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PUBLISHERS:
Julia Beverly (JB)
Chino

EDITOR-IN-CHIEF:
Julia Beverly (JB)

ASSISTANT EDITOR:
Noel Malcolm

MUSIC EDITORS:
ADG & CL Mecca

CONTRIBUTORS:
AJ Woodson, Big Earl, Bogan,
Brian O’Hare, Charlie Braxton,
Chris Imani, Cynthia Coutard,
Dain Burroughs, Darnella
Dunham, Dave Goodson, Felita
Knight, Hasan Brown, Iisha
Hillmon, Jeska Manrique, Jesse
Jazz, Jessica Koslow, J Lash,
Katerina Perez, Keith Kennedy,
K.G. Mosley, Malik “Copafeel”
Abdul, Mercedes, Mikhale Rich-
ards, Natalia Gomez, Raandu
Avion, Rayfield Warren, Rohit
Loomba, Swift, Wally Sparks

SALES CONSULTANT:
Che’ Johnson

LEGAL AFFAIRS:
Kyle P. King, P.A.

ACCOUNTING:
Nikki Kancey

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

STREET REPS / DISTRIBUTORS:

Quest, H Vidal, B-Lord, Kami-
kaze, Arty Gray, Jason Brown,
Controller, Lex, Mad Linx, Music
& More, N’Ron, Red Dawn,
Dereck Washington, Pimp G, Dr.
Doom, Big Teach, TJ’s DJ’s

To subscribe, send a check or

money order for $11 to:

Main office:
1516 E. Colonial Dr. Suite 205
Orlando, FL 32803
Phone: 407-447-6063
Fax: 407-447-6064
Web: www.ozonemag.com

Miami office:
555 NE 15th St. Suite 7731
Miami, FL 33132

Atlanta office:
131 Walker St. Suite B
Atlanta, GA 30313
Cover credits: Question photo by
Cheda; Lil’ Jon photo by Julia Beverly.
OZONE Magazine is published eleven
times annually by OZONE Magazine,
Inc. OZONE does not take responsi-
bility for unsolicited materials, mis-
information, typographical errors,
or misprints. The views contained
herein do not necessarily reflect
those of the publisher or its advertis-
ers. Ads appearing in this magazine
are not an endorsement or validation
by OZONE Magazine for products
or services offered. All photos and
illustrations are copyrighted by their
respective artists. All other content
is copyright 2003 OZONE Magazine,
all rights reserved. No portion of this
magazine may be reproduced in any
way without the written consent of
the publisher. Printed in the USA.

OZONE MAGAZINE MARCH 2004 9

 I’m from Minnesota and I bumped into OZONE
Mag online, even though we don’t have the
mag up here. OZONE is the hottest shit, I
check this site out every month. Keep doin’
ya thing and let XXL and The Source fight like
hoes for nothing. As long as you rep the music you’ll always be
ahead of publicist beef. Too many dumb ass rappers are still broke think-
ing that beef sells. All beef does is sell more guns at the local gun store
to shoot our favorite rappers. Now print that! Oh yeah, get this mag up
to Minnesota, shit, we got black folks here too! 160,000 strong! – DC,
Rocksolid Productionz, david.conover@spps.org
I totally disagree with your article on Lil’ Kim. Female rappers need to
change up to still be in this industry. Whether or not she altered her
appearance is her business. If I had money, I would probably alter some
shit too. Most stars have had some type of surgery, and she still looks
good no matter what they say. She is the Queen of rap, and will always
be. And if she looked a shitty mess, how come she has graced the covers
of hundreds of magazines? People are so quick to talk about her surgery,
but she put female rappers on the map and into the mainstream. She’s a
pioneer and a trendsetter. So fuck the haters! Lil’ Kim isn’t a worldwide
icon for nothing. - Liladge
I agree with Noel’s article on Lil’ Kim, “From a Dime
to a Nickel,” but she really did need the nose job
and her tits done! Damn, come on, she’s got the
money – unlike most female rappers! Look at Salt
& Pepa or Roxanne, all them old chicks don’t have
the money or the time to even come back with
an album. Kim’s doing a lot of shit they wish they
could do right now! The only chick that’s on top of
her game and money besides Kim is Queen Latifah.
Even if she get a nose job, an ass job, whatever,
hey, I’m still her fan. - Four Five
I liked the “sex issue.” Some of that shit had me
laughing my ass off. As always, I also liked JB’s 2
Cents – the part about being broke building char-
acter. Always nice to be reminded that somewhere,
someone out there feels the way I do. I also agree
with the thing about many publicists trying to push
those no-name artists on us. – David Himes, Con-
nections Magazine, connectionsmag@bellsouth
.net
Your article, “The Future of Slip-N-Slide,” is the
best article so far on the whole Slip-N-Slide situ-
ation. Props to OZONE Magazine for puttin’ another tight one together
for the South. I pray to God that Ted Lucas gets his label together, be-
cause at the end of the day he can only help the 305 movement and
the Miami hip-hop community a little bit more. Also, Ted’s asking C.O.,
Money Mark, and Rick Ross for hits? I suggest he tune into 99 Jamz and
listen closely, because Rick Ross has a radio banger, “Rap Star,” which is
produced by Cool & Dre and features them singing on the hook as well.
It’s definitely a great record, and it has the potential to be a huge suc-
cess if only somebody gets behind it and puts the proper push as far as
marketing and promotions. A dope video, some regional airplay (ATL,
Orlando, Tampa, Jacksonville, Pensacola, Tallahasee, Alabama, New
Orleans, etc.), and some vinyl pressed up for DJ’s to play at clubs and
on the air. Come on, Ted knows what he has to do. It’s just whether he
wants to or not. Hopefully he will. Props on the article, though. Person-
ally, I’m extremely grateful for OZONE Magazine and all the work y’all
have put in for the South and hip-hop in general. Respect due. – UB,
ub@thccrew.com
I used to do promotions for 102 Jamz a few years ago. I was just back
in Orlando and saw one of your new issues and it was nice to see you
are still going strong. Your magazine is still hot, and I guess I’m just
writing to give my support! I know it’s hard with this grimy industry
and the haters, but keep it up. I want to see you around in the future!
It’s amazing how you manage to cover other regions but still stay faith-
ful to Orlando. I love how I can find out what’s poppin’ here but also
what’s poppin’ in Miami or ATL. I know it must be hard trying to stay
down with Orlando but also trying to spread your wings, but I bet you
10 OZONE MAGAZINE MARCH 2004
can make it happen! – Dominique Jackson,
leighjoujou@hotmail.com
I just saw Anthony B perform in Los Ange-
les. He was very inspirational, so I searched
Google for more info and came across your
cover story. Very cool, positive vibes. – Triniti, trinigirll@hotmail.com
I agree fully with Noel’s article on Lil’ Kim. I share the same feelings,
and I’m really sad that Kim fucked up her life the way she has. I’ll keep
supporting her and wish her the best in her life and her career, though,
because I’m not anyone to judge her. Everybody’s got their own issues.
– Lboogie
I must agree with the Lil’ Kim “Dime to a Nickel” article completely.
Every time I look at pictures of Kim in her “Hardcore” days, I want to
cry because she was such a cute and pretty girl, with small tits, rabbit
teeth, wide nose and all. God made her that way for a reason, and she
didn’t appreciate it and fell into the Michael and LaToya Jackson trap:
Money can buy me beauty. And now, seeing pictures of her from the
Grammy’s, I just cringe because she looks nothing like the rough-and-
tumble Brooklyn queen I once knew. Instead, an insecure plastic Barbie
doll has emerged and completely took over who and what Kim was.
I can’t relate to her anymore because she doesn’t
represent Brooklyn girls or the streets anymore.
I seriously hope that if Kim has at least one real
friend left instead of just “yes men” and “yes
women,” they can pull her aside, put a mirror in
front of her face, and break it down to her that
she doesn’t have to do this to achieve the white
man’s standard of beauty. She is a beautiful African
Nubian queen, and should respect herself as such.
The white women she wants to resemble are the
ones that are envious of her and her beauty. I really
hope that she wakes up soon. She puts out great
music and videos and is always exciting to watch,
but my question is, is Kim really, truly happy? Did
all that money she made for herself truly bring her
happiness, or destruction? - Peaches
I was just checking out the new OZONE like always,
and I noticed you put our picture in the maga-
zine! I just wanted to take the time to thank you
for the support. I also read your 2 Cents. I deal
with a lot of MCs and DJs wanting to hate, but
someone told me once, “If they ain’t hatin’ ya,
you ain’t doin’ it!” Keep doin’ ya thing. I see y’all
workin’ hard, and it shows. Much love and respect. – Butch, Tyger Hill,
tygerhill@hotmail.com
I read your article on Lil’ Kim, “From a Dime to a Nickel.” I agree with
some of it, but not all. Kim is and was a beautiful person. Even back
then, she was fucking cute. She had the look and the body, but no tits.
Sex rap was her profession. That’s her 9-5, so mama needed to come
to work prepared. You need the proper tools to do the job, so she went
and got a boob job. I understand that. But fucking with her nose was
uncalled for. And what made it worse was the horrible clothes, the
blonde/clown wigs, and makeup selection. It made her look awkward.
She needs to stop now and live with what she has, or she really will look
like Michael Jackson. It’s a shame that Kim doesn’t know how beautiful
she really is. To me, when Kim messed with her nose, she messed with
perfection. However, I do understand the insecure feeling. Although I
think Kim went a little too far, I understand where she is coming from.
When you have money, you just find things to do with it. And I think for
most people, who have a little hint of insecurity or low self-esteem, if
you were given a lot of money you’d change at least one thing. We can’t
judge someone for doing something if it makes them feel better about
themselves. I just pray that all the surgery is making Kim feel good,
and not insecure and empty like she probably felt before the surgery.
- Devin
Correction: Last month’s Patiently Waiting to Blow section featured
Piccalo, who are signed to Trunk Funk Records (incorrectly listed as
Towners 4 Life).
 This issue is coming to you cour-
tesy of BME Records, who gave me
> Dave Chappelle
a case of Crunk Juice last time I was in > Crunk Juice
Atlanta. I would be passed out on the key- If Trick Daddy is worried about a product’s
board otherwise. Who else do you know that ingredients, you probably should be too
can produce an entire magazine in one sitting?
I was flipping through a rack of t-shirts on Broad-
> Pitbull vs. Mr. Vegas
I hate it when I overhear conversations
way and came across one that said “Fucking Genius.”
It’s so me. Coming soon: JB’s Guide to Fashion. Ballin’ that are “off the record”
on a budget, you know? And I’m still cute, TJ. > Janet & Jermaine
Beauty & the Beast
If this is your first time reading OZONE, let me warn you that if you’re looking for a magazine
with editorials relevant to hip-hop, this is not the magazine for you. My editorials are sort of
> Music industry layoffs
just random thoughts. Actually, I can’t come up with a good theme. I’m stuck. Lil’ Jon’s pub- R.I.P. Elektra, Arista, Geffen
licist suggested that I write about my travel exploits. He knows that I have this tendency to > Ma$e making a comeback?
change travel plans on a whim and fly to random cities without figuring out where I’m gonna Say it ain’t so
go after that. And flying one way is a pain in the ass ‘cause I always have to go through the Su-
per Super Security line where they practically strip search you. Joe, it was a great suggestion,
> Usher vs. Chilli
but it would destroy my mystique. Haven’t you ever read the “48 Laws of Power”? People are Celeb exes battle it out on Atlanta radio
always asking how I manage to be in fourteen places at once. It’s called time management, > Super Friends DJ clique
but you have a lot more power when you make it look easy. Besides, I know there’s a few hat-
ers out there reading my editorials faithfully and plotting my demise. Call me crazy, but I have
> Cryme Mobb
a war mentality and the worst thing you can do is give your enemy too much information. > Blood Raw
> Trina vs. Atlantic Records
I hope y’all enjoyed the sex edition, because my mother didn’t. She must have read it online, Label execs not amused by “Big Ole Dick”
because I started getting bizarre email sermons implying that I’m some sort of cheap sex
fiend who’s promoting pornography. Hey, I only wish my life was that exciting (that’s called
“sarcasm,” mother). But it’s always more fun to keep people guessing, isn’t it? Anyway, I just
observe and let other people voice their opinions. The “sex edition” wasn’t intended to pro-
mote cheap sex any more than the upcoming “hustler’s edition” is intended to promote drug
dealing. In a few months, I’m also going undercover to bring you an exclusive inside look at
a real life game of pimps & hoes. Why? ‘Cause I can’t understand why any woman would put
herself in that position. I just like to figure people out, get to their “true essence.”

It’s so funny how people think this music game is for real. They’re always like, “Wow! You’re
so much nicer than you are in your articles.” It’s just a magazine. It’s artistic expression, it’s
venting. It’s not reality. Lil’ Jon doesn’t just bounce around all day flashing his grill, watch-
ing strippers and screaming “I don’t give a fuck!” He’s usually more tired than crunk. David
Banner isn’t drenched in Hennessy 24/7. The Ying Yang Twins don’t just run around erratically
screaming “HANH?” all the time, they also - oh wait. Uh, that’s a bad example. Anyway, the
point is, Trick Daddy might be a thug, but he still buys ice cream for all the kiddies when the
ice cream man comes around. Rappers are just people, not superheroes. Most of them don’t
deserve to be placed on pedestals. Neither do I. So stop kissing my ass, it’s irritating.

I almost died last week. Headed to Tampa in heavy rain, I had to slam on the brakes coming
around a curve on the freeway and the brakes locked. So my truck goes spinning backwards in
circles into oncoming traffic. My life flashes before my eyes and all I can think is “pump the
brakes, pump the brakes” and I land safely on the right shoulder of the road. Lately I’ve also
developed this habit of waking up in my truck in really odd locations without any recollection
of how I got there. For example, when I drove from Miami to Jacksonville to Atlanta overnight
after two days without sleep for the Ying Yang Twins’ video shoot (see how much I love y’all?),
I woke up at a random Chevron. Then there was the marathon Tampa > Gainesville > Orlando >
Miami > Belle Glade > Orlando trip. And the Orlando > Jacksonville > Tampa > Tallahassee trip.
I don’t remember either one of those very clearly. But, there’s still room for improvement.
I haven’t been hospitalized yet like certain people, so I must not be working hard enough. I
need to step my game up.

There won’t be any publicist bashing in this issue. I said my piece last month. I promised
Wendy I would be nice, so... I love publicists! Publicists are my friends.

But what’s up with all these artists refusing to do interviews unless they get the cover? Kanye
West, Cassidy, etc? Negro please. Are white people allowed to say that? Speaking of “Negro
Please,” OZONE got quoted in XXL this month. We’re an official magazine now. That makes
me very, very dangerous.

I’m a problem. - Julia Beverly, jb@ozonemag.com

Guilty pleasures: Cassidy f/ R Kelly “Hotel”
& G-Unit f/ Joe “Wanna Get to Know You”
Pitbull “Freek-A-Leek” freestyle Outkast “Roses”
Blood Raw f/ Pastor Troy & Grandaddy Souf “Block Burn” Eamon “Fuck It”
Lil’ Rock Dogs f/ Coco & Moses “Thug Life After All” Usher “Let it Burn”
Question f/ David Banner, Mad Preacher “Streets All Mine” Lil’ Flip “Game Over”
R Kelly f/ Wyclef “Ghetto Religion” Pitbull “Hustler’s Withdrawal”
Kanye West f/ Syleena Johnson “All Falls Down” Alicia Keys “Your Secrets”
This month’s bullshitter award goes to aspiring
rapper Platinum Boy FCJ (AOL: DreamerVisionRds).
His “HOT” single features Lil’ Jon - well, actually,
it features Lil’ Jon vocals jacked straight from
“Yeah.” As if that wasn’t bad enough, he promotes
the track online by IMing random DJs, claiming that
he is a DJ from Orlando’s WJHM with a “hot exclu-
sive.” When all else fails, he begs, “Platinum Boy,
he’s a kid. He’s homeless. Now what if this kid kills
himself [because you won’t play his record]?” LOL.

OZONE MAGAZINE MARCH 2004 11

Man, you 21 now, and I still can’t believe it
Been living on your own, just hard to conceive it
That you on the right track, out pursuing that knowledge
But a few years back I couldn’t see you in college
You was all out perpin’, brought a gun in the house
My first thought was to take it, give you one to the mouth
But never that, we’ve been through way too much
I always try to give advice but not say too much
Try to lead by example, getting high
I had some nerve telling you stay out the street while I was slangin’
But I always preferred you do what’s smarter than me
You didn’t have to prove nothing being harder than me
You helped mom at the cleaners
Stayed away from misdemeanors
I was proud of you then, please believe I still am
Don’t let the world get you down, throw you off your program
Life is hard, even harder for the young black man
If it gets rough, roll a blunt and puff some old slow jams
I know every man with a badge is probably a punk
But don’t ever risk your freedom just to throw one punch
Let a coward be a coward, he has to deal with his past
I know these pigs deserve it, but give ‘em a pass
I know you wanna keep it gangsta, just do it with class
Above all remember this, no matter how big you get I’m still your big
brother and I can whup your ass
- Murs, “Brotherly Love” (DJ Southpaw “Bottoms Up Vol. 1”)
I don’t believe y’all some killers, I need some proof
Y’all just some Baby Boys like Tyrese and Snoop
Studio killers, I’ll swiss cheese you in the booth
Have Al Sharpton in there, like, “We need the truth”
Stop fuckin’ with me – that’s what y’all need to do
Call your mama house, I need to speak with my boo
I need to choose, my girl or alcohol
Man, that pussy wasn’t all that after all
Alcohol, sex, and violence stay on my mind
You a swordfish, I’m a walking Playboy mind
Like y’all rappers in the club, I’m thuggin’ out another section
While y’all are still in the no-fucking section
These women love me ‘cause I’m far from fake
Make ‘em bust two or three and do the Harlem shake
- Beezel, “The Keyword is Durty”
I stay packin’ like Green Bay, or a nigga travellin’
And all that yappin’ get caskets filled like Easter baskets
I do ball, move weight like U-Hauls
In the trap servin’ white circles like Q-balls
I’m a grown man, posted up like Yao Min
Now that I’m ballin’ niggas trying to get on my team
I love bread with a bunch of red chicks
And I like long money so you can call me breadstick
So don’t fuck with me, my cannon is loose
I’ll pop a nigga and show up at his funeral like Bishop in Juice
I’m comin’ down with cell phones big as Nino Brown’s
But I ain’t taking over the Carter, I want your town
I went from serving nicks and dimes to movin’ big tons
I got more bricks in the basement than ten Big Puns
I rep Duval til a nigga blow my brains out
Til then, bitch, I’mma let my nuts hang out
- Joey Cash of the 904 Click, jcash904@aol.com
He went from a kid doin’ regular street things
Straight to a street king
Takin’ over the city block by block
Breakin’ down bricks servin’ em rock by rock
He’s everything a young gun wanna grow up to be
But if only those young gunz could see
That murder, money, and lust is slowly murdering us
‘Cause the drug game ain’t what it used to be
So look deeper when they paint you a picture and try to sell you a dream
‘Cause a lot of these drug lords turn to the Feds or turn into fiends
The crack game ain’t everything its cracked up to be
Now that same cat that was a neighborhood celebrity
Is coppin’ rocks off the new kids on the block
At the same time tryna school ‘em
But these hoodlum’s heads is harder than the rocks he’s doing
Hustlin’s like a drug, it got withdrawal symptoms
And if you know this you won’t skip pain
But you will gain wisdom, and wisdom gains power
Don’t let your life go sour over powder
Not only did my father used to deal dope
He used to do the dope he used to deal
I’m just keepin’ it real
Now my father doesn’t have shit, I don’t have shit
We don’t have shit ‘cause he didn’t stack shit
With all the money he made, he didn’t think for one second to put money away
That’s ‘cause his mind was tattered with white thoughts
He’s lucky he didn’t end up outlined in white chalk
The only thing I gained from my father is knowledge of the street game
And I hope that y’all follow this
I can’t say that I haven’t sold weed or cocaine, but I can say this:
Money that comes quick leaves quick, and y’all better believe this
‘Cause this I’ve lived and witnessed
Catch a couple of charges, now you’re on the law’s shit list
Now you’re forced to do business until this business does you, of course
“Cause you can die from doing dope or dealing dope, either or
You choose the road that you follow
And you choose the people that you look up to as role models
I know a lotta hustlers, but I won’t mention no names
‘Cause they’ve still got cases pending
Some are even appealing life in the cage
At least they made it past the first stage, they passed a certain age
Hustlin’s like AIDS, at first you’re infected with HIV and then it’s full-blown
Only difference is, instead of havin’ no immune system
You become immune to the system of having dough by dealin’ blow
It’s a fast life, and even if you survive your mind will die slow
Dirty money attracts dirty things
And if you’re ready to deal dope
I hope you’re ready for the murder game, ‘cause that’s what it brings
I’m not a preacher, I’m not tryna preach, no
I’m not a teacher, I’m not tryna teach
But yet like a faucet I’m tryna leak info to these youngin’s and their kinfolk
And let ‘em know there’s more to life than a key of coke
If you used to push weight than you can relate
‘Cause you already had a taste of hustler’s withdrawal
- Pitbull, “Hustler’s Withdrawal” (“Pitbull Unleashed Vol. 3” mixtape)
Email your 16 bars to
JB@OZONEMAG.COM for consideration.
01 - Christina Milian and Lil’ Jon @ Hit Factory (Miami, FL) 02 - Mad Linx and Element @ Wild Splash (Tampa, FL) 03 - Piccalo reppin’
OZONE @ Calle Ocho (Miami, FL) 04 - Cubo, Pitbull, and Lil’ Jon @ “Culo” video shoot (Miami, FL) 05 - Disco Rick and the ladies
(Miami, FL) 06 - Bow Wow reppin’ OZONE @ celebrity car show (Atlanta, GA) 07 - Pitbull invites some video models to his trailer for
a Hennessy break (Miami, FL) 08 - Cool putting in overtime @ Hit Factory (Miami, FL) 09 - Tom G shooting the video for “City Boy”
(Clearwater, FL) 10 - Orlando gets his groove on @ Wild Splash (Clearwater, FL) 11 - Black Profit, Mad Preacher, David Banner, Ques-
tion, and Scar @ IMG Studios (Orlando, FL) 12 - Kelis and DJ Silver Knight @ Shadows (Atlanta, GA) 13 - DJ Dynamite, Young Beezy,
Petey Pablo, Kid $ KG, and JD Hawg reppin’ OZONE @ Fuel (Tampa, FL) 14 - Freeway reppin’ OZONE (Philadephia, PA) 15 - MTV
chats with Kanye West and the Young Gunz @ Electric Factory (Philadelphia, PA) 16 - B.P. and Sweetz reppin’ OZONE (Philadelphia,
PA) 17 - Space and Ideal hustlin’ @ “Culo” video shoot (Miami, FL) 18 - Iisha and Pastor Troy reppin’ OZONE @ NASCAR celeb car
show (Atlanta, GA) 19 - Lil’ Jon gets crunk (Miami, FL) 20 - Choppa and Ozzie Oz reppin’ OZONE @ The Moon (Tallahassee, FL)

#1,2,3,4,7,8,9,10,11,17,19,20 Julia Beverly; #14,15,16 Felita Knight; #6,18 Iisha Hillmon

#5 Disco Rick; #12 DJ Silver Knight; #13 KG Mosley 13
 01 - David Banner admiring himself @ Spring Jam (Philadelphia, PA) 02 - Pitbull with director Coodie and the video crew on the
set of “Culo” (Miami, FL) 03 - Lil Jon signs an autograph for a young fan @ Calle Ocho (Miami, FL) 04 - Singers Takia and Khaliyah
checkin’ out OZONE @ the Co-Op (Philadelphia, PA) 05 - Big Teach reppin’ for Pitbull @ Calle Ocho (Miami, FL) 06 - Petey Pablo rep-
pin’ OZONE @ Club Fuel (Tampa, FL) 07 - Buju Banton performing @ Wild Splash (Clearwater, FL) 08 - Pitbull advertising for Crunk
energy drink (MIami, FL) 09 - Jermaine Dupri reppin’ OZONE @ celebrity car show (Atlanta, GA) 10 - Pitbull and Lil’ Jon in the limo
(MIami, FL) 11 - DJ Quest’s birthday party (Ft. Myers, FL) 12 - Ab Liva and Ms. Jade reppin’ OZONE @ the Co-Op (Philadelphia, PA)
13 - DJ Jus, Da Brat, and Iisha Hillmon reppin’ OZONE (Atlanta, GA) 14 - Reppin’ OZONE @ Wild Splash (Clearwater, FL) 15 - DJ
Quest’s birthday party (Ft. Myers, FL) 16 - Power 99’s Poochman @ Club Transit (Philadelphia, PA) 17 - Hot 107’s Rashan Ali reppin’
OZONE @ NASCAR celebrity car show (Atlanta, GA) 18 - DJ Dynamite reppin’ OZONE @ Club Fuel (Tampa, FL) 19 - DJ 007 wishing
Quest a happy birthday (Ft. Myers, FL) 20 - Wild 98.7’s Orlando reppin’ for the “O” @ Wild Splash (Clearwater, FL)

#2,5,7,8,10,14,20 Julia Beverly; #1,4,12,16 Felita Knight; #9,13,17 Iisha Hillmon; #11,15,19 DJ Quest; #6,18 KG Mosley
14
01 - Doug E. Fresh, Fat Joe, and Slick Rick @ Nikki Beach (Miami, FL) 02 - Kanye West and Freeway @ Club Bermuda’s (Miami, FL)
03 - Teddy T @ Rain for Jay-Z’s party (Miami, FL) 04 - Bone Thugs N Harmony with DJ Tom LaRock @ Opium Garden (Miami, FL) 05
- Butterfly co-owner Peter Thomas with Slick Salt’s James Jackson and Cognito (Miami, FL) 06 - Jacki-O and Wyclef on the set of
“Take Me As I Am” (Miami, FL) 07 - Michael Madd’s OZONE debut @ Club Bed (Miami, FL) 08 - DJ Khaled reppin’ Bacardi @ Opium
(Miami, FL) 09 - Hasan and Wyclef’s cousin rockin’ Haitian gear on the set of Wyclef’s video shoot (Miami, FL) 10 - Supa Cindy and
JB @ Level (Miami, FL) 11 - Sabai and models @ Akademiks fitting room during WMC (Miami, FL) 12 - Rick Ross and Duece Poppi
@ Krave (Miami, FL) 13 - Field Mob and DTP @ the Rolexx (Miami, FL) 14 - The Game and Daed Jeweler on the set of “Wanna Get
to Know You” 15 - Sean Paul and Max Pierre @ Opium Gardens (Miami, FL) 16 - Lil’ Jon and comedian Larry Dogg @ the AA Arena
(Miami, FL) 17 - Pitbull, Funkmaster Olly, and Teach @ ZNo’s (Miami, FL) 18 - Pitbull and Buggah reppin’ On Point @ Wyclef’s video
shoot 19 - Gorilla Tek reppin’ 305 (Miami, FL) 20 - Young Buck gets a handful of Taneshia on the set of “Wanna Get to Know You”

Photos by J Lash, 954-733-3613 or JLash@tmail.com

15
 01 - Jonny Bravo and Sonny Chulo performing a tribute to Big Wil @ Tabu (Orlando, FL) 02 - Teddy T and Jacki-O @ Bermuda’s
(Miami, FL) 03 - Spliff Star, Busta Rhymes, and Lloyd Banks (Miami, FL) 04 - Trick Daddy runs in for a touchdown (Atlanta, GA) 05
- George Dukes, Andre Rison, Cedric Hollywood, James Jackson, and Lorenzo Ice-T @ Nikki Beach (Miami, FL) 06 - Baby reppin’
OZONE @ Bermuda’s (MIami, FL) 07 - Trick Daddy and Greg Street on the set of “What’s Happenin’” (Atlanta, GA) 08 - Legacy
and Phoetix @ AKA Lounge (Orlando, FL) 09 - DJs reppin’ OZONE @ Sneaker Villa (Philadelphia, PA) 10 - E-Class, Supa Cindy, and
Cognito (Miami, FL) 11 - Erick Sermon performing @ Club OHM (NYC) 12 - Soet performing @ AKA Lounge (Orlando, FL) 13 - Hasan
Brown, Supa Cindy, Sabai Burnett, Max Pierre, and Big Teach @ Akademiks’ Fitting Room (Miami, FL) 14 - T.O.K. performing on The
Roof (Miami, FL) 15 - Don Legend and D-Lite @ AKA Lounge (Orlando, FL) 16 - Knocturnal reppin’ OZONE @ Electric Factory (Phila-
delphia, PA) 17 - Hustlers @ Nikki Beach (Miami, FL) 18 - X-my-Lip of TDP shows how to promote @ AKA Lounge (Orlando, FL) 19
- Lloyd Banks does his best rabbit impression on the G-Unit video set (Miami, FL) 20 - Bacardi party @ Opium Garden (Miami, FL)

#1,4,6,7,8,11,12,15,18 Julia Beverly; #2,3,5,10,13,17,19,20 J Lash; #9,16 Felita Knight; #14 Mighty Samson
16
01 - Fiend and Yung Wun on the set of “Tear it Up” (Atlanta, GA) 02 - Big Wil tribute @ Tabu (Orlando, FL) 03 - Southpaw, Marcus.,
and Sweetz with a “z” (Atlanta, GA) 04 - DJ Demp pimpin’ (Atlanta, GA) 05 - Trick Daddy and the ice cream man (Atlanta, GA)
06 - Oscar, Adept, and Noel @ La Messa Studios (Orlando, FL) 07 - Yung Wun, David Banner, and Lil’ Flip on the set of “Tear it Up”
(Atlanta, GA) 08 - Big Oomp and DJ Jelly (Atlanta, GA) 09 - Big Mel and TJ reppin’ Headgear (Atlanta, GA) 10 - See? OZONE loves
the Ying Yang Twins and their management (Atlanta, GA) 11 - Kaspa the Don, Greg Street, and the Legion of Doom DJs on the set of
“What’s Happenin’” (Atlanta, GA) 12 - 8Ball & MJG @ Daddy’s House studios (NYC) 13 - Trillville and the Superfriends on the set of
“Tear it Up” (Atlanta, GA) 14 - Fat Joe checkin’ out the newest OZONE @ Universal Records (NYC) 15 - Huddycombs and Ump rep-
pin’ OZONE @ Bermuda’s (Miami, FL) 16 - Carlito and Arty @ Daddy’s House studios (NYC) 17 - Greg Street and Bubby Love reppin’
OZONE (Atlanta, GA) 18 - Lil’ Flip and Gil Green (Atlanta, GA) 19 - 8Ball & MJG reppin’ OZONE @ Daddy’s House (NYC) 20 - Trick
Daddy and Rasheeda (Atlanta, GA) 21 - Disco Rick @ Bermuda’s (Miami, FL) 22 - DTP’s I-20 reppin’ OZONE (Philadelphia, PA)

#1,2,3,4,5,7,8,9,10,11,12,13,14,15,16,17,18,19,20,21 Julia Beverly; #6 Rayfield Warren; #22 Felita Knight

17
 01 - Roc-A-Fella VP Kenny Burns with Rell (NYC) 02 - Jagged Edge 03 - Black Child @ the Murder Inc studios
(NYC) 04 - Chris & Neef @ their album release party with Young Steph (NYC) 05 - Chris & Neef @ their al-
bum release party with Memphis Bleek, Freeway, and Rell (NYC) 06 - Wendy Williams gives Lisa Raye some
helpful eyeliner tips (NYC) 07 - Neef eyes a titty while Chris signs autographs (NYC) 08 - Chingy perform-
ing @ Hammerstein Ballroom (NYC) 09 - Aladdin and DJ Clue (NYC) 10 - Raandu Avion and Rell @ Chris &
Neef’s album release party (NYC) 11 - Chris & Neef with The Source’s Boo & Gotti and publicist Gabe (NYC)
12 - DJ Red Alert and Benny Boom (NYC) 13 - LA Reid, Joe Budden, and Kevin Liles @ the Chicken & Beer
concert (NYC) 14 - Memphis Bleek, Rell, & Freeway (NYC) 15 - Lenny Kravitz & Raandu Avion on the set of
“Show Me Your Soul” (NYC) 16 - Ludacris backstage (NYC) 17 - Glenn Lewis signing autographs (NYC) 18 -
Kay Slay and La La (NYC) 19 - David Banner loves his mommy (Jackson, MS) 20 - Rell goes bowling (NYC)

Photos by Raandu Avion, 973-373-1653 or www.imagetv.tv

18
01 - Greg Street and Roy Jones on the set of “What’s Happenin’” (Atlanta, GA) 02 - OZONE readers (Panama City, FL) 03 - Stat Quo,
DJ Demp, and Chaka Zulu (Atlanta, GA) 04 - Kedar Massenburg reppin’ OZONE (NYC) 05 - T.O.K. @ Wildsplash (Clearwater, FL) 06
- T-Roy, Cynnamix, and Q45 reppin’ OZONE @ Avenues Mall (Jacksonville, FL) 07 - Erick Sermon reppin’ OZONE (NYC) 08 - Yung Wun
and Swizz Beatz on the set of “Tear it Up” (Atlanta, GA) 09 - Dr Doom and Ron Love (Jacksonville, FL) 10 - Detre Val and Conrad
Dimanche @ Daddy’s House (NYC) 11 - David Banner and Dylan from Da Band (Atlanta, GA) 12 - Carl Thomas and Mario Winans @
Daddy’s House (NYC) 13 - Ying Yang Twins, Trick Daddy, and Roy Jones on the set of “What’s Happenin’” (Atlanta, GA) 14 - Sean
Prez, Green Lantern, and Loon @ Daddy’s House (NYC) 15 - Lil’ Flip, Greg Street, and Yung Wun on the set of “Tear it Up” (Atlanta,
GA) 16 - Baby shows off his Big Tymers plaque @ Universal Records (NYC) 17 - Ying Yang Twins and friends on the set of “What’s
Happenin’” (Atlanta, GA) 18 - Trick loves the ladies (Atlanta, GA) 19 - Lil’ Flip gets crunk (Atlanta, GA) 20 - TJ, DJ Smurf, and Kane
(Atlanta, GA) 21 - Comedian Dirty South reppin’ OZONE (Atlanta, GA) 22 - CJ and Cameron reppin’ Konsole Kingz (Atlanta, GA)

#1,3,4,6,7,8,9,10,11,12,13,14,15,16,17,18,19,20 Julia Beverly; #2 Rayfield Warren; #5 Mighty Samson; #21 Iisha Hillmon
19
 01 - Loon with Bad Boy’s Harve Pierre and Conrad Dimanche @ Daddy’s House (NYC) 02 - Slim and Baby @ Universal Records with
publicists Wendy Washington and Vickie Charles (NYC) 03 - Reppin’ OZONE @ Choppa’s “Hot Piece” video shoot (Pensacola, FL) 04
- R.L. Williams, Yung Wun, and Gil Green on the set of “Tear it Up” (Atlanta, GA) 05 - Roy Jones on the set of “Hot Piece” (Pen-
sacola, FL) 06 - Tigger reppin’ OZONE on the set of “Hot Piece” (Pensacola, FL) 07 - David Banner, Swizz Beatz, and Lil’ Flip on the
set of “Tear it Up” (Atlanta, GA) 08 - A Fat Cat with Killer Mike (Atlanta, GA) 09 - Sky pimpin’ (Atlanta, GA) 10 - Video director
Phenomenon on the set of Choppa’s “Hot Piece” (Pensacoola, FL) 11 - TVT’s Bryan Leach thinks this is a multi-million dollar photo
(Atlanta, GA) 12 - DMX, Yung Wun, David Banner, and Lil’ Flip on the set of “Tear it Up” (Atlanta, GA) 13 - Tigger and Choppa
between takes on the set of “Hot Piece” (Pensacola, FL) 14 - Erick Sermon @ Unique Auto (NYC) 15 - Denise and Wynter reppin’
OZONE (Pensacola, FL) 16 - Reppin’ OZONE (Pensacola, FL) 17 - Bruce Bruce and D-Roc (Atlanta, GA) 18 - Kaboom reppin’ OZONE
(Philadelphia, PA) 19 - Scotty J’s OZONE debut (Atlanta, GA) 20 - DJ Scorpio (Atlanta, GA) 21 - Marcus gets a whiff (NYC)

#1,2,3,4,5,6,7,8,11,12,14,16,17,18 Julia Beverly; #9,15 Image Records; #10 Swift; #13 KG Mosley; #20 William Majors
20
 Central Florida is betting on a new
star to be born from Orlando. Hom
this rap act seems like less of an e of Mickey Mouse and Smilez & Sout
act than the aforementioned and hstar,
found lyricists to come from Orla more like rap in action. One of the
ndo so far, Adept, represents the most pro-
from his work on various mixtapes La Messa camp. Most likely you’
in the O, or maybe you even hear ll know him
compilation album last summer. d him spitting fire on “Bang” off
Wherever you’ve heard him, you the DOA
aren’t typical for most new rapp shou ld have figured out by now that his
ers. You won’t hear the same regu lyrics
and bitches in abundance like catt rgitated lines about ice trays arou
le. Adept takes the road less trav nd necks
of the pain that’s tormented his eled, he comes at you with stories,
own soul. Adept has been busy real tales
scheduled for summer 2004. Even preparing for his album release,
though it may seem a bit early to tentatively
doesn’t stop the fact that right call anything on his new album a singl
now his catalogue is over fifty song e, that
it’s safe to say that with the help s deep. After hearing some samp
of Orlando’s own multi-platinum les myself,
has a nice beat selection to work production team, Nasty Beatmak
with, taking his music to another ers, Adept
his rhymes that separate him from level. At the end of the day, how
the pack. Somewhat reminiscent ever, it’s
rappers who actually has a mess of Nas and Biggie, Adept is one of
age to deliver. His rhymes stay rawe the few
own emotions, you would think he’s r than fish markets. Never holding
throwing chairs in the booth. Adep back his
picks in a long time. Next time you t is one of Orlando’s most promising
plan your Disney vacation, make draft
La Messa studios. – Noel Malcolm, sure you ask your travel agent for
noel@ozonemag.com (Photo: Rayfi a tour of
eld Warren)

a ghetto boy and ghetto girl.” Out of these

“I was born in this ghetto world – a product of a ghetto fuck between
– was born in Atlanta, GA. He spent his ado-
seemingly dismal circumstances, James – later crowned “Yung Wun”
Vietnam.” Early on, Yung Wun’s poetic gifts
lescent years training for battle in housing projects known as “little
ruthless environm ent. He became immerse d in the streets and landed in the juvenile
were overshadowed by his
found relief through lyrical expression and began rhyming as a form
justice system. Throughout this time, he
awards. His grandmother, Vera, continually pleaded
of escape, winning several oratorical contests and writing
get off the streets and concentr ate on his God-give n talents. In the single most pivotal moment of
with him to
ther died in his arms. Overwhe lmed by her death, he was determined to focus on
his life, Yung Wun’s grandmo by 2Pac, Biggie, and DMX, he
his life to his art form. Inspired
the good his grandmother saw in him and devoted music executives. Many
g the attentio n of several
began showcasing his talent all over metro Atlanta, attractin
that promised to help him achieve his dream only lured him in to exploit him. Despite his disap-
of the people
there would be “consequences and repercus-
pointments, Yung Wun pressed on with a vengeance, vowing that
took an upward turn in 1998 when he signed with Atlanta-based
sions” if anyone tried to stop him. His career
platinum-selling super producer, Swizz Beatz.
production company Dark Society, who presented his project to
Since then, Yung Wun has been featured on
Swizz offered them a production deal with Full Surface/J Records.
rapping alongsid e the likes of Drag-On , Snoop Dogg, Jadakiss, and Scarface. His
several platinum rap albums,
Flip, and David Banner, is creating a heavy buzz. (Photo: JB)
current single, “Tear It Up,” with DMX, Lil’

Triple J has a gift for making bad shit sound real good. From Riviera
Beach, Florida, otherwise known as “The
Raw,” Triple J dropped out of school with a vision to come up. “I
paint a picture with words. It’s real – you feel
it or you don’t,” he explains. Dedicated to the hip-hop game, he
left school to pursue his passion for rhyming,
incorporating nothing but life experience. Hustlin’ his way though
several local projects, including the most re-
cent “Gladiator,” he independently moved over 12,000 units. In 1996,
Triple J lined with producer Tone Capone
of Da Luniz fame, fusing Oakland pimp style into the track “Nationa
l Players” for a complilation CD, “Dollars
& Spence Family Tree,” which enjoyed solid distribution througho
ut the South, Midwest, and California. While
working with Triple J, Tone Capone was also deep into Scarface
’s “Untouchable” (“Mary Jane” and “Smile”).
Scarface took note of Triple J’s distinctive flow, plugging him to Def
Jam South as “Bumpy Johnson.” He was on
his way – or so it seemed. After signing with Def Jam South in July
2002, Triple J’s project was shelved. He re-
turned to hometown love, releasing his fifth project, “My Addictio
ns,” under Black Market (not to be confused
with Lil’ Jon’s BME) in March 2004. “I’m at my peak now,” he says
confidently. “My Addictions” is a distinctive
blend of influences and collaborations. He teams up with produce
r Jim Jonsin (Trick Daddy, Trina, Pitbull) on
“Point ‘Em Out” and links with South Florida’s Suave Smooth on
“Ridin’ Wit’ Us.” Triple J has enjoyed play on
mainstream radio such as West Palm Beach’s WMBX and has various
tracks on steady rotation on the under-
ground stations. But making local noise is just a springboard for
bigger and better thing. “I’m the most lyrical
rapper comin’ up. If you think otherwise, I’m ready to see you!”
– Katerina Perez for Fresh Entertainment
R O
ussell Simmons’ OneWorld Magazine has shut its doors. Although
it was not widely read, it had been around for almost ten years.
Things weren’t looking good: the former editor-in-chief quit
when Russell wanted to force her to put his wife on the cover of the
magazine, and ad sales were drying up. But even worse, it had become
known as a gay-friendly look at hip-hop, which is funny because Russell
had put the brakes on investing in VIBE Magazine when it first launced
because its first editor was an openly gay man. This is an excerpt of
the email Russell sent to everyone in the industry regarding the future
of OneWorld:
“OneWorld is an enduring brand with a solid future and broad appeal
in the media and entertainment space. We remain committed to the
brand, and we plan to relaunch OneWorld in the near future. Stay
tuned for the next act.”
The editor-in-chief’s email, however, didn’t hide behind lawyer-type
bullshit and told the real story:
“I would like to thank you all for your help, hard work, and profes-
sionalism in the recent weeks since I’ve been senior editor at Russell
Simmons’ OneWorld Magazine. But due to financial burdens that could
not be overcome, OneWorld Magazine will cease operations effective
immediately. For all writers who would like to know when and how
much you will be paid for submitted work, please direct all inquiries
to our publisher. For all publicists, please accept my apologies, but the
decision to fold was beyond my control.”
T
he Source Magazine has slowly been falling off. It’s hard to be-
lieve the former number one hip-hop magazine has so much trou-
ble when hip-hop music is bigger than ever. The Source has lost
both their TV shows. Even though their awards show is now aired on
BET, we all know that BET doesn’t pay shit. The Source has also been
firing people left and right. They even fired their online department.
Who is running their website now? It hasn’t been updated since Janu-
ary, and the message boards are overrun with the KKK, gay rappers,
and ads for unsigned artists. They better act quickly before someone
eats their food.
E
rykah Badu has got another bun in the oven.
The Grammy superstar of the neo-soul set is
trading in her Afro wigs for a maternity smock.
It appears she is trying to drop a baby by a differ-
ent rapper for each album she puts out. But that’s
not all she puts out. After kicking rapper Common
to the curb for being too nice and failing to spawn
a new progeny, she turned to virile Death Row gangsta rapper D.O.C.
to knock her up. The D.O.C. used to be down with Dr. Dre, but he
hasn’t put out a record since last century. Erykah’s first baby daddy,
Andre 3000, has gone onto international multi-platinum fame with his
group Outkast. He snubbed her at the Grammys by thanking everyone
on earth except her as she was sitting in the front row. Now, I admit,
this girl must have some magnetic shit going, but she really dug deep
in the barrel for this one. I wonder who will be the next rapper to run
up in this piece, Kwame?
h my God, someone do something! “Are the bars downtown let-
ting the taps flow for our children?” That was the question posed
by a local anchor on the late night news a few weeks ago. The
“Problem Solvers” are at it again. This week found our heroes inves-
tigating the downtown bars and clubs. It seems a “concerned father”
complained because his 19-year-old daughter, one of “our children,”
got popped for under-age drinking at a downtown nightclub. And so the
“Problem Solvers” sprang into action.
Images of the lighted signs on a few downtown clubs, which I will
respectfully not name, flashed across the TV screen. Hell! Brimstone!
The signs of Satan! I saw the face of the Devil himself in one of those
nightclub signs! Thank our fuckin’ lucky stars we have the “Problem
Solvers,” who sent an underage girl into those fiery pits to see which
ones would serve her.
As I fought to restrain myself from putting my size 10 through the TV
screen, I watched an interview of our “concerned father,” a faceless
citizen who didn’t want to be identified. Of course, the public had to
hear about how wholesome and academic the 19-year-old daughter in
question was. One would think the evil club owner pointed a gun at her
innocent head and forced a mixed drink down her throat. Give me a
fuckin’ break! Daddy’s little angel is probably flashing her tits, er, uh,
excuse me, having a “wardrobe malfunction” at the beach during spring
break as I type this.
Our children! It never ceases to amaze me how the general public falls
for those two magic words—hook, line and sinker—time and time again.
I’m sorry, but a 19-year-old is hardly a child. An 18, 19 or 20-year-old
is an adult who is old enough to come home from a war in a body bag,
missing limbs, and/or mentally scarred for life, but not old enough to
have a drink. By the time “our children” reach their teenage years,
if they don’t know what’s right or wrong and have some concept of
the idea that there are consequences to be suffered for making bad
choices, some parents clearly haven’t done their job.
Back to our undercover, underage girl. She got served in one bar,
probably because she smiled at a male bartender or had a “wardrobe
malfunction.” “Our children” are in danger! Somebody close those evil
places down! We have to protect “our children!” Of course, our under-
age heroine didn’t consume the witches’ brew, but dumped it instead.
Whatever.
Ever notice how the “Problem Solvers” never investigate any businesses
that buy advertising from the station? It seems the “Problem Solvers”
always “investigate” the smaller businesses that don’t have the money
to sue the station. Let’s see the “Problem Solvers” send someone pos-
ing as a buyer to one of those new car dealerships that advertise on the
station, and report on how people get ass-raped on new car deals. Let’s
see the “Problem Solvers” send someone posing as an accident victim
to one of those law firms, and report on how those attorneys take one-
third of the victim’s settlement for their services. Will this ever happen?
What do YOU think?
Better yet, why don’t the “Problem Solvers” investigate what ever
happened to those “highway funds” that the federal government used
to pressure the states into raising the legal drinking age to 21? Funny
how not too long ago, there was a half-cent tax on the [Orange County]
ballot to solve our traffic problems, as if we aren’t being taxed enough
already. In these days of state “budget deficits,” why don’t the “Prob-
lem Solvers” investigate how the state could lower the legal drinking
age back down to 18 (at least for beer and wine) to generate more state
tax revenues and greatly reduce the bureaucracy needed to enforce the
current senseless law?
Oh, we have to protect “our children” by putting them in jail for some-
thing they’re going to do anyway, regardless of the drinking age law?
And how do we keep our bureaucrats employed? There’s plenty of trash
to be picked up on the highways.
Hey club, bar and venue owners! You’re under attack once again! You
should rally together to bring the legal drinking age back down, which
would solve the problem in the first place. Local and regional bands and
artists should play benefits to gather enough signatures to get such a
proposal on the ballot. The only thing “our children” need protection
from is the politicians and bureaucrats. – David Himes
OZONE MAGAZINE MARCH 2004 23
I
f you’re an avid hip-hop fan, surely
you’re familar with Jin, the Asian
rapper who’s single “Speak Chinese”
proudly advertises his heritage. And of
course you know about Eminem, who’s
skin color has been both his biggest
hindrance and help when it comes to
breaking into the rap game. Then, there’s
a handful of Latino rappers who have
made their mark on the hip-hop game,
including the late, great Big Pun, Fat
Joe, N.O.R.E., and the up-and-coming
Pitbull. But, in the wake of 9/11, is the
world ready for the first Arabic rapper?
Question, an Orlando-based rapper of
Arabic descent, aims to be the first.

Who is Question?
Question is a young Arab-American who was
born in Egypt and grew up in Jersey City. I
grew up North til I was eleven and I moved
down in Orlando.

What was your upbringing like?

Unlike the way most Americans think about
Arabs and other immigrants, they think
we’ve got a little gas station on the corner,
but my family never hand that. We didn’t
come to America and strike gold like most
people think. Coming from where we’re
from, we see the Arabs that got stores like
they getting paid. But my pop drove buses,
blue collar. My mother don’t speak or read
or write English, til this day.

How did people react to you as an Arab

when you moved down to Florida?
Being of a different nationality, I was totally
just ridiculed.

When did you start getting into music?

What made me want to become a DJ was
the movie “Juice,” back in the early 90’s
when my father had died. In 1995, that’s
when I got my first set of turntables.

How did you get your first turntables?

We broke into this guy’s house that lived
like three doors down from me. I knew his
schedule, and he had this stashbox of cash.
We got like $3,500, that was real big for a
thirteen, fourteen year old. It was kinda
fucked up, cause he was a cool dude. I ac-
tually went over there after he got robbed,
and I was like, “Man, that’s fucked up.” And
then I bought some Technic 1200’s, but he
never put two and two together. I hooked up
with a DJ crew called Heavy Sounds, which
was DJ Heavy, DJ Dewey, and Captain Cel-
sius. I met them at a party in Kissimmee. At
the time, there was a couple other local DJ
crews. DJ Prostyle and Garfield were with
Ill Foundation, and DJ Khaled, DJ Nasty, DJ
Caesar and them were the Hitmen. I started
rolling with the Heavy Sounds clique, and I
actually learned how to DJ while I was roll-
ing with them. I was DJ Question before I
knew how to DJ. I’d just go to parties with
them and people thought I was a DJ.

Where did you come up with the name

Question?
The name Question was given to me by
some people that I met in the street. They
thought I was Spanish and I was telling them
I was Egyptian, so they were like, “You’re
like a question.” I go through different
phases, different changes, when I had my
dreads people thought I was a yellow nigga
from Jamaica. I’m like a chameleon how I
“[AS AN blend in, I can be ev-
erywhere. People are
nated against in the hip-hop game, but
when 9/11 hit it turned into some real
ARAB], I WAS always like, “I don’t
know what the hell
crazy shit. People wanted to kill us and
hang us from the back of their pick-
ALWAYS DIS- you are.” This is when up trucks. These people need to know

CRIMINATED I was real young, like

fourteen, so the name
what the hell I’m feeling right now. I’m
trying to tell my life story. I’m the new
AGAINST, BUT kinda stuck to me. We
were the number one
nigga.

WHEN 9/11 crew back then for a What do you mean by that?

HAPPENED IT while that was throw-

ing house parties and
We are the new slaves of America. Arab
people, brown-skinned people from Af-
TURNED INTO stuff. Heavy became
a Jehovah’s Witness,
rica. We are the new slaves in Amer-
ica, and right now I’m telling my life
SOME REAL so the crew broke up. through the “Sand Nigga.” That’s what

CRAZY SHIT.” I kept on, I continued

by myself. I started
to get into producing
a little bit, making tracks for rappers around me.
I also started throwing parties with Jungle Lion. I
put together my own thing, started Staff Enter-
tainment. We were putting out mixtapes, yellow
and red mixtapes. People could tell the difference
because the red mixtapes were hip-hop and the
yellow mixtapes were reggae. I also met Big Wil
(R.I.P.) from Max-A-Million Records back then
when I was doing stuff with Heavy Sounds. I ended
up founding Brimstone Records with Cesar, Red
Dread, and Black Profit.
How did you get involved with pirate radio?
I started DJing on the underground station 95Live
back in 2000. I was asked to do my own show, and
all of a sudden I was the program director. There
was beef between the two owners of the station,
so I used to be the mediator for everybody.
So are you representing Arabs as a whole?
I’m not a rich Arab, I’m broke. I’m a ghetto-ass
Arab nigga. But I’m not just reppin’ Arabs, I’m rep-
resenting everybody. But people that come from
other countries, like Jamaica, they know how
hard it is to become an immigrant and get your
visa, they know what I go through. Now, the whole
project came about after 9/11 because it turned
into a whole situation. Before, I was always dis-
criminated against in America. Arabs don’t have
our own set of music. I was already being discrimi-
they labeled me. I don’t know if the
FBI is gonna lock me down because I’m
Arab and they think I’m spreading the
message of terrorism. I’m just basically
showing what I go through. Like Emi-
nem, he shows how it is to be a white
boy rapping. He teaches you, even
through that movie about him back in
the day, that just showed you his life
through different eyes. With Jin, you’re
seeing through the eyes of an Asian kid.
With me, you’re experiencing life as an
Arab. I love America, it’s the land of
opportunity, but it’s also a place that
gives you pain. It’s a great place to be,
but it’s not always great. My album is full
of good times and bad times.
So if you make money, what do you plan to
do with it?
I’m telling you, no Maybachs for me, dawg. All
that $350k need to go back to those people
that are starving. I’d take it back to Tangelo
Park, I’d probably start up a fund for kids in
school that are less fortunate to get scholar-
ships. I might open up a community center.
I might take a certain area and beautify it,
like Carver Shores where all the houses are
broke down. I want to add more lighting to
the streets, rejuvenate it, and all those things
take money. You can’t be broke and do it. This
industry gives you the opportunity to make
money and come back to the streets, but a
lot of people get so stuck
on the flashy shit they’re “I REPRE-
too busy to give back. We
all like nice things, but SENT THE
I’m never gonna forget
having to work all night STRUGGLE,
and sleep all day and AND I WILL
not be ablet o eat dur-
ing the day. I represent GIVE BACK
the struggle, and I will
give back to what made TO WHAT
me. I’ll make myself
into something. Every-
MADE ME.”
body needs help sometimes. When I get my first
deal, I’m gonna come back to Orlando and run
around picking up some bums off the street and
help them. I’ll get them fed, cleaned up, help
them medically, buy some homes so they can
have a roof over their heads and
get a job. You can’t do all that
without dough. I’mma do good
with my money. No Bentleys or
Maybachs for me. And you could
quote that. I’m going back to
my homeland – there’s a lot of
people there that need help.
If anybody wants to donate,
they can go to arapmusic.com,
we’re gonna have food drives
and help their community. All
money, all proceeds, nothing
goes to my company. IT all goes
towards helping those people,
and you will see where it’s be-
ing used.

What’s your plan for the album

release?
The album, “Sand Nigga,” will
be coming out in the summer
2004. We’ve got two singles:
“Streets is all Mine” featuring
David Banner and Mad Preach-
er and “Da Brimstone Riddim”
featuring Joe Grind. Right now
we’re just in the streets. I can’t
even lie, we ain’t got distribu-
tion. Straight out the trunk.
Or they can purchase it on the
website, arapmusic.com.

OZONE MAGAZINE MARCH 2004 29

workaholics anonymous
Y
ou probably envision Lil’ Jon as a caricature, a cartoon figure who
pops up all over the Top 10 list sporting sunglasses, a platinum
grill, and an ever-present pimp cup. Even if some hip-hop purists
don’t fully appreciate the crunk revolution Jon has spearheaded, you
really can’t hate on a man who pulls in five figures to scream patented
phrases like “Okaaaay!” and “Yeaaaah!” Now, that’s a pimp! But who
would’ve guessed that Jonathan actually scours the health food stores
for quality multi-vitamins, loves to cook, and spends his days off curled
up on the couch with his family?
The music industry is a hoax; a façade; an image. It’s all about percep-
tion, and Jon knows this well. Your favorite rapper isn’t ballin’ as hard
as you think he is, and in the same way, Lil’ Jon, contrary to popular
belief, isn’t crunk all the time. After years of watching and learning the
game, first as a DJ and later as an A&R for Jermaine Dupri’s So So Def,
Jon successfully created himself as a brand. The recent Dave Chappelle
skits, “A Day in the Life of Lil’ Jon,” are further proof that Jon has se-
cured his place in pop culture. He’s recognized by mainstream America
on a level that few rappers besides Snoop Dogg have reached. But it
didn’t happen overnight.
O
nce upon a time, the Palladium had earned its reputation as the
grimiest club in Central Florida. Every time someone got shot, the
club changed its name and reopened. Backstage activities were
always off-the-record, and cameras were strictly prohibited. Name any
rapper and they’d probably performed there at least once. A bizarre
group which most assumed was a one-hit fluke, the Ying Yang Twins,
came through and performed their take on a Disney classic, “Whistle
While you Twerk.” At that time, Lil’ Jon and the East Side Boyz (Lil’ Bo
and Big Sam) were just names without a face. Their show was canceled
when about fifteen people showed up. I reluctantly pulled up to their
tour bus parked at a nearby hotel for our scheduled interview. Based
on their singles, “Bia Bia” and “Who You Wit,” I was prepared for the
worst, envisioning a mass of gold-grilled thugs hovering around my tape
recorder in clouds of weed smoke, mumbling something unintelligible.
Inside the tour bus, however, I was shocked to meet three polite grown-
ass men who spoke clearly, didn’t smell, and even remembered me at
their video shoot a month later. Most rappers would be discouraged if
their concert only drew fifteen people, but Jon didn’t seem phased.
During the interview, it was clear that Jon and the Boyz understood
the game inside and out and knew what they’d have to do to get to the
32 OZONE MAGAZINE MARCH 2004
top. “We’ve stepped up the production for this new album, ‘Kings of
Crunk’,” he assured me back then, “I think we just put so much en-
ergy into the music that you can’t deny the record.”
Several years and two million records later, Lil’ Jon is one of the most
sought-after producers in the game. Poor concert attendance is no
longer a problem. Strolling through the streets of Little Havana for
Miami’s Calle Ocho festival amongst a posse of bodyguards, he attracts
fans of all ages and races begging for autographs or photos. After a few
hours of screaming “Yeahhh!” underneath the Miami sun with Pitbull,
Jon slides into a limo waiting on the back streets. He fields a few calls
from celeb friends like Usher (“What up, my nigga?!?”) en route to
the Hit Factory, where he perfects a “sexy” beat for Christina Milian
before heading back to his South Beach mansion to continue work on
Lil’ Jon & the East Side Boyz’ third album. Later that night, Jon rolls
through Club Deep to finish filming for Pitbull’s “Culo” video. All in a
day’s work. Like a true workaholic, even at the peak of his career, he’s
still focused and driven. We dragged Jon out of a recording session in
Atlanta’s Stankonia Studios to figure out what makes this workaholic
tick.
What do your parents do for a living?
My dad is deceased, and my mom is in the Army. She works at a hospital
also as a supervisor in the operating room. Right now she’s been called
into active duty, so she’s away with the Army.
What other side gigs do you have besides being an artist and pro-
ducer?
We’ve got BME the label through Warner Bros with Trillville, Lil’ Scrappy,
and Bohagon, and we got the label through TVT with Lil’ Jon, Chyna
Whyte, and Oobie. Then we’ve got the Crunk energy drink, and we got
the porn, Lil Jon & the East Side Boyz “American Sex Series.”
Are you starring in the porno?
Nah, I’m just wildin’ out, talkin’ shit. Hypin’ shit up, so to speak.
What’s the function of the East Side Boyz?
(laughing) What’s the function? Well, we all write the stuff together. We
do everything together. I’m like the Quincy Jones of the group, I produce
and coordinate everything. I’m the one that ties everything together.
What’s a typical day like in the life of Lil’ Jon?
Well, today I got up around 2 or 3, ate breakfast, came straight to the
studio, and I’ll probably be here til 6am. I’m in the studio finishing
up Trillville & Scrappy’s album, so I’m mixing as well as doing new
tracks. Then, I’m also on the phone handling other things at the
same time. When I’m on the road, I’m usually doing shows, doing
TV, hosting parties, networking, stuff like that.
When you’re at a club do you feel like you’re working?
I’m always working when I g o
to a club, period.
A club is

where you make contacts for future deals,
and people – your fans – get to see you, talk
“CRUNK MUSIC WILL NEVER
to you, take pictures. It’s really a network- DIE OUT CAUSE THIS IS HOW
ing thing. But as long as I’m drinking, I’m
having a good time.
WE LIVE IN THE SOUTH.”
What’s the worst and best parts about
your job?
The worst part, of course, is that you don’t get to see your family that
much. The best part is the money and the traveling, and the free shit.
What’s the longest you’ve gone without sleep?
Maybe about 24 hours straight. But I’ll go like two or three weeks of
just two or three hours of sleep on the plane. Three weeks of that shit
is just torture on your body. I might be in the office, then I might go do
TV or press shit, then I might go to the club that night or the studio and
then the club. Do that every day for a week and it starts to wear your
body down.
How do you deal with that?
Really, it’s just naps. Naps get me by. You gotta take naps on the plane.
If you on the tour bus, whenever we get on the bus I get on my bunk and
I don’t get outta my bunk til we get to our destination. I learned that
you’ve gotta get rest whenever you can. Same thing with the plane.
As soon as we get on that plane I’m going to sleep, cause I don’t know
when I’ll be able to rest again. Crunk juice keeps me up too. And a lot of
straight-up crunk, cause crunk gives you energy! And you’ve gotta take
vitamins. I’ve been taking like, real multi-vitamins from the health food
store. Specialty health food stores make their own shit, some other shit,
and it gives me a lot of energy.
What time of day is most productive for you?
I’m a night owl, so as far as making beats, we usually get into our little
zone around 6pm and that lasts til around 9 or 11pm. That’s the best
time for me to make tracks. But I don’t get up early, cause I’ve usually
been up all night. As far as business, I don’t really make phone calls and
start handling business until after noon. I’m really a night person, so I
can stay up til 5, 6 in the morning and still be productive.
What do you think is the key to success?
I think you have to listen and learn from everything. You’ve gotta take it
all in, and that’s how you learn to deal with other situations. And you’ve
got to be able to stay focused and you can’t get distracted. You gotta
really have blinders on. If you come in the studio, you’ve gotta come to
work. Usually when I come to the studio I don’t have a whole bunch of
people with me. It’s just me, the musicians who are playing on the shit.
It’s just us and the engineer. We just go in there and stay focused. When
you’ve got thirty niggas in your crew in the studio laughing, gigglin’,
and playin’ around, you lose focus real easy. I just don’t like a whole lot
of people in the studio. If I’m in there trying to mix, mixing is basically
just listening over and over to the song, critiquing every aspect of the
track. If you’ve got thirty people in the studio talking, laughing, and
smoking weed, you can’t concentrate on what you’re doing. You can’t
be productive. But for some people, that’s how they vibe, they need a
lot of people around them to feed off that energy. But for me, it’s just
the muthafuckers that’s working.
And reporters harassing you?
(Laughing) Yeah, tryin’ to get interviews and shit.
What type of goals do you set for yourself?
I set a whole bunch of little goals to get to that big goal. If you set a
whole bunch of little goals, it’s easier to get over those little humps
than it is to get over a big hump sometimes. See, I work so hard that
I really don’t look at stuff as success. I just look at it like, I got past
that so now I can move onto the next project. Instead of trying to finish
a whole album, the first goal is to go to the studio and get the beats
done. The next goal is to get some good hooks for the beats. I always
do the beats first. Then, the next goal is to get the verses. I just take
everything one step at a time so I can keep focused, ‘cause I’m already
doing so many different things, setting goals is a distraction to me. I’ve
got small goals that help me accomplish the big goals.
Did you have any formal training?
Nah, I used to be kinda sorry when I “I WORK SO HARD THAT I REALLY
DON’T LOOK AT STUFF AS SUCCESS.
was younger, just real lazy and shit.
Then my homeboy Rob got on me
one good time and I think it really
stuck. Then, being an A&R at So So
I JUST TAKE EVERYTHING ONE STEP
Def, I was responsible for putting AT A TIME SO I CAN STAY FOCUSED.”
workaholics anonymous
together a project from beginning to end, so
that helped me out a lot. Basically, I just pay
attention and learn from every situation I’ve
been in.
Out of all the things you’ve accomplished in
your career, which one is most significant to
you?
I think the biggest thing to me was getting an American Music Award. That’s
fuckin’ mainstream America, it’s all about the fans, and I got to meet Dick
Clark. The second biggest thing was doing Dick Clark’s Rockin Eve on ABC.
That was big because I’ve watched Dick Clark for years. I remember watch-
ing American Bandstand, I remember watching Dick Clark’s Rockin Eve be-
fore I was old enough to even stay up late. So to do that show, that was a
major accomplishment.
I remember congratulating you for being 2x platinum and you said,
“We’re almost there.” What did you mean by that, what level are you
hoping to reach?
Well, we’ve actually sold 1.7 million scanned. Most of the time, when
muthafuckers get certified platinum, they really ain’t sold a million yet.
They might have shipped two million, but they might not have sold two mil-
lion. We’ve sold 1.7 million, we just sold 70,000 last week, so we should be
double platinum by the time people read this – really. That’s an accomplish-
ment. Because I remember when we were just starting the album, going to
Miami and starting with the beats. I remember when we were struggling with
“I Don’t Give a Fuck,” tryin’ to make people feel the record. And we got past
that to “Play No Games” and “Get Low.”
“Get Low” was obviously the runaway hit from the “Kings of Crunk”
album, so why was it the third single and not the first?
Because a hit is always gonna be a hit. You’ve got to open your audience up
first. We used “Play No Games” and held “Get Low” back because we always
knew it was a hit. With my music, I understand that everything comes from
the clubs. You’ve got to let records build up first before you go to radio
and all that shit, cause it’ll last longer. The longer you let it simmer in the
streets and the clubs, the more it’s gonna be real to people, and the longer
the record lasts. So “Get Low” was in the clubs a long time, building, build-
ing, building. We dropped “Play No Games” to open up our audience a little
more, like in Miami ‘cause we had Trick Daddy on it. Then it opened up the
East Coast audience a little more because Fat Joe was on it. So that opened
the doors a little more for “Get Low.” Some of the radio stations that didn’t
give a fuck about Lil’ Jon & the East Side Boyz paid us a little more attention
after that. They played “Get Low” more ‘cause they liked “Play No Games.”
So we just let it build. We knew it wasn’t going nowhere, ‘cause it was con-
stantly building. But with “Play No Games,” that opened more doors so the
timing was better for “Get Low,” and it turned out to be a bigger hit.
Some people say that crunk music is gonna die out. Do you feel like your
days are limited, or you’ll have to change your style up to stay relevant?
Nah. I look at it like this: we ain’t changed at all. We’ve been doing the same
ol’ shit, it’s just getting national attention now. I don’t think the music will
ever die out cause this is how we live our life. Atlanta, Florida, Alabama,
South Carolina, the South, the Midwest, we live our lives on getting crunk.
It’s all about getting crunk, that’s a part of our life. So it’s definitely not
gonna go nowhere, cause people always wanna get crunk. I don’t even pay
attention to what people say about the music, we just make our records. I
think that’s why we’re successful: we ain’t tryin’ to please nobody but our
fans. We just want to please the people that support us, so we don’t give a
fuck about what anybody else says. The music is getting bigger and bigger.
Nas, one of the greatest lyricists ever, wanted to get on one of my beats. He
hollered at me to do some shit, and we went to the studio and knocked that
shit out in one day. And Usher, “Yeah,” with me and Usher and Ludacris, is
about to be one of the biggest records of the year.
Isn’t that the same beat you did for Petey Pablo’s “Freek-A-Leek”?
What happened was that I did a whole bunch of beats for Mystikal, who’s on
Jive Records. Mystikal never used it, so I just had the beats laying around.
The record company had a copy of the tracks, so I didn’t even know they gave
the beat to Petey. Me and Petey saw each other, and he’s like, “Yo, I used
your beat.” The record company took the beat, put Petey on it, mixed it,
mastered it, put it on a 12”, and I didn’t know nothing about it. At the same
time, Usher’s people had the record too. They had did a song to the shit, so
we ended up working it out where I did
a new beat. The beats are similar, cause
of course it’s derived from the same
shit. But, you know, it’s actually help-
ing Petey out a lot too ‘cause now his
record can get mixed with something.
It helped both sides, it hyped both re-
OZONE MAGAZINE MARCH 2004 33
workaholics anonymous
cords up, so it’s amazing how everything
happens for a reason.
“I’M JUST GETTING STARTED. I to the studio, oh yeah, I was gonna
suffer.” Like, he put his work first.
AIN’T EVEN TAPPED INTO MY FULL That’s what workaholics do: they
Where do you get your work ethic from?
Is it money or success that motivates POTENTIAL YET AS A PRODUCER.” put work before anything. Of course
you put your family up there as a pri-
you? ority, but you know you’re not gonna
I just look at it like a job. I’ve got a job to do and I’m really focused on what see ‘em much. Since I’ve made it a little better now, I can afford to
I’ve got to do. Even though I’m tired, I just suck it up and don’t complain and take off for my son’s birthday or my girl’s birthday, but sometimes I
get the job done. I don’t really know where I get it from. Like I said, Rob had would have to sacrifice doing a club date for some of those things.
got on me one time. I really can’t remember the details but I know that’s You’ve just gotta give your family time. If I’m gone for three or four
one thing that stuck out in my mind. Rob had just got on me cause I was re- months, I gotta take off a couple days or weeks. I just have to make
ally just a lazy ass muthafucker. And then, I don’t know, I guess whatever he time once in a while, cause if you’ve got a good person in your corner
said kinda kicked in and helped me get on point. I ended up training myself they’re gonna understand that you’re doing what you have to do, and
how to work. you gotta do it while you’re hot. Otherwise you’re gonna miss out on a
lot of opportunities.
Did you ever have a real job before you got into music?
Nah, I never really had a real job. I used to work at this little skateboard shop And you’re definitely hot right now.
renting out roller skates, and after that I started DJing. Before that I was I’m just getting started. That’s how I look at it. ‘Cause I ain’t even
throwing newspapers with my daddy. tapped into my full potential as a producer ‘cause I’m doing so much
shit. I’m not like a normal producer that sits in the house and makes
When was the last time you took a day off? beats. I do shows, I gotta run a company, we’ve got the
Whenever I come off the road I try to take a day off and turn the phone energy drink, so I can’t just focus on beats.
off. Over the Christmas holidays I didn’t work, I was chillin’ at
the house cookin’ and shit. Usually I cook, or my girl and my Do you plan on ever focusing solely on
son will sit on the couch with me and watch DVDs all day production instead of being an artist
and night. Or me and my son play video games. yourself?
Yeah, I basically want to just produce
Do you ever feel like your work causes you to miss because the artist thing is hard. It’s
out on anything as far as your personal hard to constantly make a hit. It’s
life? easier to produce a hit than it is to
Yeah, because anybody who come up with a concept and write
has a workaholic spouse will the shit. It’s easier to just do a
tell you that it’s gonna put beat for somebody than for you
some stress on your rela- yourself to be the artist.
tionship. I was watching
this special on Bob Marley, So that’s why you’ve started to
and one of his girlfriends focus more on artists like Lil’
was like, “If he had to go Scrappy and Trillville?
Yeah, I’m tryin’ to spread it
out.

Are you looking for

artists?
Nah, we not really
looking for new
artists right now
cause we’ve
got a lot on
our plate.
I’ve gotta do
about four
or five al-
bums this
y e a r
alone.

34 OZONE MAGAZINE MARCH 2004

You can call him Atlanta’s Best DJ - he’s got the awards to prove it.
After a serious accident that shattered every bone in his face, Searcy
is back to work, back on the grind, with a fresh perspective on life.
I hear you’ve been out of commission for a few months?
Yeah, it’s been three months since my accident. It was January 17th,
Lil’ Jon’s birthday, and I was leaving the club around 4am. I was just
going home as always, like two blocks from my house somebody ran
me off the road and I ended up having reconstructive surgery. I broke
almost every bone in my face. My nose is part of my hip-bone. They did
a great job. I’ve always been a good-looking dude (laughing). The guy
that actually did my facial reconstruction has done more than any other
doctor in Georgia, so I was pretty happy about that. I think that I’m back
because of a lot of the prayers. I’m healthy. I didn’t hurt anything else
in my body, but the doctors were pretty amazed that I’m up and walking
around after only a month and a half. Most people, after that type of
surgery, it takes four or five months for them to recover.
How did the accident affect you mentally?
It made me value life a lot more, cause you just never realize. You leave
home and kiss your babies, and you might never come back home. It
just makes me think I’ve gotta work harder, we gotta come in here and
make this money, do whatever we’ve got to do to make it happen. We’ve
gotta keep moving and be as big as we can be, make sure we tap into
everything that we can.
Are you back to work 100% at this point?
I’ll be going back to work at Radio One in April, and I’ll still be doing the
afternoon drive from 2 to 6 here in Atlanta. I’m part owner of BME, of
course, and I own a marketing company, Southern Advantage Marketing.
We basically market new artists. I also do a mix CD, which is kinda differ-
ent from most DJs. I find all the underground artists and promote them.
I like to break artists, that’s my whole concept.
How did you get started as DJ?
Lil’ Jon and I started off DJing a lot of parties back in the day. I started
DJing for a promoter named Alex, who owns Club Visions now. He wasn’t
big like he is now, but he used to do all the big parties with Puffy and JD,
it was crazy. I’ve been on the scene a long time. I basically taught Lil’
Jon how to DJ, and then I went to the Navy. I came back on the scene in
’93 and Jon was the man. Phoenix was the hottest club at the time, and
Jon was the head DJ so he brought me on as the backup DJ. Then the BME
Clique, [me, Lil’ Jon, Vince Phillips, and Rob Mac], started doing promo-
tions. The biggest thing we were involved with was the Big Mack Tour,
which was Craig Mack and Biggie Smalls. We brought that tour to ATL, we
also did Mary J’s first tour. We started doing production too, of course
Jon was doing his thing, and I did a remix for 112 and tracks for Genu-
wine and the Youngbloodz. Me, Rob, Vince and Jon were always BME,
we’ve known each other since seventh grade. We’re all from the ATL.
How did you make the transition from the clubs to the radio?
Lil’ Jon and I started doing a community radio show called The World
Party on 89.3, the community radio station here. That was before the
commercial stations would even play hip-hop. When major artists came
to town, they would always come to our station, to Lil’ Jon and Searcy’s
show. We had artists like Biggie coming by our community radio station,
which is kinda crazy if you think about it now.
What was your next move after that?
The program director for
97.5, which is now Hot 107.9,
used to always come and
listen to me play. He told me
when the new hip-hop station
came to Atlanta, he would
put me on. Chaka Zulu, who
is Ludacris’ manager now,
was the radio personality. It
was his show, 10 to 2 at night,
so I started doing a mixshow
on Chaka’s show. That was
basically the first urban radio
station in Atlanta. I DJed on
Chaka’s show for about 2 ½
years. It’s actually crazy,
cause Hot 107 is kinda a
breeding ground for talent cause a lot of big names have started there.
LaLa, who’s on MTV now, was doing a morning show on the station at the
time and she decided to move back to DC, so when she left I was asked
to host the show. I did that for about three months until the night show
because available, because Chaka ended up leaving. I did that for a few
months, so in a six-month time span, I went from having a morning show
to the afternoon drive, my own show, which is kinda crazy for radio.
Do you enjoy mixing or hosting more?
Oh, of course mixing. I’ve done it for so long I’ve always been a club
DJ five days a week, for the past twelve years, so that’s basically how
I got my name. They used to have a concert calendar, and they’d say,
“DJing on Monday… Searcy. DJing on Tuesday… Searcy.” A host named
Talib Shabazz had gone through like, four days of Searcy parties, and he
said, “You know what? Searcy, you are indeed the Emperor of hip-hop.” I
heard it, and I was like, damn, that’s pretty cool. So I kept the Emperor
title. I basically built a relationship with Mary Katherine, she’s the COO
of Radio One, and she knows my background so she gave me an opportu-
nity after working at Hot 107 for 2 ½ years. She basically created a job
for me, which is the National Mixshow Coordinator for Radio One.
What are your job responsibilities?
Basically, I determine which records are in the mix. I have consultants,
also. We’ve got stations in Houston, Dallas, Cali, all over. We are kinda
open, though. I’m a DJ myself, so I don’t like to limit DJs too much. As
long as they don’t go too far out of set, just playing new music isn’t a
bad thing. We have a conference call where we go over records and
basically decide which ones are hot. A perfect example of that is the Lil’
Jon situation. I remember pushing Lil’ Jon when people weren’t feeling
it. TVT really wanted to push “Play No Games,” and we had a big argu-
ment between BME and TVT where they decided they wanted to kinda,
uh, just not listen to us. So I decided I would push “Get Low.” I pushed
“Get Low” up to 800 spins with no wax, no promo CDs. Just straight
MP3s and talking to DJs. That was basically the big breaking record for
Jon’s career.
If an artist has a hot new record, what’s the process it would have to
go through before it would get added to your rotation?
It depends if it’s something that me and my DJs can agree on. Atlanta is
a market that breaks new artists, and I’ve been a very intricate part of
breaking a lot of new artists like T.I. and Bonecrusher. They all show me
love cause I’m one of those few people who don’t have a problem taking
a chance on those records as long as they’re hot. You can’t stop a hot
record. Usually, I’ll mp3 the records out to certain DJs in the appropriate
market, and if they like it I’ll send it out to other DJs in the country. If
everybody likes it, it’s a go. We roll on that record. I’m part of the Su-
perFriends DJ Clique, and I’m also a Big Dawg with Funkmaster Flex. But
SuperFriends is a crew in Atlanta, Mars, Trauma, and myself started it a
while back but it’s actually grown to be a pretty big clique of DJs. We do
all the hottest parties in Atlanta, and we just added Frank Ski.
What’s the benefit of belonging to a DJ clique?
The main purpose of SuperFriends was to make sure the labels don’t
forget about us DJs. We had to bring that respect level back. When you
go to certain markets, if you don’t mess with the right DJs your record
won’t get played. We had a situation with a major label who basically
had no respect for Atlanta. I ain’t gonna say their name, but it’s the big-
gest plaque on my wall (laughing). They came to a point where they felt
like we didn’t support their records, but they know that’s a lie. We had
to form a clique and let them
know they can’t come down
to Atlanta and disrespect
DJs. With a clique, it makes
the DJs more accessible to
these labels. It’s hard to
track down a hundred DJs, so
if you get a clique of DJs and
have your meetings every
week it just gives you a bet-
ter system to break records,
kind of like a record pool.
Photo and interview by Julia
Beverly, jb@ozonemag.com
OZONE MAGAZINE MARCH 2004 35
 M “[PITBULL] IS USING MY MELODY, MY
r. Vegas wasn’t too happy
to run into Pitbull and his
entourage backstage at a
show in Orlando. Security had to be
IDEA, MY BEAT. IT’S JUST MUSIC, BUT I
called in to make sure their discus-
sion didn’t get out of hand. Pitbull’s
DON’T APPRECIATE PEOPLE BITING SHIT.”
single, “Culo,” which features Lil’
Jon, is derived from the same Jamaican
riddim as Mr. Vegas’ single, “Pull Up.” After
things had calmed down a bit, OZONE spoke
with Mr. Vegas, who accused Pitbull of being a
“biter.” Pitbull’s version of events contradicts
Vegas’, but Pit declined to comment for this
article due to a pending lawsuit.
You wanna explain what just happened?
I mean, obviously you’ve got a song that
sounds a lot like Pitbull’s song –
No, Pitbull got a song that sounds a lot like
mine. Basically, I been on the road grindin’ for
like six months, trying to break my record, you
know? And for someone to just come out of the
blue and do something just like it with the same
melody and the same idea and the same beat,
sounding just like my master, that’s not even
cool to me. It’s like, here we are doing the same
show for a radio station and we’re both doing
actually the same fuckin’ song. It’s not even
cool to me.
So your song came out first?
Yeah, my song been out, since six months ago.
I been on the road promoting my song, and I
asked that dude to get on my song. Him and Lil’
Jon. I hollered at them like, “Yo, man, my song
is getting spins. I want Lil’ Jon to do some shit
on it.” When I was down in Puerto Rico, Lil’ Jon
was in the room with me, vibin’ and shit, so I
thought everything was cool. I hollered at him
a few times to do something on my song. Then
I saw Pitbull and he was like, “Yeah, man, this
song’s like crack, I need to jump on this shit.”
Next thing I know, they did it by themselves.
And they’re trying to tell me that it’s not my
song ‘cause everyone says “pull up.” Fuck that
shit. They’re using my melody, my idea, my
beat. I’m the one who paid for the beat when
I bought it off the producer. And they used the
same thing. But I ain’t stressing that, it’s just
music. I just don’t appreciate people biting
shit. I did nothing to them, you know?
But it’s a Jamaican riddim – aren’t there other
dancehall artists who did songs on the same
beat?
Yes, but not with the same Vegas idea and
melody. On the radio, a lot of people can’t even
tell the difference. I’m saying “pull up” on the
hook and he’s saying “culo.”
As a Jamaican artist, is it hard trying to break
into the American market?
It’s very hard. It’s so hard to even get on the
radio. So when an artist really, really works
hard and gets on the radio, he wants his minute
to shine. Because it’s very hard to get on cross-
over radio. Not every artist has that potential.
It takes a formula. So it’s like, I come up with
a formula, and he steals my formula to make
a hit. And then goes and says he came up with
the formula. Feel what I’m saying? And it wasn’t
supposed to get to this point. This could have
been squashed a long fuckin’ time ago.
So now that the lawyers are involved…
Yeah, it’s not up to me no more. It got out of
my hands. My manager was in here tryin’ to get
them to do a remix on Vegas’ song, which would
have benefited all of us.
What’s the next step for you?
The album is done, and we just did the video
for “Pull Up.” I ain’t even stressin’ that stuff,
though. I don’t control destiny, so whatever
happens, happens.
What’s the concept of the “Pull Up” video?
It’s like a party. A beach party with some nice
girls and stuff, just hangin’ out and vibing like
a beach party.
Do you have a second single?
“Tamali,” produced by Vader.
What’s the vibe like in Jamaica right
now musically?
I haven’t actually been to Jamaica to
hang out for the past year. I’ve been
here in Orlando working on my album,
and then I’ve been on the road. I’ve
went there like two times.
So you recorded most of the album in
Orlando because Vader is here?
Yeah, when I work with Vader it’s cool. I
heard the energy and the ideas he had.
I needed a camp. I needed professional
people around me. As an artist, some-
times it’s hard to produce yourself be-
cause you’re your own critic. I hooked
up with certain people like him because
more than one head is better.
survive in this business, how to last.
What’s the name of the album? Do
you have a release date?
The name of the album is “Pull Up.”
It’s up to Interscope when it will be
released. It’s very difficult because
you only get a small chance, and you really have to
make use of that opportunity, ‘cause if you don’t
sell no records, you’re done.
Why choose a label like Interscope without
much dancehall experience? “Cause I still need a
power force behind me. Someone like VP Records
has Atlantic pushing them to another level, it’s not
just VP alone. Basically, it’s good because we’re
going into markets I only dreamt about when I had
“Heads High.” If I had been in those markets then,
you can never tell what might have happened if it
wasn’t for those mistakes that were made.
Is your goal to be at that Sean Paul level, to have
that mainstream audience?
Well, not to be like him, but yes, that’s the dream,
to go into bigger markets and have a wider audi-
ence, more people appreciating your music. Just
like Bob Marley, he took it all the way around the
world. I’m just basically promoting my record. If it
doesn’t happen I’m not gonna die or cry, because
that’s not how music is. I just gotta do what I know
how to do. Not everybody is gonna crossover on
that level like a Sean Paul or Shaggy, but I know
that I’ve already created a fan base. If there’s 500
people in the world who know Mr. Vegas, that’s
good enough for me. I was nothing before.
- Interview & photo by Julia Beverly,
jb@ozonemag.com

Can you explain what exactly is a riddim?
A riddim is basically a beat that’s built in Ja-
maica. When it’s hot, a lot of artists try to get
on the same beat. But it’s the most outstand-
ing song, the best idea, the best melody, the
best hook that really crosses over. Like “Heads
High.” There were other songs on that beat.
I saw you do a number of songs over
hip-hop beats at your show. Is there
anything like that on the album?
Well, I’ve got a joint with Foxy Brown.
But nah, that’s really just for the show,
to give the crowd that hip-hop flavor.
The album is dancehall.

Are you planning on suing Pitbull?
I’m not doing shit about it. It’s the label, and
their lawyers. It’s not me. I tried to kick this
before it happened. I was like, “Yeah, man, you
know we’re artists, we need to kick this shit
before it happens.” I hollered at them. But I
told them, the only way this is gonna be done
is on my track. It has to benefit me and benefit
him. What’s happening now is that some radio
stations are adding his record, and when my re-
cord pops up they’re like, “No, we’ve got that.”
That’s not cool.
Do you plan on working with any other
hip-hop artists besides Foxy Brown?
Well, just on remixes when the chance
comes around. But for now it’s basically
just Mr. Vegas and my artist Wayne An-
thony, ‘cause I’m always trying to break
younger artists. He’s independent, but
he’s talented. I’m trying to help him
make a name for himself. That’s im-
portant to me. He’s one of those art-
ists that could be around in ten, twenty
years. I’m trying to show him how to

40 OZONE MAGAZINE MARCH 2004

T “ME AND [CARL THOMAS] ARE
he setting fits the music perfectly – a
large rehearsal room in New York’s
Right Track Studios serves as the
stage for Mario Winans’ intimate perfor-
mance to a small group of reporters and
Bad Boy affiliates late one evening. Candles
surround the piano where Mario plays and
sings the songs he’s best known for, includ-
ing “I Need a Girl” and his smash single, “I
Don’t Wanna Know.” The latter is obviously
based on a personal experience, because
the emotion in his voice is evident.
After years of working behind-the-scenes,
doing production and lending vocals to many
major artists, Mario Winans is ready to step
out on his own as an artist. After his per-
formance, I had the chance to talk with the
good-natured singer in the studio. He even
gave me a cookie.
Did you produce your current single?
Yeah, “I Don’t Wanna Know.”
Where did you come up with idea to use
that sample? I mean, the first time I heard
it of course I recognized it from The Fugees’
“Ready or Not.”
Honestly, just listening to it over and over and
loving that Enya sample. I was working in the
studio one day and I just came up with it.
Since you’ve been on Bad Boy, do you feel
like working with Puffy has influenced your
sound significantly?
We build off each other a lot. We bounce ideas
off each other. One thing about him is that he
keeps pushing me to that next level, you know,
GONNA TEAM UP AND GO
GET OUR COMPETITION. THERE
AIN’T GONNA BE NOBODY ELSE
AFTER US. AFTER ME AND MY
MAN COME OUT, IT’S A WRAP.”
so it’s a good thing.
Having been behind the scenes for so long,
what made you decide to put yourself out
there as an artist? Was that always the goal
for you?
Actually, I stepped out there a while ago on
Motown as an artist. Even though I left the
company, everybody kinda liked my record. I
wanted to be an artist again. Well, actually, I
did but then I didn’t.
Are you the type of person that likes to have
that attention on you, the spotlight?
Nah, I like attention, but I don’t necessarily
need everyone’s attention. I was one of those
dudes, you know, if I get the right attention I’m
cool with it.
Being on the road, you’ve definitely got at-
tention on you all the time. Do you think
you’ll be able to handle that well?
Yeah, I’m a people person. See? I like to share
cookies (laughing).
After seeing your performance, I have to ask,
most of the songs that you talk
about dealing with relationships,
is that really things that you went
through in your life or is more of
an act?
Nah, it’s not an act at all. Those are
really things that I went through,
a lot of that stuff is just real-life
experience.
Everything you write about is
based directly on your life?
Yeah, but it could be something
from last year, or it could be from
three, four years ago. It’s some-
thing that I’ve experienced, and
sometimes I generalize situations
when it comes to songs. I might
write about it a different way, but
you really get the feeling of what
I’m talking about.
So, for example, in “I Don’t Wan-
na Know,” you were in a rela-
tionship with somebody and you
really didn’t want to know if she
was cheating on you?
Yeah. I mean, to a certain extent,
I just don’t need to know the de-
tails. I don’t wanna know. Wher-
ever I go after that, I mean, any
similarities I see I just don’t want
to bring all that baggage into my
new relationship. No baggage.
Knowledge is baggage sometimes,
so that’s why I said, “I don’t wanna
know.”
As far as the production you did
behind the scenes, can you give
a few examples of things people
might be surprised to know that
you did?
I’ve done some stuff, as far as singing on
tracks, with Mr. Cheeks, Carl Thomas, Lil’
Kim, and 112. And I’ve produced for a lot of
people too.
Has working with Puffy helped you develop
more of an artist mentality, as far as know-
ing how to work the media and act in front
of cameras and things like that?
Yeah, definitely. You know, when I started to
learn that part of it, it was from beign on
tour and watching him, just how he was and
how he worked so freakin’ hard. I kinda picked up
on that. I could see how I’ve gotta act to get to
where I gotta be at.
You developed sort of a workaholic mentality by
watching Puffy?
I was a workaholic before I came here to Bad Boy,
but when I got around Puffy, I just became an ex-
tra extra workaholic.
What’s the longest you’ve ever gone without
sleep?
About four days.
Did you start to hallucinate at that point?
Nah, I was hallucinating the first day (laughing)
Nah, I’m just joking. I was cool for the first couple
days.
How do you stay awake that long? Red Bull, caf-
feine?
Sugar. Candy.
Bad Boy was really known mostly for rap acts, so
it’s a little odd that they’re coming out with two
R&B acts back to back with you and Carl Thom-
as. Is there any friendly competition between
you and Carl? I mean, what is your relationship
like with him?
Me and Carl – first of all, there’s no competition.
We gonna team up and go get our competition.
There ain’t gonna be nobody else after us. Shit,
that’s how I’m lookin’ at it. After me and my man
come out, it’s a wrap. But, as far as, how do I
differ from Carl? You know what it is? I’m like the
setup person. I like to get everybody ready. And
carl is the closer. I’m gonna set you up and then I
go, and carl rips it down regardless. He just rips
it. So we pretty much fit together.
So should we expect to see a huge Mario Wi-
nans featuring Carl Thomas collabo in the near
future?
Oh yeah! It’s a one plus one equals ten type of
thing.
When I first heard “I Don’t Wanna Know,” the
radio announcer said it was a song by Mario and
I was thinking of the other singer named Mario.
Do you think you’ll have any difficulty branding
your name?
Nah, I know there’s another singer named Mario,
but I was cool with that. It actually just brought
light to my first name, I like that. It helps. I didn’t
have no problems with it.
I’m assuming you’re part of the famous Winans
family? How many of you are there?
Yeah. Thirty thousand (laughing). Nah, it’s a lot
of us, though.
Aight, I guess that’s all the questions I had.
Already? (laughing) You didn’t even finish your
cookie!
- Interview & photo by Julia Beverly,
jb@ozonemag.com
OZONE MAGAZINE MARCH 2004 41
 FRESH
“TELL ME SOMETHING
FRESH VOL. 1”
Infallible Records
From the jump-off, I
figured this CD would be
gutta. When you have
T.I. doing your album’s
intro, you best be on
some next-level shit.
Something Fresh! With
samples of audio from
Hype Williams’ “Belly”
interwoven throughout
the album, Fresh gives us enough bangas to
satisfy our hunger. The Clipse come through to
add that Virginia hustler flavor on “Sweet Like
Lick-erish,” and David Banner and Bonecrusher
are also featured on this album. Doesn’t it seem
like these two have their hand in every South-
ern album lately? Actually, Bonecrusher has a
lot more than his hand in this project, appear-
ing on four tracks with solid performances. I had
to laugh near the end of the album. The hook
on “Trying to Tell You” is just plain funny, incit-
ing a fellow clubgoer to “Hit em with a bottle!”
The album isn’t just stereotypical Southern mu-
sic, however, on “Y’all Don’t Want No Honor”
we see Fresh getting introspective on a level
seldom heard in the South. Infallible Records
seems to have the support and talent needed
to make some major noise in the game. – ADG,
adg@tmail.com
CASSIDY
“SPLIT PERSONALITY”
Full Surface Records
“I got a large house, a
doghouse in my backyard
/ And even my doghouse
got a backyard / Big cars,
cigars, and big biscuits /
The kid is doing it big, it’s
big business / The new
kid on the block, admit
that it’s hot / ‘Cause I’m
great like the late Pun,
Biggie, and Pac.” With
those words, most of us were introduced to
Barry Reese, better known to hip-hoppers as
Cassidy Da Problem. For the past two years,
Cassidy has been a mixtape staple. He’s now
gotten the exposure he needs to drop his debut:
a fourteen-track album split into three distinct
personalities. The first is Cassidy, a cocky, arro-
gant playa that has nothing on his mind besides
the ladies. With this Cassidy persona in control,
the bravado and sexual innunendo is through
the roof! Cassidy’s current hit, “Hotel,” with
R Kelly, has been bangin’ for a minute now,
and the other songs from this personality have
similar subject matter. It’s no surprise that “Get
No Better” is the second single, simply because
most of the other songs on this album wouldn’t
get radio airplay simply because of the content,
although the Snoop Dogg collabo “Scream”
could have worked. After Cassidy, we are intro-
duced to Da Problem, his hip-hop persona which
touches on his feelings towards the industry,
other artists, and himself. Pulling no punches,
Da Problem enlists Styles P and Jadakiss for
two of the most arrogant songs ever recorded.
Styles instructs us to “Pop That Cannon” ‘cause
they ain’t scared, and on “Can I Talk to You,”
Jadakiss informs us that “New York is mine,
Philly is Cass’.” With the bars Da Problem spits,
we can’t take this notion lightly! With the bass-
heavy “Blood Pressure” rising, we see a good
song spoiled by a weak hook from Swizz. After
Da Problem, we transition to Barry Reese, over-
hearing a conversation between father and son.
His father points out the positive and negative
messages within the CD, and of course he gets
the last word. Barry Reese, like other artists,
is a human being first, and he stresses this on
“Real Talk.” Swizz Beatz’ contagious production
is consistent throughout most of the labum, and
if you haven’t been infected yet, “Hustlin’” will
do the job. The beat and hook are crazy. It’s
a shame that I can’t say the same about “I’m
Hungry,” where Barry drops the album’s most
notable bars but the hook needs help. The al-
bum closes out with an “All Around the World”
shoutout. As a bonus, we get a visit from Trina
on the remix of “Hotel.” Because of delays, a
third of “Split Personality” has been bubbling
for some months now, so the album’s release
will have less impact on the average hip-hop
head. Nonetheless, it’s a solid album. – ADG,
adg@tmail.com
THER.I.P.Y
“STRICTLY 4 DA STREETZ”
Jangalang Ent.
With Southern music
emerging as popular
music, we see more and
more independent re-
leases coming from the
South. Paul D and Ken Jo
hit us in the head with a
mixtape, “Strictly 4 Da
Streetz.” As I see it, the
title is all fucked up. We
all know the “streetz”
are “gangsta,” but honestly, this isn’t a gangsta
album. This album can be appreciated by any
individual that likes good Southern rap. “2Pac
and Biggie died, but they got Paul now,” is a
big statement to live up to, but Paul and Ken
are up to the challenge. The chemistry between
the two individuals can be compared to the Ying
Yang Twins, displayed best on “Puff-N-Pass,”
which is a real freestyle session. Creativity isn’t
a problem for these two, using Missy’s “Work
It” as a template for the smoker’s anthem, “Fi
Fi.” Both members of Field Mob lend numerous
verses to this disc, but T.H.E.R.IPY doesn’t need
any guests to hold up the album. The album
isn’t lyrically mind-blowing, but if you just like
drawl-drenched rap, then this CD is strictly for
you! – ADG, adg@tmail.com
COLOR CHANGIN’ CLICK
“THE ARMY”
Yung-Ro, Chamillionaire,
Rasaq, and 50/50 Twin
combine forces to give
us “The Army,” a double-
disc project. Each artist
is given equal opportu-
nity to shine throughout
the album. But even
though you can bring
a horse to water, you
can’t make him drink,
and Yung-Ro seems to be
the heart of this monster. He makes the most
of his allotted time on each track. With the
album pretty much split between original and
“jacked” beats, “The Army” has the chance to
out-do an artist as well as letting their flavor
bleed through. Halfway through the album, we
seem to be lost, but then it takes a 180-degree
turn for the better with their rendition of Jay-Z’s
“La La La.” Soon after, we’re blessed with a verse
from Lil’ Flip, who simply outdoes Ro, 50, and
Cham hands down. The remaining songs on the
album get tremendously better, with “The Call,”
“Relax,” and the horn-driven “If U Crunk,” where
Yung-Ro rides the beat like a box Chevy. Midway
through the album I wasn’t impressed at all, but
the second half proved to be very listenable. The
second disc is just a mirror of the first, chopped &
screwed. – ADG, adg@tmail.com
LIL’ C
“THUG LUV”
Dollyhood Records
Lately, R&B albums have
been lacking in replay
value. Lil’ C seems to have
gotten this bug. Lately, my
Alpine seems to be stuck
on tracks 2,8, and 9: “Thug
Luv,” “Tonight,” and “Just
Be Friends,” respectively. C
seems like he feels at home
with his craft on these mid-
tempo to slow tracks. This
is really evident on “Gone Away,” where a simple
sped-up drum pattern trips up C a bit, causing his
vocals to sound forced and unnatural. Like most
R&B albums, there are many relationship tracks,
but C doesn’t bring any new ideas or thoughts to
the game. Many artists sing about the same topics
over and over, but they also have better produc-
tion. Dude can sing his ass off, but he needs to
come with a total package and hone in on a target
audience. – ADG, adg@tmail.com
KIERAN
“R U AWAKE”
Black Rain Records
With catchy synth melodies
and 112-ish style music, Ki-
eran sets out to do his thing,
but in actuality, the mate-
rial and ideas are just dull.
Kieran switches up and tries
his hand with some soul on
“Have My Cake,” where
he just sounds dead, but
then he comes back strong
with “Breathe,” where you
might mistake him for Carl Thomas. Production
on the album sounds like library material, giving
it a generic feel. With very weak hooks and no
signature sound for himself or his production, I’m
surprised the CD cover wasn’t plain white! – ADG,
adg@tmail.com
dead prez
“REVOLUTIONARY BUT
GANGSTA”
“Hell yeah!” dead prez
is back with their highly
anticipated album, “Revo-
lutionary but Gangsta,” a
13-track CD of substance.
The title fits the album per-
fectly, because it’s a blend
of street wisdom and politi-
cal ideologies. So do as they
say and “turn off the radio
/ turn off that bullshit… /
crank up your speakers / your woofers and your
tweeters / turn up your receivers” and listen to
a true album that doesn’t reflect the materialism
of today’s society. After a simple guitar-strumming
intro, we move onto “Walk Like a Warrior,” featur-
OZONE MAGAZINE MARCH 2004 45
 ing Krayzie Bone and Erykah Badu. It’s great to
hear Krayzie back in action, and his verse flows
well with both M1 and Stic Man. The beat is
entrancing, and Badu gets the opportunity to
exercise her vocal abilities. “I Have a Dream,
Too” is one of the more controversial tracks on
this album. M1 lays down a verse describing a
drive-by targeting the cops. This sounds like
one hell of an interesting dream – actually, it
sounds like a low-budget hood movie. Next, we
continue the lyrical adventure with “D.O.W.N.”
The simple beat possesses a certain ambiguity,
with a deep sound that dominates the beat,
contrasting the quasi-chanting and giving the
track an original feel. On this track, dp brings
classic, timeless wisdom like “Can’t tell by no
tattoo / can’t tell by no handshake / it starts
with the heart being down, it’s an attitude /
doing what you have to do for the crew’s sake.”
Track five is a remix, but the original in-depth
track doesn’t come until the end. The next
song, “W4,” is dedicated to everyone working
a 9 to 5, paying their taxes, and then having
nothing left over as evidence of their work.
This slower, mellower track is a nice change of
pace. You’re probably thinking that this seems a
little too mundane for dp, so they add their own
twist to it, comparing taxes to slavery. M1 and
Stic Man even offer a plan of action: “Run up to
the White House and kick in the door.” Now, I
wouldn’t necessarily recommend that solution,
but it’s nice to hear MCs speaking on real issues.
The next track, “Radio Frequency,” has a nice
vibe, and they assure us that they “refuse to be
a stereotype,” implying that radio is restricting
“propaganda.” I think most people can agree on
this one. Next, you know a track is going to be
rather interesting when it starts off with a toilet
flushing. And no, it’s not a big shit, it’s that al-
kee-hal. “Fucked Up,” is, exactly as the name
implies, a track about alcoholics. Most people
can relate to a time when they’ve been bent
over the old toilet bowl, or watched a friend
hurl the unrecognizable remnants of Corona in
the crapper. For dp, this is an interesting detour
from their normal topics. Speaking of detours,
the next track, “50 in the Clip,” is a workout
track. Yes, you read correctly: this is a workout
track. But the workout is not a normal workout
- it’s a workout for inmates. This song clocks in
at only about two minutes, after which there is
a countdown for fifty pushups. Get your fat ass
on the floor. As the sweat pours, track ten kicks
in and the intro has you thinking you’ve heard
this on an Eminem cut already. “Way of Life”
is about the trials and tribulations of life. The
snare kicks in with a dominating sound, as dp
discusses “the fear, the focus, the aches, the
pains, the trial and error, the ranks and belt,
the spiritual growth,” and more. Next up is
another remix to “Hell Yeah,” featuring Jay-Z,
and then the original “Hell Yeah,” which is well
worth the wait. They pose some vital questions
after the first verse, “Ain’t you hungry my
nigga? You want to get paid my nigga? Ain’t you
tired of starving my nigga?” If nothing else, I’m
hungry and starving for some more dead prez.
This album is a strong statement to the labels
that shitted on dp in the past. This album is a
middle finger from all dp fans stuck up proud
and firm at the haters. Let the revolution begin!
- Rohit Loomba, ctpros@arcaneproductionco
mpany.com

46 OZONE MAGAZINE MARCH 2004

(01) - Vlad the Butcher “Hot In Here 4” www.DJVlad.com 866-242-3631 (02) - Voice of Da Streetz “Top 5 Dead or
Alive” DaMayor@Tmail.com or 407-435-4334 (03) - DJ G. Brown “The Regime Change” www.DJGBrown.com 646-963-
3848 (04) - DJ B-Lord (hosted by Roam) “Pure Pain Vol. 1” www.BLord.com (05) - King Ron “Getting My Hands Dirty”
www.KingRon.com 904-614-8402 (06) - DJ Y-Not and DJ King “Big Truck Bangers Vol. 1” scotthking@hotmail.com or
tonygarcia503@hotmail.com (07) - DJ Greg G “Street Heat 7” www.DJGregG.com (08) - DJ Sugga Black (hosted by
Master P) “King of the South Vol. 7” DJSuggablack@hotmail.com or 850-212-7595 (09) - DJ Killatone (hosted by Stat
Quo) “Out of Pain Comes Glory Vol. 10” www.DigitalDominanceEnt.com or 407-400-0609 (10) - Greg Street “Headed
to the Super Bowl” (11) - DJ Ideal (hosted by Jae Millz) “Street Heat 3” (12) - DJ Aspekt (hosted by Stat Quo)
“Neva Trust a Skinny DJ” DJAspekt@my2way.com or 305-368-0444 (13) - DJ Christion “Mixing it Up with Bacardi”
www.DJChristion.com (14) - DJ June Buhg “Bigger Than Life” DJJuneBuhg1@yahoo.com or BigNick@my2way.com
(15) - DJ Bobby Black “Best of Lil’ Jon” www.djbobbyblack.com or 404-589-1126 (16) - DJ Chuck T “Down South
Slangin’” chuckt@aol.com or 843-345-9763 (17) - DJ Smallz (hosted by Lil’ Flip) “Houston We Have a Problem”
www.djsmallz.com (18) - Emperor Searcy “NBA All-Star 2004” www.bmerecordings.com 404-367-8130 (19) - DJ Splack
“Street Mix 3” DJSplack8@hotmail.com (20) - DJ Rondevu “Knights of the Round Table 2” www.DJRondevu.com
 TJ’S DJ’S RECORD & CD POOL TASTEMAKER’S CD
For more info visit www.tjsdjs.com or call 850-877-6090
Nappy Headz f/ Total Kaos & JIT “What They Do”
Shaheed @ Stargate, 850-656-1292
Rowdy, Rowdy! Talk about a Florida anthem. The Nappy
Headz land another hit with this one; it’s guaranteed to get
the clubs krackin’! “We take it from Leon County to Duval,
headed to Dade county with the roof off and we don’t carry
guns for nothin’, we shoot dog!” Uh, someone call security…
they’re fightin’ in the club!
Suave Smooth f/ Red Rat “Shake It”
Jermaine Watson @ Headquarter Records 561.389.5525
This song will definitely get the ladies out of their seats. “Little mama,
just shake, shake, shake it for me.” The hard-hitting beat almost com-
mands your body to move without your permission. There’s a nice balance
between Suave and Red Rat, not too much reggae, not too much hip hop.
It’s a great song for Suave; it can work in the clubs or on the radio.
Jacki-O “Slow Down”
JR @ Poe Boy, 305-817-8817
With her debut album “Poe Little Rich Girl,” coming soon, Jacki-O has
proved that she’s got what it takes to snatch “The Madame of Miami” title.
The Timbaland-produced “Slow Down” shows the other, more lyrical side
of Jacki that we didn’t get to hear on “Nookie.” Instead of using her good-
ies to get our attention, she uses her delivery and wordplay. Jacki-O has
proved that she’s not just a girl gone wild, she’s also an MC.
Choppa “Hot Piece”
Von @ Body Head, 850-479-2918
Choppa definitely sticks with what works, he brings us another bounce beat
to follow up “Choppa Style,” that will have all the hot pieces out on the
dance floor p-poppin’. Make that money, make that money, make that make
that make that money! The singing on the song kind of waters it down, but
nevertheless, it still has the potential to be another club banga!
Mr. Charlie f/ D. Capital “That’s That Shit”
Byron @ Chronic, 305-512-4774
Mr. Charlie delivers an upbeat song made for the clubs, you almost can’t
help but to sing along. “Turn your head to the side, shake ya booty, hands
high, that’s that shit!” Whether you like it or not, the song will be stuck in
your head after you listen once.
Mela f/ Kanye West “You”
Neelz @ Dry Rain, 646-226-5968
This song is all about the grown and sexy. It’s the perfect song to get the
ladies out of their seats. The simple, yet catchy hook almost guarantees
that you’ll be singing along in just a matter of time. When Kanye drops his
verse, he just adds fuel to the fire. It’s almost disgusting how ready this
song is to be a hit single.
Anthony B f/ Wyclef “Lighter”
Buggah @ On Point, 305-372-0057
Even if you’re not a smoker, once you hear this song you’ll want to find a
lighter so that you can spark anyway. Anthony B. laces the riddim right and
Wyclef’s eccentric style sounds at home. This song has a great balance be-
tween reggae and hip-hop that allows for crossover success in both genres.
After listening to it, you’ll want to hear more from Anthony B.
Life The Great “Work Out”
Antonio Starr @ Urban Acres, 770-356-6801
The theme of the song is the club, but the song is actually more mellow
than crunk. It’s not a bad song, but it just won’t hold your attention very
long. Life does have potential, I would like to hear some of his other songs
before ruling him out the game.
M.O.N.E.Y. & The Currency Click “Everyday Love (remix)”
Bola @ Talking Drum, 916-455-4947
The “Everyday Love Remix” reminds me of the west coast. It’s one of those
songs that you would be bumping on a Sunday as you ride out to the park,
windows rolled up, with the puff, puff, pass-action going! It’s a nice ride-
out song and although it’s laid back, its far from boring.
Ish & The Chitlin Circuit “Pimped Out Penthouse”
Soulow @ 850-656-1434
In a time where most music follows the “formula” and creativity has disap-
48 OZONE MAGAZINE MARCH 2004
peared, Ish deserves the title “artist.” The p-funk inspired
song sounds like it could have been on a George Clinton or
Parliament album. “Pimped Out Penthouse” is funkier than
the garbage man’s socks; yet it’s a breath of fresh air.
Grand Prix “Alcoholic”
Jonathan, 904-434-7234
In the trend of dedicating rap songs to various types of al-
cohol, these liquor lovers are no different, Grand Prix give
a shout out to all their favorite drinks. “Talk about it, be
about it, ain’t got no Henn, pass me Hypnotiq.” However,
the song lacks the enthusiasm of other alcohol-dedicated
songs like “Pass the Courvosier” and “Grey Goose.” It’s a little flat…no
pun intended.
Poppa Dizzom “Damn You Looking Good”
Tony @ Creepnik, 954-274-2406
Big shouts out to the girls that get down on the flo, on the flo. That’s
right, they don’t hardly ever get any love…at least till now. “Damn You
Looking Good,” is all about letting them know that they really are spe-
cial, even if only for one night.
Junior Varsity f/ Jeff B “Shorty”
Derrick @ Mad Hype, 770-263-2019
There’s just something about love rap songs that’s just unsettling. How-
ever, Junior Varsity pulls it off. Even though it’s a love song, it has a lil’
bounce to it; nice beat, nice lyrics and nice hook. Radio should suck this
one up; it’s got the right formula.
Mr. Mo f/ Jim Crow “Brown Liquor Party”
Rico @ Dreamworld, 770-934-1300
Tight work! Mr. Mo from the Atlanta-based group Jim Crow and Sean Paul
of the Youngbloodz deliver some great versus about the variety of brown
liquors that they enjoy. If you need anything to get the party jumped off,
then pop this song in the CD player and your mouth will be watering as
you think about some Congac, Tequila or another brown liquor.
Blood Raw “Represent”
Charles Wakely @ Blood Raw, 352-246-4495
Much respect to the grind. Blood Raw is the streets, biatch. The good
thing about Blood Raw is he delivers his grimy rhymes with lyrical prowess
and a unique, memorable voice. “You don’t stay where I stay nigga, you
don’t live where I live nigga, you don’t pay my bills, nigga, you don’t feel
how I feel nigga, I’m too real my nigga, you just hatin’ how I live nigga!”
Blood Raw got next, you have officially been warned!
Pacasso f/ Grill “Life That I Chose”
Pacasso @ Fast Lane, 407-616-4669
This is a very introspective song. Pacasso talks about the repercussions
of the choices he’s made, it’s the type of song to make you think about
things you’ve done in your life. Although the song is mellow, make no
mistake, it still rides out.
Durtyville “Back Up”
Kelvin @ Elevation, 706-689-4565
Southern anthem! ‘Nuff said. But in the essence of respect, I’ll say more.
This song could prove to be very dangerous in the club. “We keep it crunk
in the south, runnin’ off at the mouth, throwin’ bows in the club, whatchu
know ‘bout us, so backup!” Durtyville drops a thugs-anthem song, sure to
get the thugs bouncin’.
Max & Stix “Like Phat”
Andrew @ Big Business, 954-445-0223
If you needed any convincing to do naughty things then listen to this song.
In no time you’ll be out on the dance floor grinding and rubbing. Max &
Stix like it PHAT – Pretty Hot And Tempting and it won’t be long before
they have you liking it that way too.
A.B. Rock “G.E.T.T.O.”
Daryl @ QCM, 904-234-2261
B-I-N-G-O, B-I-N-G-O, B-I-N-G-O and Bingo was his name-o! Never in my
life did I think that the Bingo song I learned in kindergarten could be cor-
rupted, but A.B. somehow managed. “I know this girl from ‘round my way,
lil’ mama off the chain yo, G-E-T-T-O, G-E-T-T-O, G-E-T-T-O.” The crazy
thing though, is that the song isn’t corny, that shit is funny as fuck.
- Storm