CONCRETE Magazine - Memphis - Issue #11 by CONCRETE Magazine

8-10 ........................ Howard Q 12-14 ...................Skinny Pimp 18-20 .......................... Peppa 22 ................... DJ Rock Steddy 24-26 ................. Memphis 10’s 28 ........ Free Game: Lester Pace Memphis has such a rich history in music, especially when it comes to Southern Rap. So for us to take on the monumental task of covering that history we had to dedicate more than just one issue of CONCRETE. So keep checking on us, the story will get deeper. But we need your help to tell it completely. After all, if we don’t tell our story, who will? Editor: Corporate Cory Sparks Assistant Editor: Amariah Tyler Sales Manager: Ricardo Manager Distribution: Connell Boyland Art Director: Rex2 Publishing Consultant: Bryan Deese

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CONCRETE: As a legendary DJ here in Memphis, tell us a little bit about how you got started. HOWARD Q: I got started as a DJ actually carrying records for Detroit and Chicago DJs in Nashville. Considering the fact that I was engineering major that wasn’t cool and couldn’t dance, I found a niche that would make me at least seem like I was in the “in” crowd because I was affiliated with all the DJs. From there, I started repairing equipment and knowing our culture, they started to depend on me. So I developed a little powerful position with the DJs by repairing and setting up all of their equipment. I got affiliated with a guy named Lamar Taylor who became known as DJ 2 Smooth and since he was introverted I was his voice, and thus became Voice Entertainment. I did such a good job of representing him, I began representing other DJs. One night when he got too intoxicated to finish his set, I finished it out for him. Because I didn’t have the skills as a DJ, I used the microphone to coach myself through it and entertained people for the hour and a half left. From that point I started emceeing. By the time I graduated from college, I had owned my own nightclub, Promotion Company and in 1991, moved to Memphis and got an engineering job. I was bored with the scene here and decided to change it. I started working at Alfred’s with RJ Groove on 2 for Tuesdays, formed the Collegiate Connection and the rest is history. CONCRETE: So you said you wanted to change the scene. What was it like when you got here? Howard Q: When I got here, there was no representation for collegiate students. There was no multi-cultural entertainment. You had adult culture which was R&B based and you had thug culture which was rap-based. There was no reggae, no neo-soul, and no house music. There was nothing that represented the other regions of the country and Lamar and I brought that here. CONCRETE: In my opinion, you seem like a neutral DJ who has good relationships with everyone. You also at one time worked for three radio stations in Memphis simultaneously. continued on pg 10

CONCRETE: How were you able to maintain that? HOWARD Q: Because I never had to ask anyone for anything. Nobody was responsible for “putting me on” in Memphis. If anything, I put everybody else on that came after me and that’s why they call me the Teflon Don. That name was given to me by the president of Clear Channel when I first got employed there. I mean, that’s why I have a decent working relationship with everybody. Most people come to somebody and say, Can I open up for you? Can I do this? Can I pass out flyers? Can I do that? When I came to Memphis I didn’t ask anybody for nothing. Not a dime. Not a damn thing. Even when I went to Denim & Diamonds, I put my own money on the line. When I went to the Aqua Lounge, I put my money on the line. When I went to Ebony & Ivory at the Cook Convention Center and all these places, I didn’t ask anybody for any help. There was no Lil’ Wook. There was no CGI. There was no Devin Steel—he didn’t even exist. There was nobody that I could go to and say, Man, look. I got this idea and I want you guys to help me. CONCRETE: What was your relationship like with the Hypo? HOWARD Q: We started out together. Even before I deejayed my first party, he was passing out flyers for us at TSU. We marched in the band together and in the drum section together. As me and Lamar grew, he grew with us. I can remember when it was my turn to be the DJ in Memphis when Lamar went back to Detroit. All the way up to that point, I was the MC. So, I took the time to get my record collection where it needed to be and the first party I did, Isaac was my MC. We practiced daily on our routine, skits, entertainment stuff, and our chemistry. By the time Denim & Diamonds came around, we had perfected that. So that was my guy. He could go places I couldn’t go. He could walk through the hood in places I couldn’t go because he was received by everybody. He had a very close relationship with the high schools and the kids and when he passed I was handicapped. So that was something else that I had to learn and take up by myself. CONCRETE: You mean emceeing? HOWARD Q: No, I can emcee. That’s not a problem. It’s the relationships that he developed with people. We would take the information that we would gain from the relationships that he had with people all over the city to redefine what we did to entertain people. That’s why I was so good at it. He was a very key component to my popularity. CONCRETE: Have you seen anybody...? HOWARD Q: No. And everybody says that he was the greatest MC. He wasn’t, probably one of the most personable. He wasn’t Hollywood by any means and he was always himself. But the greatest MC to touch a microphone in Memphis, in my opinion, is RJ Groove. Nobody can MC a party like RJ Groove. But he’s turned his life over to God now and doesn’t entertain that way anymore.

CONCRETE: Since you ﬁrst came here, how has the local music scene or culture changed? HOWARD Q: Well, back when I ﬁrst got here Memphis didn’t really have a known identity in terms of a music culture. We were more known for rhythm and blues, Isaac Hayes, Beale Street—that sort of thing. Unbeknown to the rest of the country commercially, Memphis had a budding underground scene of rap music and the culture of the Memphis inner city. Honestly, these rap artists were putting out cassette tapes, putting them in stereo shops and selling a hell of a lot of them and it there was any more noise on those damn things it’d be stereo static. So, back then we didn’t have the sophisticated recording equipment and that sort of thing so it was like an underground raw type of sound. 8 Ball, MJG, DJ Zerk, DJ Squeeky, Paul, Juicy J, Lil Gin, Gangsta Blac, Pretty Tony, and it’s a whole list of them, who contributed to that scene. Rather than buy into that commercialized music that K97 was playing at the time (there was no such thing as a Hot 107 or a Magic 101), they started making their own stuff. That was somewhere around ’88 or ’89. Now, Memphis has kind of developed its own rap style, if you will, and it’s started to progress from that time. We were known for that triple-tongue style. Other places call it the “dippity” rap but it’s grown since then. CONCRETE: If you could say one last thing, what would it be? HOWARD Q: Don’t condemn those who have what you want and don’t want to give it to you. Take the time to be disciplined and ambitious enough to get it and achieve it and do it yourself.

CONCRETE: A lot of younger artists coming out of Memphis credit you as being a major influence for them. Who were some of your biggest influences coming up? Skinny Pimp: It really depends on what year you’re talking about because when I first started my biggest influences were the Skinny Boys, some people you’ve probably never heard of. My influences change over the years but I have a lot of them–Psycho, Homicide, Pat, Ball & G when they first came out, and Al Kapone. Al Kapone and Psycho had a song a long time ago that I liked and that’s what started me writing my own music. CONCRETE: I took a small survey and everyone’s favorite song of yours is “Lookin’ for the Chewin’... Skinny Pimp: They still bangin’ that junt. I was Mississippi the other day and I had went to my manager’s, Miami Mike, party and that’s the first song they played as soon as they seen us in the building. CONCRETE: Well, classics never get old. Skinny Pimp: I be like Damn, it’s time to bump some new sh-- now. CONCRETE: Didn’t you, Three 6, and 8 Ball & MJG come out around the same time? Skinny Pimp: I came out before Three 6 and after 8Ball. 8Ball was like the first dude to make my first track. One of my partners bought a track from OTS and 8Ball produced it. CONCRETE: All of them were on the original track for “Lookin’ for the Chewin”, weren’t they? Skinny Pimp: Right. I was so hungry for the music back then–well, I still am but not as hungry as back then. I was walking around barefooted trying to make it happen. I was walking from the projects to Orange Mound. When I got in the studio with 8Ball and them, it was like being in the studio with Jay-Z and I was ready. Squeeky told us to write to this beat and it was Lookin’ for the Chewin‘. I was the the first through with it which was why I was the first one on there. I just dropped my sh-- and they was still in there writing. CONCRETE: You’re an underground legend here in Memphis and all over the United States. How did the mainstream success of your peers Three 6 Mafia and 8 Ball & MJG affect you? Skinny Pimp: It really helped me more than it hurt me because when somebody like that make it all the way out there, they have to go back to the history one day. I love doing the music though but it’s all about paying the bills and making this money. But I do more than music. I do animation too. I feel like I’m going to get there anyway one day or somebody that I deal with will gone get there. CONCRETE: I was reading that you were once with DJ Squeeky and them you went over with Three 6 and them. Were they like rivals at the time? continued on pg 14

Skinny Pimp: When I was with Squeeky and them, me and him ended up getting into it over some ole petty sh--. Back then, it seemed like nobody really knew anything about the music business so we were just going with the ﬂow. I got mad because he didn’t give me a copy of my CD. I was walking and I heard somebody else riding and playing my shit so I got hot. CONCRETE: So you heard somebody else with your CD before you? Skinny Pimp: He probably wasn’t even bumpin’ my CD. I just heard it and thought it was mines. Like I told you, I used to walk to Orange Mound. So I was like, Dang! That sound like my sh--! Man, I was mad as hell. So that’s what kicked it off with me and Squeeky. I was like, “Man, give me a copy of my sh--!” They had never given me a copy of it. CONCRETE: Did you and Squeeky ever reconcile? Skinny Pimp: Aw, that’s my dawg. That’s what I like about Squeeky. He’s a real n*gga. Whenever you can take some petty sh--; even though it wasn’t that petty because it ended up getting to like Pac and Biggie, although this was before them. It was really wasn’t nothing. I can call him right now. That’s my n*gga. I f*ck with Squeeky tough. CONCRETE: Looking back now, what are some things that you would’ve changed in your career? Skinny Pimp: Well, me personally, I would have read a lot of my contracts because half the time I didn’t even read my contracts. I would just look at that shit and be like, let’s do it! They’d hand me $20-$30,000 and I was like, where you want me to sign at? I would change that because now I’m so used to money and I probably spend that much a month. I manage my money better than I used to. CONCRETE: You got an album coming? Skinny Pimp: I got an album coming out called Montana Stacks. It got 8 Ball on there, Gangsta Boo, Lil’ Flip, Miscellaneous who gave me a shout out in Concrete last issue, and Mac Boney. I also got some young dudes that I’m going to bring out too like Yung Blac. He’s featured on one of those songs on there. I got another artist named Mac Mel. I got like a ton of producers that’s hard like Goodie [Trax] right here. He got so many tracks. And that’s another thing that I would change. I used to always try to wear a lot of hats. I would always try to be the producer, the engineer, and do everything. I got that from Paul because he does the same thing. CONCRETE: Do you and DJ Paul still have a good relationship? Skinny Pimp: I don’t even talk to Paul, but if I did talk to him I would have a good relationship with him. I’m all about getting my money. I ain’t thinking about that petty bullshit. That shit petty as hell. That’s what I don’t understand. I call him the grudge holder. That’s my dude. I sent him a text the other day that said, “What’s up grudge holder?” CONCRETE: As far as relationships go, how do you feel Memphis artists compare to other cities. Skinny Pimp: A lot of them have an ego. Everybody knows because it’s self-explanatory. If it wasn’t for those people with the egos sitting out there like that, the whole Memphis would be on because we would be doing so much different sh--. You might come out with a Gangsta Boo, Miscellaneous and Playa Fly CD. Or you might come out with a Criminal Mane, Squeeky, and DJ Paul. Or you could hit them with how 8Ball tried to do with Memphis All Stars. It’s so much that you can put out when everybody’s together. But, it’s probably like two or three people holding that back too. CONCRETE: What do you feel is the future for Memphis music? Skinny Pimp:I feel like it’s going to blow up because you never know who’s going to take off. You got so many Memphis people that are out there now like Drumma Boy, Gotti, and probably somebody out there that we don’t know his name. It was probably the same with Jay-Z. Anybody can make it and I believe it’s going to take off. A lot of these young artists are hard. They got swag and they got them beats. As long as they got the right direction and the right mentor or person on the side of them, I believe they gone take off. The whole Memphis scene gone take off.

CONCRETE: Where were you in your career about 10 to 15 years ago? PEPPA: I was in the process of transitioning from managing Three 6 Mafia to becoming my own entrepreneur and founding my management company. CONCRETE: What made you want to venture out on your own and start your own company? PEPPA: Because I became Vice President of Def Jam South. Kevin Liles and Lyor Cohen hired me to start Def Jam South up under Scarface. In the process of being Vice President of Def Jam South, I started managing Gangsta Blac and Haystack. I got both of them record deals with Koch. I also started a record store and restaurant on South Parkway called Peppa’s Music Room & Grill. It’s a record store/restaurant. CONCRETE: When did you officially get started in the business? PEPPA: Probably about ’98 or ’99. I was living in Atlanta and me and DJ Paul was friends. I was actually in Atlanta going to mortuary school. DJ Paul, Juicy, and Three 6 Mafia used to come to Atlanta and I would show them around. So DJ Paul asked me if I would be their manager and I was like, “What’s that?” CONCRETE: Well, that was a major switch for you! PEPPA: [Laughs] Yeah, everybody says that. It wasn’t anything gross about it. It was just no motivation in it for me. I’m a people person so a lot of people knew me. So, I used to show Paul and them around because we went to elementary school together. I used to show them around Atlanta when they came down there. I just got out of mortuary school and started managing Three 6 Mafia. CONCRETE: When first got into managing, did you know anything about the business? PEPPA: Not to the depths of what it was. DJ Paul and Juicy was the main start of my career. I was able to network and meet a lot of people and learn the business while I was managing because it was at the same time that ‘Tear Da Club Up’ was out. Their career was just jumping off so it was like we grew in the business together. continued on pg 20

CONCRETE: So, did you all just mutually decide to go separate ways? PEPPA: You can it was kind of, sort of like that. I think it was more so that we were young in the business and I just didn’t know a lot about the business like I know now. My paperwork wasn’t right so I always suggest that an artist or whoever to make sure they have their paperwork right. CONCRETE: What would you say is an overall lesson that you’ve learned from when you ﬁrst started until now? PEPPA: Always network and try to do good business so your name can always speak for itself. One thing about the business is that you can’t always satisfy everybody. But at long as you know that you tried, you can go to sleep good at night knowing that you tried and you don’t have to really worry about anything because you have a straight conscious on what you did. Also, always network for yourself because you never know what tomorrow holds. By me having a good name and reputation, I was able to get a job with Def Jam South. CONCRETE: Tell me about Mouth of Tha South and your whole movement with that. PEPPA: Mouth of Tha South really is...well people say that I talk a lot and that I talk loud so I kind of borrowed that name and took it from Jimmy Hart, manager of the wrestlers.

But I want Mouth of Tha South is to be the Violator Management of the South. I want to be a one-stop shot where regardless on if it’s a promoter, club owner, a corporation, they can call me and I can execute and get whatever they need to be done. You know, if an artist comes to me and wants a record deal, I can go take them and shop for a record deal. I currently manage Yo Gotti and I’ve been doing that for probably the last seven years. It started off CONCRETE: Are there any other artists that you manage? PEPPA: Well, Gotti is like the number one, but we also have Zed Zilla, Don Trip, All Star, and basically anyone that’s up under the I & E family. CONCRETE: Well, is there anything else that you would like to say? PEPPA: I just want to say this: DJ Paul & Juicy J introduced me to the game. And I’m thankful for that. And Gotti has taken my career to the next Level and we have made more money than you can’t even imagine. I am blessed to have worked with the top 2 biggest artist to come out of Memphis. And its only been 10 years so just think where Mouth Of Tha South will be in 10 more years. With GOD on your side the world can be against you ! Stay Focused and See The Big Picture and Let’s get this money!

CONCRETE: You’ve quickly become one of the most sought after DJs in the city. When was the ﬁrst time that you got on the 1s and 2s. Rock Steddy: Funny question! The ﬁrst time that I deejayed a real party was about three years ago. B.Mimms and Carlito hired me to do a No ID party at Stop 345. I had two CD turntables, a mixer, and a couple books of cds. I think I only charged them $100. I couldn’t mix worth crap, but the party was crunk and it led me to more gigs. [Laughs] CONCRETE: How hard has it been getting on locally? Rock Steddy: Everybody has a cousin or uncle who claims to be a dj, but I wanted to be more. I wanted to get in the clubs bad. I found a way in doing college parties with AEI Entertainment and 207 Entertainment. I built my own buzz on Facebook (when it was new) by posting mixes and promoting parties. CONCRETE: Every DJ has a certain style. Without giving us any of your secrets, how would you describe your style?

Rock Steddy: I’m different from other dj’s because I don’t just play hit records, anybody can do that. I try to always put on a show with the way that I dj. I’m younger than most djs in the city. I’m only 22 so my style is fresh and new. CONCRETE: In addition to deejaying, you recently graduated from college, you work for STP/Hunter Promotions and have hosted/promoted parties. How have you found time to manage it all? Rock Steddy: Yeah, I just graduated from U of M [University of Memphis]. Someone told me in college, when I was a freshman, to work hard now and sleep when I die. So that’s my motto. CONCRETE: Is there a dj that you would like to meet that you haven’t already? Rock Steddy: I met Dj Drama and Dj Holiday about a year ago... that was cool. Dj Drama gave me some good advice about building a brand and how he started out while in college. CONCRETE: Let’s talk about music. Who do you feel is real hot right now? Rock Steddy: Long live the King! Yo Gotti is still killing these clubs and with his forthcoming national release on a major level, I think Memphis will really be put on the map! CONCRETE: You’ve been releasing mixtapes, particularly your Commercial Appeal series. Is there more to come? Rock Steddy: You can expect a lot more in 2010. I got projects coming up with Dj Mic Tee and Dj Lighta! CONCRETE: What are your goals for this year career-wise? Rock Steddy: My goal for this year is to change night life for Memphis and give the clubs what they have been missing. I also plan to land a position at a radio station in or outside of Memphis. CONCRETE: Thanks for the interview. Is there anything else you want to say to our readers? Rock Steddy: Be sure to follow me on Twitter @DjRockSteddy and be on the look out for my Commercial Appeal Mixtape Series. You can check me out Friday at Club Senses, Saturday at Club Vibes, and Sunday at Level 2. CONCRETE: Any shoutouts? DJROCKSTEDDY: Shoutouts to Hunter Promotions/STP Staff, Concrete Magazine, Club Owners, my partner in crimeReggie P Fine, and all the djs in Memphis who came before me! R.I.P. Hypo!

The difference between Memphis and other cities that I’ve been to would be that other cities started off where they weren’t working together. Then, as they saw a few artists working together, things changed. When first I got to Memphis in 1996, there was a little separation. You had 3-6 Mafia and then you had other artists doing things. But in 2010, artists in Memphis STILL aren’t working together. In Houston, I’ve worked with artists like Michael Watts and Slim Thug. Slim Thug was big ten years ago just like Gotti is in Memphis right now. Gotti is the only artist that I think I’ve seen take that same step as far as taking his music outside of Memphis and building himself up. I remember I was in Houston when I first heard of 8Ball & MJG. They were from Memphis but they were marketing and promoting their music in other cities. I see the hustle and grind change in very few artists in Memphis rather than a lot of artists from Houston and Atlanta. Atlanta took a bigger side of that business aspect as far as getting their music played outside of there. If you look at Ludacris’ first record that he blew up on, it was getting played in Memphis before it was getting played in Atlanta. So as far as the changes that I’ve seen, it was more network marketing in Houston artists than it would be from the Memphis artists. I think that they can work together, but then they need to spread their wings. There are a lot of artists here, that if it’s not playing here, they don’t want to go anywhere else. They should go to Little Rock. They should go to St. Louis, Nashville, Chattanooga, or Jackson, MS. All these places are directly connected with each other where they can get to any one of these places within a 2 or 3 hour drive. If they can’t build a buzz here, then start building a buzz somewhere else. You got the internet now. Artists now can get themselves exposed for little of nothing; no money at all. You have to do the work at all angles. One good thing that we have is the Memphis Music Commission. Johnnie Walker is doing a good job of having meetings very Monday where people can come out and get their music exposed and to study. If I was an artist in Memphis, I would try to locate a Yo Gotti, Three 6 Mafia, Nakia Shine, Gyft or somebody that I’ve seen and find out how they got to their success and the steps that they took. Then, incorporate my own skills to what it’s going to take for me to get from Point A to Point B. A lot of times artists look but they don’t ask. There is no blueprint on how to make these things happen. You just have to get out there, roll the dice and take chances. If Yo Gotti, or someone else, took steps A & B then I’m going to do these steps and then I may incorporate something else and do the same thing. I think music in general has changed altogether and not just Memphis – worldwide. The lack of talent resulted in several one-hit wonders that I think we have a lot of. You look at most artists that come out. You hear one record and you never hear anything from them again. Music is more dumb-downed now than it was back then and lacks substance. I believe it will come back because the consumers are going to really want to see talent.