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Yung Joc Does Double Duty as Artist and Label Head

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

With the success of his first single “It’s Goin’ Down,” Atlanta rapper Yung Joc is riding high as an artist.

But the Block Entertainment/Bad Boy lyricist is not resting as he expands his resume with his new role as president of Mastermind Music, a new label he created with his friend Chino Dollar.

“We did a deal with Block Entertainment and they have the major distribution through Bad Boy South and Warner Music Group,” Joc told AllHipHop.com. “That means that when the checks get cut I get an advance check for being an artist, and I also got a big check for being the president of Mastermind and doing that deal with Block.”

Being an artist and a businessman at a young age has allowed Joc the opportunity to further his professional growth in the music industry.

“Being 23 don’t mean I’m just wet behind the ears and fresh off of a college campus,” he said. “It means I’m ready to spread my wings and fly. There’s a whole world out here of nothing but space and opportunity and I’m taking advantage of every opportunity to get it…beware.”

Yung Joc’s debut album New Joc City hits stores on June 6.

Mos Def, Fat Joe, Jadakiss and Busta Rhymes Go “Beyond Beats and Rhymes”

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

An independent filmmaker has crafted a film that enlists the likes of Mos Def, Fat Joe, Chuck D, Jadakiss, Busta Rhymes, Russell Simmons, and activists such as Michael Eric Dyson, Beverly Guy-Sheftall, and aspiring Congressional candidate Kevin Powell, who offer earnest critique about Hip-Hop lifestyle.

Beyond Beats and Rhymes: A Hip-Hop Head Weighs in on Manhood in Rap Music is a 2006 Sundance Film Festival selection that was produced and directed by Byron Hurt, a gender violence prevention educator.

With his film, Hurt is bent on confronting the societal concerns and community interests as it pertains to the influential culture.

“My film challenges the idea that in order to be a successful rapper in Hip-Hop you have to be hard, tough, violent, sexist, and homophobic,” Hurt told AllHipHop.com. “I’ve shown this film to audiences all over the country, and the first thing people say to me afterward are ‘Thank you so much for making this film’ or, ‘This film needs to be seen everywhere, especially in the hood.'”

Beyond Beats and Rhymes made its debut in New York City last night at the “Sundance at BAM (Brooklyn Academy of Music) Film Series” and will offer more screenings on May 19 and 21. Additionally, the acclaimed film will air nationally on PBS in early 2007.

Hurt also said that while his movie has been years in the making, the subject matter and examination are only becoming more relevant.

“The recent shooting deaths of Proof, Busta Rhymes’ bodyguard Israel Ramirez, T.I.’s personal assistant Philant Johnson, as well as rapper Gravy getting shot in the butt outside of New York’s Hot 97 sadly reminds us in the Hip-Hop community [that] manhood and Hip-Hop are too closely associated with senseless violence,” Hurt continued.  “Morning shock jock Star’s comments directed toward D.J. Envy’s wife and daughter, which led to his well-publicized firing at New York City’s Power 105.1, clearly reveal that some men’s attitudes about girls and women in mainstream Hip-Hop are raging out of control.”

While the 60-minute film examines Hip-Hop, it doesn’t ignore the overall scope of the Black male experience in the United States, as it addresses misogyny, violence, and homophobia.

“I know that Byron’s current project on Hip-Hop is close to his heart. It reflects his on-going effort to use film to address essential concerns on the intent and impact of popular youth culture,” said filmmaker Orlando Bagwell in a statement. “His film will pose fundamental questions about how Hip-Hop culture represents and expresses basic attitudes in our society about love, violence, and compassion.” 

The Brooklyn Academy of Music is screening the film.

To see a short on the film, visit www.BHurt.com.

New Joe Budden Album Coming in October

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

After months of being shelved, rapper Joe Budden’s sophomore opus The Growth will finally see the light of day later this year.

“The album will be out in October…It’s crack,” an excited Budden told AllHipHop.com. “The music is definitely nuts. The people will forget I was even gone. I been gone for so long I done worked with just about every producer there is, from Cool & Dre to Swizz to Timbaland, the list can go on and on.”

Budden may have been off the mainstream radar for awhile, but the Jersey-bred rapper has remained busy on the mixtape circuit.

Until his official return, he plans to tide fans over with another underground offering.

“I’m actually gonna put Mood Muzik Part 3 out before [The Growth ],” said Budden. “I gotta do that.”

The Growth will feature production from Just Blaze, as well as Dub B (aka White Boy), who handled the majority of tracks on Budden’s self-titled debut.

The new offering will be released under Def Jam.

But while Budden’s love-hate relationship with his label has been well documented, the rapper continues to remain diplomatic, simply stating “I love Def Jam.”

Despite his solid rap career, fans may be surprised to learn of Budden’s initial entry into the world of entertainment.

“I did used to sing long ago,” Budden admitted. “I was twelve or thirteen years old when my mom used to make me go in the choir to keep me out of trouble.”

But don’t expect Budden to exercise his singing pipes anytime soon.

“I smoked too much weed and all types of stuff to have that going on today. No more singing,” he said. “There’s no chance of me singing. I don’t think I sound as good as I used to. I used to be nice though.”

Mo’ Mega

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

Artist: Mr. LifTitle: Mo’ MegaRating: 3 1/2 StarsReviewed by: Jessica Dufresne

Chances are if you’re not familiar with Def Jux, or prefer your rap via mainstream radio, you haven’t heard of Mr. Lif. A subterranean favorite, the Beantown MC has been steadily grinding the past nine years. His most recent coup was the highly regarded Perceptionists collabo with Akrobatik last year (Black Dialogue), which was preceded by two EPs and a 2002 full-length. Now, Lif presents the well-balanced Mo’ Mega (Def Jux), which combines just the right amounts of humor, political and social consciousness and sensitivity for your aural pleasure.

Lif gets personal early in the first song, “Collapse”, on which he talks about the pressures of being a rapper over El-P’s hard electric guitar and distant Christmas bells. That edgy, hard rock-like sound is pervasive throughout most of the tracks helmed by El Producto, lacing Mega with a futuristic-type feel, which works until you notice the songs begin sounding alike.

You won’t mind that, however, on the outstanding “Brothaz” where Lif drops some serious knowledge. Bush (“The Bush administration’s worth nothing…”), Clinton (“You ain’t really down cause you live uptown…”), Katrina (“You ain’t know those flood waters was coming/You can’t smell that African blood running?”), cloning (“Evil moves to grow flesh in test tubes…”), greed (“America don‒t give a f### about you so get off it/I’m not a prophet/They just want the profit…”), and the crisis in Darfur, Sudan all get time. Over the frantic guitar, Lif spits perhaps the most socially aware (and on point) verse yet of this year: “Darfur’s in a state of emergency/It’s genocide code red classified/If this was Kosovo/It’d be over bro/But it’s brothers, so it equals no coverage/ More suffrage…”

Lighter fare awaits both on the production tip and lyrics with “Murs Iz My Manager”, where acting as Lif’s biz representative, Murs tries to get him to be more proactive in the industry hustle. The playful bounce provided by Edan evokes the feeling of late 80s/early 90s rap as Murs praises Lif for putting Kanye up to making that infamous statement about Bush so as to distract the government from true political rap. The fun continues with the PSA, “Washitup!”, produced by Lif, in which he discusses hygiene in his Bajan patois.

An honorable mention goes to the finale, “For You”. A poignant and alternate take on the typical ode-to-my-kids joint, Lif breaks down to his unborn seed why it’s not time yet for him/her to be created. Clocking in at less than 41 minutes, Mo’ Mega is a quick ride through life in the eyes of an average brother in present day America, who happens to be an ill lyricist.

Carving A New Standard Vol. 1

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

Artist: Up Above Records Presents…Title: Carving A New Standard Vol. 1Rating: 3 StarsReviewed by: Max Herman

From the mid-90s to the early-2000s, L.A.’s Up Above Records served as a reliable outlet for the right-minded Visionaries crew and their West Coast affiliates…but not much else. Hence the label’s reputation forever changed when they released emerging East Coast producer on the mic, Kev Brown’s debut album (I Do What I Do) last year. No longer were they just a West Coast imprint. On Carving A New Standard Vol. 1 (Up Above), this Cali-born label aptly celebrates their ever-expanding roster, which now includes Prince Po (Organized Konfusion) and even Chali 2NA (Jurassic 5). But among the 21 tracks from this diverse lineup, listeners shouldn’t expect to be blown away. If anything, they can expect to hear mostly solid, forward-looking Hip-Hop.

When it comes to lyrical content, the artists of Up Above are undoubtedly on their way towards “carving a new standard” in Hip-Hop. When LMNO raps, “This isn’t backpacker verses gangsta rap/Both sides are guilty for committin’ the wack,” on “Ricochet,” he helps set the non-elitist tone of the compilation. With a few exceptions, the artists of Up Above all make smart yet fairly accessible music. Although, the standout tracks here come from unlikely suspects. Take the revelatory number “Not That Way,” which sees freestyle champion Supernatural prove that he’s also an able songwriter as he counts his blessings over a melodious Marco Polo production. Then on “Southern Lady,” underrated MC J-Sands of Lone Catalysts gets as playful as L.F. Daze’s bouncy swing jazz beat in verbalizing his love for country females.

Unfortunately, it’s some of the bigger names that leave more to be desired. While Prince Po made a strong comeback with his 2004 The Slickness album, on “I Got A Right To Know,” his societal inquiries are delivered in a style a little too akin to what Jadakiss did on his hit single “Why?” And RBX’s street-side lecture (“Free”) is too lyrically abbreviated for his words to sink in. On the upside, there are enough quality tracks from a surprising variety of talent to make Carving A New Standard worth checking for–even if it’s the lesser-known talent that truly delivers the goods.

The Flamerous Life

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

Artist: Flam BeyTitle: The Flamerous LifeRating: 2 1/2 StarsReviewed by: Brent Woodie

Although dwelling in a multitude of places like Virginia and Maryland may have a strong influence on the consciousness of a young MC, it has done little to change the New York state of mind built in the city’s own Flam Bey. Playing the dual role of rapper/producer, Flam Bey has kept his head above water without the backing of a major label. Learning the ins and outs of the independent scene in the process, The Flamerous One was met with viable success after the self made CEO put out his first solo-seven-track opus, Destiny through his Bright Vision Entertainment imprint. Now ready to up the ante with his first full length LP, The Flamerous Life (Bright Vision Entertainment), Flam Bey does an impressive job merging sharp rational lyricism with hardcore New York flavored beats.

Staring off strong out the gate, Flam Bey goes hard on the title track where he spits mindful lines like, “Man I’m trying to amount to be more than my pappy/and be happy/my Mary J is Flam Bey/I’m trying to find a better way/than pumping cracks livings lax in the projects/puffing on twenty sacks of buddah,” over breezy east coast flavored production.

“Still Ballin,” is a definitive track where the Harlem-born-Bronx-Bred rapper uses his distinctive husky voice to creatively boast about his lavish lifestyle and hustling ways. Hip-Hop heads that enjoy that authentic New York sh*t, would enjoy tracks like “Uncut Raw” and “New York Nights,” where Flam does an admirable job describing the city of bright lights.

The downfall of The Flamerous Life is the abundance of tracks dedicated to the ladies and clubs alike. Tracks like “That’s What She’s Looking For” and “Gangsta Luv,” contains a bland subject matter and is musically fit for a demo-not an actual album-with its amateurish singing on the hook.

What could have been an otherwise playable album through out, The Flamerous Life’s pleasurable tracks are overlapped with uninspired songs that hurt the overall quality. Nonetheless, Flam Bey shows he does have room for growth, and that there are some MCs that can still stick to that New York style and represent it properly.

Sergio Mendes: The Uncommon Denominator

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

Who would have thought that a Latin musician who started recording in the ‘60s would be making hits 40 years later with one of today’s hottest producers? Sergio Mendes is one of the innovators of Bossa Nova—the fusion Latin Jazz music out of Brazil. Mendes went worldwide in 1966 when he formed the group Brasil 66, who spawned the hit “Mas Que Nada”.

Fast forward through several hits and 34 albums later… Will.I.Am, the man behind the boards in the Black Eyed Peas, unearthed Mendes’ records from his own childhood collection and invited him to perform on the group’s multi-platinum Elephunk. Both musicians agree that Pop music needs something different, so they created an organic fusion that became Mendes’ new album, Timeless.

The project was released in early 2006 with an all-star roster, including India.Arie, Erykah Badu, Stevie Wonder, Jill Scott, John Legend and Justin Timberlake. Hip-Hop heavy hitters Black Thought, Q-Tip and Pharoahe Monch also blessed the album. Mendes has now been introduced to a new generation of music listeners, and has no plans to stop fusing together high power sounds. He talked recently with AllHipHop.com Alternatives about the similarities between Jazz and Hip-Hop, and how his sound has remained timeless.

AllHipHop.com Alternatives: I heard you’ve been busy shooting a video today. How long has it been seen you wrote the original song?

Sergio Mendes: I recorded this song in 1966. It was a big hit. It was the first time that a song in Portuguese became a hit worldwide.

AHHA: How was it seeing your song become visualized?

Sergio Mendes: Wow, it’s wonderful. It’s 2006, 40 years later. And the song is as fresh and special as it was then. And now we have the Black Eyed Peas as our guests.

AHHA: You started out mixing Jazz and Latin music. How important is it that artists aren’t afraid to mix different types of music?

Sergio Mendes: I’m a very curious person, and I’ve always like to experiment with other types of music. I’m a big Jazz fan. Jazz was a big influence on my life. That’s why I always did albums with great Jazz musicians like Herbie Mann. Now getting together with Will.I.Am and bringing together the great melodies of Brazilian music for the young generation, and mixing it with Hip-Hop, for me it is very exciting. It is as exciting as working with great Jazz musicians.

AHHA: How much does the Brazilian/Jazz combination have to do with Hip-Hop and R&B?

Sergio Mendes: Well, it all goes back to Africa, which is the roots of Jazz, the roots of Brazilian music and the roots of Hip-Hop. So Africa is the common denominator. Brazilian music is urban, it’s carnival, it’s samba. So is Jazz. It is North American music, but the roots are African. And Hip-Hop is the street music of the world. We have Hip-Hop in Brazil, we have Hip-Hop in Japan, and here. But Africa originated all those rhythms and sounds.

AHHA: What kind of direction does Will.I.Am bring to the Timeless project?

Sergio Mendes: This is a collaboration album, and we brought our own worlds. He was very familiar with all those great Brazilian melodies and songs and rhythms. So the idea was, let’s reintroduce those great songs and then have some guests from all over the world. He brought guests like India.Arie, John Legend, Erykah Badu and Q-Tip. So it really was more like a marriage of the two worlds.

AHHA: How was it like to work with so many artists in the studio again?

Sergio Mendes: It was wonderful. Will.I.Am is a great musician, he has a tremendous sense of rhythm and melody. I learned a lot from him.

AHHA: What’s your favorite song on the album?

Sergio Mendes: “Mas Que Nada.” I like the infectiousness of the chant. It’s a universal chant.

AHHA: While putting this album together, were you afraid it would come off as a gimmick?

Sergio Mendes: Not at all. This whole process was very natural. Will.I.Am came to my house one day, bringing some old vinyls of mine, and telling me he discovered my music when he was 16-years-old in L.A. I was fascinated by that story. He then invited me to play on a song the Black Eyed Peas had on Elephunk.

AHHA: What have you learned about Hip-Hop from doing this album, and what can the Hip-Hop generation learn about you?

Sergio Mendes: Music is universal, and as long as people as passionate about putting out good music, there will always been a need for it. Regardless of what color the people or where in the world it comes from. My sons are teenagers, so they have taught me a lot about Hip-Hop music as well.

Swishahouse: Take ’em to the House

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

Between the success of Mike Jones, Paul Wall, and Slim Thug, Swishahouse Records was a proud father of artists in 2005.. However, as Chamillionaire and Slim Thug fared well without the label at times, Mike Jones has also recently been declaring his own independence.

Michael “5000” Watts and G-Dash say otherwise, and responded to comments that Jones made last week. These Houston hard-hitters are the CEOs of Swishahouse. It is Watts’ remixes that largely popularized the recent spread of the Chopped & Screwed movement that DJ Screw pioneered. The Swishahouse sound is set to carry in 2006, with Paul Wall’s recording underway of Get Money – Stay True, and Screwed-Up Click alum, Lil’ Keke’s next effort. The second is a historic H-Town moment in terms of past cross-town tension.

In addition to strengthening their city and clarifying allegations, Michael Watts and G-Dash reflect on the next class of Swishahouse artists that will be pressured by the masses to fill some impressive shoes. On the verge of a new compilation, The Day Hell Broke Loose 3, time will tell if the Swishahouse will be Houston’s new home.

AllHipHop.com: Mike Jones made some comments on our site last week regarding Swishahouse. He said that “foul business” had gone down. How do you respond to that?

G-Dash: First of all, that’s not true. Second of all, he’s still contractually obligated to [Swishahouse]. There hasn’t been no separation, and we still have agreements in place that we’re gonna continue to enforce those agreements.

AllHipHop.com: You said, “that’s not true.” What can you tell me to affirm that to our readers and those that feel otherwise?

G-Dash: Like I said, we have contracts and agreements in place. That definitely lets you know that’s not true.

AllHipHop.com: When was the last time Mike Jones communicated with y’all?

G-Dash: It’s been probably about…how long has it been since I spoke to Mike Jones? I guess that would be the last function I seen him at. I can’t recall what function – probably about a month ago.

AllHipHop.com: He may’ve said it was The Source’s photo-shoot for “A Great Day in Houston.”

G-Dash: Okay. Yeah.

AllHipHop.com: He mentioned it being an amicable difference. In a city like Houston, a tighter knit, close-quartered Hip-Hop community, how important is it to keep peace and friendship in general?

G-Dash: A lot of times, meetings just come together for us to sit down and settle things amongst themselves, you know what I’m sayin’? [You can’t] just let it go on and on with all the b*tchin’ and stuff, which could easily end up to other things. It’s better to just sit down, ‘cause this really is a business. At the end of the day, if the business isn’t handled right, nobody’s gonna be makin’ money. If Mike Jones don’t make no record, nobody benefits from it, even him.

AllHipHop.com: With or without Mike Jones, what’s the Swishahouse movement gonna like in 2006?

G-Dash: It’s lookin’ real good. We got a new compilation, The Day Hell Broke Loose 3 comin’ out. We also got other artists, such as Archie Lee, Coota Bang, and then T. Farris – he’s launching his record label, and we’re supporting him 100% by licensing our logos to his record label brand. We’re assisting him in bringing out artists like Lil’ Keke, which I’m sure everybody’s known. He’s had a great deal of Southern success in the past.<

AllHipHop.com: Now let’s talk about some of these artists. A lot of people came to know Swishahouse through the Houston explosion last years. Others were in the know years ago. But as Paul Wall and Mike Jones blew up, why has Archie Lee sat for two years? Why’s 2006 better than 2005?

G-Dash: Well, Archie’s back in the redevelopment stages. He was with us for a time, and then there was a time when he wasn’t with us, when we was rebuildin’ with Mike Jones and them. So Archie, he came back in, and we redevelopin’ him and Coota Bang.

AllHipHop.com: Other labels have historically had that “come and go as you please” relationship with artists. Both Death Row with Kurupt and Cash Money with Juvenile come to mind. As a business, why are you both comfortable with that?

G-Dash: I think they go somewhere else to test the waters, then come to realize that they really had it better than what they thought. They see the success we’re havin’. Also, you have no complaints – you can talk to any of our artists, there’s never been no complaints over money issues or things of that nature.

AllHipHop.com: Mike Jones said money was not a factor. Other articles elsewhere alluded to money disputes.

G-Dash: If you read articles, like you said, one article said there was a money dispute and now [your] article says it’s not a money dispute. There’s a lot of inconsistencies and contradictions, so you never know what’s true. Mike Jones is an artist, so he’s very artistic, and has a creative way of puttin’ things together – I guess his own thoughts and ideas. I mean, he’s an artist.

AllHipHop.com: In the history of Swishahouse, was there one significant reason why you blew? Was there a catalyst as to why, last year, everybody was in the know?

G-Dash: I think it’s just been a long period of grindin’ through the years. I’m sure people had heard about us in the past. But every year, we just been takin’ up another level. I think what finally cracked everything off was the “Still Tippin’” video that we had on our The Day Hell Broke Loose 2 compilation. I think that set the tone for the visuals that exposed our whole culture – the slowed down music, the candy-paint, the cars. I think people gravitate to somethin’ that’s new. I don’t think they gravitate to somethin’ they already gettin’. I think we came with something that was new and creative to the rest of the world – I think that’s what made everything jump off.

AllHipHop.com: That’s a good point. That said, will the focus move from candy-paint and grills to new directions?

Michael “5000” Watts: You know what man, I think all artists are growin’ beyond the candy-paint, the syrup, the rims, and stuff like that. A lot of the stuff on Paul’s record, that’s not the main focus. If you hear Keke’s record, that’s not what the album’s about. Of course we gonna keep our Houston thing. But our artists are goin’ farther than just that.

AllHipHop.com: Mike Jones, Paul Wall, even Chamillionaire – these guys had very friendly images. Looking at the tough exteriors of New York and West Coast rappers, I think that had tremendous crossover appeal. I know there’s real talk on those records too, but it’s less ego at times…

G-Dash: It’s different in them streets though.

AllHipHop.com: I’m quite sure. Mike, you recently did a Chopped & Screwed version of Dem Franchise Boyz album. Will there ever come a time when we see you come to New York artists? Where’s the Mobb Deep or Papoose Chopped & Screwed?

Michael “5000” Watts: Of course, man. My door’s always open as far as expanding stuff. Recently, I did two songs for Matisyahu. On my own, personally, I do a lot of Rock and stuff too. I’m very unlimited. Like, my radio shows, I don’t just do Southern stuff. I do East, I do West. I even do two hours of R&B, Chopped & Screwed. Whenever they wanna step up to the plate on what they want to do, I’ll do it.

AllHipHop.com: The Chopped & Screwed movement, as we all know, came from DJ Screw on the Southside of Houston. Swishahouse is about the Northside. When you started doing what you’re doing, was there animosity or resistance?

Michael “5000” Watts: Yeah, when we first started doin’ it. When I started, my mix CDs represented the Northside. There was a lil’ tension. But there was a lot of tension between the North and Side [sides of Houston] goin’ on before we even got into the music thing. A street tension, that carried into the music. Of course, all that is resolved now, ‘cause we all work together.

AllHipHop.com: What resolved it?

Michael “5000” Watts: What it boils down to man, we gotta feed our families. The only way we can all be successful is if we all work together. If you go out there and bump your head a couple times, we all realize, “Man, we’ll get a lot farther working together.” If you sit up there and look at the reasons that we’re successful, a lot of the guys are workin’ together.

G-Dash: I think the [gangsters], as they got older, they got wiser. All that s**t wasn’t gettin’ them nowhere or no money. Let’s get this money.

AllHipHop.com: Lil’ Keke started with Screw. To have him riding with Swishahouse now is a big deal. What does that mean to Houston?

G-Dash: I think it’s real big. At the same time, it’s gonna help unease all that tension. He’s like the Don over there. He was with the originators. That slang. That whole style was originated by Keke and Fat Pat.

AllHipHop.com: Does the parts of the city have different sounding music today?

Michael “5000” Watts: I think, right now, we have a culture as a whole. We have a Houston sound as a whole. When it comes down to styles, it’s not about North and Side [sides], it’s between artists within themselves. There’s different Southside artists that sound different from Keke and different Northside artists that sound different from Slim Thug. Slim Thug and Chamillionaire are both Northside artists with two totally different styles. [Same with] Trae and Keke.

AllHipHop.com: Mike, there’s an artist out of Philadelphia named Mike Watts. He messes with Screw music a bit too. Have you heard any feed on this guy?

Michael “5000” Watts: I’ve never heard any of his music. I’ve heard from other sources that it sucks. It’s like, I heard of him before he popped. But the thing about it, I know his lawyer that was representin’ him, right? He told me ‘bout this guy named Mike Watts that was gonna come out, right? He was making it like it was a coincidence that we both had the same name. Okay, this guy is from Philly and all that stuff. A lot of people in Philly aren’t doing Screwed & Chopped that I know of. So him havin’ the same name is tryin’ to plagiarize off of the success that we had with “Michael Watts and the Swishahouse.” He recently dropped a single and had an uncleared verse from Paul Wall on it. I look at this as plagiarism. You’re tryin’ to capitalize off of what we’re doing. If you’re gonna go that far to get a bootleg verse from Paul and market it as a commercial release, come on man!

AllHipHop.com: The feature has been what’s kept the streets hungry for Archie Lee and other artists you’re redeveloping. In a community like Houston, do you feel that enough attention is paid to linking the new popular acts with veterans like K-Rino, Willie D, and Lil’ Troy?

Michael “5000” Watts: Of course, you gotta respect the people that opened the doors for you. If it wasn’t for people like Rap-A-Lot and K-Rino,… they were the ones who got Houston to the point where it is right now. A lot of people gotta respect that and recognize that.

AllHipHop.com: Lastly, Paul Wall is newly a proud father. What’d the label do for its artist?

G-Dash: Oh yeah, plenty. We gave him a congratulations and a cigar.

Mike Watts: The Name Ain’t Changed

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

T

here isn’t just one Mike Watts chopping and screwing his records. While one might be more recognizable than the other, Philadelphia’s Mike Watts isn’t changing his name anytime soon. In fact, the two artists shared legal counsel at one time, and acquaintances in Houston’s Lil’ Troy.

While some might be quick to judge the lesser-known Watts, he is honest in his ways. The Liberty city artist says he would be disrespecting others to ever compare his music against those from Houston. Nestled in the East, Watts is out to begin much closer to home. His debut, Pandora’s Box features Bun B, Bizzy Bone, and… Paul Wall. A veteran in the music industry who suffered a terrible coincidence, or smoke and mirrors? Read this feature, and you decide.

AllHipHop.com: I’m sure controversy will always surround the name, but what’s going to separate you from Houston’s own Michael “5000” Watts?

Mike Watts: I guess…first there’s the name. His name is Michael “5000” Watts and my name is Mike Watts. That’s…that’s what we gotta keep puttin’ in everybody’s head. You know what I’m sayin…Aside from the fact that he from Houston, and I’m from Philly. Now on a musical standpoint and on a record label standpoint, you know, it’s just one of them things when you got two people with the same name. So, if another cat came out that was acting, so what we gon’ have a beef with him too. So yo, it’s just one of them things. As long as he sticks to his moniker, and I stick to mine, then we really shouldn’t have any problems.

AllHipHop.com: How long have you been doing this music thing, Mike?

Mike Watts: Man, I’ve been doing this for years. I feel as though me doing it includes me as a consumer, a fan, and as somebody that’s contributing to it; all of the above. I would say I been doing for about 10-15 years.

AllHipHop.com:: Although it’s becoming more and more popular for artists to get their music Chopped & Screwed, few actually do it themselves. Being from Philly, in the heart of the East Coast, how did you get involved with chopping and screwing your music up?

Mike Watts: Basically, I got family down in Houston. So that’s how it got connected. And the ironic thing about the whole Michael Watts thing is that we had the same lawyer at one time, and my lawyer asked me about him in 2000. And I was like I never heard of him. You know…that’s how we all got connected. And my cousin down there plugged me in with a lot of different cats down there; Lil’ Troy and other people from there and you just start meetin’ people like that. That’s how I got kind of connected with that whole movement down there.

AllHipHop.com:: With the whole Chopped & Screwed movement sweeping across the country, did you as a businessman hop on the trend, or did you as a musician just appreciate and enjoy the sound of the technique?

Mike Watts: Basically, it’s a little bit of both. I appreciate the sound, and if it wasn’t a movement going on with the sound, I probably wouldn’t have invested in it even though I can appreciate it. But since I can appreciate it and see the movement going then I said, “S**t, let me do my thing also.” It’s a little bit of both.

AllHipHop.com: Do you feel like you can take your music to Houston, the home of DJ Screw, and compete with some of the H-Town legends?

Mike Watts: Naw, I wouldn’t even try to do that. I’m just doing my thing. I’m trying to take what I can from Houston and expose it to the world as much as I can. I’m trying to expose it to the East Coast. It’s already imprinted in Houston. What’s a cat from the East Coast coming to Houston trying to expose them to something they created gon’ look like? I wouldn’t even come on a tip of disrespect like that.

AllHipHop.com: A lot of East Coast cats knock the music produced in the South for some reason or another. With that being said, how you feel about the reception you receiving in your hometown, Philly?

Mike Watts: It’s still love, because believe it or not, there are a lot of cats, like myself, that dig that kind of music. So I consider myself something like a pioneer with it, because most cats on the East Coast never did it and a lot of cats never did it themselves. A lot of cat’s music got Chopped & Screwed, but they didn’t do it themselves. I’m one of the first cats on the East Coast to chop my whole album, so I feel like I may be starting a trend.

AllHipHop.com: So in a way, you’re making history?

Mike Watts: I guess you could say that.

AllHipHop.com: You got an album dropping soon. Tell me a little bit about your Pandora’s Box?

Mike Watts: The album is called Pandora’s Box because of the meaning of Pandora’s Box. It’s called that because we got a whole lot going on. We got Paul Wall on there, we got Bun B on there, we got Bizzy Bone, Too Short, Freeway and Jaguar Wright—a singing chick from Philly. That’s my homegirl. I got my artists on there. I put a whole bunch of people on there because I didn’t want it to have just a regional sound. I wanted it to have a national sound. That’s why we got a little bit of East Coast, West, Midwest, down South all that together to create Pandora’s Box. Pandora’s Box is a box that you open at your own risk. It’s actually a Greek myth. I feel as though that fits the album because it’s a real hot package that you open at your own risk.

AllHipHop.com: What’s your favorite track on the album; the one track that captures the essence of Mike Watts?

Mike Watts: You got “My Daddy” on there. That’s the joint with me and Too Short, where I’m talking about how cats find chicks to get money, getting money out of them, and when they looking for the right type of chick. Then there’s other tracks like “Get That Money,” with Bizzy Bone on there talking about different ways to get money. I mean, every track solidifies the essence of Mike Watts. The whole album is a piece of my mind.

AllHipHop.com: You hold down many roles; rapper, producer, music exec, which role do you enjoy playing the most and why?

Mike Watts: Actually I enjoy the executive role the most. I’m a businessman by nature and by heart, so it’s like I enjoy coming up with an idea and implementing that and letting it work; putting a plan in full motion; watching the motor start and the engine of the machine starting to move. That’s how I get high putting something together, a master plan. You know just putting a team together and watching that plan just happen.

AllHipHop.com: You seem to have a hustler’s mentality. Besides music, what other things are you getting involved with?

Mike Watts: In the future, sky’s the limit. I’m trying to do whatever it takes. I’m not going to limit myself to music. Music is just what I feel I can do the best; what I can manifest and manipulate the best. That’s the first side of entertainment that I would naturally attack. and if it just stay with music, then it just stay with music. But, if I can let that evolve into something else, then you know, like I said sky’s the limit. But knowing me, music, modeling, I’m taking any offer. Clothing, I’m taking whatever [laughs].

Muse Recordings: Universoul

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

Dwele isn’t the only one out of Detroit baring his soul these days. With no formula, no reservations and no fear, Marcus Collins and Mike Muse, founders of Muse Recordings, are rolling with music in a manner different from today’s conventional standards.

The eclectic musicians have garnered attention from the NBA to McDonalds with their debut album, Marc’s Project. The R&B era is making a comeback, but these guys are just beginning. With Mike in New York and Marcus working hard in Detroit, AllHipHop.com Alternatives took on the task of getting the two together to discuss the development of their album, Detroit as a city with enormous potential and the fusion of Hip-Hop and soul music.

AllHipHop.com Alternatives: You guys are doing great things on the music scene. How did you make the ascension from the field of technical engineering to the world of music?

Marcus: I did the whole band camp thing – played piano in church, sang in church. My parents wanted me to go to school and become an engineer. After the first semester [of college], I wasn’t feeling it, but I continued to pursue it while working on my music. I had known Mike before I got to the University of Michigan, so as soon as I graduated, I approached him with the idea of doing music.

Mike: I was also in to music – a drum major in high school – but I thought it ended once I graduated. It was considered the smart, secure career choice for a young Black male to become a doctor, engineer, etc. But as Marcus and I began to obtain engineering internships, we realized it wasn’t for us. Now don’t get us wrong, we don’t discredit

engineering at all, because it definitely gave us an amazing foundation and sharpened our analytical ability and problem solving skills, organization and such.

Marcus: It was more of a progressive flip for me. Mike just did a total 180. Soon as I graduated I started working at Universal [Records], so I got a lot of experience. We loved engineering. We just couldn’t see doing it for the rest of our lives.

AHHA: Detroit was one of the staple cities where soul music developed and flourished, producing talent over several decades, from The Spinners and Aretha Franklin to Anita Baker and Smokey Robinson. How has the development and success of a city so rich in musical culture affected you in your quest to make music with meaning?

Mike: It definitely set the bar extremely high. It’s funny though… Everyone keeps it in the Motown Era. Like you just named all of the prominent artists from the Motown Era that came out of Detroit, but so much more has happened within the realm of music [in Detroit]. Aaliyah was from Detroit, and people never really acknowledge [that]. There isn’t a lot of knowledge about the music scene in Detroit. People focus so much on bigger cities like New York, Atlanta, and California. So, one of our biggest goals is to bring [the prominence of good music] back to Detroit.

AHHA: It seems everyone, producers, artists, record label executives, are all trying to get back to the feel of the Motown Era. What do you think is responsible for this shift in the music scene over the last couple of years? And what are you guys doing differently to set yourselves apart from the rest and take advantage of this open market?

Marcus: At one point people think the ‘70s had great music, then the disco era was hot, now everything is being recycled. Not that the music over the past decade wasn’t hot, but it’s coming back to people wanting [music] with more substance. I think people are realizing that great musicianship and artistry is becoming more important, versus the commercial aspects of the music industry.

Mike: We’re being ourselves – that’s what sets us apart. We can all say same sentence, but people can say it differently. Like everyone can be in that genre, but it’s their individual spin on it that makes them unique. Being ourselves and just loving good, organic music is what we feel is unique about us.

AHHA: Detroit has introduced several great, new artists over the past few years, with the likes of Slum Village and Dwele, yet they don’t get the recognition many feel they deserve. What’s your take on the lack of support and promotion of great Hip-Hop/Soul artist?

Marcus: Speaking specifically about Detroit, the city itself gets discredited a lot. They think [it’s] a disheveled, void city. People don’t want to take the time to understand the potential in Detroit. There’s so much talent here.

Mike: The Hip-Hop/soul era, as a whole, isn’t so popular because they’re real and rich in individuality, which may not be so appealing to the mainstream music scene. Like, if Kanye didn’t get with John Legend, people probably wouldn’t have been feeling him as much.

AHHA: How do you feel Hip-Hop and soul music can bridge the gap and come together to produce a sound that the world is missing?

Mike: That’s a tough one. [chuckles] I think its starting to break the mold. Kanye and J-Dilla did well with that. Like, it takes more than just the artists, the label reps have to get it, because they’re like the gatekeepers. Also, the artist has to be able to break down and open up to other aspects of creativity and change. They need to be able to discuss topics across the board and not be close-minded and stuck in their particular genre. But I think that day will come. A lot of rock music has soul influence…look at Maroon 5. So it’s starting to happen.

AHHA: [On] your debut album, Marc’s Project, is there a reason that you decided to work with unsigned, native vocalists, rather than well-known artists in the music industry?

Marcus: It was purposeful. We have been working with these artists for a while. Some of them I went to high school with. When we started this project it was really just a project -just developing a sound and making good music, and all the while we were developing them as artists. And what’s even better is that our artists went to school for vocals. So these aren’t singers, they are actual vocalists. They respect the music and the art.

Mike: Not only that, but it was about setting up the movement that’s about to take form in Detroit – trying to get our voice heard. The goal of our label is very much recognizing the talent in Detroit, just like Motown did. That’s how they became so large and successful-pulling from their hometown, people they knew had phenomenal voices and talent.

AHHA: You’ve performed for many, large-scale sporting events for the NFL, MBA and NBA. What do you think your music encompasses that makes it attractive to these types of events?

Mike: It’s just great music at the end of the day – vocals, packaging, musicianship, artistry, everything. People that have seen us live can feel it when they’re there, and they know it’s real. So a lot of times they can’t help but ask us to come to another event, and another event.

Marcus: God put all this together for us. We wanted to make an honest album, so we made an album of things that we wanted to hear. It’s extremely organic. There’s no formula. We didn’t sit down and say “okay we need an R&B track, rock track and a Hip-Hop track to be versatile.

AHHA: I love that about you guys. I understand you, Marcus, won the Yamaha International Music Production Contest. Congrats! Has that experience aided in your evolution as a musician?

Marcus: Thank you! I was one of the winners in the R&B/Hip-Hop category and the judge was Randy Jackson from American Idol, so it really solidified things for me. It was really exciting! It helped a lot with my confidence. I felt like I could really do this.

AHHA: You guys are also very active in your community. I read that you guys played an integral part in University of Michigan’s homecoming festivities last year.

Mike: Yeah. We teamed up with Sean “Diddy” Combs’ Citizen Change initiative and Nelly during Michigan’s homecoming, just trying to promote social awareness among the students. It turned out nice because they never really had anything like that during homecoming before.

Marcus: Community service is so important, period. Like a lot of these artists, once they have major record deals, start non-profit organizations and stuff. But ask them what they were doing in their community before, and many of them will say “nothing.” But we have always taken an active interest in our community.

AHHA: That’s what’s up. So what’s next for Muse Recordings?

Mike: We’re always pushing our schedule back because so many things are happening for us. New artists are joining the label. We’re working on individual projects for the artists on Marc’s Project, as well as a boy band overseas. We’re also working on some music for upcoming films. All of this in just two years is amazing.

Marcus: And this is just the surface. We want to be multi-faceted. We don’t want to be a boutique label that just focuses on soul. Our demographic is the world, because I feel like music is the one thing that connects all of us.

New Game Album Pushed Back to Late Summer

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

The Game’s highly anticipated sophomore album The Doctor’s Advocate is slated to hit stores in late summer.

The project, which the rapper referred to as “my masterpiece,” has been pushed back a number of times.

“My second album is the highest anticipated record coming out this year and I’ve been spending long hours in the studio to make sure it’s a classic,” Game told AllHipHop.com in a statement.

The Doctor’s Advocate will be the follow-up to the rapper’s multiplatinum debut The Documentary, which has sold more than four million units.

According to Game, the album’s postponement is a result of a slate of new ventures, including a role in the upcoming film Waist Deep and new color lines for his Hurricane sneaker.

Waist Deep, also starring Tyrese Gibson, tells the story of an ex-con named O2 (Gibson) who tries to go straight for the sake of his son after being released from prison.

When O2’s son is kidnapped by a crime leader named Meat (The Game), O2 resorts to breaking the law to get him back.

The movie, directed by Vondie Curtis Hall, also stars Larenz Tate as O2’s cousin Wanna Be and Meagan Good as a hustler named Coco.

Waist Deep opens in theaters on June 23.

A release date for The Doctor’s Advocate has yet to be confirmed.

Weapons Charges Against Young Jeezy Dropped

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Two counts of weapons charges against Atlanta rapper Young Jeezy were dropped after the Florida State Attorney’s Office determined there was insufficient evidence to prosecute him in connection with a Miami shooting.

The Def Jam artist (born Jay Jenkins) had been charged with two counts of carrying a concealed weapon without a permit.

According to police reports, Jenkins and an entourage of men allegedly associated with BMF were involved in a fight with a group of men around 5:30 a.m. on March 11.

When a person filming the altercation refused to turn over the video camera, one of the men in the crowd reportedly pulled a gun and began firing.

After fleeing the scene in separate trucks, officers stopped both vehicles and found a semiautomatic firearm under Jeezy’s seat and another gun near the armrest when they searched his SUV.

During Jeezy’s preliminary hearing, prosecutor Audrey Frank conceded that the State Attorney’s Office did not have enough evidence to proceed with the case and that the charges would be dropped.

Frank also indicated that the State would not be allowed to pursue the case against Jeezy’s assistant, Tramiel De Juan Golden, who had been charged with strong-armed robbery.

Ice-T, Afrika Bambaataa, Melle Mel Headline UK Hip-Hop Summit

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Ice-T, Melle Mel, Afrika Bambaataa and UK rapper Skinnyman are set to headline the first ever UK Hip-Hop Summit (UHHS) this July.

According to organizers, the summit, which takes place in London from July 12-16, will bring together players from the UK and US Hip-Hop industries.

The event, which has been endorsed by Hip-Hop Summit Action Network’s founder Russell Simmons, will also feature appearances from Blak Twang, Ty, Jonzi D and female rapper Shystie.

The five-day summit will address issues within the UK and US Hip-Hop community.

Ice-T will host the main panel at the Forum in Kentish Town to discuss a variety of topics including “Reality vs. MTV, “What is UK Hip-Hop and Grime” and “Integrity vs Business.”

Other events that have been announced include a night dedicated to women in Hip-Hop and a London Community Summit, which will be a day devoted to young people and how to establish careers in the music industry.

Organizers stated that 10% of ticket profits will go towards the African Caribbean Leukemia Trust.

Diddy Settles Lawsuit With Limo Driver

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Sean “Diddy” Combs has finally reached a settlement with a North Carolina man who claimed he was assaulted by Combs’ bodyguards after a concert in Winston-Salem 1995.

Limousine driver Cedrick Bobby Lemon said he was credentialed to be in a backstage area of the Joel Coliseum during a Mary J. Blige concert in June of 1995.

Lemon said he had an ID badge that allowed him to remain in the backstage area of the concert.

People were asked to clear the area during the show when a melee ensued.

Lemon said he was punched in the head, back and suffered a broken right wrist.

He claimed he lost his job because of the incident and was financially strained for money as a result of the alleged assault.

Lemon ‘s lawsuit also claimed Combs failed to properly train the bodyguards.

In 2002, Lemon won a default judgment against Combs for over $2 million, because Combs never appeared in court to answer the allegations.

That amount was reduced to $450,000 in 2003 until a judge over turned the decision in June of 2004.

Details of the settlement were not released to the public.

Thoughts on My Beloved: Big Proof (R.I.P)

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Uncategorized

His eyes turned a pretty shade of brown when light hit them. Especially the light of the sun or of a camera’s flash. On his high cheeks, like his father’s, were dozens of freckles, like his mother’s. Between the freckles, were two barely noticeable places where his deep honey brown complexion lightened. I loved those patches.

DeShaun Holton was handsome. He was cute with big crooked teeth that even he made fun of. He was thin and wiry. He was smart. He could engage you in fascinating conversation, if he felt like talking. He almost always did. He was funny. Ridiculously funny. It was said that he would step on a sandwich and then eat it. On the DVD that accompanies his only solo album, Searching for Jerry Garcia, he drinks beer out of an ashtray. Cigarette butts and all, he spits one out of his mouth, as European fans laugh. I saw him put his whole face in his 28th birthday cake. He would do almost anything to make someone laugh.

He was charming. He was interested in the lives of people. Not just people he knew and loved, but everyday people. He was well-read. He had a deep spirituality, he was not religious, but had converted to Islam in his youth. He was a father, and a husband. He loved his children, and the children of his friends. He was a godfather, and had given several children their names. He was filled with deep ideas about life and death. He was a devoted community activist, and even named his company after Joe Louis’ “Iron Fist”. His passion for Detroit is unsurpassed. He has been called “Detroit’s Best Friend,” it is an accurate description.

He was an incredible freestyle rapper. I was at a club where he walked from tabletop to tabletop and freestyled for over 45 minutes straight. Rhyming and Transitioning. As the DJ switched the beat, he switched his flow. He found a way to rhyme the word “orange” he would use “aren’t” stretched out in its pronunciation. He thought about things like that. Where there was a will, there was a way for Proof.

He has been called “The Mayor of Detroit Hip-Hop,” that is also accurate. He was the law-giver, the peace maker, he was an employer, a provider, he inspired people to success, and cared about the well-being of his constituency. By his own hands he cultivated a community of artists, writers, clothing designers, graphic artists, business owners, and more. He was the single most important figure of Detroit’s Hip-Hop movement and the development of a Hip-Hop music and culture scene. That action provided jobs, and sold millions of records and has had an economic impact in the hundreds of millions of dollars. He was a Master Teacher, he was a Sefu, he was a wise sage, who with his clever words could say just one line to comfort, and educate.

He was not a perfect man. He made mistakes, as we all do. However, a glimpse at his rap sheet, does not give one an idea of who he was as a person. He was a fighter at times, however he preferred peace. If there was a problem, he was called in to solve it, and his word was law. When he said a disagreement was over, it was done. He was not a gun-slinging thug. However, he lived by the credo “It’s better to have one and not need it, than need one and not have it.” It’s an oldie but goodie.

The tattoos on his body each symbolized something precious and significant to his life. Like the FC he got for the group, Funky Cowboy that he was in with J. Dilla. He liked the smell of incense, and he liked women. He cut his long dreads and opted for a baldhead. He didn’t smoke marijuana, but clove cigarettes favored by clever celebrities and people from India. He did corny ‘80s dances, and had his own two-step. He was kind and very affectionate. He liked to kiss. He always greeted women with a kiss on their cheek, and very often the men in his life as well. He always kissed my daughter on her forehead with her face in his hands. He very often said, “I love you,” to everyone. He wanted you to know that he loved you, and he meant it. He showed it.

And on April 19th, we lay him down for eternity. We kissed his cold cheek and later, kissed his cold casket. At his internment, Reverend Wendell Anthony, who officiated the service and is the head of the Detroit Branch of the NAACP, told us that this was as far as we could travel with our brother. Thirty-two white doves were released amid flashes from camera phones and slight sobs. We looked at each other, dazed and confused. This was it? We had walked with him so long, sometimes in front, sometimes behind and sometimes side by side, and now we had to leave him here alone?

It is still hard to believe, daily. Detroit lost J. Dilla on February 10 th, and we were heartbroken. The next day, Proof was on the radio talking about his friend who he was once in a duo group with. And just two months later, Funky Cowboy were reunited in death. They are missed. Every day. Every show. Every event. Every gathering of two or more, and in every heart of their friends.

As I prepared to finish this essay, I passed the cemetery where Proof lies entombed. I made a U-Turn, and decided to go see him for the first time. There was another funeral ending. Another family walking away from someone that they loved. I watched them leave with reverence. I approached the Rosa Parks Freedom Chapel, and a woman stopped me. “Excuse me? Are you here to see Mrs. Parks?” I told her who I was there to see. She nods gravely, “Yes. He gets a lot of visitors. You know, I don’t believe everything I hear on the news.” I smile weakly. She unlocks the door. “He must have been a good man, because he was well loved.” I step inside, the chapel is small. His name is the first one I encounter. Other than Mother Parks and her family, there are only five other people resting here, he is the fifth. Seeing his name for the first time shocks me. Tears erupt. I put my hand to my mouth. I touch his name, and the marble block behind which he lies cold in a golden coffin. The marble and the gold lettering are cold too.

There are teddy bears, and flowers. Her words echo in my head, “He gets a lot of visitors… he was well loved.” Yes. That’s true. She has stepped away to give my privacy. I talk to him, and kiss his name. I sit in front of him. I pray. I tell him I love him and miss him, and can almost hear him telling me he loves me too. I hug the marble and let memories flash in my mind. Momentarily, my head is on his shoulder and his arms are around me. I smell Issey cologne, and a Djarum. I open my eyes. He is not there. I kiss the marble again. I ask the lady, Sharon, where Mrs. Parks is. “Right here,” she says. The Mother of the Modern Civil Rights Movement, her tomb says. Her proximity to my beloved is astounding. I am struck with gratitude. The sight of her name prompts tears as well. I get close enough and say “Thank You. Thank you for everything.” I kiss my hand and lay it on her name.

Walking out, I again bid my brother Goodbye. I promise I will visit again. I tell him I love him. Sharon touches my hand and assures me that he was in a better place. “He must have been a good man, because he was well-loved.” I agree, thank her, and walk away in the rain.

Biba Adams, a Detroit writer and activist. A long standing and high-ranking member of the Detroit Hip-Hop community, Ms. Adams is chairperson of the newly founded, Detroit Urban Entertainment Trust ( D.U.E.T), a non-profit organization. Ms. Adams also serves on the board of Band Camp Entertainment, and various other business and service organizations. Ms. Adams is a public speaker, student and mother. She is currently completing a Bachelor’s Degree in History with a minor in Sociology, as well as a certificate in Detroit Studies. Big Proof Forever: A Photo Journal. A book about his professional and personal life, is currently in development.

Lady Sovereign: Lady’s First

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

L

ady Sovereign may be 5’1” tall, but don’t underestimate this young woman’s fierce presence. The self-proclaimed “biggest midget in the game” created such a stir on the underground UK scene, that it persuaded Jay-Z to bring her over the pond to a Def Jam/Island Records contract.

Some critics forecast this union of unique talent and label machinery to be the “female Eminem.” Beyond the aesthetics, Lady Sovereign is not unlike Marshall Mathers in his premier. She criticizes media darlings like Jessica Simpson and she’s taunted British rap crowds to battle her lyrically. The pride of Wembley, England has also turned former opponents into lyrical voodoo dolls within her songs.

Lady Sovereign’s unique magic was already reaching US audiences through her Vertically Challenged EP and a fierce buzz. Now, with everybody from the Beastie Boys to Hova behind her, there’s big trouble coming from a tiny woman.

AllHipHop.com What’s your working relationship like with Jay-Z?

Lady Sovereign: He lets me do my thing. He’s a very honest guy– he’s a Sagittarian like me, you know, so I understand where he’s coming from and what he’s saying. But he’s just really supportive. He doesn’t really pressure me to do anything I don’t want to do.

AllHipHop.com: With everything that you have been through in your life, from getting kicked out of school, and taking crappy jobs, and so on. Would you say getting signed to Def Jam is your biggest accomplishment, or is it deeper than that for you?

Lady Sovereign: Getting signed to Def Jam is probably the biggest thing that has happened in my life, but getting signed is one thing and actually doing more than that is another thing. You know, I don’t want to sit here and say that getting signed to Def Jam is the biggest thing when the biggest things have yet to come.

AllHipHop.com: You’ve said before that Ms. Dynamite was an inspiration to you. But you both come from two different worlds, you’re more of the underground sound, and she is more mainstream, and you both are in the same age range. Don’t you think she is more of a competition to you?

Lady Sovereign: She obviously opened doors for me, and a lot of female MCs in the UK anyway, especially for my age range. She was like the first UK MC in the UK rapping for the type of music I was listening to back then… which was Garage. It was just the fact that she was female and she was– sick! I always loved what she did, and I just hope that she comes and brings it back again like she used to.

AllHipHop.com: Based on rumors about your upcoming album, are you going to be collaborating with Missy and Timbaland?

Lady Sovereign: Not this time around. That will have to wait for now.

AllHipHop.com: For your Def Jam album, who are some of the producers that you’ve collaborated with?

Lady Sovereign: Medasyn, who I’ve been working with from day one. [Electronica group] Basement Jaxx, Doctor Luke, and Adrock from Beastie Boys to name a few…

AllHipHop.com: Besides Adrock, were you not ready to take the risk with some more commercially acclaimed producers?

Lady Sovereign: Well, you see, Vertically Challenged was just a small EP to educate you Americans about what I do from the start. ‘Cause my stuff has already circulated over here [in the UK], so, I just kinda put things together and put it on a CD, and so far, people like it. But other well-known producers may be in the works in the future, yeah.

AllHipHop.com: For a while, the title of the album was billed as Straight Up Cheeky…

?Lady Sovereign: It was never really an album or anything. People kept asking me, ‘What are you gonna call your album?’ I didn’t know at the time so I was just like. ‘Uhhh…Straight Up Cheeky,‘ so people began to get that impression.

AllHipHop.com So you’re keeping your sound true to grime mandate, you’re not taking it there yet…

Lady Sovereign: Well I am not really that far into it [mainstream] yet. My album is still very commercial sounding, but I don’t do it on purpose, I just do what I’m doing and if people don’t like it… f**k ’em.

AllHipHop.com: You got a lot of buzz with your single “Jentina,” I know that is a make-believe character that you’re rapping about…

Lady Sovereign: No, she exists! As hard as it is to think, that character does exist. She’s faded now ’cause I completely buried her. She was a wannabe white girl who was rapping. She got a few songs into the charts,[but she was] just ridiculous… they could play her s**t, but they won’t play mine, and she was crap. I just did a song about her on her own beat. Don’t know what she’s doing now, probably cleaning toilets.

AllHipHop.com: You probably get asked this a lot, but the Grime scene is pretty heavy, do you think America is ready it?

Lady Sovereign: If you ain’t ready, then you ain’t real. Because I think that the whole way that music’s forecasted and the whole way it’s out there… you don’t hear the good stuff all the time, because the good stuff is different. People don’t like to take a risk with it. So if you don’t know what’s good, then you’re just another person hittin’ daytime radio and what they’re playin’ every second of the day, know what I mean?

AllHipHop.com: Maybe. You’ve been compared to Eminem by media critics everywhere. Do you feel a major responsibility right now? Especially considering that you’re a female and you’re only 19?

Lady Sovereign: The whole Eminem comparison… yeah it’s flattering, but at the end of the day, I know I do something completely different from him. Yeah, I’m white and I’m always gonna get the comparison the way Eminem got the whole Vanilla Ice thing. You know? But I have responsibility to keep doing what I’m doing. I’m just proud of myself at the end the day. I’ve gone through a lot, and I’ve had to put up with people dissin’ me and stuff.

AllHipHop.com: One thing you do have in common is your disdain for Pop-queens. For example, you criticized Jessica Simpson. It’s no secret that you’re going to cause a lot of controversy. And I know your one known for that… but you’re also going to face roadblocks, you know, the whole sex sell spiel. What would like to address to those people that are biased when it comes to image in Pop culture?

Lady Sovereign: Rules in general… who gives you the right to say, ‘you can’t do this and that.’ I am who am, I dress how I dress. I don’t wear dresses, I don’t like stilettos, I don’t like curly long hair. I don’t do all of that earrings and lipstick, and all that rubbish. It’s not me, and I don’t feel comfortable. I’m just real, and I’m not gonna lie about it.

AllHipHop.com: When are you coming back to the North America?

Lady Sovereign: Any bloody day now. Actually, I will be in touring with The Streets. [UK artist]

AllHipHop.com: Based on your previous performances in North America , how has the response been for you so far?

Lady Sovereign: Good, people really know who I am. There’s a big following there It’s been lively, so it’s cool.

Bone Thug-N-Harmony Ink Deal With Interscope Through Swizz Beatz’ Full Surface Label

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Cleveland-bred rap

crew Bone Thugs-N-Harmony recently inked a deal with Interscope Records via producer

Swizz Beatz’ Full Surface imprint. The group is currently working on an as-yet-untitled

album, slated for a late 2006 release.

The new set will

feature production by Swizz Beatz, Kanye West, Lil’ Jon, Three 6 Mafia, Big

Boi of Outkast, and Dr. Dre, and boasts new lyrics by imprisoned Bone Thugs

member Flesh-N-Bone.

The rapper, brother

of member Layzie Bone, is currently serving an 11-year sentence in a California

prison on various gun charges. He is eligible for parole in 2008.

"[Swizz Beatz]

said he wanted to help us get back in the game so we started working with him,"

Krayzie Bone told AllHipHop.com. "At first we were going to sign with J

Records, because that’s who Swizz’ label was under, but Swizz’ deal ran up with

J Records. Then other people started hearing that we were working with Swizz

Beatz and started making offers, and Interscope was one of the biggest offers

that came through. So now we’re signed to Swizz [and going] through Interscope."

The group will

begin recording next week in Arizona. "As soon as we get a hit single you’re

going to hear it on the radio, probably way before the album comes out,"

said Krayzie. "Gotta get a head-start on the competition out there."

Though fans can

look forward to hearing Flesh-N-Bone on the new album, former associate Bizzy

Bone will be missing in action, according to the remaining Bone Thug members.

The group cut ties

with the troubled rapper in October 2002 after he showed up intoxicated to a

show at BB King’s Blues Club in New York City. This, along with several other

incidents, led to the group officially parting ways with Bizzy.

Despite the turmoil,

however, Krayzie said the group harbors no hard feelings.

"We’re cool

[with Bizzy], but as far as speaking to him, I’m not sure if anyone can have

a regular conversation with him right now," said Krayzie Bone. "Right

now I guess he’s going through whatever he’s going through in life. Whenever

he wants to come back he can come back. Ain’t gonna be no dis songs about him

or nothin’ like that. We’re still family."

Along with the

release of their album, Bone Thugs-N-Harmony is also launching a new clothing

line called The Line, in addition to Krayzie’s sneaker brand, TL Classics.

Judge Ends T.I.’s Probation, Rapper Cleared To Tour

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Atlanta rapper T.I.

appeared in court yesterday (May 15) to answer a charge of violating his probation

sentence stemming from a 2003 arrest in Tampa, Fla.

Judge Daniel Perry

ended the probation and T.I. is now free to perform a series of concerts that

had been canceled after a month of turmoil rocked the rapper’s tour.

"All prior

legal matters have been resolved as it relates to T.I.’s probation," T.I.’s

attorney Jonathan Leonard told AllHipHop.com. "He is no longer on probation

for any previous legal incidents."

The outing was

halted after a May 3 shooting fatally wounded T.I.’s assistant and longtime

friend Philant Johnson, 26, of Union City, Ga.

According to police,

the shooting was the result of an altercation that took place earlier in the

evening at an after-hours nightclub.

Police say two

dark SUV’s chased T.I.’s van and opened fire when the vehicle came to a halt

after blowing a tire. Johnson was killed and three others were injured. T.I.

was also in the van but was not injured.

T.I. appeared in

court May 10 to answer a separate charge for allegedly threatening several men

outside an Atlanta strip club in another case, when he was briefly jailed for

violating his probation.

Judge Perry sentenced

the rapper to perform 225 hours of community service in March 2005, after he

pleaded guilty to battery on an officer and violating the terms of his previous

probation.

A few months later,

after he violated probation by driving with a suspended license, T.I. was given

an additional 150 hours of community service.

The Florida warrant

accused T.I. of serving only 10 hours of his community service. The rapper canceled

a planned tour of Japan to answer the charges yesterday.

The rapper’s official

Web site www.trapmuzik.com lists his next scheduled performance at The House

of Blues in Anaheim, Calif., followed by dates in San Diego, Los Angeles, New

York, Washington D.C. and Lake Buena Vista, Fla.

T.I.’s fourth album,

King, was recently certified platinum by the RIAA.

Snoop Dogg Permanently Banned From UK

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Rapper Snoop Dogg has been permanently banned from entering the United Kingdom, after a brawl in London’s Heathrow airport in April.

Snoop Dogg and an entourage of almost 30 people were en route from Los Angeles to Johannesburg, South Africa, to perform at a major festival.

The rapper and other men became upset when they were denied entry into British Airways’ first-class lounge.

A huge brawl ensued and seven officers suffered minor injuries.

Sources told AllHipHop.com that the Home Office banned Snoop from the country because of his previous criminal record in the United States.

Snoop had already been banned from flying with British Airways and police in the UK had issued him a caution over the incident.

Offenders do have the chance to be admitted under special circumstances, but sources said they do not apply to Snoop, who could lose millions in performance and appearance fees.

MC Shan: Play it Again Shan

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

MC Shan’s albums vanished from record store shelves 15 years ago, and yet he is party to one of Hip-Hop’s most celebrated battles. When cousins Shan and DJ Marley Marl released “The Bridge” in 1986, they soon found themselves with a big slab of beef on the grill. KRS-One and Boogie Down Productions stood up with “The Bridge is Over,” but contrary to what some believe, MC Shan never sat down.

From his cushy couch in Jamaica Queens, the former Juice Crew front man revisits the distant past as if it were pictures on the mantle. This celebrated past includes his celebrated comrades Kool G Rap, Big Daddy Kane, and Biz Markie. Roxanne Shante, another crewmember, and Shan are considering creating a new Juice Crew, a mountainous goal indeed. The converted producer explains his absence, his work with White Reggae sensation, Snow, and even admits shame in his lyrical attack on LL Cool J. Regrets aside, Shan still has barbed words for KRS-One, his admitted rival/friend. While MC Shan’s three albums left the shelves ages ago to become eBay collector’s items, the Queens pioneer still hopes to give fans a fourth.

AllHipHop.com: What made you want to focus on production?

MC Shan: With the production, that is where we get into that third album, because that is where I saw the money was. I thought if I was going to get jerked on the artist side, I figured I might as well get it from the producer’s angle. I guess when you’re just getting jerked all around, it doesn’t matter in 20 years anyway. The producing just came out naturally because I used to be in the studio with Marley all the time. I learned how to work the equipment by f**king Marley up. For real, he’d be like “Don’t touch that,” and all of a sudden “BEEEEEEEEEEP!” and it was too late. When I ran into Snow, at that point I was getting slack from Warner Brothers, but I still had another trick up my sleeve. And now, people keep saying to me “How come you didn’t make a record since then?” It was because I didn’t need to.

AllHipHop.com: Is working with Snow a regret? A lot of people don’t know why you did that…

MC Shan: Man, Snow? Not at all, I worked with Snow not too long ago. But the song we did, he didn’t want to do it, so I took it. There is a song on my web space called “Dutty Grind.” See, me and Snow, we have a crazy chemistry. He’ll go in the studio and come up with these crazy melodies, but I’m more of the word-lyricist type thing. He’ll lay down the melodies and we call it deciphering hieroglyphics, we sit there and start throwing the song together.

AllHipHop.com: How did you first get up with this cat?

MC Shan: Truthfully, it was going to the weed spot right here on Jamaica Avenue [in Queens]. It was the greatest thing that weed ever did for me. This was all at the time when Cold Chillin’ and all of my Juice Crew members were dissin’, you know what I’m saying? Alright fine, I don’t need to do records with people like that. People think it was The Juice Crew, forget that, Shan was the one who was doing all his battling all by himself. It wasn’t The Juice Crew vs. BDP. I had to get all my props on just that alone, and I’m not no punk ass motherf**ker. In the beginning, they couldn’t scare me. I didn’t make another record about Kris, to set the record straight, ‘cause Kris, I would have blazed yo’ ass, and I still could get at you, you know that, you know how we do! If Marley didn’t say, “Shan, it’s going to give him a little popularity,” [I would have]. You hear the beefs nowadays where cats say they’re not going to respond because it’s just going to give them props. Well, that was my thing, you couldn’t say nothing about me then, don’t look at me funny if I made a record about you. At that point, do you think I was going to let a man do something?

AllHipHop.com: “The Bridge” was really groundbreaking —

MC Shan: –Hold on, before we get to the groundbreaking music and all that stuff, I want to clear up a few things. Battles of today are not like battles then. Because Kris knows how I do. I talk mad crap about him every chance I get to, just because I should of made that record about your ass! But me and Kris are cool as hell, when we see us in a room, it’s all respect, because that is how we got down. Now, in the [old] days, we used to do shows together. When we’re out of town, we’re away from New York period. We in the middle of South [Carolina], we used to look out for each other. If a promoter didn’t want to pay Kris, we wasn’t performing. If a promoter didn’t want to pay us, Kris wasn’t performing. It became that thing, because this is what we do. If we fight and argue and all of this stuff, we’re not going to make no money. We came to that conclusion early, that, ‘Yo, this right here is entertainment. We ain’t no suckas, but we’re going to keep talking this s**t.’ And I’m still talking s**t how many years later. Kris, you know the deal.

AllHipHop.com: Do you think the beef overshadowed the quality of “The Bridge” as a song?

MC Shan: “The Bridge” stands for what it stands for as a song. It’s a classic. Just like Kris’ “The Bridge is Over” is a classic. Classic! It was a groundbreaking record simply because nobody sampled stuff before then. Marley was the first one to ever sample [The Honeydrippers’ “Impeach the President”]. I’m just honored to say I was there when the first samples were made, and the first samples were on my record. That right there, was a tape in Queensbridge for years before it became a record. It was a Queensbridge cult thing. It played on a cassette, and if you didn’t have the cassette, you just wasn’t into it, you know what I’m saying?

AllHipHop.com: In terms of the Juice Crew, are you still messing with those cats?

MC Shan: G Rap is my man. Kane and them, we’re all cool. Everyone grew up. When we see each other, it’s alright. We got our beefs, and we can say whatever we want, but you can’t. I could pop off all the s**t I want about my Juice Crew members. Even if I had to battle BDP all by myself, f**k it, they’re my n***as.

AllHipHop.com: You and Roxanne Shante have been looking for a new Juice Crew. How could the new Juice Crew maintain integrity if they don’t come together naturally?

MC Shan: What do you think? Biz and us hung out and all that. It was like, everybody brings somebody else to the table. It was me and Shante. Biz came along and brought Kane and [TJ] Swan. G Rap came through me and Marley’s end. He was from Queens with us, but we didn’t hang out. I knew Biz two years before, one of my friends kept telling me I had to get up with him. We were the first part of the Juice Crew that came out on record like that. There was another part of the Juice Crew, and believe it or not, the Juice Crew was started in The Bronx by Mr. Magic, Love Bug [Starkski], Sweet G, and Sal and them at The Fever [major venue of the day]. There was a Juice Crew before us, that, I’d like to get clear. They don’t get enough credit either.

AllHipHop.com: Who were they exactly?

MC Shan: Like Mike C, The Fearless Four, all of them from Uptown and The Bronx. Lovebug Starski and them, that’s the real Juice Crew. That’s them. But see now, when It came to records, it was me and Kris, but who could beat Busy Bee and Kool Moe Dee?

AllHipHop.com: People don’t talk about your political side much. You had records like “Give Me My Freedom” and “Defend Ourselves.” Do you remain active today like that?

MC Shan: I’m definitely outspoken, but I got real stories in my s**t. What I have to say, a lot of people can identify with, you and the next person. I can, lyrically, rip these other cats to shreds because they’re just talking about their guns and their ice. I’m trying to say, these cats are fake, talking about their jewelry or how you’re going to get your click to f**k me up.

AllHipHop.com: People are probably asking themselves what has Shan been doing the last ten years?

MC Shan: Well, in the last ten years, that Snow record did me really well. So, I had the time to sit back and enjoy certain things that other people don’t, like raising and spending time for my kids, being there for them every single day when they needed it. I had the luxury of having my career being in music and having a studio in the basement of my home, where I could kick back and work with artists all the time. It might take me still a few more years, but I’m hoping that artists come through with the new Juice Crew thing.

AllHipHop.com: On the production side, who have you put in work with?

MC Shan: Rakim, the first record he did, I recorded. I did songs for Steady B. I used to write stuff for Biz back in the days. I’ve worked with Sum41, I produced some of their songs. Before they was Sum41, I was up in Canada working on Snow’s album. Me and Sum 41 did a Rock dub of the bridge. It’s called “Rock The Bridge.” You know, there is a song at the end of Spiderman that I produced, and I’m in there. I’m one of the writers and the whole nine. I’m in there. Every time they blaze on Spiderman, I get dough.

AllHipHop.com: A lot of artists that got their name out a while back, never mind have a tremendous impact on the game, have some quality lost albums locked away. What’s your overstock like Shan?

MC Shan: Yeah, and let me tell you why [I didn’t make more albums]. At one point, Cold Chillin’ was trying to make me sound like G Rap, trying to make me do things like Kane, that just wasn’t me. I have records, songs, where I’m talking about sticking up and shooting. Nah, that’s not me man, I know people that do that. I know motherf**kas that kill people, but I don’t kill people.

AllHipHop.com: Could you talk about LL and the “Beat Biter” situation with LL Cool J?

MC Shan: That one was a serious one. I said something I shouldn’t have said on record. Back then, we had consciousness. My Mom loved LL, she met him. I don’t know if he would remember, but she really loved the s**t out of LL. F**k the fact that I’m dissin’ him, I had to change that because of the respect he showed to my moms. He wasn’t scaring me or nothing either. Me and LL had one battle up in Syracuse. The night before, he met me in The Red Parrot, it’s a parking lot now, and told me I better not come to Syracuse. Not only did I show up in Syracuse, but I waxed you that night, n***a! He didn’t even come out on stage. I had Marley cutting back and fourth and I snatched LL’s record [“Rock the Bells”] off the table, and I proceeded to crush LL.

AllHipHop.com: Are you disappointed there isn’t much else of your work for the young hip-hop audience to get into?

MC Shan: Nah, but it’s like, I’m trying to do some whole other, brand new, s**t. People like “The Bridge” because that is Shan to them. Screwball and ‘Mega and them, that is where they know MC Shan from. It’s who I am. People and labels should know I have a new album I’m trying to get out. It’s a whole other story. <br