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AHH Stray News : “Hustle & Flow 2,” Murder Inc Trial, Daz Dillinger

Actor Terrance Howard has reportedly signed on to appear in a sequel to “Hustle & Flow,” a hit movie about a Memphis pimp/rapper going through a mid-life crisis. The movie was written and directed by Craig Brewer and produced by John Singleton. Since its premiere in July, the acclaimed film raked in over $22 million at the box office. According to published reports, the cast will remain the same with actors like Anthony Anderson, Paula Jai Parker, Taryn Manning, singer Isaac Hayes and Ludacris as rival rapper Shinny Black.

The money laundering trial of Irv and Chris Lorenzo (professionally known as Irv and Chris Gotti as been delayed for the third time after federal prosecutors announced they had a bombshell witness on the first day. The presiding judge also disallowed the prosecution’s request to use the 2000 shooting of Curtis “50 Cent” Jackson in their opening statements. Prosecutors hope to use a purported “confession” by Chris Gotti to Drug Enforcement Administration agents in 2003. According to thesmokinggun.com, Lorenzo said that reputed drug lord Kenneth “Supreme” McGriff was granted a "free soundtrack" for "Crime Partners," a movie McGriff produced. At the time, Chris said that the soundtrack was worth $1 million, an inadvertent confession of money laundering according to the feds. The trial will now start on November 16.

Daz Dillinger has announced a promo tour to promote his upcoming So So Def debut. In a statement, Dillinger explained, "I am really glad to be more visible. I haven’t left the game. I just took a role behind the scenes. But this tour is a clear indication that I am beginning to turn on my career as a solo artist." The rapper has already released Dillinger II Young Gotti: The Saga Continues, a reunion album with Dogg Pound partner Kurupt.

Below are the dates for Daz’s promo tour:

11/15/2005: Las Vegas: KLUC, KVEG

11/16/2005: Los Angeles: KPWR, KKBT, KDAY

11/17/2005: San Diego: z90, XMOR

11/18/2005: Bakersfield: KISV, KBDS, KSEQ, KBOS

11/19/2005: N. California: KHTN, KWIN, KSFM, KBMB

African Documentary ‘Hip-Hop Colony’ Takes Top Honors At H2O Film Fest

The 4th Annual H20

(Hip-Hop Odyssey) International Film Festival closed out this past week in New

York and presented awards in over nine different categories.

One major winner was the documentary film "Hip-Hop Colony,"

which took home two major awards.

The film received the Best Feature Documentary award and the

Heineken Emerging Filmmaker Award.

The documentary – which was written by Russell Kenya and directed

by Michael Wanguhu – documents Hip-Hop’s roots in East Africa, Kenya.

“A lot of people – especially in America – are not familiar

with how big African Hip-Hop is getting to be,” Wanguhu told AllHipHop.com.

“So it is quite an honor to be recognized at such an event, especially

in New York the Mecca of Hip-Hop. We are also thankful to the H2O film festival

organizers.”

Other honorees included Kid-n-Play, The Last Poets and brothers

Reginald and Warrington Hudlin, who were responsible for the House Party series.

"Hip-Hop Colony" has also received awards for Best

Urban Documentary at the Houston Black Film Festival and Best Urban Documentary

at the San Francisco Film Festival.

“These awards will go along way for us because we’ll be

able to show those in position of power in Kenya that we are worth it and they

can start to listen and even do business with us (African youth involved in

Hip-Hop) and even start funding our projects. I know of so many events that

have not happened in East Africa just because the young people organizing them

are not connected to some businessman or officials, causing true artistry to

be sidelined and undermined.”

H20 is a media program that works with new and experienced filmmakers,

encouraging them to develop and create work that showcases positive images of

Hip-Hop culture.

For more info on

the film, visit www.hiphopcolony.com.

2 Live Crew Member Files Lawsuit Against Jay-Z & Ice-T Over ’99 Problems’

Mark “Brother Marquis”

Ross, formerly of pioneering Miami, Florida rap group 2 Live Crew, hit Ice-T and

Jay-Z with a lawsuit over the lyrics to Jay-Z’s#### song “99 Problems.”

The original version of the song was featured on Ice-T’s classic 1993

album Home Invasion, with a cameo from Brother Marquis.

In his lawsuit, which was filed in Manhattan Federal Court, Brother Marquis

claims he’s been paid just $10,000 in royalties, despite being prominently

featured on the original version.

Furthermore, Brother Marquis claims that Jay-Z owes him royalties after recording

an updated version of “99 Problems,” which was produced by Rick

Rubin and featured on Jay-Z’s blockbuster, The Black Album.

Jay-Z also shot a critically acclaimed video for the song, which was shot by

veteran director Mark Romanek.

After leaving 2 Live Crew

around 1996, Brother Marquis had a spiritual awakening and entered the church,

but still tours with a reincarnation of the group.

50 Cent Launches G-Unit Books

50 Cent is launching

G-Unit Books with a new line of novellas, or short books featuring his G-Unit

cohorts, Pocket/MTV Books announced.

The new line of books will feature Tony Yayo, Young Buck, Lloyd

Banks and Olivia as characters in the series, which will be published in 2007.

"These tales will tell the truth about The Life; the sex,

guns and cash; the brutal highs and short lives of the players on the streets,"

Pocket/MTV Books said in a press release.

The first book in the series will be penned by Nikki Turner,

best known for “The Glamorous Life” and “A Hustler’s

Wife.”

Pocket/MTV Books

also published 50 Cent’s semi-autobiography, “From Pieces to Weight:

Once Upon a Time in Southside Queens,” the rapper’s version of growing

up in Southside Queens, New York.

Kanye West: Sky High

Kanye West’s “Touch The Sky” tour is yanking the heavens to terrestrial venues across the nation and a tremendous effort has gone into the performance. The self-proclaimed "international a**hole" takes a moment to talk tours, censors, clothing and acting.

AllHipHop.com: Speak on the “Touch The Sky” tour.

Kanye West:We are doing a lot of groundbreaking things visually. I have a seven piece string orchestra plus A-Trak, the world champion DJ. I have Omar Edwards on the keys and Karriem Riggins on percussion.

AllHipHop.com: How important is it for you to have a great show? A lot of people associate Hip-Hop with a guy walking back and forth across the stage and having a huge entourage.

Kanye West: Don’t take my word for it you really have to experience it. The way we’ve added a lot of theatrics to it. And there’s a lot of incredible writing to it. And there are different things in the way that I set up the band. I’ve put then in these boxes that, I don’t want to explain exactly how we did it. But they can either be lit up like a certain color. We can project certain imagery on it or you can see though it.

AllHipHop.com: Now what do you mean when you say theatrics.

Kanye West: Like theater-like stuff. It feels very much like theater though out the whole thing. There’s not just a spotlight but there’s a whole bunch of bright lights. Sometimes we bring them way down for like a song like "Roses" and we’ll bring them way up for a song like "Touch the Sky." You haven’t seen the show have you?

AllHipHop.com: No, I’ve seen you on Saturday Night Live which obviously doesn’t equate to that. But I got a glimpse of it I guess you could say.

Kanye West: No not at all. No. I need you to go see this in order for you to do a complete article about the show. It’s like when people interview you about your album before they’ve even heard it. So just like how your saying it’s important for me to have a good show. That’s how import it is. I’m like, “Yo, I need you to see this.”

AllHipHop.com: Yeah, I need to see this.

“Y’all have entered the “Touch the Sky,” Kanye bellows to a thoroughly diverse crowd in New York City. High amongst the clouds with the Chi-Town native, the fans are old, young, Black, White, square and thug alike. The show careens through an assortment of themes from humorous “Broke Phi Broke” fraternity skits to an impromptu church service to melded music by The Eurhythmics and Prince. And, the show is indeed theater for the Hip-Hop community, as Kanye proclaims. The set changes constantly, depending on the song, and Kanye evokes a mood that stretches beyond mere music. Images of roses, family and quotes from haters decorate the set and the dazzling lights often focus on the crowd than Kanye West, the centerpiece. It’s nothing shy of an experience.

AllHipHop.com: What about other people, will we see John Legend or some of the other people?

Kanye West: Well you know John Legend is doing his own tour. I’m still disappointed about that.

AllHipHop.com: Yeah I remember when I spoke to you a while ago you where trying to do a joint G.O.O.D. Music tour.

Kanye West: Yeah, I’m disappointed about that. It gives me more of an opportunity to perform more songs. We have Consequence, GLC and Really Doe out here.

AllHipHop.com: What made you pick Fantasia and Keyshia Cole to join you on tour?

Kanye West: Keyshia has always been like in our family anyway. She’s the closest thing to hip-hop that you get in R&B. And Fantasia I saw her performing at this one awards show, I’m not going to name it cause I don’t to give them any pub. But I was floored. I just thought she was a dope ass performer and I wanted more people to see her.

AllHipHop.com: Now, there’s rumors, you might not want to address this, that they are bickering behind the scenes. Any truth to that?

Kanye West: I don’t even address stuff like that. Come one homey – we major!

AllHipHop.com: The political nature of the album is deep too. Do you find it difficult to mix politics with theatrical entertainment? I mean everyone is very apathetic these days…

Kanye West: No. I don’t touch on political stuff I think it’s more like social. I’m not political at all. I’m not political – I’m politically incorrect.

AllHipHop.com: So you have had some protests and you’ve canceled a show or two? Some folks said you wanted a closed arena or something due to safety concerns.

Kanye West: I never canceled any show – ever. I’ll just take my chances. God has me here for a reason. Think about it if anything happened to me now it would be such an uproar.

AllHipHop.com: I found it really strong that you got on NBC with “Saturday Night Live” and did the lyrics talking about man-made AIDS and Ronald Reagan. I was like “How did he get by censors with those lyrics?” I don’t think you’ve really been checked so to speak, do you feel that?

Kanye West: Well they bleeped "White man get paid off of all that" on “All Falls Down” on the MTV version of the video. So how do you bleep that out on MTV but don’t bleep it on BET? White people don’t watch BET? Is that what they are trying to say? So that was like obviously like racist. I’ll just throw out my random opinion about anything. I really feel I’m as close as you can [be] to a non-biased, non-racist person. But I always touch on those types of issues and I always think stuff is funny. And it shows like on "Gold Digger,” [because at the concerts] I say, "White people this is the only time you can say n***a so take advantage of it." And everybody’s like laughing at that. But I’ve said this many a time that I feel like I’m the Hip-Hop Dave Chappelle. We both touch on really shocking issues. We laugh to keep from crying. I have a treatment for "Gold Digger" that I’m not gonna tell y’all but I still might do it. But it’s a treatment for" Gold Digger" that’s so over the top that the label wouldn’t let me do it.

AllHipHop.com: So you can’t really reveal that though.

Kanye West: But I may eventually do it though, because I don’t do a video just for marketing purposes. I do them as pieces of art. So just how artist can go back and say that something is their muse someone is their muse and go paint them four times. Like we’re about to do another video for “Space Ships.” We’ll go back and do it again cause it’s for the art. It’s my hobby.

AllHipHop.com: It’s interesting that you mention that cause on of my favorite videos is “Two Words” with Mos and Freeway. And the way that was shot with the graininess almost like a hand held camera – I loved it. I don’t know how to put it into words, but I appreciated the video.

Kanye West: That opening shot in the beginning with the building that said “Two Words” then breakdowns that shows it going from black and white to color. It just fit the mood of the song. Like that the type [of video] that "Crack Music" should be in. Did you like the third “Jesus Walks?”

AllHipHop.com: I’ve seen them all online I think, but I don’t watch that much TV.

Kanye West: Like the video it was some thing that we released, but it was a defect. So they had to recall the videos. But the third “Jesus Walks” is the video where I was walking with Jesus in the hood. It was all black and white.

AllHipHop.com: Is that the one that was banned or something?

Kanye West: That crazy right? But all that s**t makes it doper. If we’re getting bleeped and banned and censored and all that, then we are doing the right thing.

AllHipHop.com: Now last you interviewed with AHH, you where kind of unhappy and you kept calling yourself wack you were like "I’m wack, I’m wack, I’m wack."

Kanye West: But I was being sarcastic…

AllHipHop.com: Yeah I know, but do you feel that those people that considered you “wack” see you differently now?

Kanye West: Yeah, we run this. We amongst the elite. We just did this [concert-themed] show for MTV and this separates …It’s just one of those things that I’m so happy to be apart of. The stuff that we are doing is so good that I would have been happy to play any role in it. I would have been the DJ for me. I would have been one of the string players for me.

AllHipHop.com: In "Gone,” you had mention that "I flip sides like Anakin." What did you mean in terms of Hip-Hop? Was there any bigger meaning then that or was it just something clever?

Kanye West: No…but what do you take it as and I’ll see if you’ve got it.

AllHipHop.com: I’m not sure you’ve moved over to the dark side? I’m not sure honestly.

Kanye West: Sometimes I like to not slang my lyrics out. Cause sometimes it means something more special to somebody then what I’ve even thought of. With that one what I was saying was that if the fans decided that they didn’t like you anymore. "But if they ever flip sides like Anakin," you not packing them in like you use to. "You’ll sell everything including the mannequin." Like you can say I won’t sell out, I won’t sell out, I won’t sell out.

When can we get your fashion line?

Kanye West: We’re in talks with different people, but I want to connect with someone that can really bring it to light. Trying to bring a designer on. We’ve talked with a bunch of different people but the people that are really good are focused on their own stuff. And the people that aren’t that good, don’t meet up to my standards. I won’t do anything just to do it, just to make money. I feel like you make a product out of yourself. And I want everything to be a certain caliber. If I was doing something just to make money, I wouldn’t spend so much money on my videos. It’s always art first. And I have such a respect for designers and I wouldn’t want to disrespect them and come out with some random cheap line. I would want people in the design world to look at me and be like "that’s dope how did you think of that."

AllHipHop.com: Clothing wise, right now you’re the Louie Vuitton Don, will it be more or less on that note? Or will it be some new creation in your mind that we have yet to see?

Kanye West: Yeah, I have new ideas.

AllHipHop.com: Are you gonna act?

Kanye West: In fact, I have some acting roles on the table right now I’m just considering them. It’s just about supplying my time. I’d be more geared to directing then acting.

AllHipHop.com: Why?

Kanye West: I just love directing. I like giving directions more then taking them.

Wendy Williams, Tony Touch, Tyson Beckford Host AIDS Dance-A-Thon

WBLS 107.5 FM DJ Wendy Williams, Hip-Hop legend DJ Tony Touch and super model Tyson Beckford are among the special guest scheduled to serve as hosts of the Move Against AIDS Dance-a-thon, which will take place at the Manhattan Center on December 3, 2005.

Williams, a long-time advocate of AIDS awareness, will act as host to the thousands that gather at the five-hour Dance-a-thon.

Williams also co-chairs the National Black Leadership Commission on AIDS and will appear at the Chose Life Awards in New York City in December, which recognizes corporations or individual’s outstanding efforts in the fight against HIV/AIDS.

Super model Tyson Beckford has also pledged his support for the event.

“I’m glad that the event is back again this year and that I am involved,” Beckford said “People need to be reminded that the crisis is definitely not over, and Move Against AIDS is a great way to have fun while really taking steps to eradicate HIV/AIDS.”

The Move Against AIDS Dance-a-thon will feature five hours of music, including sets by world renowned club DJ’s Tony Touch, Junior Vasquez, Tony Moran, Mary Mac, and Chad Jack, and musical performances by Jody Watley and La Bruja.

The event will also include appearances by several other special guest hosts, including “Queer Eye for the Straight Guy” star Jai Rodriguez and others.

Proceeds from the Move Against AIDS benefit will go to Gay Men’s Health Crisis (GMHC), the nation’s oldest and most comprehensive AIDS service organization, and CHAMP (Community HIV/AIDS Mobilization Project).

Currently there are the 15,000 men, women and children living with HIV in New York City who receive services at GMHC.

To register for the Dance-a-thon or get more information visit www.moveagainstaids.org.

KOCH Announces Deals With Legit Ballin’, Real Talk Ent.

KOCH Entertainment

has inked deals with Mid-West record label Legit Ballin Records and Northern California

Real Talk Entertainment.

Legit Ballin was founded in 1999 by Chicago rapper Twista and

is run by CEO “White Boy” James Frasier.

The label has released four albums, Legit Ballin Vol. 1,2

& 3, with installment #4, The Truth, slated for January 2006

release under the new deal.

“This was an opportunity for two strong independent entities

to come together and create a major force in the industry,” Frasier said.

“Our partnership with KOCH is just the beginning of great things to come.

‘LB’ has come to prime time with a prime situation and we will present

ourselves as the prime independent rap label to contend with.”

Real Talk Entertainment is helmed by Derrick Johnson, who launched

the label in 2003.

“I am very pleased to be on board with KOCH,” Johnson

stated. “They are a great home for our future product and I look forward

to a mutually beneficial and prosperous relationship.”

In 2006, Real Talk

will release MC Eiht’s upcoming album The New Season, a collaboration

between Layzie Bone & Young Noble titled Thug Brothers and a new

album by Brotha Lynch Hung.

Wyclef Jean and UN Announce Food Program For Haiti

Wyclef Jean’s

Yéle Haiti and the United Nations World Food Programme (WFP) announced

the launch of a new joint food distribution program in two of Haiti’s worst

neighborhoods today (Nov. 14).

Cité Soleil and Bel Air rank among the poorest slums

in Haiti, which itself is the poorest country in the Western Hemisphere.

To add to the country’s issues, the interim government

filed a lawsuit against Haitian President Jean-Bertrand Aristide last week,

accusing him of stealing tens of millions of dollars from the Haitian treasury

and the state-owned telephone company.

Cité Soleil and Bel Air were devastated by tropical storm

Jeanne in 2004 and violence and crime prevent aid from reaching the disaster

stricken areas.

“Children fear not the storm, because after the storm,

it gets calm, and that’s when the sun comes out. Yéle Haiti,”

Jean said.

Unemployment rates have reached 80 percent in the area, where

open sewers run and residents bake and eat mud pies for a small amount of nutrients.

Jean’s organization and WFP will distribute food to the

region twice a month and feed almost 3,000 people per day.

“Working with Yéle Haiti has allowed us to reach

out to some of the most vulnerable people in Haiti, namely the women and children

of Cite Soleil and Bel Air. We are therefore very happy about this new cooperation,”

said WFP Haiti Country Director, Mamadou Mbaye.

Yéle Haiti

is a U.S. 501 (c)3 organization. For more information visit

www.yele.org.

After Taxes

Artist: Sheek LouchTitle: After TaxesRating: 4 StarsReviewed by: Martin. A. Berrios

As one of the few rappers to step their lyrical game up each season, Sheek still needs to prove himself. As the third member of the LOX, he has always been in the shadows of his cronies Jadakiss and Styles P. Additionally, his 2004 debut Walk Witt Me fell on deaf ears. Now with a D-Block label deal in place and an album in the chamber Louch erases the third wheel stigma with a solid sophomore effort in After Taxes (D-Block/Koch).

Sheek delivers a potent intro with “Street Music.” He uses a catchy street affiliated roll call over light violins to set the stern mood. Sheek gets a little deeper “On The Road Again,” discussing his come up as a solo artist with a detailed break down of the last two calendars. Honest lines like “Dropped my album, did around 400/ I expected double, I guess they didn’t want it,” makes the track stand out amongst all the gat busting. The album’s stand out track is with out a doubt the “Kiss Your Ass Goodbye” remix. Red Spyda cooks up some chilling pianos and thick drums while Louch puts together an all star team of Fabolous, Beanie Sigel, and T.I. While all four MC’s go hard, Beans steals the show with thin veiled jabs directed to his former State Prop members. Other joints worth checking are the Tony Starks assisted “Movie N#####” and the fiery 50 Cent diss “Maybe I Should Sing.”

On an album that is fifteen tracks deep After Taxes shines. Aside from a few dull attempts (like the apology to the ladies he’s done dirty on “All Fed Up” and the three forgettable skits), Louch doesn’t disappoint the streets. This will definitely hold down any LOX fiends waiting for the next group installment.

The Warriors (Video Game)

Artist: Video Game ReviewTitle: The Warriors (Video Game)Rating: 4 1/2 StarsReviewed by: Boudreaux

The Warriors, the quintessential Hip-Hop flick with no actual Hip-Hop in it, save for a graffiti tagging character named Rembrandt. When word of its getting the video game treatment initially spread, a mixture of excitement and dread hit most aficionados of the classic B-movie. Thankfully, Rockstar Games spared no detail in bringing the The Warriors (Rockstar; PS2) video game to reality, impressively.

Game play is intuitive, especially for the millions no doubt familiar with past Rockstar titles like the assortment of Grand Theft Auto games. Players can choose to wreak havoc in Rumble Mode or play in the linear Story mode. You can also bop your way throughout the game while alternately playing as any of the Warriors; steady leader Swan, the brash Ajax, the doomed Cleon, etc. Although the game can be easily finished in a week’s time, if not less, the ability to replay levels and various side adventures maximize the games replay value..

Besides eventually replaying the events of the original flick, the game provides a nice back story to the origins of the Warriors gang and how they earned their rep on the streets of Coney Island. Late 70’s slang is thick with horny gang members freely relaying their desires for some new “wool” or calling those unfortunate to be left in their paths “wimps”. Side adventures like crossing out rival gang’s burners are another nice touch along with vintage images of NYC when it was truly the Rotten Apple.

With its “M” rating this game isn’t for the faint of heart (come on, the film was rated R) since what it lacks in gunplay it makes up for in lead pipes, machetes and baseball bats. After 25 plus years, The Warriors, in all its forms, still holds its rep. Come out and play.

T-Pain: Feels Good

As convoluted as the world of up-and-coming artists can be, there are a few standouts every year who get our attention. T-Pain hit the airwaves with the soothing, bass-heavy track “I’m Sprung”, and swiftly became one of the most talked-about artists in 2005. Hailing from Tallahassee, Florida – thus the name, which is short for Tallahassee Pain – the young rapper/singer/songwriter built his buzz from the streets to the pop scene in a matter of months.

While writing and performing with his rap group Nappy Headz, T-Pain was simultaneously recording his own special brand of songs. His mesh of Southern club sounds, classic soul, and heartfelt lyricism quickly drew people to his solo endeavors. Earlier this year, Tallahassee-based TJ’s DJ’s diligently worked the song “I’m Sprung” to their network of radio and club tastemakers, as T-Pain focused on pumping out new music.

After recording a fun remake of Akon’s “Locked Up” entitled “I’m F**ked Up”, it wasn’t long before Akon himself reached out to T-Pain. Akon signed the budding artist to his Konvict Music label, and distribution of the project was secured through Jive Records. After several weeks of solid play for the “I’m Sprung” single and video, T-Pain is ready to release his debut album, appropriately titled Rappa Ternt Sanga. AllHipHop.com Alternatives took a few moments out of T-Pain’s day in New York to talk about the passionate hustle that has set the pace for his new deal, his new marriage, and his entrepreneurial spirit.

AllHipHop.com Alternatives: You’ve been doing this for a while – you have a group thing and you have your solo thing. What was the process of building your buzz before the record deal?

T-Pain: It was a lotta local work, basically trying to work it around Tallahassee and spread it across. Then the right people started hearing it, and it blew up from there. Once Akon heard what was going on and he knew about the group, he was basically trying to make the situation to where we could work all that out between me and the group. As I was getting the deal done I was still working locally. Nothing was popping at the time, but I could tell that when something got popping I had to keep working as if nothing was happening at all. Basically it blew up from there, and the grind didn’t stop when I did get signed. I’m still grinding right now.

AHHA: How did your situation with Jive come about?

T-Pain: It was basically a deal between Akon and Jive, I get distributed through Jive and I’m signed to Akon’s label. Jive does marketing, promotion, etcetera.

AHHA: The song ‘I’m Sprung’ has been out for a while, and it was actually spread throughout the Southeast first. The DJ’s helped build a buzz on it, but there were a lot of people who admittedly slept on the song. How does it make you feel to have people come back and say, ‘Wow, I slept and I shouldn’t have’?

T-Pain: It makes me feel good, because I like to prove a point. When people see me they’re probably like, ‘You’re a rapper, we know you’re not singing this song’. Then I perform in front of them and they’re like, ‘Oh, okay you can do a little something.’ So it makes me feel good to show people how everybody’s judged – and to come back with such a strong statement actually feels great.

AHHA: How do you feel about people comparing you to Pretty Ricky?

T-Pain: That feels great, them ni**as blowing up! [laughs] Them my dogs too and we’re all from Florida, so when they made that connection that made me feel good. That just let me know that everybody sees that Florida is doing something and you just gotta check that out.

AHHA: Speaking of the Florida scene, while you have a certain degree of competition, it seems to be very insulated. The scene supports itself and you can actually sell records in Florida and have a name. Tell us a bit about the scene and your thoughts on it.

T-Pain: It’s kinda hard to come from Florida and be accepted by outsiders, but everybody from all of the colleges are outsiders in Florida. So once that word gets around Florida then it’s easier to spread from Florida. If you’re in New York, the word is gonna stay in New York. But if you’re in Florida, that sh*t is gonna get everywhere.

AHHA: How do you deal with the stress of traveling, performing, shooting your video, and staying in the studio with this being relatively new to you from just doing local stuff?

T-Pain: It’s not really stressful. People that say it’s stressful want to sit back and make money. I’m not in it for the money, I’m in it because I want people to hear my music and I wanna get in the studio and make more music. That’s the best part of this whole thing for me. I’m a creative type of person, so I want people to hear my creativity and just get my type of music out there. At first I didn’t think anybody would like my type of music, that’s why I stuck with the rapping thing. When people started letting me know that this might be some new sh*t I just let that flow.

AHHA: There are a lot of people that would say, ‘Wow you’re bringing back that Roger Troutman thing, you’re bringing back that ‘70s kind of electronic vibe to the music.’

T-Pain: They would say that because of the voice, but as far as style of the music it’s brand new sh*t. They say that because of the effect on the voice – but the song, ideas and things of that nature are completely different.

AHHA: Who are your biggest influences in music?

T-Pain: The people I liked were Cee-lo, Andre [from Outkast], Devin The Dude, people like them. Devin The Dude stays getting slept on, that’s my favorite artist of all time. It’s just on some different sh*t, not even saying that I’m the best motherf*cker in the world, but still the people that they’re sleeping on are doing the same things that I’m doing. Devin The Dude raps and sings, Andre raps and sings, Cee-lo raps and sings, and all of them come with some different sh*t, so I’m tryna do that same thing.

AHHA: Let’s talk about the album that you’re working on right now. What would you consider the genre of music that you do and the mixture of music? How do you present it to the public?

T-Pain: I try not to present it to the public, I give it to the public and let them think what they think. I try not to force it like, ‘This is my R&B album, this is my Hip-Hop album.’ I let them decide, that way they let me know which way to go, what they wanna hear – if they accept it or not and should I keep doing this.

AHHA: What kind of production and guest spots can people expect on the album?

T-Pain: I pretty much produced the whole thing. I got Bone Crusher, Styles P, Akon, Chris Brown, Mike Jones, and [Young] Jeezy.

AHHA: There’s a remix of ‘I’m Sprung’ out with Stat Quo and one with Young Jeezy – is one official and the other not?

T-Pain: They’re both official. Whichever one you want to listen to is the one you need to go and get.

AHHA: Do you play instruments?

T-Pain: I’m working on the guitar right now and I d##### on the piano, but I ain’t really no pianist.

AHHA: Do you have plans to bring forth the Nappy Headz?

T-Pain: Definitely, I’m starting up a label Nappy Boy Entertainment. Basically I’m the Nelly of the group right now, they’re the St. Lunatics.

AHHA: What can people expect from you in the next few months?

T-Pain: A lotta features and production, just helping everybody else out. I got a track on Charlie Wilson’s album called ‘You Got Nerve’ featuring Slim Thug, I wrote and produced that. I did something for Trillville, Akon’s first single for his next album, 3LW, Juvenile, and Big Boi from Outkast.

Chris Rob: Ready For The World

Chris Rob’s resume reads like a compilation of the best in popular music. He has performed with powerhouse artists including Stevie Wonder, Prince, Roberta Flack, Aretha Franklin, John Legend, Lauryn Hill, and Jill Scott, to name a few. While his piano playing ability is an industry standard, Chris Rob says he is ready for people to recognize him for more.

With a sound that encompasses a blend of rocker Lenny Kravitz and old soul James Brown, the Chicago native took that influence to the Chicago Musical College at Roosevelt University to earn a degree in Music Business. Yearning for the spotlight, Chris Rob decided to compile old, new, studio-recorded and live music. In 2003, he released The Official Bootleg of Chris Rob, Vol. 1, thinking only of attaining local acclaim. Eventually, international deejays began hitting him up, and now more than 70 countries are still spinning his debut.

His behind-the-scenes work has varied from being a music director for Alyson Williams and Meli’sa Morgan, a keyboardist for Swizz Beatz, and singer opening for Black Eyed Peas and Kanye West. The buzz he’s receiving isn’t bad for a kid who used to be scared to take center stage. Sailing on his underground success, 27-year-old Chris Rob is touring the U.S. before embarking on a tour in South Africa. In this exclusive interview, he tells AllHipHop.com Alternatives about the feeling behind his music, the benefits of not being a college drop out and how Chicago inspired him to be more than a typical R&B cat.

AllHipHop.com Alternatives: Most singers from Chicago have a smooth, R&B-type vibe. How did you develop the sound that you have?

Chris Rob: I grew up just listening to everything, you know. I’ve always been more of a musician, mostly a keyboardist [because] that was my first instrument I focused on. That added to the so many different types of music. I was playing Jazz, playing Gospel, Funk and Hip-Hop, playing House music here in Chicago. My sister used to play Prince. My father used to play James Brown. The mix of that music kinda moved me vocally. Even though I love legends like Luther Vandross, Jodeci and groups that came out of that vein when I was a kid, I was still kind of drawn back to the stuff of back in the day.

AHHA: Does being a non-traditional-type R&B artist make it harder for you to get out there?

Chris Rob: I wouldn’t say that, because people who love music love all kinds of music. People that buy my music appreciate it for what it is. I feel like every artist should be a little different and not just stick to one category. If I was just one person who sounded like a lot of people, I think it would be more difficult to get out and do the kind of music that I want to do in this format. I do music where I can bring live instruments to the stage, I can incorporate Jazz, I can incorporate Gospel. People hear it and they talk about it because it’s something unique…it’s coming back but it’s still rare among musicians and singers today.

AHHA: On your CD I noticed a whole different vibe with the live cuts versus the studio-recorded songs. What’s the difference between performing in a studio and on stage?

Chris Rob: It’s like night and day. In the studio, you’re by yourself and on stage it’s straight live. It could be three people or 3,000 people, but they’re sharing the moment with you. So it definitely hypes you up. But I don’t think it’s that much different to me, personally. When I listen back to it, especially the songs I chose to do live, ‘Said You’d Never Leave Me’, the same spirit is coming out it’s just more hyped. In the original recording we had minimal rehearsal. If you listen to it, there are different mistakes that the bass player made, and the keyboardist. I didn’t even know the band that played that, but I thought it was hot. That’s the beauty of live performance – you never know what you’ll get.

AHHA: When did you know you were a singer?

Chris Rob: Wow, that’s something I kinda learn everyday, over and over again. Growing up, I sang everyday. I was mad shy because the piano was like my first forte. I used to really hide behind the piano, and I kept getting stuck there. I had to grow more and more confident over the years.

AHHA: So did you start getting out there and getting over your shyness?

Chris Rob: I started going to college when I was 16, and I started focusing on being an artist. I’m an emcee as well, so I just wanted to incorporate all of that…Hip-Hop, singing, playing instruments and a lot of elements. I always wanted to do that, and I really pushed myself to do it. As a soloist, I never started jumping up on stage until I was like 18. I used to get shot down, because I was so shy about my vocals, I would never really go for it like I should have. Over the years, I had to grow and I met people who really pushed me to another level. Especially when I got to New York, it was like a training ground. I got booed and got laughed off the stage. Then there were times when people gave me a lot of love. But I kept on doing it until I got to the point I am now.

AHHA: I’m not sure too many artists now have degrees…

Chris Rob: Me either. [laughs]

AHHA: How does that help you as an artist?

Chris Rob: It helps me with my game plan a lot more. I have a little more information and more knowledge on how to use that information. So, I guess on the business end I know how to handle more stuff. As an artist, if you don’t know how to handle your business, you’re going to end up getting screwed, for real. If you can’t handle yourself and your business, you’re out of luck. Knowing what to do with my money has really allowed me to focus on how to market myself, how to promote myself, how to present myself to any person in any industry. I’m respected as an artist and a businessperson.

AHHA: You’ve performed with a lot of people, what have you learned from those experiences?

Chris Rob: I have this thing that I think artists and musicians are really powerful. There is a certain type of energy that comes across when you meet them. That’s why people are drawn to rock stars. I try to grab that from certain people. I’ve worked with some of the greatest musicians you can work with in the industry. If you get a chance to see how people get down, and not even how they are as musicians but how they are as a person and how they treat other people; that has helped me out a lot. It has helped me to be more at ease when I bring my music to the stage or to the studio. I really relax and let the music flow out of me.

When I worked with Lauryn Hill – that was probably a perfect example. She knew what she wanted, and she knew how to tell you what she wanted. She sat me down at the piano and told me how she wanted me to play this one song, told me all the different elements she wanted me to put in. And at the same time I felt like I just flowed through it when I was sitting in the studio with her, man it was crazy. You learn how to get that flow from a lot of artist.

AHHA: Tell us a little bit about the process of putting together the album.

Chris Rob: When I put together the Official Bootleg, that was just different stuff I was working on in the studio, here and there. Some of it I did in my bedroom in my parents’ house. Some of it I did when I was living in the Bronx… living in Brooklyn. I really didn’t know I was about to put out a CD. What made me want to do that is, I got a hold of Dwele’s first bootleg, and that really inspired me. He had an underground vibe, and it was making noise. I wanted to get my music out like that as well, but you never know how music gets out there. If I had to do that over again, I probably would have done the same thing, but I wonder how much more focused I would have been if I knew how many people around the world would hear the CD. I was kind of thinking that people in New York and Chicago would hear it. I wasn’t thinking in the long run, I just wanted to get it out.

AHHA: What is your reaction when people from other countries know all the words to your songs and are big fans of your work?

Chris Rob: That’s a trip. When people say they felt it, I guess I’m not shocked that they felt it, because that’s what it was. I felt it. I put it out and I liked it. I guess it’s more knowing that people overseas…people in Australia have been checking it out, London, Norway, Amsterdam…will come up to me with my CD wanting autographs. It’s really cool and I’m thankful of that.

Diplomats Win Group Of The Year At Vibe Awards

Harlem, New York rap

group The Diplomats were named Group of the Year at the Third Annual Vibe Awards,

which was taped last night (Nov. 12) in Culver City, California.

The group bested nominees Destiny’s Child, 112, The Black

Eyed Peas and The Ying Yang Twins.

The evening was hosted by actor Anthony Anderson and actress

Tracee Ellis Ross.

Mariah Carey was the evenings biggest winner, taking home four

Vibe Awards for her album, The Emancipation of Mimi.

Kanye West’s sophomore album Late Registration earned

him Best Rapper.

Kevin Liles, T.I., Ludacris, The Game, Damian “Jr. Gong”

Marley, R. Kelly, Amerie, Kimora Lee Simmons, Ciara and others were among the

evening’s winners.

Mary J. Blige was honored with the Legend Award.

The Third Annual

Vibe Awards air on UPN Nov. 15.

Chamillionaire Auctions Day On eBay

With his major-label

debut The Sound Of Revenge set for release on Universal Records, Chamillionaire

is offering a fan a chance to spend his debut album release day with him.

Universal Records, in conjunction with eBay, is offering the auction winner and

one (1) guest to accompany Chamillionaire as he promotes his new CD across the

city of Houston, Texas.

The promotional events include a brief lunch with Chamillionaire on 11/21/05,

as well as, escorting the Houston native to several in-store signings on 11/21/05

and 11/22/05.

The winner will also help Chamillionaire celebrate The Sound

Of Revenge at his album release party at a surprise location on 11/22/05.

An ex-member of Houston’s legendary Swishahouse, Chamillionaire and former friend

Paul Wall, started a group known as the Color Changin Click.

Their first album, Get Ya Mind Correct, was nominated

for Indie Album of the Year in The Source Magazine.

The acclaimed release went on to sell over 100,000 copies independently.

Known as the Mixtape Messiah, Chamillionaire recently made national news when

he remixed his Scott Storch produced single, “Turn It Up” to pay

homage to the Astros and their first World Series appearance.

The remix, "Turn It Up Astros," was quickly placed

into heavy rotation at the Astrodome and became a top requested song in Houston.

The Sound Of Revenge features Bun B, Scarface, Lil’ Wayne, Lil’ Flip,

and Krayzie Bone, with production from Mannie Fresh and Cool & Dre among

others.

Chamillionaire’s The Sound Of Revenge is due in stores

November 22.

For more information

on “Spend the Day with Chamillionaire” log onto eBay.com.

International Beef Heats Up Between Rhymefest & Dipset’s S.A.S.

The Dec. issue of U.K. hip-hop

magazine Hip-Hop Connection has caused a stir within the UK Hip-Hop scene.

In an interview with the

magazine – which features 50 Cent on the cover – Rhymefest has words for North

London rap group S.A.S., labeling the group’s career as "all an act.”

In the same issue, Dipset

CEO Jim Jones took aim at Rhymefest’s Chicago associate, Kayne West and

his choice of clothing.

“Man Kanye’s

spaced out,” Jim Jones told the magazine. “That s**t aint right

what he be wearing. That s**t be borderline h###. I can still fit 20/30 thou

[sand] in one jean pocket, he can’t fit two singles in his.”

And Rhymefest, signed to

Mark Ronson’s Allido Records, offered words for "those UK rappers

who signed with Damon Dash…they aint even f**king representing the UK!"

Rhymefest concluded

the interview by applauding Dizzee Rascal and Tyas, calling the rappers more

creative. "That’s why with S.A.S., I can’t give a f**k!"

The North London rappers

have responded to AllHipHop.com about the article and claimed that the Chicago

rapper dissed them on a previous mixtape making the rounds.

"Rhymefest has been

told to say what he said because of marketing,” group member Mayhem told

AllHipHop.com. “He doesn’t realize what he says will get him f**ked up

in the UK. This is not a game. I rep the street. Just because I don’t go down

the pub and eat fish and chips, it doesn’t mean I’m not from London. Rhymefest

has no idea!

Mayhem said that Rhymefest’s comments have infuriated him and group member

Mega and warnings have already been issued to the rapper from across the Atlantic.

“How dare he come

to my city and diss me to a UK magazine! I see him when I go to Chicago, New

York and around London. When I see him next time, I’m gonna f**k him up! He’s

been around since 1991? And we only started hearing about him now? He’s over!"

S.A.S. signed with Cam’ron’s

Diplomat Records Europe imprint in 2002 but confusion arose when Damon Dash

held a press conference for the group in Jan. of 2004, implying they were signed

to Roc-A-Fella Records, which Dash was running at the time.

The group skipped the press

conference, making international headlines.

“We have

been doing music since 1998 and [have] grown up on the streets most of our lives.

Everyone from Marcy projects to Harlem knew us as ‘the boys from London

while we were in the United States. Did I change my accent to American? No!"

Last Monday, S.A.S. released

their mixtape album Streets or Salute which features Cam’ron, Nicole

Wray Juelz Santana and UK female rapper, Baby Blue.

Lil’ Flip Talks New Album, Signs Sqad Up

Houston’s Lil’

Flip recently released his new single "What It Do" from his forthcoming

album, I Need Mine.

The new single is produced

by former Cash Money Records producer Mannie Fresh, who concocted a unique track

that Flip feels will be another sure-fire hit.

"I wanted a song with

energy, the way ‘Game Over’ has mad energy and the crowd goes crazy,"

said Flip. "Fresh laced it up like he does, we did the hook and I did my

thing. This track is like Magnolia meets H-Town. Some real hood to hood type

s###."

According to Sandy Lal aka

“The Synphony” (Flip’s advisor, manager and producer), the pairing

of Manny Fresh and Lil’ Flip is a monumental event.

"The whole Texas/New

Orleans connection is strong, but nobody has actually ever done it on a large

scale,” Lal stated. “The king of Houston hooked up with the king

of N.O. and it’s nothing short of great."

I Need Mine

will feature guests like Nate Dogg, Lyfe Jennings as well as production from

the likes of Scott Storch, Salaam Remi, Mannie Fresh and others.

Lil’ Flip has also

made waves with his recent signing of New Orleans rappers Sqad Up to his Clover

G Records, and the launch of his own beverage line called Lucky Nites.

For everything

Lil’ Flip related visit www.lilfliponline.com. I Need Mine hits stores

Dec. 27.

BEP Playing NY Eve Bash, Fergie Starring In Sopranos Episode

The Black Eyed Peas are scheduled to perform at the one of the

world’s largest 21-and-up New Years Eve bashes, "Giant Village 2006."

Going on its sixth

year, "Giant Village" is returning to Wilshire Boulevard in downtown

Los Angeles.

After last year’s

sold-out event, the party will be expanded by two blocks, for an even bigger

and better celebration that equals roughly six blocks.

Over 15,000 people expected to attend the event, which will also include performances

by Junkie XL, Z-Trip, Death Cab for Cutie and others.

Giant Village will donate a portion of its proceeds to the American Red Cross

and to Chrysalis, a non-profit organization committed to helping the economically

disadvantaged and homeless become self sufficient through employment opportunities.

Since its beginning, Giant’s celebrations have generated over $300,000

for various Los Angeles based charities.

In related news, Black Eyed Peas singer Fergie has been tapped to star in a

remake of ’70s disaster flick "The Poseiden Adventure" with Kurt Russell

and an episode of the HBO series, The Sopranos.

Beanie Sigel’s Finances Scrutinized In Court

After being jailed

for non-payment of child support, Beanie Sigel was released within an hour of

posting more than $27,000 in back child support and $2,000 in fines yesterday

(Nov. 10).

The Philadelphia Weekly reports that Sigel seemed almost entirely

unaware of his own financial status, and the rapper claimed to have made little

income from his movies, music or clothing line.

Early Thursday morning, Sigel was called to the stand to testify

about his financial status.

The rapper, who is currently on probation for a gun charge possession,

claimed that he had little to no income over the past three years.

For instance, when queried about his earnings from his State Property clothing

line that he said is valued at over $20 million; Sigel reported that he received

no income in 2004 or 2005.

Sigel also revealed that he only owns a 20 percent stake in

the clothing line, and his deal calls for him to receive just one-fifth of 10

percent of the profits his gear yields.

In addition, the Philadelphia MC testified that he made little money off the

"State Property" and "State Property II" films.

He reported that he received SAG (Screen Actor’s Guild) wages,

which amounted to a $100 every couple of weeks. He also indicated that he only

made about $100,000 off his music in 2005.

After testimony ended, Sigel attempted to make a good faith payment of $8,000

to avoid being jailed by Judge Leonard A. Ivanoski until April 2006.

The offer was rejected and Beans was sentenced to two concurrent

six-month prison terms. The Judge noted that if Sigel could pay the amount owed,

plus court fines, he would be set free.

After sitting in jail for an hour, Sigel posted nearly $29,000 and was released

from jail.

In December 2004, Sigel was also ordered to pay a $25,000 fine

related and sentenced to one year in prison on gun possession charges.

He is currently

serving two-years probation for that charge.

50 Cent Movie Pulled From PA Theater After Fatal Shooting

A man was shot and

killed Wednesday night (Nov. 9) at the Loews Waterfront movie theater in Homestead,

Pennsylvania, after viewing 50 Cent’s new movie, "Get Rich or Die Tryin’.

"

Shelton Flowers, 30, was shot after a confrontation between

him and three other men in the movie theater’s bathroom.

According to reports, Shelton had just left the 9:00pm showing

of 50 Cent’s semi-autobiographical film.

Flowers was shot in the thigh and chest and died later at UPMC

Presbyterian hospital.

The three men fled and witnesses have yet to come forward despite

a sizable crowd for a Wednesday night.

An off-duty officer was in the building, but the assailants

were able to escape when Flowers collapsed in front of the officer.

The movie has been pulled from the Waterfront Theater until

homicide detectives complete their case.

“This isn’t the first time violence broke out at [that]

Loews’s theater,” a local resident told AllHipHop.com. “If you ask

me Loews doesn’t have enough security for the neighborhood it’s in. It’s

sitting right in the middle of three different hoods. Rankin, Braddock and Homestead…I’m

not a 50 Cent fan, but they shouldn’t ban a movie just because violence broke

out. They should do a better job of overseeing a safe and fun environment.”

Advertisements depicting 50 Cent holding two guns caused outrage

in several U.S. cities before being released.

Billboard advertisements were pulled in various cities, including

Los Angeles and Philadelphia.

In related news, Mike Navarre, the police chief of Toledo, Ohio

asked the National Amusements movie theater chain to pull the movie as well,

fearing the flick could incite more violence.

Last month, a riot broke out in the city over a planned neo-Nazi

march, which was canceled. The movie chain denied Navarre’s request but said

they would not show the movie at any of the midnight showings.

Navarre said there

would be extra security during the film’s showing.

Robert Simels: A Case For Murder Inc.

New York criminal

defense attorney Robert Simels is a legend in legal circles for having represented

everyone from Southeast Queens drug kingpin Lorenzo “Fat Cat” Nichols to mobster

Henry Hill, the real-life mobster who was the inspiration for Goodfellas.

Until recently,

he was also the attorney for Kenneth “Supreme” McGriff and he spoke exclusively

with AllHipHop.com about the government’s case against Murder Inc. Like Raekwon

and Ghost, AllHipHop delves into criminology.

AllHipHop.com: Can you tell me why you’re no longer representing Supreme?

Robert Simels: I can’t comment on that. There are a variety of factors.

AllHipHop.com: Are you still in touch with him? What are his spirits like?

Robert Simels: We’re in touch, yes. He’s not doing too badly. It’s hard, obviously,

when you think you’re innocent, to be sitting in jail. But he feels he’ll have

his day in court.

AllHipHop.com: I’m wondering what you think of the recent release of the pager

transcripts between Supreme and Irv and Chris?

Robert Simels: It’s much ado about nothing. When you read the conversations

in their entirety, all that’s being conveyed by Mr. McGriff, is that he wants

to make sure a proper investigation is conducted and that there are sufficient

funds for his defense. But when you read the sections that the government released,

it seems much more sensational.

AllHipHop.com: I’m glad you mentioned Supreme’s funds because his attorney just

filed a document claiming that he is indigent and needs a court appointed attorney.

Robert Simels: I heard about that. It will be interesting to see if the government

opposes that position.

AllHipHop.com: Why would they oppose that claim?

Robert Simels: Because the concept of the current prosecution is that Mr. McGriff

has vast assets at his disposal which he was able to launder. I guess the government

could claim that he spent all his money, but that seems like a stretch.

AllHipHop.com: Let’s talk about the government’s case against Supreme and Murder

Inc. It seems like the government started out with the idea that they had a

vast drug trafficking conspiracy between Murder Inc. and Supreme, but ended

up with a narrow money laundering case against the label…

Robert Simels: Generally speaking, the government tends to look at the larger

picture at the beginning of a case, and then narrows down to something much

smaller. You’re seeing that happen in Washington right now [with the indictment

of Dick Cheney’s chief of staff I. Lewis Libby on obstruction of justice charges

related to the leak of CIA agent Valerie Plame]. The initial allegations in

the Murder Inc. search-warrant in 2003, spoke of a much larger claim-but they

ultimately narrowed the case down to a much different picture. They started

out saying that Mr. McGriff was the funding agent for Murder Inc., and now they’re

saying that he laundered some money through a movie [Crime Partners].

AllHipHop.com: But in a recent filing the government seemed to stand by its

claim that Supreme funded Murder Inc…

Robert Simels: That position is at odds with the forensic evidence. Murder Inc.

undertook an extensive forensic audit of their financial records, which took

over two years and that is not what they found.

AllHipHop.com: Speaking of claims that seem hard to justify, it’s difficult

for me to understand how the government can make claims-that Irv and Chris put

50 Cent under surveillance and that Supreme had 50 shot in 2000-yet not actually

charge these individuals with crimes related to those allegations.

Robert Simels: The government does this quite frequently. The rules of the grand

jury stipulate that the government can investigate all rumor and innuendo to

see if someone has committed a crime. If the rumors do not prove to be true,

and the person is not charged, then the government’s stance is, “Well, if you

didn’t get charged then you ought to feel happy.” Obviously, the persons besmirched

by such allegations do not feel that way.

AllHipHop.com: Is there any legal recourse for Irv and Chris to rectify the

record when it comes to these allegations?

Robert Simels: It’s hard. You have to prove that the government made the claims

maliciously and with malevolence. That’s a very high standard to prove for a

public official. And once a grand jury returns an indictment [as they did in

the Murder Inc. case], it’s almost impossible to sue a prosecutor. The government’s

claim is that the grand jury confirmed the prosecutor’s intentions.

AllHipHop.com: Yet in a recent filing with the US Attorney’s office Irv and

Chris’ attorneys argued that the judge should throw out all evidence related

to the search of Murder Inc’s offices because the search was based on incorrect

information in the original search warrant affidavit.

Robert Simels: Well, I’m sure the government’s take will be that the general

overview of what was in the affidavit was believed to be true. They might admit

that mistakes were made but they’re going to argue that those mistakes shouldn’t

matter because they acted in good faith.

AllHipHop.com: If you were acting as Irv and Chris’ attorney, would you make

a big point of bringing the government’s mistakes to the jury’s attention?

Robert Simels: I’d never second-guess strategy by Gerald Shargel and Gerald

Lefcourt-they’re great attorneys. But this is certainly something that has been

on mind since the beginning of the investigation: how many times government

made statements that were clearly erroneous, and how we could use those statements

in court.

AllHipHop.com: Pulling back a little bit: the government claims that the Murder

Inc. case has never been about Hip-Hop or the Hip-Hop industry. What’s your

view?

Robert Simels: That would not be my view. It’s always been about the Hip-Hop

industry. In this particular case, prosecutors talked a lot about the language

of Rap recordings, or they would take an interview where Irv Lorenzo said how

much he cared for Mr. McGriff, and use that as evidence that he used Mr. McGriff’s

reputation as ‘muscle’ in the music industry.

AllHipHop.com: Could the government introduce Hip-Hop lyrics as evidence in

this trial?

Robert Simels: I could envision a circumstance where that would be relevant.

Certainly, the number of times where Mr. McGriff is referenced in songs is worth

knowing. So, the answer is: possibly.

AllHipHop.com: You’ve represented Supreme, Lorenzo “Fat Cat” Nichols and Thomas

“Tony Montana” Mickens. Why do you think they’ve turned into such a major reference

point for rappers?

Robert Simels: During the 1980s, these men made a historic impact on their neighborhoods.

When I say ‘historic,’ by the way, I don’t mean good. But it was historic nonetheless,

and now they have become mythologized. So now rappers use these names from the

1980s to advance their own careers. Some have criticized this, but I’m sure

if you asked Mr. Jackson [50 Cent] he’d probably say that he’s making 50 million

a year this way, so it doesn’t matter.

AllHipHop.com: I’m glad you brought up 50. There’s been so much speculation

about his possible role as an informant in the Murder Inc. case. What’s your

take?

Robert Simels: It’s hard to say. But looking at documents, there are some documents

where the government does seem to be relying on his lyrics. And when the feds

interviewed him he said, “Read my lyrics.” So, was he a source? I don’t know.

His lyrics could have just been used by a misguided IRS agent.

AllHipHop.com: Do you think 50’s constant referencing of Supreme in his songs

helped put Supreme back on law enforcement’s radar after he was released from

prison in the mid-1990s? Or do you think the government never took their eyes

of off him?

Robert Simels: I think one driving factor behind this case is that the prosecution

and various law enforcement agencies were very unsatisfied with the sentence

I negotiated for Supreme in the late 1980s [Supreme received 12 years in prison].

Sadly, I think that in the end, Mr. McGriff would have been better off serving

a longer sentence; maybe he wouldn’t have been subjected to all this.

AllHipHop.com: Will Hip-Hop execs take a much more cautious approach in working

with former street guys if a guilty verdict is delivered in the Murder Inc.

case?

Robert Simels: That’s way too speculative a question. I’m hopeful that Irv and

Chris will be acquitted. I don’t know why anybody would reject someone just

because of their background. Everyone is entitled to make that jump to a legitimate

life, right?