le" but Surprlse
at a western game" surprise Surprlse, was Wf0ng.
surprfse, I \{aS wrong. ?he
! he Storl
$tory 19,;ASSut-,$ed 1;.;iilil ,ffif
i$.;aheut-,$ed,1,;*ii';i , .i
Fowler a bounty hunter in search cf clues to his past that is spattered in the b{ood of his murders.d , ,,,'i':i gB-
tE
'

parents. ii eriur6 pi"niv oiilitil in?-iurn ulo;s1h; Gt irialtorv ti"e t[JC*tt [Lep ;; iil
[cge ;i'vouireclineiiiiit'te
bdse wav t,i
cf vour reclinei all fhe *av it nuiret
to tt bullet riddtdd 'so
riddted end. 5o xif vou tlink
think vour readv t*,iUike
viur-reaey on,c*rne of -WV
i*,[;r,e on,sbrne or ^ffi ..
the quickest hands in the west, then pul{ on your best boots and your fav*rite'hat and'get r*ady to ride.rdmF "W ,-,
There are so many great things about thrs game that I don't know where to start. The ffi ma;or
iiiieil't=l.'J"";;;;il?!:T:ii#:9il?,il;'ffiiiY..i.ty^'}"i,-iir;;i;-;;;i'.'"[;;.u;h";'''.,"'w
to tife IJY
LU tilE gtvilrErrL)
by )EYgr Clt elements in
several Lilr) title.
grrvilulrilrErrL)
ilt this LrL(9. The --
-- are uEaulrrui
,rrs environments ors ranging from
beautifut rarrSrrrS rrur rr .ffi
.ffig7 TL--^....,,,,, iL-
canvons fitted with bandits and lndian
ooen canyons
open dustv tcwn
lnd'ian bushwhackers to dusty busy riitd'citizens
town busv ffiGry , lnelq wlt #e ;.
riitti citizens *ffiFF-.-'l*.19-yltl.ff
ahd cultaw5
ano aiike. The
auttaws attKe. I ne most nOilceaDte
noticeable ana and memorailre elementis
memorabte eremen{ the tlmete55
}s rne music
timel*s mu5rc ..ffi_,;i:;.::..:
"ry Tili:es,wnen v?Y.
:::,.1,r_iJ,.-r....:: ,

straight out of a spaghetti western. Rockstar coutdn't have been more on point vrltl nno yoursetl 1n
"ffi
withihisaspectoidivetopmenr, treallviiiriiiiipr*vi"iiilitintothe wrirldof Red$,q*;,.,,Jff.?F :,sla'r:.r']:i:fi:€fii*"'.'..
il;;";; HiJ;;;;r.-;;;;i;iil'ifi;',il;;dvb lelr,nioi,e tnat r'i iust sick. He can srow lir"
- ftS vou and a major char-
xi1y:fffil;tr$rs*$l::i:iii*?y:nil,';1yf,'j'il'l,tlill*Jxlu,tig::l'is*ffi i;[rli{qffiHtral.is;
*iin."llpio;;;.i;;t"h?i;i;;iili'I.ir",i'l,ofrejlnr'anav-*rre"iou'i'ejmnuiiri4ffi.*'!?'^T]fl1]-"-'
il*i;:,1,""
ru:,ri:t*-tffi
;il[rdril iioliJ
sll,l$,r'lnixh-'"'"
lttT;^T3:1lf: easy to master and
iu

makes for an even

more enjoyabte exp*ri-
enee. All that fun in lhe
story mcde of the game and
four times nrore in the multi-
player v*rgicn of the game. Up
to four players can face off in
an all aut butlet dance to
see who's the best. lts jam
packed with plenty of weapons,
' levels and players to keep any
player satisfied. fach character
has their own unique special abitity
that adds tc the fun.
I've said alt I can about the game
without spcil.ing jt for you. lf you're
into western games {not that there have
been many worth remembering in quite
a whil.e) this is definitel.y one ts check
out. lt's the best cowboy game since
Gunsmoke and is guaranteed hours of
fun. I hope this one isn't slept on.
I wonder if Rockstar witt tie this one
in with the rest of the Rockstar tilles
son:ehow { ie GTA,3 & 6TA vice city).
Anyways, check this game out, I'm
sure you wont be disappointed.
ffirffi
The year was'1981, and the streets of Ft. Lauderdale were like any
streets in a predominantty btack lower-middle ctass area. Crack cocaine
was introduced, gangs and crews fought for territory, and this new "hip-
hop" phenomenon filted the air. Yep, Royal Patm was [ike any other
'hood. But you know the saying; there's always that "diamond in the
rough," that "chosen one" who had enough tatent to make it out, offer
hope, and represent the block. ln this case, it was two friends
who found their outlet through music, moving the crowd
with two turntables and a mic. This is the story of
underground legends who carved their signature in
Ftorida's music cutture: Jam Pony Express.
"We were just having fun," DJ Stic Vic remi-
nisces, grinning from ear to ear. "M.B. had
equipment, and I had equipment. We battted
each other, and the next day we was bor-
ring records." But borrowing those records
led to rocking backyard parties. After find-
ing the right chemistry, Victor Austin and
Marc Brown started DJing together. Peopte
around the way started to catl them the Pony
Express DJs because they woutd putl up to a
party driving the Pony Express delivery truck.
"Marc's pops use to work for Pony Express, a
mail carrier company way before UPS. I didn't
tike being catted Pony Express but it just stayed
with us," Slic Vic remembers. Shortly after, Pony
Express became Jam Pony Express. Victor Austin turned
into DJ Stic Vic and Marc became Mr. M.B.
After a few backyard parties DJ Stic Vic and M.B. decided to battte the
popular CM Express DJs, which stood for the Cash Money DJs. "We didn't
win, but we got exposure and folks started to recognize us," DJ Stic Vic
explains. They had made a name for themsetves, and peopte began to
notice their unique DJing technique. "We were the first to regutate a
record," says DJ Slic Vic. "Regutating" a record was unheard of during
that time. When you "regulate" a record, you cut the record down to
change the lyrics of the song; then you say something and have the
record answer you back. lt was this call-and-response technique that
had the crowd going crazy (and can stit[ be heard a[[ throughout hip-hop
today). After the battle, the parties came by the dozens. Everybody
wanted the Jam Pony DJs to rock their parties. People looked forward to
the weekends because Jam Pony woutd set up outside at Sunland Park,
Oswel Park or 6th Street (better known as the Ugty Corner) and ptay the
sounds of MC ADE, Beat Master Ctay D, Afro-Rican, and Jiggalo Tony. "lt
was a[[ hip-hop to us back then: bass music, break beats, and funk," S[ic
Vic remembers.
By this time, Jam Pony had added members tike Spider D, Diamond Dick,
Big Ace (R.l.P.), Zeke "the Panty Raider" Freak, Sporty J, Amazing Hot
Rod, and Sporty Shawty. lt wasn't until member and party rocker Loc
Coo[ Jock joined that Jam Pony Express took their tapes to the flea mar-
kets. Nasty Jeff and Loc approached a man who owned a car and
rim shop, who agreed to se[[ the tapes as long as they'd plug
the shop. The tapes sotd out of the store on the first day. From
there, Jam Pony began taking tapes to different flea markets,
or "flirt markets," as they tiked to catl them. Jam Pony tapes
began flying off the shetves at 79th Street, Opa-Locka, 183rd
5t, and USA One. "They coutdn't keep a Jam Pony tape in
there," DJ Stic Vic laughs, referring to the Oaktand Park flea
market in Ft. Lauderdate that sotd the first Jam Pony tape.
Peopte simpty had to have their Jam Pony tapes. They were
addictive, and people became fiends. Sales became so ri-
diculous that Stic Vic's father buitt a door directly to his son's
bedroom. "Every time the phone rang, it was for me," says
Stic Vic. "Every time they answered the door, it was for me.
My mom totd me that as soon as I was old enough, I'd have to
leave!" At 18, he moved to the Parkway section of Ft. Lauder-
dale. He produced ten tapes a day: specialty tapes, custom-
made tapes, and regutar mixes, setling them for S10 to 525
each. He made a kitting in the earty 80's. "l was making about
5500 a week just in Ft. Lauderdate, and 51000 every other
week in Miami!" The tapes quickty spread throughout Ftorida,
Atabama, and 6eorgia, and even as far as Germany thanks to
friends in the mititary.
But what made these tapes so hot? Why did everybody need a Jam Pony
tape? lt was NEW! They'd created a new style of DJing by regutating the
records so precisely, with style and finesse. Jam Pony made DJs become
entertainers, and the crowd wanted to be entertained. For example:
Children's Story by Slick Rick
Regulated by Slic Vic of Jam Pony Express DJs
Jam Pony bustin out (not long ago)
You aint up on the style then you must be (slow)
The laws were stern
Lauderdale where I (stood)
AII on the mic and
I'm ridin it (good)
There lived o little boy (Don't get mis-led)
Jom Pony in effect
This is what we (said)
llte and you (Vic) we gonna make some
cash
Go to town with Jam Pony you betta (make
that dash)
Jam Pony Express "had more flavors then Life-
savers," Zeke Freak comments. DJ S[ic Vic was
the voice of the crew, atways heard but never
seen. Loc Cool Jock was the ctown, always mak-
ing the crowd laugh, and bodyguard Big Ace (R.l.P)
was the hype man. Jam Pony became so entertaining
that promoters woutd book them as an act. "Promoters
woutdn't know what to do with us. We had so much control of
the crowd that peopte wanted to see us perform, but we weren't rap-
pers!" ln the midst of this misconception, Jam Pony Express DJs dropped
their first album, Ihe Legend Continues, in 'l 996. With the revenues from
album sales, Jam Pony linked up with Ski-Bo's Bass Styte DJs in Tampa and
formed 2-4-1 Records. The labet reteased Rated R's atbum Ghetto Psychic
last year through Universa[, and is currentty creating a buzz with the Eve-
nin' Ridahz. "lt's two DJs for the price of one: Jam Pony Express and Bass
Styte DJs," ptugs DJ Slic Vic.
You might have even heard of Jam Pony Express and didn't know it. Just
listen to the hooks of some popular Southern songs, and there's a chance
Jam Pony came up with it first. "To the window, to the watl!" Check out
the vinyl [abe[ above, copyright 1995, tong before Lit' Jon and the Ying
Yang Twins had everybody screaming "Skeet, skeet, skeet, gotdamn!" Or
what about, "Hotd up, wait a minute, let me put some bass up in it."
Jam Pony! "Fee[ the funk at[ in ya trunk." Jam Pony! At[ those "Ooooo-
kkkkk's!" and super-crunk "Yeaaaaah!"s on record? Jam Pony! They're so
influential and underrated when it comes to Southern hip-hop, it's ridicu-
[ous. They've been Ftorida's best-kept secret for nearly two decades!
- Felisha Foxx, felishafoxx@yahoo.com
(lmages provided by DJ 51ic Vic, Felisha Foxx and DJ Quest)
OZONE MAGAZINE JULY 2OO4