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BG In Talks With G-Unit, Cuban Link False

G-Unit Records may

be signing Southern staple B.G. to its burgeoning roster of artists.

While the deal is not completed, Sha-Money XL, a G-Unit executive

who helps manage 50 Cent, confirmed that B.G. is in talks with company brass.

"We are in talks with B.G. to sign him to Buck’s G-Unit

South label," Sha-Money XL told AllHipHop.com.

B.G. released his first album True Story in 1993 at

the age of 11, helping successfully launch the Cash Money label into Hip-Hop

history.

B.G.’s major label debut Chopper City in the Ghetto debuted

at #9 on the Billboard charts, fueled by the hit single "Bling, Bling."

In 2001, B.G. announced he had severed his ties with Cash Money

Records to launch his own label, Chopper City Records.

Since, the rapper has released several independent albums, the

most recent being Heart Of Tha Streetz Vol. 1.

Sha-Money XL also dispelled the rumor that a Fat Joe foe was

joining the label.

Despite the gossip, former Terror Squad member Cuban Link is

not signing with 50’s growing company. "It’s not true, we are not signing

Cuban Link," Sha-Money XL said.

A number of published reports on the internet claimed 50 Cent

signed Cuban Link to the G-Unit Records imprint.

Both 50 Cent and Cuban Link have verbally sparred with Terror

Squad front man, Fat Joe.

In recent months,

G-Unit has arranged business deals with Lil’ Jon, Lil’ Scrappy, Ma$e Spider

Loc, Mobb Deep and M.O.P.

AHH Stray News: B.I.G., Kanye, X-Clan, DMX

Dec. has been deemed

"B.I.G. Mobile Month" in support of the late rapper’s Notorious

B.I.G. Duets: The Final Chapter. Over 60 custom-made ringtones were released

to the public on Thursday, according to a press statement. The ringtones were

derived from the duets album as well as Biggie’s past hits like Ready to Die,

Life After Death and Born Again. The mobile set is offered to

several wireless platforms including ringback tones and video ringers. Bad Boy

Entertainment will release Notorious B.I.G. Duets: The Final Chapter

on Dec. 20. "Big was and still is a huge presence who has had a major influence

on modern music and culture," said Bad Boy Entertainment founder and CEO

Sean "Diddy" Combs. "It is only fitting that his music now takes

on a new life with ringtones, the newest use of music made popular by our kids.

Ringtones are all about making personal statements and personal connections, and

with this new ringtone catalog, Big’s millions of fans will be able to select

the moments that have meant the most to them."

Kanye West has announced a UK tour in 2006. The rapper/producer

will commence his rounds in Britain on Feb. 16 at the Manchester MEN and finish

at the Birmingham NEC on the Feb. 28. Tickets for the tour begin selling on

Dec. 3.

February 16 Manchester MEN

February 17 Glasgow SECC

February 19 London Hammersmith Apollo

February 22 Cardiff Arena

February 28 Birmingham NEC

Socio-political group X Clan is mounting a comeback. The act,

hugely popular in the 90’s, is slated to release a new album called Return

from Mecca in 2006. According to a press statement, the opus will express

the "tradition of displaying ancestral wisdom, culture, and signature lyrical

style." In addition to a new album, the Brother J-helmed group has been

included on the Damian Marley Jamrock Tour, which ends on Dec. 6 in Norfolk,

VA. X Clan broke up in the mid 90’s after releasing a pair of heralded albums,

To the East Blackwards and Xodus.

DMX was sentenced

to seven additional days in Rikers Island on Wednesday (Nov. 30), which will

run concurrent with his 70-day sentence at the correctional facility. The rapper,

whose real name is Earl Simmons, pleaded guilty to driving in the Bronx without

a license. His license was suspended earlier in the year due to several driving

violations. According to published reports, he was driving because he thought

his wife was in labor, as she was pregnant with their fourth baby. She gave

birth three days after the occurrence. The original 70-day term in Rikers stemmed

from a road rage incident at JFK Airport in June of 2004, a violation of a previously

arranged plea deal. DMX will get out of Rikers on Dec. 31. The judge labeled

DMX " a violation waiting to happen."

Smoke & Mirrors

Artist: O.C.Title: Smoke & MirrorsRating: 3 1/2 StarsReviewed by: Starrene Rhett

Where there’s smoke there’s O.C., and where there’s O.C. there are mirrors — and he’s holding them up to himself and the entertainment industry. One of the most slept on MCs in the game is back with his fifth album, Smoke & Mirrors (Hieroglyphics Imperium). With soulful and bluesy beats produced by Mike Lowe and Fire Dept., Smoke & Mirrors is 17 tracks of pensive insight into his world.

In the first album where he has total creative control, O.C. manages to reflect on his life, and the hypocrisies and superficialities of the music industry without sounding like the mad rapper. The first lines in “Challenge Y’all,” the album’s lead single, sum everything up, “I walk through fire with gasoline drawers/Not for shock value I do it just ‘cause/this Hip-Hop thing I don’t do it for applause/not knockin’ anybody but f**k an award.” In “This is Me” he admitted to his lackluster sales but says he won’t stop because “rap’s like blood running through his veins.” Other notable tracks on the album are “Shorty,” where he’s blasting older men who knowingly mess with underage girls, “What I Need,” “Brothers Keeper,”“Emotions,” and “Gone.”

Aside from the slightly depressing quality, Smoke & Mirrors is a strong comeback for O.C. and definitely worthy of praise thanks to his clever lyricism, vivid storytelling and honesty.

Various Rappers Rally To Save Tookie Williams

A host of rappers

have convene to craft Redemption – Hip Hop United 2 Save Stan "Tookie"

Williams.

The album highlights talents like stic.man (of dead prez), P.O.W.,

Paris, Kam, Shorty (of Da Lenchmob), WC, Tank, RBX, Kid Frost, Gangsta Ridd

of the Boo Ya Tribe), Frontline and others.

The rapper efforts recently became more arduous.

The California Supreme Court declined to stop the scheduled

execution of Stanley "Tookie" Williams, a convicted murderer who has

turned his life around in prison.

Defense attorneys petitioned the court last month charging that

Williams was convicted in 1981 on substandard forensic evidence and a shoddy

investigation.

Williams was condemned to death for the slaying four people

in Los Angeles.

Williams is scheduled die by injection Dec. 13 and his supporters

are feverishly fighting to save his life.

Ballistics evidence determined that a shotgun registered to

Williams was used in multiple murders in 1979.

Snoop Dogg, Jamie Foxx, Judge Greg Mathis, and State Sen. Gloria

Romero protested the death sentence in a unique manner.

They read selections Williams’ famed children’s book series

to at-risk children on November 30.

"Tookie Williams is a special guy," said Snoop Dogg.

"He’s a guy that’s been locked up for a long time, and he’s been doing

a lot of great things with kids in the community with peace, with just trying

to educate the kids in what it is about gang banging that ain’t cool.

You kill that voice and you’re killing a lot of hope for these kids."

Williams’ books have received four nominations for the Nobel

Prize in Literature with a focus on positive, peaceful lifestyles.

"The only birthday present I want from the governor is

clemency for Stan ‘Tookie’ Williams," said Foxx, whose birthday is December

13 – the same day of Williams’ scheduled execution.

Underground rapper Scipio has penned a rap song called "Dear

Governor" in support from celebrities of the imprisoned author.

Williams’ final hope for clemency lies with Gov. Arnold Schwarzenegger.

Schwarzenegger

will host a closed-door meeting on December 8 at his Sacramento office.

Melyssa Ford: The Ultimate Hustler

With her petite frame and womanly curves, Toronto native Melyssa Ford is fully-equipped to turn heads and make people melt to their knees. After appearing in videos by high-caliber artists such as Jay Z and 112, Ford did something most scantily-clad women in videos seem to fail at. She marketed herself and her name, making it synonymous with the R&B and Hip-Hop music industry. Through appearances in videos, television shows, movies, calendars, and magazines, Ford has used her business flair to cash in on her sex appeal.

After successfully building a career in videos, she is now trading in her “video vixen” title for Hollywood. After all, if rappers can become actors then why not a video vixen? Double standards are common in this industry, especially for a lady who has “Pimpin” and “Shake Ya Ass” on her resume. But Ford is an extrovert of sorts, fully aware of how to use her mind, as well as her body, to get what she wants.

AllHipHop.com Alternatives caught up with Melyssa recently at Christo Fifth Avenue while she was on hand to support the Alliance for Women’s Equality. She spoke with us about her career beyond videos, her criticism of Karrine “Superhead” Steffans, and the double standards that present themselves in the entertainment industry.

AllHipHop.com Alternatives: How did you end up in New York from Toronto?

Melyssa Ford: Okay, I’ll make the story short for you. I was doing the ‘Thong Song’ Remix video in which I was the lead. Sisqo thought I was cool and asked me to come on tour with him. I was in University at the time and I had a job at a Satellite TV company in the Human Resources department. I figured, well, if this was a mistake then I’m young enough to make it, so screw it. I called up my employers and said, ‘I’m not coming home’. They held the job for me, but when I came home I realized I could never go back. So I packed up my stuff, and two months later I jumped on a plane to New York.

AHHA: Did you grow up in Toronto? Tell us about the T-Dot.

Melyssa: People say the T-dot is a baby New York. I am here to dispute that fact. It is not. There’s a significant difference. It’s a different country. We have a different economical system. We’re a socialist economy in Canada while it’s more of a capitalistic kind of society out here. That means that Donald Trump exists here, Martha Stewart exists here. Those kinds of people don’t exist where I’m from. It’s more of a community based way of life.

AHHA: People say there aren’t many opportunities for urban music artists in Canada. Is that true?

Melyssa: There’s not. And that became evidently clear to me when I went back this year to the Much Music Awards. I come back, after making it in the U.S and everybody knows my name, and I hear crickets. When am I going to get some love? I think I’ll have to be as big as J.Lo before Toronto catches on.

AHHA: Damn Melyssa, you get no love from your hometown?

Melyssa: It’s like a dirty little secret I tell you. It really is. It’s not like how it is here. I could go to any city, any state in the U.S and get the royal treatment. I’m trying to put Toronto on the map. I sound like Terrell Owens right now when he got kicked off the team!

AHHA: What’s your relationship with director Little X? Did he discover you?

Melyssa: Little X is the one person who I have to say is responsible for me being where I am. What do I think of X? I love him. X is a voice of reason for me whenever I’m flipping out about something. He plays by the rules. There are a lot of people in his position that could have taken advantage of somebody in mine, and he didn’t. He didn’t expect anything in return. I don’t think either one of us anticipated where he would be and where I would be. He is a really great friend.

AHHA: Everyone talks about the men in industry and casting couch. What’s your advice for women trying to come up right now?

Melyssa: Oh god, spare yourself – go back to school! That’s my advice. I would never get involved in doing videos right now. It’s not the same. The dynamic has changed so drastically. You could hold the argument that women were always objectified, but now they are really objectified. Now it’s about body parts and how well you can shake them. It’s not about the female. It’s not about appreciating the female.

AHHA: What would you say to people who claim you’ve sold out just as much as anyone else?

Melyssa: I would ask them how, how have I sold out? I’ve been extremely responsible. When it came to me choosing my video projects, as I got older I started to make much wiser choices in terms of the lyrical content, in terms of my wardrobe, it terms of the scenes that I would shoot. I became very, very responsible to myself because I started to understand the power of perception. And then I really pursued the job at BET to be seen more seriously and to show that this was in fact just a stepping stone, I wasn’t just talking out of the side of face. This is my next level and you’ve got to respect that. I’m not going to sit here and justify what I do in terms of my website content and the sexy pictures that I sell and what not, because that’s a part of my image. I never claimed to be anything other than what I am.

AHHA: You came out rather harshly criticizing Karrine Steffans book. But wouldn’t you agree that it’s one way of letting people know about how this industry can be?

Melyssa: What I will say about her book is that those were her experiences. And those were her choices. At the end of the day God gave you something that can never be taken away, unless you were some kind of Vietnam prison, and that’s called free will. You have the opportunity to make your choices, and sometimes those choices entail sacrifice. There are a lot of people who are really not aware of the sacrifices I’ve made in terms of not taking the pay check because of my pride and self-respect. That’s the story that nobody really knows.

AHHA: How does that relate to Karrine? You don’t think she made enough of a sacrifice?

Melyssa: I think she was a sacrificial lamb but that was by her choice. We know the difference between right and wrong. It’s just about how much we care about them. Its how much self-respect we choose to have for ourselves. I could use my body and go out and sleep with whoever I want, but I’m not going to do that because I treasure myself. I’m not looking for love in somebody’s pants. I have enough sense to know when it comes to men- sex and love do not equal the same thing.

AHHA: How do you fight off all the guys?

Melyssa: When it comes to fighting off guys, I think you get the same amount of respect for people that you have for yourself. I walked around those video sets with my head held high, with my shoulders back, with my posture perfect. I chose who I would speak to and who I wouldn’t. Not to say I was a snob but I would more likely be seen talking to the crew than I would to the artist. I didn’t want to let [the artist] get it twisted that he could easily take me into his trailer – it’s not going to happen.

AHHA: How did the management deal with MBK [Alicia Keys’ management company] come about?

Melyssa: We can shut that down right now. I am not represented by them at all. And I have nothing else to say about them. You can log onto www.melyssafordonline.com, the official Melyssa Ford website, where you’ll find out who represents me and what I’m up to. I no longer work with MBK.

AHHA: What do you want to get into now? Is acting on the horizon?

Melyssa: Acting is definitely on the horizon. I have to admit that when it comes to having had a video model career, the stigma is still very much prevalent. As much respect as I get in the music industry for elevating myself to a different level and being regarded as a business woman, there is still a stigma attached to me in terms of video work where people don’t want to give me serious roles in film and television. That’s completely understandable, because usually the women are nameless and faceless in videos. It’s really difficult to transcend to that next level beyond BET into more serious roles. And I’m not taking it lightly; I go to classes and I do have a private acting coach. I would never want to insult those who have invested in their craft, those who have gone into intense theatrical training, by not taking the same road.

AHHA: So no more videos? What was your last video appearance?

Melyssa: Oh god, like R.Kelly ‘Happy People’ I think. And that was because it was a request from X. I get asked quite often but unless it’s a ballad of a really well known R&B star and I’m the lead, and the only girl, and the pay check is right, and it’s going to have heavy rotation, and it could be seen as somewhat of an acting role, then yeah, I would definitely come out of retirement for that. But nothing short of that.

Lil’ Flip: Spearhead of the Lone Star

In Hip-Hop, every year is major, and the year is not over yet. It’s the fourth quarter; 4th and inches, so only the star players are shuffling in the game to tally those critical points necessary to put the nail in the coffin. As Mike Jones, Paul Wall, Slim Thug, Chamillionaire, and Bun B got cozy in Houston’s year, Lil’ Flip etched away at his next album, I Need Mine.

While Flip’s name might not excite like the others this year, in 2002, he was reigning supreme. Perhaps some friendly [and not] competition may give Flip to push to regain his throne. In a discussion with AllHipHop.com, Flip reflects on his competition, his unsung friend Z-Ro, and he revisits the T.I. situation, and its implications on his career. Welcome back, Flip!

AllHipHop.com: The year 2005 has been a phenomenal year for Hip-Hop, particularly Houston. A lot of people would say your success has been a catalyst for a lot of that with the fame of Mike Jones, Slim Thug, Paul Wall. How do you feel about your role/your mark as far as H-Town is concerned?

Lil’ Flip: I was the first to put Screwed & Chopped versions of songs with the album. Some people give you props, some people don’t; I didn’t want to be labeled as the usual artist. The difference between me and the other artists – I don’t’ do my whole album about candy paint, the whole album isn’t just for Houston. The stuff I been doing everybody is doing now, like showing your grill. I been did that. I feel I have other visions. I feel responsible for putting the [DJ] Screw stuff worldwide and doing Screwed & Chopped albums and all that.

AllHipHop.com: I Need Mine is about to drop. It seems you have been off the scene for a little while, as far as mainstream. I’ve seen the underground stuff, you in the video with Chamillionaire; however, where you been at?

Lil’ Flip: I’ve been busy, working on a movie. I got this liquor deal, the liquor is already in stores, got my watches coming December, I signed eight artists. I got Sqad Up, I know the streets know that, Crime Boss; he used to be with Suave House. The Clover Gees coming next year. Got this group called the Texas Boyz. I got a game plan, about a year ago I was on so many collaborations, I did “Naughty Girl”, “Ridin’ Spinners”, so I feel like if you over-saturate yourself people get tired of you, so I took a break; and I am making beats now.

AllHipHop.com: For who?

Lil’ Flip: I produced records on Lil’ Keke’s new album, Big Pokey, I did five tracks on my new album. I never stop working, man. But this time around, when I come back this time, I ain’t going to go away, I might not do as many features on other people’s records, but as far as my artists, you going to hear me on most of they singles to make sure they get those spins they need.

AllHipHop.com: When you left Sucka Free, you came out with Clover Gees. What’s your vision for Clover Gees?

Lil’ Flip: The way I see it, before the rap stuff, we all family. So, one of the artists that’s in the Clover Gees, C-Note, he put me on my first record. My goal is to train everybody and let them know brand your name. You ain’t got to rap forever, I got their minds on getting movies, getting things that’s higher than rap. In a minute, everybody going to see, man. I am going to put them out there right. Ain’t nothing going to be rushed, we got time to listen to the records. If it ain’t right, people going to know. I am fin to have them right.

AllHipHop.com: The previous years were real big for you as far as becoming a high-ranked artist. With that, came a lot of credit and a lot of discredit and some of that came from the same people who previously gave you credit. How do you feel about all that animosity that you have accumulated with your fame.

Lil’ Flip: For one, I am not a snitch. Just like I am on the phone with you, I don’t know what you did before you got on the phone with me. You dig what I am sayin’? So, just ‘cause somebody tell me, “Hey, this dude ain’t hustlin’,” they don’t know ‘cause they ain’t with you right now, how they going to know what you doing. People be like, “I was hustlin’ and they lying, you can check four years ago I was here and such and such…” That is stupid to me. Now I got information on one of these people who was on this mixtapes trying to discredit me, they smoking other stuff than what regular people smoke, but I didn’t put that out there. I feel like for me to look good, I don’t have to crush nobody. I don’t go out trying to disrespect nobody to try to make me look good. When I came in the game, my OG’s taught me [that] everybody ain’t going to like you. So, if you spend your whole day trying to make everybody like you, you never going to be satisfied. The way I look at that is all the people that got something negative to say about me, you look where they at now. Ain’t sold not one record, they have sold nothing, they have not sold three million ringtones. Ain’t made half a million off their liquor before they dropped. You know what I mean, we on two different levels. [They don’t have any number one singles]. It’s like why would I step down to address it. People can say what they want to say, ‘cause at the end of the day, when it come to putting out hit records, and making good music, and having good videos that get played 60 times and get retired. Every time I drop, a video it gets retired. There is no comparison, man, I don’t let it bother me. The fans stick by me, you got few fans they switch over and all that.

AllHipHop.com: Looking at the fans, you briefly addressed how some may switch over. Not to compare, however, so you can feel me. Ja Rule, he made a lot of good hits, good music; however, a fan base can be real fickle. T.I. came at you kind of hard [a whole mixtape aimed at you] and most times, something like that can kill a person’s fan base. How do you feel about that?

Lil’ Flip: You must ain’t heard the “Kings of the South” mixtape? This is the crazy part about that, I didn’t go in the studio and give it 110% when I was doing my diss records, I got some more records, but we came to the agreement, that you know…I could have said some s**t worse. Let’s go with facts, he got other people on mixtapes saying such and such, negative s**t that ain’t true or whatever. This is the crazy part about the whole situation, dude said what he had to say, and I did what I had to do on the “Kings of the South.” He tried to charge Z-Ro some money for a verse. Telling him, I like you or whatever, so I am only going to charge you $20,000, so he took some disrespect to that. Anyhow, this is how I look at the situation, before any of these rappers who got beef with me dog; I was platinum in the whole United States before they had one record. When fans look at the printout, I don’t think it’s going to do s**t because everywhere I go it’s nothing but love dog. I’m still a humble cat; I don’t go around disrespecting people no matter how much money I got, you know that just ain’t me. It don’t bother me dog.

AllHipHop.com: Tell me about one of my favorite tracks of yours, “Burbans and ‘Lacs”…

Lil’ Flip: I mean, there are probably about five artists I can get in the studio with and just straight up vibe and we knock s**t out in ten minutes or whatever. Making that record it sounded like some straight down South, just gutter s**t. We just did it, see when I do my music dog; I listen to rappers like 8Ball and MJG and s**t like that. So, when I get in the studio, I try to do music with no barriers. Back in the day, people used to do damn near 24’s and 30’s. 8Ball would rap in and out, he do four bars, he do five bars. It was a chance for me and Z-Ro to get in the studio, and just do what the f**k we feel.

AllHipHop.com: Z-Ro and you did some special stuff. As far as the upcoming year, who can we expect some collaborations from on I Need Mine.

Lil’ Flip: Every album I step it up. This album I did a lot of songs by myself, different types of s**t. A lot of people don’t like down South rappers, trying to say they not lyricists. This whole album is just showing the haters, they really don’t know what they talking about, because I came in this game freestyling and battling, so that’s cool. However, you got to learn how to separate making a battle record from a hit record. I got Nate Dogg on a record; he did a hook with me, this song called, “No Love”. I got my favorite rapper, MJG, he got a song with me and Squad Up called, “Can’t You Tell”. Of course the Clover G’s is on the album, Squad Up is on the album, Z-Ro is on the album, Yukmouth, Lil’ Keke, and Big Pokey.

AllHipHop.com: So when can we expect to see it in stores?

Lil’ Flip: December 27, man. We wrapped it up, just got done shooting two videos man. I shot a video for the single I got with Mannie Fresh called, “What It Do”. Then I shot a video for the single I produced called, “Warrior”. So I got those two singles and the album comes with a DVD—you’ll get the two new videos, plus a video with me, Keke, and Pokey; we did a song called, “Starched and Clean”. I take ‘em to Amsterdam, for all those smokers out there. Plus I am giving away ten gifts; I got ten Golden Tickets in the albums. People can either win five Clover G watches, my watches coming out in December. They can win five Clover G chains.

AllHipHop.com: Who do you think is the hottest rapper in Texas, yourself included, the hottest in the South, and the hottest rapper period?

Lil’ Flip: For one, I would have to say myself as the hottest rapper in the [Houston]. Me coming out before I was rapping, I got to studying every rapper that was out. I feel like I have a little bit of all these rappers that sold a lot of records in me. I can tell you a story like Scarface do. I have a song called “Hood Stories” I am going to put out. When it come to spitting that pimp s**t, MJG got that, you dig what I am saying? You know when it come to being Trill, and talking about how we do it, Bun B. got that, you know what I am saying. I just feel like I am one of the few that can get in the studio dog and make an album that will take me to Germany, take me to France, like U Gotta Feel Me did. A lot from down South never get a chance to go overseas man, I been.

Lone Catalysts: Ones We Miss

The Lone Catalysts aren’t the only independent group causing a change in Midwest Hip-Hop. But they may be one of the most under appreciated. They’ve toured in Japan and all over Europe, in places where the people can’t even speak English, but know their lyrics. However on American soil, the group just can’t seem to shake being like foreigners in their own country.

With J. Sands on the mic and J. Rawls on the boards, the duo has been around the world with a mixed bag of influences, straight out the heartland of America. Since their debut, Hip-Hop in 2001, they’ve grinded away slowly but surely. Far from sophomores, the Lone Cats are releasing their second LP, Good Music that features heavy hitter Masta Ace, Wordsworth, El Da Sensai, Grap Luva, Jonell and Mix Master Ice of UTFO, among others. Lone Cats’ MC J. Sands took a break to explain to AllHipHop.com the love they receive overseas, the balance between being duo and solo stars and the level of respect the underground receives in the United States. Steel City, stand up!

AllHipHop.com: This album was supposed to be out last year, what was the hold up?

J. Sands: Well, it was actually supposed to be out in 2003, but things didn’t work out as planned. We thought we could get a deal or be in a better position than the first album. So, we waited and waited. We started to realize that it’s not going to get popping unless we do it ourselves. So, we put it on grind mode last year and knocked it out. That won’t happen again.

AllHipHop.com: How has the group grown between The Catalysts Files and the new album, Good Music?

J. Sands: Yeah, we have definitely grown in four years as artists. I think in whatever you do there is always a higher level. I did a lot of traveling in the past few years and I am sure it helped out my writing. So I think on this album fans will be able to see a difference.

AllHipHop.com: Masta Ace is arguably the most prolific guest you guys have had on one of your projects. Why him, and why “Taboo”?

J. Sands: Well, the title just came up when I was writing. As far as Ace, he’s that dude, man. I mean, I was bumping his music back in the day. So, as a fan/artist to do something with Masta Ace was a highlight to making this album. His verse fit perfect, so it was a wrap.

AllHipHop.com: The Good Music album has a lot faster percussion and more energy than we’ve seen before. Is this you coming more into play on production because it sounds a little like The Breaks?

J. Sands: Naw, not really. Rawls knocks out the beats and I just pick the ones I like. I think there may be more feeling in the tracks definitely. We were not trying to do the same thing as on previous albums.

AllHipHop.com: Speaking of The Breaks, what’s the story behind that project?

J. Sands: Well, The Breaks was just an idea I have had for a long time. Wanting to rap over [interpolations of] the jams I grew up listening to. So, I have flipped into a compilation series and plan on putting out The Breaks Vol. 2 The Interlude Violator next year. Just for fun and to take it back. Also it’s a good outlet to get my peoples exposure.

AllHipHop.com: So what makes Pittsburgh a great place for Hip-Hop? What other artists are putting the city on the map? We’ve been hearing of the city through the movie shooting lately…

J. Sands: Pittsburgh is still growing as far as Hip-Hop. Trying to figure out where we fit in the music game. When it comes to Jazz, Soul and Funk music, Pittsburgh has held it down for years. It’s just these young boys have to figure out how they are going to get along as people before they try to combine it into a Pittsburgh movement for Hip-Hop or whatever. There is a lot of bad blood. So every hood has someone who tries to do it, but they don’t get support from other parts. Can’t do it like that, got to have the whole city behind you.

AllHipHop.com: Do you think artists from the Midwest have been representing the region right in the last couple years?

J. Sands: Yeah the Midwest has been doing it big. There are a lot of cities that got major dudes in the game, like Detroit, Cleveland, and St. Louis. So many marks have been made.

AllHipHop.com: Do you think that Midwest artists have to leave the Midwest to blow up?

J. Sands: I don’t think you have to leave for good. You do have to get out there and network with people in other areas, but you can base yourself at home. If you just think your going to make a CD and slang it in your hood and that’s it…naw, you got to hit the road and get people from everywhere into what you do.

AllHipHop.com: What will it take for the Midwest to get respect like Atlanta and Houston has recently?

J. Sands: I think the respect is there. It’s just those two cites are major cities outside the boundaries of music. So, when you have a large population with a huge black community that helps the music scene. It’s all love too. They going support more than maybe other cities where the make-up is different.

AllHipHop.com: You and J. Rawls started out in Cincinnati. Tell me about working there and meeting up with MOOD, The Five Deez and Hi-Tek.

J. Sands: The ‘Nati to me is home. Spent six years of my life there. Grew as a man and musician there. These are the first dudes I actually saw who were serious about the music and getting on. Before that, I rapped and made tapes for the crib. I didn’t know anything about a demo, signing to a label or putting out music. MOOD and Tek set it off as far as getting paper for this music. I just played the cut and watched. That was big.

AllHipHop.com: Do you think you developed a sound for the region?

J. Sands: I feel I got a sound for all regions. I have been listening to music for years. Influenced by so many different artist. So, I can swing any style for any region and still remain myself as an artist.

AllHipHop.com: You have a big overseas following. Where are some of the places you’ve been and what has the reception been like?

J. Sands: Yes, if it wasn’t for the over seas markets I wouldn’t even be in the game, straight up! We have been touring Europe for years. Went to Japan. It’s been a blessing to go to these places to perform.

Dilated Peoples Have 20/20 Hip-Hop Vision

Dilated Peoples return with a new album, 20/20, a work that is full of diverse styles from the West Coast rhyme vets.

 "Back Again" will be the first released single from Dilated’s new album titled 20/20, and features some atypical sounds.

 "We weren’t worried about the whole album…if we had two love songs and one party song," group member Evidence explained. "We just banged it out. It was just about making music."

 The album features the classic, hardcore Hip-Hop Dilated sound, like the scratch-fueled "Alarm Clock Music."

 "We make sure that Babu is there with us and gets the equal shine because the DJ is the backbone of the culture," said Rakaa.

 20/20 also features a new collaboration with the reggae-tinged "Firepower (The Tables Have to Turn)" featuring Capleton.

 "I’ve always got to give respect to Jamaica and to reggae music for creating Kool Herc and ultimately creating Hip-Hop," Rakka continues. "Without reggae music, there is no Hip-Hop."

 The new album boasts production from the likes of Alchemist, Joey Chavez and Bravo, and group members Evidence and DJ Babu.

 "With this record, we wanted to really get back to a real, uncut pure vision and get back to the pure, boom-bap sound that really made us all get together," Rakaa said.

 

Donell Jones: Direct Connection

The R&B Underrated Artist of the Millennium goes to… Donell Jones.

If such an award were to exist, Donell Jones would be its most deserving recipient. A writer, producer and critically acclaimed solo artist, Jones got his start after penning hits for the likes of Usher and 702. His 1996 debut solo album My Heart set him off right with the remake of Stevie Wonder’s “Knocks Me Off My Feet”, but it was his 1999 Platinum sophomore effort, Where I Wanna Be, that continues to remain a classic R&B record in many people’s eyes. The album included the memorable smash singles “U Know What’s Up” which featured TLC’s Left Eye, “Shorty (Got Her Eyes On Me)” and the smooth title track “Where I Wanna Be”.

After all the acclaim, it was expected 2002’s Life Goes On would essentially elevate Jones’ career to the next level of mainstream success. Sadly, it did not match up, and actually sold less than half of its predecessor. So the question begs to be asked: what’s going wrong here? Is it Jones? Is it the label? Or is it something we just don’t know about?

AllHipHop.com Alternatives got Donell Jones on the phone from his hometown in Atlanta to answer some lingering questions about his musical career. His new album Journey of a Gemini is about to hit stores, and we were eager to find out if this is finally the follow-up we’ve been waiting for.

AHHA: Didn’t you just get back from Australia? How was that?

Donell Jones: I love Australia man! I went to Sydney, Brisbane, Melbourne and Perth. The crowd response was incredible. It reminded me a little bit of London.

AHHA: What are you up to now?

Donell: Well I’m about to start a promotional tour around the States. Hit up some of these radio stations and clubs, and make sure they know that I’ve got another album out and I’m on my way back.

AHHA: What exactly do you mean when you say you’re on way back? Your albums seem to have a three year gaps anyway.

Donell: Right, so technically it’s on schedule then! [Laughs] I think people just assume that I’ve been gone such a long time.

AHHA: So why does it take such a long time? Are you busy writing for other people?

Donell: No, it’s not that. Trust me I would love to put out an album every year but for me it makes more sense to wait. If I see that Jive has another artist coming out [I’ll wait]. I used to be on Arista. Arista had so many great artists, and I just never wanted to put myself in a situation where I didn’t get heard, or [where] people didn’t get a chance to listen to my music because the label were promoting someone else. So I really like to wait my turn, make sure that it’s a great album, and also that the powers that be can really focus on it.

AHHA: Is that what happened with the new album?

Donell: This particular album took a long time because of label differences, not with Jive, but just the whole Arista situation – shutting down as a company and then having to move to a different label. Not every artist knew what was going to happen to their career because everything was up in the air.

One thing about Babyface and L.A Reid is when they signed me to a contract, they gave me total creative freedom. At that time, Babyface was the most incredible writer in the world. What I appreciate about them is that they didn’t say, ‘Yo let Babyface do your whole album’. They were confident in the fact that I could do my own project. And that is what I love the most. For a new artist, they let me do everything that I wanted to do, and certain labels don’t let you do that. So I definitely have to say big up to Babyface and L.A Reid.

AHHA: You said that if someone looked up ‘underrated’ in the dictionary, your name would be there. Why do you think you haven’t gotten your props?

Donell: To be honest with you, I don’t feel like I’ve been properly put out there for fans to really get a chance to find out who I am. I think when you hear the song on the radio or something like that, you immediately know the song, but you just don’t know who I am. That is something we need to fix this time around. There has never been a big media campaign, and that’s what we need to do. We need to connect the music with the person. This time people are going to say, ‘I’m proud of him’. This time I’m going to go everywhere.

AHHA: Do you think internationally it’s a lot different? Do you feel they recognize your talent much more that the U.S?

Donell: Yes! Honestly I think overseas they know who I am because…well, it’s really weird for me. It’s different overseas. They really, really appreciate the music. They get into the artist that they like, find out about them, they do research, you know? Over here its more of ‘out of sight, out of mind’. We really don’t care; we just let the next thing come along…

AHHA: What do you think of R&B at the moment – and the rise of Hip-Hop, taking over the market and all?

Donell: I don’t have a problem with Hip-Hop, I love Hip-Hop. I don’t think R&B is at a bad state, I just think that people need to put out quality music. There came a time where albums were pretty bad, you know? I don’t know what a person’s work ethic is these days. I know that when I go and make an album, I want to put everything I got into it. I want to make sure it’s something I can listen to from beginning to end. And that’s the way I approach every album I put out. I want to make every song better than the next.

AHHA: Is there anyone out there right now that you wouldn’t mind writing for?

Donell: I can tell you right now, in the last couple of days I’ve had the chance to listen to a lot of albums. Oh man, you know who I think has an incredible album? I think Lil Kim has an incredible album. I don’t know if people have heard it, but Babyface’s new album is incredible also. You got to hear it; it’s his best work so far. And Mr. Stevie Wonder’s album, I love that too.

AHHA: Do you know how loyal your fans are? They seem to know every word of every song.

Donell: Yeah! You know what bothers me the most? When I’m doing shows, sometimes I feel kind of bad because I’m only singing six or seven songs, and these people are so mad at me because they want to hear the rest of them. Well, I can only be on stage for so long man! Yeah, I feel like these people really love my music.

AHHA: Out of all your albums, which one has been most memorable in making?

Donell: I have to say Where I Wanna Be. Making that album, my second album, is the way I feel right now. My first album came out; it was a success for a brand new artist but it wasn’t where I wanted to be. I felt I could do better. When they gave me a second shot, I was like, ‘You know what? I’m going to write every song like it’s my last record’. I put my heart, soul, everything into that record. And that’s how people received it. And then my third album, Life Goes On, was released and it did well, sold 600,000 units, but I know I could do better than that.

AHHA: What would you like the fans to know about your new album, and what would this album have to do to make you happy?

Donell: I just want my fans to know they can definitely put this album in the ‘classic’ category. My goal for this album is, well, I would love to hit five million albums for this record. It’s a big goal but I know I can reach it. I just have to let the people know that it’s out there. I think the single that I have out right now with Jermaine Dupri is a great start. It shows my association with another artist, which I don’t do much of. I think my next single will take it to the next level, because it’s a beautiful record, and I think it’s what the people have been waiting for. I think it brings music back. People will say,‘Wow, this is R&B – this is the way I used to listen to my music.’

Hip-Hop Legend Treks On Bike For Katrina Victims

Lee Quiñones, star of the 1981 classic Hip-Hop film “Wild Style,” has completed a bicycle ride from New York City to Miami in an effort to raise money to aid children and their families affected by Hurricane Katrina.

Quiñones, now a celebrated contemporary painter, worked in conjunction with the Boys & Girls Clubs of America through their Hurricane Katrina Relief Fund. About 20 BGCA facilities were affected across the Gulf Coast, all in low-income areas.

It took Quiñones 37 days and 876 hours to finish the 1,500-mile bicycle journey from New York to Miami. Quiñones departed from Brooklyn on October 27 to embark on his 5-week excursion to Miami.

The famed artist concluded the bicycle trek on November 30, two days earlier than his expected goal. Lee says he was inspired to complete the ride after seeing the destruction and devastation caused by Hurricane Katrina.

“I come from the roots of Hip-Hop, a culture that was insighted by the youth, who rebelled creatively against the wrongs of our country,” Quiñones told AllHipHop.com. “I felt the pain of what the youth and their families were dealing with from the lack of help in the aftermath of Hurricane Katrina. I wanted to make a difference so I did a self-challenge, just how it was back in the day, and decided to bicycle across country to raise money for them."

As he traveled, the “Wild Style” alumni painted inspirations of his journey on the customized bike he rode which will be auctioned off at an exhibit in Miami on December 2 during the Miami Art Basel at Buck15.

A press conference will follow the auction where Lee will present BGCA with a check for all of the proceeds accrued from his ride, as well as the money earned from the bike auction.

To contribute or for more information on the Lee Quiñones and the Tour de Lee auction, log onto www.tourdelee.com.

“Wild Style” was the brainchild of independent New York filmmaker Charlie Ahearn, who enlisted pioneer Fab Five Freddy for the movie about the city’s hottest graffiti writer. Quiñones played the lead role of Zoro in “Wild Style,” which featured others celebrities like The Cold Crush Brothers and Grandmaster Flash appeared amid a plethora of subway scenes, breakdancing, freestyling and early footage of Hip-Hop.

Juelz Santana In-Store Causes Chaos In Brooklyn

Juelz Santana experienced

teen-idol-like occurance on Tuesday (Nov. 29) at Brooklyn, New York’s Kings Plaza.

Santana was scheduled for an in-store CD signing at Sam Goody

in the Mall. People present witnessed a crowd so massive authorities feared

the glass of the store would shatter, as others lined the balcony of the mall

hoping to get a glimpse of the rapper.

"I actually had to come in through the roof," Juelz

Santana told AllHipHop.com of the mayhem his appearance created. "I think

really that people just really underestimated what I’m doing."

Early reports suggested that the signing was shut down by New

York SWAT Team police due to potential gang violence. Refuting the notion, Santana

explained the crowd had grown colossal and excited, because of his appearance,

forcing him to leave the building.

"It was so much love in the building, but the crowd was

agitated because they had to wait for me to arrive and then it was so packed

that people couldn’t even see me," Santana explained. "Because there

were so many people that were trying to get into the store and wasn’t trying

to leave, they actually brought in the SWAT team. It was crazy because I had

to leave after being there for like fifteen minutes."

Santana’s in-store appearance was to support his recently released

album, What The Game’s Been Missing, on Diplomat Records/Def Jam.

The rapper, who recently shot a second video for "Oh Yes,"

is enjoying success from the single "There It Go! (The Whistle Song),"

which is currently #19 on Billboard’s Hot 100 Singles chart.

Santana said he would reschedule the appearance to appease fans

those fans that missed his first appearance.

"You have

to keep it moving," Santana said. "I am just going to keep pushing

out projects and working, because that’s all I know how to do."

True Crime: New York City

Artist: Video Game ReviewTitle: True Crime: New York CityRating: 4 StarsReviewed by: Alejandro Mojado

Players wield the ultimate power as one of NYC’s finest in True Crime: New York City (Activision; PS2). Gamers assume the role of Marcus Reid, a former criminal turned cop. True Crime: NYC is a vast improvement over its predecessor, True Crime: Streets of LA. This latest version is more in depth, giving gamers the chance to explore an expertly recreated Manhattan island while fighting crime in your own morally ambiguous way.

True Crime: NYC takes you on a unique journey through the eyes of an NYPD cop with criminal ties and background. As Marcus players bust criminals, take down gangs, extort, interrogate, search and seize and dispense justice, either by the book or by indulging in the temptations of the job. However, your choices do affect the city, if crime goes unchecked, the crime rate will soar and the streets will fill with trash, potholes and unsavory characters.

Gameplay this time around is much better; developers have improved most aspects of the game from hand-to-hand combat to gunplay and driving. Environmental interaction allows players to access almost everything in the game that can assist, from listing stovetops to locking suspects in freezers. And you get to do it all with an all-star cast that includes the voice talents of Laurence Fishburne (“Cornbread!”) and the original Frank White, Christopher Walken. Plus, with more than 80 songs, the in game soundtrack is off the hook, featuring music from DMX, Redman and Jay-Z (to name a few). If you are familiar with the past version of True Crime you will be pleasantly pleased with the new and improved New York City.

The game carries an “M” rating and more than likely should have a parental advisory sticker as well for language and content. Kids should definitely check with parents before getting this one. Nonetheless True Crime: New York City is a solid game and should provide hours of entertainment while you bust, shake down, and grill ingrates to a hot soundtrack.

Russell Simmons Talks Irv Gotti, Case Goes To Jury

Attorneys finished

their closing arguments today (Nov. 30) in the federal money laundering trial

of The Inc.’s Irving and Christopher Lorenzo.

Def Jam co-founder Russell Simmons, Def Jam President Jay-Z,

artists Ja Rule and Ashanti sat together, while Terror Squad’s Fat Joe grabbed

a seat in the back of the court to watch the proceedings.

Assistant District Attorneys Carolyn Pokorny and Sean Haran

gave closing arguments to jurors, claiming the brothers laundered drug money

on behalf of convicted Queens, New York drug dealer, Kenneth "Supreme"

McGriff.

Prosecutors claim Irv Lorenzo started The Inc. with drug money

provided by McGriff.

Simmons, who could be seen kissing his Mala beads during today’s

proceedings, dismissed accusations that The Inc. was funded with McGriff’s dirty

money.

"Irv was the best thing to happen to Def Jam," Simmons

told AllHipHop.com shortly after court. "I funded his company and he has

been a constant source of strength for Def Jam. I am just praying that we spend

money reforming or convicting the criminals that are in our communities, and

less time and resources chasing the poets and artists who are conscious of and

speak about the suffering of the masses."

The government disagrees with Simmons and charges the brothers

with helping McGriff launder cash in shoe boxes and shopping bags.

During closing arguments, Pokorny labeled McGriff one of the

"baddest, most dangerous drug lords in New York City." She then asked

if it would be possible for them to be unaware what their “close friend

did for a living."

She then held up a gun, bags of crack and pointed to a chart

that listed numerous checks written to McGriff, expenses McGriff incurred and

then paid for by The Inc., $65,000 in two separate checks to McGriff’s company

Picture Perfect and free songs from Jay-Z for the "Crime Partners"

soundtrack.

The government alleges that in return, the brothers wrote thousands

in checks to companies controlled by McGriff, including Picture Perfect, which

McGriff owned with government witness Jon Ragin.

McGriff is facing the death penalty in a March 2006 racketeering

and murder trial. McGriff is accused of two drug-related homicides in Baltimore,

Maryland and the revenge slaying of rapper Eric "E Money Bags" Smith.

During the trial, Ragin testified that McGriff had conspired

to shoot rapper 50 Cent, over the song "Ghetto Quran" and 50 Cent’s

name checking of McGriff on the track. McGriff was also allegedly unhappy with

50’s various taunts aimed at The Inc.’s artist, Ja Rule.

Ragin claimed McGriff hired Ja Rule’s bodyguard Robert "Sun"

Lyons to carry out a hit on 50 Cent, who was shot nine times in May 2000.

While jurors didn’t hear the testimony and Judge Edward Korman

would later bar testimony related to 50 Cent’s shooting, the claim opened up

the door to the possibility that 50 Cent himself may have to testify in McGriff’s

federal trial in March of 2006.

During closing arguments, Pokorny pointed to various text messages,

including one from Chris asking McGriff "what’s up with that paper."

She also stated that McGriff’s drug dealing gang "invaded"

The Inc. and afforded the label protection.

Pokorny stated Chris was "swimming in cash that cannot

be explained by legitimate income."

Gerald Shargel then started his closing arguments stating "guilty

beyond a reasonable doubt..is she kidding?" Shargel accused the government

of taking liberties with the meanings of various text messages.

An animated Shargel also argued that there was nothing illegal

in giving financial backing to a movie, referring to two checks cut to McGriff’s

Picture Perfect Films.

"They are interpreting all of this through dirty glasses,"

Shargel told the jury.

Shargel said the prosecutors despised the relationship between

McGriff, Irv and Chris, but "that doesn’t make it a criminal relationship."

He argued that the Lorenzo’s legally and legitimately paid for

McGriff’s travel in 2002, as he was to enter prison. Shargel claimed McGriff

was actually broke.

Shargel pointed out that McGriff had no money to launder and

stated "if I’m paying for travel, it’s Jet Blue."

The government’s witnesses were then taken to task as Shargel

aimed at their credibility.

Shargel pointed out several inconsistencies between statements

given by government witnesses Phillip Banks and Donnell Nichols.

He noted that Banks was a former Supreme Team Member and a convicted

perjurer, who was incarcerated from 1997 until 2004.

Banks claimed McGriff brought bags of cash into the office in

the mid-90’s and that McGriff bought Irv production equipment.

Shargel labeled Donnell Nichols a serial liar. Nichols admitted

to working at The Inc. for just six months and only came forward after he saw

an MTV News report.

Gerald Lefcourt then gave closing arguments on behalf of the

Lorenzo’s, stating over 50 agents raided The Inc.’s 8th Ave offices.

"They were desperate to prove what they announced to the

world," before telling the jury the publicity was "a casting call

for the government to make their case."

Lefcourt told the jury McGriff was so broke, he sold pornographic

pictures to inmates using the name Picture Perfect after he was freed from prison.

Lefcourt reiterated that the Lorenzo’s two checks, one for $50,00

and one for $15,000, were legitimate investments. He told the jury the government’s

case was based on "guess work."

"We don’t destroy young lives based on guess work,"

Lefcourt yelled to the jury.

After a break, U.S. Assistant Attorney Sean Haran gave a final

summation, stating if the Lorenzo’s "took a penny" from McGriff, then

the brothers are guilty.

Jurors will reconvene

tomorrow at 10:00 am to start deliberations.

Hip Hop Gold Dust

Artist: Prince PaulTitle: Hip Hop Gold DustRating: 3 1/2 StarsReviewed by: Paine

Aside from his cinematic, satirical albums, Prince Paul was good for just dope beats first. While his bodies of work have been widely toted and analyzed, it seems to have been years since fans were tripping off stand-alone records that the Long Islander has produced. After mixed reviews from 2003’s Politics of Business, Paul vowed to push his dynamic musical envelope backwards – in the direction of his Stetsasonic, De La Soul, and 3rd Bass hey-day. Hip Hop Gold Dust (Antidote) is not an album, but a compilation of rare material from those years, plus newer material within that motif. If Prince Paul has lost you along the way, you’re gonna get scooped up quick.

The temptress of the album is 1992’s unreleased “My Mindstate,” which finds Paul and De La Soul back in classic working order. A short drum and bass loop never grows tired, as Dave’s wandering vocals and Pos’ interactive rap meshes over Maseo’s scratches. The mere attitude of the group channels the craftily bugged glee that evolved from the D.A.I.S.Y. Age to the Buhloone Mindstate era. Other unreleased treats include a live 1986 Stetsasonic WNYU performance that front-pages Paul’s brutal scratching skills in hi-fi. Work from other genres such as the Dub-Soul fusion of Resident Alien’s “Alone” still warms the ear, almost fifteen years later. Other leftovers like LA Symphony’s “Broken Now” and May May’s “Real Man” don’t register as well. Regardless, it’s clear that Hip-Hop Gold Dust has been in the making for a while, as Mr. Len and Paul’s fairy-tale interludes were recorded for this same project four or so years ago.

One of the rare-but-released treats, the RZA remix of Gravediggaz’ “1-800-Suicide” shines. Deeply rooted in a similar drum arrangement to “Wu-Tang: 7th Chamber,” the classic gore raps are given a crescendo by a hyper RZA’s enthusiastic rhymes. Earlier relics like 1990’s “Top of the Hill” by Long Island’s Groove B Chill show Paul’s thick-sample, dynamic style at work. In the insert, Paul provides anecdotes to each record, offering nice context and reflection.

Like Lord Finesse’s From the Crates to the Files this unifies the rare with the unreleased, both in celebration of a past sound, and a more experimental Hip-Hop period. Though it lacks the micromanagement of a true Prince Paul album, Hip Hop Gold Dust shows how much Paul is aware of himself and his past. From the prolific work with De La and Stetsa, to his pet-projects such as Gravediggaz or Big Sha, Paul sprinkled his dust into songs and magic ensued – almost always. Hip-Hop’s own version of Andy Kaufman proves his old stunts still get a crazy reaction.

Pitbull: Say It Loud

Pitbull’s had a tremendous year for himself. At the start of 2005, Pitbull was unknown to many, and by the close, hundreds of thousands of people have supported the album, and thus – Pit’s money issues. But amidst all the rise, Pitbull has stayed socially vocal, and at times, outspoken.

The demand for the independent star has skyrocketed, and while Diddy drafted paperwork to ensure Pitbull’s executive future, Slip n’ Side Records obtained masters from Pitbull’s past. These transactions, along with Pitbull’s questionable relationship his current label, TVT, has brought the star-trackers out. Whatever the case, the artist’s remixed version of Money is Still a Major Issue just hit shelves, to only cap one of 2005’s best success stories.

Here, Pitbull catches up with AllHipHop.com on most of these topics. The Miami artist touches on his lingual gifts, his penchant for real estate, and not only clarifies his label concerns, but expresses deep concern for Lil’ Jon’s. Hip-Hop’s dangled meat in front of the Pitbull, and those jaws lock.

AllHipHop.com: Rumors swirled that you may be leaving, or have left TVT. I know there was stuff with Slip-N-Side, and stuff with Bad Boy…

Pitbull: I’m an artist singed to TVT, and then I’ll be doing executive work. Right now it’s indecisive if it’s going to be Bad Boy Latino or if it’s going to be something else, we working those things out now with Diddy, and a couple folks there so we just trying to figure things out. But as far as that, I am still involved with TVT.

AllHipHop.com: What was your affiliation with Slip n Slide?

Pitbull: I have no affiliation with Slip n Slide, the thing is they got a hold of some old, old masters of mine, and that’s basically how that came about.

AllHipHop.com: So these old masters, who had the copyrights on them?

Pitbull: It was someone I was recording with before, you know when you are young and hungry you sometimes do thing just to get your voice out there, so I don’t know what deal they got together or how it worked out, but some how Slip n Slide got it.

AllHipHop.com: So if Slip n Slide does get the records and puts them out, what’s your view on that?

Pitbull: I mean, they just old school tracks, it is what it is. People are going to know its not me now, I’m talking about recordings from ’99.

AllHipHop.com: Now what differences do you see in yourself as a business and an artist from ’99 until now?

Pitbull: Oh man, it’s 150%. It’s a change. You are definitely going to see it. The good thing that they will see is that I have always been me, I’ve always rapped English/Spanish, it’s not a trend I am trying to ride, it’s a trend I tried to develop. They’ll see similarities; they are gonna see a lot of difference.

AllHipHop.com: Now, I’ve heard a lot about this Bad Boy Latino, how did that come about and how did you first get introduced to Diddy and how did that come about?

Pitbull: Actually Diddy snatched me up off stage, it was last November, I had performed, and the thing was I spoke in Spanish and I came through and did a crunk record, “Damnit Man”, and he was like, “Damn, you can do it both.” So what he first did was, he threw me on the Bad Boy clothing, let me do a couple shots for the brand, and it was me, T.I., Lil’ Wayne. And then from there, he was asking me a lot of questions about the movement, and I was telling him what’s coming to life. He’s like, “Yo, you could be an executive.”

AllHipHop.com: You’ve been wanting to be an executive for a long time now, what ideas do you have when you actually become an executive?

Pitbull: I don’t want to give my ideas away ‘cause now I see ideas are priceless. Definitely at the end of the day, bottom line, I want to be good business. My whole thing ain’t all about money, it’s more about movement. Money comes and goes. Thank God I’m comfortable, but I don’t act like I’m comfortable. That I think I’m going to apply to myself as far as being an executive also. Where everybody says Pit does good business; I’m not always trying to eat off of everybody, I’m trying to eat with everybody.

AllHipHop.com: Now what do you think sets an artist apart who is a good businessman versus just being a good artist?

Pitbull: He’s not a short-term thinker. He sees sometimes you gotta stick your tongue in your ass, and sometimes you gotta say I’ll do this for free; just relationships at the end of the day. You have to understand that yeah, you might get some money for this feature, you may get some money to do a radio show, whatever it may be, but the relationship is priceless. And that’s really what I try to preach and teach whoever I get involved with.

AllHipHop.com: Now who do you think around you makes you humble and keeps you in check at times when you might be slippin’ a little bit?

Pitbull: Well today, proudly, I can say I haven’t slipped yet, but definitely my family; anyone around me is family. I don’t keep many people around me, especially yes-men, and people who just cause problems when we don’t need them. So definitely the family I keep close to me keeps me in check.

AllHipHop.com: When a lot of artist get success like you have with Money is a Major Issue, entourage becomes an issue, have you had any problems with entourage or old friends?

Pitbull: No, not at all, I don’t deal with entourages.

AllHipHop.com: What do you have in mind for business plans in the future as well?

Pitbull: I’m involved heavily in real estate. I love to buy, flip; I love to own.

AllHipHop.com: How did you get into real estate?

Pitbull: I’m in Miami, a market where it is just booming. And I guess you can call it the new dope game. It’s something that’s legal, and you can buy, flip, sale, trade, whatever it may be.

AllHipHop.com: How has TVT been on the business end in treating you as an artist?

Pitbull: TVT has been good, if everything was right, there would be something wrong. And the biggest problem I have with TVT is the way they treat my brother [Lil’] Jon, and I’ve made that clear. I think Jon keeps the lights on at TVT, and Ying Yang, them boys comin’ along doin’ they thing, – me, I’m doin’ my thing, but no where to what Jon has done for TVT. And I feel like fair is fair, credit is due where credit is due. Stop bullsh**ting, and let’s take care of who needs to be taken care off. That’s my biggest problem with TVT. As far as myself, you can either have TVT bad dreams or major label nightmares.

AllHipHop.com: Looking at the trouble that Murder Inc. has gotten into, how do you look back at you possibly signing with them?

Pitbull: I look at that as a blessing in disguise; I didn’t know how to handle that situation for a reason. But I got with Luke, and Luke taught me everything I needed to know in order to sit down in a marketing room, in a business meeting and be able to speak my mind and tell them which way I want the project to go, and where I don’t want the project to go.

AllHipHop.com: Now what concerns you about how Lil’ Jon is treated at TVT?

Pitbull: It’s not a concern for me. It’s more like, how can a mothaf**ka be blind? He’s a good dude, hard f**kin’ worker, and I just don’t know why someone would be treated like that.

AllHipHop.com: Now what do you think they have been holding back from Jon.

Pitbull: I don’t get into the details of what they are holding back or not giving him, I just know that my brother is not happy. And to me, happiness is priceless.

AllHipHop.com: So he is actually unhappy too, he expresses this to you as well?

Pitbull: He goes through his things with TVT, he has his problems, but that’s pretty blunt to the naked eye. The guy’s not really doing much right now, recording and s**t like that, he don’t wanna promote his project no more, so there is obviously something going on, right? Like I said, the details of it I don’t get into.

AllHipHop.com: So why not go independent, is that something you plan to do in the future?

Pitbull: Definitely, I’ve been independent up to this point. And TVT is the closest thing you are going to get to independent anyways. One thing I give praise to TVT is I run around like a chicken without my head. Dog, whatever the f**k I want; I love it. Some things may not get handled the way you want them, and you’re not always gonna get everything you want, we don’t live in a perfect world.

Lady Luck: Re-entry

When you’re signed to a deal at 17, people watch and listen. Years later, when you ask to be released from your deal, few pay attention. This emotional rollercoaster is nothing new to Hip-Hop, and a way of life for Lady Luck.

From her early attention earning appearances with Funkmaster Flex and EPMD, Luck never lived up to the momentum – but then again, some say she never got a chance. The one opportunity presented itself with a legendary Fight Klub battle with a then budding, Remy Martin. Remy won, and many skeptics felt that the champion was Lady Luck. These issues, as well as the artist’s new mixtape are chronicled in her conversation with all Hip-Hop. Luck keeps it funky, but ladylike.

AllHipHop.com: what’s going on in the life of Lady Luck, right now?

Lady Luck: Oh! My f**king life – I love it and I hate it. I know you hear it often, but I’m grinding. Except I mean it in every since of the word.

AllHipHop.com:: so it’s not the typical I’m standing in the back while my record company grins for me mode?

Lady Luck: Right now, me and my teams are going state-to-state reintroducing me with my mixtape.

AllHipHop.com: You’re taking matters in your own hands?

Lady Luck: In the music industry, right now it seem like you either have to be from down South market and sell your own s**t out your trunk, or hell – someone else’s trunk, to get what you need done. So I’m like f**k it, I ain’t afraid of hard work. I have no problem doing what I have to do.

AllHipHop.com: So what exactly are you doing?

Lady Luck: We go state-to-state, literally. I mean, it’s great because I’m meeting all kinds of wonderful people not just fans, but people who really want to know how the Lady is doing. And when we get together, man, I wild the f**k out.

AllHipHop.com: Tell me about the mixtape…

Lady Luck: Man the mixtape has a little bit of everything on it…. you know I must admit it sounds great. It’s been a long time coming. I got a song with Olivia of G-unit…I did a mean ass remix of Alicia keys’ “Karma”…joint with Nas. This mixtape is the s**t…

AllHipHop.com: How could you just fail to mention the “F**k Remy” joint? And I quote: “Rip off that f**ked up weave and that ugly ass face and those f**ked up teeth…”

Lady Luck: Oh…I ain’t avoided it…yeah, I got that joint but I aint even worried about Remy. I’ll stop rapping when that b*tch goes platinum. [Laughs] I guess I really will be rapping forever.

AllHipHop.com: Now everybody has heard about the now infamous Fight Klub battle between you and Remy or at least the parts, that made it into the news. You never got your chance to really speak your piece. The soapbox is all yours…

Lady Luck: I mean, it wasn’t really a fair fight…at the Fight Klub, you’re allowed to bring in a certain amount of people, because the crowd helps to vote alongside the judges. You do the math with one the judges [was Remy’s] homegirl and the other judges are co-workers of that person, not to mention instead of the allowed number of people you have like five times as many…why do you think a rematch with a neutral audience was never done? Because she knows damn well she would have lost.

AllHipHop.com: So this is what prompts the “F**k Remy” record?

Lady Luck: That’s just me doing me – addressing the situation like a lady should.

AllHipHop.com: Enough said. Getting back to the mixtape, ”The Rebirth of a Lady…” why did you choose that title?

Lady Luck: Since I was signed to Def Jam, I’ve just been through a lot. I’ve experienced a lot of s**t. I know you’re supposed to pick and choose your battles – at times it seemed like the battles chose me. [laughs] I’m a born fighter and I just rolled with the punches, and learned lessons along the way. When you’re new to this, people take advantage of that…so your basically walking in the f**king dark. And when you hit bottom, don’t expect to see the same n***as that happily shared your money and whatever else any where around you. I feel like I passed my tests, that’s why it’s a rebirth.

AllHipHop.com: You’ve spoken on the guest appearances…what else can we expect when we pop the mixtape into the CD player?

Lady Luck: I went all out beat jackin’ the whole nine. Like I got this joint called “Ghetto Kid” from Puffy’s album. I took Puffy off, so it’s me, Biggie, and Jay-Z, and if I may say so, I did my muthaf**kin’ thing.

AllHipHop.com: I noticed there’s no big name DJ behind it. Did you have it that way on purpose?

Lady Luck: F**k a DJ, man, I had a lot of n***as saying they’d do this or that, but I got locked up, so none of that s**t never came to be. I came home in April, and as soon as I touched down, I wanted to get my mixtape done immediately. Plus, for all the s**t I was talking, with “F**k Remy” and all that, when the s**t hit the fan I aint want no innocent person getting caught in the crossfire. ADJj got beat up for playing my s**t before, so I did what I thought was necessary.

AllHipHop.com: You’ve sold thousands of mixtapes already. Are labels knocking on the door to pick up Def Jam’s fumble?

Lady Luck: I got some deals on the table, but I’m taking my time on this one. Making sure that the label I eventually go with, has my best interest at heart and knows that I’m a priority. No shelf sitting this time around. I gotta do for me.

AllHipHop.com: Then what’s Major Hustle?

Lady Luck: Major Hustle is me and Mike Oil’s independent music label. We’re giving voices to the talented muthaf**kas that otherwise wouldn’t have no voice. And before everyone gets it f**ked up. We aint talking about drug selling…I’m talking about the hustle that everybody is a part of everyday. From the man begging for change to each time a dude steps on the ball court, to hustle for that million dollar contract. Life’s a hustle, you just have to find yours. Fans can cop the mixtape and learn more at www.major-hustle.com.

Dem Franchise Boys: Speak Ya Clout

High off the crest of a hit remix featuring Jermaine Dupri, Da Brat and Bow-Wow, Dem Franchise Boyz are ready to take the success of “I Think They Like Me” to the next level on their forthcoming sophomore LP, On Top Of Our Game. With the ink still wet on their very, very lucrative contract with So So Def/Virgin, the group may have what it takes to make it to the very top of the game.

True to the hood without exploiting it, the Bankhead natives known as Buddie, Jizzal Man, Pimpin and Parlae have taken music to the next level by creating their own style they proudly call “Laid Back Crunk.” Dressed fresh to death in their white tees, DFB brought out the heat when AllHipHop.com sat down with them recently. The group quotes Jay-Z in several of their answers, plus packs some punch in their message for the haters.

AllHipHop.com: You’ve switched from Universal to So So Def/Virgin. How did you all get in touch with JD?

Jizzal Man: JD did his own little version of “White T###” that became a hit throughout the streets of Atlanta, you know what I’m sayin. He found out we were free agents from Universal, and [told us] that he’s ready to do a real remix of “I Think They Like Me.” Because he was feeling our work ethic, he got the paperwork done right, know what I’m talking about, and he signed us. Here it is, history in the making.

AllHipHop.com: How does it feel to be around such a hit-maker?

Pimpin: Promotion’s real strong! You see us on BET everyday. We number one in the country right now! We hitmakers [ourselves]! We always been around hitmakers, know what I’m talking about?

Parlae: We’re having a good relationship with JD.

AllHipHop.com: School people on “Laid Back Crunk.” Compare it to general crunk.

Pimpin: Well, you got your basic crunk music, okay, where it’s like a mosh pit, everybody’s together bouncing around, ‘bowin, pushing each other, jumpin on top of each other…

AllHipHop.com: Okay…

Pimpin: Then there’s the crunk where you do the same thing without all that pushing and bowin’. That’s what we call ‘Laid Back Crunk.’ You can get crunk [and be able to] sip on your Grey Goose, holding your cup in your hand. You don’t have to worry about spilling your liquor on the dance floor and getting it all over your thousand-dollar outfit.

AllHipHop.com: You all have hot single. The girls are hot in the video too. Did ya’ll get laid?

Dem Franchise Boys: [Laughter]

Buddie: It just feels good to have a impact on people all over the world and us knowing that our music is helping people get through the day feels real good man. We’re ready to keep going through with this.

AllHipHop.com: Let me ask you about the lyrics on “I Think They Like Me.” You brag about coming up overnight. Is that true?

Jizzal Man: We got signed in six months man. Six months after we formed a group, we got signed to a major deal.

AllHipHop.com: Damn.

Parlae: You got other cats out there trying so hard, trying to imitate us, and still ain’t doing it. To them, it’s like we did it overnight.

Buddie: And they been doin’ it for years…

Parlae: Like fourteen or fifteen years, and they still ain’t doing it like us.

AllHipHop.com: You get into any beef because of that? You know, ‘cause someone sees you and envies your spot?

Buddie: I mean, you know, that just comes with it. It’s a package thang: fame and success and envy. When you’re number one man, everybody’s tryin to take shots at you.

AllHipHop.com: I’m hearing you got beef with Down 4 Life. Is that true?

Pimpin: No comment.

AllHipHop.com: Okay, but what do you think about “Laffy Taffy”? Some people feel it, some think it’s nonsense…

Parlae: That’s exactly how we feel when you ask us about [D4L]. “Yo, what is this nonsense.”

Jizzal Man: They try to follow in our footsteps. We’re trendsetters. It’s like Buddie said, it’s a package thang, man. We dropped “White T###”, then people came out with “Black T###, Red T###”. All for [some of our] success…

AllHipHop.com: Speaking of that, there’s this song called “Pink T###” dissing Cam’Ron, and people think DFB made it.

Jizzal Man: Naw. We f**ks with Dip Set.

Pimpin: They on the album. [We got] Jim Jones, the King of Harlem, n***a. Dip Set is on the album.

AllHipHop.com: Let’s talk about the album. What’s gonna make it go platinum?

Buddie: We got JD all over the album, and more people know about us. It’s a more mature album, because we’re learning more about the industry. We learning more of the ropes and all that, now that we under the wings of JD. We young, Black entrepreneurs. That’s where the name Franchise comes from; know what I’m talking about!

AllHipHop.com: I’m gonna play devil’s advocate. You guys have some harsh critics.

Jizzal Man: We know.

[DFB]: F**k critics! “If you don’t like our lyrics, you could press fast forward!”

AllHipHop.com: You’ve been called “the white tee boys” and one critic said that DJ’s should spin your record now, because you guys won’t last long.

Pimpin: They said the same thing about us last year when we came out with “White T###”. Now look at us, we did it again with “I Think They Like Me”! They call us one hit wonders while they wonder why we keep makin hit records!

Buddie: Yup Yup! When they say that they don’t like us, it’s like they sayin “f**k us.” So, if it’s “f**k us,” then it’s “f**k them”, you know what I’m saying? If they don’t like it, don’t play it, They ain’t putting any money in our pocket…If it’s a individual, f**k you! If it’s a group, f**k y’all! When we see ‘em, we gonna swing on ‘em.

AllHipHop.com: You’d let it get to that point? Would you have to swing on someone if it got that far?

Parlae & Pimpin: Hell yeah!

Jizzal Man: This is our career, know what I’m talking about?

AllHipHop.com: Okay. Let’s say you shot someone, wouldn’t that mess up your career?

Jizzal Man: Not necessarily. There’s always a case of self-defense. If a n***a f**k with me and I got a tool on me, his ass is gonna be bust, homie.

Pimpin: “Plus I gotta few dollars/I could fight the case.” We got Jew lawyers!

AllHipHop.com: I feel you but, let me play devil’s advocate again. You can be humble, stack paper–and not have to carry heat.

Buddie: I don’t know how it is [outside of Atlanta], but we come from the murder capitol of the world. You could be the n***a that is quiet and humble, and you could get bucked for no reason other than that a n***a just don’t like you. That’s life, pimp. It ain’t rap, it’s just life, pimp.

Parlae: Fo’ sure. We real. We from the hood, man. We know how to survive man.

Jizzal Man: We got our own label deal too, man. We got our own artists on DFB

Records, know what I’m talkin’ about. We trying to get it moving. We developing new talent, feel me? Whenever we kickin’ it in Atlanta, we kickin it with our artists, like brothers. It’s a family around here.

AllHipHop.com: What if your brother flops?

Pimpin: [If they flop], we gonna pick em up and do it again. [If they flop again], we

gonna pick ‘em up again. It’s just money. You can’t stop a hit baby. You think we ain’t gonna put no hit on their album?! You can’t stop a hitmaker, fo’ sure.

The Reavers: Hard Times

The Hip-Hop supergroup is formed as needed. Diggin’ in The Crates arrived to attack stagnant production. The Wu-Tang Clan swarmed to return the ruggedness into raps. While individually, The Reavers may be unknown to many, this group of established underground artists united with social and musical cause. Vordul Megallah, Akir, Kong, Spiega, Dom Pacino, Billy Woods, Hasan Salaam, Karniege, Keith Masters, Priviledge and Goldenchild are The Reavers: Revolutionary Emcees Advocating their Voices on Everyday Reality’s Struggle.

At the tail-end of a historically baffling and equally tragic year, the group claims to be a reflection of the times. Their debut, Terror Firma, the Killarmy, Cannibal Ox, and Monsta Island Czar alums connect with AllHipHop.com to present their argument, and celebrate their diversity.

AllHipHop.com: Considering that you guys come from different backgrounds, was it hard creating a cohesive unit?

Kong: No, actually it was fun.

Akir: Not only did it build unity within the group, but we were feeling each other’s verse. I could be on a song and be like, “Who’s that?” and they’ll be like, “That’s Hasan Salaam,” and I’m like, “That dude is crazy.”

AllHipHop.com: Listening to the album, it’s obvious that you guys also come from different spiritual teachings. How did that play out once you hit the studio?

Billy Woods: Everybody just spit their life and their experience and what they know about, so instead of trying to make people conform to one another everybody just did their thing.

Spiega: I think what drew us together is everybody on this team, we’re all pointing in the same direction – tired of the ice, the rims…you know the garbage, whereas we’re more aware of everything that’s going on around us so it’s like one man is an island, every man has his own thing but to get anywhere, any smart person knows to get a team. We’re rappers coming from different backgrounds or whatever, but we’re all looking and feeling and desiring the same thing.

Karniege: Everybody’s just hungry, and just wants to get similar points across even though we all come from different backgrounds. I feel it’s all the same difference like everybody got a different struggle like one dude might do the 9-5 and another dude’s hustle is 9-5 on the block. It’s all the same difference.

Hasan Salaam: The problem with Hip-Hop nowadays is everybody from somewhere else is acting like there’s only one plate for everybody to eat on. It’s like I’m trying to run and snatch this man’s food and steal a fan or something, like somebody can’t cop more than one disc a year but on the level of spirituality, that’s my personal business. I’m Muslim, this man might be something else but we’re all relating by a sense. We’re all oppressed people, we’re all Black men, we’re all relating on that level. We’re all struggling, we’re all rhyming and we all love Hip-Hop.

AllHipHop.com: Okay, so you love Hip-Hop but what do you dislike about it?

Akir: The bulls**t that bothers me is it seems like in this overwhelming marketing culture, if you don’t talk about somebody committing a violent act or selling drugs, or pimping some shorties out, you’re not going to make this money.

Spiega: Now it’s all about who has the most drama. Gore, drama and murder, all that s**t sells.

AllHipHop.com: The album artwork seems to be saying a lot, but it’s a little intimidating. It’s a group of Black dudes in fitteds, hoodies, and strapped with ammunition and arsenals. What’s up with all the intimidation?

Billy Woods: That’s the world we’re living in right now. With the artwork, it’s supposed to be a group of child soldiers, which is supposed to represent a lot of different things and also what’s going on in the world. It wasn’t even supposed to look like it was in the Middle East, it just morphed into that by the artist doing that.

Karniege: You got cats in timbs, Adidas with bent laces…that’s Hip-Hop right there don’t get it twisted. That’s what makes this whole thing dope. It says a lot without having to say much because when you look at it, it says, The Reavers with a bunch of people here and somebody writing Terror Firma [on the ground]. So there’s a lot being said by just physically catching a visual of it, but actually listening to the project takes it to a whole ‘nother plain or plateau.

AllHipHop.com: Apparently, you were brought together by Backwoodz Studios. How did that work, and why were you chosen?

Billy Woods: The project didn’t become what it was until later on. Kong and Spiega were some of the first people who started recording, then Akir, and then Hasan came through. Karniege was always down with Vast [Aire] and I had known Vast for a while so I was like let’s get at Karniege. Also, Vordal had been with Backwoodz since the inception doing all sorts of stuff so he was naturally in the mix as well as Privilege and Keith Masters. So, a lot of people have sort of been floating around that just kind of coalesced. Everybody was real hungry and the people made it real easy. The only hard part was deciding what [songs] to cut.

AllHipHop.com: The album is called Terror Firma Vs. Terra Firma [the Latin phrase], which is an interesting concept. Who came up with that?

Billy Woods: I came up with that title a long time ago. It was just a matter of finding something worthy enough to use that title on because it has to be like that.

AllHipHop.com: What makes the project “like that?”

Billy Woods: It’s interesting to know there was no real sense of you have to write this or do this and that. Everybody came with their own thing, from their own perspectives, and brought that to life naturally.

Goldenchild: That’s the beauty of the project…it’s just here. You would think we were all in the studio doing it together and it didn’t happen that way. People came and dropped their verses and before you know it the track was together and it was like damn it just works.

AllHipHop.com: What can people expect from such a unique project?

Billy Woods: I think that you can expect to hear is basically the future of East Coast, underground Hip-Hop.

Akir: The thing that really made this project very special is that people will reflect on this and be like wow all these people from different backgrounds and different camps came together to do that. That’s a powerful thing. Nobody’s really seeing that many talented emcees come together and collaborate since Wu-Tang Clan or something like that.

Kong: Listen to the album. You’re definitely gonna say there are no two rappers on the album that sound the same. Everybody has their own flow, and that’s real.

AllHipHop.com: We’ll let listeners hear the album to get your own jewels. But as social-minded men, does George Bush hate Black people?

Karniege: Black people hate Black people [there’s no unity].

Spiega: I say no, as long as he’s making the money. I wouldn’t be surprised to see Bush sitting next to Spike Lee at a basketball game because Bush may have his own line of sneakers and Michael Jordan decided to endorse him. But other than that, if [a Black man] ain’t got on camouflage and in the Army, Navy, Marines, Air Force fighting for him, then no, Bush doesn’t like a Black person.

Hip-Hop Pioneer Marley Marl Releasing Memoirs

Producing pioneer

Marlon "Marley Marl" Williams is ready to tell his life story in an

autobiography called "Vapors," a memoir named after the famous Biz Markie

song.

"You know [the book] is like the song. Whatever the song

is about, my book is about," Marley told AllHipHop.com. "It’s about

true things that happened, the ups and downs and episodes [in life]."

"Vapors," from Biz Markie’s 1988 Cold’ Chillin’ album,

Goin’ Off, is a song about standoffish neighborhood people who suddenly

become friendly because of a rapper’s newfound Hip-Hop success. The term also

became common in Hip-Hop vernacular.

Marley Marl hails from New York’s Queensbridge Housing projects,

the largest in the United States.

As a young producer he assembled The Juice Crew, a stable of

now legendary rappers, DJ’s and artists that included Big Daddy Kane, Roxanne

Shante, MC Shan, Biz Markie, Masta Ace and Kool G Rap & DJ Polo.

He first achieved national success in 1984 when he produced

Roxanne Shante’s answer record to UTFO’s "Roxanne, Roxanne."

He then produced one of Hip-Hop’s best known songs, 1987’s "The

Bridge," by MC Shan. The record prompted a response

from KRS-One titled "The Bridge is Over," igniting one of the most

well-known and talked about battles in Hip-Hop history.

Marley Marl, also a co-founder of the legendary Cold Chillin’

label, helped shape Hip-Hop’s sound throughout the end of the 1980’s and early

1990’s, producing such cuts as the legendary song "The Symphony,"

LL Cool J.’s 1990 smash album and Mama Said Knock You Out.

Marley even stepped into the world of R&B when he helped

produce and mix TLC’s 1992 breakout debut, Ooooooohhh…on the TLC Tip.

He still produces records and hosts a radio show in New York

City.

Marley said that he’s already being courted by a pair of publishers

and has been receiving assistance from some high-powered friends in the music

and media industry.

"Wendy Williams (radio and publishing media personality)

is helping me on it," Marley said. "Wendy, you know, she’s kind of

pulling some people in, that’s my girl from back in the day," he continued.

"Me, her, Star (of "The Star & Bucwild" morning show) and

Red Alert, we’ve been there for a minute, the only n***as that really could

truly say we’ve seen a lot in this game. Star’s my people, Wendy’s my people,

and funny thing is that Red Alert (a former rival) is my people. We work together

and make this legacy happen."

"Vapors"

is in its early stages and does not have a release date.

Public Enemy Strikes Wireless Distribution Deal For New LP

Legendary group Public

Enemy and Chuck D.’s label SlamJamz has partenered with Boston-based m-Qube

to help promote their new album New Whirl Odor.

Through the venture, a package of mobile offerings will be available

for download.

"As an independent label, we are always looking for ways

to expand our distribution network," said PE frontman Chuck D. "Mobile

is happening in a big way, and we are thrilled to be using it to reach our fans

– wherever they are."

Fans will have access to exclusive content, including polytones,

mastertones, full tracks and wallpapers.

According to Public Enemy’s manager Walter Leaphart, the new

venture was a natural progression for the group.

"Public Enemy has always been a leader in music and new

technology, and this is the latest phase of their multi-faceted campaign that

will continue to build in the coming months."

m-Qube will manage distribution of the content, releasing it

to their network of wireless carriers.

"We are thrilled to leverage our technology and distribution

network to help innovative entertainers like Public Enemy use mobile to reach

their audiences," said m-Qube’s VP of Worldwide Content, Jon Bukosky. "Mobile

is a critical channel for musicians and we are pleased to have been selected

by Public Enemy to make this happen.”

PE’s album New

Whirl Odor is in stores now.