T

he gods over at Google must invest in irony, because upon searching for the Georgian group Field Mob, the description lists them as artists from New York. Surely anyone with even an earlobe to the street knows of the current situation regarding the Albany, Georgia natives and their take on the New York Hip-Hop scene. Field Mob was reportedly misrepresented mimicking New York rappers in both gesture and slang on tape. In the midst of misquoting, edited video clips, and proverbial middle fingers to the media, Field Mob has without a doubt expressed an undeniable truth that the South is a major player in Hip-Hop today.

Formerly known as Kalage and Boondox Blax, the duo resurrected as Shawn Jay and Smoke, inking a deal with Ludacris’ DTP by-way-of Geffen. Hailed as artists on the rise with two albums under their belt, Field Mob’s goal this time around with Light Poles and Pine Trees is to inform the world that the South is on fire; and they’re holding the matches. The group surfaced last fall to dismiss any assumptions that their place in the music is strictly for comedy. Although their sound has clearly evolved, the group has definitely maintained their sense of humor mixed with catchy wordplay. While their single “So What” featuring Ciara currently spins on both radio and video, Field Mob is gearing for their third release.

Speaking with Shawn Jay and Smoke, the duo lightheartedly explains their take on regional Hip-Hop, their issues with AllHipHop.com [yes, us], and their unfortunate negative portrayal as media minstrels.

AllHipHop.com: Smoke, why’d you switch names to Chevy-P?

Smoke: Maturity, grew older. I felt like it.

AllHipHop.com: How do you feel you’ve changed in addition to the names?

Shawn J: We’ve both got beautiful daughters. The maturity level changed. The priority list has been rearranged. We’re finally gettin’ to the right position that we should be [in]. Everything’s different now. We understand how to make music. We understand how to politic, which is the s**t that got us f**ked out the game last time. We understand all that… it’s…we know! We know what’s up now.

AllHipHop.com: Will the backing from Disturbing Tha Peace change the reach or awareness for Field Mob?

Smoke: Yup.

Shawn J: I think it was a great move. We wanted to move, and we had been playin’ with ‘Cris [Ludacris] for a long time. We’re more friends than business-partners, I would like to say.

Smoke: Yeah.

AllHipHop.com: A lot was made of being allegedly misquoted over your comments about New York Hip-Hop. After all that, do you think that New York MCs take themselves too seriously?

Shawn J: I ain’t got nothin’ to say, whether they take themselves too seriously or not!

Smoke: I ain’t sayin’ nothin’ ‘bout ‘em, ‘cause the critics take it…they too sensitive. We ain’t got no problem with nobody, but, at the same time, freedom of sp–…we wasn’t dissin’ them then. We out in Cali now with Cali people jokin’ ‘bout how they be sayin’ “mark,” but it’s cool ‘cause we deal with these people – we f**k with these people. When you hear us talk, you’d be like, “Them mothaf**kas is country as hell!” We ain’t sensitive like that though. We understand [that] it just is that way.

Shawn J: I’m not talkin’ ‘bout New York. [Some] of them don’t like us, anyway. All they need is an excuse. [But] the people that do love us, the G-Units, [and] everybody [else]… I ain’t mad. It’s all the mothaf**kin’ broke mothaf**kas that’s mad! I got people out there that I like, man. I f**k wit’ ‘em. Then there’s some newcomers out there that want to start a beef. They can’t [succeed] with talent, so they need some controversy.

AllHipHop.com: It’s pretty obvious that the South has the majority—

Shawn J: We run s**t! We run s**t! No, we run s**t, say that s**t right, man.

Smoke: I wanna give a shout out to Scarface, MJG and 8Ball, U.G.K., and all the people that made this possible.

Shawn J: Don’t be mad at us. We runnin’, and we got the torch.

AllHipHop.com: In your opinion, what do the other coasts, like New York, have to do to get it back?

Shawn J: I don’t know what you need to do! I don’t know baby, I’m just sayin’ so.

Smoke: Everybody got they time. It’s just our time. You never gonna go back to the second grade again. Times change.

Shawn J: Look at Busta [Rhymes]. Busta Rhymes still makin’ hits, he ain’t complainin’. It’s a game. Look at the [Chicago] Bulls. The Bulls’ll never be what they was.

Smoke: They had they time. They had Jordan! Now it’s Lakers, and the Heat.

Shawn J: Know what I hate though? When they had it, they didn’t share it. Now, the West Coast, I love the West Coast, but they didn’t share it. And I ain’t mad at them for that.

Smoke: ‘Cause they went through what we went through.

Shawn J: I don’t blame them, but we share it. Look, you got the Hyphy s**t at the same time as the South doin’ it. You got G-Unit poppin’, Dipset poppin’, you got Nelly!

Smoke: See, we share the game! And we gonna forever have it, ‘cause we reap the benefits of sharin’ it.

Shawn J: Look at Mike Jones! I heard Mike Jones rap a million times. Mike Jones got a Platinum plaque, man. Thank ya Mike, you gave the South more legs. Thank ya Paul [Wall]! It’s our time. That’s why Field Mob sound so good to you right now, ‘cause it’s our time! You was sleepin’, we been around! We been [doing] this for a minute.

AllHipHop.com: In addition to the misquote, you had some comments in Ozone magazine about AllHipHop.com. With both of these issues, what’s your opinion of the media?

Smoke: I hate the media! That’s the reason why everything is the way it is. If y’all were to keep it more one-hundred, cut-and-dry, [instead, everybody] is tryin’ to get a scoop of dirt on some s**t. They take the news, every lil’ thing, and they promote the drama, the beefs, and the bulls**t way more than you promote albums. AllHipHop.com, I love y’all, but if some s**t go wrong, y’all will put it on the front page. You’ll put ‘em on the front page ‘cause of a fist-fight. You won’t put ‘em on the front page ‘cause they album’s gonna come out today. No, that’s under the controversy. You’ve got the Rumors section – all that blah, blah, blah. Just look at yourself. Don’t blame us. I can’t call out everybody like that. Look at how the media made it look like we was tryin’ to diss New York. That’s the media.

AllHipHop.com: You both had some run-ins with the law. Did the media do too much to promote that?

Smoke: AllHipHop.com! You made us look bad. You lied. You found us when you needed an interview, but why the f**k didn’t y’all find us when we had our brush with the law? Get the real stories.

Shawn J: Controversy sells.

Smoke: [It felt like] “F**k Field Mob,” then come back and try to be cool with [our] ass.

AllHipHop.com: Let’s get back to the music…

[Hearty laughter]

AllHipHop.com: What can we expect from this album?

Shawn J: A great album.

Smoke: The same thing we been giving you the last two albums – a hot album. We plannin’ to go triple [Platinum] this time, I mean, we gotta. I know everybody plans to go triple and they…do they thing. But we really plan do plan on goin’ triple.

Shawn J: High hopes this time!

AllHipHop.com: You had spoken about not wanting to be portrayed as comedians. With this album, is the tone overtly serious?

Shawn J: We still havin’ fun now. Put it like this: I don’t think [the media] understood us the last two [albums]. I understand that some people think we’re stupid. They see the single and the video, “Oh they stupid!” [It took them] to get the whole CD to say, “They not stupid, I got ‘em.” We not doin’ that this time. I can’t have pigs and all that in the videos this time, ‘cause y’all don’t know how to take it. I have pigs and s**t as a visual, I’m sorry. They gonna love me up-top [New York], and the gonna love me out West, and they gonna love me in god damned Iceland.

AllHipHop.com: You’ve got children with you now. As fathers, would you let your kids listen to your music?

Smoke: [to daughter] Do you listen to your daddy’s music? Do you like it?

Daughter: Yeah.

Smoke: Hear that! [laughs] She loves her daddy’s music. She knows what’s goin’ on.

AllHipHop.com: If not here, where would you be?

Smoke: [whistles] Damn! I don’t know about that one.

Shawn J: The penitentiary.

Smoke: Comin’ in your backdoor. [laughs]

Shawn J: In the hood.

Smoke: Lookin’ for a jux!

If

you read the liner notes to any major Hip-Hop album from early ‘90s on, chances are you’ll see Bobbito’s name in the shout outs. If you a go to an New York street-ball event or Madison

Square Garden halftime show, chances are, you’ll see Bobbito teasing the crowd with his mesmerizing handle. The same is true if you’re doing a report on sneaker culture, where your primary source may be Bobbito Garcia’s Where’d You Get Those?. From the swoosh of the net to the swoosh of the Nike, Bobbito’s been an aficionado, independent of his rich rap heritage.

The 39 year-old former co-host of the legendary “DJ Stretch Armstrong and the Bobbito Show,” witnessed live performances from Nas, Big Pun, DMX, Mobb Deep and Jay-Z and a plethora of other lyrical presidents, Bobbito has been a stapled in Hip-Hop’s development. Having penned for many of its magazines for over 15 years, Bob was cashing checks signed by Dave Mays and Russell Simmons before Chris Brown was born.

The 1988 pro Puerto Rican hoopster now serves a Hip-Hop’s permanent sneaker guru via his ESPN2 show It’s The Shoes. Whether walking in style, running the court, or kicking it with stars in the pages of VIBE, Bobbito Garcia changed Hip-Hop forever, read how…

AllHipHop.com: How did you start playing basketball?

Bobbito: Basketball was really just part of the fabric of my family. My father, who played when he was young in Puerto Rico, was invited to try out for the Puerto Rican Pro-League before he had moved to the United States. My dad gave me a ball when I was seven years old. When I was in fourth grade, I made the six grade team. By age 14, 15, I started playing at Holcombe, Rucker, and citywide and all the tournaments in New York. After that, it’s been this long consistent continuous ride of just playing ball and getting a lot of enjoyment out of it.

AllHiphop.com: Is it true that you were under the tutelage of Earl “The Goat” in your younger days?

Bobbito: Well, yeah. Earl Manigault, nicknamed “the Goat” is a playground legend out of New York. He went to Ben Franklin High School and unfortunately, never realized his potential. Kareem Abdul Jabaar once called him the best, the best guard he had ever played with or against out of New York. Earl got hooked on heroine, he got hooked to a life of crime, wound up in jail, and when he came out, he started hanging out in the park at the Goat Park, which is right across the street from where I live. Earl was just a constant presence in all of our lives. It wasn’t just me. It was like anybody who went into that park was affected by Earl. He ran a tournament called, “Walk Away From Drugs”, which I played in, my brother played in it. You know, Earl, in his late 30’s was still running full courts with us and dunking. After heroine addiction, after like heart by-pass, after, you know, all these things that his body went through, he could still dunk on one of the rims and he was only 6’1.

AllHipHop.com: Damn.

Bobbito: That gives you an idea of how athletic he was in his prime. But essentially, he would hang out at night and sometimes, he would show me freak passes. It wasn’t so much like “hey, shoot a jumpshot like this,” it was more like Earl was like this mythical character in the park. All he had to do was give you a nod. He always liked my jumpshot. It was just like this unspoken relationship with a legend. And the legend liked me, the legend, noticed me. That was the relationship. It wasn’t like I went and had pizza with him. He was kinda like Yoda.

AllHipHop.com: Talk about your career as a writer. You founded Bounce magazine but it goes way back further than that…

Bobbito: Yeah. I was working at Def Jam since 1989 as a messenger and very quickly, with a lot of initiative and intuitive sense about Hip-Hop, I was able to climb up the ladder at Def Jam and start doing promotions. Through that, I met Dave Mays at WHRB, Harvard University’s radio station, who at that point in 1989, started a newsletter called The Source. The next year, they moved to New York, made it a real magazine and I was one of their early writers. I was doing reviews, concert reviews, 12 inch reviews, leading up to a landmark article called “Confessions of a Sneaker Addict,” which was their first article ever on anything outside of recording artists or albums. It was their first cultural piece. It was a big article for them because it was the first article ever written on sneaker culture in all of media period. It got a ton of response and a young publisher by the name of Dana Albarella, who at that point was working at St. Martin’s and who later went on to Regin Books/Harper Collins started her own book company called Testify. She had read my article all the way back then, really liked my writing, and really liked the subject matter. She approached me about writing a book, which I then titled, Where’d You Get Those?: New York Sneaker Culture from 1960-1987 which came out in 2003. It’ll be out in soft cover this year in the fall and eventually will be made into a documentary.

Before I wrote the book, I wrote a ton of freelance. I wrote for Rap Pages for like three years. I had a column called “The Barbershop”. I wrote for Slam Magazine early on, a lot of freelance articles. I wrote for VIBE Magazine starting in 1994, freelance, and then I started writing a column called “Sound Check” and miraculously, it’s lasted. It’s the only thing that’s lasted for VIBE all this time. After I wrote the book in 2003, I was approached by some friends of mine about starting a playground magazine called Bounce. I had so much fun writing about basketball in my book, I felt like doing a magazine would be the perfect segway. I was the editor from 2003 until this year. I still work with the magazine as a consultant. We really bring home the idea that there’s a ton of great ball players that aren’t getting the exposure and, you know, it’s similar to what Stretch and I with WKCR 89.9 FM where we just exposed a lot of great talent that people didn’t know about.

AllHipHop.com: Speaking of the DJ Stretch Armstrong and Bobbito show, How did it feel being around Mobb Deeps, Nas, and Big Pun when they were first getting their wings together?

Bobbito: People always ask me that. It didn’t feel any different than being around Ghetto Communicator or R.A. the Rugged Man, or Cage. It’s like, all those dudes came up and they were all on equal plains. They were all nice on the mic. They were all really energetic and none of us, Stretch, [Lord] Sear, or our listeners, ever knew what was going to happen with anyone. Fame could have happened to anyone. DMX the Great came up in 1990 – eight years later, he was DMX. Killa Cam and Murder Mase came up with Big L, and, five, six years later, they were Mase and Cam’ron. Big L just as well could have been that Platinum artist too. It’s like people ask me, “How was it?”. It was just like this innocent time. Mobb Deep came in when they were Poetical Prophets. They were unsigned hype in The Source. They didn’t even have a record yet. Same thing with Big Dog the Punisher. He came up with Fat Joe. We clearly saw that he was a nice MC. Two years later, he was Big Pun and selling platinum records. Same thing with Ason Unique [Ol’ Dirty Bastard] He came up with Rza, who at that point was Rakeem. Two years later they came back with “Protect Ya Neck” as Wu-Tang Clan, and re-wrote the history of Hip-Hop in 1993. There are so many artists that came through, who just blew up years later. The gratifying thing was when they remembered. Redman put us on his shout outs, Organized Konfusion put us on a shout out. The Fugees, if you look at The Score, the first people they shout out is Stretch and Bobbito. That album, The Score, sold how many copies, like ten million. You know, that was nice when people remembered us. Not everybody remembered us, but it’s all good.

AllHipHop.com: Out of all the things you do, writing, DJing, the ESPN show, playing basketball, you even had an acting gig in Summer of Sam,… if you could choose one profession, what would it be?

Bobbito: I wouldn’t choose one. I’ve sharply proven that people don’t have to stay in one lane. If anything, all the different lanes that I’ve been a part of have helped each other. As a DJ, it helps that I was dancer for years. Dancers look at me and are like, “Yo, that’s an ill record. How did you know to play that.” I’m like “Yo, I understand it. I understand that nuance. I understand polyrhythms. I was a musician as a kid. My father was a musician. The rhythm of dancing also helped me as a ball player. When you see me dribbling or when I’m doing commercials or a performance, I’m incorporate dance into that. I incorporate footwork into that, and so, it all, to me, it all goes hand in hand. I think the crowning moments of my life, personally, would be playing pro-ball in Puerto Rico [at] 5’10” and 165 pounds. To be recognized by one of the best leagues in the world as good ball player meant a lot to me.

AllHipHop.com: Right.

Bobbito: Especially in my homeland, where I had a lot of pride and spirituality coming out of the fact that I was getting to see all the islands – in terms of what the world looks and goes “Wow, Bobbito is gonna be remembered.” I think obviously the radio show. In 1998, The Source magazine voted Stretch, Sear, and I, the best Hip-Hop show of all time. I feel like, the artists that are still the biggest artists right now, Jay-Z, Biggie, and Nas, they all started when they were unsigned on our show. Well, Jay-Z, he had a 12-inch [record] deal, he didn’t have an album deal when he came up. I think still to this day, you think about the biggest artists of the last 15 years, they started on our show.

I think another crowning moment is my book, absolutely. I mean, you know, it took four years to write and I’m very proud of it. I went to Wesleyan University and I’m very proud that I could write a book that was reviewed by high literary media like the New York Times, Sports Illustrated, and The New Yorker. I’m definitely proud of what I’ve done.

T

he American Airlines Arena is usually jumping when the Miami Heat are playing, but it’s not always Shaquille O’Neal and Dwyane Wade causing the excitement. The person electrifying fans is often DJ Irie, the official DJ of the Miami Heat. During the pre-game warm-up, timeouts, and intermissions, Irie transforms the AAA into “one big party” by playing mostly Hip-Hop music. The St. Croix-born, Miami-raised entertainer became the first official DJ of an NBA franchise in 2000, and he’s become a crucial part of the game’s atmosphere. The unique position has allowed him to be one of the few men capable of making 70-year-old women sing-along to Yung Joc’s “It’s Goin’ Down.”

After being inspired to pursue music by his boarding school roommate, Reggae artist Sean Paul, Irie went on to become a respected presence in clubs and on radio. He also ventured into the mixtape game alongside DJ Diesel, better known as Shaq, with the “Kingz of Miami” series. But it’s his job as the Heat’s musical pacesetter that has made Irie a household name. The world-traveled DJ took a 20-second timeout to speak about DJing for the Heat, Jamie Foxx’s world-tour, four different Miami nightclubs, his radio show, and numerous events. He also spoke candidly about the NBA Finals. Despite the Heat being reduced to a light burn early in the series, Irie still believes the team will rebound and bring an NBA Championship to Miami.

AllHipHop.com: Did you and Sean Paul both have musical aspirations when you were in boarding school?

DJ Irie: Sean actually had a lot to do with me going in the direction of music. He had a little Casio keyboard, and we would listen to all the new Reggae songs on the radio in our dorm. He would hear a song once and before it was even over, he would be playing the beat on the keyboard. He didn’t have any musical training; it was just a gift. I wanted to be able to do the same thing he did, so I started hearing music differently. I wanted to be able to blend sounds, mix sounds, and that’s what led me to the turntables. That was my first real inspiration of not just hearing music on the radio, but wanting to be involved.

AllHipHop.com: Who else influenced you?

DJ Irie: The guy that made we want to get my turntable skills tight was DJ Craze. When I first heard Craze play, I wanted to get to that level. On the showmanship side of rocking the mic and touching the crowd was Kid Capri. He influenced me to just attack a party. On the business side is Funkmaster Flex. When I saw him in the Franchize office, and saw that it wasn’t just about getting up in the morning and playing records, it really opened my eyes. This is music and DJing, but it’s still a business.

AllHipHop.com: So how did the “Kingz of Miami” mixtape come about?

DJ Irie: I was never really big on mixtapes until Shaquille [O’Neal] came to Miami. I was DJing Dwyane Wade’s birthday party when Shaq first joined the Heat, and he invited me to his house. The next day, we sat down and he told about his idea for a mixtape. When the big fella is telling you to do something, you’re going to do it. I taught him how to get down on the turntables, we listened to songs together, and we made it happen. We’ve done three so far and the last one was for the NBA All-Star weekend in Houston called “Candy Paint.” We have another one for after the NBA Finals. You know how teams print up the “Champion” t-shirts just incase they win? Well, we have a mixtape jump off ready just in case.

AllHipHop.com: How do you rate the Heat’s chances of winning?

DJ Irie: There’s no such thing as chances; it’s about how many games it will take. These guys have worked way too hard and put in too much time to get to this point. There’s no question that Dirk [Nowitzki] is phenomenal. He has an inside shot, outside shot, and he’s going to play at a high level, but is his level of intensity enough for the Miami Heat? We have to worry about Dirk, but the Mavericks have to have an answer for Shaq and Wade, and they’ll get it together.

AllHipHop.com: What is the DJ Irie experience at a basketball game like?

DJ Irie: I fuse an all-out party with basketball. You’ll see an incredible basketball game if you come to watch the Miami Heat, but the second they call a timeout, halftime, or if you get to the game early, I set a party atmosphere. The Heat may be below in the points or stomping the competition by ten points, but no matter what the situation, my job is to get the fans’ spirits up.

AllHipHop.com: How does that differ from DJing a club or a mix show?

DJ Irie: On my radio show, people tune in to hear me play Hip-Hop, R&B, and Reggae. The people at the arena are there to see a good basketball game and are from all walks of life: young, old, Latin, Asian. When I play at the arena, that’s what I think about and I try to have everyone included. I’ll [play] everything from Bob Seger to Missy Elliot or Daddy Yankee.

AllHipHop.com: Isn’t the challenging because most people at games don’t fit the typical Hip-Hop demographic?

DJ Irie: When I was first offered the job, I turned it down for that reason. I didn’t think that I would be able to entertain everyone. But when I sat down with people from the Heat, they asked me about my previous experience. That brought me back to my first DJing job at a skating rink. When I played at the skating rink; I had to play music for all different kinds of people because everybody loves to skate. I drew back on that experience and said, “Okay, let’s see if I can do this.” It wasn’t that I didn’t like the music; it’s just that I was thinking tunnel-minded.

AllHipHop.com: How did people respond to you that first night?

DJ Irie: Oh, man, the first game was a disaster. The most people I ever played for was maybe 3,000 people in a club. The first night I walked into the arena and saw 20,000 people, so there was a little bit of an intimidation factor. Between that and not getting fully out of the radio or club format, there was a clash. It’s kind of funny because I looked at tape just like NBA players do and I realized where I f**ked up. I thought it through and by the second game, I smashed it.

AllHipHop.com: What do you think of the cross-promotion between Hip-Hop and basketball?

DJ Irie: It’s great. During the shoot-a-round, I’m playing strictly what the players want to hear like Mobb Deep, Rick Ross, and Young Jeezy. A lot of times, older people from a non-urban demographic will come up to me and say, “Hey, what’s that song?” I remember the first time I played Yung Joc, they were like, “Hey, man, “It’s Goin’ Down,” I like that.” These are people who may not listen to urban radio and they definitely don’t come to my clubs, but here I am able to expose them to my culture, my background, the player’s music and culture, and they love it.

I [performed] at a 25th anniversary party for this married couple and when I saw the people there, I thought I was going to play some Barry Manilow or Neil Diamond all night. Man, they came up to me and said, “We want some ‘Lean Wit’ It, Rock Wit’ It,’ some ‘Gold Digger,’ and all the stuff you play at the games.” Hip-Hop is bridging the gap between them and their kids, and it’s doing a lot for basketball by bringing a whole new level of excitement and exposure for the music.

AllHipHop.com: You’re from Jamaica, a place where cricket and soccer are popular, so what drew you to basketball?

DJ Irie: I was born in the Virgin Islands and my parents are Jamaican. They sent me to boarding school there, so all I know is Miami and Jamaica, but I’ve been a basketball fan my whole life. Before I even stepped into the American Airlines Arena [as a DJ], I was a Heat fan. But let me tell you something: if you go to Jamaica now, you’ll see nothing but Heat jerseys. They all want to support the team and have their satellites locked in to the games. Soccer and basketball are out s**t.

AllHipHop.com: You DJ across the world, so how are things different outside of the U.S.?

DJ Irie: I played in Austria, and when I told them the songs that were popular here, they looked at me like I was crazy. They get their music from their local MTV channels and you see zero to none of Southern artists there. They don’t know about Three-6-Mafia, Paul Wall, Rick Ross, or any of that stuff. So when I go out there, I’m breaking new music in a new continent. In America, it’s about dropping songs people know from radio and TV that they can dance to, but in Europe, they expect you to play stuff that they have never heard before.

AllHipHop.com: You’re involved in so many things, so what happens when there’s a schedule conflict?

DJ Irie: I have a contract with the Heat that says I don’t miss games – period. My role is so huge that if I miss the game, it would take a huge overhaul for [organizers] to get through the event. My number one priority is the Heat game, but when I do have to miss my radio show, I put my man Knowledge in; if I miss a club, I’ll put I-Roc in; if I miss a show with Jamie Foxx, there’s a back-up mechanism. Being in the playoffs, if somebody calls me for a show the following week, I have to wait and see because there might be a certain amount of games and I don’t know when that will be. Right now, I’m going through hell.

AllHipHop.com: You’re also working on an official compilation for the Heat, right?

DJ Irie: Yeah, we’re working on that and it’s a huge challenge because the NBA is so conservative in terms of what they allow their brand to be put on. For me, I want this to be as raw as possible because I’m not trying to put out bubble-gum music. It’s been a challenge for them to put Trick Daddy on the joint because they’re like, “Wait a minute? Wasn’t he arrested?” I’m telling them, “It’s just music, man!” They have image concerns, but we’re making progress.

AllHipHop.com: This is the last chance to change your mind; who is going to win the NBA Finals?

DJ Irie: The M-I-A-M-I. This is Miami’s year. Not only for the city’s accomplishments in music, not only for coming up as a hot city, but now is Miami’s time to bring home an NBA championship. I know Dallas has never been there either, and Dallas and Texas as a whole, have been on the come up and they have a movement going on. But man, there is a train called Miami Express rolling and it’s powered by diesel fuel. That bad boy is not stopping for anything.