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Ron G: Still Rollin

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

Is your current

single lagging on the charts? Do you want to get your radio spins up? Then you

might want to refurbish that song with a re-mix. Look no further than DJ/producer

Ron-G.

As a youth, he

took on the title "Youngest In Charge" and he not only took charge

– he changed the game. “Ron G is definitely more than a DJ, he’s a producer,

re-mixer and percussionist," said one urban publication.

Also known as "The

Mix Tape King," Ron G has rocked celebrity events, release parties and

even does his thing on a New York radio show.

However, the DJ

has transformed into a producer that has crafted beats for A-list artists such

as LL Cool J, Kelly Rowland, J-Lo, R.Kelly, Fat Joe, Michael Jackson and Mary

J. Blige.

AllHipHop.com

caught up with Ron G who discussed everything from the state of hip-hop to his

relationship with Tupac and Biggie.

AllHipHop.com:

You have created a craze with your blends. People hear about re-mixes but few

know it stems from the blends that Ron-G started.

RG: My blends were

kind of like re-mixes and the energy that blends made caused it to be called

re-mixes. If you listen to the first Jodeci, Mary J Blige records those were

actually blends. They were hip-hop beats blended with other hip-hop melodies.

They were really blends but they were called re-mixes.

AllHipHop: What

are some of the latest projects for Ron G?

RG: Right now,

I just did a song with Michael Jackson that R. Kelly wrote ("One More Chance"),

I just did a re-mix for Beyonce ("Me, Myself and I"), I also did J-Lo

and LL Cool J ("All I Have"), I did Kelly Rowland remix for ("Stole")

and Jagged Edge (Heaven Re-mix).

AllHipHop: You

were also the first one ever authorized to release a freestyle or recording

of 2Pac on a mix-tape.

RG: Yeah that song

is called "Deadly Combination" featuring Big L and 2Pac on Rawkus

Records, that record actually went gold. It’s amazing now to look at what everybody

is doing, including Eminem. I did that several years ago taking vocals from

different rappers and combining them together on one track. The 2Pac and Big

L song also had Biggie on there but I couldn’t get his vocals cleared so I had

to take it off. That combination back then was so huge, I’m bugging on what

they are doing now because I did it years ago and they are just catching on.

AllHipHop: How

did that come about you getting 2Pac to spit on your mix-tape?

RG: Pac came to

my studio with Stretch (R.I.P). It was amazing because he wrote his verse in

10 minutes. That verse goes down in history, he wrote what he felt and he predicted

his death and how it would happen. Just listen to his verse:

Follow me tell

me if you feel me/ I think n*ggaz is tryin to kill me/Picturin’ pistols,

spittin hollow points til they drill me/ Keepin it real, and even if I do conceal/

my criminal thoughts, preoccupied with keepin steel/See n*ggaz is false, sittin

in court, turned snitches/ that used to be real, but now they petrified b*tches/

I’m tryin to be strong, they sendin armies out to bomb me/ Listen to Ron-G,

the only DJ that can calm me/

The situation was

crazy because he left my studio that night then went to the studio in midtown

and that is when he got shot. A few weeks later I was doing a party in New Jersey

and the Outlawz stepped to me and said, "Pac said he knew you ain’t had

nothing to do with that and he sends his love to you." After that I was

happy, as hell and he has been my road dog forever. I have been supporting him

since. For a person to do the things he was doing and still move the way he

was moving and be able to think the way he was thinking and write the rhymes

he wrote in the amount of time he wrote it was incredible.

AllHipHop: One

of the greatest of all times, who will never die just like 2Pac, is Biggie Smalls.

How do you feel when you hear your name over and over again mentioned on the

classic "Juicy" record?

RG: I’m going to

be real with you, you’re the first person I sat down with and talked in depth

about this situation between Biggie and Pac. Biggie was personally my friend

(short pause). It was a time in my life when Biggie was here

and I was broke and going through a huge amount of problems. I didn’t have a

dime; I bought cars only to have them stolen. There were only two things I had

to keep me going, that was Biggie and my studio equipment. I was sitting home

doing beats trying to remain focused and I called Biggie and told him my problems.

He told me, "bring me something over man." I brought some beats over

and two days later he just gave me a check for $10,000 and he never used the

songs. That $10,000 put me where I’m at today. I don’t know if Puffy or Ms.

Wallace knows that but B.I.G. did that for me and that is why he will always

be in my heart. Rest In Peace B.I.G. He done something for me no rapper has

ever done. That $10,000 he gave me allowed me to put some food in my mouth as

well as buy

another piece of studio equipment.

AllHipHop: You

never felt the urge to intervene being that you were friends with both Pac and

Biggie?

RG: I was never

put in that position because after the situation with Pac things changed. I

never saw Pac again. I seen Biggie on a few occasions. After that everybody’s

lives changed including mines. Detectives were coming to my

house every other day. It was real, it was bugged out. It was something I really

couldn’t understand. I think the situation was bigger than themselves. I just

thank God for giving me the blessing to work with these guys and learn from

their experiences in the game. I learned from the both of them.

AllHipHop: What

is the state of hip-hop and what do you think about the 50 Cent phenomenom?

RG: Yeah 50 Cent

changed the game. He made it so people got to do a whole lot of grinding themselves.

No one was showing him love. I was doing blends of his songs when he was signed

to Columbia. Unfortunately, now n*ggas is sick. Rappers is quitting…rappers

are stressed.

AllHipHop: Why?

RG: When Biggie

was here he made people feel good, because I’m a fat n*gga. So when I listen

to Biggie I saw me. Now that 50 is here, you don’t have to look like him but

similar to him. You have to be appreciative of hip-hop, of

people who follow hip-hop. Look at the rappers who are not shaped like him,

look at all the rappers who didn’t do through what he been through, look at

all the rappers who don’t have the streets credibility. Now you got rappers

like Mos Def who don’t care cause they don’t have to do that. Then you have

(I’m not gonna say no names) rappers who once were in the top ten league, he

came and sat on their face and stepped on them like " n*gga what, I’m here

now".

AllHipHop: What

are you doing now to adjust to this 50-phenomenon?

RG: Rappers are

sick behind that. I myself had to tone up. My daughter loves 50. It was to the

point, where I said, "you know what, I got to start working out now, I

got to start wearing tank tops and I gotta go change my chain." Everybody

who loves hip-hop is loving 50 Cent, if not they choose another rapper to like.

75% of the people who listen to 50 got something on them to remind them of 50.

That is powerful. Just like when Biggie was here I went out and started buying

kangols and royal blue gators. My wife was wearing diamond necklaces. My time

was Biggie’s time. But, now that 50 changed the format and image of hip- hop,

you can’t just be a skinny n*gga no more. That is why rappers are sick!

Stagga Lee’s An MVP

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

Rapper Stagga Lee

has joined former C&C Music Factory producer Robert Clivilles and has formed

the MVP All Stars.

The group will

release their debut album Hit The Spot, which will be released on the

recently reactivated Casablanca Records, which is headed up by Tommy Mottola.

In addition to

Stagga Lee and Clivilles, the group consists of Maximino Perez and R&B

singers Mimi and Vice Verse.

The first single

from the group is "Rock Ya Body, Mic Check 1, 2," and is getting radio

airplay in various markets across the country.

Clivilles returned

to the music scene after a six year hiatus. Clivilles decided to form the group

with individual acts he was working with in his New York recording studio.

Clivilles, with

C&C Music Factory sold over 8 million albums.

Hit The Spot

will be in the stores for the holidays.

Kool Moe Dee’s Top 10 Hip-Hop List

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

Kool Moe Dee’s book, “There’s A God On The Mic,” rates the top 50 emcee’s of all time, based on Moe Dee’s handpicked criteria, which includes technique, lyrics, originality, breath control and style.The book was supposed to have been in stores in September, but has been delayed for unspecified reasons. While the book has yet to be published, AllHipHop.com has learned who Moe Dee has ranked as the top ten emcee’s of all time.The book will hit stores sometime this year, via Thundermouth Press. Here is Moe Dee’s listing:10) Lauryn Hill

9) B.I.G.

8) Chuck D

7) LL Cool J

6) Grandmaster Caz

5) Kool Moe Dee

4)Big Daddy Kane

3) KRS-One

2) Rakim

1) Melle Mel

Fat Man Scoop Tops Charts, Drops DVD, Becomes Label Exec

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

Popular Hot 97 DJ

Fat Man Scoop has topped the U.K. charts with his party anthem, "Be Faithful,"

a track that has been played on the radio for over four years in the United States.

"That’s the

culmination of all the hard work that I have done and put down in the streets,"

Fat Man Scoop told AllHipHop.com, shortly before leaving for London to promote

the single. "It was never officially released in the United States. We

finally had a way to clear it so it could be released. It was never officially

released. Faith Evans and DMX loved the record, but the business affairs people

didn’t dig it because it was stolen for the most part. It was just a matter

of getting all my ducks in order on that note. It wasn’t easy though."

The record contains samples of DMX’s voice and Faith Evan’s "Love Like This Before," which

was based on 70’s group Chic’s recording of "C’est Chic."

"The record

is really big," Scoop continued. "It’s the culmination of all the

hard work that I have done and put down in the streets."

And that hard work

is paying off. In addition to his Hot 97 gig, Scoop said that he is in the process

of wrapping up a deal with AV8 Records that will make him part owner and an

executive at the label and recently completed his first DVD "Inside Hip-Hop."

The 90 minute DVD

features one on one interviews with such power executives as Lyor Cohen, Steve

Rifkind, Craig Kallman, Paul Rosenberg, Kevin Liles, Damon Dash, Russell Simmons,

Mona Scott, Fat Joe and others.

"I want people

to know what it takes to get to the top. People don’t understand the intense

struggle it takes these executives to get to the positions that they have,"

Scoop said. "My intention is to show people what it takes for those thinking

about getting into the game, so they don’t go into it blind."

The DVD traces

the path of the executives and gives viewers an in depth look into the business

side of the hip-hop industry.

Scoop is already

working on the follow up DVD to "Inside Hip-Hop."

"I don’t act

like a pimp, I don’t claim to be a hustler or a thug. What I am is a guy who

can make great party music. I am going to try to bring my vision to the world.

The world don’t really know about party music the way I think they should."

"Inside Hip-Hop"

hits stores October 28.

Ja Rule Meets With Minister Louis Farrakhan, 50 Cent Next

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

Rapper Ja Rule

had dialog with the Minister Louis Farrakhan on The Nation of Islam’s farm on

Thursday. The contents of their conversation will simultaneously be broadcast

on 85 urban Clear Channel stations across the country.

Sources told AllHipHop.com

that the purpose of the meeting between Ja-Rule and Farrakhan is to mediate

tension between the two men and encourage peace between their respective camps.

Big Tigga was originally

requested to do the interview, but sources said that Farrakhan was chosen at

the request of Irv Gotti.

Farrakhan spoke

with 50 Cent on Thursday as well and will meet with him one on one in the coming

weeks. Farrakhan will also meet with Irv Gotti and Chris Lighty, who manages

50 Cent.

"The reeducation

of the public, which is the duty of all in leadership, will cause us to make

demands on our artists, their managers, promoters and the owners of the recording,

movie and television industries so that the public will be fed a better diet

spiritually and mentally, as well as musically and artistically," Farrakhan

said of the rap industry in January.

This is not the

first time that Farrakhan, leader of the Nation Of Islam, has met with feuding

rappers. Shortly after the murders of Tupac Shakur and The Notorious B.I.G.,

the Minister met with various artists, attempting to broker peace.

Authorities Investigating JMJ Suspect For The Murder Of Randy “Stretch” Walker

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

According to sources,

authorities are investigating an ex-con suspected in the Jam Master Jay slaying

and his connection to the shooting death of Randy "Stretch" Walker in

Queens.

Walker was part

of the original Thug Life with Tupac Shakur. He left the group for unknown reasons

and with the addition of Syke, Macadoshis and The Rated R, Shakur led the group

to a deal with Interscope and released Thug Life Volume 1.

Stretch was present

in the studio when Shakur was shot in the studio in 1994 and robbed of $40,000

worth of jewelry.

Walker was gunned

down one year to the day of Pac’s first shooting.

"Someone was

shot with an AK-47 and they retaliated and hit stretch with an AK to make sure

he knew how it felt. He was down with E Money Bags, H###, the Live Squad and

The Young Guns were all Stretch’s’ squad. But he went on tour, had some success

compared to everyone in the hood. But he kept coming back. He used to mean mug

folks and some people just got tired of his bullsh*t."

Authorities are

investigating the suspect’s involvement in the murder of Jam Master Jay, after

witnesses claimed that the suspect entered Jay’s recording studio unmasked with

the gunman and served as a lookout.

Authorities have

yet to charge anyone in the murder of Walker or Jam Master Jay.

KRS Drops New Single, Disses Nelly

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

KRS-One has teamed

with Warren G. and Japanese rapper Lil ‘ AI to drop the first single from the

QD3 movie Beef.

"Let’s Go

(It’s A Movement") is hitting radio stations this week. A video shot by

Casey Suchan is scheduled to hit BET, MTV and other outlets.

“KRS is such

an incredible person. I don’t believe this film would have been complete without

him, and now that he’s on the soundtrack, we expect big, big, things."

Suchan said.

According to KRS

One’s reps, there is another track on the Beef DVD soundtrack which is being

touted as the "official" Nelly ids record.

In related news,

KRS recently teamed with Arethra Franklin and recorded "I Remember"

for his Double Trouble album, which is a collaboration between KRS and

Mad Lion.

The song celebrates

the 30th anniversary of hip-hop and will hit stores in November. KRS’ book,

"Ruminations" is in stores. The Blastmaster recently hit the road

on the The Knowledge Speaks Tour.

Here are the dates:

10/21/03 –

LECTURE

SAN MATEO UNIVERSITY / SAN MATEO, CALIF.

10/21/03 –

CONCERT

CLUB BAS / SAN FRANCISCO, CALIF.

10/22/03 –

LECTURE

CANADA COLLEGE / REDWOOD CITY, CALIF.

10/22/03 –

CONCERT

SPY CLUB / SAN JOSE, CALIF.

10/23/03 –

LECTURE

SAN FRANCISCO STATE / SAN FRANCISCO, CALIF.

10/23/03 –

CONCERT

VELVET JONES / SANTA BARBARA, CALIF.

10/25/03 –

CONCERT

MISSION BAY PARK / SAN DIEGO, CALIF.

10/26/03 –

CONCERT

HOUSE OF BLUES / LOS ANGELES, CALIF.

10/29/03 –

CONCERT

BOULDER THEATRE / BOULDER, COLORADO

10/31/03 –

CONCERT

32 BLEU / COLORADO SPRINGS, CO.

11/01/03 –

CONCERT

THE AGGIE THEATRE / FT. COLLIN, COLORADO

11/02/03 –

CONFERENCE

TEMPLE OF HIPHOP EVENT / DENVER, COLORADO

11/03/03 –

LECTURE

TBA / DENVER, COLORADO

11/09/03 –

CONCERT

SOB’S / NEW YORK, NEW YORK

11/10/03 –

CONCERT

TBA / BROOKLYN, NEW YORK

11/14/03 –

CONCERT

NICK’S SNEAKY PETE’S / ALBANY, NEW YORK

11/17/03 –

LECTURE

TBA / CHICAGO, ILLINOIS

11/18/03 –

CONCERT

TBA / MILWAUKEE, WISCONSIN

11/21/03 –

LECTURE

TBA / INDIANA

TENTATIVE

11/22/03 – APPEARANCE TBD

107.1 FM FRESHFEST / OMAHA, NEBRASKA

Rappers Take On Prison Industry

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

Raptivism Records

is preparing to release the second installment of their groundbreaking series,

No More Prisons.

The album is the

follow up to 1999’s debut, which features a variety of artists rhyming about

the burgeoning prison industry, one of the fastest growing private sectors of

business in the U.S.

The latest installment

of the series features David Banner & Kamikaze, Mystic, The Coup, dead prez,

Saigon, Zion I, Self Scientific, Krumbsnatcha, Grandmaster Caz, Akbar, Chubb

Rock and Shabaam Sahdeeq, who is currently serving two years in prison.

"This lets

me tell my story and speak on the bigger issue of injustice in this system,"

Sahdeeq said. "I’m living proof, and No More Prisons is my

mouthpiece until my release next year!”

The first installment

of the critically acclaimed project sold over 25,000 units world-wide.

"No More

Prisons 2 is the sequel intended to let people know the work isn’t done.

This project is more than just hot beats and lyrics. This project is Raptivism,"

added Vincent Merry-President of Raptivism Records.

Profits from the

album will be donated to The Prison Moratorium Project, a New York based non-profit

organization aimed at fighting prison expansion and creating awareness of the

prison-industrial complex industry.

“We wanted

to be a part of this project because folks need to wake up to the reality of

exploitation in America," Zion of Zion I said. "The prison-industrial

complex is the fastest growing business in our country…and that’s a damn shame.

Brothers is wasting they lives away working for free, not able to fulfill their

God given potential. As MC’s, its our duty to speak to the needs of the community.

This record is essential to survival."

Unreleased Pac Songs On The Way

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

Four "unreleased"

Tupac tracks featuring the Notorious B.I.G., Eminem and 50 Cent will hit stores

in November on the latest posthumous set from the rapper.

Tupac: Resurrection

– Music From And Inspired By The Motion Picture features the Eminem produced

lead off single, "Runnin’ (Dying To Live)," which features verses

from both Pac and B.I.G.

"I got sent

a bunch of Tupac acappellas and went crazy with them," Eminem said. "’Runnin’

has a chorus by Edgar Winter, and as he’s singing it, you’ll hear Tupac coming

in, then Biggie comes in. It’s kinda like they’re just talking about each other

and the whole drama that was going on."

Eminem is featured

on "One Day At A Time," with The Outlawz and produced another new

song featured on the album, "Ghosts." Rounding out the set is "The

Realist Killaz," which features a verse by Pac and 50 Cent.

"The fact

that such stars as Eminem and 50 Cent wanted to be part of this project testifies

to Tupac’s significance and influence," Pac’s mom Afeni Shakur said. "It

was important too that Tupac come together with Biggie again, important for

fans of both men, important for the healing process, important for the future.

‘Resurrection’ represents truth, which is often painful, but it also represents

hope, which is something Tupac always had."

The soundtrack

for Tupac: Resurrection includes nine previously released songs and hits

stores November 11th.

Daz Signs With So So Def

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

After moving tens

of thousands of units through his Gangsta Advisory record label, Daz Dillinger

has inked a deal with Jermaine Dupri’s So So Def imprint.

"I signed

him because I think he’s one of the most talented west coast artist’s,"

Dupri told AllHipHop.com. "A lot of people don’t know that, so I am going

to bring all of that out."

Dillinger is currently

in the studio recording his self produced So So Def debut, So So Gangsta.

The album will

feature Nate Dogg, Snoop, Redman, The Clipse, G-Unit’s Young Bucc, Warren G.

and others.

Daz has sold tens

of thousands of albums independently and is currently preparing to release his

"Tha Row Killa" mini-movie.

The movie stars

Snoop, Tray Dee, Bad Azz and the DPG. The DVD will come with music videos, behind

the scenes footage and comedy extras.

The movie was directed

by James Mossberg, who also has worked with extreme sports athlete, Tony Hawk.

"Tha Row Killa"

has already booked 20,000 in pre-orders. An accompanying soundtrack is scheduled

to hit stores around Christmas.

Here is a listing

of tracks Daz has finished:

01. Don’t G## Caught

Slippin’

02. Take A Puff Feat. Redman

03. Betta G## Cha Strizzap

04. Fa Sho 2

05. First 2 Bomb

06. I Get Around 2 Feat. Tha Pound featuring Soopafly and Daz.

Ying Yang Twins Shooting Second Video

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

Following the immense

success of The Ying Yang Twins and Lil Jon and The Eastside Boyz collaboration

"Get Low," the two groups will collaborate for Ying Yang’s latest

single, "Salt Shaker."

The single, described

as an "ode to booty shaking unheard since Poison Clan’s ‘Shake What Cha

Mama Gave Ya!" in 1992, is the second single from the Ying Yang Twins latest

album, Me & My Brother.

"Now the world

is about to see that we been doing songs like ‘Get Low’ since day one,"

Ying Yang Twins group member Kaine told AllHipHop.com. "We do these kind

of songs in our sleep."

The video is scheduled

to start shooting October 27 on location in Los Angeles.

Wyclef Helps Family Of Deceased Toddler

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

Wyclef Jean will pay

the funeral expenses for an 18 month old child who suffocated to death, after

being trapped between his bunk bed and his bedroom wall in Brooklyn, New York.

Jean’s generosity

came after a story ran in the New York Daily News about the child, Daivon Richardson,

who was sharing the bed with several siblings in an East New York apartment.

"The story

itself is one of the most tragic things I’ve ever heard in my life," Jean

said. "To hear something like that, the way that it touched me, it was

very important to just take care of the cost of the funeral and try to find

a way to help the family further."

In addition to

paying the funeral costs, Jean sent a crib for the boy’s 1 month old brother.

Isaac Mavorah, another New Jersey entrepreneur who owns a medical services company,

is offering sheets, cribs and mattresses to needy families that contact him.

Mavorah said needy

families can call him at (732) 695-1999 or E-mail [email protected].

Jay-Z: The Black Album Preview

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

Jay-Z insists that

after the The Black Album, the curtain finally falls on his illustrious

career in hip-hop music.

Reclining comfortably

at Bassline Studios in Manhattan, with engineer Young Guru, Hov quipped with

a group of journalists and media heavies.

At a listening session for his latest, Hova revealed the soundtrack to his victory

lap out of rap’s arena.

“Are you guys

writing this stuff down?,” he asked, looking at one journalist in particular.

“You’re not.”

The journalist,

either a downlow disciple or extremely quick witted, points to his head, sighting

memory. “Reminds me of myself,” Jay says under his breath.

S Dot Carter wants

your undivided attention and he deserves it. He previewed the thoughts behind

the album and the songs that accompany it like “99 problems” backed

by the legendary Rick Rubin, “Encore,” by Kanye West, the just Blaze-produced

“December 4th,” “A Moment of Clarity," with Eminem’s

beat and others.

Here is an excerpt

from the group conversation that took place surrounding The Black Album.

AllHipHop: This

album is about you going back to your beginnings. Did you have to downgrade

your lifestyle in order to get back into that mentality?

Jay-Z: I just put

myself there. It’s just your memory. It’s like sitting down with a writer. Plus

I was writing a book at the same time so I was in that zone. It’s like sitting

down with somebody and going back to that time. It’s real memory.

AllHipHop: Who

are you competing with on this album, if anybody?

Jay-Z: My [creative]

inspiration’s from B.I.G. Like the last time, they brought me “Who Shot

Ya,” I made like four songs. When you see my albums, you look at it, I

was trying to make Blueprint better than Reasonable Doubt. And

I was trying to make Blueprint 2 just as big as Volume 2. So I

used my other albums.

AllHipHop: You

leaving the game is predicting a decline [in the game]…we already see a

decline. What are we gonna do now?

Jay-Z: “Its

not really my problem.” [Jay says in an Italian mobster voice]. My thing

with the industry is … I was inspired by cats that made different songs.

I was inspired to make a hotter song. I didn’t want to make “Who Shot

Ya.” My thing is, I think when people hear albums or anybody that’s

hot, they try to do tha same thing. They try to duplicate success by making

the same thing. It’s like, the more you hear it, it gets weaker every time.

Hopefully if they don’t have one of those things to follow, they will have

to make their own stuff. That’s what hip-hop is about. It’s like if this

guys is wearing brown and gold, I’m never gonna wear that. I want to where

this. It’s not about going to get the same thing.

AllHipHop: So now

people are going to be forced to innovate?

Jay-Z: Absolutely.

I mean, I’m not the only one as far as I am concerned.

AllHipHop: What

made you work with Rick Rubin. A lot of people don’t even know who he is

as an innovator in hip-hop? Did you consciously go after him?

Jay-Z: Yeah, I’ve

always wanted [to work with him]. I’ve always admired his work. And this

being the last album, I had a wish list of producers who I wanted to work with.

I got Rick. He was on my wish list of people I wanted to work with.

AllHipHop: What

about the song with DJ Premiere?

Jay-Z: The Primo

song didn’t come out.

AllHipHop: What

about songs with Kanye?

Jay-Z: Did I play

anything from Kanye?

AllHipHop: Nah

Jay-Z: [To Young Guru]“Encore?” “Encore.” [plays unmixed version of the song] Encore is not mixed or put together right. Things are out of place. Vocals are high. You get the idea.

AllHipHop: After

this album, you are going to totally quit rapping?

Jay-Z: I’m

not going to do any collaborations for at least a year. I’m going to step

away. Maybe a soundtrack. Its going to cost $1.2 [million].

AllHipHop: Are

just trying to go into acting or are you taking a more executive-type role?

Jay-Z: Hopefully,

a little bit of all that. It’s not just one main focus. I mean music is my love.

That was my main focus. Everything else is: ‘I’m going to try to do that.

I’m going to try to do that. I’m going to see what happens over there.’

Not one thing is more important that the other.

AllHipHop: What

does your retirement mean to Roc-A-Fella as a company?

Jay-Z: I think

that my presence at Roc-A-Fella was a gift and a curse. It think it brought

a lot of attention to the label, but also a lot of the artists on Roc-A-Fella

are compared [to me]. It’s not like,’“Let’s go hear the album’ Its

like, ‘Lets go hear the album – this ain’t better than a Jay album.’

So it puts a lot of pressure on them. I think [me leaving] frees them up. They

step up now, I think they’ll be super stars without that burden of having me

on the label.

AllHipHop: How

comfortable was your mom in the studio?

Jay-Z: I tricked

her. It was her birthday and she was having a party at the club. It was around

the corner so I told her to meet me here. When she got here, I was finishing

the verse, I was still in the booth. I was like, “You hear those empty

parts? You think you can fill those out? ”She didn’t get a chance

to think about it. She was already in the studio.

AllHipHop: How

did you hook up with 9th Wonder?

Jay-Z: I don’t

know.

Young Guru [Jay’s

engineer and friend]: I love Little Brother. I went and found them real quick.

I was going to bring them up here and play some beats for Jay. I know Jay f*cks

with Quest from The Roots. So I told him to page Jay and big up 9th.

Jay-Z: Oh sh*t!

They should give you half of that check. Amir called me that day, “I heard

you got a meeting with 9th.” I’m like, “Who’s 9th?”

He’s good. He’s nice. He’s in the same vein as another Primo,

another Pete Rock. He’s really good.

AllHipHop: How

many songs did you record?

Jay-Z: I did 12

songs on the album. Two interludes. I got another six songs.

AllHipHop: Are

all the songs we heard guaranteed to make the final cut?

Jay-Z: Yeah, yeah.

AllHipHop: There have been a lot of subliminal messages in your promotions. Like the “Buy Black” for the Black Album and “Get Free” for Freeway’s album. Are you trying to send messages subliminally to those that might get it?

Jay-Z: I’m more conscious of my actions and I’m working on my philanthropy thing. Its only right.

Has Hollywood Tarnished Hip-Hop Forever?

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

Hollywood has become the main objective of the American desire. It contains all of the ingredients necessary for a storybook lifestyle: money, fame, power, and the like. But, most recipes are never perfect. A pinch of this or a touch of that is usually the key to win over a hungry crowd. That extra ingredient, unfortunately, comes in the form of sex, drugs, alcohol, and parties. Anything done in moderation can be usually be counteracted by a healthy dose of consciousness. With each passing year, Hip-Hop is seemingly losing that grip on consciousness, and no one seems to notice the change that may be pertinent for our survival.

Is the Hollywood imagination partly or wholly to blame for Hip-Hop’s lack of socialism? If you look past the fact that artists are starring in their own sitcoms, making cameo appearances and being the marquee act on the big screen, you can still smell the rich stench of Hollywood in the air. The Hip-Hop culture has infiltrated all of the major award shows, and Hollywood’s own can be seen mingling with top-notch Hip-Hop moguls. Hollywood is a direct representation of the escape from the average and normalcy that everyday living provides. Signing a “lucrative” contract with Hip-Hop’s most elite labels has come to signify the same thing.

Let us briefly outline what it means for a struggling actor to finally make it to the theatres. It symbolizes a change in the status quo. When an actor is rewarded with an Academy award for his or her dedication to perfecting their craft, they are usually swarmed with offers of big money for future roles. They are allowed access to a world that never existed in their eyes before. The slow lane they once traveled in has turned into the Indianapolis 500. Jewelry designers allow them to flaunt their latest creations. Clothing designers flock to them to showcase the latest fashions they have to offer. Hairdressers allow thousands upon thousands of dollars to be thrown away to captivate the waiting audience. Limousines wait on them hand and foot, personal assistants sweat to make their lives as carefree as possible, and…well, you get the idea.

What does it mean for an impoverished rapper to make it to radio stations worldwide? At the beginning stages of Hip-Hop, there was no such thing as “exposure.” Only true fans of the culture knew what was going on at that time. Fast forward from then to 2003. Hip-Hop has been elevated to the highest of highs. The same set of circumstances can be found when the struggling artist finally strikes gold, but there are some differences involved. The issue of street credibility instantly takes center stage. Fear of leaving the environment you once called “home” in pursuit of a dream also comes into question. Other than those sorts of differences, it all remains the same.

We are in the “botox era” of Hip-Hop. More and more artists can be seen sporting mink coats, driving the fanciest of cars, dining at the most exclusive restaurants, and purchasing homes that would make Robin Leach proud. They are even purchasing companies and becoming viable businessmen in the entertainment industry. What has Hollywood done to contribute to the sudden influx of Hip-Hop artist wanting to live “the life?” There are many answers, yet some of them are not clear enough to be exposed.

What is clear is when Hip-Hop became recognized as a conglomerate and not a voice is when the trouble began. Gone are the days that messages helped empower youth. The few artists that have maintained a sense of dignity and self-truth are seldom noticed, if ever. The worldly treasures that maintain the sanity of Hollywood actors have trickled on the necks and fingers of Hip-Hop artists. More than ever, Hip-Hop has received more radio and airplay through commercials and advertisements. Record labels got wind of the fact that they can market MCs better than TV can market the next $200 million blockbuster. It has gotten to the point where rap artists are even becoming romantically involved with Hollywood hotshots (Q-Tip and Nicole Kidman’s supposed relationship is the latest testament to this).

In Hip-Hop’s humble beginnings, who would have thought all of this would be possible? Big recording budgets, arenas being overrun with thousands of adoring fans, jewelry that costs more than some houses, and wardrobes that resemble that of kings and queens. Lately, actors have cited the fact that Hip-Hop has taken away from their own luster, taking major roles from those who “deserve it.” Hip-Hop has become Hollywood’s twin, yet they are more like 5th or 6th cousins. The change that Hip-Hop has endured is irreversible, and the effects will be infinite. We may be right in the assumption that Hip-Hop is no longer Hip-Hop. “Holly-Hop” would be a more fitting description.

Send us your feedback at [email protected].

Jadakiss Stars Opposite Duane Martin, Vivica Fox In “Ride Or Die”

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

Jadakiss will star

opposite Duane Martin and Vivica A. Fox in "Ride Or Die," a never-before-seen

movie that will debut on the Starz Encore Group cable channel.

"Ride Or Die,"

was Executive Produced by Will Smith and Jada Pinkett Smith and is described

as a "sophisticated hip-hop murder mystery."

The film centers

on a private investigator named Conrad McCrae (Duane Martin), who is investigating

the suicide of his rap superstar friend, Benjamin (Jadakiss). McCrae suspects

that Benjamin’s death is a homicide and finds shocking details.

"Jada was

great to work with," costar Duane Martin told AllHipHop.com. "He was

the only rapper who didn’t audition with the paper in his hand. He came prepared

which is more than half the battle in booking a movie. The world is his if he

wants it."

The movie also

marks the debut of Martin as a feature writer and producer.

Meagan Good and

Michael "Bear" Taliferro also star in the flick, which debuts January

16, 2004 at 10:00 p.m. ET/PT on Starz.

Hip-Hop Album Questions September 11, War On Terror

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

Hard Knock Records

has released What About US?, a critical response by various hip-hop artists

and activists in regard to the 2001 September 11 attacks and the current "war

on terror."

The album features

appearances by Zion I, Blackalicious, Hobo Junction, Cool Nuts featuring Bosko,

Davey D., Michael Franti and Spearhead, Abstract Tribe Unique, The Frontline,

Raashan, Non Prophets, Rico Pabon and others.

"The concept

behind the creation of the album is in the title What About US?,"

Executive Producer Nick Huff said. "The media portrays the hip-hop generation

as apathetic and materialistic but never supports artist that have something

to say about what is going on in their communities."

Huff said that

the hip-hop community is critical of the wars in the Middle East because the

majority of the consequences of the war will effect poor people across the country.

"The Billions

of dollars, possibly Trillions before it’s all over, that are being spent on

the defense budgets are not coming from taxes to the rich or from corporations

because they are getting their taxes cut to ‘Stimulate the Economy’. The bulk

of that money is coming from programs that actually need the money the most

like public education, after school programs, childcare for low income families,

Medicare. These programs which our communities need the most are the ones taking

the biggest cuts because we don’t have lobbyist to speak for US. Is this what

president Bush meant when he promised to leave no child behind?"

A portion of the

proceeds from What About US? will be donated to the Underground Railroad

radio show and KPFA apprenticeship program.

What About US?

is in stores now.

Saul Williams: Deep Thought

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

When Chuck D becomes President, who will deliver the presidential poem at his inaugaration? I suggest Saul Williams. Without Saul’s film Slam, would Def Poetry Jam be so popular? Without Saul’s books, the hip-hop section might be reduced to rapper autobiographies and books on Tupac. Without Saul’s album, our ears might not be ready for the bold fusions that are now being made by Big Boi, DMX, and even Jay-Z.

Saul Williams recent released a new book, Said the Shotgun, to the Head. The book chronicles, in poetry, the past years of our lives: the love, the war, the religion. The text is not for the foolish. Saul Williams is one of the most fertile minds in the culture, his insights on life, love, and hip-hop are worth the read.

AllHipHop Alternatives: She seemed to be focused on love primarily. In Said the Shotgun to the Head, you really added war and God to the theme of your poetry. Can love, God, and war co-exist?

Saul Williams: Uh, they have to, because they all exist. The main question that the [book] raises is what do you play in its existence? There’s a Native American saying that if we’re not careful, we’ll end up where we’re headed. My whole perspective is that it’s quite obvious where we’re headed, but maybe all the information in our heads needs redirected.

AHHA: At what point in the last three years did you focus your writing into this?

SW: The book is one poem. I’ve been working on the poem for four years. It came into shape around 9-11. I had already been writing about an ode to Kali, the Goddess of Destruction. When 9-11 happened, it was like, “Oh man, I have to focus my attention on this poem.”

AHHA: “The Pledge of Resistance” in text and audio truly captured the activist attitude of the past year. I’m sure you saw that power when you wrote that piece. But when you first performed it, was the response larger and more powerful than imagined?

SW: It was larger. Some of the things I wrote on, I wrote with a lot of thought – like, “this is great, people will like this.” But that stifles my creativity, or just jinx a project itself. So a lot of times, I just don’t think about it, I just get the work done. So I actually am surprised how many hear it. It felt like something I was blessed to be apart of at such an early stage, with or without my name being attached to it.

AHHA: When writing in the format that you do, how do you know when the work is complete?

SW: When do I know? My answer is…when it’s complete. Pretty much I can tell when the ends are just not tied up yet. It’s usually quite a labyrinth. I’m traveling, trying to get to the end. I usually don’t know I’m there, until I’m actually there.

AHHA: Are you aggressive in terms of editing?

SW: I’m very aggressive as I’m writing. It’s like washing dishes. Some people do dishes right after dinner. Others wait a while. Some people let them pile up for a week. I usually edit as I’m writing. A lot of times I refuse to turn the page unless everything on the page is exactly as it should be: proper choice of words, editing out words, making sure its as concise as possible. I seldom write something down, and come back to it.

AHHA: Said the Shotgun to the Head furthers your metaphors and allusions to hip-hop culture. Certainly the Seventh Octave had some pieces that were more obvious to hip-hop like ‘’1987.’’ But, is hip-hop still playing such an active role in your inspiration for writing?

SW: Hip-hop plays a very active role in my definition of me: the generation, the culture, that a part of. Of course, like many of us, when I think of the current state of commercial hip-hop, it’s not as much. Of course there’s times where I’ll say, “I really like this song regardless.” It plays an important part. A lot of times I’ll use hip-hop imagery. For instance, “Cross-fade into Onk” is probably the most profound stanza in the poem. Hip-hop is a reflection of things nowadays – the whole make money, get yours, dog eat dog world -a lot of the aspects of the conservative American culture that a lot of us were against.

AHHA: I think many would agree that you’re the poet laureate for hip-hop. I’ve heard the argument that MC’s are poets. Sometimes I agree. What’s your take on that argument seeing as how you’ve established yourself as both?

SW: As an unjiggy MC, yes – they’re one in the same. It used to be than an MC was the master of ceremony. The master. A master has to overlook, has to oversee, has to be an aggressor. An MC acts like he knows. An MC will declare something as“No question, no doubt.” A poet, on the other hand, will raise the question. A poet will wonder what it is that you’re seeing. The MC can show no vulnerability. The poet is all about vulnerability. There aren’t many MC’s that show vulnerability and ask questions, ‘Pac to Juvenile to Kweli to Kool Keith, across the board, all those guys ask introspective questions, out loud.

AHHA: How did you find that confidence for your writing, and does it carry into your speech, or is it reserved to your art?

SW: There are many things that come through my pen that I do not claim authorship of. In other words things come through me. I’ll look at things I wrote and say, I couldn’t have wrote that. So that in my life, while I am a confident man…I am constantly trying to live up to my writing. That’s my mission.

Havoc: Sonic Blaze

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

Mobb Fans have

been patiently waiting and waiting and waiting for the next street soundtrack

from The Infamous. The Queensbridge-bred duo left fans hanging since their last

album, Infamy, way back in 2001.

Die-hard fans of

the group got their pallet wet with 2002’s Free Agents, the double album mixtape,

which had enough heat to temporarily warm the projects.

One of the reasons

for the temperature surge is the Mobb’s resident beatsmith – Havoc. Certainly,

one of the masters in sinister soundscapes, Havoc has consistently backed Mobb

Deep and a number of rap affiliates.

The veterans got

more fire on deck. And as fan await the group’s debut on Jive Records, the revered

producer talks about his background, life, solo aspirations and the future of

Mobb Deep.

AllHipHop: What

can people expect from your solo album?

Havoc: sh*t, just

gangsta sh*t, ill songs. The songs are gonna be tight the way I’m gonna put

them together. I’m going to be talking about different issues, a couple of topics

– not just freestyling. Things that I wasn’t able to do on a normal Mobb Deep

album.

AllHipHop: You alluded

to it, but what’s the main differences between this and a Mobb Deep CD?

H: I’ll experiment

a little bit more alone because it’s just me and my little project. You’ll see

some things that won’t be on a Mobb Deep album, I’ll do that. I’m going to try

to push the envelope a lil something, you know?

AllHipHop: What made you

do a solo CD in the first place?

H: The reason

why I made a solo album is because P did one and on our last album, a lotta

cats was coming up to me like, "When you gonna make a solo album?"

I never really thought about it, but mad people were asking me. I said, "You

know what – f*ck it. Might as well. It ain’t gonna hurt. It’s just another album."

AllHipHop: What’s the name

of your label again?

H: Infamous

Records. That’s me and P’s joint right there. I got my own record company called

Done Deal, that’s by myself. You’ll see that in the future. But for right now,

everything is going to be umbrella’ed under Infamous Records.

AllHipHop: What is your

technique for making beats?

H: Really,

I don’t have no certain technique. I f*ck around with the keyboards or whatever.

I’ll go record shopping for some old records. My technique is just coming up

with some banging sh*t. Back in the days, I used to use the ASR-10 and the EPS-16

plus. Now I just the Triton and the MPC-3000 jump off. The MPC-3000 that’s my

joint right there.

AllHipHop: As far as you

a beat maker, you are certainly underrated as far a recognition…how do

you feel about that?

H: Certain

people know that I did this that and the third, but I don’t do much work for

people outside of the camp. The down side to that is that my name don’t get

out there how it should. Everybody knows [production] is where the longevity

is at. Most of the time its definitely behind the scene, but I am gonna balance

the two for sure.

AllHipHop: Do you feel

like you should have done more with other people?

H: No, I don’t

regret not working with that many people. I feel good. Mobb is successful. Maybe

a little underrated though.

AllHipHop: As a rapper,

how hard is it to give away or sell beats?

H: Being an

MC and a producer at the same time is kinda hard. Anybody out there that does

what I do, they probably can tell you. I started as an emcee so that’s where

my passion was at. So then to make beats and my passion is there too, it’s hard

to give up a track because I be wanting to rhyme on it.

Havoc: Sonic Blaze Pt. 2

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

AllHipHop: What’s

the state of the group and where are you headed?

H: Well, Mobb Deep

is very much intact. We still here. We here to make Mobb Deep albums. Me and

P are very focused-even more focused than ever. P is gonna make his solo joints.

I’m going to make one too. We gonna make Mobb albums. We gonna put out other

artists. P got the movies jumping off. Its gonna be a good look for the future

for us. We gonna work hard like it’s our first time in the game. That’s how

I see it.

AllHipHop: Who

did the Loud break up affect you guys as a group?

H: It stagnated

our career and how we eat. This is our future. We was looking for Infamy to

come out, blowing, going platinum, double platinum and for the company to start

falling apart at the time when you need it the most, its gonna hurt somebody,

you know? But you know, it made us stronger, we been through this before. We

stuck together and that’s that. It was a f*cked up situation and that’s that.

It ain’t easy but you know that saying – anything easy ain’t worth having.

It’s a struggle so, f*ck it. It just makes us stronger. Everything happens for

a reason.

AllHipHop: How

do you feel about Infamy?

H: I feel it was

getting a lot of recognition as far as what I saw. We came out with "Burn"

for the mix shows and mix DJ’s and they was thumpin’ it. Then we shocked motherf*ckers

when we put out the 112 sh*t. Some people was like "why did you do that"

and other n*ggas was feeling it. We got the most spins off the record than we

ever had, everything was looking good, we was on the road, we was going hard

and then [the Loud Records] sh*t happened. To me it was a good album and people

was feeling this as far as what I know.

AllHipHop: Also

on that album y’all decided that other people would produce on that album, which

seems like a first. Why did y’all decide to do that?

H: Times change

and just to be a little on the safe side, I was like aight f*ck it let some

other producers come in. Not too much though, but just to get some different

looks on the album.

AllHipHop: Alchemist,

credits you as one of his inspirations. How’d you meet up?

H: I hooked up

with Alchemist when we was doing something with DJ Muggs from Cypress Hill.

That’s they peoples and he came up with them. I guess we met through there and

we clicked with homeboy ever since. I think he’s very very talented and he’s

definitely on his way to becoming one of the biggest producers out there. People

say we sound similar but it’s all good. That sh*t don’t bother me in the least

’cause if he gets anything from me I’ll feel good. We exchange techniques anyway

so it’s all good.

AllHipHop: Do you

look to anybody for inspiration?

H: It’s a lot of

good people out there. A lot of tracks I be hearing and I don’t know who produced

it I’m not really easily influenced by listening to other brothers tracks. I

might be inspired by how good they might sound and become compelled to make

a better beat but, you know back in the day it was definitely people who influenced

me like Primo, Pete Rock, Large Professor, Q-Tip. I try not to let [outside

influences] get in my mind ’cause that’s like poison for a producer, that’s

like the start of your end. You definitely got to be able to make things that

people like and sh*t like that.

AllHipHop: How

were you as a kid and what was your home life like?

H: I grew up in

a single parent crib, nothing to different from the average young black male’s

experience in the 80’s. Been around the drugs, tryin to sell my lil’ bit of

drugs but, I had somewhat of a good support system. My Grandmom’s and my pops

taught me right from wrong and I took it from there to do what ever I chose

to do. I wasn’t no angel but I grew up in QB. I chose music at the end of the

day. I knew that music would be me.

AllHipHop: So you

grew up with your mom?

H: I grew up with

my moms until I was 13. Then I moved with my Grandmom’s ’cause my moms was going

through a couple of changes.

AllHipHop: I f

you don’t mind me asking, what issues were your moms dealing with?

H: Some drugs and

stuff. She’s a working church lady, in church every other day. I’m real proud

of my moms. She inspired me to beat my own drinking problems.

AllHipHop: What

School did you and P meet in?

H: Art and Design

H.S. right there in Manhattan, back in like ’89

AllHipHop: Did

that contribute to you growing as a producer?

H: Going to that school didn’t really affect me as far as being a producer because

I was already at home with the dual cassette tapes. I used to tape sh*t off

the radio from like the old stations and I used to hear a lil’ part in there

I like, I would just keep on dubbing and recording, dubbing and recording until

it was a whole loop kind of beat. So I was doing that before I got to H.S. I

can say that going to that school changed my life ’cause then I met P. Who knows

where I would be if I didn’t go to that High School.

AllHipHop: What

was some of the struggles that y’all have overcome through the years, did y’all

ever get discouraged around the early days?

H: Definitely,

when we was signed to 4th and Broadway. That’s when we did the “Hit It

From The Back” [song]. We was young, 16 and 17 and we made this album that

ain’t go nowhere. People in the hood are waiting for you to fail and that’s

even more f*cked up ’cause muthaf*ckers is waiting for you to fail and you failed.

n*ggas is pointing at you laughing and that sh*t would discourage anybody. That

sh*t helped me ’cause I was like f*ck all that I’m going to keep on going, I

don’t give a f*ck.

AllHipHop: How

would you say you have grown over the years as both a lyricist and a producer?

H: As a person,

I grew in the sense where it’s not one big party, this is my life, my career

and I got to at all times be in control of it and for the most part take it

like this sh*t can be taken away from me. Ain’t nobody promised tomorrow,

you got to go hard at this and work hard doing whatever it takes to try to be

on top.

AllHipHop: What’s

your take on your lil’ beefs with Jay and later Nas a couple years later?

H: It was all good,

it’s a part of life and a part of rap. Everybody ain’t going to be able

to get along, so I don’t have no regrets. It ain’t stop anything that I have

had to do, it was just a couple of lil’ verbal altercations. We men, take it

and keep it moving.

C-Bo: Ten Lives

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

October 17th, 2003

will be a day that West Coast Mafia CEO C-Bo will never forget. In the early mornings

after leaving a nightclub in Kansas City, he and artists from his record label

were met with a barrage of bullets while they sat in their SUV. Miraculously,

no one was killed, and no life threatening injuries were sustained.

This occurrence

reads like a bad 2Pac or Biggie Smalls script. The circumstances are eerily

similar, yet tragedy does not rear its ugly head. Just days after the incident,

C-Bo spoke with Allhiphop.com to shed some light on the situation and offer

words of enlightenment to those who may or may not encounter what he did. It

is important to remember that no man or woman is promised the next minute, the

next hour, or the next day, so do all that you do in a persistent, yet kind

and gentle way.

Allhiphop.com:

What exactly took place the night of the shooting?

C-Bo: Well you

know, some boys got on us. They came out of nowhere. It wasn’t no accident

or nothing, they just came out of nowhere shooting.

Allhiphop.com:

Where did all this chaos take place?

C-Bo: I was in

Kansas City. We was coming from the club, about to go turn it in. We was riding

man, and they got my boy (Fat Tone) twice in the back. We was in a clean ass

Excursion, sitting on 24’s and sh*t. They shot every window out of that

muthaf*cka. They sprayed the fully and sh*t, you know what I mean?

Allhiphop.com:

What injuries did you sustain?

C-Bo: Nothing man,

just some cuts from the glass.

Allhiphop.com:

Various reports state that Messy Marv was seriously injured in the shooting.

In actuality, it was Fat Tone who got the worst of it, right?

C-Bo: Fat Tone

got hit in the back, right below his neck. He got hit in the ribs, and one of

his lungs collapsed. He’s stable right now. Messy Marv wasn’t in the

car. He was with us earlier that day, but he wasn’t with us at that time.

Allhiphop.com:

There were no injuries to Fat Tone’s spinal column?

C-Bo: Nope. The

bullets missed his spine somehow.

Allhiphop.com:

Has the police gotten anywhere with their investigation?

C-Bo: sh*t, I don’t

even know. We really haven’t talked to them. They’ve been asking us

questions and sh*t.

Allhiphop.com:

They have not established any sort of motive or anything?

C-Bo: They high

speeded away from the police and got away. They broke out, man.

Allhiphop.com:

What kind of condition is Fat Tone in right now?

C-Bo: He’s

straight; he’s going to make it.

Allhiphop.com:

I heard tell that they were coming after you with AK47’s. How were you

able to escape the gunshots?

C-Bo: Exactly my

man! They pulled up on the side of us. I’m in the passenger seat, my n####

Fat Tone was behind me. Lil’ Psycho was in the middle, and Killa Tay was

on the side. They rolled up on my side and just sprayed with the fully, about

75 shots in a matter of 5 or 6 seconds. It sounded like threw a bunch of firecrackers

in the car!

Allhiphop.com:

How are you holding up from a mental aspect?

C-Bo: I’m

just chilling with my n*ggas right now. Thinking about life, bro. I should be

dead ten times right now. n*ggas got to get motivated in this music 100% because

it can over at any time.

Allhiphop.com:

You have to focus on the things you love most in this life and concentrate on

that because you may not get a second chance.

C-Bo: That’s

real right there.

Allhiphop.com:

You got any messages for the people who are going to be reading this?

C-Bo: Don’t

wait to do anything. Do what you want to do right now because you can be gone

any day. You got to stay motivated. Do the right thing, man. It’s not for

nothing. The sh*t you do wrong comes back to haunt you and the sh*t you do good

comes back to protect you. You got to do a lot of good sh*t so that it can protect

you from all that bad sh*t.