Sean Price came out of left field like Barry Bonds between innings in the ’05. His solo debut, Monkey Barz was one of the grimiest, wittiest, and most honest records of this half-decade. What’s more is Sean’s in his thirties, finding his artistic renaissance at a time when many of his peers turned it in.

From a label remembered for packing beats that matched a stomp from Timberlands, and lyrics in the vein of an alleyway confrontation, Sean Price astonished critics, awestruck peers, and won swarms of new fans. This energy is not for nothing. The “brokest rapper alive” in ’05, is looking to get rich come ’06 – AllHipHop.com remembers a landmark year with Brooklyn’s Sean Price in tribute of our Year In Review. Get a view of Sean’s other lives – in the streets of Brownsville and in his home. Hear his story, and look into his dream in a feature that parallels the album.

AllHipHop.com: How does it feel to make a record that’s getting this kind of acclaim?

Sean Price: I appreciate it. I put a lot of work into the album. It feels good to know that people are listening to Monkey Barz and like it. I don’t take it for granted. [Buckshot] and Dru-Ha helped a lot. I did 14 shows in 16 days overseas. I feel great. I appreciate the love. It’s motivation to put out more material just as good if not better. It’s all love.

AllHipHop.com: While in the studio, did you plan for, Monkey Barz as a big comeback or was it just another album?

Sean Price: It took a lot of consideration. A lot of the material that was heard on the album was reminiscent of Magnum Force. People didn’t like Nocturnal as much. I tried to take it back to that, but update it.

AllHipHop.com: Yeah, it’s been almost ten years. What did you do after Priority dropped Duck Down?

Sean Price: Me and Rock, we hood dudes. We do what we gotta do to get money. So we went back to the streets, what we usually do. Caught a few gun charges, caught a few drug cases, whatever whatever – the two of us did time. You know? Never stopped writing them rhymes, though. We just did what we had to do. I’m not bragging about it; it’s kinda f**ked up. But, you know, we had to do what we had to do.

AllHipHop.com: During that time, did you ever see yourself doing another album?

Sean Price: Nah, I was pretty much p##### off, fed up with the whole s**t, man. Pretty much, I was like, “F**k this rap s**t.”

AllHipHop.com: Why?

Sean Price: It got to the point where, I never been a big time drug dealer. Never. But I made more money selling crack than I do on this rap s**t. Even now, I’m not even gonna lie. So, I’d rather sell crack.

AllHipHop.com: So what made you come back to it?

Sean Price: I got tired of getting arrested, man. You know it’s real hard when you rent a car, then you got two girls in the car ahead of you with drugs on ‘em. And you in the other car, making sure they get where they going. Too much s**t, man. I’m tired of that s**t. That s### was cool when I was a teenager, I got kids now. When I did it before, it wasn’t no worries. But now my kids and s**t. My wife, she calling me every f**kin’ minute, “What’s going on?” What, I’mma tell her, I’m selling crack on the phone? Come on man! She know what I’m doing, but she get so worried about me, she worry me. I’m like, “F**k, I can’t do this s**t.”

AllHipHop.com: It’s amazing how you maintain the street life and rap life…

Sean Price: N***as is hustling, man. Man, I wish I could be more candid. I wish y’all could just come around my block and see what I go through on a regular to make money. I’m not bragging like I’m some super hustler or some Avon Barksdale n***a, or something like that. But if you come around my way in Brownsville, you see how we get money, you gonna be like “Wow! And the n***a make records too.” That record s**t don’t mean nothing where I’m at. Nobody gives a f**k.

AllHipHop.com: So why do both then?

Sean Price: ‘Cause of my son. Gotta feed the babies.

AllHipHop.com: At the same time, don’t you worry that you’re giving him the wrong message?

Sean Price: I worry about it, but I can’t worry about it. ‘Cause at the end of the day, he gonna worry about where that food at. So that makes it easier for me to go do what I gotta do. But honestly, I don’t have the hustler’s heart no more. I lost that s**t, that ain’t really in me no more. I got caught last year in Virginia with a couple pounds of weed like a f**king jerk. Word. It really ain’t in me no more.

AllHipHop.com: You sound like you really kicking yourself because of that.

Sean Price: Yeah. That’s why I talk about it so much. It’s a lot of rappers who say they hustle still – I actually do it for real, for real. And it’s not cool. ‘Cause if you a hustler, then you probably be like, “If you still hustle, why is you talking about it on magazines?” Because I don’t wanna hustle. I want this s**t to stop. I wish I can be fully rewarded for my art so I don’t have to go out there and do that other s**t. But until then, this is what it is. Straight up, I bulls**t you not. Somebody send me a lifeline or something.

AllHipHop.com: People don’t even think it’s still like that in New York. How is it that that reality continues to exist and it doesn’t get out there.

Sean Price: I have no idea. All I know is, I just pray, man. I pray that one day this s**t will do what it do, so I can leave that s**t alone. It’s not cool. I got a real organized machine, my team is official. But even my team know, I was never no drug dealer, yo. I was an aggressive, take money, choke-you-out type n***a. So this smooth, laid-back drug dealing bulls**t I’m doing right now? This s**t is corny, yo. Whateva. Then n***as watch The Wire all day, they think everybody Avon. It’s crazy out there. I just wish I could find something else to do.

AllHipHop.com: Do you ever see yourself leaving New York?

Sean Price: I’m moving to Arizona. It’s good for my asthma. Scottsdale, I’mma build my house out there. Take me, my son, my wife, and just get outta here. I’m tired of all this New York, Hip-Hop, crazy bulls**t.

AllHipHop.com: So when you make that move, that’s it? You’re retiring from Hip-Hop?

Sean Price: I’mma always make music, I’m never gonna retire, man. I’m not gonna get on a interview and be like, “Yeah, I’mma quit after this album.” What if you feel like making another album? Like Jay, I think Jay kinda regret saying he’s done. I love Jay-Z, his music, everything. I love his whole movement. I know he meant it when he said it. But that don’t stop your mind from creating rhymes. So you gonna be a rapper regardless, whether you a CEO, the President of the United States, you always gonna think of a rhyme. I don’t care though, it’s not like he contradicting himself. He can make a hundred albums, I’mma cop! Son is the best.

AllHipHop.com: If you had to make a Voltron of rappers, who would you pick?

Sean Price: Wow. Definitely Jay-Z. Who else? Me, of course. Devin The Dude. Beanie Sigel, love Beanie Sigel. Jadakiss, one of the Lox.

AllHipHop.com: You guys are force, the whole Duck Down team. You never go away, but you’re never all the way there either. How does that feel from the inside looking out?

Sean Price: It’s kinda frustrating, real frustrating. We almost accepted, that’s crazy, right? But that’s how it is. I just have to keep putting in work. You see, the problem with us too is, as a machine, we’ll put out an album and then you won’t hear from us for another two years, or three years. No more of that, as far as Sean Price concerned.

AllHipHop.com: Is there a difference between Ruck and Sean Price?

Sean Price: Yeah, it’s a difference. Ruck was a wild dude, find ‘em, f**k ‘em and flee. Ain’t give two s**ts about nothing, my kids, my responsibility, anything. And Sean Price got a plan, growth and development. Take care of mine, trying to get up and get out of here. I got my head together, nah mean?

AllHipHop.com: What’s the Sean Price plan?

Sean Price: I plan on getting married officially, one day. I got a good woman, man, I can’t front. We get on each other nerves a lot, but she’s a good woman. I been on the road for two-three years? Ya boy been good on the road, man. I couldn’t believe myself at first. But now, it’s not even a thought no more. So, that’s the first step. I’m definitely gonna get married. I’m settled down, but I’mma officialise it. If you ask me, I’m married already, but if you ask her, she like “F**k that!” [Laughs]

AllHipHop.com: What can heads expect from Sean Price in 2006?

Sean Price: I’m almost done with the new album, Jesus Price. It was produced by Khrysis. 9th Wonder also did some work on the album. It’s coming together nicely. It should be out by May.

AllHipHop.com: Do you think that you’ll continue to be “The brokest rapper that you know” in the New Year?

Sean Price: Well, I hope that I won’t be; if I was what would that say about my management? [Laughs] I’m better off than I was financially. Actually, the “brokest rapper,” thing was just some slick s**t that I was saying. In reality, no one wants to be the brokest cat.

AllHipHop.com: Who do you think will be the person to look out for in the New Year?

Sean Price: No cocky s**t, but look out for me. I don’t really like too many cats out there. It ain’t because they talk about drugs or guns, because we all do. Papoose and Young Jeezy are nice.

AlHipHop.com: There’s a lot of people in your position who would love to do what you just did. What advice would you have?

Sean Price: I’m 33, but I’m in my prime. Besides Jay-Z and Ghostface, a lot of cats my age rap old s**t. In the game today, if you’re that old and still rock’n the mic, you have to step it up or just stop. I may be old by rap status, but I’m young mentally. I can do it.

Albums of the Year:

The Game The Documentary (G-Unit/Aftermath)

The Documentary begs the question “What if Ice Cube would have released Amerikkka’s Most Wanted BEFORE leaving N.W.A.?” Though this album may haunt fans as a precursor to one of the weirdest, and most hostile, arguably – most fabricated beefs in rap history, it remains one of the most significant releases ever in the fabric of West Coast Hip-Hop history. With less than five years under his belt as a rapper, Game’s punchlines, lyricism, and guttural delivery placed Gangsta Rap as we knew it, back on the center of the mantle. As his peers moved away from threatening records, vocal gang affiliations, and blunt criticism of other rap icons, Game bathed in it. Documentary was not anticipated to be an album that stuck to the ribs of consumers, and a year later, it’s still melting lead, lodged in the ribs of rap history. Like Kanye West two years ago, Game has painted himself into his own red corner of high expectations and monumental pressure when it comes to The Doctor’s Advocate. [Listen to "Church for Thugs" and "Hate It or Love It (remix)".]

DJ Premier: "Game. That was the best one out of everything. I kept calling him. I told him when I seen him, I wasn’t a fan of all the freestyles he was doin’ and mixtapes. The album was just crazy. Even though Dre didn’t produce that many songs, he oversaw everything."

Kanye West Late Registration (Roc-A-Fella/G.O.O.D.)

Kanye West defied any expectation of a flop in his sophomore opus. Without crutching on ‘chipmunk soul’, Kanye created an album that appealed to rap, R&B, rock, and even adult contemporary audiences. An otherwise similar guest-list to his debut, fans were pleased with Paul Wall on “Drive Slow”, and downright astonished with Nas on “We Major”. Jay-Z’s verse, along with Kanye’s on “Diamonds Are Forever” will culminate the end of the Roc-A-Fella era as we knew it. Kanye’s own lyrics were expectedly arrogant, but still served as touchstones to the millions who felt the hunger on the debut. The utilization of super-producer, Jon Brion may have given Kanye the new perspective to motivate his continuing creative explosion in part two of his saga. From Oprah to AllHipHop, ‘Ye had the game on lock. [Listen to "Gone" and "Drive Slow".]

C-Rayz Walz: "Late Registration by Kanye Mr. West. This album is crazy because it’s hater-proof. I tried to hate hard but he held it down This album is very intimidating conceptually and I love records like that to give me a target of skill to aim past. The stand he took against Bush during Hurricane Katrina will be a Hip-Hop quotable forever."

Beanie Sigel The B. Coming (Dame Dash Music Group)

While Tupac was locked up, arguably his most complete album, Me Against the World climbed to number one. It lacked the singles, but it had the truth. Beanie Mac may be able to relate. Though it lacked the spark of albums past, the honesty and sincerity on The B. Coming soared high. Beans may have had a difficult year, but his opus was therapy to those who could relate. “Feel It In the Air” was brutally honest, “Gotta Have It” kept it club, while “Bread & Butter” showed Beanie’s respect for legends Sadat X and Grand Puba. Some fans may wonder if “It’s On” will be Beanie’s last collaboration with Jay-Z, though better judgment says otherwise. Though it may’ve lacked the marketing of Beanie’s first two albums, B.Coming quietly showed a more mature, more personal, and more thoughtful Beans.

Young Jeezy Let’s Get It: Thug Motivation 101 (Def Jam)

Few would disagree that collectively, Houston reigned supreme in 2005. Though, through Young Jeezy, Atlanta managed to celebrate a new, white-burning star. Your favorite trapper’s favorite trapper became a favorite rapper. Easily the biggest success of the Carter Administration at Def Jam, Jeezy managed to create a roaring album of drug anthems, trap-hungry themes, and a savvy materialistic view similar to his executive producer, Jay-Z. With Mannie Fresh and Bun B cosigning, who could deny the Boyz N’ the Hood standout? In a crowd full of frowning snowman tees, Jeezy got his “Standing Ovation” in the form of a smashing album that will not only shape the ziplock lyrics of 2006, but may bring a counterbalance to emphasis placed on beats. [Listen to "Trap Star".]

Illseed: “Say what you want about Jeezy – he’s not lyrical – get outta here. Dude’s album smashed almost everything moving. It was so hard, I almost changed my job to weight-pusher.”

Common BE (Geffen/G.O.O.D.)

After The Electric Circus, many Common fans were left scratching their beards and braids. Since aligning with Kanye West on “Get ‘Em High,” Common decided to follow through and make another career-defining album a decade after Resurrection. Addressing backpackers on “Chi-City” and the streets on “The Corners”, Common bound his audiences together, and offered stories and truths in between. Together Kanye West and Jay Dee shaped BE for Chicago’s finest that was mostly criticized for being like Todd Shaw, too short. Whatever the case, Common proved to be the reigning king of natural, pure Hip-Hop, and he flooded the mainstream consciousness with his organic message.

T3 of Slum Village: "I really like Common’s album. It was real Hip-Hop that just happened to crossover."

Indie Album of the Year:

Sean Price Monkey Bars (Duck Down)

If 2005 was a year of decadence, Sean Price was the antithesis – proclaiming himself the “brokest rapper alive.” Also known as Ruck, the lesser-known half of 90’s act Heltah Skeltah, made an album that outshined Magnum Force from the Duck Down hey-day. Veterans Agallah, Ayatollah, and P.F. Cuttin dropped dope beats as North Carolina’s 9th Wonder and Khrysis souled things up. Sean provided vivid tales of sex, drugs, and juxin’ cats for anything he could. Monkey Bars solidified a triumphant return for Sean, his label, and the era of rugged Brooklyn hunger.This album will remain a blueprint for veteran rappers seeking to revamp their careers. [Listen to "Onion Head" and "Brokest Rapper Alive".]

Sean Price: "You know I’m gonna say Monkey Barz is the best Hip-Hop indie LP of the year can’t nobody rhyme like me hold on lemme channel another rapper…"Hey what it do, this is Paul Wall reppin’ Swishahouse and Sean Price’s Monkey barz is the best Hip-Hop album since Redman’s Muddy Waters."

Self-Scientific Change (Angeles)

Ten years ago, Self Scientific signed a production deal with Loud Records. To many outside of Los Angeles, the group remained unknown until 2005. Opening the year with a mixtape, “Gods & Gangsters,” Chace Infinite and DJ Khalil closed out 2005 with their second album, the aptly titled Change. Chace’s socio-political lyrics, mixed with catchy and welcoming production from DJ Khalil made for a surprisingly exciting album. Bun B and Planet Asia made for interesting collaborations, pulling from polar sides of Hip-Hop. Tracks like “Live N Breathe” and “Free Will” resonate with much of 2005’s attitude outside of the music. Change contains the truths of this culture that many are scared to see.

Ying Yang Twins United State of Atlanta (TVT)

Crunk lost some of its testosterone in 2005 so Ying Yang decided to get grown and sexy with "Wait (The Whisper Song)," their smash hit this year. Unites State of Atlanta still offered shockingly poignant stories like "Live Again," a hard look at the life of a stripper, and "Ghetto Classics," where Ying Yang discuss Black America’s role in the U.S. military and pressing issues facing the community. The Atlanta duo showed their range even of the rest of the album wasn’t as much of a departure with typical tales Hip-Hop indulges in. Mike Jones, B.G., Pitbull, Lil Scrappy and crooner Anthony Hamilton play supporting roles on U.S.A. The United State of Atlanta is pretty damn good with Ying Yang on the front lines of the movement.

Danger Doom The Mouse and the Mask (Epitaph)

Two years ago, it was MF Doom and Madlib. This year, Rhode Island’s Dangermouse linked up with the masked villain for an album that was sweeter than the cereal during Saturday morning cartoons. Talib Kweli and Ghostface dropped by as funky production met raspy vocals with comedic interludes to celebrate everybody’s favorite late-night-vice, Cartoon Network’s Adult Swim. MF Doom remains one of the most enigmatic and versatile artists that Hip-Hop has ever seen. Two years after The Gray Album, Dangermouse welcomes the opportunity to produce an entire album from another Brooklyn MC. The only question now is…will MF Doom and Ghostface’s collaborative album be released in ’06 to be included the next Year End? Ask Master Shake. [Listen to "Old School" and "The Mask".]

Edan Beauty & The Beat (Lewis)

Baltimore by way of Boston’s Edan was another shocker. His 808-pepped debut, Primitive Plus was an intriguing record that few heard in 2002. Beauty & the Beat pre-supposed what would happen if Kool Keith jammed with The Troggs with The Dells singing back-up vocals. This gestalt of great British and American music revealed Edan’s powerful delivery, and unpredictable production sensibility. Legendary Bronx MC, Percee P and Insight stopped by, as Edan rocked tales that celebrated mid 80’s rap, 60’s Psychedelia, and the infinite pursuit of dropping science and math. If Common’s bringing back ’94, Edan is renovating ’87. [Listen to "Torture Chamber" and "Making Planets".]

Elliott Wilson (XXL Magazine): "My audience isn’t really Edan’s audience. But I can still recognize, as a Hip-Hop head, the artistry of his music. He’s dope. Eventually, if he keeps putting stuff out, and he moves units, we can sneak a small MF Doom style feature like I did. Edan is a really creative dude."

New Artists:

Young Jeezy

The same year Hip-Hop was formally introduced to his group, Boyz N’ Da Hood – Young Jeezy stole the show like a klepto with his solo debut. Rising up off of the controversy surrounding Jeezy’s appearance on Gucci Mane’s “Icy”, folks flossed snowmen t-shirts before they heard much more. As it would have it, Jeezy is Jay’s biggest success at Def Jam, and he gets a “Standing Ovation”.

Tony Yayo: "I liked Young Jeezy. His [album] was the hottest of the year, besides mines."

Slim Thug

While Paul Wall and Chamillionaire were known entities to many, Slim Thug and Mike Jones made Swishahouse a household name. Already Platinum, a record that packed as much braggadocia as Lord Finesse, also featured thumping Pharrell production, and sizzlin’ guest-drops from T.I., Bun-B, and on the bootleg circuit – Jiggaman. [Listen to "What Ya Know".]

Webbie

Webbie and one-time partner Lil’ Boozie had made noise throughout Louisiana prior to this year with indie muscle. However, like their Houston peers, 2005 introduced Webbie to the community that would make him a star. Savage Life was a major heatseaker of the summer, and proof that Pimp C’s not only a dope MC, but one hell of a talent scout.

Illseed: "This boy gave date rapists a theme song – ‘Girl, gimme dat!’"

J.R. Writer

Unlike the others, J.R. Writer killed it on the strength of guest-shots and mixtapes. One of the “new” Diplomat artists, J.R. tweaked away at his Koch debut while dropping impressive verses on Duke Da God and Shiest Bubz’ compilations. This is a hungry artist patiently waiting his turn – luckily, he’s carved himself a strong audience. [Listen to "The Best To Do It".]

Rhymefest

Anybody within an earshot of ‘Fest knows he co-penned "Jesus Walks". But this year helped solidify proof that the Chicago native’s own music endures. A strong Mark Ronson mixtape, some guest work, and the first single, "Brand New" from his forthcoming J Records album shows ‘Fest to be joining Lupe Fiasco in bigging up the Chi in ’06.

Top Artists (Commercially):

50 Cent

Fiddy did it so big in the 2005. A smash hit record in The Massacre, a serious contribution to Game’s record, a book, a videogame, a movie, and a critically-acclaimed soundtrack. We love 50’s hustle. With Mobb Deep, M.O.P., Lil’ Scrappy, and half-a-dozens rumored [Thanks Illseed] to be signed to G-Unit, we may as well plaster this up there. If cats wanna talk sales and influence, this was 50’s year from January to December.

Juelz Santana: “I liked The Massacre better than the first one. People don’t know. That’s one of the best albums of the year. I listen to everybody – and that’s all I’ll say on that."

Young Jeezy

Young Jeezy entered the game with a momentum that cannot be fathomed. Two albums, group and solo, found their way to hungry masses. Jeezy introduced a simplistic style of rapping that’ll stick for years to come. He also planted down a thick flag for Atlanta in another year dominated by Southern artists.

Kanye West

Does West’s inclusion need discussion? Kanye, like Eminem, freaks his leak on pop, R&B, and rap playlists. “Gold digger” immortalized Ray Charles for the kids, and put the sugar-daddy-seekers on front street. Kanye’s work has something for everybody, and that’s just whose checkin’ for ‘Ye – everyone.

Kanye West’s love: “I like System of a Down’s album and how they use all these different forms of music and mix them together and that the are able to say whatever it is that they want to say.”

Black Eyed Peas

The industry might be hatin’, we’re not. Will.i.am pulled this group from falling apart in 2004, and 2005 proved it wasn’t a fluke. Fergie might’ve got her lady lumps stuck in our heads, but Monkey Business proved that BEP is forever for the people. They gathered Justin Timberlake, Q-Tip, Cee-Lo. John Legend, Talib Kweli, rock legend Sting and even James Brown the Godfather of Soul on this one. All levels, all genres, one color of money. Love is love.

Illseed: “I admit it – I LIKE B.E.P.! They are a throwback to the days when music was fun – an offshoot of the Native Tongues. So, if you are hatin,’ then you probably need to resolve your own internal, self-hatin,’ corny issues.”

Bun B

One has gotta respect the gangster that Trill did for coming on Rap-A-Lot as an indie. But though his album was pretty hard, Bun-B caked up off the feature work. Previously jailed Pimp C became the “Tony Yayo” of 2005, while verses with Jeezy, Beans, Self-Scientific and ALL of Houston made Bun the million dollar man. When UGK reunites, the game is over!

Top Artists (Artistry):

Kanye West

Kanye took it to that other level with Late Registration. At times, the sophomore went shadowy with moments like “Drive Slow”, before turning sweet and ecstatic with, “Hey Mama”. To make an already astonishing young career even more surprising, he slipped Nas in on “We Major” for a classic verse. The tour was as artful as the album too.

Common

Ever hear the parable of the boy who fell down the well? Under the bus, down the well, call it what you will, Common reinvented himself by not returning to Resurrection, but by updating his art to a tasteful way for the corners, the clubs, and the dorm rooms. Clever stories, concepts, and lyricism kept Lonnie Lynn sharp.

Edan

Mixing records of all sorts and rhyming in a tough vernacular was nothing surprising when Critical Beatdown dropped in ’88. But Edan’s artist ideas blossomed on this feel-good, crossover independent. Hip-Hop history was taught, science was dropped, and the bar for creative albums was raised a little higher.

Ying Yang Twins

Ying Yang in this thang! “Wait” alone shows the liberties than YYT and Mr. Collipark too in reinventing their sound, and what’s popular for radio and club rap. The United State of Atlanta did just that. ****

Mike Jones

Mike Jones gets crazy style points for putting his phone number on records and t-shirts. Mike Jones made his name into a presidential-like campaign. By the end of 2005, everybody knew Mike Jones. Without being too threatening, too cocky, or too unapproachable, Mike Jones became “Mr. Nice Guy” of H-Town. Who is Mike Jones? If you don’t know, your dummy-smack is coming. [Listen to "Still Tippin‘".]

Click here for Part 2 of AllHipHop.com’s 2005 Year-In-Review where we name the best producers, books, mixtapes, predictions, who should hang it up and more!

Producer of the Year:

Swizz Beats

Swizz Beats reinvented reinvention this year. While he had it at T.I. and Cassidy, Swizz continued to help his fellow man by rescuing Bone Thugs & Harmony, and feeding fire to Joe Budden, Young Gunz, and Memphis Bleek. The sound is brand new, and arguably better than ever! Swizzie.

9th Wonder

Two years ago, only Jansport rap fans were checking for 9th. Today, he’s damn near household status. The Minstrel Show had that punch, and 9th livened up Buckshot’s sound on Chemistry. Guest work with Sean Price and Memphis Bleek was crazy. That 9th solo album in the ’06 is gonna smash on ‘em.

Kanye West

This name is likely to be glued in this category for the next decade. Kanye was unstoppable this year. While he outsourced a lot less than in 2004, his album had everybody checkin’ for organic, catchy beats as well as rhymes. AllHipHop.com gives a subsidized shout to Jon Brion for keeping it funky alongside Kanye in the ’05 as well.

Elliott Wilson (XXL Magazine): "Kanye, I give it to Kanye. Some people like the first album better, but with all the pressure and the ego that he has – he delivered. I give him his props. He put more pressure on himself than anybody. The Jon Brion thing was a real bold move."

Cool & Dre

Ja Rule’s “New York” might’ve set it off, but “Hate It Or Love It” made the "rubberband" snap. This is the most exciting duo since… well, you know. These Miami dudes raised the heat levels across the board. And they managed stay tight with Fat Joe, his adversary 50 Cent and his adversary The Game. With Dre signed to Jive as an artist, next year could be an even cooler year for this production supreme team.

Mr. Collipark

Organized Noize and Lil’ Jon have held down the “A” for ages. The man some may remember as DJ Smurf brought his Collipark Music production company to the forefront with Ying Yang Twins’ “Wait” and “Play” by David Banner. Previous work with YYT was quiet platinum successes, but this year earned Collipark homegrown hits plus work with Twista and Jeezy.

Slept-on Albums:

Little Brother The Minstrel Show (Atlantic/ABB)

Phonte, Pooh, and 9th Wonder astonished fans when they signed with Atlantic after Indie-smash, The Listening, last year. The prospects of seeing a major-label backing their creative vision seemed like a breath of fresh air to Hip-Hop. In the days leading to The Minstrel Show, BET allegedly pushed “Lovin’ It” video to the back, and The Source’s editor-in-chief quit over a ratings dispute. But when the album hit stores, tumbleweeds blew by. A great album indeed, but equally a baffling marketing moment to industry types of all kinds. But the album’s still reaching people, and even Bun B digs LB. Perhaps this will be the equivalent of Big L’s Lifestylez of the Poor and Dangerous to Sony a decade ago, a slow-seller, but bonafied sweet music! [Listen to "Lovin’ It".]

Needlz: Little Brother’s The Minstrel Show is something I can appreciate.

Cassidy I’m a Hustla (J)

Sadly, Cassidy’s personal life in 2005 may’ve pulled the plug on his seemingly unstoppable sophomore. After criticism for a tweeny-bopper, R&B-hugging sound on his debut, Cassidy and Swizz Beats brewed an album that dominated the airwaves with singles, “B-Boy Stance” and “I’m a Hustla”. Serious collaborations with Nas, Lil’ Wayne, and Fabolous made this album serious to the streets, while pokes at 50 Cent raised a few eyebrows. Cassidy not only made himself a formidable young star in the game, but he made his best album.

Lil Flip: My boy Cassidy, he was locked up, a lot of people overlooked his album, but he got one of those albums you can bang all the way through. Cassidy got a nice album. Jeezy came out; I did a song with Jeezy on his first mixtape back in the game. When I heard him I knew, yeah this dude, he going to make it too. As far as that, that’s probably it, because I like albums that make you think and are creative.

Reef The Lost Cauze Feast or Famine (Good Hands/Eastern Conference)

Beanie Sigel made a mammoth of an album, but so did fellow Philadelphian, Reef The Lost Cauze. Feast or Famine swung for the fences, and proved to be a successful transition from battle-rapper to artist. “Coltrane” chronicled the history of Black music, while “Eyes of My Father” was a personal revelation. Fiery lyrical delivery with beats made of frozen Soul chops make for a pleasant journey. This record just might be the best thing carrying an EC logo since S### Peddler days. [Listen to "Sound of Philadelphia".]

Pimp C Sweet James Jones Stories (Rap-A-Lot)

Everybody screamed, "Free Pimp C!", but who really checked for the best of the album he dropped in March? Dirty leadbelly guitars and crunk collided for this southern brand of ill street blues. Pimp C’s stories are complex, while his hooks are simple to digest. Guests like Z-Ro, Devin, and UGL brother Bun B held down heavy guest appearances as Mike Dean offered veteran beat smarts. If you dug Trill, you gonna love this! [Listen to "Get My Money".]

AZ A.W.O.L. (Quiet Money/Fast Life)

Eleven years after “Life’s a B*tch”, AZ delivers his most complete album. Few listeners expected AZ to soar in going independent. But with purist-minded collaborations with DJ Premier and CL Smooth, AZ thrived in this lyrically visual, and energetic album. Independence may’ve given AZ his artistic freedom, but some fans still remain unaware of this diamond in the rough. Years after The Firm, AZ and Cormega have both carved a niche for themselves that major label peers will forever envy.

Trends We’d Like To See End

Stop saying "No H###!" Hip-Hop has long been homophobic, but this just feels childish. Cam’ron started this now-classic Ebonic mess! Everything can be taken as gay if you look at it a certain way… so lets drop this one. Furthermore, saying it too much…sounds kind of gay. Not that there is anything wrong with that!

Keeping Stickers on New Era Caps

It feels like yesterday when we were keeping tags on our caps, and that played itself out in ’95. So why… ten years later, are people tripping over these stickers? Some keep ‘em where they were. Others go under the bill. For ’06, do the world a favor, and put yours in the trash with the receipt.

Promotional Rubberband Bracelets

There are good causes out there. Don’t get it twisted, Hip-Hop has a heart. But when rappers started stamping album releases and logos on rubber bracelets, it went too far. It is with hope that in the ’06, promotions departments get this memo, as well as trend-w##### looking to start convo with their promo "insert rapper here" bracelet.

“Bling”

When it trickles down to the talk show hosts and the soccer moms, it is time to kill that noise. B.G. and company set it off, but that was over five years ago. Call yourselves “Icy, drippy, jew-elled up, whatever,” but do not feed the ugliest crossover lingual monster since, “You go girl!” Hip-Hop, keep on movin’ – don’t stop!

Tall Tees

News Flash: The ladies are not feeling the dudes who look like they’re in pajama shirts. Not only does the tall tee look ill-fitting, but it looks extra ill-fitting on short gentlemen. Leave these tees to the frames they were made for- Shaq.

Best Books

Journalist/author Ronin Ro returns with a vengeance to chronicle the real story of Run DMC in Raising Hell: The Reign, Ruin, And Redemption Of Run-DMC And Jam Master Jay. The book is exceptionally gripping and reads like a punch in the chest. While other accounts have held back, Raising Hell is a must read for anybody interested in the madness behind rap’s original super heroes.

Can’t Stop, Won’t Stop by Jeff Chang

Jeff Chang has been writing for a long minute. This book chronicles Hip-Hop history with both wisdom and appeal. This great piece of archival history is smart enough for the classroom, but colorful enough to be a conversation piece.

Rakim Told Me by Brian Coleman

Another respected rap journalist, Brian Coleman, uncoils the history behind 20 of the best albums of the 80’s. With interviews spanning the likes of Too Short, Kool Keith, KRS-One, and Ice-T, this time-capsule supplies fans with the liner notes they never had.

A Time Before Crack by Jamel Shabazz

This photo-journalism display chronicles the five boroughs and Philly in the years leading up to the crack epidemic. Early Hip-Hop styles blend beautifully with pics celebrating the innocence and splendor of the Black and Latin communities. Bring it back!

Queens Reigns Supreme by Ethan Browne

Right on time for the Brothers Gotti trial, Ethan Browne stories the history of Queens’ modern day G’s and the real gangsters like Fat Cat who paved the way. This is a must-read to not only understand the logistics of what 50 Cent and Ja Rule speak about, but an engaging True Crime non-fiction read.

Mixtape of Year Award:

Clinton Sparks, Clipse & the Re-Up Gang “ We Got It 4 Cheap” Volume 2

This was a classic for the ages. Clinton Sparks played the biggest beats of ’04 and ’05, as Pusha T and Malice rocked savvy lyrics of bravado and street life. A major surprise was the Re-Up gang who kept neck and neck with their mentors. The only guest was Skateboard P, and this mixtape proved that The Clipse are missed, but unforgettable. 2006, bring ‘em out! When Boston meets Virginia, goodnight! [Listen to "Zen".]

DJ Dirty Harry “Living Legends Volume 1: Nas”

While DJ’s fancy honoring the dead, Dirty Harry, like J-Love and J Period, paid homage to the living. While a plethora of fresh blends, new mixes, and rethought classics, Dirty Harry kept Nas hot in a year without an album. This played end-to-end, and introduced some new material featuring everybody from Z-Ro to Big L.

As Joe Budden patiently prepared his Def Jam sophomore album, he made a bully of a mixtape with fellow Desert Storm fam, DJ Envy. With beats jacked from everybody ranging from Jay-Z to MF Doom, Budden broke fool with this. This mix deaded the Bleek beef, while revealing Joe’s new level of skills – “Sound Bwoy Buriell” is classic Jumpoff Joe. Without relying on beef, this mix made its way to the top. Also, be on the look for Stack Bundles, a talented supporting MC on this.

DJ Skee “You Know What It Is” Volume 3

DJ Skee made national, if not global fame for hosting the “G-Unot” movement. On shock value alone, the Hip-Hop community flocked to this Summer tape to hear “300 Bars” and stayed for a buttery mix featuring West Coast veterans Dr. Dre and WC, while premiering some of Black Wall Street’s new artists like Eastwood and Techneic together as M.O.B. Skee is one of the most significant mixtape DJ’s stepping to the ’06.

Mick Boogie & Joey Fingaz “God’s Gift: The Nas & Jay-Z Project”

Ohio’s Mick Boogie and Joey Fingaz collided with heat from Jigga and Nasty Nas to commemorate their on-stage unity. Taking sometimes unlikely work from each, the DJ duo put Brooklyn and Queens’ finest together. If this is any indication of an actual collaboration on Nas presumably Def Jam album, lookout! “In Between Us” is worth the price of admission.

Best Comeback:

It might be default that Jigga didn’t “sell more records than Will Smith” in ’05, bit Will Smith deserves this slot. Lost & Found buried the 2002 misfire, Born to Reign. The Mary J. Blige collabo, “Tell Me Why” proved Will’s got more than partying on the mind, while the music proved that you can be pushing 40 and still rock well. Hitch wasn’t thaaat bad either.

Sean Price Monkey Bars (Duck Down)

He said it himself, everybody expected Rock to be the accelerator in the Heltah Skeltah solo era. But Ruck, now “Sean Price” pulled ahead with this honest album. Not only did Sean Price stir up his fanbase, but he proved that Duck Down’s success does not begin and end with Buckshot and Smiff N’ Wessun – who also dropped reputable records this summer.

Cage Hellz Winter (Definitive Jux)

After listening to Weatherproof, Cage appeared to be a decaying, drug-addicted misogynist – and content with it. Two years later, El-P and Cage crafted an honest, therapeutic album that challenged the Middletown MC’s vices and his past. DJ Shadow and RJD2 joined to make the music as fresh as the lyrics. Sometimes we all gotta grow up, and Cage’s audio maturation is proof that turnarounds can be made. [Listen to "Hellz Winter"and "Stripes".]

Lil’ Kim The Naked Truth (Queen Bee/Atlantic)

In her darkest hour, Kim made The Naked Truth, her most poignant record since Hardcore. This album whirled with the turmoil of Kim’s life this past year. Party anthems filled the gaps, and Kim finally addressed some of her haters. As Kim’s career has long been soaring with sponsorships and celebrity status, this gem reminded us why Kim is revered by some, as the best female to ever do it. Hold ya head up, Kim! [Listen to "Quiet" and "Shut Up".]

Slum Village Slum Village (Barak)

Slum Village’s rotating roster humbles Destiny’s Child. After super-producer J Dilla left, [followed by Baatin] many counted Detroit’s beloved group out. Instead, Elzhi and T3 made a stellar record in a year that confused fans with three SV releases. BR Gunna held down the beats and the duo got noticeably gangster in discussing ex-members, fickle fans, and all the listeners that screamed “sellout” at last year’s Kanye single. Independence day is good for some. [Listen to "1,2" and "Can I Be Me?".]

Sausage Award For Bad Hip-Hop Beef:

Slim Thug/Lil’ Flip

Just as the initial dust settled on the T.I. beef, Lil’ Flip and Slim Thug started a little war. While “I Ain’t Heard of That” seemed aimed at somebody, this just felt stupid. 2005 is about Southern unity.

Game/Young Gunz

Why did “300 Bars” push around the Young Gunnas? 50, naturally; Bleek, predictably – but Neef and Chris seemed to just be minding theirs. If there was an answer, nobody heard it, but was the controversy needed – unless Game was trying to get Jigga to take “the jacket off,” eh?

Tony Yayo/D-Block

How in the hell did 50’s problem with Jadakiss sprinkle down to Tony Yayo calling out D-Block like that? Whatever it was, this entire circus show took a backseat to the Game and 50 conflict. This was an uninteresting under-card to the main event.

Cassidy/50 Cent

Cassidy’s album was too good to mix in some controversy. Crawl before you run! 50’s got his hands full – as we can see above. As it turned out, this attack wasn’t well founded, as 50 was too busy to answer, and Cassidy had more pressing issues in the ’05.

D4L/Dem Franchise Boys

Doesn’t it look silly when field goal kickers do the trash-talking? D4L and Dem Franchise Boys did Hip-Hop a favor by not bleeding their issues onto wax, but why air each other out at all? They are both making money, meanwhile parents are fighting to keep their daughters off the pole.

Sean Price on Beef: I wanna reflect on these rappers attacking each other. I wanna say cut it out. Nobody is gonna do nothing to nobody, it’s just words rappers are sensitive like b*****s nowadays. Its like the Hip-Hop world is a soap opera like "One Life To Live" and the 50 versus anybody beef is like an episode of "Dallas" – "Who shot Jr?"

Biggest Surprises

If seeing Jay in concert wasn’t reason enough to get out in the ’05, Jay and Nas appeared publicly together. With talk of Nas swinging to Def Jam and working exclusively with DJ Premier, things appear extra large. The biggest beef since ‘Pac and Big is officially deaded, and the icons of the 90’s set an example for today’s hate-mongering rappers. New Jersey hasn’t hosted something this big since the Nets were in the finals.

Dogg Pound Reunion

Game and 50 might shake hands in Harlem, but nobody expected Daz and Kurupt to ever extend anything but malice again. Snoop’s Peace Conference in Los Angeles this Spring may be short-lived, but it brought one of the hardest movements in history back. A rushed DPG album quickly followed, tailed by a another sloppy Snoop project. Dat N***a Daz and Kurupt the Kingpin ought to listen to Dogg Food again, and go slow-cooked in the ’06.

We’re Never Gonna Survive Unless We Get a Lil’… Crazy

Former Bone Thugs & Harmony wild child Bizzy Bone get a lil’ extra out there in an interview with H-Town radio with host Matt Sonzala. Bizzy told DJ’s all his thoughts on God, the group, and whatever else was on his mind. This led a campaign that concerned fans, Bone brothers, and everybody who owed Bizzy money. When it was all said and done, Bizzy got booted from the group [at least, today] and released latest solo, [perhaps aptly titled] Speaking in Tongues. AllHipHop even jumped on the bandwagon and co-hosted Bizzy’s online reality show.

Suge Knight Gets Shot

Nobody, I mean nobody has ever stepped up to Suge Knight that we know about. In Miami, somebody got a shot off. Now, Suge was shot before in ’96, but this felt different. Some considered it to be a publicity stunt – but for what? Others claimed that Game was involved. On the surface, two brothers from Compton seem to be a part of the same movement. Whoever it was, it stirred things up. If Suge can get shot…then nobody’s safe. Put down the guns.

50 Boots Game from G-Unit

At the start of an interview, G-Unit seemed to have two of the biggest three stars in the game right now. Afterwards, Game was ousted and shots rang out. Not since the Death Row days has publicity threaded its way through a camp. In early spring, this action helped propel fans to compare The Massacre and The Documentary and opinions and numbers rolled in. Whatever the case, like Blueprint and Stillmatic, this comparison will truly be defined by what happens this coming year. Increase the peace.

Things You Can Expect To See in ’06

Diplomats vs. G-Unit Grudge Match

Trust me, Mase’s move to G-Unit will not forget the hostility prompted from Jim Jones and Juelz Santana last year. Though it probably pales to ‘Pac’s moving to Death Row, Mase has an axe to grind with some – though he and Cam seem to be fine. 50 loves beef more than that Japanese hot-dog eating champion, so you can expect to see Harlem and Queens play a backyard bowl. We got other feeds already coming in on this. But wait for it… you heard it here, first.

Nas Give Def Jam a Facelift

As Young Jeezy and Santana paid Def Jam’s bills this year, we think the Carter Administration will try to create a Hip-Hop renaissance. Nas will set it off, completely. But with The Roots, DJ Premier, Redman, MF Doom/Ghostface all in the building, expect to see some hardcore beats and rhymes. Oh yeah, that Jumpoff Joe Budden album will bring back the realness too. Def Jam works in phases, and we think a storm’s brewin’. For those about Hip-Hop, we salute you!

Somebody Big Will Fall the F**k Off

Everybody expected Kanye to fall right on his D&G’s this year. Newsflash, he didn’t – he probably had the biggest smile in ’05. But as hype already mounts for major projects from The Game, Cam’ron, 50, Mobb Deep, Nas… somebody in the highest echelon of rap will fall — hard, and fast. Cats are ego trippin’ like Posdonous, and they better walk it as they talk it… or else.

Koch Will Release Every Rapper’s Album

Nobody in the industry releases as many albums as Koch in ’05. This year, Jim Jones, Sheek Louch, and AZ actually brought critical acclaim and major sales to indie-giant. Well, if you haven’t been checkin’ the news… Koch has continued to sign every rapper in East Coast Hip-Hop from five years ago. This will not end. They now house No Limit, Diplomats, Death Row, and other troops. 2006 will offer at least three dozen albums from familar names and faces. Major labels, be very concerned, if not afraid.

Hip-Hop Will Be Shocked AGAIN

It would appear that Hip-Hop has seen it all. Its main players get shot, killed, federal cases, raids and other aggressive activity.  Expect 2006 to be no different that the preceding years. But, what will be the shocker in 2006? Only time will tell and we know we haven’t seen the last of the madness.

14:59: The Cash In Your Fame Right Now! Award

The Ill Community has opted to take on this dubious award. Click here to read if you dare!

When you hear the name Mr. Collipark, the Ying Yang Twin’s#### single “Whisper” comes directly to mind. But long before the Ying Yang Twins, DJ Smurf was burning up the turntables on the Southern Bass scene.

After linking up with the only mixtape crew in Georgia, King Edwards J’s team in 1987, Michael Crooms, then known as DJ Smurf was introduced to MC Shy D and the rest was history. After hitting the road with Shy D in 1991, in two years he was an accomplished enough beat maker to produce half of Shy D’s album The Comeback. Simultaneously dabbling in rapping, he crafted a song called “Drop Like This B***h” on Ichiban Records’ Bass compilation called Excuse Me Sonny, Do You Know Where I Can Find Some Bass?, where he created the infamous “To the windows, to the walls” which he copyrighted and Lil’ Jon capitalized.

But as Bass started to be etched out of the Hip-Hop scene, so did DJ Smurf’s popularity. Determined to re-carve his name in the movement, Smurf met up with an unknown artist by the name of D-Roc who was known in Atlanta for his more laid-back rhymes. Soon after, under the moniker Beat-in-Azz, the Ying Yang/Collipark movement was born.

After the success of “Whistle While You Twurk”, Crooms knew that in order for him to be the success he wanted to be, he had to change his name to something more marketable. Named after both his hometown and his label; he dropped Beat-in-Azz and dubbed himself Mr. Collipark. AllHipHop.com got a chance to sit down with the purveyor of the snap and whisper movement to discuss his life and how it feels to be one of the most sought after producers in the game.

AllHipHop.com: First things first, how does it feel to be credited with ushering a movement that changed the way Hip-Hop music sounds in the South?

Mr. Collipark: It feels good, because [the South] has been responsible for a lot of things, we just never received our credit. Like the a big part of the up-tempo Crunk music came from the Ying Yang Twins and myself, but now that we are doing our thing and people know how we are they automatically credit us, and that’s what I love about this.

AllHipHop.com: Do you feel that the “Whisper” record is what Crunk has evolved to, because honestly you can’t get any louder?

Mr. Collipark: [Laughs] Yeah for real, but that was what Crunk was for, to have you act a fool in the club. But after the “Whisper” record, now Atlanta has a whole new sound with “snap” music which started with “Wait [The Whisper Song]” and “Play”, a lot of people have already started to flip it into something else. So I definitely feel that the hey-day of Crunk is over, and the South is definitely coming with something new.

AllHipHop.com: On that same note, you initially debuted on the scene as DJ Smurf, then you changed your name to Beat-in Azz and now you are known as Mr. Collipark; what made you change your name and go under so many different monikers?

Mr. Collipark: Well initially, I changed my name from DJ Smurf to Beat-in-Azz so that Ying Yang Twins wouldn’t be stigmatized, because that was my first act going in as a label owner. With me at the time being known for Bass music, I didn’t want [Ying Yang Twins] to be prejudged as another Bass group or project by record labels and executives. But Beat-in-Azz was something that I just created just being funny and it took off and blew up when Ying Yang blew up. I really couldn’t use the name DJ Smurf again due to legal issues with the Smurf Corporation, but the success of what were doing was starting to grow. I knew that I need a name that was marketable so I could really establish my label and my sound and I couldn’t do that with a name like Beat-in-Azz.

AllHipHop.com: So how did you finally decide on Mr. Collipark?

Mr. Collipark: Honestly, every since I started making records, I always shouted Collipark, because that’s where I’m from and now is the name of my label. Plus I was really the first one from College Park to really do something big so I believe I earned the right to call myself Mr. Collipark.

AllHipHop.com: How did that sit initially with fellow ATLiens, because there are a lot of self proclaimed “Kings” out there in the game?

Mr. Collipark: But it’s not a name to disrespect because I was doing mixtapes when nobody was really messing with music out here in College Park, except for Jermaine [Dupri] – and he was doing Hip-Hop sounds. I was really the only at the time who was staying true to the sounds and going through the different stages that Atlanta was going through at the time, I was always apart of that. So I earned it.

AllHipHop.com: With all the big name artists that you have been working with lately, are you planning on releasing a compilation album?

Mr. Collipark: If I do decide to release one, it would be more like Dr Dre’s The Chronic album, where it would be a compilation of music that I want to do. You know what, if I made an album it would be full of music that I want to do. Back when I was doing Bass music, I took a lot of chances and that’s why it spills over to the Ying Yang projects and other creative artists that can do this with me. So if I did an album, it probably wouldn’t be what people would expect from me, because I would do whatever I feel and it wouldn’t be anything that I am known for right now.

AllHipHop.com: Initially you were on three labels previous to TVT, you were signed to Koch initially with the Ying Yang Twins but back in the day you were signed to Ichiban and SMD which were independent labels, how is the situation at TVT better than the previous deals?

Mr. Collipark: After I out the four solo albums back in the day with MC Shy D, I ended up creating the “Whistle While You Twurk” record that got us signed to SMD and distributed through Universal, but after we caught the lawsuit over the sample, it messed everything up. But luckily we ran into someone from Koch who believed enough to give us a deal, but not enough to go beyond one record, so once we dropped that record and went gold Ying Yang started catching a little noise. With the work they were doing with Lil’ Jon, it only seemed right that we link up with TVT. But honestly because I have been under the independent for so long, now I want more. TVT is great at what they do, but I really just want more for me and my artists.

AllHipHop.com: What do you think makes your beats stand out from that of any other producer?

Mr. Collipark: I think that a Southern producer as a whole, is a lot more melodic because we have a lot of different personalities in the South. Not taking away from my New York counterparts, but everything up there is just so hard. In the South, we are more laid back and more observant of life. I mean everywhere else in the world you have rap and R&B, in the South we have music. So if music is all we know music is all we are going to create.

AllHipHop.com: Do you think that music as a whole is suffer due to the follow the leader type of style, because when The Neptunes first came out, everyone had a space age beat. Now with the new “Snap” music everyone has a “Snap” beat.

AllHipHop.com: Yeah definitely. I think that the record companies are to blame for that because they are afraid to take risks. They want the next artist that sounds similar to the ones already out making noise. So I blame the record labels and the artists equally, because if Ying Yang Twins can blow up with an empty ass beat and some finger snappin’ then I can take my superstar artist and do the same thing, but they don’t think like that. Instead the labels want the next Ying Yang to re-create “The Whisper Song”. Honestly, everyone now is coming at me for another “Wait” or “Play or “Shake”, I am so tired of hearing the same thing, with all the “Snap” beats popping up I ain’t going to sit up there and dispute who was the first to do it, I am just going to make something new and leave everyone else finger snappin’.

AllHipHop.com: As a behind the scene type of guy, what is your opinion on producers who appear all through out their artist’s videos?

Mr. Collipark: Truthfully, when I first got into the game, it wasn’t about that, it was about creating good music and letting the artists shine. Now the industry has changed, now its common for the producers to be in the video and to be able to survive in music is being able to change with the times. Because although Ying Yang will continue to be a success, my Collipark label won’t be because people won’t know Collipark, just The Ying Yang Twins. So when it comes time for me to drop the next artists it’s going to be like starting all over again. So this is actually the first year I started branding my stuff, it’s funny because people are actually asking for that Collipark yell or appearance, because they are associating the name with heat, so I can’t be mad at all.