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Master P Claims Sony Exec’s Blocking Lil’ Romeo, Filing $500 Million Lawsuit

Hip-Hop mogul Master P said he is filing a $500 million lawsuit against Sony Music, alleging that its executives are trying to keep Lil’ Romeo’s, “U Can’t Shine Like Me” from getting played on radio.

The song, which responds to Bow Wow’s “Fresh Azimiz,” began playing on Los Angeles radio station KKBT in February.

Apparently the beef between the young stars started when Lil’ Romeo took offense to the track, “Fresh Azimiz,” which the Miller’s considered a shot in their direction.

In “U Can’t Shine Like Me,” Romeo responds by saying he could take Bow Wow’s “chick,” and the video features a woman resembling Ciara, the pop star Bow Wow dated until recently.

Since debuting several weeks ago, it has been streamed more than 700,000 times on Yahoo! Music.

The record is not enjoying the same success on the radio stations in the United States.

According to monitoring charts, only three stations in the U.S. have added the song to rotation – KKBT, WQUE in New Orleans, and WEMX in Baton Rogue.

According to Master P, unnamed Sony Music executives have been calling radio stations, demanding that Lil Romeo’s record not be played.

“How can Sony Music executives call radio stations and tell them not to play the Romeo record “U Can’t Shine Like Me?” an inquisitive Master P asked AllHipHop.com. “Los Angeles was the first city to play it. Usually, if you get played in Hollywood, the world will follow. Every station that played the Bow Wow song should have at least tested the record once or twice or played it on their ‘Hit or Dis’ show by now.”

“I had a distribution deal on the table with Jive Records that fell through the crack – hint. Sony BMG,” Master P continued. “I wonder why. Jive is a Sony BMG label. Sony BMG is the parent label for Bow Wow’s label, Columbia Records.

“There is no beef with us and Bow,” Master P explained. “We got love for the little dude. He just doesn’t know when to shut his mouth. His arrogance and cockiness are turning fans and their parents off.”

According to Master P, Romeo’s upcoming LP, God’s Son is scheduled for an August 22 release with or without major label distribution.

Lil’ Romeo will also tour to support the album.

Representatives for Sony Music were not available as of press time.

For more information on Romeo’s new album, log on to http://www.guttarmusic.com.

Source Founder Dave Mays Files For Bankruptcy Protection, Majority Stake In Mag To Hit Auction Block

The Source Magazine’s founder and former CEO Dave Mays has filed for bankruptcy protection, temporarily halting an auction sale of his stock in the Hip-Hop publication.

The auction of his share was halted for a second time in light of Mays’ declaration of bankruptcy yesterday morning (May 4).

Mays lost control of the magazine after defaulting on an $18 million loan from Textron Financial.

In March, a judge ruled that Mays willingly signed contracts giving Black Enterprise/Greenwich Street Partners the right to take control if he defaulted on debt obligations.

By not fulfilling these obligations, Mays lost control of the company, along with full ownership.

Mays’ 82 % stake is being sought after by at least three suitors, including Marc Ecko, Earl “Butch” Graves in conjunction with Black Enterprise, and Partnership Equity.

“We found out about the bankruptcy claim at the same time everyone else did,” Clint Cantwell, communications director for Ecko Unlimited told AllHipHop.com. “But overall, The Source is a great brand and certainly worth pursuing. I think it would be a great blend with us having Complex Magazine under our belt. So, we’ll see how things work out at the auction, whenever the auction actually takes place.”

Mays’ attorney David Finkler declined to comment.

After Mays and his partner Ray “Benzino” Scott were ousted, Black Enterprise appointed former editor Jeremy Miller to the position of CEO of The Source.

Miller said he and his staff were anxious to see the court proceedings end.

“I hope the person who purchases [ The Source will keep the magazine as is, because we’re on the right track to progress and get the magazine back to where it used to be,” Miller told AllHipHop.com. “I would hope we don’t have to start over. Right now, guys from Black Enterprise wouldn’t have a problem if they owned the full share of the company.”

Suge Knight Heads to Bankruptcy Court, Rap Mogul Claims He’s Broke

Death Row Records chief Marion “Suge” Knight will appear before a bankruptcy trustee today (May 5) to answer questions for creditors.

The rap mogul, who says he doesn’t own any cars or real estate, claims he has $11 in his Washington Mutual checking account as well as $25,000 worth of “personal jewelry,” $1,000 worth of clothes and $2,000 worth of furniture, New York’s Daily News reports.

Knight and Death Row filed for Chapter 11 in April to avoid a $107 million civil judgment he was ordered to pay to his ex-business associate Lydia Harris. Harris claims that she and her ex-husband, Michael Harris, helped build Death Row.

Knight’s debts – totaling $137.4 million – iinclude $11.3 million in federal income tax, $437,000 in state income tax, $9,300 to Nextel, $1,100 to Cingular Wireless and $15,000 on his Orchard Bank credit card, according to a 22-page filing.

Knight’s biggest asset is listed as $4.4 million in music publishing and copyrights but a lien has been placed on the catalog by the Internal Revenue Service.

Little Brother: Most Slept On

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orth Carolina’s agents are always on their grind to get quality Hip-Hop out to the masses. Little Brother’s sophomore album The Minstrel Show dropped this past September, and since then, the trio hasn’t stopped working. Most recently, they linked with DJ Drama for a “Gangsta Grillz” mixtape that connected the group to Mos Def and even Bun B.

AllHipHop.com builds with Rapper Big Pooh and Phonte as they’re getting on the bus, kicking off yet another tour. The duo discusses the aftermath of 2005 and The Minstrel Show, a completely different experience than The Listening in 2003. With 9th Wonder locked in the studio, the two MC’s give a candid reaction to the ups and downs, the critics and supporters, and even make some interesting talks of kings and courts.

AllHipHop.com: How has life been treating you since The Minstrel Show dropped?

Big Pooh: Pretty well. Since that time, we’ve pretty much just been working from the crib. We’ve been in chill-mode, but we’re back in action now.

AllHipHop.com: Since the album came out, I see you guys are getting a lot more exposure. I see you on TV, a couple more magazines. Do you feel like your notoriety is beginning to pick up?

Phonte: Not really. My life ain’t changed; I’m still the same dude.

Big Pooh: Yeah. Slowly, the wheels are turning. It’s been a slow grind, slow process. That’s how it is sometimes. I always heard that if it comes fast, then it won’t last long. So hopefully, this is a good sign for us.

AllHipHop.com: In one rhyme, you rapped, “Most of your albums are poorly promoted and all the magazines probably won’t even quote it.” The majority of the feedback on The Minstrel Show has been so positive; it looks as though anyone that seems to know what they’re talking about, loves it. How does it make you feel knowing that, but at the same time it’s not reflecting on the sales?

Big Pooh: You kinda feel confused about it. Like, a lot of people hear it, but then you go look at the numbers and it’s like, ‘Okay, so a lot of people don’t hear it.’ But I attribute that to the fact that today’s basic selling and marketing tools are television and commercial radio, and those are two things that Little Brother has never really appeared strongly in. So that can explain our lack of sales. If we were heavy on TV and radio, and we still had the same amount of sales, then the people spoke and it’s a problem with Little Brother. But because we’re not heavy in those two areas, you kinda have to attribute that to our sales. Basically, we have a lot of word of mouth, a lot of old fans turning people on to us, and we’re on the internet. That’s basically where all our marketing has been. Slow pickup on the video, slow pickup on the radio so hopefully, I pray that’ll show some change in numbers.

AllHipHop.com: I have seen the video on TV a couple of times, and it’s really nice to see you guys on TV. It just seems like it’s not on where everybody’s ears are…

Pooh: Yeah, that’s been the story of Little Brother thus far.

Phonte: It’s kind of to be expected. When we made this album, at least in my mind, it wasn’t a ‘Yo, we about to blow up’ album. It was just an album that either a lot of people were going to flock to because it was something different, or it was going to be a long f**king time to catch on. I think there was some problems with Atlantic in the beginning: I think they kind of over thought it. I think they looked at the title and the cover and were like ‘How are we gonna market this? How are we gonna promote this?’ I mean, it’s a f**kin’ rap album, how would you market or promote a rap album? Step 1, put up posters, and let people know there’s an album actually coming out in a store. Step 2, put a song on the radio to let people know that they make music and the people can actually hear it, you know what I mean? So I think in the beginning, they over thought things and they were trying to be too different. But things are starting to come together now. I wasn’t expecting this album to make me rich. I don’t expect any of my albums to make me rich, honestly. I just expect to be able to maintain and take care of my people. I’m not doing this to get rich; I’m just doing what I do.

AllHipHop.com: I know it’s not about the money and I understand that. But at the same time, we see so many less talented people getting rich making so much mediocre music…

Phonte: And that’s just the industry we’re in… the s**t ain’t about talent. I can’t really say if it ever was… probably ten, 15 years ago, you had to have a little something with you… more-so then you do now. But even looking at the people that we’re compared to the most; Tribe, De la Soul, even Geto Boys… they were never top of the chart phenomena. I don’t think Tribe ever had a Platinum record. I think Midnight Marauders may have hit platinum a couple of years ago, but groups like that generally don’t sell a lot of records, but they have careers. De la Soul: other than their first two albums, I don’t think any of their albums went Gold… but 15 years later, they’re still here.

AllHipHop.com: The Minstrel Show has Elzhi of Slum Village as the only out of house appearance on it… What made you guys decide on him?

Big Pooh: That was just somebody that we really wanted to work with. That wasn’t the only person scheduled to appear, but due to time constraints, we couldn’t get some of the other people we wanted. He was just a guy that when we told him about the track, he was in North Carolina two weeks later. All the people you see us working with are people that we admire musically; they’re people that we want to work with.

AllHipHop.com: The album is like quotes upon quotes. Are there any lines or any songs that you have heard people mention that particularly stand out or that have gotten a bigger reaction from people.

Big Pooh: When people come up, they mostly talk about certain songs on the record that touched them in a certain way. Like, “All For You,” where we talk about the fatherhood issue. I know for me, a lot of people talk about “Sincerely Yours.”

AllHipHop.com: You both have very strong solo albums—are you thinking about working on anything else like that?

Big Pooh: I know as far as I’m concerned, I started recording some stuff once we got off the last tour. I’ve been playing around with things, some ideas in the direction I wanted to go with my next album. I’ve been throwing around some titles, getting different producers to throw some tracks at me… just going through that process. I’m just taking that really slow because I have no idea how this Little Brother thing is gonna go in ‘06. I’ve got to find a balance between them… I have to make sure Little Brother’s taken care of first before I can go on and do my own thing.

AllHipHop.com: And Phonte…?

Phonte: Not really. Me and Darien Brockington will probably go into the studio and work on some more of his project. Right now, I really don’t feel the need for a solo album. Everything I wanna say I can say in Little Brother. Ain’t no need for me to make another album and say the same s**t. I’m just focused on Little Brother, and steadily working on building Little Brother up into a force to be reckoned with.

AllHipHop.com: Phonte, you’re pretty eloquent on your blog. I was reading one recently about Lil’ Wayne and Southern rap in general. I know a lot of people aren’t on MySpace, but I also know that you said some things that people might be interested in hearing… wanna talk about that a little bit?

Phonte: Yeah. It was just my thoughts about Lil’ Wayne’s renewed popularity. I made a post on MySpace called “Lil Wayne Speaks So Well.” It was basically a joke playing off the whole Chris Rock s**t… he would joke about how white people say s**t talking about, like Colin Powell, ‘Oh he speaks so well.’ White people say some dumb s**t like that, and not even realize they’re being racist by saying that, you know what I mean? Like, what the f**k do you mean, ‘he speaks so well’? He’s an educated man. N****s ain’t supposed to speak that way? So pretty much, that little essay I wrote, it was about how a lot of New York n****s and cats outside the South look at Lil’ Wayne like he’s a freak of nature. Like, ‘Wow, he’s from the South but he’s can really spit for a Southern n****a… oooh he speaks so well’… you know what I’m sayin’? It was just me getting at those cats. I support Lil’ Wayne and I think it’s kinda f**ked up that if he was from New York or whatever, cats’ll just look at him like “Eh, whatever,” but because he’s from the South, then all of a sudden Wayne is incredible. It’s like a reverse discrimination we get. I know a part of the reason that Little Brother has been so successful, and that’s a question mark after ‘successful,’ up until this point, is because we’re from North Carolina. If we were just some n****s from Brooklyn, it’d just be like ‘They aiight, they just doin’ some New York s**t. But the fact that we’re three country ass ‘bamas that we sound three Brooklyn n****s, they just… ‘Ooh, they speak so well!’ It’s the same s**t.

AllHipHop.com: I’ve read articles and things mentioning you guys and I remember one instance that they actually called you “New York Minded”… is that bothersome to you?

Phonte: It don’t really bother me. People call it “New York Minded” or whatever, because the way the South is viewed. If it’s not Jeezy, T.I., or six degrees from Lil’ Jon, then it’s not the South. What people think the South is versus what it really is… it’s two different things. You’ve got n****s in the South listening to Tribe and all that s**t, you’ve got Jazz musicians in the South, you have a whole range. We have all these Black colleges in the South, so it ain’t everybody in the South trappin’ and shootin’. You’ve got a lot of spectrums. I really want to let people know that we are Southern artists but there are more sides to the South then what you see on TV. When you see Little Brother doing the Gangsta Grillz mixtape or you see T.I. coming out to a show… it’s because real recognize real. I may not have ever sold an ounce of dope in my life, but I can listen to T.I.’s music and be like “Damn, he can spit,” and and he can do the same with our music. People said the same thing about Outkast when they came out with ATLiens.

AllHipHop.com: And finally… are you guys still the most slept on since codeine?

Big Pooh: Hell yeah… look at the numbers.

Phonte: Pretty much. That’s the thing about me though; I don’t mind that. I’m perfectly fine being the best kept secret. I have no problem with that because once you get to the top, there’s nowhere to go but down. As frustrating as it is and as f**ked up as it can be sometimes, I’d rather have a long slow grind to get to number two or three rather than overnight success. Once you on top, you got everybody gunnin’ for you. I don’t wanna be the king… motherf**kers try to assassinate the king. I’d rather be the n***a that’s best friends with the king and secretly controls the kingdom.

Edgar Allen Floe: Floetry

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ailing from North Carolina, Edgar Allen Floe has made a name for himself, writing and producing as one of 15 members in Hip-Hop’s ‘Knights of the Round Table,’ the Justus League. One might think that by having more members in your group than the Wu-Tang Clan, he would get a case of middle child syndrome. However, Edgar is carrying a torch as one of the League’s most recognizable MC’s.

While starting off as a producer and engineer, Edgar put writing to the side ten years ago. Today, his most recent mixtape, “Floe Almighty” reveals the multitalented artist. As 9th Wonder, and now Khrysis, become Hip-Hop household names, will Edgar Allen Floe follow suit? The patient veteran told his story to AllHipHop.com in our series on North Carolina’s brightest acts.

AllHipHop.com: How’d you get the name, Edgar Allen Floe? Obviously, it’s a play on Edgar Allen Poe…

Edgar Allen Floe: I got the name back in ‘96. One of my boys that I rhyme with, Mal Demolish from The Undefined, gave it to me. It was a play on words. I tried to negotiate how Edgar Allen Poe was a well-respected writer and storyteller. I tried to incorporate that into my standpoint. He was a dope writer; I’m trying to be a well respected and dope writer, so it all goes and in hand.

AllHipHop.com: On the “Floe Almighty Mixtape,” with the opening track, “Skyward,” you mentioned that you used to hold back. Was that lyrically?

Edgar Allen Floe: Yeah, it was kind of lyrically. When I first started, around the time that Justus League started; I felt like I wasn’t really delivering [my best]. Back then, we weren’t really getting respect. When we were working on tracks, it was out of respect for one another, and we and the same musical tastes, but we were just doing joints. It was a time in the game when things were really crazy, and there wasn’t a lot of good material out. We kept ourselves motivated. Slowly, but surely, people started checking us out, but even now, we’re trying to still grind it out and build. People are looking our way, so it’s serious. We have to step the game up. We have fans from all over the world and even pioneers who we looked up to when were coming up, giving us props. They’re taking us under consideration as great MC’s and producers. With all of that, you have to really dig down deep.

AllHipHop.com: On the mixtape, you obviously worked with the usual suspects, 9th Wonder and Khrysis. But what’s up with your alter ego, SliceMysta?

Edgar Allen Floe: When I started writing seriously, it was the name that I had for myself. For the most part, I used to do beats back in the day and write at the same time. ‘Edgar Allen Floe’ was another moniker that I had. ‘SliceMysta’ has developed into the producer side of me, and ‘Edgar Allen’ is the lyrical side. It’s just a way of showing people that I’m a man of many hats. I do it all, and now I’m really working hard, first for myself, but then for other MC’s. Hopefully, they will see that and I can get the kind of respect that I’m looking for.

AllHipHop.com: In writing versus producing, how do you approach each? Is it like a right brain, left brain situation, where one takes over depending on the job at hand?

Edgar Allen Floe: That’s how I try to come. I actually try to write in the same way that I make beats. When doing beats, I make sure that the drums are in a certain area, or that the break down is in a particular spot. When you deliver it to the people, it stands out a bit. My writing is similar. It’s very strategic. I think that cats appreciate my writing as being straightforward, when a lot of the time it isn’t. You have to sit back and think a bit. People respect that because that’s how the game has always been. Some cats have been the ones where you check them out, and have to listen to the track a second time to get the full picture. You catch things that you didn’t on the first go around. It makes you keep listening.

AllHipHop.com: When you write solo material, do you try to do in a different direction than when you’re writing for the Justus League?

Edgar Allen Floe: When it all started out, 9th was doing 90% of the mixing. Now that we’re all getting busy, we have to do our own thing for the most part. I definitely go to the studio to produce and engineer my own, as well as other Justus League artists. My solo material is pretty much Justus League material, so it’s not all that different.

AllHipHop.com: Is the criteria to be a Justus League member to be versatile?

Edgar Allen Floe: It just happened. We started off with ten or 11 members. By 2003, there was 15 of us, producing, MC’ing, and engineering. It just happens that with so many members, certain cats specialize in specific areas. You’ll never see 9th rhyming on a track. He’ll tell you that himself. Khrysis doesn’t rap. For the most part, we have producers that do their thing, or MC’s and DJ’s – the same. You definitely have a variety of minds to get a different perspective. We all know what we do best and focus on our strengths.

AllHipHop.com: You hear the good sides and bad sides of others’ opinions. Does it get overwhelming having so many people in the group?

Edgar Allen Floe: With any group, no matter how large or small, you’ll always have differences. We’ve always been the type if group that when we need to discuss something serious, we have a meeting and talk it out. That’s something that we’ve always done and it’s helped us stay focused. We don’t want to be that group ten years down the line, falls apart. We have so many cats that we have to stick together and keep going or we would never would have made it this far.

AllHipHop.com: How has the development of Hip-Hop changed your perspective or even your abilities to create?

Edgar Allen Floe: Back in the mid to late 90’s, when I was doing a lot of writing and developing, you had so many dope albums that it would motivate you. As soon as you’d check something out, you wanted to write and be on that level. I don’t really feel that as much today. As far as new material, I’ll say the past six to seven years have been really crazy. It hasn’t been as strong as it could be, but things come back around slowly. I’m trying to step it up and say, “I’m a dope MC, and I can keep the game going.” You have cats like Ghost that have been doing it for a long time, and still reinvented themselves. A lot of them rely on their legacies, which are respectable, but you have to look forward and not back. There are a few MC’s and producers out there that really motivated me into doing my best. This year has been good for new material that’s been coming out. I’ve been getting motivated to pick up an album and not question its quality. It used to be like that for years, but now I can have some sort of confidence in a lot of the MC’s.

AllHipHop.com: Why have so many older artists forgotten to step up their game?

Edgar Allen Floe: Different cats handle their business differently. A lot have forgotten. They rap about, “I’ve been doing this for over a decade. Respect me.” You have a lot of cats that do, but the younger generation doesn’t know who they are. Kids that were born when they were dropping those tracks don’t know who the best MC’s to ever do it were. You have to step it up and reach them somehow. You can’t be screaming about how you have classics from ‘89 to ‘94. Again, that’s when they were born, so how can you expect them to relate? These are kids that will be doing it from now until 2015 or further. That’s how time works, things evolve. The only way to reach them is by being brand new or changing your style. Don’t forget who you are or take away from that, but you have to meet them on a common level. Give them something that will have them following you around for the next five to seven years.

Emmis Radio Vows To Fight Hot 97 Eviction

Emmis Radio, the parent company of New York’s Hot 97 (WQHT) FM, went to court Friday (May 5) in attempts to block the station’s eviction.

Emmis filed a breach-of-contract lawsuit in response to a lawsuit filed by the New York City District Council of Carpenters Fund, the landlord of the building that houses the radio station.

The 28-page lawsuit references three shootings, two bomb threats and more than a dozen other incidents involving a host of rap celebrities visiting to the station’s offices since March 2000.

The latest incident at the station occurred on April 26, when rapper Jamal “Gravy” Woolard was shot in the buttocks before conducting an interview at the station with on air personality

Funkmaster Flex.

Emmis believes the suit has no legal basis.

“If the carpenters union wants to spend money dragging this issue through the courts, then we have no choice but to fight them on it and we will win,” Emmis said in a statement. “The union has tried to bully us into submission and accomplish through harassment what they can’t accomplish through the legal system.”

Although Hot 97 has six years left on its lease, the lawsuit is demanding the eviction of the station, which is located on the seventh floor of the building.

The New York City District Council of

Carpenters Fund accuses Hot 97 of promoting the

recent violence and expressed its fear for the lives of the building’s other tenants and passers-by.

Court papers, filed in Manhattan’s Supreme Court, said that fund officials have told Emmis that Hot 97 will not be allowed to have any visitors in the building, except artists, within seven days notice while the eviction is pending.

Emmis owns two other radio stations in the building, 98.7 Kiss FM, which plays R&B, and Smooth Jazz CD 101.9, which plays jazz music.

The fund is has said it would allow these stations an “artist plus two” within four days notice.

While Emmis says it has basic rights under the lease to receive visitors, the pension fund’s lawyer, Robert Abrahams, said “the restrictions on visitors that they are complaining about, they agreed to them in writing.”

Regarding Emmis’ lawsuit against the pension fund, Abrahams said, “this is an attempt to avoid meeting that case head-on.”

Rappers Ice T, Noreaga, Cypress Hill Lend Voices To ‘Scarface’ Video Game

Ice T, Noreaga and Cypress Hill’s B-Real and Sen Dog are among the Hip-Hop artists lending their voices to Vivendi Games’ new video game Scarface: The World Is Yours.

The game, which is distributed through Vivendi’s Sierra Entertainment, is based on Brian DePalma’s classic 1983 movie of the same name and takes place in 1980’s Miami.

The objective is to rebuild Tony Montana’s drug empire while fending off enemies.

The cast includes James Woods ( Casino ); Robert Davi ( Die Hard ); Michael Rapaport ( Beautiful Girls, The War at Home ), Anthony Anderson ( Hustle & Flow ); Richard Roundtree ( Shaft ); Tiny Lister ( Next Friday ); Bam Margera ( Viva La Bam ); Tommy Lee and others.

Al Pacino lends his image likeness to the lead role in the game and key lines from Pacino’s performance in the original film appear in the game.

Scarface is a brand universally recognized for its cutting-edge cool, even two decades after the movie’s original release. It’s no surprise that so many of the top talent from film, television and music would want to be a part of that world,” said Vivendi marketing executive Cindy Cook. “The video game is allowing people to be part of one of the most popular franchises in Hollywood.” 

Scarface: The World Is Yours hits stores this fall for PlayStation2 and Xbox.

Yung Joc Speaks on Cincinnati Shooting Says T.I. Tried To Make Peace

Block/Bad Boy Entertainment rapper Yung Joc appeared on an Atlanta radio station Wednesday (May 3) to set the record straight regarding a recent shooting that left one member of Atlanta rapper T.I.’s entourage dead and three others wounded.

Joc, who was on the road with T.I. and with him at the time of the shooting, appeared on Atlanta’s V-103 FM to tell on-air host Ryan Cameron and fans what happened.

According to Joc, T.I. was a peacemaker in the incident and tried to diffuse the situation. Joc also said the group is still coping with the tragedy and has yet to return to Atlanta.

He further stated that in no way did T.I. have anything to do with the violence. 

V-103 changed its traditional format Wednesday in order to field calls from listeners.

The discussion comes in the aftermath of the fatal shooting of Philant Johnson.

The 25-year-old died Tuesday (May 2) after an altercation at a T.I./Young Joc concert after-party in Cincinnati. 

Gunfire was exchanged as two dark SUV’s chased the rapper’s van on Interstate 75, where the van blew a tire and came to a stop.

Johnson was killed, while two members of the rapper’s entourage suffered minor wounds. One woman remains hospitalized.

T.I. suffered no injuries.

Although Cincinnati police have not taken anyone into custody, they are interviewing several witnesses and are working to get people to cooperate in the investigation.

Atlantic Records expressed its grief over the tragedy today (May 4) via the following statement: 

“This is a very sad day for everyone at Atlantic Records and Grand Hustle. Philant Johnson was a part of our family and a true friend. Our thoughts and prayers go out to the Johnson family, T.I. and everyone at Grand Hustle.” 

Cymande Wins Against Fugees In Copyright Case

A federal judge recently issued a ruling in favor of 1970’s British soul group Cymande, in a sampling lawsuit against the Fugees and Sony Music.

The lawsuit, which was filed by group members Steve Scipio and Patrick Patterson in March, claims the Fugees illegally sampled the song “Dove” on their 1996 album The Score .

In 1998, the two parties attempted to negotiate a settlement agreement.

Cymande accepted a royalty payment of $400,000 and Sony Entertainment attempted to settle. However, according to the lawsuit, members of Cymande denied that the $400,000 payment was for settlement.

Sony Entertainment claimed that in 1998 the parties “entered into a settlement” and that members of Cymande “ratified the 1998 settlement by accepting several hundred thousand dollars of Defendants’ payments and by seeking money under the terms of the 1998 settlement from Defendants’ foreign representatives.”

Judges from the 6th U.S. Circuit Court of Appeals ruled that the payments do not amount to “ratification of an unsigned agreement to settle an infringement dispute.”

“We determine that the Proposed Agreement was never ratified and that Plaintiffs should not be equitably stopped from pursuing their infringement claims,” the ruling stated.

The $400,000 payment must be repaid or subtracted from Cymande’s damages if they prevail on the copyright infringement claims.

Jay-Z Talks Hector Bambino’s Roc-La-Familia Debut

Puerto Rican reggaeton star Hector Bambino “El Father” is putting the finishing touches on his Roc La Familia debut, Roc La Familia & Hector Bambino ‘El Father’ Present Los Rompe Discotekas.

The album, due June 20, will be the first release under Def Jam’s new Roc La Familia imprint.

Notable guest appearances include Don Omar, Wisin Y Yandel, Fat Joe, Memphis Bleek, Alexis Y Fido, YOMO and Freeway.

The first single “Here We Go Yo” features a special appearance from rap icon and Def jam president Jay-Z.

“Hector Bambino represents the ideal behind Roc La Familia,” Jay-Z stated. “Hector blends genres and brings real stories and messages to the listener. His huge following and his passion for the music made us immediately realize that this is the right first release for Roc La Familia and we are in business with the right artist.”

Born in Carolina, Puerto Rico, Bambino has been a leader in the reggaeton movement since his teens.

He was recently honored with a 2006 Latin Billboard Award in the new category of “Reggaeton Song of the Year,” for his featured appearance on the song “Mayor Que Yo” by Baby Ranks.

Noreaga, one-half of the rap duo Capone-N-Noreaga, is also scheduled to drop his Roc La Familia debut N.O.R.E. Y La Familia…Ya Tu Sabe, on July 18.

Rapper Snoop Dogg Banned From British Airways After Brawl In Airport

British Airways has banned rapper Snoop Dogg from flying on their airlines, after the rapper was accused of starting a brawl in London’s Heathrow Airport.

Snoop Dogg (real name Calvin Broadus) was released last week (April 27) following a melee that occurred at a British Airways first class lounge.

Snoop and five other members of his entourage were arrested on charges of “violent disorder and affray” according to London police.

The arrests stem from an incident in which Snoop and entourage attempted to enter a first class lounge of British Airways.

Although Snoop had a first class ticket, British Airways reps said his entourage – who had been flying coach – were denied entry because they were not flying first class.

Police reported that Snoop’s party became aggressive and caused minor injuries to seven police officers during the brawl.

While they have not been charged with any offences, police indicated that Snoop and his associates are scheduled to return to London in mid-May for further questioning.

Sara Stokes: Make It Happen

All respects to Diddy’s judgment, but its quite possible he missed one in Sara Stokes. She was one of the fortunate few to make it through the rigors of reality television – as well as surviving the Bad Boy mogul’s own unique regiment, which included a hike to Brooklyn for cheesecake. While other members of Da Band aligned themselves with Bad Boy or expressed discontent with Diddy, Sara quietly retreated back to Michigan with her family.

Now, the siren has joined forces with Don P of Trillville in hopes of fulfilling her singing aspirations. Musically, she’s got the vehicle – and P’s got the industry connections. Will they make moves? Read on and judge for yourself as we connect with Sara and Don P for some real talk.

AllHipHop.com Alternatives: What made you sign with Don-P? You know how did y’all make that connection?

Sara Stokes: Well, basically my manager cooked it all up. You know how great he is, but I just heard a lot about him already, and I know how fly he is and everything, so I’m happy to work with him.

AHHA: Was it the music or business?

Sara: Actually it’s both. I mean his business is off the chain, and his music is off the chain, so I couldn’t go wrong.

AHHA: No doubt. Now, coming from the Diddy situation, what’s the difference with this?

Sara: Well, now it’s just gonna be me, so I gotta really represent and everything, come out there and just wow everybody. I was definitely gonna be getting more money – I ain’t sharing with five other people.

AHHA: How did you get off the Bad Boy situation… contracts? I’m sure you didn’t go The Lox route.

Sara: Well basically, Puff sent me on my way all nice, and I left on good terms. So it wasn’t no love lost or nothing like that. I might work with them one day, you never know. But he released me out of my contract, no problem.

AHHA: Okay, so you kind of played it straight. I know a lot of other cats did a lot of complaining and stuff.

Sara: I’m not really a complainer. If you make sure your business is good up front, you can’t lose that game.

AHHA: No doubt. I always felt that you were easily one of the best people, if not the most marketable, person for him to really work with. Babs and Ness are cool, so that’s no disrespect to them, but I always felt that you had a little bit of more star quality.

Sara: Well thank you for the comment, you know the compliment and everything, I appreciate that. But I just feel like Puff saw something in me, ‘cause he picked me [to be in Da Band].

AHHA: Yeah. So do you keep in touch with anybody from Da Band?

Sara: Oh yeah, I still talk to some of them. I talk to Chopper – matter of fact I’m supposed to be doing a movie with them. I’m trying to do everything, movies – I want to have my own makeup line, everything.

AHHA: What’s the movie about?

Sara: It’s like a Hip-Hop movie and it’s supposed to have [some big names] in it. I’m not really too much about the role right now, but we’re just now working that out.

AHHA: Did you ever get discouraged going from a deal with Bad Boy to being completely out of out of the limelight?

Sara: Yes, I mean it was kind of hard. I been out for about two years now, I was just really recording and staying busy, making sure I keep on tracks and stuff. But it was kind of disappointing. I felt like I should have been out a long time ago, but God knows when I’m supposed to come out. He’s like take your time, enjoy your family and you’re gonna be super busy, in a minute.

AHHA: Right, right. Production-wise, who you are you going to be working with? I know you and Don P will be doing some things, but will there be other people?

Sara: Oh yeah, I want to have a lot of hot people on my album. Right now I worked with Disco D, Rockwilder… I got a lot of good people, that’s when I worked with Ty Fyffe – there’s so many people man.

AHHA: You know you were very much regulated when you were in Da Band. What kind of flair will you come out with, or will it be straight R&B, R&B/Hip-Hop – maybe a little more soulful?

Sara: Right, well I want to touch on everything. I have rock in my music – you know the guitar going crazy. I’ve got some Hip-Hop beats. I’ve got just about anything you can think of in my songs, because nobody knows what nationality I am anyway, so why not put everything in there?

AHHA: Yeah, yeah no doubt.

Sara: I love all music anyway, so but I want to keep it [like that], I want to have those [different] beats too, because you can’t hide that.

AHHA: Yeah, absolutely. Do you have a label situation yet?

Sara: Not yet.

AHHA: Oh, okay. How will you generate a buzz? I know a lot of R&B people are using mixtapes now. Any special technique you want to do?

Sara: Well, not really. When I come out I just want it to be right. That’s all I can say about that.

AHHA: Right, right.

Don P: Yeah, we got a couple of labels already lined up. What we’re gonna do is get her on the hook on a couple of singles for a couple of artists coming out. Get her back on the scene as soon as possible, back singing as soon as possible and it’s just gonna be crazy. It’s just gonna happen. It’s almost gonna be like she never left, you know what I mean?

AHHA: You think she’ll be a part of South movement?

Don-P: Yeah, she gonna be part of course, but you know we don’t like to say that. We gonna touch on all areas but definitely, we definitely gonna be taking advantage of what the South’s got going on right now, especially with me in Atlanta. We’ll get something popping in the club as quick as possible, and it’s gonna be crazy.

AHHA: Sara, how’s your family life? There was a lot of stuff was on TV during Making The Band?

Sara: Whole family’s great, kids getting big – they want to start singing and acting and all that stuff too, so you know I’m gonna put them in with some Nickelodeon thing or something. Everything’s going great, I was glad actually to come home and spend some time with them, because I was gone for months at a time and it is hard as being a parent. But you gotta make it happen, not only for yourself, but for them too. They’re all for it, they’re like, “Mommy live your dream, do it mom”. So I got their backing.

AHHA: A lot of new faces like Ciara and Keyshia Cole have popped up in the last couple of years. Where do you see yourself fitting in as you re-emerge?

Sara: Well I know there’s definitely a spot out there for me, ‘cause everywhere I go everyone’s like “When are you coming out? Oh my Lord we been missing you Sara! You were great!” They showed me a lot of love. I want to be right up there with Christina Milian, the Beyonce’s. I want to be in that realm. I want to have music that lasts. You know I love Mariah Carey right now, that’s my girl, she’s been my girl forever. I feel like I want to fit right there.

AHHA: What kind of songs do you have in the chamber right now?

Sara: Well I got this high point, “Lay Me Down,” that I think is crazy. Every time somebody hears it they’re like, “Dang, that song should be out right now.” And I got a remix to Juvenile’s song “Rodeo.”

AHHA: Any final words, Sara?

Sara: Hey, let my parents and all my people out there know that it will be happening, I haven’t gone nowhere. I’m gonna be right in their face on the radio and TV, everywhere.

Judge OK’s Release Of Karrine “Superhead” Steffans P####

A Federal judge has denied a request for a temporary restraining order by Karrine “Superhead” Steffans to disrupt distribution of a new Vivid Entertainment DVD titled Superhead.

Steffans requested a temporary restraining order against adult film company Vivid Entertainment, with regard to advertising and a photo of her on the DVD cover.

The DVD, which was released on April 21st, features Steffans performing explicit sex scenes with adult film star Mr. Marcus.

Steffans still has a pending lawsuit against Vivid Entertainment Group and Vivid Entertainment LLC for a permanent injunction and monetary damages over the Superhead DVD.

Steffans has become increasingly popular since the debut of her controversial autobiography “Confessions of a Video Vixen.”

The book chronicles her life as video girl in Hip-Hop and her sexual trysts with numerous rap stars under an assumed name.

Ice-T Teaches Hip-Hop On ‘Ice T’s Rap School’

Rap legend Ice-T is set to star in a new Vh1 reality series, where he teaches young students the fundamentals of Hip-Hop and emceeing.

In Ice-T’s Rap School, the rapper-turned-actor will coach and train a class of seventh and eight graders from New York City’s exclusive York Prep on the basics of becoming an MC.

Ice-T (born Tracy Marrow) will educate the students on a variety of subjects, including learning to rhyme, timing, scratching and break-dancing.

Rap School is geared toward exposing the prep school scholars to Hip-Hop culture, while proving to skeptical parents and faculty that rap can be a positive force.

The show will also concentrate on teaching students how to express themselves through rap, as well as how to find their voices and conquer personal issues such as shyness, speech problems and divorce.

After pressure-packed auditions and recording sessions, the kids’ skills will be put to the test with a final exam: opening up for rap pioneers Public Enemy at the acclaimed B.B. King’s Club in New York City.

No stranger to both the small and silver screens, Ice-T has starred in a multitude of movies and television shows, including New Jack City, Surviving the Game, 3000 Miles to Graceland, and the Hip-Hop classic Breakin’.

Ice T currently has a starring role as Detective Odafin “Fin” Tutuola on NBC’s Law & Order: Special Victims Unit.

Ice-T’s Rap School premieres on Vh1 this September.

Bay Area Rappers Create Hyphy Energy Drink

A Bay Area rap group has started a full-fledged campaign for a new Hyphy Juice Energy Drink, a beverage based on the popular cultural movement in the region.

The drink is the brainchild of an Oakland group called The Team, which has begun to promote it through a song called “Hyphy Juice.”

“The music and the movement was so strong,” said group member Clyde Carson. “We wanted to create a drink to go along with the flavor on the streets. So we made the juice.”

The Hyphy Movement was made popular nationally by rappers like E-40, The Team and Keak Da Sneak, but the group–comprised of Kaz Khyzah, Clyde Carson, and Mayne Mannish–opted to make a drink to correspond with the Hyphy Movement’s dance, culture and way of life.

The energy drink is lightly carbonated with the flavor of “grapple,” a unique mixture of grape and apple that increases a person’s energy, Carson says.

“It’s almost dangerous,” Carson stated. “It tastes so good, you have remind people that it’s an energy drink. We can never supply the demand. It’s crazy.”

The drink has also been endorsed by Too Short.

On the musical front, The Team recently released World Premier , an album that features Too Short, Richie Rich, singer Goapele and others.

In a similar manner, Lil’ Jon released Crunk Juice in 2004 to correspond with Crunk music, another musical phenomenon marked by high energy and aggressiveness.

T.I.’s Entourage Involved in After-Hours Shooting In Cincinnati

A van believed to belong to rapper T.I. was found near the site of a recent shooting at a Cincinnati nightclub.

The Cincinnati Enquirer reports the incident culminated in shootings that occurred around 3:20 a.m., after a verbal altercation and possible scuffle took place inside Club Ritz, the site of an after-hours party for T.I. and Young Joc.

One person is dead and three others were injured.

According to witnesses, the scuffle moved outside and shots were fired.

Officers said the shots were fired into two vans containing T.I.’s entourage on southbound I-75, beginning near the Ronald Reagan Cross County Highway and ending near Mitchell Avenue.

The entourage was leaving the club when the shots were fired.

A van believed to be T.I.’s was found on I-75. As a result, three miles of interstate were closed Wednesday (May 3) morning.

The rappers performed Tuesday (May 2) at Bogarts.

Police dispatches noted numerous officers were present around the area of Short Vine when the concert ended.

There appeared to be no problems. The names and conditions of those involved in the shooting were not available, according to the Enquirer .

Four people in T.I.’s entourage, including one woman, were treated at University Hospital.

The woman was traveling in one van, while three men were in the other. T.I., (born Tip Harris) was not injured.

A man believed to be one of the victims and bandages on his arm and was taken out of the hospital before 7 a.m. by a police officer.

Two other victims were treated and released around the same time.

The incident marks the latest chapter in a string of violent incidents at Club Ritz.

Last year, three people were shot outside the club following a fight.

The nightclub has come under fire from community and police, who asked the Cincinnati City Council to shut the facility down.

The request was rejected by council members, who voted against it.

The club’s owner, Andrew Williams, said the bar was closing until he and other workers could resolve problems with security.

In addition to guaranteeing plenty of paid police and security, Williams said he would stop keeping the bar open after hours and promised to put up barricades around the parking lot to control traffic.

What if Hip Hop Had a Heaven?

With death seemingly lying dormant beneath the surface of Hip-Hop, is there any hope in sight for the victims that lay in the aftermath of its wake? The answer, for Hip-Hop artists at least, would appear to be yes. Immortalized by lyrics that stereotypically glorify death, we all but deify our cultural martyrs. And while respect is due for the talents of the slain, can it go too far?

Perhaps in an attempt to ease our grief, somewhere along the line we’ve rationalized that the tragic conditions lived (or very well depicted) by the likes of Biggie and Pac somehow grants them a free pass into heaven. In doing so, while we’ve managed to honor their memories, we simultaneously disregard and downplay the only hope of a heavenly afterlife.

But wait! Before you stone me for daring to suggest that those we’ve lost didn’t make it to heaven or being so bold as to talk about religion in Hip Hop, ask yourself this: how ritual has Hip Hop become to us? Is it not a movement that empowers the downtrodden – seen as a savior for the lives of those that cross over into its success? Is it not studied by zealots as a religious temple and revered as a platform to speak and act against social class imbalances and injustice – just as the Baptist Church was the center of the civil rights movement back in the 50’s?

Even with these similarities, we must not confuse ourselves by entertaining the soulful preservation of those who’ve been murdered in the cause. Let us not forget the history of violence that has been in the world before Hip Hop and will remain forever after; and in doing so, let us not forget that its unfounded association to our culture of music doesn’t merit God’s acceptance of those that have suffered because of it. For the heroes of Hip Hop, heaven’s gates open the same way as it does for us: through the Son of God. Otherwise, we’re all walking around with wool over our eyes in an attempt to absorb the tears that have been shed for our fallen.

“If Hip-Hop Had a Heaven”

If Hip-Hop let thugs in heaven,

Would Kristoff St. John open the gates

for its young and restless –

Would gun possession be exorcised and extradited?

Would pitchin’ rocks from drug professions

Be forgotten since this option

was left from smug oppression?…

Since the government let it in –

would they set the chips aside to tithe it?!!

If Hip Hop had layovers in heaven,

Would ‘Jay Hova’ be

a less unpleasant ref’rence?

Would Holy Hip Hop be more

prevalent in modern day rap?

Would a collar on Run seem as irreverent?

Could self-martyrdom from Nas’ gun

have been more effective?…

What if Jay resurrected –

could rap be saved if this star came back?

Would there be a difference

between ‘god’ and ‘dun?’

What about Nastrodamus’

depiction as God’s son?!!

Was it all in fun – or was this part

of a grander scheme?

As outlandish as this may seem to folks,

I’ve seen patterns of a meaner joke

In something we promote in

homage to gangsta leans.

Though rap today has a few numero unos

The price they pay plays to the tune of funerals.

Eulogy beats are the usual

for their deadwood dogma.

To gain green funds in large profits,

The mainstream floods in false prophets…

Spreading gangrene in uncut doctrine –

deposited in coffins of

embellished hood mantras.

But what if Hip-Hop

echoed heaven on earth?

Would New Jerus’ peruse

ghetto havens first?

Could its save and reverse

its romanticized condition?

Would it release the populace

or keep it enslaved

With the greed of coppin’ chips,

cheese and chains?…

Or is it too ashamed for how far

we’ve franchised our position?

With heaven’s common

grounds on our premises

Would we continue to walk around

as our most powerful nemesis?

If we could break out of the syndicate,

would its synthesis surely break down?

Would rap keep recruitin’ legions

of shootin’ demons?

If so, would it be so bad that it

harbors a slew of heathens?!!…

Would Jews still lead in

recoupin’ green endz

with the Pearly Gates around?

If Hip-Hop had heaven

harnessed for a new season

Would Common Be the

constant gardener of New Eden?

Such honest guardians are few and far

in between my brothers’ keep.

After all, at The Roots of

our Black Stars’ depths,

Too few truly acknowledge

their talents’ charged debt…

Despite immaculate concepts,

they challenge God

with plundering feats.

Too busy in hell’s kitchen bakin’ up

fake stunts to bail out,

Hip-Hop’s been placed on a hellmouth.

Even if heaven replaced it,

Ma$e would still be a sellout,

to say the least.

Without unleaded gas

to fuel its head of steam,

Would rap exhume its unleavened recipe?…

Or is it too consumed by the commune

of an un-heavenly destiny of wasted yeast?

Will Hip-Hop’s soul ever rise

to the occasion again –

where were you the day it died?

Is it too early to mourn –

at its wake will we Rize?

Or will it be too late to realize

as we writhe in the pain of its loss?

Since its souls been sold to

the devil’s embezzled team,

Would Hip-Hop even make it

to heaven’s mezzanine?!!…

Will we wake from the hellish scene

of this unsettled dream to take up its cross?

If heaven was a mile away and

Hip-Hop a close shaven second,

Which one would host the most

of our jaded brethren?

Would Ghostface be a reverend

to cajole the Supreme Being’s clientele?

Would the Three 6 Mafia be revealed

as the mark of the beast

Or merely a market of street beefs?…

Would we finally take off its leash? –

only time will tell.

If cops sprayed the booth with Eminem in it,

Since he made it in Hip Hop,

could he pay Proof an eminent visit –

Or were his sentiments too vivid

for the annals of Hip-Hop’s preserved?

Would cats get placed in purgatory

For the graphic way they word a story

Even if it cracked the pavement and

earned them glory on Hip-Hop’s curve?

If Hip-Hop had a mansion in heaven

Can you imagine who

would staff its residence?

Big, Pac and Scott La Rock would jam

its expansive measurements

with a host of others.

It’d be agreed that certain sistas thought

of as passionate and heaven sent

Would have fixed spots

like stanchions of benevolence…

As Lisa and Aaliyah would have an

outstanding presence sensed

like the ghosts of southerners.

From A to Z, martyrs for

the cause who lay perished

Are amazingly fostered to

belong to the same parish –

Cats like Eazy-E and Freaky Tah

remain cherished like stained wood.

From Jam Master J Dilla

to Big L’s insane Puns,

From Marley to a modern day

marvel slain as Gaye’s son…

If music could save one –

then these artists merited sainthood.

Tantalized as injured mourners,

We’ve canonized these performers.

We fantasize them reserved

for the Lord since their lives

weren’t crystal stairs.

Yet behind random lines

lies a bigger picture.

Every time we glamorize lives,

we scandalize the grand design

of Christian vigor…

Without standardizing Christ

as their risen center –

their lives are wisps of air.

Though they live on in lyrical chapters,

They’re eternally scorned

from a spiritual fracture.

Without Christ, their hereafter’s

trapped in ethereal infernos.

Like blasphemy against God,

No Christ in an absentee’s heart

Is like battling against Nas –

as their souls forever burn slow.

But if they knew Christ

as their personal Savior,

No amount of ice could give

them more versatile savor.

Despite terminal vapors –

they can breathe new heir with new nostrils!

Despite the hearse and a few favors,

Despite the nicest words from eulogy prayers…

No verse renews greater than

the Good News of the Gospel!

© Reggie Legend 2006

Steel Waters, Inc.

[email protected]

Carmelo Anthony: My Man, My Melo

In just three seasons, Carmelo Anthony has been an NBA force to be reckoned with. The former Syracuse star has taken the Denver Nuggets from an NBA joke to a franchise with a hopeful future encouraged by a lot of widespread supporters. The 22 year-old Forward has changed minds everywhere based on his young leadership on the court.

With the arguable exception of Shaq, no hoops star has ever bode as well in the music industry. While Kobe Bryant and Allen Iverson were unsuccessful despite major label backing, Ron Artest, Nick Van Exel, and others have hoped to channel success to fledging labels supported with NBA dollars. The jury’s still out if the NBA’s run at the industry will be as close as Master P’s run at the NBA. To date, there’s been no burden of proof.

Carmelo Anthony, with his age and heavy persona, may stand to change things up a bit. Krossover Entertainment is his vehicle to Hip-Hop. While he adamantly denies wishing to crack the mic himself, it’s Krossover’s artist, Berg, that is the label’s first free-throw at the game.

AllHipHop.com and ‘Melo discussed his industry plan of attack shorly before the Denver Nuggets’ first round appearance in the NBA Playoffs. While the team’s defeat to the Clippers makes the 2006-2007 season seem very distant in Carmelo Anthony’s life, it brings him to his industry task at hand much sooner. The young star is quiet, but determined. One of those traits feels lost in both music and sports. The other trait has been embedded in winners since the beginning of time. Get the skinny.

AllHipHop.com: You’ve dealt with a DVD controversy before. Do you worry about controversy attached to putting out a rap record?

Carmelo Anthony: No, because I’m not rapping, so I don’t have anything to really worry about.

AllHipHop.com: Players like Kobe Bryant and Ron Artest haven’t been as successful in rap and entertainment as they have been on the courty. What do you think will make you different with Krossover Entertainment?

Carmelo Anthony: The difference is all of them tried to rap. I’m not going into the booth, so that’s different. And I don’t think all of them were willing to put the time and effort into it like I am.

AllHipHop.com: What types of things do you plan on doing as an executive to make this a success?

Carmelo Anthony: Whatever it’s going to take. Whether it’s sitting down and taking meetings with anybody, just doing whatever it’s going to take, I’m willing to do.

AllHipHop.com: You have a relationship with LaLa. What role is she going to have with the company?

Carmelo Anthony: [I’ll be] using her networking ability, and just using her connects and using my connects in order to make this a success.

AllHipHop.com: Is she going to be a part of the label, in terms of performing?

Carmelo Anthony: No, not at all.

AllHipHop.com: So just for the record, you have no plans of jumping into the entertainment side of it, you’re just going to stick to the business side of it?

Carmelo Anthony: Yeah.

AllHipHop.com: Besides the music and the basketball, you recently got into the Indy Car circuit. How do you find enough hours in the day to get this all done?

Carmelo Anthony: With the Indy Car thing, it’s only on weekends. I’m going to be able to get to some races, and others I won’t. They understand that, because it’s during the [NBA] season.

AllHipHop.com: I know Joe Montana was involved in that sport at one time. But how did Indy Car and Carmelo Anthony come together. It seems like a weird combination?

Carmelo Anthony: The opportunity was brought to me and my Vice President of Marketing. He [has recently] went to listen to Gene Simmons at a conference in Los Angeles, and they just got to networking, and it was a good fit and good opportunity for everybody.

AllHipHop.com: What Hip-Hop do you listen to? What’s in your headphones before a game?

Carmelo Anthony: I listen to everything, man. I don’t try to narrow my choices down to one person. I try to listen to everyone.

AllHipHop.com: When you’re looking for a specific artist for your label, what do they have to bring to the table for you to give them a good look?

Carmelo Anthony: Most importantly, I’m a fan, so I know what I want to hear and I know what people want to hear. I know the music a fan wants to hear, so when I listen to music I listen to it as a fan.

AllHipHop.com: Have you sewn up distribution?

Carmelo Anthony: We’re still in the process of doing that, but in the meantime we’re doing it on our own right now. We’re trying to do things on our own and show people we’re really working and putting in the effort and time and doing it.

AllHipHop.com: When you tell people about your plans for your company have you found that people have been supportive or the “Here we go again…” type deal?

Carmelo Anthony: Naw, I think people have been supportive. Of course you’re going to have people out there who say its just another ‘basketball player whose trying to something,’ but overall, I’ve gotten a lot of support.

Read about Carmello’s artist Berg HEREFor more information visit www.carmeloanthony.com.

Slow Suicide Stimulus: Suicidal Thoughts

T

he mid-90’s are fondly revered by Hip-Hop fans for several reasons. For starters, they defied convention. The things that were said and how they were presented were very different from today. The uncertainty on records like Group Home’s “The Realness” or Common’s “Nuttin’ To Do” made for audiences to relate, regardless of socioeconomics or location. Likewise, the recognition of the past was much greater. 2Pac’s “Old School” and Biggie’s “Juicy” are loaded with past Hip-Hop appreciation.

Tame One is a product of those times. By way of The Artifacts, he held a lot of attention in the mid 90’s. Perhaps that is why his latest venture, Slow Suicide Stimulus, has achieved these lost values. The independent group packed with New Jersey talent not only can open a show for Fat Joe or Lloyd Banks, but they included Grandmaster Caz and DJ Kool Herc in their group self-titled debut.

AllHipHop.com recognized Tame and the Dusted Dons for their true-to-form Hip-Hop intentions. The music is daring, brash, and chaotic. Interviewed however, each member is precise in his purpose and dedication to the craft. While the name sounds self-inflected, Slow Suicide Stimulus, in the eyes of some, is Hip-Hop’s antidote.

AllHipHop.com: Tame, you’ve been doing a lot of collaborations: Slow Suicide Stimulus, The Weathermen, The Leak Brothers. Do you prefer being a soloist or collaborating?

Tame One: I’ll collaborate with anyone who will let me be me, free of judgment. If you want to collaborate with me then you have to accept my terms, and my terms are just let me do me. Don’t judge me for it or try to capitalize off of it, or try to rape the talent like, “I don’t even f**k with dude. I don’t even like money, but he’s who he is and I can get this audience off of him.” Nah, that’s not gonna fly with me. Accept me into the mix unconditionally. If a motherf***er walk into the studio but-ass-naked with a chicken under his arm, as long as he spit his verse on that song, I don’t have no problem, and that’s all I ask for in return.

AllHipHop.com: Are you worried about dropping so much material all around the same time?

Tame One: I need to clear up one misconception, Spazmatic is like three-years-old. I didn’t mean for all of these albums to come out as fast as they did. It just happened that way, but I’m not mad at it. Initially, I was trying to attract different audiences and just give people choices. I’ve got to work that much harder now, by separating myself into these different genres, but I’m not mad at all. I don’t know what everybody else’s goal in this Hip-Hop s**t is, but when I’m 70-something-years-old, sitting up in my chair, I don’t want to say I wasted 30 or 40 years in this rap s**t. I’d like to have a nice, strong catalog of good music to look back on. That way the next generations can say I achieved something other than industry stress and trying to win all of the time.

AllHipHop.com: A while back, you mentioned that after over a decade in the game you weren’t really eating, did you ever think about just getting out of the game altogether?

Tame One: Honestly, on a daily basis. It’s trials and tribulations, every other day I’m thinking, “Why the f**k am I doing this? For what, other than self-gratification, self expression, and the little bit of chump change I’m getting for it?” But, it is what it is, I love this s**t.

DJ Mel-Ski: Even if we didn’t have this record out we’d still be doing it. We’re grown ass men and s**t, we’re some no job havin’ n***as, word is bond. But we’re just making this music like we got it like that. We’ve been doing it like this even before those golden years, we were in the basement. So even if we weren’t putting out records and going on tours we’d be doing this s**t anyway.

AllHipHop.com: And that all just comes from having the love for it?

DJ Mel-Ski: You know what’s up, that’s why we’re talking right now. You can’t get away from it.

AllHipHop.com: You’ve been in the game for a minute and Redman is your cousin, do you have any crazy memories/stories of things you did together?

Tame One: Red is just a hilarious motherf***er. Every time I get with him its something funny. But, no one memory just really stands out and I’m not going to make up anything. Plus, I don’t really want to put myself on blast like that.

AllHipHop.com: How did you guys come up with the concept and name Slow Suicide Stimulus?

Charlie Chan: We had all just finished getting paid and were chillin’ in the studio talking about how we all live and s**t. I was like, “We’re the Slow Suicide Stimulus,” throwing the idea around of doing a project. We just started building on it and we were all feeling it, so we rolled with it.

Govone: The group and this album didn’t really come into fruition until we already had about six cuts done, then we said, “Wait a minute, what are we going to do with all of this? This is kind of hot.” Then we decided to push forward with it.

AllHipHop.com: How did you guys get connected with Tame One?

Charlie Chan: I knew Tame from back in the days, before Artifacts had their deal. Plus we’re all from Jersey. They used to have open mics at this spot called The Pipeline and Artifacts used to murder it, plus I knew a few Boom Skwad cats. After Artifacts broke up I didn’t see Tame for a long ass time, but I remember seeing his manager after a show we did in New York, so we booked him for a show. It was curtains after that.

AllHipHop.com: How did you guys hook up with Grandmaster Caz?

Charlie Chan: I actually booked [DJ] Kool Herc through my man, and when I was talking to Herc, he said, “If you really want to have an ill show, you should bring Caz through, he rhymes, he does everything.” So we were booking Caz for a lot of shows and it was some of the dopest shows we ever did. He did “Rapper’s Delight” and mad other s**t too. He really just broke down Hip-Hop to all of these young cats, he turned that s**t from a show into a school session.

DJ Mel-Ski: It just reminded me of when I fell in love with this Hip-Hop s**t. Just taking a long shore ride with my family and “The Message” coming on, I had to be like eight or nine-years-old. I rented Wild Style from my local video store and kept it! So that was just taking me back to my first memories of Caz. He’s been doing it as long as I’ve been alive, and to me, he actually sounds better now than when he was crushing back then.

AllHipHop.com: I had to double-check the credits on “Roll Up,” because he was spitting like a younger cat.

DJ Mel-Ski: He actually gets it in like that; he kicks it with us like that. Sometimes you forget who you’re f***in’ with because he’s so down to Earth. He got jerked in this game and he’s still down to get with cats like us and stay humble. What more can I say? If it wasn’t for him none of this would be happening.

Charlie Chan: He was real down to Earth, and he has the energy of someone who’s like 24. It’s crazy how much passion and love he has for this game that basically f***ed him over, he’s not bitter or anything.

AllHipHop.com: Charlie Chan mentioned that you guys worked with DJ Kool Herc, who practically invented DJing, so were you guys trading tricks or anything like that?

DJ Mel-Ski: You don’t teach anything to a dude like that!

AllHipHop.com: I mean, did you take anything away on your end?

DJ Mel-Ski: I was standing there like, “Damn you’re bad!” My knees were knockin’. But, I’ve had more stage experience since then and rocked bigger crowds. Just to be on stage with him and get accepted by somebody of his stature-that is Hip-Hop right there. You know the wax that he spins is no remakes, he’s still spinning the original joints and he’s shinin’! Those breakbeats that he was f***kin’ up in the Bronx, he’s still got those, he didn’t buy them again-he’s still cuttin’ with the originals. I’ve got a decent record collection, but I treat my records like s**t, I’ve had to buy the same joint like five different times. The s**t that I do would’ve never come to be if he didn’t set it off.

AllHipHop.com: During the early-to-mid ‘90’s Jersey was making a lot of noise; Redman, Artifacts, Queen Latifah, Naughty By Nature, and even Lords of the Underground, just to name a few, what’s the scene looking like now?

Goveone: Hopefully, it’s looking up. I think that we’re doing something really important that should be heard. As far as the entire scene, I don’t pay attention too much.

Charlie Chan: I think it’s still crackin’ Hip-Hop is still the heartbeat of Jersey, you hear it everywhere you go. I think Hip-Hop goes through cycles, the South is blowing up right now and you’ve got a handful of cats from New York that are doing it. Redman kind of got adopted by New York and the whole national scene, so dudes aren’t really checking for Jersey right now.

DJ Mel-Ski: They’re all still here, but as far as new acts are concerned, it’s hard for them to be heard because there’s not really an outlet in Jersey for them to showcase their s**t. When you think of Jersey you really only think of those names and a few others. I don’t even think cats like Joe Budden get their [credit], even though I may not be huge fans of them, cats are doing their thing.

AllHipHop.com: Off hand you could name Pete Rock, but there aren’t too many DJ’s who still rhyme and cut, right?

DJ Mel-Ski: Oh yeah, the thing is that most of the people who try to do both, suck. I’ll admit that for me to be a rhyming DJ is a big risk. Usually, people are telling them, “Ah, stay on the tables.” Before I touched a turntable I wrote my first little rap, so I’ve been doing both just as long. So, I’m really not a rhyming DJ-I do both. I can spin on my head, I can throw my name up, beatbox, scratch and rhyme, that’s just from the era that I grew up in. A lot of people don’t know that Tame can cut too. During our set, when I go up to rhyme Tame gets on the wheels. That n***a won’t leave my equipment alone! It’s ill because I went over to his gate and he’s got his own setup, his own wheels and his own wax and everything. I was impressed with that. And he’s ill as hell, so it’s not like he needs to do it as a gimmick or anything.

Time Magazine Recognizes Sean “Diddy” Combs As One Of 100 Most Influential People

Music mogul and renaissance man Sean “Diddy” Combs was recently named one of Time Magazine’s 100 Most Influential People.

Combs, who was hailed by the magazine as a “Builder & Titan,” was bestowed the honor for his contributions in taking the Hip-Hop urban culture mainstream in the areas of music and fashion.

The multimedia magnate, who was described as a “force of nature,” joins an illustrious list of politicians, scholars and celebrities that have been honored by the magazine for “shaping the world.”

Others on the list include President George W. Bush, Microsoft CEO Bill Gates, Oprah Winfrey and Daddy Yankee.

“I ain’t going to lie. I feel like a kid that just came home with a good report card,” Combs told AllHipHop.com. “I’m truly blessed.”

Perhaps the first hugely successful music industry executive to successfully jump midstream into an even more hugely successful career as an artist, Diddy is described by Time as a “force of nature.”

A strong social advocate, Diddy was also commended for his educational initiatives for inner-city youth through his Daddy’s House Social Programs and the largely popular voter registration drive, Citizen Change’s “Vote or Die!” campaign.

The mark of distinction highlights an already successful year for Combs.

In February, Diddy released his Unforgivable fragrance, which has gone on to become the top-selling fragrance in the US reportedly generating sales between $1.3 and $1.5 million per week.

Combs is currently in the studio recording his forthcoming untitled LP.