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Chris Brown: New Kid On The Block

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

While waiting for a lift in the Manhattan offices of Jive Records, Chris Brown is openly singing to himself, taking little notice of those around him. The singing is sensational, and he is obviously confident, but the song isn’t his; it’s Usher’s “Nice & Slow”. Although it’s safe to say there will never be another Usher, the comparisons have haunted Chris Brown since the video for his new single “Run It” dropped a little less than a month ago. Will this 16-year-old R&B singer and dancer be able to step out from the shadow and carve his own niche?

Former Def Jam A&R Tina Davis (Dru Hill, DMX) seems to think so. After Chris Brown, a Virginia native, auditioned for her and Def Jam Chairman LA Reid in New York, there was obviously something about him that made Tina believe. So much so, that when Chris asked her to become his manager, she agreed, and within months of moving from Def Jam to Jive, she found him a home at the label too.

But as we all know getting signed hardly equals success. Not even close. Just take a look at all the R&B one-hit wonders that have come and gone throughout its musical history. And today the grind is even harder, with the extra pressure of selling units (Soundscan) and the increasing number of urban acts being pushed out by major labels like canned soup from a factory. So what will it take to differentiate Chris Brown from the other R&B artists? And will he be able to sustain a career in this fickle industry? Allhiphop.com Alternatives speaks directly to the teenage heartthrob as he prepares to drop his debut album.

Allhiphop.com Alternatives: Tell us how you got started?

Chris Brown: Well actually I started with a small production team out of Virginia and they took me to New York. Within a span of two years, I was working with them and another production team in New York. I was 14 at the time.

AHHA: How did you get in touch with the first production company from Virginia? And how did the process of getting signed take place?

Chris Brown: Actually they met my father at a gas station and they said they were looking for talent. From there they hooked me up with some writers and took me to New York. I was in New York for a year and half and one day they were like, ‘Yo Chris we got a meeting at Def Jam!’ I went and performed for Tina Davis and LA Reid, who wanted to sign me on the spot. But soon after Tina got sprung from Def Jam, so I asked her if she wanted to be my manager. She accepted and she took me to Warner Bros, Atlantic and Jive. All of them gave me deals but we picked Jive.

AHHA: Was there ever a moment, between those deals, that you thought maybe it wasn’t going to happen; maybe you would have to go back to Virginia?

Chris Brown: Not really. I doubted myself but I never fell back or took steps back. In my head it was always about taking steps forward, taking it higher and higher.

AHHA: Did you experience a culture shock when you came from Virginia to New York?

Chris Brown: When you come to New York for the first time, you really have to get accustomed to it because everyone is not the same. They’re rude up here! You have to get used to that and never think somebody is going to be nice to you all the time. So when I came up here for about a year, I got ‘real’ the New York way, and just stayed to myself and did what I had to do. I tried to grind out and do my music. I really wasn’t shocked at the way of New York; it is what it is. It was still enjoyable.

AHHA: Let’s talk about some of your critics. Now that your first single is out, what would your response be to some of your critics who say Chris Brown is trying to be like Usher or that ‘Run It’ is an average single?

Chris Brown: I would say my style isn’t like Usher. They make the comparisons because we both sing and we both dance. But if it was any other R&B singer/dancer that did the same thing that I did or that Usher did, they would be comparing them to us. And they would be comparing me to them, just as well. I’m doing my thing- Chris Brown- and Usher is doing his thing.

AHHA: Tell us about the new single ‘Run It’. How did the collaboration with Juelz Santana come together?

Chris Brown: Actually when we first recorded it I really wanted to base it around me. I didn’t want to have a rapper on it. I sat on it for a little while and my manager suggested that I should get a rapper on it. We were debating on who it should be and I was already a fan of Dipset. So within the next week we got Juelz on it and he just murdered it. He did his thing.

AHHA: Tell us about the album.

Chris Brown: The album comes out November 29th. We’ve got a lot of hot new producers on it as well as Scott Storch, Cool & Dre, R.Kelly, and Jermaine Dupri. Over five or six months we recorded almost 50 tracks. The album basically consists of [roughly] 15 of those songs with a mix of up-tempos, mid-tempos and ballads. Usually it takes a long time for you to get that hit but the beats were so hot, the hits just kept coming and coming. I’m really excited.

AHHA: How do you describe your style?

Chris Brown: My style is based around Hip-Hop but my singing comes from R&B. I’m influenced by both. I like Rakim and Run DMC. As far as new school I love Lil Wayne, T.I, Young Jeezy, and Dipset. And as far as R&B, it’s Sam Cooke and Michael Jackson.

AHHA: Do you rap?

Chris Brown: Sometimes I like to do a little something but I’m not the one that’s going to put a whole 16 on a track! I play around with it but my style is very old spirited R&B.

AHHA: What’s been the craziest experience since you’ve become recognizable?

Chris Brown: The craziest experience is really just seeing how fans appreciate me. They bug out like, ‘Wow that’s Chris Brown’. I’m just a kid from Virginia and they’re going crazy over me? It doesn’t go to my head. I really appreciate my fans and I try to go to my message board as much as I can and sign as many autographs as I can. This has really been a dream of mine.

Cruna: Life On The Outside

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

With a stage name like Cruna, Ke.Anthony Dillard better know how to sing. His single “Take Me Higher” is a calypso-tinged ditty about love and happiness. But times weren’t always so cheerful for one of the newest R&B crooners with a throwback style.

Cruna was raised in a family full of Gospel singers. Despite the message in the music, he turned to selling drugs, ending up in prison on robbery charges for almost eight years. Immerging with fellow inmate and childhood friend Jasper “Jazz” Howard, founder of independent label Crosstrax Entertainment, Cruna became the flagship artist on the label. Though other labels like Def Jam, Arista, and Derrty Entertainment courted Cruna, Warner Bros. finally offered he and Howard the distribution deal they couldn’t refuse.

His full-length album A Hustla’s Love Story, is slated for an early 2006 release, and is full of songs about the joys and pains of everyday relationships. Not to be confused with the typical R&B bad boy, 29-year-old Cruna has a respect for the old school and responsibility for the baby-making music he makes. Cruna’s song “It’s Okay”, written by Mike City, was chosen as the YWCA national anthem for their “Single Parent Initiative”.

Things are looking good for Cruna as industry heads swoon over the possibilities of his music career, instead of his family worrying about his survival on the streets. Cruna explains to AllHipHop.com Alternatives the passion of Gospel, the hell of prison and why he never says ‘I love you’.

AllHipHop.com Alternatives: What influenced you most about coming up singing in church?

Cruna: The first thing I can say inspired me, I was 10 or 11 years old, and my parents had a gospel group called the Gospel True Notes. They let me sing one time, and there was this old lady in church, I was singing and she had her head down. When she rose up I saw tears in her eyes and she got up and started shouting. I felt so good, like I had something. There was more competition in my house than anywhere else, so that inspired me to keep in going.

AHHA: What was it about church that made you want to turn to secular music?

Cruna: I wouldn’t say church bored me. It just wasn’t enough. I felt like there was something else out there for me. I didn’t know exactly what it was. Because I was young, I kind of thought it was the streets. Selling drugs and robbin’ ni**as led me to the penitentiary. I did seven years and two months; I went in at 17 and got out at 24. The last two years of that prison term, my business partner Jasper “Jazz” Howard he’s the CEO of our label Crosstrax Entertainment, he said ‘look man everybody knows you can blow, don’t go out here and get in any more trouble’. He had his s### together, so I put my trust in him. It’s like we were in hell, people don’t have Godly things in hell. I look at what he said to me as Godly…look at where we are now, seven years later.

AHHA: What was your family’s reaction to you turning to the streets and ending up in prison?

Cruna: My mom was my mom. My dad was more like ‘you screwed up’. My dad is my hero. My dad went from a drug dealer to a stand-up citizen. He told me I was growing up, trying to find my own path as a man. He told me he didn’t think it was the right path for me. He said he sold drugs to make sure the family was cool, but I was doing it for all the wrong reasons. I think selling drugs period is dumb now. My pops is my hero.

I got a group of people around me that our genuine. I got people around me that I need around me, not people that I want. I got people that I need around me, and that’s what inspires me the most.

AHHA: Did you write a lot of music while you where in prison?

Cruna: I did an independent project that was called A Hustla’s Love Story when I got out of prison. Half the album was written in prison. A couple of those songs are on the upcoming album. “Call Me” and “Summer Breeze” were independent songs that I put out that made it to the album.

AHHA: How was everyday life in prison?

Cruna: Being in prison is hell. I’m on a compound with 2,000 men that have no hope for the future. So it was tough. I’m a little ni**a. I’m 6’2, 191 pounds [laughing].

AHHA: Tell me about the album? What kind of feel were you going for?

Cruna: What I’m trying to do on this record is trying to keep the legend of soul going, through the pioneers. The Bobby Womacks, the David Ruffins; because that is how I classify my voice. Its kind of light but it’s raspy, you know. I just want to keep that legend going in the writing and the word play. Smokey Robinson is my favorite writer, him and Lionel Richie. They wrote songs that the whole world sings. That’s what I’m trying to keep going. I don’t want to say on this album ‘I love you.’ I want to give you the reasons why. On this whole record, I never said ‘I love you’. I actually gave you the reasons. I sat down and I did my homework. I spoke to a lot of women. Before I write a song, I like women in the studio to get their point of view. So I am able to write a song males and females can sing and feel. I want people to be able to listen to the songs, listen to the album and see that it’s everyday life of a person in a relationship.

AHHA: What sets you apart from artists like Lyfe Jennings or Akon who have also talked about being in prison?

Cruna: I think the passion that I put behind my music is what sets me aside. I do R&B, rhythm and blues. Rhythm and blues came from Gospel music. If it comes from Gospel, I have to have that same passion that a Gospel singer has. So I feel like that is what sets me aside from the rest. Hell, my name is Cruna, you know [laughs].

AHHA: How did you get that name?

Cruna: It all came about like this: I studied. I’m not saying I’m the smartest cat in the world, I got a GED. But I studied the art. I really, really studied the art. I read the songs that the pioneers wrote. I was reading his thing about Marvin Gaye, and it called him a crooner. And I was like, ‘Wow, that is hot’. So I ran it by my dad, and took it through a five walks of life; I talked to White people, Chinese people, Latino people, Black people. And everybody was like, yeah that’s what I was. And it kind of stuck.

AHHA: What is it about the process of making music that you like the most?

Cruna: Wow, I love everything about it. I love to sing, I love creating. But what I love the most is the reaction on people’s faces. I get a lot of people saying I look like a rapper. But I don’t know what an R&B artist looks like. What I tell everybody is: they call me Cruna, crooning is something I do. But I’m Ke.Anthony everyday all day. And you can quote me on that.

AHHA: You also have a song on your album that was chosen as an anthem for YWCA.

Cruna: It’s a movement that they got called the Single Parents Initiative, and it’s a movement to uplift single mothers. It is called “It’s Okay” written by Mike City.

AHHA: I listen to the single ‘Take Me Higher’ for like a half hour, that song is hot.

Cruna: People have been saying I’m a young cat with an old soul.

AHHA: It kind of has a traditional African music vibe. The sound isn’t really like anything else.

Cruna: I actually got a guy named Rock Steady, he’s a Go-Go king in D.C., and he’s playing the congas. I got some guys called Wayne Kounty, they’re out of Detroit, they did the track.

If you want to know who inspired that song, it was Regina Womack, Bobby Womack’s wife. I was living in a loft in Brooklyn, New York. The makeup lady was over my house, this is before I had my deal. We were taking pictures, sending them to different companies. And she came in, and we were messing around on the guitars and the pianos, and it was like bam! This is Bobby Womack’s wife. He’s my favorite out of all singers. Everybody loves Marvin Gaye, but Bobby Womack stands out more than anybody to me. Nobody had a voice like that. Well, she came in and let me talk to Bobby and it took off from there. I really didn’t write those words down, it was like a two-take thing. I went in, stood in front of the mic and I just started singing. Those words just flowed out of my like a volcano. On the copywriting, I sent the CD in instead of the words [laughs].

AHHA: So what is the biggest difference between you now and you when you were in the streets?

Cruna: I know what I’m here to do, and I feel like I’m doing what I’m here to do. God gave me the gift for me to be able to look at life, write it down and present it in song form. The difference between now and then is that I know that now, I didn’t then. And then, I can say this now, I’m cute [laughs]. It’s funny. When I perform now, the girls say, ‘He’s so cute’. But before the deal I would see some of these same girls and wasn’t on me.

Daz, Kurupt Hold Contest Seeking New DPGC Members

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Daz Dillinger, Kurupt and Arnold White are looking for new members of the DPGC and have announced a contest to find them.

Following in the same vein as the highly successful “American Idol” series, the Dogg Pound Gangsta Crip Artist Idol will begin November 1st and run until February 1st 2006.

“This is a very fun contest,” explained Arnold White. “We’ll announce the winners on DPG TV and the four final contestants will get the opportunity to battle it out right on television while Daz, Kurupt and I judge their performance. It will definitely be a DPGC Idol.”

Artists are urged to submit music relevant to the DPGC style and take into account the judges backgrounds and current music range.

Artist interested in the contest should mail music, bio, photo and contact information to:

The Best Pitch DPGC Idols

Post Office Box 16254

Savannah, Georgia 31416

The winner will get to go on tour with Daz and Kurupt, a will also receive record label deal, with production from Mr. Dillinger.

Runner ups will appear on the DPGC television show.

The announcement also comes on the heels of the new collaborative effort between Daz and Kurupt, which Daz felt was perfect timing to launch the contest.

“I think that with this group reunion we need to celebrate it by adding on additional members to the group,” said Daz. “We need to spice it up a bit.”

Dillinger and Young Gotti 2: The Saga Continues is in stores today.

Spurs Tony Parker Records With Fabolous, French Album On The Way

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

San Antonio Spurs

basketball star Tony Parker is following in the footsteps of such athletes as

Shaquille O’Neal, Kobe Bryant, Ron Artest and others and is working on a

Hip-Hop album.

The untitled album will feature Parker rapping in his native

language of French.

Production is being handled by Polygrafic of Texas’ Sound Scientists,

a collective of producers and audio engineers.

Parker, 25, recently recorded a song with Brooklyn, New York

rapper Fabolous called “Top of the Game,” which also features popular

French rapper Booba.

A video for “Top of the Game” was shot recently

and features Spurs teammates Robert Horry, Tim Duncan, Nazr Mohammed and Brent

Barry.

Parker, who was born in Belgium and raised in France, is a French

citizen.

He entered the NBA in 2001 and became the second French player

to play in the NBA, behind Tariq Abdul-Wahad.

Parker helped the Spurs win NBA titles in 2003 and 2005.

After winning his 2005 NBA championship ring, Parker performed

a rap song in French in front of 65,000 cheering fans.

No release date

was available for the album at press time.

Miri Ben-Ari: Strings Attached

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Alternatives

She went from recording “Overnight Celebrity” to becoming an overnight celebrity, but don’t call Miri Ben-Ari a one-hit wonder. This Israeli-born artist is out to prove that a violin-toting virtuoso can be more than a novelty in the world of Hip-Hop. Although she came with Bach-inspired fire on Twista’s “Overnight Celebrity”, the hit song was only the first opus for the one they call “The Hip-Hop Violinist”.

Her album, aptly entitled The Hip Hop Violinist, is full of cameos from industry heavyweights like Kanye West, Scarface, and Anthony Hamilton. She also just shot a music video for her single, “We Gonna Win”, featuring Styles P. And just for good measure, she recently inked a deal with Reebok to represent the Rbk “I Am What I Am” advertising campaign. It might seem like Miri’s success did indeed happen overnight, but her story begins nearly five years ago.

Back in 2001, Wyclef Jean was at one of Miri’s performances – and that night, something sparked. It took Wyclef’s mindful ear to notice that this talented violinist could offer a fresh perspective in a world in need of innovation. Wyclef couldn’t pass up the opportunity to pair Ben-Ari up with Hip-Hop’s elite. After a groundbreaking performance at the 2001 Summer Jam set with Jay-Z, Hov had no choice but to invite her to perform at his Showtime concert in 2003. Things haven’t been the same since.

AllHipHop.com Alternatives found some time in Ben-Ari’s hectic schedule to chop it up about her humble musical beginnings and how quickly things can seemingly change…overnight.

AllHipHop.com Alternatives: Congratulations on the new album, Miri. It sounds like you’ve been busier than ever.

Miri Ben-Ari: Real busy. As you know, I just dropped the album. It’s my moment right now. I’m busy promoting the album and we’re getting ready to drop the video. Styles P is in the video and [Reebok] was involved with that. I’m working a lot with Rbk right now. They chose me as the new face for the “I Am What I Am” [ad] campaign. It’s a special relationship because this is the first time a company like that has shot a video for an artist. It’s really an honor, but it’s also a lot of responsibility.

AHHA: So how did the deal with Rbk come about? Why did they approach you?

Miri Ben-Ari: Like every other event in my life, I was just at the right place at the right time. They saw me at the [NBA] All-Star Game. After they saw me perform, they approached me about working with them.

AHHA: I’m sure after hearing you perform, a lot of people probably look at the violin much differently now, especially as far as Hip-Hop is concerned. Do you come across Hip-Hop heads who express some interest in taking up the instrument?

Miri Ben-Ari: Are you kidding? Every kid I come across now wants a violin. They say they want to be a Hip-Hop violinist. For kids today, it’s become cool again. I’m proud that I can play a part in that.

AHHA: On the flip side of that, I’ve read some comments on the internet from people who say that you might not be taking full potential of your skill by doing Hip-Hop. They say that playing the violin in this very unorthodox manner goes against all the classical training you’ve had. What do you say to this?

Miri Ben-Ari: This is something every artist goes through; determining which direction they take their music. This is my musical choice. I’ve taken this instrument from the background and have put it up front as a solo instrument. When you listen to the album, you will have no doubt that this is a mainstream Hip-Hop album and you will have no doubt that this is my album. When it comes to musical instruments, it’s one thing to have the concept, but it’s another thing to actually execute. As far as the traditional players, they can’t say sh*t about me. Once they see what I’m capable of, they’re like she can play. I just chose to do it differently.

After playing Classical, I went with Jazz. The sickest name in Jazz, Wynton Marsalis, worked with me on my second album. He basically said, “Yo, that b*tch can play!” [laughter] I never need to prove myself to the Jazz world. I’m not doing Hip-Hop because I couldn’t make a career in Jazz. I had a career in Jazz. I had a great career in Jazz! But now, I’m doing what I want to do.

AHHA: How long have you been a Hip-Hop head? Who were you listening to when you fell in love with the culture?

Miri Ben-Ari: My Hip-Hop experience is not as long as my musical instrument experience. I’ve been playing music all my life. If I had listened to Hip Hop since I was like six-years-old or something, I’d have been a Hip-Hop head most of my life. But my parents didn’t introduce me to anything except Classical music. I really didn’t have the opportunity to check out the music that I love today, which is music of the soul.

AHHA: What do you think about the Hip-Hop landscape at the moment? Who do you think is hot right now?

Miri Ben-Ari: I’m very happy with what’s going on right now with the movement of Kanye West…and John Legend. John is a real musician. John can play the keys. It’s not a gimmick. There are other singers like Anthony Hamilton, who are really talented and can really sing. I like Bobby Valentino. He can sing. These guys are real.

AHHA: So what are your thoughts regarding sampling versus live instrumentation?

Miri Ben-Ari: I’m all for production. Don’t get me wrong. I play a live instrument. It’s what I do. To me, I think sampling can be great, especially after working with Kanye. Kanye doesn’t play instruments, but he is so musical! The way he samples…he has an ear. He has a natural ear. It’s amazing how he uses samples. Using a sample doesn’t mean you cannot play. I use samples on my own album…hell yeah. Samples make a track hot in a way that only samples can do that.

There are so many ways to make music. I even used to play drums. I’m a groove-oriented person. I’m very much into the groove. If it wasn’t for my parents, I’d probably be playing drums instead of the violin.

AHHA: Do you have any interest in fusing your sound with other genres of music aside from Hip-Hop?

Miri Ben-Ari: I believe you would not be able to find one type of music that I have not played. I’ve played everything from Rock, Latin, World Music, Middle Eastern music, Greek music, Jewish music, you name it. That’s why I am the person I am today. But Hip-Hop and R&B, what they call ‘Black Music’, is what comes out of me when I write. You discover your own identity when you write music.

AHHA: So what lies ahead for you? Where do you see your career going in the long run?

Miri Ben-Ari: I want to change the game even more. When I started doing my thing, I think it was at a good time. I think people are more ready now than they were in the past. I think I introduced something that made it possible for people like myself to be involved in the game. I think we need to keep it out there and take it to the next level. Like I said, I want to change the game even more. I’m all about making a difference and I’m not afraid to do it.

Black Rob: Soul Survivor

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

Black Rob hadn’t put out an album in five years prior to his latest release and that ain’t whoa. Once the backbone of Bad Boy Records, B.R. put the label on his back with his Buckwild-laced hit, “Whoa,” and led an Uptown resurgence long before Cam’ron painted the town pink. Since then, however, the troubled rapper has had to deal with a string of endless setbacks, including health and legal troubles that have been harder for him to shake than Donald Trump trying to do that dance made famous in Rob’s hood.

But Blacko’s back and that is whoa. Poised to bring the house that Diddy built back to prominence once again, Rob has readied The Black Rob Report, chocked full of the same street anthems and vivid storytelling that made his debut album a success. Always engaging, Black Rob talks about his kidney troubles, his robbery and gun charges, and shares his life story from the past five years, which is as interesting as any of his albums. He’s ready.

AllHipHop.com: What was it like putting this album together for you during the past five years, which seemed to be particularly tumultuous for you?

Black Rob: It was like something I had to do. It was just me making music. Like I say all the time, I’m trying to look past Life Story. That’s a classic, we always gonna know that and respect that. But you know, I can’t be just up under that “Whoa” like that. You got artists that went from one record to another, and they always had that record in the background. So that’s what I’m trying to do. I need to have a couple more joints I can do on stage.

AllHipHop.com: I saw you perform a few months back at Manhattan’s SOB’s—

Black Rob: Yeah, for the Big L [tribute] joint.

AllHipHop.com: It’s funny that you mention that you need more hits or songs to perform, because the crowd was definitely excited to see you that night.

Black Rob: I feel that, especially that night. I could see it in their eyes. They had the look; especially the dudes in the front. They was like, ‘Ayo, come on, dog, that’s hot. I’m gonna do what I do, trust me.

AllHipHop.com: Do you feel like you’re in the familiar position of having to put Bad Boy on your back again?

Black Rob: Yeah.

AllHipHop.com: Is that something that you enjoy, that responsibility?

Black Rob: I do. Because, sometimes Puff pushes me to the limit. Like, sometimes I feel like he don’t got faith in my joints.

AllHipHop.com: He drives you crazy?

Black Rob: Yeah, that, too. That, too, man. [Laughs.] But, hey man, that’s what families do. That’s what it is. He drives me crazy. I drive him crazy.

AllHipHop.com: Are you contributing any verses to the Biggie duets album?

Black Rob: Yeah, I’m doing the “Gimme The Loot” joint right now as we speak.

AllHipHop.com: That’s a good track for you to jump on…

Black Rob: And why not?

AllHipHop.com: Because the story telling aspect of it

Black Rob: Okay, okay.

AllHipHop.com: Not that I expect you to run my jewels!

Black Rob: Okay, my dude. It’s real for you to think like that, because I thought like that. When they said they wanted me, I was like, ‘Ah man, I know what made you n***as want me for that s**t. That’s what I do. That ain’t what I do, but what I used to do.

AllHipHop.com: Is the storytelling aspect something that try to put forth? Or does it come naturally for you?

Black Rob: It comes natural, because when I used to hear Rap back in the days, people used to tell stories. All these great story tellers, Slick Rick, B.I.G., everyone that came before me; Spoonie G, Busy B, Grandmaster Caz, Melle Mel, so when I’m coming up they telling me stories. They ain’t talking about no bulls**t, they talking about real s**t.

AllHipHop.com: You mentioned Slick Rick and Biggie, and people put you right along with the greatest when it comes to storytelling despite you only releasing one album. How?

Black Rob: That’s crazy. I got a street following with that, too. I used to be that Radio Raheim kid at one period in my life, I can’t remember what year it was. I had the radio and the tape with the beats on it. I used to go through 139th [in Harlem], Big L, McGruff, all them cats was out there. I’m rhyming with these dudes. I do it all, but that story s**t, they was like you got that, dog.

AllHipHop.com: What are your thoughts on your former label mate, Ma$e, joining G-Unit?

Black Rob: Hey, man. You know what? That n***a is backsliding, man. I don’t know, man. Me? I don’t play with God like that. I don’t know what his motive is, because I don’t talk to Ma$e. You don’t play with God like that, man. Me? I respect God, I know he there, and I know he’s the reason that I’m still here. But you ain’t gonna hear me spitting bulls**t and going to church on Sunday, you know what I mean? That’s a hypocrite.

AllHipHop.com: Did you ever feel like giving up Rap in the past five years, because of the health and legal battles?

Black Rob: Nah. I don’t know what it is that drives me, man. I really don’t, man. It can’t be the honeys. I’m like Wilt Chamberlain, man. That’s real. But I ain’t gonna go out like Wilt. No disrespect to Wilt. He’s’ the greatest of all time—

AllHipHop.com: In two games!

Black Rob: [Laughs.] So it’s like, that ain’t what drives me. It’s just I see my kids, I guess? I don’t know. I guess my will to live the way I been living. I spoiled myself, man.

AllHipHop.com: Did your health problems force you to change your eating habits and your diet?

Black Rob: Oh yeah, no doubt. Hell yeah. All that greasy s**t, that fried s**t, I can’t do it. I’m on strictly no sodium at all. My s**t tastes bland like a motherf***er.

AllHipHop.com: Was this problem something you ignored?

Black Rob: Yep. I ignored it, but I never knew I had it. My moms had it but never spread the work. Nothing, you know what I’m saying? Me wildin’ out, it just got worse

AllHipHop.com: How much time were you actually locked up in the past five years? Some people thought you were out, some thought you were in, people didn’t quite know.

Black Rob: I was locked up a couple of times, man. The gun s**t, when I got bagged with that. I f**ked around came to court, they locked me up again. I probably did 13-14 months. But the five before that, I ran from they ass. Yeah! I got the rabbit in me when they come after me! Call me Rob Rabbit. [Laughs]

AllHipHop.com: Jails are big business in the U.S., making high profit margins at the expense of low-earning inmates. Do you think about that much?

Black Rob: I used to work in cold craft. You know what that is? N***as make. That’s crazy. I never worked in my life! They tried to make me wash walls! I was like, “Get the f**k out of here. Put me in the box, fam.” We was making soap! And getting a quarter a day, dude; 50 cent at the most. These n***as is making billions of bars of f***ing soap. I hate jail, man. I hate that s**t with a f***ing passion, dog. You hear me? I f***ing hate that s**t. When I think about that sh*t, I get stressed, man.

AllHipHop.com: Did that compound your health problems?

Black Rob: Definitely.

AllHipHop.com: Is that when your health problems started?

Black Rob: Nah, when I was in jail, I was throwing it like Michael Jordan, n***a. I was flying out the gym. But when I got out, when I was out there on my little hiatus, I was in Atlanta and that’s when that s**t caught up to me.

AllHipHop.com: You stay out in Atlanta now?

Black Rob: Nah, I got a house out there, but I’m stationed in New Jersey.

AllHipHop.com: What ever happened to the Alumni crew?

Black Rob: Alumni is still here. Right now you gonna hear my man, Phenom; he gonna be on the promo tour with me. G.Dep got some more fire. Rudolph The Red, ugly. We still doing music. You gonna hear a lot of my artists on Bet On Black. These are dudes that I brought through Bad Boy; P gave the stamp of approval. These cats ain’t playing. We talk about what we been through. When I say alumni, we all been through the penitentiary. We don’t just talk about it. We trying to education the youth, make money, and just make good music.

G (Film)

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Reviews / Music

Artist: Movie ReviewTitle: G (Film)Rating: 3 StarsReviewed by: Edwardo Jackson

BIASES: 30year old black male; frustrated screenwriter who

favors action, comedy, and glossy, big budget movies over indie

flicks, kiddie flicks, and weepy Merchant Ivory fare

In the real world, Summer G (Richard T. Jones) would be Diddy: he’s a wildly successful Hip-Hop entrepreneur, throws all-white

parties in the Hamptons, and has the world kissing his behind. Chip Hightower (Blair Underwood), scion to a publishing magnate, also seems to be living the life with his seemingly bourgeous-quality wife Sky (Chenoa Maxwell) and mistress on the side (Marcia Wright). When Sky’s music journalist cousin Tracy (Andre Royo) enters the mix, he’s used as a conduit to reunite Sky with her former lover Summer G, whom she dumped ten years ago as a struggling artist to get with silver spoon-fed Chip. Passions– and melodrama – ensue.

Get used to that word “melodrama.” Although I like the look of this tony, buppie world, “G” is a fashion potato chip: more style than

substance, and leaves you hungry for more. For starters, the writing is uneven: flashes of brilliant wit and poignancy one moment,

self-destructive, over-the-top melodrama the next. Tonally, the film has mood swings from credible drama to camp as quick as an Allen

Iverson crossover. Director Christopher Scott Cherot does a good job in making sure we are never bored, although the script is its

own double-edged hari-kari sword. Whereas it will espouse a pithy little scene of social satire (a white girl arm-charm of a stuffy,

Hampton brotha knows more about Hip-Hop than he does), “G” will then self-sabotage with a third act climax (at a Diddy-like

“White Party,” no less) that runs off the rails with faulty characterization and nary a believable motivation in the bunch of

random actions.

The actors, however, are not so random. Up until that flawed third act, Richard Jones is in consummate command as Summer G. Radiating

cool, calm, placid arrogance, Jones’ G carries a menace beneath his collected timbre because he always, ALWAYS is just so damn CALM. Where

the Cherot and Charles E. Drew Jr. script (based on a story by Andrew Lauren) betrays Jones’ precise, if poser-ish work as the deeply

wounded but outwardly unaffected Summer G is by promoting some “angry” past that he never, ever shows glimpses of even possessing. And the

second it threatens to rear its ugly head, the wholly inorganic moment is, thankfully, truncated by some good ole fashioned common sense by

the filmmakers.

It’s Chenoa Maxwell’s sexy sense that propels her most through this movie. Embracing every year of her thirty-something womanhood, Maxwell

is strong, alluring, the ultimate temptation – and one definitely worth fighting for. The romantic tension is palpable between her and

Jones, particularly early on when their characters are forced to deny it. Blair Underwood is typecast as the smooth, spoiled, dilettante of

a playboy, therefore being utterly believable, while Andrew Lauren smartly inserts himself in his own financed picture in a small but

prominent role as Summer G’s advisor. However, it is Andre Royo’s (The Wire’s Bubbles) goofy, bubbly enthusiasm that makes this

exclusive world more man-on-the-street accessible as the Brooklyn journalist who’s caught in the middle as a social go-between beholden

to everyone.

Bogged down by a feckless subplot romance and a seemingly cold set that makes every woman appear as if she were braless, “G” chugs along

as an entertaining social class examination that gets hijacked into a whole other movie by Tyler Perry-style histrionics and melodrama in

the last act. For a movie involving the Hip-Hop industry, the soundtrack is surprisingly wack (that budget must’ve been REAL small).

I was right, though – the clothes ARE amazing. Well, save one failed experiment, a garishly distracting, maroon paisley, fitted longjohn

top worn by Jones in an important scene (glad to see even Ralph Lauren, father of actor/producer Andrew, is human).

Lovers of F. Scott Fitzgeralds’s The Great Gatsby can exhale (as if they were ever holding their breath) as the novel is indeed safe. But in a climate of lowest common denominator production and dumbed down of material, particularly to our African-American market, it’s good to see newer filmmakers trying out and creating newer ideas and worlds for us to exist in, too.

Edwardo Jackson ([email protected]) is an author and LA-based screenwriter, visit his website at www.edwardojackson.com

Big Mike: Free Man

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

Before Killer Mike was the talk of Hotlanta, Big Mike was the adopted son of H-Town. By way of The Geto Boys’ personnel change, Mike began his Rap career in a predator’s position on everybody else. Outside of the mid-years with the Geto Boys, Mike’s solo albums like Still Serious remain critical gems in Rap-A-Lot’s catalog. With his Convicts group, Big Mike was also a never released group in the earliest days of Suge Knight’s Death Row Records.

A lot has changed in the last eight years though. No longer with the Geto Boys or Rap-A-Lot, Big Mike returned home from almost four years of prison in a challenging position: the independent Blackstone Entertainment. With New Orleans Phats on the way, Big Mike aims to recapture some of the momentum lost, using the very love that’s sustained him all along. In an interview with AllHipHop.com, Mike discusses his prison sentence, his respect for both Young Buck and Young Bleed, and how he taught his label a lesson, the hard way.

AllHipHop.com: How do you feel about the changes in the Rap game since your time being locked up?

Big Mike: Man, I’ve seen some positive and not-so-positive changes. The positive thing is a lot more artists coming out and putting it down for the region, the South has really taken a hold of the game. I don’t’ see too much originality; don’t see a lot of cats trying to push the limits. I feel like a lot of cats pulling a lot of copycat moves, you know what I mean. They see a certain individual going platinum and selling records, with a certain style of song, and they just want to follow that trend. What we have right now are some trendy rappers, and nobody setting the trends. I think that’s kinda hurting the game right now. I think it is kind of short changing the fans and the public out there that supports this Rap music.

AllHipHop.com: You never really left the game, but what makes you want to continue on as a Rap artist; your drive?

Big Mike: Man, s**t this is what I do. When I was locked up, I just stayed on my pen, I wrote about 1700 hundred songs, during my three and a half year incarceration. This is all I know how to do and all I desire to do. My passion for the game has increased greatly. I don’t call it coming back, I never left! While I was in there, I was following the game. Just my passion and love for the game and the drive in me.

AllHipHop.com: During what years were you incarcerated, and during those years did any rapper come out that really impressed you?

Big Mike: I was locked up for three and a half started at the beginning of 2001. I like Young Buck; I like Young Buck, he making a lot of positive noise for the South right now. If there was a guy who I desiring to do a song with right now it would definitely be Young Buck, that’s my type of rapper right there, I like his aggressiveness and the way he attack the tracks, he keep it Southern straight through, even though he with East Coast cats, he still being him, and it’s not really rubbing off on him. Yeah, Buck, I cut for that cat right there. I like T.I., I don’t think that he the King of the South though, you still got to put it down, if you want to get that you got to be putting it down for a number of years or what not. He doing his thing, definitely.

AllHipHop.com: As far as the new album, who do you have collaborations with?

Big Mike: With the new album, I am just messing with cats out of my camp. The Affiliated Gang that is a group that consists of two of my younger brothers, a younger sister, and a couple of my cousins. My guy Mankind, who I was actually doing time with, met him while I was doing time. 4-3 and Sly Fox, all three of those guys was locked up that’s why we came together and made a group; talk about that inside life and things like that. I don’t have no big name appearances, not that I wouldn’t of liked to have them, it’s just that when I got out I worked with what I had and I am pleased with what came about. In the future you will get some of that, it’s just that I have to get back out here and get my name back out.

AllHipHop.com: Do you still have a tight relationship with the Geto Boys, how does that work?

Big Mike: Nah, I don’t really see those cats, man. I done spoke to Willie D over the phone and stuff like that, he keep it real. I spoke to Bushwick over the phone. I haven’t seen or heard from ‘Face since I been out, but I don’t go around looking for guys. I don’t have any dealings with anything over there at Rap-A-Lot, it’s no love lost or nothing like that, it’s just that the relationship was severed.

AllHipHop.com: Was Still Serious your last album on Rap-A-Lot?

Big Mike: No, I actually had Hard to Hit, around the beginning of ’98.

AllHipHop.com: What caused you to leave Rap-A-Lot?

Big Mike: Disputes: contractual disputes, financial disputes, and things like that. Things had kind of got ugly between us and it had got on some real gangsta s**t. Matter of fact, that’s how I caught the charge that landed my three and a half years in the penitentiary. Things kind of got out of hand and resulted in some real street s**t. That’s in the past now, I’m not really trippin’, because I have been blessed man. God kept his hand on me throughout the whole ordeal, and brought me back out, so I am not in a position to hold any grudges. It ain’t no secret everybody knows what went down, especially cats that keep their ears to the streets, it’s a new day now; I’m just on that level, I am just trying to do me.

AllHipHop.com: Speaking of incarceration. How is your relationship with U.G.K., you all had a few tracks together in the past?

Big Mike: Pimp C did “Havin Thangs”. Bun had a feature with me on a song called, “On the One”. I have seen Bun since I got out, but haven’t had chance to talk to ‘em. Pimp C, we was writing each other back and forth, cause he was coming into the penal system when I was already there. Tell him to keep his head up and stay away from them suckers, stay sucker free. Do what you got to do and come on home. I respect those guys, I got love for ‘em and things like that.

AllHipHop.com: A lot of artists who come out of situation, for example, the dope game; compare the Rap game to the dope game and used lessons learned from their former vocation in their Rap career…

Big Mike: Well, my time in jail made me focused on what’s important. It helped me strengthen my drive, the things that drive me in life. I took that energy and used the energy in a positive way. I channeled it through my music, it showed me how strong I was, the s**t you got to put up with while you down there, you know what I mean. Some cats break down underneath that kind of pressure. It showed me how strong I was as a person, man… helped me get my matters straight with the good Lord and things. It allowed me to see him working in my life, amidst all that turmoil and confusion down there, God provided me with an area of peace. I just took that energy man and just channeled it through my music, that’s why I am so hungry right now. I see that I need to take advantage of opportunities. Understand, you got to stay working, stay on there like it’s your first time, this is what keeps you sharp and this is what keeps you ahead of the game. All these other cats, there motivation is money; and I understand we got to have money everybody want it and everybody need it in most cases, but I learned not to let money be the motivation for what I do, I do this Rap music because I love it, I try not to let money drive me. Once you let money be your motivation, you will change in all that you do. I try not to let the paper chase interfere with how I put it down.

AllHipHop.com: Do you feel any pressure with this album, New Orleans Phats ?

Big Mike: Nah, just looking forward to the album coming out and the people getting their hands on it. I don’t feel no pressure at all. I am comfortable with what I do, who I am as a person and who I am as an artist.

AllHipHop.com: Listening to you speak, you remind of an interview I did with Youngbleed, just curious, do you two know one another?

Big Mike: Yeah, I am familiar with dude, we used to chop it up on the phone every now and then, I really cut for his s**t, that’s a cat that I really cut for. He can get pretty deep, exercise my mind…I cut for Bleed man. Right before I got locked up we had plans to do some s**t together, I am going to get with Bleed man. I need to do some s**t with him, because I do feel we are on the same level.

Speech: Poor Righteous Teacher

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

VH1’s I Love the 90’s opted to poke fun at Arrested Development as a short-lived fad. Though the Georgia-based outfit may’ve been regurgitated by the Pop market, they have continued to have no problem finding cult-followings, and arenas of fans to hear them overseas. Plenty of groups who gained success in more recent years, would kill to be where the group is today.

In an effort to rebuild the fanbase in the U.S., front-man Speech is releasing his third album, The Vagabond in a ten-year tradition of populist-minded, musically dynamic LP’s. AllHipHop.com and Speech discuss his solo-career, the group, and the way Hip-Hop chooses to remember a group that was warmly embraced a dozen or so years ago. Ever the gentlemen, Speech delivers right to YOU…

Speech: The title is The Vagabond, it comes out on November 1st, on Blue Hammock Records, which is an indie out of New York – very music lover’s type of record.

AllHipHop.com: My mother used to call me a vagabond when I’d mess up the living room. Why that title?

Speech: I called it that because the record goes all over the place. It has Hip-Hop, it has some World music influence, and it has some Soul. I think it sorta shows my diversity as an artist.

AllHipHop.com: You get airplay on Adult Contemporary radio stations. Do you feel that your diversity is a blessing and a curse?

Speech: I think it’s only been an advantage. Because my experience is diverse. I go do like Folk festivals, I get invited, and I absolutely love ‘em. It’s like people out in nature, and I’m one of those who really love this, drum circles and cultural lessons, and kids playin’ outside. I’m from that. From my experiences, the things I’ve gotten to see, it’s just incredible. At the same time, I’ve been invited to do your Hot 97’s in New York or you name it. I have all the experiences, and I feel that a lot of artists don’t get that chance, except to be a VIP in the club. I get to experience that, but I get to experience so much more. I’m excited about my journey in the music.

AllHipHop.com: I really liked your album, Hoopla. It’s just a good record to drive to or whatever. I also thought that you going towards Folk and Rock, Hip-Hop may’ve lost you, or even resented you…

Speech: I don’t know. It’s really hard to say, brother. I felt like it’s happened at some points. But at the same time, when I meet cats like yourself, or a gangbanger from Los Angeles who runs with Ice Cube, and I meet him face to face, and he’s like, “Yo, I dig Hoopla.” [laughs] It’s cats that I wouldn’t expect be into it, are into it. That lets me know that if they can hear it, people are more diverse than people think they are. People get into a lot of stuff. Whatever moves somebody’s soul and spirit, that’s what they end up gravitating towards and vibing to at that time in their life. My music has been able to do that to some of the most unexpected people.

AllHipHop.com: On that album, you did, in my opinion, a brilliantly produced cover of Bob Marley’s “Redemption Song.” Like Wyclef, will you be continuing the cover? Does Vagabond have any?

Speech: Let me see, I did. I covered a Beatles tune on this record, “Across the Universe.” I didn’t even know the song, actually. But I was asked to record the song for a TV commercial in Japan, and the TV commercial was really big. Other than that, there’s no covers on this joint.

AllHipHop.com: So it’s true that Arrested Development is back in order?

Speech: That is right, man! It’s been cool, because we stopped doing music in 1995. We got back together in 2000. A lot of people don’t really know that yet, especially in America. We’ve only focused on overseas. To give you the history Jake, in 2000 we released an album, and it did incredibly well. We did a lot of touring, sellin’ out different 20,000 seaters, and on and on. Then, we released our second album [in Japan], but we released it to some other foreign countries, so we added Europe and Australia. That album was Among the Trees, and we had a number one single with that called, “Honeymoon Day” which was above U2, it was above Usher, so we get a lot of love. Now we’re finally gonna do a record for the States. I’ve got these cats who I really respect as people and artists, cat named Mike Mangini – who did Joss Stone’s records, and the first Digible Planets record. Then, I got a cat named Sam Hollander, just an old-school Hip-Hop lover, like myself. We started producing some stuff, I think it’s really hot.

AllHipHop.com: Recently, I interviewed Big Shug from the Gang Starr Foundation. He said that in the mid-90’s on EMI, you were very demanding and known to ego-trip. Looking at a statement like that, have you changed any?

Speech: I’ve definitely changed. Maturing, getting more wise, learning how to deal with this industry and deal with people one-on-one in a better way. But you know, one of the things about life that I’ve learned from youth – and I talk about it on this album in a song called “Scandal” – is being a leader of things, a leader is always gonna get some nay-sayers and is always gonna get some flack. I’m a follower of Jesus, so I feel like if Jesus Christ, who didn’t commit any sin, would still have people disagree passionately with him, then I feel like I’m in good space. So if I feel like I have people that disagree with me, I’m all good.

AllHipHop.com: No doubt, I shouldn’t have brought Shug in either. I’m just using him as an example.

Speech: Nah, it’s all good.

AllHipHop.com: Overseas listeners have heard you extensively. But for those of us who haven’t really checked for Arrested Development in the last ten years, what elements of your high points, such as “Mr. Wendell” or “Tennessee” still live in your solo and group music today?

Speech: Really, I think a lot of that same spirit is what we do to this day. Like we tour a lot. Last year, we did 200 dates out of a 365 day year. This year, we’re doing close to that already. The main thing we feel good about is that our general spirit in Arrested Development is very much the same. We haven’t changed the musical formula. If you feel Hoopla you’ll probably feel this record just the same – it has the same energy just new music. For us, we always knew what we were trying to accomplish, we just stayed doing it ever since.

AllHipHop.com: Living in Georgia, and being a Southern Hip-Hop artist, you delved into a natural sound different than 2Live Crew or Geto Boys, but certainly had elements that I feel Outkast and Nappy Roots would pull from. Do you assume any credit in the South’s success today?

Speech: I like to think that. And a lot of those cats, when I’ve met them out in the streets or wherever, or at shows, they’ve given that type of love like, “Yo, you’ve inspired us.” But to me, I feel like I’m just one of many. I’m grateful that I’ve inspired. But in other words, Tribe, Jungle Brothers, De La, P.E. inspired us. Now, we’re just one of the groups that inspired others. I don’t feel like this groups wouldn’t exist if it wasn’t for us or that type of thing. I moreso feel like we had a bid in it. No one group does everything. We just played a part in inspiration.

Kanye West Featured On ’10 Most Fascinating People’

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Kanye West will be

featured on an upcoming ABC special titled “Barbara Walters Presents: The

10 Most Fascinating People of 2005.”

The hour-long ABC News special highlights some of the most interesting

names in entertainment, sports and politics.

The special, which has consistently drawn in a huge number of

viewers, is hosted by Barbara Walters.

Fascinating people included in the show are “Desperate

Housewife” star Teri Hatcher, actor Tom Cruise, Secretary of State Condoleeza

Rice, Lance Armstrong and others.

Walters will reveal the Most Fascinating Person of 2005 during

the special, which airs Nov. 29 from 10-11pm EST.

In related Kanye

West news, the rapper’s single “Gold Digger” is currently

sitting on top of the Australian singles chart for the second week in a row.

Rap Group In Chicago Claims Twista Stole Their Name

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

The 37-year-old Shabazz

is the one of the founders and current president of "Chi-Roc Hip Hop Nation,"

formed in 1985 on the Southside of Chicago.

The same year, Chi-Rock group members OZ and the D.V.S. Crew

released what has been credited as the first Hip-Hop album in Chicago rap history.

Twista, who is signed to Atlantic, has been promoting his new

label Chi-Rock Entertainment, which Shabazz says is too similar to his company’s

name.

"I am the owner of the registered corporation ‘Chi-Rock’

or ‘Chi-Roc’, which is documented by the Illinois Secretary of State,"

claims Shabazz.

"This ‘Twista’ is tainting our legacy. My independent record

company is called Chi-Rock Records."

Philip Swint, also an original member of the group echoes Shabazz,

claiming that Twista "has had past affiliation with our hip-hop nation

to gain notoriety and cannot say that he didn’t know we existed."

As of yet, Twista

has not responded to Shabazz’s allegations, nor has any legal action been initiated.

AHH Stray News: Hammer, Russell Simmons, Lil’ Kim, So Solid

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

M.C. Hammer has

put his lucrative music publishing and copyright assets up for sale. The rapper,

whose debut album Let’s Get It Started moved 3 million records,

hit even bigger with his 1990 sophomore album, Please Hammer Don’t

Hurt ‘Em which sold over 10 million copies and spawned his most well

known hit, “U Can’t Touch This.” Hammer went on to release

clothing, dolls, lunchboxes and his own Saturday morning cartoon. He filed for

bankruptcy in 1996, after squandering over $20 million dollars. Wixen Music

Publishing, based out of California, is the court-appointed administrator for

five of Hammer’s publishing companies.

Russell Simmons

endorsed New York’s Mayor Michael Bloomberg at a Bronx, New York rally

yesterday (Oct. 30). The endorsement came at a rally held inside Co-op City

auditorium, where Simmons commended the Mayor’s track record on homelessness

and poverty. The endorsement marks the first time Simmons has backed a Republican

candidate. Both Simmons and Bloomberg squared off in 2004 over the Rockefeller

Drug Laws. “Over the last four years he’s been on the steps of City Hall

politely screaming…," Bloomberg said. "I always shake my head as

I walk by but we always stop and chit-chat."

According to the

New York Post, Lil’ Kim is not wasting her time behind bars, where she

is serving 366 days for lying to a grand jury about a 2001 broad daylight shoot-out

in front of New York’s Hot 97. Inmates in the Philadelphia prison where

she is incarcerated say the female rapper is working furiously on new lyrics.

"She’s writing a lot of music in there," Maricela Cuvlye told The

Post. "She spends lots of time in her cell by herself, just to write."

Cuvlye was released last week after serving six years in the prison.

So Solid Crew’s

producer Carl Morgan has been sentenced to life in prison for murder. According

to authorities, Morgan was involved in a confrontation with a man over an ex-girlfriend.

The victim, Colin Scarlett, was shot three times in the chest, neck and hand.

Police accuse So Solid’s lead rapper Megaman of encourage Morgan to shoot

Scarlett. Megaman, who is also accused of murder, faces another trial March

20, after a jury failed to agree on a verdict. “Gun crime is the scourge

of the streets and causes misery and distress. It will not be tolerated,”

the judge declared during the trial.

Halloween: The Scariest People in Hip-Hop

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

Today’s typical Hip-Hop artist acts like as if there is nothing to fear, but God, death or the IRS. But truth be told, a little fear lurks within us all and for good reason – some of our people are quite intimidating. Though violence is never to be condoned, we all enjoy a good scare. That said, this Halloween, instead of robbing kids for trick-or-treats with Bushwick Bill, we decided to ask around – who’s the scariest person in Hip-Hop? Tony Yayo, Ras Kass, El-P, and a host of others weigh in. Through Crunk, Gangsta Rap and Underground Hip-Hop, there is a common thread – fear. [The AHH IllCommunity also weighs in – Click here for the digital mob opinion!]

50 CENT: Curtis “50 Cent” Jackson was a poll favorite. Many queried found fright in 50’s own fearlessness.

Tony Yayo: “Nobody scares me. I think G-Unit is the most intimidating group around, because when we come around, everybody acts weird. Yeah, they’re scared of G-Unit. We some good guys, but we do what we do.

Speech of Arrested Development: “50 is scary, man. There doesn’t seem to be anything that can stop him.”

C-Rayz Walz: “He is totally unpredictable. He keeps his word about his visions, and he is the most powerful Black man in America. He overstands business and he is rich! If he pointed the youth in a direction, any direction – they would follow as soon as possible. That’s power. Ask the C.I.A.”

FACT: 50 Cent’s SUV is not only bulletproof, it’s bombproof. The Queens rapper has recently expanded his fearsome empire to clothing, sneakers, books, video games, and film.

SUGE KNIGHT AND FREDDIE FOXXX: But there are two individuals, one from Long Island, and one from Compton, that seem to play on classic, shivers and trembles type of fear. Freddie Foxxx aka “Bumpy Knuckles” and Marion “Suge” Knight. One has long been rumored to ruin many a label office, while another found ordinary office props like telephones and filing cabinets, and reportedly used them in new and interesting ways.

Ras Kass: “I think most industry motherf**kas would say, Suge Knight. Well, he always seemed like a cool dude to me. You know, I’m acquainted with Suge, whatever, but just apparently scares the s**t out of all them n***as. It’s funny to me. Freddie Foxxx will beat your ass. But see, to me, Freddie Foxxx is not a bully. Freddie Foxxx is just a real n***a, so if you talkin’ some bulls**t, he will beat your ass. Real recognize real. Those are the two jack-o-lanterns of the industry.”

El-P, of Def Jux Records: “I think it’s pretty obvious that Suge Knight would have to be [the scariest person in Hip-Hop]. Freddie Foxxx is a scary dude; Freddie Foxxx is an ill motherf**ker, but just in terms of overall name recognition, pure fear, Suge Knight.”

FACT: Suge Knight played on the practice squad as a Defensive End for the then Los Angeles Rams. He has piranha fish as well as dogs in his office at Death Row.

Slug of Atmosphere: “I once had the opportunity to be on a panel discussion with Freddie Foxxx. His fists were the size of my head. Every answer I would give required me to be a class-clown of some sort, and every answer he gave was, ‘You should knock someone the f**k out.’ I will put him down as one of the scariest Hip-Hop people I’ve ever met – not because he was mean to me, but because when someone can be nice to you and still scare the s**t out of you – that is gangster.”

J-Live: “A lot of people are scared of Bumpy Knuckles. I don’t know him that well, but just from the people that I know, they speak about him with fear in their voice nine times out of ten. He definitely has an aura about his name, his [reputation] is definitely heavy.”

Oddisee, Maryland-born producer: “I’ve done four tracks for [Foxxx]. He’s the scariest dude in Hip-Hop, because he actually has done, or will do what he talks about. You’ve got to worry about the people who are quiet in real life. You know how he be screaming all over his tracks? He’s a real quiet dude in real life.”

FACT: The name “Bumpy Knuckles” was given to Freddie Foxxx by a female witness during one of Foxxx’s storied industry shakedowns. Freddie Foxxx has repeatedly referenced his penchant for carrying two pistols wherever he goes.

BUSHWICK BILL

Sean Price of Duck Down: “He’s a rappin’ midget with one eye, that’s why!”

FACT: Bushwick Bill’s eye was lost as a result of a self-induced gun injury and rolls with a Chuckie Doll.

NECRO

Q-Unique, Uncle Howie Records: “He is the epitome and creator of Death Rap. Listen to ‘Beautiful Music for You to Die To.’ What makes him scary is that he’s serious. A lot of people shrug it off as dark comedy, but it isn’t.”

LYRIC: “Now learn from the best, before I burn the ‘cess, Light you up and fire first, puff a fattie of your burning flesh” – Necro, “Rugged S**t”

JUST ICE

Grand Daddy I.U.: “Ever since I saw him on a rampage at the Cold Chillin’ office f**king up [label co-owner] Lenny Fitchelberg. He just started choking that n***a throwin’ s**t, and screaming ‘bout some dough [which] I don’t even think Lenny owed him, he just wanted it.” [Just Ice wasn’t available to respond to the alleged choke out.]

FACT: A former bouncer, Just-Ice was first arrested at the age of twelve. In 1987, he was held by Washington D.C. police for the murder of a drug dealer in 1987. He was never convicted.

GANKSTA NIP

Illseed, of AllHipHop.com: “I don’t know what everybody else is saying, but there is no scarier or crazier rapper than Ganksta Nip, the South Park Psycho! I used to listen to his dude with my friends and we wondered if he would rub off on us and make us insane. I think he did. Anyway, he raps about ‘trisexual intercourse with a muthaf***kin’ pigeon’ for goodness sake. Not only does he make groups like The Gravediggaz sound like Dora the Explorer, he says that ‘it takes 852 jail cells to hold me.’ If I ever see Nip, I’m going to cross the street and hide behind a tree.”

LYRIC: "Ganksta Nip, I can’t be beat my momma hit me yesterday, her funeral’s next week" – Gangsta Nip, “Rough Brothers from South Park.”

JIMMY HENCHMEN

Luckyiam.PSC of the Living Legends: “I don’t wanna say the scariest ‘cause my momma said don’t be afraid of no man, but Jimmy The Henchman seems to be a very well connected person, therefore someone who should not be f**ked with!”

FACT: Jimmy “Henchmen” Rosemond is Haitian born, and worked with both Tupac and Biggie, before managing artists like The Game, Mario Winans, and Sharissa. Henchmen was reportedly the force behind numerous uprisings in Hip-Hop, including the recent “G-Unot” and “Stop Snitching” campaigns.

SCARIEST? SUGE KNIGHT AND FREDDIE FOXXX! Don’t take our word for it, click here and join in the discussion in the Ill Community message boards.

Snoop Takes Doggystyle Records To Koch

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Koch Records has announced

a multi-album joint-venture partnership with Snoop Dogg and his Doggystyle Records.

Following in the vein of Snoop’s successful "Welcome To

Tha Chuuch" mixtapes, the first release will be Snoop Dogg Presents

Welcome To Tha Chuuch Tha Album.

Guests featured include DPGC (Dogg Pound Gangsta Clique), Nate

Dogg, Kurupt, Lady of Rage, Daz, RBX, Soopafly and others.

Power 106 in Los Angeles has already begun spinning "Real

Soon" featuring DPGC off the album. Look for Welcome To Tha Chuuch

to hit stores just in time for Christmas on December 13th.

In other Snoop

news, the Doggfather has recently created the Snoop Youth Football League. The

SYFL is a youth football league aimed at helping youth who otherwise couldn’t

afford to play in organized competition.

Producers Sue Dame Dash, Say He Stole ‘Ultimate Hustler’ Concept

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

A lawsuit filed in

the Los Angeles Superior Court on Oct. 11 accuses Damon Dash of allegedly stealing

the premise for the hit Hip-Hop reality series “Ultimate Hustler”

from two Los Angeles producers.

The plaintiff’s, John Coleman and John Rhodes, filed the

complaint seeking monetary damages from Dash for Breach of Implied In-Fact contract

and Breach of Confidence.

The lawsuit stems from allegations that Dash stole the premise

for “Ultimate Hustler” from the plaintiff’s reality TV show

pitch entitled “Mogul,” which they registered with the Writers Guild

of America in Los Angeles in Feb. 2004.

The concept of “Mogul” puts contestants competing

against each other in a high paced Hip-Hop environment for the ultimate prize

of a top ranking executive position at a record label or artist management company.

According to the court documents, the plaintiffs considered

Dash as a potential host for “Mogul” and representatives subsequently

met with Dash in March 2004 to pitch the idea.

The plaintiffs also allege that the former Roc-A-Fella CEO was

interested in "Mogul," but stated it needed further development.

The plaintiffs agreed, but claim they instructed Dash to keep

the concept of “Mogul” confidential, which he agreed to do.

The plaintiff’s attorneys contend that Dash breached their

implied contract by airing the first season of "Ultimate Hustler"

without compensating and obtaining their clients permission.

"Ultimate Hustler" puts 16 hopeful entrepreneurs through

a series of business challenges to determine who has the best combination of

business skills and street savvy.

The winner receives a position within the Damon Dash Empire,

as well as, a 2006 Jeep Commander.

The lawsuit seeks a judgment against the Dash for general damages,

special damages, punitive damages and damages for loss of past, present and

future economic losses.

In addition to Dash, BET, Damon Dash Music Group. Dash Films

and Huck Films have all been named in the lawsuit. Click to view the first five

pages of the lawsuit.

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Mikey D: Re-Settin’ It Off

By: Grouchy Greg Watkins (@GrouchyGreg)Category: Features

Mikey D is a Queens legend dating back to 1982. Long before he was a Main Source frontman, Mikey “Destruction” was a notorious battle MC in the parks of his borough. Though he and LL Cool J had duo plans that never hatched, Mikey is one of the select few who was blessed to work extensively with late Hip-Hop production genius, Paul C. Numerous twelve-inch singles have been released, carrying Mikey through 1994 when he recorded F**k What U Think with Main Source.

Today, Mikey D still performs regularly. A recent mixtape, “The Best of Mikey D”, along with surfacing recordings with Paul C, as well as new material, may make 2006 his biggest year yet. AllHipHop.com joins Mikey to discuss the past, the future, and some of the most interesting stories previously untold. The Destruction is still taking place!

AllHipHop.com: Tell me what Jamaica Queens was like for an MC in the mid 1980’s…

Mikey D: It was all competitive. When you came out, you had to be on-point with your stuff. Somebody would step to you over whateva. I used to come out on the fun tip – just makin’ people laugh. T-La Rock came out with “It’s Yours,” I came out with some s**t called, “Your Drawers.” Whodini came out with “Big Mouth,” I came out with “Big Head.” I used to do that in the park. Then you had a couple of cats who was really rhymin’ who would try you. That’s when and why I stepped up my battle skills.

AllHipHop.com: At this time in Hip-Hop, there was the Bronx vs. Queens battles. We look at the Queensbridge era at Shan and Craig-G and Roxanne, but how was this treated in your ‘hood?

Mikey D: I was in Hip-Hop before that even happened. I was with a group called The Clientele Brothers, they was the hottest s**t in Queens – like the Cold Crush were in the Bronx. We was already in comparison to the Bronx [because of Cold Crush]. But it never came to no battle s**t like that. Now when the KRS and Shan thing occurred, it was crazy. With all due respect, I think KRS destroyed Shan. Actually, there was a show at USA Roller Rink out in Queens where they was supposed to battle. Shan didn’t even show up. But guess who stepped up to bat? I was like, “Aiight, I’ll battle KRS. I’m from Queens. S**t, he’s dissing Queens!” But, that never occurred. KRS and I became friends and s**t.

AllHipHop.com: What year do you think you and LL Cool J met?

Mikey D: S**t, I would say about ’83. It had to be a year and a half to two years before [the Def Jam deal].

AllHipHop.com: Whose idea was it that you two should perhaps be a duo?

Mikey D: It was his idea. The grounds that we met on was, he was the nicest MC from his school, Jackson High School. I was the nicest MC from my school, which was Springfield High School. There used to be a spot on Elmont, Long Island called Roller Castle. Flava Flav used to have used to promote shows there. That’s where me and L linked up. We were supposed to battle. But before we battled, we just compared notes – rhyme for rhyme. I was impressed with his style – his voice, it reminded me of myself and vice-versa. We didn’t even end up battling, we rocked together. He got the deal from Def Jam and they said we could be next the Run-DMC if we stuck together. I didn’t believe him because, Cool J was the type of person at the time where you couldn’t believe nothin’ he said. He wasn’t arrogant, he was spunky. You didn’t know what was the truth and what was a lie. When he said Def Jam, I had never heard of Def Jam at the time. Sure enough, a lil’ while after, we stopped hangin’ together ‘cause of business and whatever, he did the damn thing, man. “I Need a Beat.”

AllHipHop.com: We see that in your own area now with 50 Cent and Bang ‘Em Smurf. There will always be the, “what if” question.

Mikey D: Exactly. And at the particular time, I wasn’t as focused as Cool J was. I was already doing shows, I was doing big s**t. Cool J was just on the come-up. Our focus wasn’t there. His focus was there to where he would do anything to get to where he needed to be. I was the lazy one. I don’t blame him for anything he did. I blame myself for that.

AllHipHop.com: You released oodles of twelve-inch singles in the late 80’s. Back then, was it possible to eat off of a single?

Mikey D: Absolutely not. I don’t think so. At that time, it was all about having a record out and doing shows. But to eat off of a single, absolutely not.

AllHipHop.com: Artists today pass around mixtapes and expect listeners to care. Describe to me how people hustled to get discovered in your past…

Mikey D: It was all about street credibility – the street buzz, first. Don’t be a hustler one day, and the next day be a rapper ‘cause you got the money to go to the studio and think your s**t is hot. You don’t have no street cred. You can be nice, but who are you? N***as don’t give a f**k! You need to build your street credibility as far as being that rapper or MC – actually, f**k a rapper! – an MC. 50 Cent man, prime example. 50 is the best. He did it the best. Get the street on your side first, and then come out and bang. ‘Cause now you got a following. What I did was battle from corner to corner. I went to other cats’ hoods. I didn’t care where I was at – I battled the best n***a in any hood, and I’d be by myself! I need my name to float. I don’t just need my people to say I’m nice, I need your boys to say I’m nice.

AllHipHop.com: Paul C’s story is a true tragedy. You were in a group with Paul, what was it like to be with such a dude. What was his work ethic like?

Mikey D: Phenomenal! Paul brought the best outta me, B. I could come in there with rhymes and the way he would change it up and match the beat to it, it was like a hand in a glove, man.

AllHipHop.com: You would show your rhymes and he’d create?

Mikey D: He was a part of my L.A. Posse, not [LL Cool J’s production group, L.A. Posse] I’d come to the studio with my rhyme book. We’d sit down at the mix board, and I’d spit it to him. He would fiddle with that damn drum machine. Sure enough, I’d go to the store to buy a 40 ounce, and when I came back, he had a beat ready for that particular song, man. That’s how nice Paul was.

AllHipHop.com: Was Paul the L.A. Posse’s DJ?

Mikey D: He was a good DJ, but he was a better producer. Johnny Quest was my DJ. He was bananas. He still is bananas! Actually, he and I are gonna perform tonight.

AllHipHop.com: What was your reaction to Paul’s death?

Mikey D: I couldn’t believe it. It was just a shocker. This guy never bothered nobody. To hear the way he went out, it f**ked me up! Then, it was so crazy because police was comin’ to my motherf**kin’ house, man. Me, Paul, and Quest was recording an album for Sleeping Bag Records. Somehow the guy that owned 1212 Recording Studios charged Sleeping Bag like $15,000 or whatever. I went to Sleeping Bag for an advance. They said, “No, we owe the studio $15,000.” I know me, Quest, Paul worked late nights and didn’t get charged for the studio. And when they said all that, I said, “Well, I’mma kill Paul. I’mma kill him.” I was p##### off. Two days later, I hear Paul got murdered. [long pause] I was the last one to say some dumb s**t like that. That right there really f**ked me up.

AllHipHop.com: Let’s talk about Main Source for a second… how did they pick you to replace Large Professor like that?

Mikey D: I was in the studio working, and Jeff Red told me about a group, already established, that needed a rapper. He didn’t tell me the name of the group or whateva, just gave me an address and number to call. I went there the next day, soon as K-Cut answered the door, I knew who he was. “Oh, this Main Source.” These guys auditioned me. K-Cut was like, “You got the job.”

AllHipHop.com: How did Sir Scratch and K-Cut treat you coming in. It sounds like a warm reception…

Mikey D: It was cool ‘cause they knew who I was. It was cool till we got to Canada, man. These guys tried to change me into something I’m not. “Stay in the house, don’t have any women call here,” corny s**t. It wasn’t K-Cut, it was more Scratch. Cut liked my style, I brought that gangsta s**t to that whole s**t. They was mama’s boys, man. They mother was the manager. With [Large Professor], he was a young guy, so she treated him like a son. With me, I was a grown ass man. I was a groomed rapper. You’re not gonna change me!

AllHipHop.com: Were you included in the mention of a Main Source reunion a few years back?

Mikey D: Absolutely not! For the simple fact that these same two guys wanted me to disrespect Large Professor. I wouldn’t step to the bat and do that, ‘cause that’s my man! I don’t have beef with Paul. Y’all do! When they had that reunion, hell no!

AllHipHop.com: People don’t realize that through Paul C., you knew Large Professor from before Main Source…

Mikey D: That’s one thing I want to clarify – Paul and I don’t only have Main Source in common, we have Paul C. in common. Paul C. is the nucleus. I wanna clear the air with that one.

AllHipHop.com: Certainly though, some consider F**k What U Think to be a classic. It did bring The Lox onto wax for the first time with, “Set It Off.” You outshined everybody on that cut in my opinion. How did you find The Lox lost in Yonkers?

Mikey D: We had a meeting at a studio in the Bronx. Somebody mentioned these Warlock guys or whateva. When I meant them, we already had that chemistry. N***as didn’t give a f**k, they reminded me of myself. They was hot to def. I said, “I want ‘em on it.” I’m not gonna say I started their career. But remember where it all started, man. This was the first record you had. Plus, it was hot. The last time I spoke to Jada or Sheek was in the studio where we recorded “Set It Off.” I’m not mad at them.

AllHipHop.com: Ma Barker got her jump on that record too?

Mikey D: Ma Barker’s original Rap name was Shaqueen. She was the illest female MC I have ever heard in Queens! Up on Farmers Boulevard, I used to run up on there. Her moms used to have a beauty parlor or whatever. Shaqueen was just that chick! I promised her mother, whenever I made it, I’m taking your daughter with me. Boom, when I got that Main Source deal, I came right back.

AllHipHop.com: You recently released “Best of Mikey D” the mixtape. How was the reaction?

Mikey D: The streets picked it up like a newborn baby, man. A lot of the songs were old, a lot were new. My boys know the old songs. These young kids, they never heard of that s**t. It was like all-new music to these guys – and it was their boy.

Game Arrested In North Carolina

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

The Black Wall Street label owner The Game was arrested today (Oct. 28th) in

Greensboro, North Carolina.

The Game, whose real name

is Jayceon Terrell Taylor, was shopping and greeting fans in the Four Seasons

Town Center in a Halloween mask

Authorities were unaware

of the reason for the commotion and approached Taylor and allegedly asked him

to remove his mask.

Once authorities realized

that he was a celebrity, they allegedly tried to diffuse the situation.

Officials said The Game

grew hostile and stated "Ya’ll don’t know who I am," and proceeded

to make a scene.

Police stated that after

several attempts to resolve the situation were unsuccessful, The Game and an

associate was subsequently arrested and charged with two misdemeanors of disorderly

conduct and resisting arrest.

The Game was released without

bail and was slated to performed at Winston-Salem State

University.

“They thought I was

Rodney King,” Game told WFMY News 2. “I would play the racial card

but we’ve done that too much. I’m here for the concert and signing

a little girl’s autograph got me arrested.”

Footage taken by a fan captures

several officers pushing and shoving the rapper, who’s not wearing a mask

during the incident.

As Game is backing away,

an officer pulls out a can of pepper spray and aims it in the rapper’s

direction.

The Game is then handcuffed

and led out of the mall.

“Whenever there’s

a use in force, regardless of where it occurs or when it occurs, we always initiate

an internal investigation and that’s exactly what will happen in this

case,” a police representative said. “There was a use of force and

we made an arrest for two individuals who are part of the rap group The Game.

When we applied pepper spray to those folks, that automatically means we will

initiate an investigation to determine whether that was justified. “

The Game said he would call

his lawyers to seek legal recourse.

Unreleased Photos Of Tupac Shakur Unveiled In New Book

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

Despite his tragic

and untimely death nine years ago, the legacy of the late rapper Tupac Amaru Shakur

continues to live on through his inspirational music, spoken word projects and

movies.

Thanks to his close friend Gobi (also director of his last three

music videos), a book entitled "Thru My Eyes: Thoughts on Tupac Amaru Shakur

in Pictures and Words" will hit stores next week.

Gobi has compiled a compelling assortment of 50 color and black

and white photographic images complemented by personal commentary.

These pictures, never before published, reflect the final year

of Tupac’s life in 1996.

During this time Gobi played an instrumental role in producing

and directing music and videos for Tupac’s feature film company.

The result was not merely a business partnership, but also a

close friendship.

"Thru My Eyes" seeks to capture the true essence of

Tupac by revealing the many facets of his personality.

Gobi offers an array of candid pictures that convey the multitude

of personalities and moods that are Tupac.

Gobi’s main objective is to reveal Tupac as an individual,

not simply another manufactured “pop-idol.”

“Photos taken on video and film sets underscore Pac’s

true work ethic,” Gobi said. “Tupac could work twenty-two hours

a day, raising the bar for everyone working alongside him. A true revolutionist,

Tupac understood tomorrow was promised to no one.”

The book begins with a forward by Tupac’s mother, Afeni

Shakur Davis, who says that "Thru My Eyes" "offers a personal

view that warrants exposure."

The book closes with Gobi’s personal and poignant account

of how it felt to sit idle during Tupac’s seven days of hospitalization.

A portion of the book’s proceeds will be donated to the

Tupac Amaru Shakur Foundation (http://www.tasf.com).

In addition to the book, Gobi plans to direct the only script

written by Tupac, "Live 2 Tell," in March 2006.

Afeni Shakur sums up Thru Our Eyes best in her forward: “This book is

Gobi’s way of honoring my son and sharing his experience. . .I thank you,

Gobi, for being my son’s friend.”

"Thru My Eyes:

Thoughts on Tupac Amaru Shakur" in Pictures and Words hits stores Nov.

1.

BMF Members Busted In Massive Multi-State Drug Raids

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

The Drug Enforcement

Administration (DEA) in the United States has arrested 30 members of the self-named

Black Mafia Family (BMF) and has seized over $3 million in money, assets, 2 ½

kilograms of cocaine and weapons. The DEA labeled

BMF a large-scale cocaine and money laundering operation operating in Detroit,

Michigan, Columbus and Atlanta, Georgia, Los Angeles, California, Miami, Fort

Lauderdale and Orlando Florida, St. Louis, Missouri, Greenville South Carolina

and Louisville, Kentucky.

The DEA said prior

to today’s arrests, they had already arrested 17 members and seized over

632 kilograms of cocaine, $5.3 million in money and $5.7 million in assets.

The DEA claims

brothers Terry and Demetrius Flenory founded BMF, when they started selling

crack during their high school years in the 1980’s.

The group expanded

to other cities in the 1990’s and turned their organization into a multi-million

dollar criminal enterprise, which operated in numerous cities.

“The BMF

was a sophisticated drug smuggling and money laundering organization, led by

brothers that operated in 11 U.S. states and had direct links to Mexico-based

drug trafficking organizations,” said DEA Administrator Karen P. Tandy.

The DEA said BMF

allegedly distributed thousands of kilos of cocaine and dealt at least 2,500

kilos out of Atlanta, BMF’s home base.

“For too

many years, these drug dealers have poisoned our streets and cast shadows of

fear across our communities. Today’s arrests dismantle this drug mob and should

significantly impact drug-related crime in the communities where the BMF operated,"

Tandy added.

DEA agents said

BMF used hidden compartments in stretched limousines to transport drugs and

money and some of their vehicles were equipped with special devices to produce

air that would throw off drug-sniffing dogs.

The investigation

started in October of 2003 and culminated with today’s arrests.

“The proceeds

from the sale of illegal narcotics are funneled through the underground, untaxed

economy. This impacts every law abiding, taxpaying citizen,” stated Nancy

J. Jardini, IRS Chief of Criminal Investigation. “In this investigation,

the IRS Criminal Investigators analyzed the monetary transactions to track the

illegal proceeds of this drug trafficking organization, and the money trail

lead to the individuals indicted today. When law enforcement agencies combine

resources and expertise, we create a formidable force-the result of which you

see today with the announcement of these indictments."

BMF Entertainment

was working with Bleu DaVinci, a new and coming rapper, who released an album

titled World Is BMF, which was nominated for a Source Award in 2004.

50 Cent Says Dre’s Not Working With Game, Paramount Pulls Ads

By: Grouchy Greg Watkins (@GrouchyGreg)Category: News

50 Cent reiterated

earlier this week that super producer Dr. Dre will not be collaborating with The

Game on The Doctor’s Advocate, the Compton neophyte’s second

album.

In an interview with Miss Jones and the Hot 97 morning show,

50 Cent drastically countered claims by The Game, who has already started on

his sophomore effort.

“He [Dr. Dre] knows what the kid [The Game] just did and

that’s it. I’m not working on [The Game’s new album] and he’s

not working on it,” said 50 Cent. “He’s just got to go in

and make good records. Of course, he’ll probably name [his album The

Doctor’s Advocate] to make people think [Dre] is involved.”

The Game has already contradicted 50’s claims when discussing

The Doctor’s Advocate.

"It’s the same format at The Documentary. If it

aint broke don’t fix it," Game told AllHipHop.com. "I am still with

Dre and I’m working with some of the best producers.”

Despite his rival’s contention, 50 Cent said that his personal conversations

Dr. Dre, his history with The Game and his contributions to The Documentary

project were reason enough not to work with the Compton rapper.

“I’ve had communications with Dre since [he appeared

on the BBC radio]. My reason for saying it is…nobody can take anything

away from Dre. We don’t have any issues,” 50 said. “See, Dre

knows exactly how much I did for Game’s project. I wrote six songs on

his album. Three of them are his first three singles and I was on the records

to make people listen to them.”

Game vehemently denied that 50 Cent wrote six songs, but maintained

that they did collaborate creatively.

“We got an understanding. Everything is good,” 50

said.

In related news, Paramount has removed posters advertising 50

Cent’s new movie “Get Rich or Die Tryin’,” that featured

the rapper brandishing two handguns.

The posters drew

the wrath of various community groups in Los Angeles, California, who said the

posters were insensitive due to the rise in gun violence in urban communities.