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The Roots Host Third Annual Jam Session

The Roots will

host their Third Annual Jam Session and the crew is encouraging vocalists, musicians,

and aspiring artists to take part in the five-hour session Feb. 7 at Key Club

in West Hollywood, CA.

This year’s gathering

will be hosted by Roots frontman Black Thought, comedian Dave Chappelle, and

actor Don Cheadle. The invitation-only event is presented by Dave Chappelle’s

Block Party in association with Live for Darfur.

“Most industry

parties are a little too stuffy and are limited to performances by one or two

artists,” says Roots founder and drummer Ahmir "?uestlove" Thompson.

“We created this event in order to put the focus back on the music and

give major artists as well as new talent a chance to take part in a business

and musical exchange.”

The anticipated

guest list includes Jay-Z, Common, Will Smith, Mos Def, Will.I.Am, Talib Kweli

and Kanye West, among others. As with last year’s session, the event will be

produced by Okayplayer.com,

Goodtime Girl Productions and Keldof Productions.

Live for Darfur,

co-chaired by Don Cheadle and Djimon Hounsou, is a worldwide campaign that rallies

high-profile artists to help raise awareness of the crisis in Darfur, Africa.

More information is available at www.savedarfur.org.

Birdman Busted on Weapons, Fraudulent License charges

Cash Money Records

founder and rapper Brian “Birdman” Williams was arrested Sunday (Jan.

29) on weapons and fraudulent driver’s license charges.

The 36-year-old

music mogul was charged with carrying a concealed firearm; possession of a firearm

by a convicted felon; unlawful use of a license by presenting another person’s

driver’s license; possession of a fraudulent license; and failure to have vehicle

registration.

The alleged incident

occurred at 3:28 a.m., when Miami Beach police officer Kevin Millan said he

spotted a maroon Maserati ”parked in the right lane of traffic” on South Pointe

Drive. Millan’s police report further stated that the vehicle had no tag

and a covered vehicle identification number.

Williams told Millan

he owned the Maserati and that his license and paperwork were inside the car,

according to the report.

“After opening

the glove compartment, [the] defendant reached across to driver’s side,”

Millan stated. “While doing so, he removed a .40 cal. glock semi-auto pistol

from his waist band with his right hand and dropped it to driver’s floor board….[The]

gun [was] loaded with eight rounds.”

Police said Williams

had three ID cards and two driver’s licenses from Louisiana under the names

Brian Williams, with a birthdate of Feb. 15, 1975, and Thomas Corey, with a

birthdate of Feb. 15, 1969.

In addition, Williams told officers his real name was Brian Christile Williams,

born in 1969.

The report also

stated that Williams told police he recently purchased the Maserati in Los Angeles,

but ”it has no tag and has not been registered." H e also said he had

a prior felony conviction.

Williams’

attorney, André Crenshaw, stated that the allegations against his client

are untrue. “There are some conflicting stories as to his possession of

a handgun,” said Crenshaw. "[Williams] denies saying that he has a

felony conviction. He never made that statement.”

Williams, who is

out on $18,000 bond, could not be reached for comment Tuesday (Jan. 31).

Discovery Times Debuts Detroit Hip-Hop Documentary, Other Hip-Hop Programming

The Discovery Channel’s subsidiary, The Discovery Times Channel, will air a documentary on Detroit hip-hop on the weekly series “Only in America,” narrated by two-time Pulitzer Prize winner Charlie LeDuff, of The New York Times.

The documentary, “The Real 8 Mile,” explores the underground hip-hop scene in Detroit and features three rappers from three different ethnic backgrounds seeking to achieve one common goal: success.

Hush, of Geffen Records is Caucasian, Ill Uno is African-American, and Lazarus is Pakistanian.

The episode also includes cameos from various Detroit artists and radio personalities.

The musical score was handled by up-and-coming Detroit producer Alpha-bet, of Bang on the Table Productions.

“The Real 8 Mile” premieres Feb. 9 at 8 pm E.T.

The Discovery Times Channel will also showcase other hip-hop themed content in February, including “Breakin’ In: The Making of a Hip-Hop Dancer,” which features three young women who dance in music videos in hopes of furthering their career.

“Breakin’ In: The Making of a Hip-Hop Dancer” airs Feb. 20 at 2:00 p.m. E.T.

Another series, “A Make Over Story,” will debut an episode titled “Hip-Hop Runway” on Feb. 24 at 11:30 a.m. E.T.

The episode follows a pair of interns at Madeline Says, who prepare for a launch party attended by Jay-Z.

AHH Stray News: Dave Chappelle, Ashanti, Hip-Hop Association, Pharrell, BEP

Dave Chappelle will

make his first television appearance on The Oprah Winfrey Show this Friday

(Feb. 3) to explain his sudden disappearance last year after announcing a $50

million dollar deal with Comedy Central. Chappelle gained headlines worldwide

when he suddenly disappeared from the set of The Chappelle Show last year

and reemerged in South Africa, in the middle of production for the show’s third

season. In related news, Dave Chappelle’s Block Party will open in theaters

Mar. 3. The movie was shot in Brooklyn, New York in 2004 and is produced by Rogue

Pictures. It features new stand-up material by Chappelle and exclusive performances

by Kanye West, The Roots, Mos Def, Erykah Badu, Wyclef, Kool G. Rap, Big Daddy

Kane, Lauryn Hill and others. Academy Award-winning filmmaker Michel Gondry directed

the film, which is Rated R.

The Inc.’s Princess

Ashanti has filed a lawsuit against various companies, claiming they are releasing

and marketing an album of old material without her permission. Can’t Stop

features material Ashanti (born Ashanti Douglas) recorded in 1997. The tapes

were unearthed in Sept. 2004 and re-mixed and mastered by Genard Parker and

Ernie Lake using Pro Tools equipment. Big Records Australia, Farm Records, Unique

Corp., Simply Vinyl, Team Entertainment, ZYX Music and others are named as defendants

in the lawsuit. The album has a street date of Feb. 21, 2005. The lawsuit is

the latest in an ongoing battle over rights to the material Ashanti recorded

when she was 16-years-old. She claims she recorded the material for demo-shopping

purposes and never intended the recordings to be released to the public. Parker

won a $630,000 judgment last year, after a judge ruled that Ashanti breached

a production agreement she signed while a teenager. Ashanti is seeking an injunction

to block the release and damages in excess of $1 million.

The Hip-Hop Association

has teamed with Cleveland’s Rock and Roll Hall of Fame and Museum to present

"Elevate!: Using Hip-Hop To Educate" to teachers around the country.

The four-day forum brings K-12 teachers together with historians, performers,

activists, and educational specialists to learn how to utilize Hip-Hop music

to teach today’s youth. "The education and activist communities have truly

appreciated our Hip-Hop Education Summits," said Martha Diaz, President

of the Hip-Hop Association. "They have provided the opportunity to learn

and share about Hip-Hop and its legacy of empowerment. The Summer Teacher Institute

is a great occasion to bring this dialogue to a larger platform. We’re excited

to be in a position to aid in this process." The Summer Institute is also

being presented by Cuyahoga Community College and the Center for the Study of

the Arts at Cleveland State University. For more information log on:

http://www.hiphopassociation.org.

After a successful

collaboration designing luxury sunglasses, rapper/producer Pharrell Williams

will enter into the jewelry designing business with Louis Vuitton. Williams

was originally approached by Louis Vuitton designer Marc Jacobs and a deal was

announced with the company in Oct. 2004. Williams, along with Nigo, founder

of the clothing line, A Bathing Ape, designed a luxury line of sunglasses for

the fashion company. Williams created a sunglass line for Louis Vuitton that

included names like "Elvira," "Havana," and "Lady Tiger."

Williams described his new Vuitton jewelry designs as "super regal."

No in-store date was available at press time.

Tour dates for

The Black Eyed Peas’ Honda Civic Tour were announced today. The tour kicks off

on March 23rd at the Save Mart Center in Fresno, California and will hit 35

cities before winding down in Denver, Colorado on May 21. The high profile tour

is the group’s first headlining tour in North America to promote their multi-platinum

release, Monkey Business. "We are excited to be going out on the

Honda Civic Tour because it allows us to keep the ticket at a low price so that

kids can come out and see us play and not have to worry about breaking their

backs to pay for a ticket," said group member will.i.am. Fans can log on

to www.hondacivictour.com

for more information.

Tour dates are

below:

March 23 Save Mart Center Fresno, CA

March 24 Arco Arena Sacramento, CA

March 25 Reno Events Center Reno, NV

March 26 Bayside Concerts San Diego, CA

March 28 Gibson Amphitheater Los Angeles, CA

March 29 Gibson Amphitheater Los Angeles, CA

March 31 Dodge Theater Phoenix, AZ

April 7 Smirnoff Amphitheater Dallas, TX

April 8 Cynthia Woods Mitchell Pavilion Houston, TX

April 9 Verizon Wireless Amphitheater San Antonio, TX

April 11 USF SunDome Tampa, FL

April 13 Bank Atlantic Center Sunrise, FL

April 14 UofF O’Connell Center Gainesville, FL

April 15 Chastain Park Amphitheater Atlanta, GA

April 18 Booth Amph @ Regency Park Cary, NC

April 21 Theater @ Madison Square Garden New York, NY

April 22 Merriweather Post Pavilion Columbia, MD

April 23 Tweeter Waterfront Camden, NJ

April 25 Mullins Center @ UMASS Amherst, MA

April 26 Sacred Heart Univ/Wm. Pitt Center Fairfield, CT

April 28 Turning Stone Casino Verona, NY

April 29 Agganis Arena Boston, MA

April 30 Bryce Theater @ Bryce Jordan Ctr State College, PA

May 2 Value City Theater Columbus, OH

May 4 Fox Theater Detroit, MI

May 6 Aragon Ballroom Chicago, IL

May 7 Xcel Energy Center St. Paul, MN

May 12 Oakland Arena Oakland, CA

May 14 Theater in the Clouds Portland, OR

May 15 Everett Events Center Everett, WA

May 16 Star Theater @ Spokane Arena Spokane, WA

May 19 Idaho Center Theater Boise, ID

May 20 E Center Ford Theater Salt Lake City, UT

May 21 Universal Lending Pavilion Denver, CO

Spike TV Greenlights ‘Blade’ Series

Blade, the Marvel

Comics vampire slayer featured in trilogy of big-screen movies, is coming to

the small screen and will star rapper/Onyx group member Kirk "Sticky Fingaz"

Jones.

Spike TV has green-lighted

a television series based on the super hero that will serve as the network’s

first original scripted series.

"Blade"

will follow the adventures of an immortal half-man half-vampire who uses his

superhuman powers and skills to battle a shadowy underworld of vampires who

want to destroy the human race.

Jones will star

as Blade with a supporting cast that includes Jill Wagner ("Monk"),

Neil Jackson ("Stargate SG-1"), Nelson Lee ("Traffic," the

TV mini-series) and Jessica Gower ("Blurred").

Eleven one-hour

episodes of the show have been ordered by Spike TV, in addition to a two-hour

pilot episode.

The series, which

will be produced by New Line Television, will begin production in Vancouver

this spring.

"We’re extremely

pleased with the pilot for ‘Blade,’ which delivers a thrilling action-adventure

for its built-in fan base as well as a character-driven drama filled with heart-pounding

tension and suspense," said Pancho Mansfield, executive vice president,

original programming at Spike TV. "The series will be the first of our

scripted fare as we embark on creating a greater mix of original programming

for our viewers."

Although the weekly

series will maintain continuity from the successful trilogy, a new storyline

and new characters will be introduced. Acclaimed screenwriter and executive

producer David S. Goyer ("Blade" trilogy and "Batman Begins")

and popular comic book writer Geoff Johns who worked on the "Blade"

tele-movie, will also produce the series.

The tele-movie

is directed by Peter O’Fallon ("Suicide Kings," "American Gothic").

Best known as

"Sticky Fingaz," a member of the rap group Onyx, Jones has appeared

in a variety of films, including Clockers, Dead Presidents and

Flight of the Phoenix.

Most recently,

he appeared regularly on FX’s "Over There" and "The Shield."

"Blade"

premieres on Spike TV in June 2006.

Yolanda Adams: Full Of Grace

Grammy award-winning songstress Yolanda Adams has been astounding people around the world for years with her compassionate, soulful voice. Contrary to what some might think, Yolanda’s phenomenal success has contributed to some decline in optimism throughout the Gospel music industry. Her unique style and unyielding presence have transcended the boundaries between mainstream music and Gospel. Despite criticism for her crossover into the hearts of R&B and secular music fans, she has succeeded in becoming one of the most well respected and sought after artists of our time.

Yolanda’s latest album, Day By Day, features appearances from Kirk Franklin, Donnie McClurkin and Mary Mary, and offers fans a combination of comfort, encouragement, spiritual strength and appreciation. AllHipHop.com Alternatives spoke with the vivacious singer via phone as she prepared to hit the stage in a Beaumont, Texas arena for a performance.

AllHipHop.com Alternatives: This is your first album in over four years. Based on your consistency and timeliness in producing past albums, why was there such a gap in producing Day By Day?

Yolanda Adams: There was a buyout of the company. The album was done by the end of 2004, but people were not in place. We had to wait until the staff was in position to move on it. [Elektra was being folded into Atlantic]

AHHA: Your music is different from the old, traditional Gospel music and many contemporary critics criticize you for it. How do you handle opposition?

Yolanda: I think they are confused about the type of music I do. I have never sung the traditional Gospel music. I have never been a traditional Gospel artist so they should not expect that of me. That is like asking Mariah Carey to sing opera. It is not going to happen.

AHHA: Many people refer to you as a Gospel artist, and then some people refer to you as an R&B artist. How do you categorize yourself?

Yolanda: I am just an artist. I prefer to be referred to as just an artist.

AHHA: You use to be a school teacher and model as well – you grew up in the church though. Was it always your goal and dream to be an award winning national Gospel artist?

Yolanda: No! I just wanted to teach school and be a principal. It just happened. I was already singing with a choir that was recording, and a producer asked me if I wanted to do an album. I asked him if it was going to cost me anything. He said no so I was like okay! That was back in ‘88. Now I am 13 albums later.

AHHA: Your music is so inspirational. Where do you get your inspiration from?

Yolanda: The Bible. My daughter. My Family. They all keep me inspired. God has truly blessed me.

AHHA: Your tour is called Yolanda Today. I noticed you have featured artists such as Chaka Khan, Eddie Levert, and Mary Mary. You incorporate different genres into your music and your tours. How important is that to you?

Yolanda: I believe everybody has a testimony, and when I work with artists such as Chaka Khan and Eddie Levert, I want people to hear their testimony. I think that is important. It is amazing – everyone has been through something.

AHHA: Do you feel by incorporating different genres into your music, you will get your message across to the younger generations?

Yolanda: Young people, old people. People in general – anybody that will listen. I try to reach everybody.

AHHA: Jimmy Jam and Terry Lewis produced “Open My Heart”, which was a tremendous success. What was it like working with them?

Yolanda: Absolutely fantastic! They are great. We were all really good friends. I was excited about working with them – I loved it. The experience was incredible.

AHHA: How would you describe the impact of Gospel within our society today?

Yolanda: It has one of the most wonderful impacts ever. It takes you to another level. God is great. He can do so many things.

AHHA: Besides yourself, what other Gospel artists do you consider a great representation in our community?

Yolanda: Oh my goodness. Kirk Franklin, Donna McClurkin, Mary Mary. There are so many. Everybody who is doing Gospel music. They are all wonderful. We are all making a difference.

AHHA: You recently went through a divorce with former NFL player Timothy Crawford. How receptive or supportive has the Gospel community been to you in such a situation?

Yolanda: Well, people are people, but the entire Gospel community rallied around me. They were a great support group. I have a great family as well – I am a very private person too. By the time everyone found out about it, it had happened and it was over.

AHHA: What is different from the Yolanda Adams eight years ago to the Yolanda Adams today?

Yolanda: Life! Experiences in life. That says it all.

AHHA: You have won several awards, four being BET Best Gospel Artist. You are around several different genres of music. You have seen many different performances, from Hip Hop to R & B. Now as a Gospel artist, when you are sitting in that audience or even just in general–how do you feel about Hip Hop and R & B today with all the flashy cars, women, jewelry, and videos from a personal and inspirational standpoint?

Yolanda: Well, you can’t summarize it all. I do not like when people do me like that. There are some great Hip Hop and R & B artists that are trying to make a difference. In my opinion, music has always had a sexual taste to it. From Rap to Rock – especially Rock – to R&B, it has always been like that for years. Now for some, with all the women and the videos, they may need to cool out on that part of it – but they may also need that to sell records.

AHHA: Are there any artists that you haven’t worked with that you would like to work with in the future?

Yolanda: Yes. I would love to do something with Mary J. Blige. Her life is a testimony in itself. She is a great example of what a woman does when she is fed up. I applaud her. She represents well. God can do so many things. He is great. God can do so much when you give your life to Him.

AHHA: I know children are very important to you and you work with kids a lot in the community. Teaching was also one of your passions. I hear you have some future plans coming up that will incorporate them both.

Yolanda: Yes definitely. We are launching My Voice of Angel Foundation this year. We are working with children who want to get into the educational field. We are giving them that opportunity. Also, my Angel Heart Home. This will be a school for the arts, teaching anywhere from dance, modern dance, to vocal training. We will provide tutoring as well.

AHHA: I know I personally listened to “Someone Is Watching Over You” and loved it. It is very inspirational and uplifting. When I listened to it, I couldn’t help but wonder what you may have been going through when you wrote a song of such caliber and strength.

Yolanda: I actually didn’t write that song but a good friend of mine wrote it. It was based on different scenarios and things they were going through. I actually do write most of my music. They are all based on experiences and things we may have encountered. Sometimes it may not be experiences of mine, but of friends and family or even fans. Fans email us and ask questions. They want advice on a lot of things and I may take my inspiration to write from them. There are so many things.

AHHA: What does Yolanda Adams personally listen to on a day to day basis? What artists do you like?

Yolanda: Oh, there are so many. I listen to a lot of Jazz, a lot of symphony music. I also listen to Nancy Wilson and Donna Hathaway. There are so many great and talented artists out there.

AHHA: You have a lot of fans who have followed you throughout your career dating back to “88. Is there anything else you would like them to know or say to those who have followed your success for so long?

Yolanda: Yes. I thank my fans all the time. I love them and appreciate them for everything. Thank you all for everything. God is absolutely great.

Coretta Scott King Knew, Do You?

How does it feel to always have to be strong?  To be forced into a role as the calm in the midst of a raging maelstrom?  Coretta Scott King knew.  How do you share your husband with an entire people at a time when your life and the lives of your children are at risk? Coretta Scott King knew.  How do you carry on a legacy alone and carry the face of fortitude while losing your life partner, raising a family, and maintaining the will to carry on a fractured dream?  Coretta Scott King knew.

 

So soon after celebrating Dr. King’s legacy we are sadly forced to say good-bye to the backbone of that same legacy, at a time when that legacy is best on all sides by both his children, and our people as a whole.  Mrs. King has had health issues including both a stroke and a heart attack in the last year, but her image remains resolute as a soldier, forging ahead in a battle she may not have begun, but that she carried on dutifully in the 40-plus years since her husband’s death. 

 

Collectively we shared her tragedy, but she would not allow us to se her pain.  She grieved inside so that we would not see a beaten and broken woman. But we witnessed the emergence of a leader in her own right, taking her place among the Betty Shabazzes, setting the stage for the Winnie Mandelas, and other strong women that would not be conquered by loss and adversity.  She represented a beacon of hope for our people symbolizing not the end of the struggle, but its continuance.  A tireless fundraiser. A willing participant in the March, she never ran from her charge.  She embraced it.

 

Mrs. King oversaw the transition of her husband’s work from a man to a symbol with much more range and outreach than he had in his life, while combating forces attempting to co-opt that “dream” into a catchphrase suitable for their own intent and purpose.  She lobbied for over 10 years to have her husband honored in that respect and President Reagan finally capitulated her wish in 1983, when he signed the federal holiday into law.  She gave so much yet always maintained the charge of her largest duty-her children.  She allowed them to grow up insulated from the crushing weight of the loss of their father and the intimidating task of making something from their lives that would honor his memory without forcing them to follow in his footsteps.  She allowed them the leeway to create their own path when the pull to continue down a path already tread would have been so easily understood, but impossible to duplicate.

 

Her crowning achievement, besides the growth and development of her family was the establishment of the Martin Luther King Jr. Center for Nonviolent Social Change in 1969.  Unfortunately, the facility is currently being considered for sale to the National Park Service.  The pending sale of the grounds has become a source of disharmony among the children, with two “for” and two “against” the sale.  However, none of that is a mark on the work ethic, the persistence, the fortitude and dedication of Coretta Scott King.  One of the saddest things about growing older, is that we, as a people, lose the giants whose shoulders we stand on.  Hopefully the vision she allowed us to see is etched in our minds and we can stand higher in her memory to see further.  Mrs. King leaves behind four children, countless memories, and her own legacy.  She will be sorely missed.

Charli Baltimore: Immobilarity

Calling female rapper Charli Baltimore a soldier would be an understatement. The smoldering Philly beauty has dealt with her fair share of drama over the years, from failed record deals, to being the target of vicious industry rumors. After having her talent put on the back burner one time too many, this Baltimore love-thing spits the opposite on her wrong-doers.

Just days before Cam’ron used Charli’s name in his attack on Jay-Z, AllHipHop.com spoke to Ms. Baltimore on both artists. In addition to those, we get some insight to two of her unreleased albums, plus her recent union with one Compton rapper and his label. AllHipHop.com been rocking with Charli since the “Stand Up” video, but you best sit down for this.

AllHipHop.com: What was it about Game’s Black Wall Street venture that made you sign with them? How much time have you actually spent with Game?

Charli Baltimore: Game is one of those people that make decisions on the spot, so it really wasn’t a matter of me signing to him. When we met he was already interested in me as an artist. I was digging his whole movement and he was feeling the tracks I played him. I liked that Game came into the industry as a business-savvy new artist from the start. I was also impressed with his work ethic because I am a studio rat. He’ll work for days straight and if you are that dedicated, then that’s where I want to be. The whole agreement was unspoken, though. He didn’t have to say anything, [he] just put the [Black Wall Street] chain around my neck, and that was it.

AllHipHop.com: When it comes to your music, do you ever wish people would focus less on your relationship with B.I.G. and more on your skills?

Charli Baltimore: The funny thing about that is that I look at all of the people who were around Big when he was alive, and how they used it to advance themselves… it’s crazy. I believe my talent speaks for itself so I don’t ever mention Big. And I always felt like with me knowing Big the way I do, it would be disrespectful to even mention his name. It’s fine to pay your respects but I never felt like I had to say his name every time I rhyme. So yes, I wish that people would focus less on that and I think they’ve stopped. Now when I was on Untertainment, I felt associating me with B.I.G. would help my career. So in the beginning it was hard not to be associated with Biggie, but I personally never wanted to do it that way.

AllHipHop.com: What was life like for you before rapping? Like motherhood, how was survival?

Charli Baltimore: I had a really rough upbringing and didn’t have much of a life, outside of raising my daughter as a teenage parent. My family is not close, so things were left up to me to make it happen for myself. I wanted something better for my daughter than what I had when I was growing up. Since then, I’ve reached out to teen parents, many under 16, through support groups to show them that you can get yourself out of any negative situation. For me, talking to the girls, along with making music, is like therapy.

AllHipHop.com: You’ve said that Big Daddy Kane is your favorite rapper. Is that still true?

Charli Baltimore: I’ll still have to say Kane is my favorite, because he inspired me to rap. Funny thing is that when I first came on the scene, I had been asked to rhyme on a compilation where they matched old-school rappers with upcoming new rappers. I never knew until the next day, that I was supposed to do a track with Kane. Now the day before that I had taped an episode of Rap City where I rhymed over “Raw”. I met him the next day and he told me he saw the episode. I was so embarrassed. [Laughs] The compilation was never released, though.

AllHipHop.com: When you came on the scene, your style was hard to pin down… Was that marketing, or just Tiffany Lane?

Charli Baltimore: That was all me. Even when a stylist was hired, I had final say on how I looked and how I sounded. I’m ‘hood but I have always loved clothes like any other female. Growing up, I was a lil’ ‘hood-fashionista. [Laughs] Philly is definitely known for fashion, so my image and style was always me. And maybe that’s why I ran into so many problems because I didn’t look the way I rhymed. I believe it’s about finding your niche. As a new artist, I heard it all from critics… “she’s too light”, “that outfit was busted”, whatever. But when you stop listening to that and begin to “do you”, things fall into place.

AllHipHop.com: And then the hardcore way you spit with such a pretty face…People loved how hard and beautiful you were at the same time, it seemed natural for you.

Charli Baltimore: Un [Lance Rivera] told me once that he wanted me to be the “rap Britney Spears” and I was like, “No, that’s not me!” I got to a point where at the end of the day, I was like, “this is not what I came into this for.” Rap fans are real people and they don’t want to see a made-up image; they want to see you. And if they like it, they’ll f**k with you – the female fans are especially.

AllHipHop.com: Tell us about that album, Cold As Ice, that we never got to hear. Your album read like a who’s who is Hip-Hop.

Charli Baltimore: Yes, I loved working on it! I’m a fan of everyone who worked on my first project so, yes, I was so happy I was able to work with everyone I wanted to. Ghost came through, Meth, everybody. RZA, who at the time told Un he didn’t even work with females, heard my stuff and decided to work with me, so that was a true honor. I had DJ Premier, Havoc and a lot of other guys who did not really work with females at that time, so it was a real honor to have all of them on my debut. Everybody was mad cool. Un owns the masters to the album so…I hope we can eventually do a re-release where fans can see how I grew as an artist.

AllHipHop.com: What is your relationship with Un nowadays? Whatever happened with The Commission?

Charli Baltimore: I have no relationship with Un at all. Basically, our falling out was all business. I was the last to know when he lost Untertainment, so I felt some type of way about how he handled that. And as far as The Commission is concerned, I was confused about that. To my understanding, Jay wanted nothing to do with The Commission but then he’s on B.I.G.’s joints screaming “the Commission.” I’m like, “How are you mentioning the Commission but you’re leaving the third member out?” Big’s original plan for the group was me, Big, and Jay. The group would have been crazy.

AllHipHop.com: What is your relationship like with Cam these days?

Charli Baltimore: We’re cool. We don’t talk all the time but we’re cool. I’m so proud of him, Jimmy and their whole movement. Cam’s always been really talented and he has worked hard to get to where he is today. Last time I talked to Cam was last year around this time. That says a lot that we are all still around today, since the Untertainment days.

AllHipHop.com: What, if anything, would you change about your past choices?

Charli Baltimore: Damn. [sighs] I want to say Murder Inc. but I don’t, because I’m the type of person who believes that you have to take the positive from any negative situation. If I had never went through the drama with Murder Inc. I wouldn’t be in a better place now, you know? It sounds like I’m putting the blame on the label, but it was their fault. Looking back at that situation, there is honestly nothing I did wrong that contributed to how that situation went down. My work ethic was crazy. I was doing six full songs in three days, getting off of planes and going to the studio for three and four days straight. No breaks. So this wasn’t an Untertainment-situation where I wasn’t focused. And my buzz was crazy, so it’s not like they could say they didn’t feel the album would sell. I was getting mobbed by fans with no album out! Def Jam was gunning for that album; the situation was just messed up. I’m not bitter or on some, “F**k Murder Inc.!” s**t either; I’m just stating the facts that they [Gotti Brothers] don’t want anyone else to know. And for the record, I was never dropped or shelved from Murder Inc. I left. I’ve seen a lot of females take abuse in this game from male execs and I refuse to roll over and do that.

AllHipHop.com: What exactly happened that stopped a finished album from being released?

Charli Baltimore: Money was being stolen, my budget to be exact. People were taking my budget to get high and all types of other foulness that stopped it from being released. The blame can never be shifted on me, they [Irv and Lorenzo] did some slimy s**t, and I have no love for them. Def Jam even reforecasted a new budget for another album and Irv stole that money. Irv can say what he likes, my album was done. He even admitted to me that I put as much work as I needed into this album for it to be a success. He just allowed himself to be distracted by other things and let s**t fall apart. Now as far as the artists on Murder Inc., I have no problem with them. I got along with everybody and felt like I had finally found a recording home. I signed to Murder Inc. because I was impressed with Irv’s industry track record and his work ethic. He was an underdog and for him to be as visionary as he is, to mess all of that up on $8,000-a-week e##### habits and Vegas crap tables, I can’t understand it. You already have money, why did you have to steal my budget?

AllHipHop.com: So it’s now safe to say the diss track is not a rumor?

Charli Baltimore: Yes, the diss track exists and everything I said is true. There’s a lot more I could have said. [Laughs] It’s on Game’s newest mixtape. I’m finishing up my mixtape right now.

AllHipHop.com: Will the beef ever be squashed between you and Irv Gotti?

Charli Baltimore: No, there is no squashing it. And I don’t care about any of the situations they are going through right now. Anyone thinking about signing with them, do your research ‘cause n***as will take your budget and be flying to the Bahamas. [laughs] I understand it’s business at the end of the day, but if you’re gonna steal the money, at least let my album drop first.

Donuts

Artist: J. Dilla/Jay DeeTitle: DonutsRating: 4 StarsReviewed by: Orisanmi Burton

Jay Dee aka J Dilla is your favorite producer’s favorite producer. The Detroit native has quietly crafted tracks for several Hip Hop and R&B groups including anyone from A Tribe Called Quest, De La Soul and the Pharcyde to Janet Jackson,and Erykah Badu. His distinctively sparse and soulful sounds helped make Slum Village’s Fantastic Vol. 2 an underground favorite. After the masses slept on the trio, Dilla defected to pursue other projects. Since then he’s worked with numerous artists and released a few albums of his own including Welcome 2 Detroit as part of BBE’s Beat Generationseries. Last officially heard after dropping Champion Sound a collaboration with Madlib, Dilla returns with Donuts (Stones Throw) and finds the renowned producer at the height of his creative powers.

The album is every bit as unpolished as it is brilliant. Without a single vocal appearance Dilla exhibits his storied versatility behind the boards. Often noted for his futuristic style, on this outing he opted for a dirtier sound using distorted breakbeats and low fidelity soul samples replete with snaps and crackles. The song transitions are intriguingly abrupt an erratic. In fact with the average track length clocking in at around one minute and thirty seconds it can be said that Donuts resembles a collection of interludes more than a traditional Hip-Hop album. On the one hand it can be frustrating that just as the pace and feel of the track begin to take shape, the song abruptly switches to a seemingly incongruous concoction. On the other hand it most certainly leaves the listener thirsty for more and makes for an incessant playback factor. Sorry MC’s Donuts is not one of Dilla’s coveted beat tapes instead it’s more like a window into a vividly musical imagination.

With blaring sirens and “Dilla, Dilla, Dilla, Beats Beats Beats” reminding you who’s at the helm at every turn it is clear that J is looking to elevate his subterranean status. And after the release of Donuts, more people will certainly begin to take notice of his unique sound. The possibilities are endless. One can’t help but envisage what could happen if the likes of Ghostface or Jadakiss got a hold of one of these pastries. I guess for now we’ll leave that up to the remix DJs and wait to see what Dilla does next.

Three 6 Mafia Gets Oscar Nod

The 78th Academy

Awards were announced Monday (Jan. 30) in Beverly Hills, California and Hip-Hop

received a fair share of nods, some expected and others surprising.

Three 6 Mafia,

mostly known for an underground sensibility, was nominated for an Original song

Oscar for their Terrence Howard-executed song "It’s Hard Out Here For A

Pimp” from Hustle & Flow.

Hustle &

Flow is a film that centers on a Memphis, Tennessee pimp that turns to rap

music in an attempt to escape the street life.

"We [are]

just happy as hell," DJ Paul told AllHipHop.com. "We knew they said

it might be nominated, but we didn’t think it would be. It’s good to find out

it’s true."

DJ Paul said he

was honored to part of a legacy of Memphis history in the music business. "This

is just a step further to the roads of Hollywood that we’ve been traveling since

our first movie, Choices I."

Others nominated

for an Original Song Oscar include "In The Deep" from Crash

and "Travelin’ Thru" from Transamerica.

The Academy also

nominated Terrence Howard for Best Performance for his role in the film Hustle

& Flow.

Howard faces hefty

competition from Heath Ledger, star of the year’s most nominated film Brokeback

Mountain, Joaquin Phoenix in Walk the Line, Philip Seymour Hoffman

in Capote and David Strathairn in Good Night and Good Luck.

Ludacris, who stars

in Hustle & Flow, also has a role in the movie Crash, which

was nominated for Best Picture by the Oscar committee. Luda and the cast of

Crash received a Screen Actors Guild Award Sunday for Outstanding Performance

by a Cast in a Motion Picture.

The Academy Awards

air live on Sunday (Mar. 5) at the Kodak Theatre and will be televised by the

ABC Television Network.

Game’s Manager Jimmy Henchmen Convicted Of Assault

James "Jimmy

Henchmen" Rosemond was recently found guilty of beating a Washington D.C.

disc jockey during an appearance with The Game, who Henchmen manages.

A jury found Henchmen

guilty of assaulting on-air personality Xzulu "The Big Lipped Bandit"

at 93.9 WKYS-FM in Lanham, Maryland.

“We respect

the jury’s verdict but we do not agree with their decision,” said

Rosemond’s attorney Scott Srebnick. “We intend to pursue appropriate post

trial remedies in this case and look forward to the opportunity to provide our

side of the story at the disposition before the Honorable Judge McKee in April.”

The Game and an

entourage of 20-plus people appeared on Xzulu’s radio show on Jan. 21, 2005,

weeks before the rapper’s G-Unit/Aftermath debut, The

Documentary, topped Billboard’s Top 200 album chart.

During an interview,

Xzulu allegedly made an off-color remark about Henchmen’s cell-phone headset.

Police said a group

of men, including The Game, confronted the DJ shortly afterwards and kicked

and beat him, sending him to an area hospital with serious internal injuries.

On Feb. 14, 2005,

The Game was formally charged with assault and battery.

Prince George’s

County Police started an investigation immediately after the incident was reported

and issued an arrest warrant for Henchmen on misdemeanor assault charges.

"The story

that’s leaking out there is pretty much true," Xzulu

told AllHipHop.com shortly after the incident. "I was hospitalized

with multiple injuries. The person that did it was very recognizable, along

with his people. It definitely happened, and it happened over some nonsense.

Nonsense. I’m 35, not 25, and we’re all brothers in this game. But we learn

some things as we go along. I think it’s a shame that we are acting so primitive,

on both sides. Here you have a brother that is so talented. I think he has one

of the dopest albums to come out in a long time, and I think people make bad

decisions. I think that night he made a bad decision."

Radio One, which

owns WKYS, reportedly stopped playing Game’s singles on their various stations

nationwide, in protest of the assault.

In April 2005,

another man came forward and said that he was assaulted as well. Kwasi Jones

filed a $280 million dollar civil-assault case against The Game, G-Unit, Shady

Records, and Aftermath Entertainment.

Jones also sued

the labels for being negligent, after a remix of "Hate It or Love It,"

(featuring 50 Cent), which originally appeared on The Documentary, featured

the Game rapping "I’m rap’s MVP/Don’t make me remind y’all what happened

in D.C."

Jones appeared

on the television show, "Celebrity Justice," after the remix was released

and said the song hindered his ability to recover from the beating. "I’m

still trying to get over the situation and the song doesn’t help," Jones

told "Celebrity Justice."

When the video

premiered on BET, Game told the network: "To all the people at Radio One,

I’m being sincere; we’re sorry about what happened in D.C. It’ll never happen

again."

During the trial,

various witnesses identified Henchmen as Xzulu’s assailant. He faces up to ten

years in prison when he is sentenced April 3.

Sources told AllHipHop.com

charges against The Game were dropped.

Congresswoman Cynthia McKinney’s Front Yard “Toilet Papered” With VCR Tape

Upon returning

from the Sundance Film Festival early Sunday (Jan. 29), Congresswoman Cynthia

McKinney (D-GA) found that her front yard had been vandalized and “toilet papered”

with VCR tape.

McKinney had been

at Sundance to promote the documentary American Blackout, which focuses on her

storied career and the continued disfranchisement of African-American voters

and politicians since the 2000 presidential election.

The documentary

won a Sundance Film Festival Special Jury Award for Documentary Films.

“Obviously, someone

wants to send a message that they know where I live and can have access to my

front yard to do unkind things,” McKinney told AllHipHop.com in a statement.

“Still, we are pleased with the success of American Blackout at Sundance Film

Festival and hope everyone who cares about our country will make a point to

see it.”

As Georgia’s first

African-American woman to serve in the United States House of Representatives,

McKinney has been an outspoken critic of the Bush Administration and spearheaded

a national investigation into the 2000 election voting irregularities.

She has also been

a long-time proponent of Hip-Hop.

Last November,

McKinney introduced House Resolution 4210, a new bill that calls for the United

States government to release all documents it has collected on slain rapper

Tupac Shakur.

HR 4210 calls for

“the creation of the Tupac Amaru Shakur Records Collection at the National Archives;

and a second repository at the Tupac Amaru Shakur Center for the Arts in Stone

Mountain, Georgia.”

The Tupac Amaru

Shakur Center in Stone Mountain opened Jun. 11, 2005.

The incident was

reported to local police.

Lil’ Flip/Sony BMG Music Found Guilty Of Copyright Infringement.

A jury in Houston

Federal Court has found rapper Lil’ Flip and Sony BMG Music Entertainment guilty

of willful copyright infringement.

Lil’ Flip (real

name Wesley Eric Weston) was sued in Nov. 2004 for alleged unauthorized use

of three melodies on his major label debut, Undaground

Legend.

The lawsuit, filed

in Federal Court in the Southern District of Texas, claimed that the melodies

were the creation of Tommy L. Granville, a songwriter and music producer based

out of Shreveport, Louisiana.

The jury verdict

found that Suckafree Records, Lil’ Flip, his manager Estelle Douglass Hobbs,

Sony BMG Music Entertainment, Columbia Records, Loud Records, Lucky Publishing

and Hobbs Publishing willfully violated the copyrighted music of Tommy Granville,

when the Defendants included it on Lil’ Flip’s platinum-selling CD, Undaground

Legend.

The lawsuit sought

$1.5 million in damages and an unspecified amount for alleged willful infringement

of Granville’s copyrights.

The Houston jury

awarded Granville $150,000, the maximum statutory damages under the law.

Magistrate Judge

Stacy also fined Sony $12,000 for their failure to adhere to the court’s orders

to turn over financial documents.

"We’re very

pleased that the jury agreed that Tommy Granville’s music was illegally taken

by these Defendants," Scott Hemingway, attorney for the plaintiff, told

AllHipHop.com. "Sony is one of the world’s biggest enforcers of its copyright

rights and it files 1000’s of copyright infringement lawsuits against Internet

file-sharers to protect its rights. It is nice to see the jury tell Sony and

the other Defendants that they should respect the copyrights of others the same

way they want their own copyright rights respected."

In a separate action

in Sept. 2004, NamCo America sued the same set of defendants for copyright infringement

over Lil’ Flip’s#### song, "Game Over."

In that lawsuit

filed in US District Court, Southern District of New York, Namco alleged that

their copyright was infringed upon when sounds from the game "Pac-Man"

and "Ms. Pac-Man" were included on "Game Over" and its remix.

That suit was settled

prior to going to trial.

Former Pimp Of The Year Busted, Police Seek Clues In Ozone Interview

Matthew Thompkins may be a high-rolling two-time Pimp of the Year, but the 35-year-old Bronx, N.Y., native has earned a new title: federal inmate.

Last month, Thompkins was arrested in a nationwide federal operation called Innocence Lost, which targeted individuals who pimp underage girls.

The Philadelphia Daily News reported that Thompkins and seven others were charged in a Camden, N.J., federal court with running prostitution rings in New York, Boston, Las Vegas and Atlantic City.

One of the keys to the arrest case came through a federal complaint as well as an interview Thompkins gave recently in the December issue of Ozone.

The Florida-based hip-hop magazine, founded in 2002, chatted with a pimp named “Brandon” who cruises around Las Vegas in his white Range Rover, offering a string of one-liners and holding forth on his “pimptuition.”

Brandon was described in the story as overweight. FBI lists Thompkins as 6-foot-3 and 350 pounds.

Ironically, Thompkins told Ozone that the only boundary he wouldn’t cross was the age of consent when choosing his women.

The article read: “Brandon believes that anyone who pimps a woman under 18 deserves to go to jail.”

The federal complaint that was filed described one girl working for Thompkins who told him that she was 14.

“A lot of girls started working for me when they were young also,” Thompkins told her, according to the complaint, which described the 14-year-old girl as screaming and crying because she wanted to go home.

“Thompkins slapped her in the face and told her to shut up and to not disrespect him,” the complaint stated.

There was no doubt that Brandon was Matthew Thompkins, according to the FBI; one of his aliases is Brandon Williams.

The U.S. Attorney’s office acknowledged that it knew about the Ozone article but would not comment further.

Nevertheless, the article has been turned over to defense attorneys and could become evidence at trial.

Prosecutors have moved to seize five homes, eight luxury vehicles, two bank accounts, and a money market account connected to Thompkins.

Thompkins, who remains in federal custody, kept an expensive house in Philadelphia, where his prostitutes stayed when they worked in Atlantic City, authorities said.

Five of the women in his stable were snared last month in a state police sting at one of the casinos.

Although Thompkins’ attorney Mitchell Elman declined to comment, Rocco Cipparone, a Haddon Heights lawyer, said that it was unlikely that the article would be used at Thompkins’ trial.

“How do they prove he is Brandon? To do that and to use his words, they’d have to bring in the reporter, because the article would be hearsay–double hearsay, actually,” Cipparone said. “I see a couple of thorny legal issues they’d have to resolve to even use the article.”

The FBI would not say how agents know that Thompkins is Brandon, but agents had tapped two of Thompkins’ cell phones since August, listening to 4,100 calls.

For his work, Brandon was honored twice as Pimp of the Year at a “Pimps & Hoes Ball.”

Federal authorities who found the trophies during Thompkins arrest described one of the trophies as standing four feet tall, topped with a scepter-wielding figure in a crown and cape.

The Pimp of the Year trophy is given out every year at the annual Players Ball to the pimp who convinces his fellow pimps that he has made the most money and the biggest name for himself during the previous year.

Julia Beverly, Ozone’s editor and publisher and author of the Brandon article, refused to comment on the piece.

Despite the image of his profession, Brandon told Ozone he didn’t smoke, drink or use drugs and that his prostitutes were free to come and go–another statement at odds with the charges against Thompkins.

“I’m one of the most disciplined pimps that’s ever done it,” Brandon told the magazine. “I’ve had women for years that I’ve never touched.”

Koch Announces Release Date For Album By Scarface & The Product

Scarface and rap duo the Product have teamed with Koch to release One Hunnid, the debut album from Scarface’s new venture, The Underground Railroad Movement.

The Product features Bay Area rapper Will Hen and Jackson Mississippi native Young Malice.

“We are very excited to work with Scarface and his [new] label Underground Railroad,” Alan Grunblatt, general manager and executive vice president of Koch, told AllHipHop.com, adding that Scarface is “one of the greatest rappers of all time.”

The rapper appears on almost 90 percent of the songs on One Hunnid, which boasts production by Tone Capone, John Bido, The Alchemist and Scarface himself.

The album is slated to hit stores Feb. 21.

UK Magazine Hip-Hop Connection Issues Top 100 Hip-Hop Album List

Hip-Hop Connection, the world’s longest running monthly hip-hop magazine, will release it’s 198th edition on Feb. 7. 

The latest issue counts down the top 100 rap albums of the past decade (1995-2005). 

Wu-Tang Clan member Raekwon’s classic Only Built 4 Cuban Linx took the #1 position due to its lyrical content, production, and its impact on hip-hop culture.

“At the very least, [The Top 100 list] is a fairly comprehensive overview of some of the most essential modern hip-hop,” HHC Publisher Andy Cowan told AllHipHop.com. “Hopefully [the issue] will introduce [readers] to some gems they may have missed along the way. We’re also asking the readers to vote for their top ten in the same issue, and we intend to follow this up with a reader-generated top 100 a little later in 2006.” 

Albums from Dr. Dre, Jay-Z, Outkast, Mobb Deep, De La Soul and others round out the top ten, while releases from Cam’ron, Group Home, and The Fugees are named in the top 100.

“The albums were selected from several meetings between HHC senior staff and writers,” HHC Publisher Andy Cowan told AllHipHop.com. “Overall, it was a difficult task and we’re not saying our list is perfect. Far from it, though, we do hope to inspire some heated debate amongst our readership.” 

Hip-Hop Connection will celebrate the release of its 200th issue in April.

Diddy Planning Lavish Super Bowl Weekend

Sean “Diddy” Combs is planning a lavish Super Bowl Weekend in Detroit, Michigan.

Combs will renovate Detroit’s Captain’s Bar & Grille, which holds 700 people and transform the venue into “Diddy’s House” starting Feb. 3.

As part of the re-design, Combs will extend Captain’s Bar & Grille’s floor to host 2,500 VIP Super Bowl fans.

Young Jeezy will kick the weekend off by hosting “A Black Affair” on Friday, Feb. 3, which will feature a performance by UGK’s Bun B.

On Saturday, Feb. 4, Combs’ 5th Annual Players Ball will commence and on Sunday, Feb. 5, Atlanta Falcons star Michael Vick will host Diddy’s Diamonds & Furs, where one male and female patron will win a mink coat.

A portion of the proceeds from the 3-day event benefit Detroit’s St. John’s Hospital and the Coalition of Temporary Shelter (COTS).

Tickets for Diddy’s weekend range from $150.00 to $28,000 for the weekend.

All Elite VIP packages include 10 VIP tickets, a $2,500 bar tab, a personal menu selection, a personal chef and waitress.

Tickets are available at Ticketmaster.com

Snoop Shoots Video With Daddy Yankee In Puerto Rico

Snoop Dogg and Reggaeton artist Daddy Yankee shot a video for “Gangsta Zone” yesterday (Jan. 27).

The video for the song, taken from Daddy Yankee’s album Barrio Fino: En Directo, was shot in the Torres Sabana projects in Carolina, Puerto Rico.

The video, directed by Jesse Terrero and Carlos Pérez, features Snoop and Daddy Yankee in various locales in the Torres Sabana projects.

Carolina is the fourth largest city in Puerto Rico and is dubbed the industrial capital of the island.

“We came from nothing and it is an honor to be working with him [Snoop],” Daddy Yankee said at a press conference held during a break in the video. “I consider him the best.”

Daddy Yankee, born and raised in the projects of San Juan, released his sixth album Barrio Fino in July of 2004 through his label El Cartel/Universal Music Latino.

In Dec. Of 2005, Daddy Yankee released a CD/DVD titled Barrio Fino: En Directo, which contains five new songs featuring collaborations with Paul Wall, Zion and Lennox.

Barrio Fino: En Directo has moved over 500,000 copies to date.

In related news, Daddy Yankee denied rumors spreading that he burned a Mexican flag at a recent concert.

“Recently, a malicious and false rumor has been spread with the only purpose of affecting my relationship with the Mexican community and jeopardizing my reputation as a serious and responsible artist,” Daddy Yankee said in a statement. “The rumor sustains that I allegedly burned a Mexican flag in a recent performance in this country. This has never occurred. Under [no] circumstances, would I commit such a barbaric act, first, because I have great respect for the Mexican people and all nationalities of the world and I am incapable of showing a lack of respect by committing such a deplorable act. Secondly, it is physically impossible for this to have occurred since I have not visited Mexico since March 2005, due to the demands of my work schedule, which has included among other things recording and launching of my latest album, Barrio Fino en Directo; the filming of my movie ‘Straight From the Barrio,’ launching of my new line of clothing with Reebok and my radio program On Fuego.”

Warren G.’s Video ‘I Need A Light’ Debuts Online

Warren G., one of the pioneers of the “G-Funk” sounds, is back once again with a new album The Mid-Nite Hour and video for his lead single “I Need a Light” featuring Nate Dogg.

Warren’s latest video premiered worldwide on MySpace.com this past Tuesday (Jan. 24) and has already reached over 28,000 plays.

“‘I Need a Light’ is a song to sit back and listen to if you are stressin’ over something,” Warren G. “Listen to the hook and it makes you feel good. I’m talking about growing up in Long Beach, some of the s**t I went through, everything from what I saw as a kid up until now.”

The video opens with a look at Long Beach, California, during Warren’s childhood with Snoop Dogg and Nate.

“The overall tone of the video shows the classic side of Warren – how he built his empire from the streets of Long Beach and expanded it to the world,” said director Paul Hunter. “He is showing everyone that we can have a good time, look good and dress well. It’s really about the classy style of Hip-Hop.”

Warren’s new album In The Mid-Nite Hour is the fifth studio album from the Cali rapper.

Slip-N-Slide Allowed To Release Pitbull CD

A United States District Court Magistrate Judge recently granted a preliminary injunction to Slip-N-Slide Records that prohibits TVT

Records from interfering with the distribution and/or release of Pitbull’s Welcome to the 305.

The two labels were embroiled in a legal battle over the release of

Welcome to the 305, an album that contains material Pitbull recorded

before signing with TVT.

In March 2005, TVT sent a letter to Slip-N-Slides distributors indicating that the sale of 305 violated TVT’s rights and that TVT

would seek redress for violation of those rights.

U.S. Magistrate Judge Stephen Brown ruled that “TVT’s statement and

letter that Slip-N-Slide’s actions in promoting and distributing 305,

were a violation’s of TVT’s rights (under a contract with Pitbull), was a misrepresentation which was made with knowledge and was clearly intended to cause the recipients of the letters to not purchase 305.”

The Court further found that “Slip-N-Slide’s business relationships with it’s distributors had been damaged by the TVT letter.

Although Slip-N-Slide had already received 100,000 pre-orders of 305, they were unable to release the album because virtually every distributor that received the letter refused to sell it.”

The Slip-N-Slide recordings were tracked in 2001, before Pitbull signed to TVT.

Slip-N-Slide owner Ted Lucas claimed Pitbull signed over all rights to the recordings when they granted the rapper a release in 2003 to sign with TVT.

On the contrary, TVT President Steven Gottlieb said that Slip-N-Slide was exploiting the investment they had made to make Pitbull a worldwide star and that Pitbull told TVT to block the

release.