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Beanie Sigel, Dre & Vidal Donate Thousands To Support R&B Pioneers

Rapper Beanie Sigel

came out in support of past rhythm and blues artists with a donation to the R&B

Foundation Doc Pomus Financial Assistance Program.Sigel

contributed $3,200 to the cause during the foundation’s Pioneer Award after party.The

Philadelphia MC’s donation prompted producers Andre Harris (Dre) and Vidal Davis

(Vidal) to give $6,400 to the program, raising the total to $9,600."I

never realized who these artists were or the history and importance of their contributions

to music," said Sigel, who was "humbled" by the experience of the

ceremony. "Tonight also showed everyone the impact the work of the R&B

Foundation has on the artists. I could never match anything of the significance

of Berry Gordy’s donation, but I am moved to do something. I also issue a challenge

to all my musical peers to step up and follow our lead."The

Doc Pomus Financial Assistance Program provides emergency financial assistance

to R&B artists of earlier eras for medications, wheelchairs, dental work,

eyeglasses, hearing aids, musical instruments, housing, food needs, funeral and

other expenses.It

is the foundation’s longest running financial assistance program."Mr.

Sigel’s actions were a tremendous surprise," said Kayte Connelly, Foundation

executive director. "The Foundation is very grateful to Mr. Sigel, Mr. Harris

and Mr. Davis for their generosity and the challenge that they issued to their

peers."Doc

Pomus was a legendary songwriter who wrote such hits as The Drifters "Save

The Last Dance For Me", "This Magic Moment," Dion & The Belmonts"A

Teenager In Love," and other hits out of the famous Brill Building in New

York.Contributions

to the Doc Pomus Financial Assistance Program may be sent to: The Rhythm &

Blues Foundation, 100 South Broad Street, Suite 620, Philadelphia, PA 19110. All

donations are tax deductible.

Bankruptcy-Trustee To Take Control Of Death Row Records

A judge has ordered

a bankruptcy-trustee to take control of Marion "Suge" Knight’s Death

Row Records, ruling that the label has been mismanaged due to accounting practices.Judge

Ellen Carroll ruled Friday (July 7) that the label’s accounting practices were

in "disarray," after noting that Knight testified he hasn’t reviewed

financial statements in almost a decade.Knight’s

attorney Daniel McCarthy denied Caroll’s claims and pointed out that the mogul

had renamed the label Tha Row and was currently negotiating a distribution deal

for the label’s lucrative catalog, which includes hit albums by Tupac Shakur,

Snoop Dogg, Dr. Dre, Tha Dogg Pound and others.Knight

was not present during Friday’s court proceedings. According to his lawyers, Knight

injured himself during a motorcycle accident last Sunday (July 1) and was under

doctors orders to recuperate and also experienced a death in his family.The

mogul is also the subject of a new lawsuit filed by Lydia Harris. Lydia and her

ex-husband Michael "Harry-O" Harris claim that Mr. Harris invested $1.5

million dollars in start up funds for the label, while he was incarcerated in

the Metropolitan Detention Center, where he was awaiting trial in Federal Court

for conspiracy charges. The

Harris’ were awarded a default judgment in the amount of $107 million dollars

after Knight missed numerous court dates to provide information about the labels

financial status.In

April, Knight filed for bankruptcy protection to avoid the State Court from placing

a receiver in Death Row, after Knight missed a number of court dates pertaining

to a lawsuit filed by Michael "Harry-O" Harris and his wife Lydia Harris,

who claim they own 50% of the label.Caroll,

who stated that "it seems apparent there is no one at the helm,” authorized

the new trustee "owners" of Death Row Records to take the assets that

are left from the label and convert them into cash to pay off creditors.According

to reports, the label has assets worth between $1 million and $10 million, but

has more than $100 million in debts.

Cardan: A Different World

“I’m the hottest thing out of Harlem,” says Cardan. The artist who has never released an album may be confusing some with that statement. After all, Cardan’s biggest buzz came from Harlem World in 1998, despite not being on the singles or in the videos. Still, the Uptown rapper has survived not only from feature appearances, but from penning hits for a number of notable rap artists.

After an eight year wait, Cardan may have his chance. This month, he’ll release his “Free Agent Million Dollar Baby” mixtape to entice some of the majors he’s reportedly been meeting with. The effort features familiar faces from the Diplomats, Bad Boy, and the Roc. Cardan unabashedly reveals his writing credits, speaks on Harlem World, or gives his two cents on what New York needs right now. If Cardan is the hottest thing out of Harlem, it’s no longer going to be a ghost statement.

AllHipHop.com: You’ve been ghostwriting while some people thought you had disappeared. How long have you been doing that?

Cardan: I’ve been ghostwriting for about six, seven years.

AllHipHop.com: How did you get into it?

Cardan: I got into it through Nelly. It was a coincidence that it just so happened for me. I just was helping Nelly, and he gave me the opportunity for me to make some money for myself. He didn’t need me to do anything but you know, I was just led through a mutual friend and Nelly was like, “Yo, I’ll give you the opportunity to make some dough.” He had some songs or whatever, and that’s how it started and word got out after that and I just was getting calls and calls. People were like, “Yo I need you over here and over here.” I got a publishing deal after that on EMI publishing.

AllHipHop.com: Does that mean you own your publishing?

Cardan: I co-own it with EMI.

AllHipHop.com: Speaking of ghostwriting, in edition to Nelly, you’ve also written for Bow Wow, Lil’ Kim, Diddy. What are some of the songs you’ve written that people may be familiar with?

Cardan: I did some stuff for Bow Wow’s album. It’s just album fillers; it wasn’t a single or nothing. I did something for Lil’ Kim it was the same thing, it was an album filler. I forgot the titles of the songs. I just did the new Diddy and Mary single. It’s a new Diddy single about to come out, featuring Mary, produced by Rich Harrison. I did the “Whisper Remix” for Free on the Yin Yang Twins CD.

AllHipHop.com: Hmmm…so you wrote for Free?

Cardan: I don’t really like telling people that, ‘cause she a girl and I want people to feel her because she’s a female…whatever that means.

AllHipHop.com: What’s it like when you hear your stuff on the radio? Are you at liberty to talk about it?

Cardan: For some artists, not at all but with Nelly, I can’t really go into the details. Those that know, they know because me and Nelly are friends. And Nelly overall, doesn’t need me for s**t. Nelly is super, super talented. I got a lot of respect and love for Nelly. I’m a big fan of Nelly’s music as well. But with everybody else I could talk about it. It’s all good; they don’t trip out like that.

AllHipHop.com: You haven’t officially released an LP yet, right?

Cardan: No, I haven’t. I’ve been featured though. I was featured on Jim Jones’ last album, I was featured on Murphy Lee’s last album, I’ve been feature on the St. Lunatics’ album, and I did some stuff for Nick Cannon too. I be so confused with it — who I did songs for and what songs I’m on…it’s crazy. But I’ve been featured lately for the last couple of years. I haven’t put my own full album out though.

AllHipHop.com: So, what’s up with the album situation? You’re about to put out a mixtape, but aren’t you also working on a record deal?

Cardan: Yeah, I’m working on my record deal as well. Actually, I’ve been talking to Puff about something. He wants to do something with me. I’m just walking out the Universal building [where I was] talking to Eric Nixon; he wants to do something with me. I’m trying to see who has the best offers and who’s gonna be behind the project because I just don’t want to take their money an they just don’t be behind it. I’m looking for the right support and team to get behind me.

AllHipHop.com: What’s it like trying to get a label deal especially now, when everybody is trying to have a southern sounding formula when you don’t have that sound? Has it been difficult?

Cardan: You know the South is running the music as of now, so it has been difficult. They don’t really want to sign New York acts unless you’re all over the radio and have like a hundred spins. But a few people are considering. You get a few people here and there that want to work with you and see what you got and how far you can take it.

AllHipHop.com: And now back to your mixtape, when is it expected to drop?

Cardan: That should drop July 25. I’m getting everything ready now. It’s gonna to be crazy hot.

AllHipHop.com: What’s it called and where can people find it?

Cardan: It’s called Free Agent Million Dollar Baby Mixtape. It will be underground. It will be all through Harlem in the little huts, you know the little bootleg huts and mom-and-pop shops. It’s gonna be hot. I got Juelz Santana, Jim Jones, Peedie Crack, Lil’ Cease…I got DL Gunz from Philly, I got Akon, Puffy, so it’s gonna be pretty dope.

AllHipHop.com: You and Mase had a falling out resulting in you leaving the Harlem World crew. But just for clarification, are you and Mase are cool now?

Cardan: Yeah, me and Mase are cool. Mase will be on the mixtape too.

AllHipHop.com: Who else are you still in touch with, if anybody, from the group?

Cardan: Mase…I speak to Loon, I speak to Huddy, Blinky Blink. We’re all still friends. So you know, we see each other. But yeah I had to leave. Me and Mase had that fallin’ out. He took me off the Harlem World single “I Like it.” He took me out the video and all that. So I was a little bitter from that, but me and Mase are cool now. Mase actually put me on to the game – to music. He picked me out of a thousand rappers in Harlem. He felt I had to talent to be successful. So I got a lot of respect for Mase for doing that for me.

AllHipHop.com: Once you get to the point where you do put out an LP, there’s going to be a lot of pressure on you considering that you’re from Harlem more specifically, New York. Do you think you can handle that?

Cardan: Of course. I’m so ready for it. I equipped with all the talent in the world to be number one. So, I’m ready for it, it’s nothing to me. When you got a gift, you gotta use it and let the world see. I’m ready for it. I don’t fear anything.

AllHipHop.com: What do you think it takes to revive New York on the Hip-Hop scene?

Cardan: I think you just gotta be original, we have to stay New York you know? We can’t drift off into the southern sound. I like the southern sound; I’m a fan of all music. I like Sheryl Crow, I like everybody… but New York…we just gotta stay New York. We also gotta mess with each other. Everybody in the South is so family-oriented with each other. If Cee-lo shoots in New York City, you’re gonna see Jazzy Pha there, you’re gonna you gonna see Big Boi from Outkast…you know what I mean? They’re like family with each other they’re not beefing and that’s the thing with New York. If we can stop beefing with each other and get down with each other and become one as a unit, a New York unit, then we’ll be good.

AllHipHop.com: If you had to choose between writing and being out there as a rapper, which would you choose?

Cardan: I’d definitely be out there as a rapper. It’s the performing. I can write a song for you all day. I can’t perform it though. I can’t showcase the talent for myself. I can showcase it by writing it but then I give it to you and you perform it and showcase your own talent. That’s the difference. It’s like there’s something holding you back. A majority of the time when I write for people, they don’t meet the standards of how I originally lay the song down so they take away from it. But I would love to just perform it and get out my dream instead of making a lot of other people’s dreams come true. I can’t complain though because it pays the bills and it keeps the lights on for me, but my time will come. I’m definitely trying to put Harlem back on the map. I’m the hottest thing out of Harlem.

Jason Weaver: Maximum Effect

Jason Weaver has been a stellar entertainer for years, with numerous successful movie, television and musical projects. He stole the hearts of fans as a young actor, appearing in television sitcoms such as Sister Sister, Thea, and Smart Guy. One of the most recognized highlights of his early career was his role as the young Michael Jackson in the successful television movie The Jacksons: An American Dream.

Jason was out of the spotlight momentarily, but his collaboration with Chingy in 2003 on the hit “One Call Away” opened the musical doors once again. Not long after, Jason was back to the big screen, with feature roles in the hit movies Drumline and ATL alongside Nick Cannon and T.I. respectively.

How does a recording artist balance a successful acting career, oversee his own production company, and give back to the community in the process? We recently tracked Jason down to get some insight on his longevity in the entertainment world, and his intent commitment to bettering the world around him.

AllHipHop.com Alternatives: You are an actor, artist, and father. How do you balance the roles?

Jason: To be honest with you, great management and a lot of assistance from people that are in my corner. My immediate family helps me make sure that I can handle all of my responsibilities. Of course, my number one priority is to be a great father to my son, but at the same time I also have to be a provider. They help me out a lot by keeping me organized. They assist me in whatever way possible to make it easier.

AHHA: How long have you been acting?

Jason: I have been in the business since I was five years old. I started off doing modeling and print ads. I started acting technically at nine years old because that’s when I first got my feature film role, The Long Walk Home with Whoopi Goldberg.

AHHA: How do you feel about the state or status of Black actors in Hollywood today?

Jason: That’s a really good question, because I think that there are definitely improvements that need to be made as far as Hollywood is concerned, and their perceptions of Black lifestyles and Black reality. I think there are plenty of other subjects that they can touch on that are just as realistic and will hit just as hard at home, versus consistently making us audition for the roles being the drug dealers, drug addicts, murderers or just misguided youth, confused, hostile, and dangerous. There are certain roles that come about, and I have been fortunate to play a couple of those in my career. They are hard to find.

It becomes extremely difficult, because the competition is so fierce because everybody wants to be apart of quality projects. The one thing that I am trying to do is fight that battle to open up doors, so when the next generation comes about, they don’t have to go through it. I think that it is very important for Black actors, writers, and directors to start developing our own projects and give a true account of the Black experience. Although the hard lifestyle that is portrayed on television, and is very popular in Hollywood, is only one reality of the Black experience. It is not the overall reality. There are a lot of Black families that have never come from the ghetto or backgrounds of that nature, but have had to make certain kind of choices to survive.

There are different layouts of the Black experience, and that’s what I am trying to do in the near future. That is one of the reasons why I am down here in Atlanta, Georgia to start my own film production company, and to more or less open up some doors and expose the world to some different stories and some talented actors and actresses.

AHHA: Are there any roles that you wouldn’t play?

Jason: Yes. Not to offend anyone, but I won’t play a homosexual. That’s something I just will not do. It’s not that I have anything against the gay community or the gay lifestyle, because a couple of my friends are homosexuals. These are people that I respect and I have worked with in the past and work with now. But, it’s just my preference as a man, I choose not to play those kind of roles. On top of the fact that I am a father and I am raising a son to be a man, and I just wouldn’t feel comfortable with him looking at anything that I am doing and him becoming confused.

I am open to anything else as long as there is a message. Even if I am being offered a role of a dope boy, as long as there is a message behind it, and we’re just not sitting up glorifying negativity and destruction. As long as it is teaching the community a lesson and its opening eyes to others things, then I am all for it. If it’s not doing anything to contribute to the greater good of the community, then I don’t want to take part in it in any kind of way.

AHHA: You played Michael Jackson in the television movie. How did that come about?

Jason: I was recording a demo, and I overheard a conversation that they were doing story on the Jackson family and they were to start auditioning for roles soon. I kept it under my hat, but I told my mother about it. Basically, we just took the initiative of getting together and rehearsing ahead of time, so when the opportunity presented itself, I was prepared. I have to be completely honest with you, I knew there were going to be a lot of kids auditioning for that role, and I was thinking that I probably won’t get it, but I was going to try my best.

My first audition was put on tape. I was still living in Chicago at the time, and we sent the tape off to Los Angeles and I didn’t think anymore of it. Then, maybe about two or three weeks later, they called for me to come to Los Angeles to audition for the producer, the director, and the family. They flew my mother and I out promptly after the call and I did indeed perform for them.

Before I knew it, they told me that I was in the top three of the kids to play the role, but they just needed one more final approval and that was from Mr. Jackson himself. They sent the tapes out while he was in Europe rehearsing for the Dangerous Tour, and I was blessed and fortunate enough to be selected by Mr. Jackson to portray him in the film. It was an honor and it was a learning experience. That was one of the major highlights of my career.

AHHA: Did you ever get to interact with him?

Jason: No, I did not. To this day, I have never met Michael. But I did receive a letter from him about how much he enjoyed my performance and how he thought I did a great job. I was satisfied with that.

AHHA: How was it working with Nick Cannon and the movie Drumline?

Jason: It was dope. As everybody knows, Nick is a very talented young man. He’s a business man and somebody that I respect a great deal for all that he’s accomplished in his young years. He was very considerate as far as everybody on the set, including the extras. He was very easy to work with, and I learned a lot working with him. He has my utmost respect and he is a very cool dude. It would be a pleasure to work with him again.

AHHA: Your most recent project was the movie ATL. How was it working with T.I ,.and how did the role come about?

Jason: Actually, I had heard about ATL when it was still called Jellybeans. Dallas Austin, who was the executive producer of Drumline, told me that his next film was a story based on Jellybeans, which was the skating rink which pretty much served as the foundation to the entertainment community of Atlanta. When he first told me about it, I was really interested in the project. I am a part of the Atlanta community now. and to be able to go back in to the history of how things came about was fascinating.

When it came time to audition, I heard that Chris Robinson was attached to it as well as Will Smith – I jumped at the chance. I always wanted to work with Chris Robinson, and to start a relationship with Mr. Will Smith was something that I was looking forward to as well. And of course, working with T.I. was a really cool experience. He is very focused as an artist and as a businessman. He is someone I respect a great deal, and I admire his music and his work.

AHHA: How did you actually start your music career?

Jason: I was actually singing before I started acting. My mother was a background vocalist for artists like Curtis Mayfield, Tyrone Davis, The Ohio Players, and she was also a jingle singer while I was growing up. I grew up in the studio watching her. My cousins and I grew up in the studio and in the church – it was a part of our blood. But it just so happens, I also had a fascination with film and television and I wanted to get involved with that. It seemed like that was an easier route for me to start a career, and that’s what God permitted first. Music has always been a passion of mine.

AHHA: Tell us about the album you are working on.

Jason: I feel really good about this project that I am working on. It’s some of the best material that I have ever done. I’ve had the pleasure of working with producers like Mr. DJ from the Dungeon Family, Lil Man formerly of Aftermath, my cousin Tricky Stewart for Red Zone Entertainment and a lot of other great producers. The title of the album is From the Cradle to the Stage, and it’s a phenomenal project. We’re putting it out the first quarter of 2007. We call it Rock n Soul – it’s feel good music. I am really trying to touch some hearts with this. I think when people hear it, they’re going to be really surprised.

AHHA: Tell us about your new production company and what do you hope to accomplish with it?

Jason: It’s called Special Ops. Basically, it’s a company that my partner, Charles Berry and I are heading up. It is a company that will provide film and television projects as well as music. My album will come up under it. It will also serve as a marketing firm. We will be able to help people market their projects and get them up off the ground. It’s like a one stop thing – we have our own plantation.

AHHA: What’s your role in the Book Bank Foundation?

Jason: It is an honor to be apart of the Book Bank Foundation. We are doing a major event the week of Thanksgiving called Thanksgiving Family Day. We’re going to be providing meals, medicine, clothing, books, and literature promoting literacy within the community and education. We have a lot of people that will be coming through that day that come from the educational background, successful businessmen, athletes, entertainers, and politicians. I am having these people come out because all of these people are successful because of the people, and it’s important that we give back. And we are doing it to let people know that people care and there are people out here that have love in their heart and are sincere, especially in the Black community.

There are so many things in our community that need to be fixed and need to be mended. We need to send hope to our children and let them know that they are loved and appreciated, as well as the parents. They are not in this alone. It’s hard out here. It’s important for the Black mothers and the Black fathers to understand and know that this is a village. It’s important for us to take care of one another. I stand by the foundation a 110%. and it’s an honor to be associated with this project and everyone that is involved in it.

I should also mention that anyone that is in Atlanta area July 17, we are doing a major event that’s going to spearhead the event Thanksgiving. It’s a celebration of my birthday too. I will be 27 this year. It’s also a celebration of all the accomplishments that I have had in my lifetime. We’re going to have the “who’s who” of Atlanta there. Not just the entertainers, but he pillars of the community as well.

AHHA: Is there any advice that you would give to upcoming actors as well as artists?

Jason: Be realistic about your goals and what you are trying to do in this industry. Not everyone is meant to be a star, but if you are passionate about being in the entertainment industry, do some investigating about what other things you can provide behind the scenes. We need more Black writers, film makers, and producers. It’s important that people understand that. Explore all your options. Have faith in what you’re doing, and keep God first because He is the only one who can put you where you need to be. Work hard for what you believe.

AHHA: Wedding bells?

Jason: It has been some confusion about this. Please let it be known that I am single and I am not married. I recently went to the premier of ATL here in Atlanta and I happen to have brought my son’s mother. She is a very cool person and we are friends. We are not married, nor are we not looking to get married. It’s been traveling through the internet, and that is not my wife. I am single.

AHHA: Are you dating?

Jason: Yes, I am looking to date too. As long as the woman has some common sense and she is looking to do something with her life besides trying to get on BET to get in the video, we can talk. I mean if you have done that, it’s cool, but come to the table with something more than that. I really don’t care to hear about your experiences on-set or your modeling experiences and all that. I don’t want to hear any of that conversation.

AHHA: Any last comments?

Jason: Thank you Tambra and AllHipHop.com for taking the time, and it’s been great talking with you again, and thanks for everyone’s support. It’s amazing how I first met you in Jackson, and we speak again. That should be a lesson to everyone too. Always speak with the utmost respect to everyone, because you never know when you will cross paths again. Thank you all.

Jazze Pha: Party Music & Songs For Your Car

Alot of rappers and producer-types in the industry can be hard to talk to. You often have to pry their jaws open sometimes to get them to spill the beans for a hot exclusive. Normally, the higher up on the Hip-Hop food chain the artist is, the more difficult it is to get them to speak. Jazze Pha is not that type of artist. Although he’s sold millions of units worldwide producing the likes of Ciara, TI, and Biggie, he just might be the most down-to-earth artist in Hip-Hop. While some interviews can turn ugly when the pressure’s turned on, speaking with Jazze is like listening to one of his beats—he keeps it upbeat and he keeps it moving.

In the coming months Jazze will unveil what he thinks is the highest profile collaboration of his career. It’s so big, in fact, that’s he’s literally been sworn to secrecy. He’s given us some clues though, and if you’re sharp enough to read between the lines, you might figure out who the mystery man is. He also speaks candidly another high-profile collaboration that fell flat—his Happy Hour project with Cee-Lo Green. Whether or not that album is at last call, Jazze Pha’s just bellying up to the bar with some of Hip-Hop’s top echelon of producers.

AllHipHop.com: What’s up, Jazze?

Jazze Pha: I’m in the ATL holding it down, about to get into the mix right now. I’m working on the first single for this Disney movie called “Get Up” with Ciara and Chamillionare.

AllHipHop.com: Field Mob’s “So What” has been blowing up steadily on Hip-Hop radio and now it’s creeping onto Top 100 radio…

Jazze Pha: Oh Yeah! That thing is spinning like…[pauses]… a spinner! It’s a good look. Me and Field Mob have chemistry all the way from our first hit, “Sick of Being Lonely.” Ciara is also one of my favorite people to work with because of the chemistry we have. When we step into the studio, we block everybody out, and it’s just me and her. Ciara’s so much younger than me, you know what I’m saying, and the energy we create is different from the kind I make with artists my age. You know how it goes.

AllHipHop.com: How do the two of you approach songs? Do you have a set routine or do you improvise with each other?

Jazze Pha: I just kinda go in there and do the order of the day. She’s like, “I want to do a song where I feel like I’m floating above the clouds.” So first, we’ll start on the keyboards for something like that and make a sound that sounds like, gravity. [laughs] I’m serious, man. If you can capture an emotion, then you definitely have a song that going to be on a project. When you can imagine and embrace something through sound, you got something special. It’s being really creative; you can’t go in there and make a beat and hope that it gets on the radio. It’s about making a feeling. I learned that by sitting in the studio with Dr. Dre and Babyface.

AllHipHop.com: What other tips did you learn from them?

Jazze Pha: Capture the moment. Even if there is no moment, you have to create one. There’s two sides to it. It depends on what kind of project you’re working on. If you’re working on an upbeat project, you don’t want to capture a sad moment; you gotta be a picker-upper. There’s one thing about stepping in the studio with Jazze Pha: you’re gonna be kinda upbeat. It’s a vibe that includes togetherness. I like to kick it; I like to party.

AllHipHop.com: I found out, today actually, that you signed singer Lloyd?

Jazze Pha: Yessir. As a matter of fact, he and I have been friends for a long time, even before his Murder Inc deal. It was a blessing for us to be able to do it.

AllHipHop.com: Is there a plus to working with young artists like Lloyd and Ciara?

Jazze Pha: Yeah, there’s a plus. They’re willing to grow and willing to learn and try new things. They don’t have it etched in stone what a superstar is supposed to sound like. They just do things that fit them. They make it easy.

AllHipHop.com: With that said, how did you approach “Nasty Girl” for the Biggie Duets project? Those vocal tracks were laid down almost ten years ago—and there was no way to work directly with the artist to try something new; you know what I’m saying?

Jazze Pha: I took the acapella and I listened to the original version. Then I went out to eat. While I was out, I was like “Man, if I put that s**t with that, it would be crazy.” I did it, and made it with more of a party vibe. To make it more sexy, I put Jagged Edge on it and laid the beat down. When I sent it to Puffy, he was like, “Oh my God, that’s it!”

AllHipHop.com: “Nasty Girl” was the first single off of that album, which went multiplatinum. Your biggest record to date is “1,2 Step,” which topped charts worldwide. With such accomplishments, there’s got to be huge pressure to perform…right?

Jazze Pha: [Pauses] That’s really not my aim. My aim is to keep doing great music and try to do a bunch of number one records. Of course, you want every record to be huge. But, a lot of times the big ones are not the ones you’re the most attached to. It’s great that they go big but there’s so many other ones that make you think, “Man, that should have been big.”

AllHipHop.com: So, if it got to the point where one of your artists doesn’t get that sales success, would you have to drop them?

Jazze Pha: I haven’t had to drop anybody as of yet. Hopefully I won’t ever have to.

AllHipHop.com: I guess what I’m saying is, Lloyd didn’t really get that kind of success at his old label. What kind of direction are you going to steer him in to chase a bigger audience than he did before?

Jazze Pha: I think it’s about him being in his element. Lloyd is a very creative person; he needs to be around a lot of creative people to get him there. He needs to be around a couple of producers and a lot of singers to write a few tunes, too. He needs to be able to go to them and pitch those vibes that he got in him. He’s a writer, he’s a singer and he can dance—and he pull it all off on stage. That’s what makes him an exceptional talent, so when you have [that talent] you need to be around people who can fulfill those elements. The planets gotta line up for you, man. You know what I’m saying?

AllHipHop.com: I want to shift gears and ask you about your parents [his father is Bar-Kays bassist James Alexander]. They’ve both been sampled a lot—

Jazze Pha: Well, first of all, if you think Deneice Williams is my mom, she’s not.

AllHipHop.com: She’s not?

Jazze Pha: I knew when you set that up, you were gonna ask me if Deneice Williams is my mom. My mom’s name is Denise Williams, and people twisted that and ran with it. Now, I get people who want to argue with me that say “Yeah, that is your mama!” No it’s not. [laughs]

It’s crazy, man. Eventually the word will get out there that she’s not my mother. My pops is still in the Bar-Kays, though. I originally started out as an artist and then moved into production after I got sick of waiting in the studio.

AllHipHop.com: Sonically, you’re not really known for using sample-heavy music. Why is that? Do you sample some of your music?

Jazze Pha: I sample a lil’ something, but I don’t really make loops. I’m about to, though…

AllHipHop.com: If you sample from your pops, you’d probably get a good deal on the clearance right?

Jazze Pha: [Laughs]. I got some of the reels from Stax Records transposed into Pro Tools files. I got like, maybe a hundred songs. I’m about to really put some s**t to life. I’m about to bring a whole era to the game. I wanted to use some of them for the kid Lupe Fiasco because he’s about to close his album up. He asked for a little Hip-Hop joint and I’m gonna pump up a big Hip-Hop joint. [laughs]

AllHipHop.com: What kind of artists are you looking to work with outside of the A? I know you mentioned Lupe, are there other rappers you’d like to collaborate with?

Jazze Pha: I like Kanye and I love Busta’s new album because it’s crazy; he just got real focused on his project, and that’s what time it is. You know what? I was supposed to get in the studio with Papoose. I was talking to Kay Slay and them to probably hook up. But I’ve been so focused with my artists that it’s kinda hard to [branch out]. I got a couple of secrets in the works with a couple of mega stars, though. I was sworn not to tell.

AllHipHop.com: I know what you’re saying, but can you give me hint? You gotta give me something…

Jazze Pha: They said it’s between me and them. It’s one of the biggest rap stars ever, with 20 million records sold. There ain’t but a few of those…

AllHipHop.com: Intreresting, interesting. You done worked with a couple big stars…

Jazze Pha: I know, but not this one. You know I worked with Biggie, you know I worked with Nelly…I never worked with LL…I never worked with…a couple of people.

AllHipHop.com: You ever work with 50?

Jazze Pha: [Pauses] Nope. I never worked with 50. I know 50 wants some of this. Real bad.

AllHipHop.com: I want to ask you about Cee-Lo and talk about the Happy Hour project. What’s the status of it now that Gnarls Barkley has blown up?

Jazze Pha: It’s on the back burner because the single we put out [2005’s “Happy Hour”] didn’t get a great reaction. I think Capitol was apprehensive about the project altogether and we didn’t follow through with it. So when he went and did the Gnarls Barkley record—which was real great—it was kind of a blessing in disguise. We still do have our [Happy Hour] project—and we still have some great records on it—but we probably put out the wrong single first. When the Gnarls Barkley project came out, it gave me time to focus on my label.

AllHipHop.com: Do you still talk to him?

Jazze Pha: Oh yeah. I talk to Cee-Lo all the time. Me and Cee-Lo are like brothers, man.

AllHipHop.com: You’re kinda like the life of the party in a lot of ways. Have you joined in on the Cristal boycott?

Jazze Pha: The Cristal boycott? I can’t really join it because I don’t drink it. I drink Louis XIII [de Rémy Martin Cognac]. Hooo!

E! Debuts ‘Hip-Hop Wives: The E! True Hollywood Story’ Tonight

The E! channel

will debut a 1-hour special tonight on the lives of women married to Hip-Hop celebrities

titled Hip-Hop Wives: The E! True Hollywood Story. The

wives of such Hip-Hop celebrities such as Ice-T (Coco), Russell Simmons (Kimora

Lee Simmons), Sean "Diddy" Combs (Kim Porter), Snoop Dogg (Shante Broadus)

and others are featured in the special, which details the lives of the first ladies

of Hip-Hop."If

he does something foolish, I’m not having it," Snoop’s wife tells the cameras.

"The perks of being married to Snoop Dogg? I have a beautiful white Range

Rover, beautiful jewels, but most of all, my three beautiful children: Corde,

Cordell and Cori."Commentary

during the special is provided by VIBE editor Beverly Smith, AllHipHop.com’s

founders Chuck "Jigsaw" Creekmur and Grouchy Greg Watkins and others.

"I’m

a mother, and I run a home and I run businesses," Kimora Lee Simmons says

during the special. "One day you’ll be covering my breakdown, but not anytime

soon."The

show premiers tonight (July 9) at 8pm, with encores July 12 at 8pm, July 16 at

1pm, July 17 at 8pm and July 22 at 8pm.

Hip-Hop Museum In Bronx, NY Gets Millions In Funding

The New York City

Council has allocated $1.5 million in funding to construct a Hip-Hop museum in

the Bronx, New York.Spearheaded

by City Council member Larry Seabrook, the museum will trace Hip-Hop from its

origins in the 1970’s and be used as a forum to educate future generations about

Hip-Hop culture."We’re

not talking about gangster rap," Councilman Seabrook told The New York Sun.

"We’re talking about Hip-Hop."The

new museum is part of a community center and housing development project that

is being built by the nonprofit Northeast Bronx Redevelopment Corporation. The

project is reportedly to consist of several floors of low-to moderate-income housing

with a gymnasium, a small theater, a recording studio, and the museum.The

Bronx, the fourth most populous of New York City’s five boroughs, has long been

considered as the birthplace of Hip-Hop. The museum will be the first dedicated

to the documentation of Hip-Hop culture.In

February 2006, the Smithsonian Institute’s National Museum of American History

announced the launching of "Hip-Hop Won’t Stop," the museum’s first-ever

on going and evolving exhibit on Hip-Hop culture.The

exhibit showcases a permanent collection of artifacts donated by various artists

that including vinyl records, handwritten lyrics, boom boxes, clothing, microphones

and other artifacts.

Wu-Tang Clan Announce U.S. Summer Tour Plans

Wu-Tang Clan has announced dates for a month-long summer tour that will include performances at San Diego’s Street Scene, two Rock the Bells concerts and a pair of intimate shows at New York’s Webster Hall.

The tour will feature all the original members from the clan, whose roots go back nearly 15 years.

In addition to numerous solo shows and a special

Philadelphia Wu-Fest show featuring Rakim, Redman and Boot Camp Clik, Shaolin’s Finest will connect with a number of prominent hip-hop acts along the way, including Mos Def, Talib Kweli and De La Soul at both Rock the Bells concerts and Kanye West, Snoop Dogg and Lupe Fiasco at San Diego’s Street Scene.

The once-elusive group has been hitting the road more frequently in the past year, performing both group and solo classics.

While the group hasn’t released any new albums since 2001’s Iron Flag, Ghostface Killah recently released his critically-acclaimed Fishscale and Method Man’s 4:21: The Day After is slated for release on August 22.

Scheduled tour stops are listed below:

8/3 – Phoenix – Celebrity Theater

8/4 – San Diego – Street Scene

8/5 – San Bernadino – NOS Events Ctr.

8/6 – Concord, CA – Sleep Train Pavilion

8/8 – Salt Lake City – The Depot

8/9 – Denver – The Fillmore

8/11 – Minneapolis – First Avenue

8/12 – Chicago – Congress Theater

8/13 – Detroit – Chene Park

8/16 – Providence – Lupos Heartbreak Hotel

8/17 & 18 – NYC – Webster Hall

8/19 – Philadelphia – Penns Landing

8/20 – Winston Salem – Corpening Plaza

8/23 – Tampa – Jannus Landing

8/24 – Orlando – Hard Rock Live

8/25 – Ft. Lauderdale – Revolution

Khia: Queen to Be

W

hen you feel like nobody can do it like you and your competition is minimal it’s only natural that you step up and claim a title. “Queen of South” is what she’s chosen to call herself and it doesn’t seem like anyone has objected…well at least not yet. Written off as a one-hit wonder by most Hip-Hop fans after her hit single “My Neck, My Back,” Khia says she has plans to show otherwise.

While her first album Thug Misses sold over 800,000 units independently, Khia has gone on to produce her entire sophomore effort Gangstress. To play along with the title, the mugshots from several years ago will be collaged to make the Tampa rapper’s album cover.

With a Janet Jackson collaboration in the works, this one-hit wonder is one that plans to wipe her competition out. Khia discusses the role of the female MC, artists who don’t write for themselves, and she speaks on the role of sexuality in her music as compared to others. She’s been quiet for three years, but Khia is making up for lost time with and without the mic.

AllHipHop.com: So I hear before you got recognized as an artist that you used to be a bartender down in Florida?

Khia: Yes I did. I was a bartender for seven years and loved it. I was able to build relationships with all the DJs and radio stations and club promoters. I worked in one of the biggest clubs in Tampa and it was good because I was able to get my music into the right hands. It was a great opportunity and it worked out good.

AllHipHop.com: You’ve been missing for a while. No one has heard much from you since your first album dropped. What have you been doing?

Khia: I traveled and toured. I’ve been overseas. Most artists out here have seen me on the road, just a lot of the mainstream media haven’t seen me and that was by choice. Thug Misses came out in 2002 and I toured overseas 2003 and all of 2004. I’ve been to Japan, Africa, Greece, Italy, Germany and France. As huge as “My Neck, My Back” was over here in the United States, it was just that huge overseas. Just to be able to tour and travel all over the world with my first album was an accomplishment. A lot of artists aren’t able to do that off their first album. I just got back into the states in 2005. All during that process I had been writing and getting prepared for this album and trying to get a deal because I only had a one album distribution deal my first time around. Just trying to do all the pit work and get this album out it took a year, so it’s really not a comeback because I haven’t been just sitting and waiting.

AllHipHop.com: That first time around you sold 800,000 units independently. Your first single “My Neck, My Back” had sex written all over it. Do you think that if you would have used a different approach in your lyrics you would have sold as many records?

Khia: Oh most definitely. A lot of people think it was just about “My Neck, My Back,” but it wasn’t just about “My Neck, My Back.” You’ll get to see on my new album that I’m real versatile and I cross a whole lot of different avenues.

AllHipHop.com: Elaborate on the title “Queen of the South” and why you choose to call yourself that?

Khia: Me coming out independently and selling as many records as I did, no other female artist from the South has done that on their own. I’m independent, I do all of my own writing and production, I don’t have a major team or major label and I’ve accomplished a lot. As far as being “Queen of the South,” I’m calling myself that because I’m standing on my own two feet and I’m doing a lot of work for myself that most female artists don’t do.

Being independent and having my own label, selling units, and not coming out behind a man is a lot. Lil’ Kim had Biggie, Trina got Trick, Remy got Fat Joe, Mia X had No Limit, Eve had Ruff Ryders, and Foxy had Jay-Z. Every woman that has been out has piggybacked off a man. You can’t be the queen if you’re not running the show. I have made a lot of noise on my own in the South and all over the world. My first single alone made a bigger impact than any female that has came out by herself. I run the streets in the South.

AllHipHop.com: Is that why you choose to do the album without any collaborations?

Khia: I think that people use collaborations because they are talentless and they need to try and come up off other people’s sales and fan base. I do all my writing and my own production. I’ve done features with other people, but for my album I just chose not to do any.

AllHipHop.com: So what’s your first single going to be?

Khia: The first single is going to be “Snatch the Cat Back.” It’s another ladies anthem. To break it down for the ladies: if your man ain’t treating you right, snatch the cat back, or if he’s hurting you and dealing with other woman, snatch the cat back. I felt that it was something that all women could relate to because at some point every woman has wanted to snatch the cat back. The song is really about respect.

AllHipHop.com: I read that your new album cover will have some of your old mug shots that surfaced on the internet a while back? Talk to me about that.

Khia: My whole album cover is going to be my mugshots. The album is going to be called Gangstress, so why not have the truth on the cover? There was a lot of controversy about that too. When you have a little bit of success you’re going to have people that come in and spread rumors and try to assassinate your character, but that was another reason why I used the mugshots. It’s not something that I’m trying to hide from, it’s all in my music. It’s still a way to show that I’m not trying to paint a pretty picture and look sexy. This is what I used to be and this is what I am now. It’s gonna show the truth behind the music. You have thugs and thug misses, gangsters and gangstresses, you have girls who go to prison and hustle n’ grind just like guys do. They’ll be able to relate and know that it doesn’t matter that this is where you came from, if you have goals and dreams you can still achieve and do well. I chose to use them for a lot of different reasons.

AllHipHop.com: So when you saw the pictures surface what was it like to have your past exposed? Did it bother you?

Khia: At home and in Florida when you’re brought up in the hood, you’re trained for that kind of stuff. I wasn’t going to do a Mariah Carey and be in rehab and OD’ing somewhere stressed and depressed because people were pulling up my past. I was just like… “Oh look at this!” [giggling] It really didn’t affect me, but it showed me that people aren’t loyal in this game and will do stuff to sabotage your career so you have to be head strong. If you’re not, you won’t make in the Hip-Hop world because there’s some shady s**t going on out here.

AllHipHop.com: Now I hear that you might have a song with Janet Jackson? Is that true?

Khia: Ohhhh! [in shock] Yes, it’s true. The song is going to be promoted with her album, not with mine. It’s called “So Excited.” It’s a hot track, and it’s going to be the second single off her album. I love Janet to death. I was so excited when she called to do the song. I think it’s a good tag team and I enjoyed working with her. I turned down a lot of people that wanted to collaborate and said I’d never collaborate with another female rapper, but I couldn’t turn down Janet.

AllHipHop.com: How do feel about female MCs in the industry?

Khia: I don’t have a favorite female MC. A lot of theme have male ghostwriters and try to sound and rap all hard like a man. Women can’t relate to that. It might be pleasing to a man’s ear but to a woman it’s degrading. They’re not getting any respect because they are being used as sex symbols and not demanding any. So many of them are puppets for men who are putting them out there and I don’t respect that.

AllHipHop.com: So do you feel like you have any competition out there?

Khia: No…None what so ever. I’m the “Queen of the South” and I’m claiming [it]. I know there’s going to be a lot of controversy and people trying to compare because that’s what they do, but the bottom line is I’m handling my business. Until another women in the South steps up and does that, I’m not going to respect you and you can’t take my place. I’m out here and I’m doing it, I don’t respect none of them.

AllHipHop.com: With you being from Florida and having female counterparts such as Trina and Jacki-O, what do you think about them?

Khia: Trina and Jacki-O…Please! Just like I said: [they are] puppets. Trina piggybacked off Trick Daddy and every single that she had she needed a big name feature to sell records. The girl does lap dances on stage. The majority of her fan base is men and that’s because they wanna f**k. They looking at ass, sex, and her as a sex symbol. She talks about being a female pimp, and tricking for $10,000, and diamonds and all that kind of mess. That’s not the real world. She’s living in a make believe world, and that s**t she raps about is make believe. And Jacki-O, I’ve never heard of her.

AllHipHop.com: Besides dropping your album, what else is in the future for you?

Khia: I have a new book that’s dropping this Christmas called Gangsta Love that I am promoting with my album. It’s a thug misses story, my story, and where my music comes from. So I’m trying to promote my book and produce beats and do some writing for other artists. I just want to be respected and not known as a one hit wonder and my second album, Gangstress is going to help me make my mark.

Block Music

Artist: ShawnnaTitle: Block MusicRating: 3 1/2 StarsReviewed by: Eb Haynes

Shawnna’s second studio album Block Music (Disturbing Tha Peace/Def Jam) paints a befitting mural for the street wise, former member of the disbanded girl group Infamous Syndicate. Gritty tracks such as the “Gettin’ Some Remix” which features Hip-Hop royalty, Too Short, Lil Wayne, Ludacris and Pharell, produced by XCel, has been disrupting airwaves and causing legions of post Sex and the City women to admit, being one of the guys is just as sexy.

During the 13-track, bass driven odyssey, Disturbing Tha Peace’s (DTP) resident ’round the way diva partners up with her legendary father, blues guitarist Buddy Guy, in order to capture the soul and essence of Block Music. “Chicago” a mid tempo collaboration is one of the songs the duo builds. Produced by The Yung Bosses featuring fellow Chi-town natives, Avant and Malik Yusef, Shawnna’s affection toward everything good, bad or indifferent is sincerely expressed on this tribute song to her Chicago hometown.

The first track, “Can’t Do It Like Me” is the most disappointing song on Block Music. Shawnna’s rapid-fire flow coupled with production from seasoned hit maker Chucky Thompson spawns a song reminiscent of yet another Chi-town great, Da Brat. Then Shawnna’s DTP imprint kicks in with the sinister Vudu produced title track “Block Music (Bang)” featuring I-20. Vudu continues to bang out a variety of songs, like the addictive “Candy Coated” featuring 8-Ball and MJG to the passionate “In Tha Chi” featuring Johnny P. and Syleena Johnson. “Take It Slow”, featuring DTP’s own Ludacris and Bobby Valentino, displays Shawnna’s softer side. So does the catchy, femme song “Damn” featuring Smoke of Field Mob.

Shawnna has proven her ability to merge street and sweet. The playful “Lil Daddy What’s Good” produced by Staybent Krunk-a-Delic and super producer Salaaremi will empower women. While the sexy “Hit the Back/Slide In” produced by 110% Pure will seduce men.

Lyrically Shawnna is verified. “Can’t Break Me”, the second father/daughter collaboration featuring Shareefa, sums up Shawnna’s entire philosophy on Block Music: “Don’t let the game take me out/I’m taking out the game.”

Misery Loves Comedy

Artist: Louis Logic & J.J. BrownTitle: Misery Loves ComedyRating: 3 1/2 StarsReviewed by: Dr. Zero

It is rare for an album to be balanced. Most of the time, an artist will focus heavily on one element and neglect the other. For example, stellar sounds are sabotaged by bland lyricism. Or, top-notch verses are foiled uninspired tunes. Musical equilibrium is only achieved when the music and lyrics blend together in perfect harmony instead of sounding lopsided. Louis Logic and J.J. Brown’s Misery Loves Comedy (Fat Beats) exhibits plenty moments of symmetry between the rhymes and melodies.

The strength of this album lies in its impeccable production. The beats exhibit so much depth and creativity that it will cause fans to continue to hit the repeat button based on the music alone. The authentic bass lines mixed with the guitar, medium-pitched piano keys and other live instruments will give listeners a stimulating, mind-blowing musical experience. One example of this beautiful mix is “New Leaf” which features bass guitar strings over a soulful base sound that will keep heads nodding. Another wonderfully produced track is “Captain El Wino”. This beat featurs classic scratch elements over a low bass line and brass instruments that yield to an uplifting beat that has the potential to be a sleeper club hit minus the expletives. Logic’s smooth, soothing flow and nonchalant voice compliments the intoxicating, addictive rhythms.

Logic will impress fans with his diverse subject matter, storytelling skills and lyrics. He talks about what will happen if his boy ever messed with his girl on “The Line”, how women are known cheaters on “All Girls Cheat” and life in general’s trials and tribulations on Misery Loves Comedy. The problem with the album is that it’s too short. Just when a listener may be getting into Logic, it is over. There is no sense of true closure. Aside from that, some of the topics were overdone (see “All Girls Cheat”). Minus its shortcomings, Misery Loves Comedy proves the jokes on those who think indie rappers can’t find a happy medium of expression.

Battle For Death Row Records Continues In Court Today, New Lawsuit Filed Against Suge Knight

The battle for Death Row Records continues as Lydia and Michael “Harry-O” Harris have filed a new lawsuit against Marion “Suge” Knight pertaining to his April 2006 bankruptcy filing.

The new lawsuit, filed in The United States Bankruptcy Court In The Central District of California, Los Angeles Division, is filed against Knight personally and seeks to exclude the debt owed to Lydia Harris from any discharge Knight may receive in the bankruptcy process.

The claims in the new lawsuit arise from Knight’s alleged fraud, breach of fiduciary duty and intentional torts against Lydia Harris.

The issues were raised in the State Court and resulted in a default judgement in favor of Lydia Harris in the amount of $107 million dollars.

Lydia Harris was awarded the default judgement after the Superior Court found Knight and Death Row allegedly thwarted Lydia’s efforts to enforce her rights and Knight’s alleged willful refusal to cooperate in discovery efforts.

The underlying actions stems from Lydia Harris’ claim that her husband invested $1.5 million dollars to start Death Row Records, which has sold tens of millions of records since being founded in 1991.

Michael Harris claims he struck a deal with Knight in which Lydia and Knight would be 50/50 partners in Death Row Records.

Michael Harris claims the deal was made from in the Metropolitan Detention Center, where he was awaiting trial in Federal Court for conspiracy charges.

After that deal was made, the Harris’ claims Knight and Death Row set out to exclude Lydia from her rightful interest in Death Row Records.

Lydia and Michael are now divorced, and it is now settled that Michael is entitled to a community property interest in the default judgement.

Knight and his attorneys in turn sued Michael, his attorney and Lydia’s former attorney and others in February of 2006 for $106 million dollars alleging fraud and racketeering, claiming Michael Harris was extorting Knight by threatening to claim Death Row Records was funded with drug money.

In April, Knight filed for bankruptcy protection to avoid the State Court from placing a receiver in Death Row, after Knight missed a number of court dates and continued to disobey court orders requiring him to produce documents and answer questions under oath.

Knight’s attorneys claimed he is filing bankruptcy to reorganize his finances and to temporarily retain control of Death Row Records, which once counted Dr. Dre, Snoop Dogg, Tha Dogg Pound and Tupac Shakur – the best selling rapper of all time – and others among the artists on the label.

A bankruptcy hearing is scheduled for today (July 7) for the court to decide whether a bankruptcy trustee in both the Knight individual case and the Death Row bankruptcy cases should be appointed.

If a trustee is appointed, Knight will no longer be in control of Death Row Records and his personal affairs.

Attempts to reach Knight for comment were unsuccessful as of press time.

Gnarls Barkley Announces Nation Tour

Critically acclaimed group Gnarls Barkley has announced a fifteen city US tour which is set to kickoff later this month.

Consisting of Goodie Mob rapper Cee-Lo and DJ Danger Mouse, the Gnarls Barkley tour will begin on July 18 in San Francisco, CA and coincidentally wraps in San Francisco, CA on September 17th.

The announcement marks the first major tour for Gnarls Barkley since the release of their debut album, St. Elsewhere.

Fueled by the Internet success of their single “Crazy,” the group recently made history when “Crazy” became the first song to reach #1 on the UK singles chart without selling any physical copies.

Scheduled tour stops are listed below:

Tue-Jul-18-06 San Francisco, CA Fillmore

Wed-Jul-19-06 San Francisco, CA Fillmore

Thu-Jul-20-06 Costa Mesa, CA Pacific Amphitheater

Sun-Jul-23-06 Los Angeles, CA Avalon

Mon-Jul-24-06 Los Angeles, CA Avalon

Fri-Jul-28-06 Naeba, J## Fuji Rock Festival

Wed-Aug-02-06 Minneapolis, MN First Avenue

Thu-Aug-03-06 Chicago, IL House of Blues (private show – only way to get tickets is to

listen to Q101)

Sat-Aug-05-06 Chicago, IL Grant Park — Lollapalooza

Mon-Aug-07-06 Detroit, MI State Theater

Fri-Aug-11-06 Boston, MA Avalon

Sat-Aug-12-06 Philadelphia, PA Electric Factory

Thu-Aug-17-06 New York, NY Central Park Summerstage

Fri-Sep-15-06 Austin, TX Zilker Park — Austin City Limits

Sun-Sep-17-06 San Francisco, CA Golden Gate Park Amphitheater — Alice Radio Show

For more tour information, log on to www.myspace.com/gnarlsbarkley.

Sammie: Deja Vu

Long before anyone stepped to the tunes of Chris Brown, made out to the melodic voice of Ne-Yo, or chilled out to the smooth sounds of Mario, a teen sensation by the name of Sammie had already been there and done that. While most 12-year-olds were thinking about whether or not to finish their homework, Sammie was busy positioning himself as a music pioneer of sorts.

Barely on the cusp of puberty, this musical prodigy was blazing trails as one of the youngest artists ever to record a platinum album. In 1999, he scored big with “I Like It,” a #1 hit that propelled him straight to the top of the Billboard charts. With super-producer Dallas Austin behind him, Sammie was a force to be reckoned with. By the time he turned 14, he had accomplished more than many artists twice his age. It was 2001, and Sammie was a young artist in the fast lane. Suddenly, he disappeared.

Fast forward to 2006 – Sammie is now 18-years-old, and reunited with Dallas Austin, this time on Rowdy Records. With a new self-titled album, he is back to make his mark with a more seasoned sound and a mature outlook on life. Collaborations on the project include work with the likes of Brian Michael Cox and Daron Jones. Sammie reveals to us why he ditched his blossoming music career, and why it took five years to come back to what he loves.

AllHipHop.com Alternatives: You’ve been away from the game for a minute.

Sammie: Me being gone so long was primarily for my education. I just wanted to finish high school, live and be a normal student. I had success at such a young age, that it got kind of hectic. So I decided to take a break and just prayed on it real hard and was blessed with another opportunity once I graduated to do what I love once again.

AHHA: That’s commendable, especially for someone as young as you were, to make a decision like that.

Sammie: I appreciate that. Just being in this industry and I would say just life period, education takes you so much farther than just the gift of song or just a talent, period. I was blessed with positive influences then. It wasn’t just my decision. It was also my mother and father. It was a collective decision. They just felt [I should] stay grounded…stay humble. I’m passionate. I live and breathe for music. Music never left me, and I don’t want my fans to feel like I left them, but I really felt that education in my life should’ve been my first priority. It worked out beautifully. The feedback from fans was that they’ve been missing me. I’m so glad they cared and wanted to have me back after all these years and be interested in my music once again.

AHHA: Were there times when you were in high school, thinking back to all the fame you had and exciting things that were going on in your life as far as the music, questioning your decision to leave the industry?

Sammie: Truthfully? Everyday. Everyday for these past five years, I thought about it. I never worried though. I’m very spiritually inclined and just prayed hard. I just let time and nature take its course. It worked out, thankfully. But every day of my life I did think about it because I feel like I really started this young generation movement. Before me there was no 12 year old who had a hit single or who had a platinum album. You have to go back as far as Stevie Wonder to get that. To see the Chris Browns, the Omarions and the Marios, yeah, you kind of wish you were back out there again. But, I understand everybody has their season. There are many people around the world that can sing, can dance and have talent. You pray about it and work hard. God will bless you and that’s why I’m in the position I am in today.

AHHA: But really, you’re still a kid. How many artists can say they made a comeback at 18? You still have quite a future in front of you.

Sammie: [Laughs] I’m just so grateful to be so young. I was 12 with my success then. Taking five years off sounds like a crazy thing to do, but I’m still younger than some of the guys out there now. I’m just blessed.

AHHA: Speaking of some of the guys out there. You mentioned Chris Brown, Omarion, and cats like that. Would you say that your style as of late, your current project, is it kind of similar to those acts or…

Sammie: It’s similar, but I don’t want them to be in my shadow every time Sammie is brought up. Of course, they’re going to compare you to Chris Brown, Mario, and Ne-Yo, just because you’re all young and in the same category as far as R&B. We’re in the same genre of music, but I think when you listen to my album, you’ll be able to differentiate between the comparisons that people make. I’m here to make my mark as a singer. You know, a lot of people don’t reallly sing anymore in R&B. They just hold a note and they entertain. They dance all over the place, which is cool, but for me, I’m just a singer first and here to bring that passion and soulfulness back. I want to focus on singing and just being me. Like, I’m a die-hard Usher fan, but I don’t want to be the next Usher. I want to be Sammie. I want to be my own brand.

AHHA: But as you know, it’s a tough industry. You can see how it’s easy to gravitate toward proven methods of success, right?

Sammie: It’s understandable. You do want to kind of go with the trend, especially from a business standpoint because you kind of want to go with what works. But there has to be someone else who decides to go left and still succeed. That’s really what I’m trying to do and get that across to my fans.

AHHA: Did you say you wanted to get back in the music industry when you turn 18 [with a plan]? Or was it more of a spur of the moment kind of thing?

Sammie: Truthfully, it was a spur of the moment type thing. The last time people saw me, I was 14. That was with [the soundtrack] Hardball, which was 2001. It’s really not on me. It’s on God, when he decides to open that door once again. I really wanted to come back sooner than 18 because I really love singing that much – I miss being on stage that much. You know, I’m from Florida and we have a lot of hurricanes. Me and my family packed up and went to Atlanta because of that. That’s where I met a guy named Malcolm Lee, who is currently my manager.

We met up with Dallas [Austin]. He executive produced my first album. He hadn’t seen me for five years. and as soon as he saw me, he went crazy. The first thing he said was that as soon as I turn 18 on March 1st, he was going to sign me. I didn’t have to work. It was just there for me. That’s how good God is.

AHHA: Well, let’s take it back a bit. Obviously, Dallas was glad to have you back, but what was he thinking when you made the decision to leave the game?

Sammie: He understood. A lot of people don’t know that even when I was singing and touring, I stayed in public school. I never had private school or home school. So I would go to school three times a week. That’s the minimum under Florida law. I would go to school from Monday through Wednesday, and Thursday through Sunday I would travel. So to do that in the 7th and 8th grade, that’s two years of living and working hard. It takes a toll on your body. Being young and being 12, there was a lot of stress at times. Dallas respected [the decision to leave]. He had always been passionate about me since the first time he met me. I never wanted to go elsewhere this time around. I wanted to come back to Dallas and just do it again.

AHHA: Of course back then, actually a little while before you came out, Dallas had been working with Another Bad Creation. Kriss Kross was out at that time. You had a lot of younger cats doin’ it, but it was mainly Hip-Hop, emceeing. Now you have young artists, but this time around most of them seem to be in R&B. Do you feel more competitive in this day and age?

Sammie: Truthfully, I must say yes. I watch a lot of interviews and they ask young artists that question and they’re kind of afraid to say it. It’s not at the point where I can’t stand Chris Brown. I support all of them. I bought every one of their last albums – but it’s a competition. There’s only one “Number 1” spot and truthfully, Sammie wants that. It’s friendly competition if you want to say it that way. You have so many artists and we’re so close and so similar, you kind of attract the same fan base. It’s most definitely competition. It’s just kind of the way it is. It’s not our choice. The industry just makes it that way.

AHHA: How do you feel about some of the new ways of doing business? A lot of technologically savvy consumers are getting their music in other ways, as opposed to going into a store to cop a CD.

Sammie: Nowadays, it’s so hard to sell records. I don’t knock anything a person does that’s legal and positive to promote themselves. Whether it’s a Myspace or on the internet, you kind of have to do what you have to do to sell records these days. With a lot of people bootlegging, it’s real difficult and it’s hard to survive. And you got a new artist dropping every Tuesday, so I really support any method to support your record and get out there. It’s just real rough. There’s a lot of artists out and there’s not a lot of room for everybody to sell records…to go platinum.

AHHA: You were just getting into your teenage years when your debut album went platinum. Do you feel any kind of pressure to duplicate or surpass that success?

Sammie: There is a little pressure. There’s pressure on any artist. When you have a new project coming out and you put all your blood, sweat, and tears into a project, you have that nervousness of what if it doesn’t do well? I have a little of that nervousness sometimes, but I’ve always been confident and I’ve always been true. Like, I’ve listened to this album so many times. I’m not saying this because it’s my album, but it’s just a great album. I think I touched on every topic you can touch on from a teenager to maybe a sophomore year in college that someone might have gone through. There’s pressure, but I leave it in the hands of my fans and God. If it’s for me, then it’s going to happen.

AHHA: You’re from Miami, but you’ve spent a lot of time in Atlanta. Do you prefer being in Miami or Atlanta?

Sammie: I’m a little country boy. I’m a Florida boy first. I was born and raised there. I’m always going to be on the Miami side because that’s where my heart is, but Atlanta has embraced me and there’s a lot of things to do there. The atmosphere is very party-like and the pace is not too fast, but not too slow. Being from Miami gave me that mental toughness, though. I’ll always be a Floridian.

AHHA: So, anything else going on with your career aside from recording the album?

Sammie: I’m on the Pantene tour right now that BET is sponsoring. It’s myself, Tyrese, and LeToya Luckett from Destiny’s Child. We’ve done Dallas, Houston, DC, Chicago. I just did a little role in a movie called Steppin’, with Ne-Yo and Meagan Good. I’m just trying to do it man, and be seen where I can be seen.

Alabama Rapper Gunnz Links With Czar Entertainment and Don P

Emerging Alabama rapper Gunnz has quickly emerged as a premier artist in the area with a blossoming, catchy song and a high-powered management team in Jimmy “Henchmen” Rosemond’s Czar Entertainment and Jeremy Geffen.

Gunnz’s tune “Janky” has garnered significant radio airplay in markets like Birmingham, Miami, Memphis, Chicago, Los Angeles and other key regions. Now, the 20-year-old lyricist plans to release his debut I Sold Myself, an album that will feature Don P & Trillville, TrillTown Mafia and production from The Track Boyz.

“That title comes from me having to get off my a** and do what it takes to make it and saying f**k what the ‘janky’ people think of myself or [the constraints of] me being from Alabama,” Gunnz told AllHipHop.com. “A lot of people were scared to give Alabama a chance and by far it didn’t come easy. I had to sell myself.”

Mark "Tarboy" Williams of the production team The Track Boyz said he was moved by Gunnz persistence

“The main reason why I became involved with Gunnz was because of his ambition. Him being from Alabama and hustling to make things happen the way he did is truly remarkable,” the St. Louis-based producer said of his dealings with the rapper after an introduction from Don P of Trillville. The production team has produced for the likes of J-Kwon, Nelly, D12, YoungBloodz and others like R&B group 112, whiles Gunnz has opened shows for Baby and Cash Money, Lil’ Jon and the Ying Yang Twins.

“To be able to be apart of an upcoming movement outside of my own region is something that I am very thankful for,” Williams said.

While he comes from uncharted Hip-Hop waters, Gunnz is convinced he can change the perception of the Southern state.

“I am going to show the entire world a new sound and introduce a new culture – Alabama,” he said. “We got next.”

Gunnz said he expects the album to drop in the fall 2006 release date, but also stated his team was fielding several offers from major labels.

In related news, The Track Boyz recently inked a deal with Atlantic Records with Shorty Da Kid, a 16-year-old St. Louis radio personality.

New Studio Album From Bone Thugs-N-Harmony On The Way

Koch Records will release a new self titled studio album from rap group Bone Thugs-N-Harmony, the sixth album since the group’s debut release, Creepin On Ah Come Up.

The album is the first release from the group as a trio and will be followed by a separate, Swizz Beatz produced album currently in production for Interscope Records.

“I can’t tell you how excited I am to be working again with Bone, Thugs N Harmony,” stated Koch’s General Manager Alan Grunblatt. “I saw them perform acappella in Eazy-E’s office 3 weeks after they got off the bus from Cleveland. When E. 1999 debuted #1 on the Billboard charts and scanned 340,000 units the first week, it was one of the proudest days of my life.”

Grunblatt handled the marketing and promotion of the group’s multi-platinum albums Creepin On Ah Come Up and E. 1999 Eternal while working for Relativity Records, a now defunct label that distributed the Ruthless Records post-NWA release.

The first single from the Bone Thugs-N-Harmony album is titled “Fire” and is slated to ship to radio outlets nationwide later this month.

Grunblatt was enthusiastic about the group’s sound, despite the absence of longtime member Bizzy Bone.

“My relationship with the group has been a long and successful one,” Grunblatt continued. “I simply love this new album. It is full of the melodic hood anthems the group is famous for and should return them to the top of the charts.”

Bone Thugs-N-Harmony hits stores September 19 on Koch Records.

The Lost Boyz in the Hood

The Lost Boyz in the Hood

In light of the recent launch of the new Blade miniseries on Spike TV, a striking metaphor exists between that of its protagonist and the plight of today’s African-American male. Due to the fact that Blade is a vampire (therefore casting no reflection) as well as of obvious African descent, we have a double entendre that speaks to the very nature of how Black males are viewed in America. For those (hopefully many) familiar with Ralph Ellison, we can recognize the irony in this when recalling The Invisible Man; his prolific novel which catalogs the intolerance of America through the travels and travails of its nameless main character of color.

Mos Def once noted that ‘the invisible man’s got the whole world watching.’ Indeed we do, but in what capacity does society chose to view what it can’t see? For most, in the absence of light, the darkness can skew one’s vision and fill the mind with frightening thoughts. Enter the camera-luminous radiance of the media which casts a shadow on said image that many have not seen and do not want to see. After all, society’s success (or failure for that matter) is often gauged by whomever is deemed to be its worst representation.

Recalling The Lost Boys, a typical all White 80’s movie about vampires and the classic Boyz N the Hood movie of the 90’s, we see in the mixture of the two, a depiction of what the media has spun Black men into. We are a hybrid: half invisible man, half Manchurian candidate. One who has no identity outside of what has been created of us and propagated into our own self-image and the image unseen by our peers. An image which can cheapen our potential and lower the expectation and importance of our place in the world unless we begin to refocus the scope of the lens and redefine ourselves as men of value and substance.

* The term "Manchurian candidate," spawned by the book and later films, refers to an individual who has undergone brainwashing and / or mind control with the intent of creating a "Sleeper" personality within that individual.

(wikipedia.org)

“The Lost Boyz N the Hood”

While Just Another Black Girl Lost

is low on the marquise,

Lost boyz in the hood

are shown constantly.

Displayed across the

prompts of TV –

it’s a bittersweet limelight.

Underlined and underlying

like a Sharpie’s peak,

Our best efforts are undermined

by the parts we keep…

It’s an odd odyssey to see

our littered debris on primetime.

It trips me out when

our illiteracy gets highlights

Along with sky high criminally

minded hindsight.

We can’t escape justice’s blind eye –

the news coverage is smotherin’.

But when Quadrevion and Purvis

go missing in Wisconsin,

Prompts in the papers surface slow

like a whispered conscience…

They’re more quick to respond

when we’re robbin’ and plunderin’.

This blind eye turned

to invisible men

Is primed by the spurn

of our divisible skin.

We’re a critical blend

like Blade the ‘daywalker.’

While our best potential’s

ignored by the masses,

Our worst credentials

are exploited and blasted…

We’re in immortal caskets –

stuck in a past tense like JJ Walker.

We’re the mirrors of

a parasitic society

Reflecting its transparent

spirit of primacy.

They’re killin’ us silently with

silver tongues and Billboard bullets.

From the slick press depicting

that we die in the streets

To pigs pressin’ profiles illicitly

keepin’ eyes on me…

Why is our mystique exclusively

seen as pilferers

of young Gilmore’s pureness?

By displaying crimes repeatedly

torched into mental annals,

The light of daytime TV

destroys ‘dead men’s’ travels.

I see through these crystal channels –

their motives are clear and present.

The danger’s calculated and imminent –

No disclaimer can eradicate its discriminant…

This affidavit’s too eminent –

as its motif has smeared our essence.

We’ve been deemed as

easy targets of deviance

By a media that markets us

as heathens and hedonists.

We’re in too deep in this as

“Stereotypecasts” to the Associated Press.

Unless we’re talkin’ childish

spouts like pediatricians

Or caught wildin’ out with

weed in our systems,

The media won’t listen –

positive Black folks are

like tokes of smoke:

a waste of jaded breath.

Just look at the way they’ve kept

A lack of paraded depth

Surrounding wages of deaths

when drugs or violence is

removed from it all.

Why aren’t cameramen

constantly clammerin’

Surrounding the cover up

with Martin Lee Anderson?…

His death was mod’rately handled when

he was roughed up by a crew of guards.

In the case of Florida’s juvenile detention,

Their coroner’s truth was wilder than fiction.

They said he died of a mild condition

of sickle cell anemia.

But the fatal flaw was this –

he only had the trait.

He was accosted and suffocated

with ammonium nitrate…

Yet the holes in this vile case have been

overlooked with selective amnesia.

Though there are scenes of evidence

from the filmed altercation

And a second autopsy effectively

revealed their alteration,

Evidently it’s been sealed in moderations

of blatant disregard.

Despite protests and rallies

from students and activists,

We haven’t viewed a second glimpse

since this tragedy hit…

Yet I bet if the hues had been aptly flipped –

they would’ve already

charged these heinous guards.

This is America a.k.a. Freedomland at its best.

Is it transparent enough? –

it’s easy to plan a Black man’s arrest.

It’s easy to s#### out a

measly man’s wrongful death

than to bring justice to light.

It’s more feasibly accepted

to assume guilty verdicts

Than it is to find an unbiased mind

who’ll willingly reverse it…

Even we’ve been enticed

by the appeal of the circuit –

I’ve observed and heard it as

it bumps in the night.

Glorified in our music and awarded

with plaques and Oscars,

I’m mortified when I view this

recorded as Black dogma.

We’re more than derelicts and crack mongers –

until it pays to be portrayed as such.

In an attempt to promote and reappropriate

how brothers struggle,

We’ve groped and sold our souls

as hustlers and jugglers…

Thus exposing our plundered jugulars

until it sprays from betrayals of lust.

With this blood on our hands,

we’ve invited this infiltration

Into the brood of our wombs

disguised as dignified indignation.

When we talk to our youth,

watch how we engage them –

we don’t condone, but we do condemn.

Telling them statistics is one thing,

But we’re already selling them

tickets to gun sling

When we assume they’re fools

in school except one thing –

which is usually gym.

We’re fooling these gems

when we limit their vitals

To how well they can

scrimmage for winnin’ titles.

The competition’s a bigger rival –

the threat’s unseen.

You’d best believe when these

boys meet the world,

it’ll be more than a lil’ savage.

If they’ve only been poised

for track meets and girls,

the damage is manic…

The gambit’s already been planted

and the nets are hungry.

This is entrapment, the media only sees us

as addicts, dealers, entertainers or athletes.

The rest they’ll manage to wield as

entangled in trash heaps.

They’ll angle off the latter as human

interest pieces in sweeps week.

Swept under the rug until the topic is run

That the only difference between

our fathers and sons

Is a dollar’s sum and a few swallows

from bottles of rum – but don’t worry,

they’ll keep it short and sweet.

They’ll spin it into parables of prodigal sons

Who were returning home when

they were mowed down by a cop’s gun –

Then they’ll give a rundown of plausible stunts

to downplay being killed in cold blood.

To further play up the Black component,

They’ll insinuate he may have had crack on him…

As right at that exact moment they’ll

reveal that the father was on drugs.

So what does this message deliver?:

Don’t bother n*ggas about being father figures.

They’re too involved with itch palms

on revolver triggers and liquor

to guide their vermin seeds.

This explains why the police beat is needed –

To tame the beast that

the media’s managed to weave in…

When it’s time to feed it,

they’ll step up the news feeds with fervent speed.

Any education reference in these forums

Are usually linked in suggestions to reform.

It’s accepted when we read in the joint –

where else are we given

federal resources so freely?!!

Lost and found in prison,

Our men’s thoughts are bound in prisms

Until they’re hostile, riled up wisdom

resorts to immoral ‘strategery.’

This allusion of grandeur reeks

of the rigor of Bushisms.

The illusion of slammers speaks

through a bigger system.

Our men are political prisoners –

victims of an invested bureau.

We’ve been expensed – our figure’s slated

to follow and stand approved

To be invisibly violent like

Christian Slater in Hollow Man 2…

As models in Manchu,

it’s impossible to fix an image

without a reflection eternal.

© Reggie Legend 2006

Steel Waters, Inc.

[email protected]

For more details on Martin Lee Anderson, please click here.

or here!

For more details regarding Quadrevion Henning Purvis Parker, please refer to:

http://www.henningparker.com/

Conde Nast Taps Kanye West, Black Eyed Peas For ‘Fashion Rocks’ Concert

Rappers Kanye West and The Black Eyed Peas will join an all-star cast of performers during Conde Nast Media Group’s ‘Fashion Rocks’ concert in September.

West and The Peas will perform alongside a number of celebrity singers on September 7 at Radio City Music Hall in New York, to help raise AIDS awareness.

Proceeds from the concert will benefit Sir Elton John’s Elton John AIDS foundation.

“You can’t think about Hip-Hop without visualizing its style along with the beat,” said Conde Nast’s President Richard D. Beckman. “Today, the worlds of fashion and music are merging faster then ever, with multiple artists including Gwen Stefani, Jennifer Lopez, Beyonce, Justin Timberlake and Jay-Z, capitalizing on this synergy by launching fashion lines of their own. Fashion Rocks celebrates this unique marriage and promises to be one of the most exciting shows of the year.”

Beyonce, Christina Aguilera, Jamie Foxx, Nelly Furtado, Bon Jovi, Daddy Yankee, Faith Hill, Tim McGraw, The Pussycat Dolls, Rihanna and Scissor Sisters will also perform during the evening, which will be broadcast the following evening (September 8) on CBS.

For more information log on to fashionrocks06.com.

VIBE Gets New Owners

VIBE magazine was acquired yesterday (July 6) by The Wicks Group of Companies, L.L.C., a New York-based private equity firm.

Although terms of the deal weren’t disclosed, it was revealed that former VIBE music editor Danyel Smith was named editor-in-chief.

“I have always been a strong supporter and believer in the VIBE brand, and I am thrilled to rejoin as editor-in-chief,” said Smith, who joined the magazine in 1993. “I look forward to strengthening our editorial traditions and our overall music, fashion, culture and style coverage on behalf of VIBE readers.”

With a circulation of about 850,000, VIBE reaches more than seven million readers per month.

The magazine, which covers urban music and

lifestyle, includes various brand extension platforms such as VIBE Vixen, VIBE Online, VIBE On Demand, VIBE on Film and MVibe.

The VIBE brand also extends into additional product and distribution channels, which include the VIBE CD and DVD series and television programming.

In addition to Smith, Eric Gertler joins VIBE as chief executive officer.

Ari Horowitz will serve as president, while Len Burnett continues as group publisher.

The acquisition marks the beginning of a planned extension of the VIBE brand into multiple media platforms and distribution channels, while strengthening its position among its base of young consumers.

“The power of VIBE is its appeal to the diverse, trendsetting young style makers who enjoy and are passionate about urban music, fashion and

culture,” said Gertler, who also serves as a principal of Keith Glen Media Corp. and CEO of Blackbook Media Corp. “We think there are tremendous growth and value-creation opportunities to leverage the brand across multiple media platforms and we are excited to build upon the great relationship that VIBE has with its community.”

Gertler’s fellow Keith Glen Media Corp. principal Horowitz believes VIBE will be “one of the great brands of the 21st century” as he voiced his

excitement over the brand’s expansion.

“We are very excited about this acquisition and the talent that we have assembled to help the business reach its potential, added Daniel Black,

a partner of the Wicks Group. “VIBE has all of the hallmarks of an outstanding media property, and this transaction creates a strong platform from which to address its growth potential.”

Reebok Teams With DJ Mick Boogie For New Series Of Mixtapes

Mixtape DJ Mick Boogie has hooked up with RBK/Reebok for a new series of mixtapes.

The series, titled the RBK Artist Spotlight, will feature various RBK artists, including Jay-Z, 50 Cent, Pharrell, Lupe Fiasco and Lil Wayne.

Fiasco will grace the first edition of the series while promoting his new shoe, The OG.

“I’m very excited to be a part of this project,” Boogie said. “Mixtapes are one of the greatest promotional tools in the urban marketplace, and I appreciate RBK for recognizing contributions that the mixtape has made to the urban culture and choosing me for this project. RBK already has some of the best shoes… and I look forward to working with them to create some of the best mixtapes!”

Boogie’s inclusion in the series was a natural fit, according to RBK marketing representative Ron Shaw.

“When I was putting this project together, I knew Mick was the only DJ with the creative vision to make our promo CD sound like something people should have bought,” he said.

The RBK Artist Spotlight mixtapes, which are not available commercially, will drop every few months and be distributed by RBK field marketing reps at various Reebok urban events and key sneaker stores across the country.

For more information, visit MickBoogie.com.