homepage

Mary J. Blige Sued For $2 Mil Over ‘Work That’

A Hip-Hop production company filed a $2 million lawsuit against singer Mary J. Blige and producer Theron “Neef-U” Feemster, over the track “Work That” from the R&B star’s Growing Pains album.

 

Dream Family Entertainment filed the lawsuit in Manhattan Federal Court on Tuesday (August 5), claiming that Feemster created the music while he was still under contact to Dream Family.

 

According to The New York Daily News, Dream Family Inc. alleges that they never granted Feemster or Blige’s label Geffen permission to release the song, which was also featured in a popular commercial for Apple’s iPod and the iTunes store.

 

Growing Pains, which is Blige’s eighth album, debuted at #2 on Billboard’s Top 200 chart and #1 on the R&B Hip-Hop charts.

 

In related news, Blige is up against Kanye West, Lupe Fiasco and Flo Ride for Best Hip-Hop Video for her single “Just Fine” during the MTV Video Music Awards, which air September 7.

 

Neef-U has also worked with Memphis, Tennessee rapper Young Buck.

Young Jeezy: Hard Times

It takes a thorough and savvy individual to prosper during an economic downturn. Considering the current conditions within the music industry, Jay Jenkins certainly feels no pressure. But Young Jeezy has always made good out of any situation. Still under his original moniker, Lil J, he would make his name early on with his independent releases Thuggin’ Under The Influence and Come Shop Wit’ Me. Selling over fifty thousand copies on the street combined, the rep grew bigger and so did the label offers. Monopolizing on his buzz, Jeezy would sign into Bad Boy group Boyz N Da Hood and his respective solo deal. Now with a classic debut and a respectable follow up in the bank, he is considered one of the Rap game’s brightest stars. As he walks into the conference room of his recording home Def Jam Records, the work never leaves his mind as he greets everyone in the room and makes sure bring up his upcoming album The Recession. Attempting to further connect with his listeners, the subject matter on the upcoming disc will relate to the everyday struggles of the streets during the current economic slump. Jeezy does exactly that as he details his come up, stresses the importance of maintaining and why quitting school was possibly his worst decision.   AllHipHop.com: How have you been? Jeezy: I’ve been grinding. I just wrapped up the Janky Promoters with Mike Epps; Ice Cube movie and s**t. Working on you know just my s**t, just getting everything together, getting the 8732, getting ready for re-launch to that; basically just grinding. Out here grinding like the boy Khaled say.

“I didn’t want to do album that was just based on selling units. I wanted to do something that muthaf***ers going to remember for that time and that era. I think back on the s**t I grew up on, 8Ball & MJG, you know Hot Boys, s**t like that, it takes me back to that era. I just wanted to get people through the hard times but give them something they can really relate to instead of just some sky balling ass, I’m on top of world type s**t.”

AllHipHop.com: Why the title The Recession for your new album? Young Jeezy: Just coming up I’ve been through a lot trials and trills myself, and I always learned how to deal with them s**ts by just staying focused and maintaining and staying down. I think a lot of people think that you know in life you’re supposed to have a lot at one time; when you need money to survive. So it’s a course of maintaining; it’s not a sprint, it’s a marathon. You got your bare necessities then you got the s**t you just want or the s**t you think you need. So during a drought or a recession or what have you, if you continue to try live as everything is all good then your end result you’ll be f***ed up. So The Recession to me was letting people know that’s it’s really f***ed up out here. Even though it might seem good tomorrow or six months from now, you can be on your ass. So with that being said and just seeing a lot people in my own communities going through a lot of changes, I just wanted to more so relate to the people. Because music as you know even during a time of war or whatever, people relate through s**t with music. But at the same time it’s like the recession is real, it’s like everybody is going to remember this s**t; ten fifteen twenty years down the line like the Great Depression. People remember, so I didn’t want to do album that was just based on selling units or just making record sales. I wanted to do something that muthaf***ers going to remember for that time and that era. I think back on the s**t I grew up on, 8Ball & MJG, you know Hot Boys, s**t like that, it takes me back to that era. So with that being said I just wanted to get people through the hard times but give them something they can really relate to instead of just some sky balling ass, I’m on top of world type s**t, more so like get me by my day when I’m stressed the f**k out I know what to pop in, I know what number to go to and I’m good. I do that s**t for the streets, people relate to me because they know I know how to deal with the topics they going through.AllHipHop.com: Sonically Let’s Get It: Thug Motivation 101 is considered a classic while The Inspiration went hard, it didn’t hold up as well as the first album. Young Jeezy: And I’ma to be real with you, I feel like that too because the second album to me didn’t relate to as many people. The first one did because it was raw like f**k that this is me; this is how I’m going to be. The second one was more so I want to reach more people, but how do I do it? That’s why I called it The Inspiration because I got inspired by the things that was going on around me to do bigger music. But then that’s when the reality check comes in; it’s like okay. It’s a bigger album but is it a better album? Is it going to touch the hearts of men? Is n***s going to live or die by this s**t. And my answer would be the first one was more so like that and that’s why The Recession is going to be more so like that because I’m relating to the times and not just what I’m going through. When a motherf***er listen to your music, they listen to what’s going on with you and they kind of put themselves in that picture. So when I was doing The Inspiration I was more so going through trials and trills, just getting used to living a different way and just doing things different, f***ing with my career and just different things like that. And everybody else wasn’t going through that at the time and that’s what you had. AllHipHop.com: So how does The Recession separate itself from the first two albums? It seems like you want to put more of a stamp socially with this effort. Young Jeezy: Yeah I think it’s the same thing. As long as you got anthems on there and s**t that people want to hear, versus just some s**t you hear on the radio or some s**t you just hear in the club. Like you know you hear club music all the time, but when n****s go in the car they and listen to the s**t they want to listen to. And I think that what this album is, it’s more so like just solid. It’s straight me, it’s straight Jeezy, ain’t no sugarcoating, ain’t nobody in my ear, ain’t none of that. It’s just straight me, I’m going to the studio and this is what I came out with. This for ya’ll, look what I made for ya’ll. AllHipHop.com: Tell us who’s on it production wise. Young Jeezy: It’s a drought bro. I didn’t play the name game; I tried to help the n****s out around the way and you know upcoming n****s that were really trying to get on. The n****s that don’t really got it now; it’s a recession. I just helped the n****s that who was hungry; like me. Like Midnight Black, Shawty Redd, Drumma Boy, Toomp. I didn’t really play the name game, I just f***ed with n****s who wanted it; f***ing DJ Nasty. All these is just n****s who probably ain’t got a lot of placements and s**t. But them n****s was hungry and so it’s more so to feed the team type s**t, like making n****s eat and that’s the s**t I was on. AllHipHop.com: You say you’re not playing the name game but you got Kanye West on the first single “Put On”. Young Jeezy: It wasn’t even about the name game with ‘Ye; I just wanted to see what “Put On” mean to him because I knew what it was to me. AllHipHop.com: What did it mean to you? Young Jeezy: I mean putting on to me is – like right now its f***ed up. Instead of me trying to walk around with my head down or feeling a certain way because you know the game ain’t the same and the stakes are high but the sales are down. Like I throw on a white t and still put on. No matter what’s going on with me I’m going to continue to be Jeezy and do what the f*** I do. And I just think everybody else should do the same, that’s how I felt about it. So I just wanted to see what putting on was for ‘Ye. When you heard his verse he gave you what putting on was for him and it was a whole different thing. I just did that song by myself; it would have been in one lane. Now the world can accept it. That’s a terminology that came from Atlanta. Like putting on is what we do; like damn you see a n***a it’s like that n***a put it on. He got the new Jordans, he got the new whatever whatever whatever; that’s putting on. But even when a n***a can’t afford no Jordans, he’ll go get his chucks and he still putting on feel me?  AllHipHop.com: What was the feeling in the studio when you were putting down these tracks? Young Jeezy: I took it very seriously. I went in; I really concentrated on the songs. I turned down a lot of shows, a lot of other opportunities because I really wanted this s**t to be a real album. I didn’t want it to be a bunch of songs on the CD. I was real focused; that’s what we call it. I was focused for real; like some day in, day out, I lived with it. The s**t I was going through I went to the studio and put it right down. AllHipHop.com: You want this album to appeal to everybody do you think it’s going to be received by everybody? Young Jeezy: I think it will be received by the people that understand. Of course if you got it like that, this recession ain’t probably hit you at all. You in a different tax bracket or some s**t. But when you talking to a n***a when his brown paper bag getting halfway empty, he going to listen, because he want to fill that motherf***er back up or at least to keep it where it’s at. 

“If you heard some s**t I said and you might not think I’m not as lyrical as the next n***a but if you go in the hood I’m God. You can’t tell a n***a no different. He going to walk up to me and tell me some s**t I said that I didn’t even know I said.”

AllHipHop.com: At the end of the day you want to sell records, so how do you reach out to those who can’t relate to that? Young Jeezy: At the end of the day, one thousand, one million I ain’t never trip, I always wanted to be heard; that’s why I always went so hard. You got to understand that’s a lot of motherf***ers in this game that just got sheer talent. I got a big heart and a lot of grind. I’m not selling albums; I’m selling a way of life. Some n****s sell hit records but I sell real n***a music to real n****s and people who do appreciate, they understand. If you heard some s**t I said and you might not think I’m not as lyrical as the next n***a but if you go in the hood I’m God. You can’t tell a n***a no different. He going to walk up to me and tell me some s**t I said that I didn’t even know I said. So it’s just different. It’s a lot of motherf***ers you seeing on TV everyday that look good but it ain’t solid. Any given time a n***a will be like f**k him. At the end of the day if n****s listen to my s**t ten years from now they going to be like “Ok “Trap Or Die”, that’s that trap or die n***a”. That s**t really meant that at the time, n***a was really trapping or dying, that wasn’t a hit record; it was a way of life though. AllHipHop.com: With the kind influence you have over your community, how do you try to encourage your fans? Young Jeezy: I’ve always looked at myself as a motivational speaker as crazy it sound. Even my big homies used to call me about advice, I’m just a responsible ass n***a. Like if a n***a on my watch, ain’t nothing is going to happen to him; if we go out together we coming home a hundred percent. If anything happens, it’s going to happen to me first; because it’s always been like that. So I try to relay that in my music, I try to keep motherf***ers in tune to what’s going. Even though you see a lot of things on TV or hear a lot of things on radio, we still deal with real issues. If you walk outside here right now and go to f***ing Flatbush, there some n****s out there who trying to get their life together and don’t understand how or don’t really have nobody around them to talk to make that step. So when n***a step to me, “How do I get on?” or “How do I do this?” That means a n***a watch my moves or something to make it somewhere, and it was influential enough to even ask me, “How did you do that?” Because that means he idolizing that s**t, “Like dam n***a, I remember seeing you walk around this motherf***er, how you get to where you at?” And I just try to put that in music. It’s like being in the hood and your older uncle or big cousin or something, he come up, you want to know, how he came up? If you getting out of high school and this n***a driving around in Benzes, you’re like “How the f*** he do that? You ain’t got no job.” But the n***a had a brain though. You got to put that in the music. It’s like the same thing…I got an eighth grade education but I can sit down with a n***a that run a Fortune 500 company and talk to this n***a about how to get money because I understand. When you have an understanding, understanding is the best thing in the world, you got to spread that understanding. You got to let a n***a know it’s cool to be articulate; it’s cool to be smart if you got common sense. But if you don’t hear that in the music… a lot of music you hear, you used to hear n****s say s**t back in the day, and you used to be like, “Why the f*** he say that?” but then as you get older, you’ll understand this n***a was on his s**t—I just didn’t know. And that’s how I want my s**t to be. AllHipHop.com: What kind of personal matters did you touch on this album? Young Jeezy: A lot of times I found myself reminiscing about a lot of s**t I went through coming up and I had to do to get where I’m at. A lot of times I remember being at my grandmother’s house and s**t and all that when I left my mom’s crib. I used to be out all day and night and I used to sleep during the day and she stayed right across the basketball court in the hood, in the projects. So I would sleep and dream about doing s**t like parking a yellow Ferrari in front of my grandmother’s house and just showing her how good I’ve done. I used to hear the basketball [dribble] all the time, every time I would sleep just hearing n****s talking. But I used listen to them n****s and they weren’t talking about s**t. You ever sleep and you hear n****s talking? The things n****s was talked about; I was like my dreams were bigger than that. And I could do better than that and I took all that s**t and made it something. My grandmother is passed, but I remembered that and I remember all the trials and trills I went through; so what kind of n***a would I be to get on and know that was my motivation and inspiration and then forget it and drop it just because I want to sell records. That’s who I am. That’s my life. That’s why I’m here today. All the s**t I went through was real pain and real struggle. Even if a n***a listen to my lyrics and he like, “Oh that n***a [isn’t real],” he’ll never understand it because he never been nowhere near what I just came from. And he’ll never go and even if you dropped him off there he wouldn’t know how to survive; he’d be f***ed up. The only way he’ll know how to survive is the guide; the blueprint (laughs). Take him through Thug Motivation 101, listen to it five times and drop him off in the hood. [Now] he’s a hustler. AllHipHop.com: Detail how your transition from the streets to now. Young Jeezy: It was day in and day out, just not knowing man, for real. Like even when I see n****s and hearing n****s talking about it, I just shake my head. This is not my fad to me. I hear n****s get into the game and just they say anything. To me it’s almost a sign of disrespect because I respect the game so much. Like I could be so much bigger if I just say f*** that. Keeping it real becomes keeping it dumb sometimes. But to answer your question, it was hard then and it’s harder now. You should hear what motherf***ers say like “he always talking about that and he always talking about this.” Like n***a, what else do I know? What else could I tell you that you would listen to? I don’t know how to fix cars, or build houses. I don’t know that s**t. I’m quite sure if a n***a that was his area of expertise, he could tell you that. I’m a hustler; I came from nothing to this. And I’m not going to stop; this is not my stop, so I’m going to keep going. I’ma take the people that f**k with me, with me. But to answer your question it’s hard. I think about the smallest s**t I been through, I think about all the times that I might have not been here. I think about all the n****s that just are seeing thirty, forty years in prison. I think about all the n****s that was hanging with me one day and they dead the next. I got to fly to Baltimore this week; a n***a killed my little homey Mike. Twenty years old, all he wanted to do was rap. He was in the street. I’m in the studio, we kicking it and we talking. I go to LA to finish the movie, I’m on the set a n***a call me like they just killed Mike. I’m already knowing what it’s about, it’s the effects of the recession. People f***ed up. But you got to think I made it out of there and he didn’t. But a n***a look at my music as his entertainmentl this is what I deal with and I’m still not out of it. I’m still dealing with real n***a issues everyday. And a n***a looking at me like a rapper, and I’m like do you see what the f*** I’m going through? 

“When I made my decision that was like the worst decision I ever made, but it was the best decision I ever made. It was the worst decision because everyone looked down upon me like “ah told you, you f***ed up”. You got to look at what my options were. When you quit school you kind of know what you dealing with; death or jail.”

AllHipHop.com: You mentioned earlier you have an eighth grade education, tell us about that. Young Jeezy: But I’m smarter than a motherf***er, don’t get it f***ed up (laughs). Even in school just coming up, true story, I had to take care of my mom, my sister, and my grandmother, and a lot of my people, I’ve always been a provider. And it’s like I just learned sometimes you got to be focused, like you can’t have it all. I sent my sister through school, she’s a registered nurse, and got her life straight but she was always an “A” student even with the s**t we was going through. Even when I went to school I was focused and I did my work, I understood everything. I helped my homeboy in jail get his G.E.D. when we was locked up. I can teach another person something. I just got to find ways to make it relate. What I did was, I knew I couldn’t focus. I would had loved to go to college, I used to ride by [the] A.U. center like everyday like, “Damn, if I could just go to this motherf***er.” But I couldn’t because I had to make do. It was just hard waking up trying to make sure we straight and go to school, staying out late night, sleeping in cars and s**t. On the grind, just up with n****s all night and getting up and trying to focus and go to school. I remember listening to Da Brat every morning out of a little bitty radio, with a Brat tape she had this song called “I’m Going To Give It You”. I used to play that s**t every morning, that used to be my motivation. I used to jump up and throw that motherf***er in. I used to be so tired; I’m a kid though still trying to go to school still trying to make sure people straight and my options just ran out on me. Either we going to survive or you know and we not have nothing or you can go to school and we going to be f***ed up. And I just had to make a decision; just like f*** I’m going to continue to do what I do. Still stay on my s**t; but I can’t go to school. When I made my decision that was like the worst decision I ever made, but it was the best decision I ever made. It was the worst decision because everybody looked down upon me like, “Ah told you, you f***ed up”. You got to look at what my options were. When you quit school you kind of know what you dealing with; death or jail. When you know that, if you know that, that’s what you go to know. That’s your options. So you making this choice for everyone else, and you go to be the only that’s got to pay for it. Like I said, that s**t was just difficult, in eighth grade I was like f*** it. AllHipHop.com: It’s good to hear you’re an advocate for education. What would you tell a young boy that comes up to you that says I want to be just like you Jeezy and drop out, I want to be a rapper. Young Jeezy: I would tell the n***a to follow his heart. I wouldn’t lie to him, school ain’t the way for everybody. Some people never went and are the biggest businessmen you’ll ever see. But once you can go get it, go get it. That s**t just get you in the game. It takes so much more common sense to deal with this s**t. They can’t teach you life skills, and people skills, like nobody really wins, you just got to play it the best. That’s a major piece. If you can get it I say get it. It’s good to have. Because a n***a can’t take that from you, they can take those chains and all that s###, take your car. I look at it like I got all this s**t and I’m going to wake up tomorrow they going to knock on the door and it’s going to be all gone. But they can’t take this from you. They can’t take those motherf***ing plaques. They can’t take the fact that I got a voice and I could talk to n****s. AllHipHop.com: With such a history deep rooted in the streets, do you feel your associates try to pull you back in? Young Jeezy: It’s not even the circle I keep. Imagine this, a n***a told me the other day…I was just out and about and you know I still go do the strip clubs and everything, and I still go do my thing. But imagine this being the n***a in the club and you looking at n****s like JD and all these other n****s that’s on and you just a n***a in the club with a chain on and you got your whip outside but you a nobody; and you on the other side and you just watch these n****s like, “Damn, they them n****s.” But then you see how they interact with people, like motherf***ers f*** with him, they speak to him, but they speak to him as who they are. But imagine being the n***a that was on the other side that made it to the other side but you really know everybody. So no matter what happen or no matter what move I make when I go out, I really know n****s. Like I know all the n****s in the street; all the thorough n****s. I know n****s from Maine to Spain; like literally. So n****s treat me with a certain type of respect, and I have to do the same. So even when I’m on my business s**t, I still got to acknowledge n****s because these are the people I knew before. And it’s like you know motherf***ers, you got to keep your word, like you got be real to what you saying because at any given time if you change up and act different, they going to notice and the word of mouth is bigger than anything. It’s like this n***a tripping, he don’t even know us no more.AllHipHop.com: Behind all the cars and jewelry and fame, who is Jay Jenkins? Young Jeezy: I’m a real n***a. I’m a realist and I’m fair. If you ask anybody about me, I’m one of them motherf***ers that I’m fair. I’m always trying to help the next n***a; giving the next n***a game. When I came up the old n****s wouldn’t give me game that’s why I had to learn more to walk. That’s just who I am, I’m a grinder, I go hard. Sometimes I go so hard, I forget about myself. I might get in the zone and just spazz the f*** out and just go in and wake up a year later and I don’t even know because I just been grinding hard. I’m going to make sure my peoples straight. I got tunnel vision; got my eyes on the prize. I’m not coming up for air until I’m where I’m supposed to be. Everything I do is like a chess game. I don’t bring my dice to the chess game, I come to play. I’m going to sit back and strategize and s**t, like yeah watch my next move. You like that, watch this. That’s what I do everyday with everything, with my meal, with my food, with everything. I play.

Lloyd: On the Inc., Making Love, and Music

In today’s music, artists are recycled faster than you can say “one hit wonder.” Competition is always ready and willing to knock those withstanding out of the limelight. With steady decreases in album sales, it can be really difficult to maintain your relevance. R&B upperclassman Lloyd managed to stay focused on his music during a time when his label was going through challenges and even released one of the hottest records of 2007, Street Love. Mr. “Long Hair Don’t Care” has long since made the pilgrimage to The Inc., a label that has been increasingly broadening its horizons post-Ashanti with signees like Vanessa Carlton. In the midst of all that [plus controversy] lies Lloyd – a rising superstar waiting in the wings to takeover R&B. He sits with us to talk about his new album Lessons In Love, a very tight-lipped discussion on The Inc., and how making music is a lot like making love. AllHipHop.com Alternatives: How did you initially get the attention of Irv Gotti?Lloyd: Through my music. I think that for all the young acts out there that start to get on, if you got good music it will get heard.AHHA: So when you first signed to The Inc., that’s when all the legal troubles were unwinding. How did you feel as a new artist coming into that?Lloyd: I just make good music. I don’t really let other things get to me. I just try to block out what’s going on around me and focus on what I’m here to do.AHHA: Were you worried that your talent wouldn’t get much recognition?Lloyd: No, I mean that’s the sole reason why I pushed the single “You” with Lil Wayne at the time, because Hurricane Katrina had devastated my family in New Orleans. I had no label support. So I just decided to take matters into my own hands and release what would become one of the hottest songs of the year.AHHA: At one point you went on to sign with ShoNuff Records with Jazzy Pha. Is that why you decided to go that route during that time?Lloyd: Well me, Jazzy and Noonie, we’ve always had a great relationship; they’re pioneers of the Atlanta sound. [Jazzy] was just someone who I’ve always wanted to work with. I’m actually managed by ShoNuff which is Noonie. So we all have a great relationship.AHHA: Back to The Inc., how do you feel about certain acts kinda separating themselves from that roster?Lloyd: Again, I don’t really focus on anything other than making good music.AllHipHop.com: So with Warner/Chappell, the publishing deal, how did that come about for you?Lloyd: Chris Hicks and Noonie have been really good close friends, just following my music. I think that by me waiting to do a publishing deal as opposed to just jumping right into it younger, I thought that was the biggest thing for me because it gave me a chance to develop my songwriting and to build my catalog before signing. AHHA: Did you write a lot of the tracks on this new album?Lloyd: Oh yea I wrote and I even produced.AHHA: How does Lessons in Love differ from your last two albums?Lloyd: Well you know it’s different from anything I’ve ever recorded. The sound is completely different. It’s a little more soul sometimes. Other times it’s the coolest up tempos. I chose to work with some new faces – Nelly, Polow Da Don, Ludacris for the first time. And I even went back to some good friends of mine who I worked with before like Jasper, Reese, J-Lac [Usher’s brother], Eric Hudson. I’m even producing on the album for the first time, and I always feel like making music is a lot like making love. The idea of always taking a different approach and trying new things and keeping it exciting. The sound is different, but the coolest thing about it is the stability in the music. I think that it’s a continuation of last year’s Street Love in a sense of feeling good and its great love songs. AHHA: Which tracks in particular do you feel display your growth the most on this album? It seems to be more mature than the last. Lloyd: There’s a song called “I Can Change Your Life” that I recorded with a good friend of mine, Oakwood, and it was written by R.L. of Next. That is a great, great R&B love song. I think that it was a big stepping out for me as far as vocals are considered. I tried to take it to a different place on this one that I never took it before. I think that that one was probably the most challenging to record.AHHA: Tell us about Young Goldie Music and why it was created.Lloyd: Young Goldie Music, that’s me! Young Goldie was created solely for the purpose of me making sure my sound was what I wanted it to be. Also, it was me making a stand for myself claiming my independence as not only a songwriter and an artist, but as an executive producer. Young Goldie is really just about the energy of the young people that’s actually out here making the music that the old guys is getting all the credit for. AHHA: Do you have any artists right now?Lloyd: No, no one is signed yet, but that doesn’t mean that there won’t be by the end of the year.AHHA: What projects are you involved in outside of music?Lloyd: Outside of music, I’m very involved in my community, which is Atlanta. Always on the scene in the ATL trying to shine some light on the darker corners of the hood. Between that and just traveling a lot and actually even getting into other forms of entertainment like acting. Theater is something that I did a lot as a kid. So I have a lot of aspirations to try different things. But I’m really focused on the music right now. AHHA: Who are some of your musical influences?Lloyd: Marvin Gayne, Curtis Mayfield, Stevie Wonder, Michael Jackson, Bobby Brown. I really like Usher, who is one of the more recent people who I really respect. And to take it way back, even Sam Cooke. AHHA: What would you say are some of your biggest career accomplishments to date?Lloyd: I think the biggest accomplishment is that I’m here with you right now and not at home watching this on TV or on my computer. For me, the biggest accomplishment out of everything, is that I’m still here very much so and getting better and stronger. And for me to stay in the game when it’s so challenging and when the stakes are high says a lot. I’m not really nostalgic. I don’t really like to dwell on what was in the past, or accomplishments in the form of awards or medallions but more so about just still being able to touch people through my music.

BREAKING NEWS: Woman Found Dead Following Lil’ Kim B-Day Bash

The CW11 reported earlier that a woman was found dead in a utility closet yesterday on the roof  of Times Square night club Spotlight Live.

 

The woman, 24-year-old Ingrid Rivera, was identified yesterday by her parents after her mother reported her missing following her Sunday night attendance at a birthday party at Spotlight Live, for Brooklyn rapper Lil Kim.

 

Rivera, a Queens, New York resident,  was last seen having an altercation with bouncers reportedly over her alcohol intake. 

 

She was surreptitiously separated from her friends by bouncers and was never heard from again.

 

The star-studded event was attended by Hip-Hop luminaries  Busta Rhymes, Lisa Raye, Missy Elliot, and Wyclef Jean, among others.  

 

Early forensic examination shows evidence of blunt force trauma. 

 

At press time, a complete autopsy report had not been completed regarding cause of death.

Hood Prep: Dream Big! From Katrina to the Olympics

 

 

Welcome to Hood Prep! This is the story of two brothers Troy and Alfonzo Bolden from New Orleans, Louisiana.

Growing up on a plantation, the only dreams that seemed attainable to them was

in the welding industry – that’s’ all they saw and they were the jobs making

the best money. Eventually, their uncle got them out and influenced them to

start dreaming, he told them to “dream big and dream beyond this place.”

 

Now as the CEO’s and owners of Hood Prep clothing, they’re

stepping into the fashion world, with the hopes of creating themselves a

permanent spot. First the Bolden brothers made sure they took care of the business

side of Hood Prep, a name which people laughed at in the beginning. The nay-sayers defined their terminology of “hood” as in “the ghetto,” but Hood Prep

is about where you’re from – every hood, everywhere.

 

We got the chance to speak with, Troy Bolden and we had a frank discussion about their journey from the destruction from Hurricane Katrina, the clothing and the future of this new Hood Prep movement – which includes some

play at the US Olympic games!

 

AllHipHop.com: Can you start off by telling us how Hood Prep

clothing came about?

 

Troy Bolden: Well Hood Prep was pretty much a style that was

worn in New Orleans, we always crossed styles. My brother Alfonzo, we call him the Black Einstein, called me one night and said, “I got something and he said “Hood Prep.” Then he broke the terminology down to me and I pretty much took it from there. I’m kind of like the guy in the back that makes everything move.

 

AllHipHop.com: Now every clothing line has a slogan or motto

that defines them, what is Hood Prep’s?

 

Troy Bolden: Our slogan is “Don’t let the gear fool you.”  I remember one night watching something on TV where Andre 3000 was talking about MC Hammer and the clothes that he used to

wear. He said, “Don’t let it fool you how Hammer dresses because Hammer will

put it on you.” So that’s how we came up with the slogan for Hood Prep. You

know, when we were coming up we made the clothing, as apposed to today it looks

like the youngin’s are letting the clothing make them. I walk the clothes – the

clothes don’t walk me!

 

AllHipHop.com: So would you say that Hood Prep a fusion of

different styles?

 

Troy Bolden: Yes, it’s the Hood Prep fusion, that’s what we

call it and we catch everything in between. We were not trying to create a line

just to make money; we are trying to build a brand. Basically with Hood Prep,

it’s what we call the Hood Prep spectrum and we have a lot of things that are

in development right now, we’re not just t-shirts. We’re oxfords and polos, but

we test market for years before we bring it to the forefront.

 

With Hood Prep we can go as far hood as we want, and as far

prep as we want. We’re about individual style that you can put together, it’s a

collaboration of different style and blending it to match your individual

style.

 

AllHipHop.com: Being that this is your first project, what would you say surprises you about the fashion industry? Is it as shady as the music industry?

 

Troy Bolden: Oh yes, just like the music industry [laughs],

and we’re preparing Hood Prep like the music industry. When we came out we

looked at it like this – we’re a hot artist with a single, so we better have

something to back it up. That first hit, believe me if its not hittin’ people

are going to say get them out of here. When we stepped on the scene we had to

show our creativity, that we’re different than the market and find us a niche.

 

AllHipHop.com: Can you talk about some of the different t-shirts

you have? How about the Dream collection, I love that one!

 

Troy Bolden: With the Dream collection we wanted to come out

with something that would show our creativity but yet be fashionable and give

the consumer something for their money. Everyone has a dream, so with the

dreamer t-shirt, you see the little boy is torn between adversity and

aspirations. The child is crying because he’s stuck between the two – a lot of

our Black children get stuck in that situation.

 

Look at the father with his hands over his face, he’s

frustrated and at the same time there are images of South Florida where everyone wants to be. So for the dreamer shirt we said the dreamer must be educated, motivated, supported and taught the value of positive self worth. We say Hood Prep is the clothing line that inspires a dreamer to make their dreams into a reality.

 

AllHipHop.com: Now the Big Easy t-shirt is deep in itself with images relating to Hurricane Katrina. Can you talk about the effects that Katrina had on you, as well as the creation of this shirt?

 

Troy Bolden: After Katrina we had to relocate and start all

over again. It was kind of a blessing in itself because it put my brother and I

in the same spot. We started working together; we revitalized Hood Prep and had

more focus.

 

If you look at the Big Easy t-shirt we took the image of the

people when they were in front of the Super Dome and the sign “We need water and food”. We took the

funeral man, we put tragedy at the bottom and at the top is the Mardi Gras

Indian, which is the cornerstone of the Black community in New Orleans. That is

a powerful symbol and that’s why we highlighted the Indian. All of the images

in the shirt are all coming towards the people.

 AllHipHop.com: As of right now do you have any celebrities

wearing your clothing?

 

Troy Bolden: Well right now we have upcoming artists. What

we learned in the industry is do not worry about a celebrity; pick someone that

is coming up just like you. They’re everywhere, they’re going to be seen more

and they’ll have more loyalty to you. Right now we have a lot of rappers,

groups and individuals hitting us to create them a style.

 

AllHipHop.com: If you had to pick one person to represent the

Hood Prep brand, who would it be and why?

Troy Bolden: I would say Juvenile, because he has that southern swagger. And if

you see in one of his videos, he had on his Gucci hat, jeans and Gucci

shoes.  That is Hood Prep, really relaxed and casual.

 

AllHipHop.com: What words of advice would you give to

aspiring designers or any one that is trying to break into the fashion

industry?

Troy Bolden: Before you do anything secure the intellectual properties, sample

and keep your volume very low.

 

AllHipHop.com: So 20 years down the line, where would you

like the Hood Prep brand to be? Where else do you see it going?

Troy Bolden: I see Hood Prep being a very diverse brand; I see it up there with

Sean John and Rocawear. Another thing about Hood Prep is we sponsor the badminton

team of the United States Olympics, we’re about to do some new uniforms for

them. We created a Hood Prep fresh movement, our thing is, is you hood prep?

We’re not telling you what you are, we’re asking you. If your Hood Prep welcome

to the Hood Prep movement, if you not, you got to roll playa! [laughs]

 

To join the Hood Prep movement visit hoodprepclothing.com and myspace.com/southernswagger

BREAKING NEWS: Rick Ross Day Halted By Gunfire

The Second Annual Rick Ross Be Out Day was interrupted by gunfire today (August 6), AllHipHop.com has learned.

 

The annual event took place in Carol City Park and offered the local community a day of food, and fun sponsored by Rick Ross himself.

 

The event went off without a hitch, until Ross took the stage and that’s when the gunfire erupted.

 

“He was giving back to the community when this happened,” a source on the scene told AllHipHop.com in an exclusive statement. “Rick and the whole Poe Boy team got on stage and that’s when someone in the crowd started shooting.”

 

The shooting resulted in a number of people fleeing the area in fear of their lives, the witness added. Rick Ross Be Out Day provides local children with back-to-school necessities.

 

The annual Rick Ross Be Out Scholarship is normally presented at the event, which was also sponsored by The City of Miami Gardens and The Children’s Trust.

Police have confirmed the shooting with AllHipHop.com and have revealed that one man is in custody, while another man remains at large.

Knockout Nation: Clottey Stops Judah! Will Margarito Duck Williams? Hatton-Malignaggi, Terrible Terry Norris

Occasionally a boxing contest won’t be determined by the skill level or heart of the combatants, but by durability. Simply, who can take the punches better? That was the scenario this past Saturday August 2, as Joshua Clottey (35-2, 20 Kos) secured a technical decision over Zab Judah (36-6, 25 Kos) to pick up the vacant IBF welterweight title.

As usual, the talented but underachieving Judah started fast. Zab broke open a slow first round with a sweeping left uppercut that briefly stunned Clottey. Landing the only clean punch of the round allowed Zab to secure an early lead.

Clottey immediately came back in the second by strafing Judah with short, quick straight right hands. The Brooklyn native could not find an answer for this punch going into the third and fourth rounds, as Clottey round a rhythm and began varying his attacks to the body with digging left hooks.

By the start of round five, Judah’s bloody face reflected the effects of Clotey’s 9 minute blitz. Showing the toughness that made his bout with Miguel Cotto entertaining, Judah came back in the fifth with an eye-catching flurry but was unable to seriously penetrate Clottey’s tight defense.

Round six looked like it may have been the end as Clottey continued to walk down the fading Judah with thudding straight rights. However, the former champion hit an intentional low blow that halted the action and gave Judah the time he needed to recover. After a slight second wind, Judah finished the round with a strong flurry that finally broke through a rattled Clottey’s guard.

Still, the tough Ghana native stilted Judah’s momentum by coming back strong in the seventh by again establishing the straight right hand. Judah retaliated with a cracking left uppercut to let Clottey know he still had some fight left in him. However, Judah’s familiar late sluggish punch output was ample evidence he was being broke down from Clottey’s consistent pressure.

Round eight saw Clottey dominate until Zab exploded on his challenger with hooks, pushing Joshua back against the ropes. With the Ghana native not firing back, Judah took the opportunity to unload all his power and speed in a desperate attempt to break through Clottey’s tight defensive shell as the round concluded.

Judah looked close to being able to erase the image of a fighter who couldn’t close out the championship rounds, but Clottey remained cool and went back to punishing Judah with more straight right hands in the ninth. Just a minute into the round, Judah was already a bloody mess. A slashing left uppercut sliced open Judahs’s right eye, and referee Robert Byrd stopped the contest to allow the ringside doctor to examine the damage.

While the doctor would later state he felt Zab could continue, Judah stated clearly he could no longer see out of his right eye, and also responded by saying “three” when the doctor was only holding up t##########.

Despite the damage being caused by a punch, the referee ruled the cut as being caused by an accidental headbutt. Going to the scorecards, Clottey secured a close unanimous decision of 87-84 and 86-85 (twice).If Judah had won the ninth, the fight would have been a majority draw.

In the post-fight interview, Clottey of course pushed for a rematch with new welterweight king Antonio Margarito, and even mentioned taking on WBC champ Andre Berto or rematching Judah.

Unfortunately, Clottey may have torn his left bicep, which would put him on the shelf for at least six months and likely eliminate his chances against Margarito, who plans to fight again in November.

While Judah was game, as many predicted Clottey as a natural welterweight proved too strong and imposed his will on the smaller Judah. Once again Zab fans are disappointed by a spirited yet losing effort from their man.

But as many times as Judah has fallen short, his fan friendly style and willingness to face anyone ensures he will be back. In just the last two years, the Brooklynite has faced Floyd Mayweather, Miguel Cotto, canceled a fight with Shane Mosley, and now Joshua Clottey.

 

Now if he can just start winning some of these fights…

 

Margarito Ducking

Williams?

 

In boxing, you rarely get to savor a hard fought victory.

Even after a career defining win, there’ll immediately be whispers from fans

and media alike claiming there’s a guy out there that has your number. For new welterweight champ Antonio Margarito on the heels of

his decisive victory over Miguel Cotto, the rumblings have been about current

WBO champ Paul Williams.

For most of 2007, Williams dogged and goaded Margarito to

fight him, much the same way Margarito’s camp went after then champion Floyd

Mayweather. Due to pride and not wanting to look hypocritical, Margarito

canceled a proposed Cotto showdown last year to face Williams.

 

Williams badly outclassed Margarito in the early rounds,

only to see the Tijuana Tornado come back strong to hurt Williams several times

in the middle rounds. However, Williams showed his heart by clearly taking the

twelfth to capture a close unanimous decision win. Margarito’s camp turned down an immediate rematch, and here we are today with both men back atop the welterweight rankings.

 

There’s bad blood between the promotional camps for both fighters and Bob Arum nor Antonio Margarito have spoken Williams’ name since the Cotto victory. Ironically, the Williams fight was Margarito’s highest payday at 1.6 million, slightly edging out his purse against Cotto (1.5 million). There are

rumors circulating that the Williams camp is offering Margarito a career high 4

million for a rematch.

 

No doubt Margarito is not scared of Williams, but will Arum

risk his new champ against a man that’s beat him before? Especially when

Margarito has easier, name building matchups on the table?

 

As amazing as it sounds, Arum has expressed interest in

having recently defeated Zab Judah face Margarito in November. Since Clottey has been injured, Judah might receive the call. Shane Mosley may also be available, but there’s a strong chance he won’t be ready by November after facing Ricardo Mayorga in September.

 

Let’s hope Margarito and Arum make a wise decision, because

facing Judah would not be a good way to start Antonio’s reign.

 

Hatton Splits with Trainer, Set to Face Malignaggi in November

 

Billy Graham, Ricky Hatton’s trainer for 11 years, has

confirmed he is no longer training the British 140 pound champion. Graham has worked all of Hatton’s fights, including his recent UD win over Juan Lazcano in May.

 

“Ricky and Billy had a meeting (July 28) in which Billy

admitted he was not going any further,” Hatton’s father Ray explained to

espn.com. “It was quite emotional because they have been together so long. It’s

a sad day. Billy will be remembered as one of the world’s great trainers, and

to go out after a win in front of 58,000 people in Manchester will be a fitting end to his

career.”

 

Despite the kind words, rumors abound that Graham was forced

out.

 

Moving forward, Hatton will face Paulie Malignaggi on November 22 at the MGM Grand in Las Vegas. The bout will feature the number 1 contender at 140 pounds facing the recognized champion.

 

“I am thrilled to be involved in the biggest 140-pound fight

of ’08,” stated a confident Malignaggi to ESPN. “This will be my first fight in

Las Vegas, which makes it all the more exciting. Las Vegas’ nickname is the ‘City of Lights’, so it is only fitting that on November 22, ‘The Magic Man’ will be lighting ‘The Hitman” up all over the MGM Grand Garden Arena.”

 

Since whisperings of this fight began over a year ago, I’ve

stuck with Hatton as my pick. Despite his work-rate decreasing, the Hitman

still has exceptional foot speed to close the distance Malignaggi needs to work

his jab. And since Paulie has no inside game whatsoever, the safe bet is Ricky

Hatton outworks him to an ugly but clear decision.

 

Darchinyan Picks Up

IBF Title

 

Junior Bantamweight Vic Darchinyan (30-1-1, 24 Kos) returned

to Showtime last Saturday August 2 to win the IBF title after a dominating

fifth round KO over Dimitri Kirilov (29-4-1, 9 KOs).

 

For the majority of the bout Darchinyan displayed his

trademark aggressive, wild swinging come forward style. Kirilov was repeatedly

rocked by Darchinyan and could offer nothing substantial in return to deter the

cocky Armenian.

 

In round five, Darchinyan dropped Kirilov with two early huge

left hand shots. After taking an eight count on unsteady legs, Kirilov was

finished by a fusillade of left hand bombs that again planted him on the

canvas.

 

In the post-fight interview, Darchinyan turned his attention

to the man who knocked him cold last year, Nonito Donaire, and current titlist

Cristian Mijares. “I would like to fight Donaire,” Darchinyan stated. “I fight anyone they put in front of me and I would love to fight Cristian Mijares.”

On the undercard, undefeated Supper Middleweight Andre Dirrell (16-0, 11 KOs) won an exciting shootout against Mike Paschall (17-1-1, 4 KOs, stopping him on a cut in the fourth round. Both men landed bombs, but Dirrell’s speed and slashing punches proved more damaging and enabled him to pick up the hard fought victory.

 

Throwback Fighter of the Week: “Terrible” Terry Norris

 

One of the most exciting fighters of the 90’s, former junior

middleweight champion Terry Norris lived by the adage “kill or be killed.” Norris came up short in his first title shot against power puncher Julian Jackson in 1989, getting knocked cold in the second round.

 

He bounced back by defeating Sugar Ray Leonard in a

dominating UD in February 1991 before knocking out former welterweight champ

Donald Curry in June. He made seven defenses, including a KO of faded Meldrick Taylor, before being upset by Simon Brown in a stunning fourth round KO.

 

The rest of Norris’ career proved inconsistent. After wining

a UD in the Brown rematch, he was DQ’d twice against journeyman Luis Santana.

However, he did manage to win both the WBC and IBF titles before retiring in

1998 after three consecutive losses.

 

In 2005, he settled a brain damage lawsuit out of court with

Don King for 7.5 million. “Terrible” Terry Norris has a final record of 47-9, 31 KOs.

 

Hell Rell: Black Mask, Black Gloves

 

 

 

Every Rap crew needs a musical enforcer. The Hip-Hop enforcer role doesn’t require the person to enact real violence on enemies, but musically he must possess the lyrical acumen and aggressive persona to ward off rivals and challengers. For the splintered Dipset family, Bronx native Hell Rell has fit that description perfectly.

 

Since fans first heard his hungry, jail phone freestyle on Diplomatic Immunity, Rell has fearlessly defended Dipset against lyrical challenges from Tru Life to Red Café. Now after years of faithfully playing a supporting role in the Harlem crew’s hierarchy, Hell Rell seeks to further establish his own identity on his sophomore LP Black Mask, Black Gloves (Babygrande).

 

The album starts off strong with “Intro (Black Gloves)” and “Get Ready.” The former showcases Rell’s gangster bravado over melodic keyboard riffs. Despite the familiar subject matter, the track’s short length serves to give the listener a startling jolt in preparation for the remaining eleven songs.

 

With the latter, the beat’s booming sample of The Temptation’s track of the same name recalls Dipset’s signature sound from the mid 2000s. Here Rell is in his element, and both tracks stand out due to his ability to maintain a cocksure persona without having the ego-driven rhymes become overbearing.

 

That trend continues on “Realest N#### Doin’ It.” Another highlight courtesy of Rell’s chemistry with producer A.RAAB MUZIK, the Dipset soldier supplies the content you’d expect from the title; “I could snipe you from behind / Old timers pull me aside and say ‘boy I like you ‘cause you grind!” But the pulsing guitar riffs and looping, distorted vocal sample adds complimentary variation to Rell’s standard gangsta rhymes to keep the listener engaged.

 

However, what brings the album quality down is not just the limited subject matter in itself, but how Rell presents it. Songs like the uninspired typical ladies joint (“Come Baby Girl”), the one that was meant for the club (“Push Em Back”), and money anthem (“I Luv Stuntin’”) smother Rell’s individual talent by confining the LP to one predictable, trudging gear. As a result, the LP becomes a plodding, glorified mixtape over the second half as opposed to a creative and meticulously planned album.

 

Luckily for Hell Rell, his problems on this album are not due to a lack of talent as the Bronx MC definitely knows how to rhyme. But in order to move beyond the shadows of the “elite” members of his Dipset crew, Hell Rell will have to pay more attention to crafting an album that not only reflects all his talents, but is versatile enough to truly illuminate the legitimate street reputation and struggles behind his hardcore rhymes.

 

Hell Rell

“Push Em Back”

 

Hell Rell

“Realest Ni*** Doin It”

Hip-Hop Model Lola Luv Preps Film Debut

Popular Hip-Hop model Angel “Lola Luv” Fershgenet will celebrate her feature film debut at the 12th Annual American Black film Festival (ABFF) in Los Angeles (August 7).

 

The film, entitled Crazy Like a Fox, is billed as an erotic thriller and set in modern day New York City.

 

Luv plays Angelique Dubois, a former model whose marriage to an older Harlem psychiatrist becomes threatened by an affair with their chauffeur, which leads to a brutal murder.

 

The film also stars Nigerian actor Karibi Fubara, Jamaican model Kenturah Hamilton, David Tawil, Ebbe Bassey, and a host of Broadway actors.

 

The film marks Luv’s first attempt to reach her goal of having a legitimate career as an actress.

 

She first gained national exposure in 2007 after appearing in Trey Songz’s “Wonder Woman” video.

 

Since then she has worked in videos for Young Buck, Kanye West, Lloyd Banks, and 50 Cent.

 

Luv also graced the cover of Black Men Magazine, and was named the “New It Girl of 2007.”

 

Directed, written, and produced by Tony Abulu, “Crazy Like a Fox” is his third feature film.

 

His 1998 debut “Back to Africa” received critical acclaim at the Pan African Film Festival and also this year during a 10 year anniversary screening at the Newark Black Film Festival.

 

Abulu references the ABFF’s selection of “Crazy Like a Fox” as a testament to the quality and creativity of African artists.

 

“The ABFF is one of the most influential Black film festivals in the world, and we’re honored that our film was selected for screening,” Abulu proudly stated to AllHipHop.com. “We know that it will give the film the opportunity for mainstream U.S. distribution.”

 

The film is set to premier at the Mann Beverly Center 13 Cinemas on August 7 at 4:41PM.

Album Review: Lloyd – Lessons in Love

 Although it hasn’t been very long since we had our last offering from Lloyd, one of the South’s more well-known crooners hopped back into the studio after his platinum selling sophomore album, Street Love, to release his latest collection of clichéd anthem of sex and love balladry, Lessons in Love.Following the album’s title as a loose concept, Lloyd jumps into “Sex Education,” a light-hearted and upbeat number with live instrumentation. Very literally, he turns this song into the step-by-step program about sex, making it known that he “wants to make an A,” and will show you his if you show him yours. The biggest problem with this album is the monotony in subject matter. The realization of this being Lloyd’s style and the genre he’s pinned himself to comes to mind, but it wouldn’t hurt to switch it up. It also wouldn’t hurt if he attempted to write better lyrics than “Please have my baby/Yeah, I’m talking to you/If you wanna  have my baby/Here’s what you do/Take your clothes off,” found on “Please Have My Baby.” There are a handful of enjoyable songs on Lessons in Love. “Girls Around The World,” the album’s first single, samples Eric B and Rakim and features a Lil’ Wayne cameo, and “Love Making 101” features a guitar solo, easily one of the album’s highlights. However, taking these songs at face value is recommended, as the subject matter remains the same and continues to fall flat. The production on Lessons in Love is another one of the few things keeping this album afloat. With the aid from Big Reese, Jasper Cameron and Polow da Don, Lloyd manages to have an album full of probable hits. The live instrumentation in “Sex Education” and “Love Making 101” switches up the vibe, while Polow’s synth-heavy production on “Party All Over Your Body” is just well-produced. With Lessons in Love, Lloyd makes a valiant effort at attempting to join the ranks of the Ushers and Babyfaces of contemporary R&B, but pales in comparison. Considering all of the underrated talent that lies within Hip-Hop’s borders, the fact that Lloyd has a record deal and the amenities to be able to hire top shelf producers to make him sound good is a mind-bender. But the fact of the matter remains – the man sells records, and is obviously doing something right. I’m just not signing off on it.

Queen Latifah, Nelly Support Olympic Team With Exclusive Tracks

Hip-Hop stars Queen Latifah and Nelly have partnered with AT&T to record exclusive songs to boost the morale of U.S. Olympic Team athletes competing in Beijing, China.

 

Queen Latifah recorded the exclusive track “Champion,” while Saint Louis rapper Nelly recorded the song “Warrior (Team USA Edition),” which will be available for download beginning Thursday (August 8), when the Olympics kick off.

 

The tracks will be available until the Olympics’ closing ceremonies, which occur on August 24.

 

“We couldn’t be more excited about our artist lineup and what they’re doing to help support Team USA and these athletes,” said Jamie Butcher, Vice President of AT&T Brand Sponsorships. “The way these artists came together to produce the AT&T Team USA Soundtrack really represents the true spirit of the Olympic Games.”

 

Other artists participating in the exclusive offer from AT&T include Goo Goo Dolls, Taylor Swift, 3 Doors Down, Sheryl Crow and others.

 

The tracks are available for download online via iTunes and directly from AT&T handsets through AT&T’s MEdia Mall.

 

The songs are listed below:

 — 3 Doors Down, “The Champion in Me” — Army of Me, “Perfect” (acoustic) — Colbie Caillat, “Somethin’ Special” — Clique Girlz, “Incredible” (acoustic) — Sheryl Crow, “So Glad We Made It” — Chris Brown, “Dreamer” — Flipsyde, “Champion” — Luis Fonsi, “No Me Doy Por Vencido” (exclusive track) — Goo Goo Dolls, “Real” — Josh Kelley, “To Remember” — Lady Antebellum, “I Was Here” — Queen Latifah, “Champion” — Mere, “Rise” — Nelly, “Warrior” (Team USA edition) — Taylor Swift, “Change” — Kate Voegele, “Lift Me Up”

Bengals Star Launches Company Inspired By B.I.G.

Cincinnati Bengals Offensive Tackle Willie Anderson has announced the launch of Think Big Entertainment, a dual organization focusing on the promotion of music and film.

 

The four-time Pro Bowler has already signed a rapper, 19-year-old G-Fiive, and plans to release his album later this year.

 

A native of Mobile, Alabama, Anderson has long sought to simultaneously pursue his love of football, music, film and business.

 

With Think Big Entertainment, the gridiron standout now has that opportunity.

 

“While football is my first love, music and film are a close second,” Anderson explained to AllHipHop.com. “But the first businesses I started were the twenty Fat Burger franchise licenses I’ve acquired throughout Atlanta and Cincinnati. Now that I’ve gotten a number of them up and running I can concentrate on making my dream come true by building a successful entertainment company.”

 

A huge fan of the late icon The Notorious B.I.G., Anderson named his company after the slain rap legend.

 

The title originated on that fateful night of March 9, 1997, when B.I.G., born Christopher Wallace, was shot and killed in Los Angeles by unknown assailants.

 

“The night Biggie was killed the networks kept showing the scene of the crime and I noticed that ‘Think Big’ posters were plastered all over the SUV,” Anderson recalled. “To commemorate him I thought it would be a great idea to name the new company that. The thing is the company wouldn’t start for another 4 years, but the name stuck.”

 

After a slow embryonic stage beginning in 2001, Anderson contemplated calling it quits until a meeting with a then 16-year-old rapper named G-Fiive.

 

“G-Fiive’s energy gave me that spark I needed to go after my dream and make his dreams come true at the same time,” Anderson said. “He’s a natural entertainer and I wanted to hone in on his ability and perfect it. We feel development is the key element to success. The goal is to saturate the Internet as well as the streets with G-Fiive’s presence while gradually bringing awareness to the mainstream.”

 

G-Fiive’s debut single “Spotlight” features Bobby Valentino.

Rappers To Honor Pimp C During Ozone Awards

Outkast member Big Boi, David Banner and 8Ball & MJG will be among the artists honoring the late Pimp C at this year’s Ozone Awards in Houston, Texas.

 

The tribute, which was orchestrated by Pimp C’s fellow UGK member Bun B., will also include rappers Webbie and Boosie, who were discovered by and recorded for Pimp C’s label.

 

The recognition comes more than six months after Pimp C died from sleep apnea and an accidental overdose of Promethazine and Codeine “syrup” in a Los Angeles hotel room.

 

In addition to the Pimp C tribute, the Ozone Awards will feature performances from T-Pain, Rick Ross, The Game, Plies, Bun B, Lil Boosie, DJ Khaled and Trick Daddy.

 

Awards in more than 25 categories, — including Best Rap Album, Breakthrough Artist, Best Rap Group, Best Video, DJ of The Year and the “Pimp C Award (Trillest Artist)” — will be handed out by various presenters.

 

Rappers like Flo Rida, Young Buck, Soulja Boy, Pitbull, Bow Wow, Trina, David Banner, Ray J, Lloyd, C-Murder, Mya, Paul Wall and Chamillionaire will be on hand to doll out awards.

 

The Ozone Awards are scheduled take place Monday (Aug. 11) in Houston at the George R Brown Convention Center.

 

The Third Annual Ozone Awards will take place in conjunction with the TJ’S DJ’S Tastemakers Only music conference, which brings together DJ’s, executives, managers and other industry heavyweights, who offer advice on the music business during different educational workshops.

 

The event will feature appearances from Southern rappers like Nelly, Lil Wayne, T.I., and Young Jeezy, who will be on hand for weekend festivities.

 

A UGK pool tournament, Rap-A-Lot/Cash Money kickoff party and Nelly’s bowling challenge will start off the conference’s weekend of events on Friday (Aug. 8).

 

Conference attendees and DJs will also discuss various topics with music industry movers and shakers at producer, artist, and DJ panels on Saturday (Aug. 9) and Sunday (Aug. 10).

 

Other events slated for the conference include a T.I. and Grand Hustle-hosted Ozone Awards pre-party on Sunday and the Island Def Jam BBQ in the Park, hosted by Young Jeezy, on Monday.

 

For more details on TJ’s DJ’s Tastemakers Only music conference events, visit www.ozoneawards.com.

 

A full list of Ozone Awards nominees can be found on www.ozonemag.com/toa_voting.