Two Turntables & A Mic

ENVEONLINE.COM/MAY 2013

TWO TURNTABLES

AND A MIC //RESPECT THE DJ EDITION//

02 ENVEONLINE.COM/MAY 2013

DJ TROY DJ SUPERSTAR JAY

03 ENVEONLINE.COM/MAY 2013

DJ THORO

DJ BLAZITA

DJ SCRAM JONES

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OWNER AZARR JOHNSON CO-OWNER DESHAUN JONES Editor VICTORIA TYLES Editor DAMION TRENT SENIOR GRAPHIC DESIGNER SIR RICHARD HARRIS PHOTOGRAPHY BLAK KING GRAPHIC DESIGN INTERN CARESSA IRVING CONTRIBUTING WRITER JEZIEL JIMENEZ CONTRIBUTING WRITER JESSE HAGEMAN

05 ENVEONLINE.COM/MAY 2013

LETTER FROM THE OWNERS AZARR JOHNSON ENVEONLINE MAGAZINE “NOTE FROM THE OWNERS”

DESHAUN JONES ENVEONLINE MAGAZINE “NOTE FROM THE OWNERS”

AZARR JOHNSON

: Welcome to our first annual DJ issue. Like the DJs highlighted in this issue, we had to overcome many adversities to create this magazine. Between Hurricane Sandy, sleepless nights and constant back and forth with publicists we were still able to persevere through those obstacles and finish this issue. The obstacles that my team and I had to go through are what these DJs go through every day in this industry, and they never get the recognition that is deserved. The DJ is the spokesperson for the people, if you don’t believe me, go to any website and do your research on your favorite or top 10 favorite artists, somewhere in his or her success story there will be a DJ mentioned as one of the critical parts to his or her rise to the top. In this issue we highlight some of those stories and opinions of the current faces of the industry, from DJ Blazita (Forbez Dvd), DJ Thoro (Shade 45), DJ XXXotic Mami (Fleet DJ), DJ Super Star Jay and many more. Sit back and enjoy this issue and salute to all the DJs in the industry that are helping to keep the music alive and saving a lot of artist’s careers, real talk! As long as Enve is around we will always be a voice for the DJ, which is part of the culture we represent, because if we don’t who will? Salute to the DJ!

DESHAUN JONES:

With every magazine that we complete we find out how strong we are as a brand.

We started this issue a week before Hurricane Sandy slammed the tri state, which set us back momentarily. Needless to say, we weathered the storm. We got back on our feet and hammered away at this issue. The fun part was watching this magazine come together at the very end.

We were able to grab all the main DJs featured in this issue for a cover photo shoot. It was our silver lining after the storm. Peace to all the DJs that showed us love in this magazine and came through. Most importantly, peace to my Enve team that fights and grinds with me through each issue while we are making our dreams possible. I dedicate this issue to my Grandmother. RIP Grandma Willson, 2-14-13. I also want to dedicate this to my friend behind bars, FREE LAYZ!!!!

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TABLE OF

CONTENTS THE DJ DROP

SELF-PROMOTIONAL INNOVATION OR OBTRUSIVE NUISANCE?

BY JESSE HAGEN

DJ BLAZITA INTERVIEW BY AZARR JOHNSON

DJ KAYOTIK INTERVIEW BY AZARR JOHNSON

DJ RED ALERT

BY DESHAUN JONES

10 14 16 24

DJ SCREAM

28

BY DESHAUN JONES

DJ SUPERSTAR JAY

BY DESHAUN JONES

32

DJ TROY

36

THEY REMINISCE OVER YOU

YOUR AN AMERICAN:

GO PLAY SOMEWHERE ELSE

BY JEZIEL JIMENEZ

30

DJ THORO

BY JESSE HAGEN

38

THE MES HALL BY DESHAUN JONES

20

DJ SCRAM JONES

BY DESHAUN JONES

37

.COM

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//RESPECT THE DJ EDITION// 1. DJ SCREAM // 2. DJ SCRAM JONES// 3. DJ SUPERSTAR JAY // 4. DJ BLAZITA // 5. DJ TROY

1 3

2

THE DJ DROP: SELF-PROMOTIONAL INNOVATION OR OBTRUSIVE NUISANCE?

BY JESSE HAGEN

09 ENVEONLINE.COM/MAY 2013

5

TODAY’S CROP OF BEATS ARE OFTEN PUNCTUATED WITH RECOGNIZABLE, IF SOMETIMES UNIMAGINATIVE, DJ DROPS. SO PREVALENT HAS THIS PRACTICE BECOME, THAT A SUBSTANTIAL CHUNK OF THE CURRENT BEAT-BASED HITS COME EQUIPPED WITH AUDIO DROPS THAT HAVE ALREADY BOUND THEMSELVES INTO THE PART OF YOUR SUBCONSCIOUS RESPONSIBLE FOR SONG RECOLLECTION, PERMANENTLY WAITING TO BE UTTERED BY YOU THE NEXT TIME YOU GET A LITTLE INEBRIATED. Now, before we make this sound too sinister, it’s important to note that the DJ Drop as a self-promotional device isn’t a new phenomenon. What is worth asking is whether today’s musical climate has shifted the DJ Drop into something that has become more of a distraction and less of an artistic signature.

4

The roots of the DJ Drop are stitched into the culture’s fabric since the dawn of Hip-Hop itself, when block parties were presided over

by DJ’s who needed an engaging mic presence, a keen sense of the crowd’s energy. The most successful balanced both by utilizing their equipment in a manner that made their styles and tastes palpable and unique. “Rocking the party” rapidly became more than a skill. It became a potential profession, not to mention, a reputation builder.

Even as Hip-Hop transitioned off the block and into the studio, the tradition of paying homage to whoever was making the people dance remained. Many early duos literally gave DJ’s equal billing (Eric B. & Rakim, Boogie Down Productions, Fresh Prince & Jazzy Jeff).

As the 90’s progressed, the role of the producer gradually became more developed and defined, and it was they who began to receive or demand audible credit, either by their own accord (Prince Paul and the skits from 3FHAR and De La Soul is Dead, Dr. Dre as a vocalist) or from the emcees themselves (Q-Tip: “Pete Rock for the beat, you don’t stop”).

Meanwhile, DJ’s shifted away from the limelight and brought their taste making talents to the radio waves. It was there that they developed an updated model of the DJ Drop’s from Hip-Hop’s infancy, breaking exclusive records and inserting their own adlibs to make said releases seem more like exclusive events (Kid Capri, Kay Slay, Funk Master Flex, stalwarts from the pre-internet era, who still lay claim to credibility today).

Puff Daddy, himself partially responsible for a seismic shift in Hip-Hop’s commercial appeal and flashy sensibility, made his vocal presence as a producer more prominent than ever, inserting himself directly alongside Hip-Hop’s greatest lyricist, and latching onto limelight as an ad-libber (“take that,” etc.), puzzling homicidal maniac (the inexplicable tirade that closes “Long Kiss Goodnight”) and eventual lyricist himself (“Victory”). Puffy’s shtick was cold, calculated success, and it worked in a major way. Today’s flourishing flock of young, playful and energetic mainstream emcees are only just beginning to shake Hip-Hop out of a decade of intense self-seriousness.

The 2000’s and the rise of the mixtape ushered in a wave of underground rappers and DJ’s with Puffy-like aspirations, exhaustive work ethics and prolific outputs (DJ Clue, DJ Drama).

Much of their notoriety was seemingly derived from insatiable desires for domination and distribution, in addition with kickass networking abilities. Not that these traits aren’t admirable, but the DJ Drops from this era reflected this change, and lost an emphasis formerly placed on charm, uniqueness and cleverness.

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Instead, the motto became “respect my hustle,” and DJ adlibs became largely defensive entitlement or cartoonish promotion of said mantra (this era was personified perfectly by DJ Khaled).

Of course, the internet pushed the DJ Drop into meta-madness, and it became commonplace to download leaked files only to find audiostamps from the song’s original producer, the radio jockey who broke the record, and the site you pirated it from all within the first 10 seconds.

Though much of music is tagged with various types of coded sounds and audible calls, not all contemporary producers/DJ’s are arbitrary about where they place their drops (Just Blaze comes to mind as someone who places his drop in the manner that an artist may sign a canvas). However, it is tough to argue that many of today’s DJ’s and producers interact with their records in a manner as nuanced or germane to the record as Prince Paul did.

Perhaps the style of mechanical bluntness merely reflects the current state of most electronically composed music (for better or worse), which seems to concern itself less with melody and more with textural intensity and uniqueness/recognizability of the sound itself, a change that makes sense given the rise of dubstep.

A loss of intimacy with a newly-digitized medium makes sense, and it isn’t necessarily a bad thing. Even if you may have to be a little inebriated to enjoy chanting along with “_________ on the beat!”

“...DJ Drop

something that has become more of a distraction and less of an artistic signature.”

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“IT’S IMPORTANT to note

that the DJ Drop as a selfpromotional device isn’t a new phenomenon...”

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//RESPECT THE DJ EDITION//

“WHILE I WAS getting my

degree I was doing radio and DJing at clubs, my career took off from there...”

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DJ

BLAZITA: INTERVIEW BY

AZARR JOHNSON

Q: What made you move from Ohio to New York?

A: I was at Penn State, that’s where I learned how to DJ. I was rocking parties there and I just wanted to make my way in the music scene somewhere else. Everything happens in New York, I’m in Brooklyn and I been here for seven years.

Q: What DJs did you listen to growing up and who influenced you?

A: Clue albums, Funk Flex: 60 minutes of funk, but who really made me want to be a DJ, was Kid Capri. Seeing him rock out was amazing.

Q: What did you major in at Penn State?

A: I got my degree in sociology. The campus life is dope, while I was getting my degree I was doing radio and DJing at clubs, my career took off from there.

Q: Being that you went to Penn State, how did you feel about the Joe Paterno incident?

A: The environment is mostly about football, so I understand why they shoved the situation under the rug. For me, I will always be proud of Penn State. My experience there was amazing and it made me strong. I was there a few weeks ago, it was business as usual, but you could tell that the moral there was hurt.

Q: Do you feel any pressure to open the door for other Latin Americans in the hip-hop culture?

A: I definitely rep heavy for my Latina’s and I think we need more of it! I help when I can. I helped my R&B artist, who is Puerto Rican, and I worked with rappers who are Latin. I’ll do what I can if you’re hot, you’re hot.

Q: What’s your opinion on the lack of female emcees in hiphop?

A: DJs are reluctant to support female emcees. It’s a challenge, so I think it takes a lot, a big budget, and understanding what you have to over come. There are female emcees out there that are fire. The hard part is just getting the DJs to support.

Q: What are your views on certain DJs in NY not supporting east coast artist?

A: I think the artists have to realize that they have to stop supporting the DJs that don’t support them in return. Support the DJs that really want to deal with you. I got the show with Forbez DVD on DTF radio with Doggie Diamonds, and we support there music and bring them in for interviews. Some artists don’t even want to come in for an interview and the station is right here, in Brooklyn. If you’re not willing to show that love by coming out, then why should we continue to support you? It’s like one hand washes the other and they have to realize that if they use their strength to support those who support them, then that will make it better for everyone.

Q: What are some struggles you had as a female DJ?

A: I just had a lot of struggles in life, period. I think that anything I want to do, I have to put my mind to it in order to make it happen.

Q: How did you link up with Forbez DVD and M Reck?

A: It was a blessing because when I came to New York I didn’t know anyone. Reck and Doggie were the first people to support me and we looked out for each other. This past year I was telling Doggie that I really wanted to do a radio show and we made it happen on DTF. It’s all about getting a lot of exposure and about having the opportunity to play the music.

Q: When did you feel accomplished as a DJ?

A: Well, from an awards perspective I don’t feel like I’m getting to that point where I can say, “I’m doing it”. Once I’m where I want to be, which is in your face every day, then I’ll be able to say that. I got the Justo award for mix tapes, the UMA awards for DJ of the year.

Those are the industry stamps per say, but I want to be out there, so that’s when I will feel as if I’m “stamped.”

Q: What’s next for DJ Blazita?

A: Right now, I’m working on the radio slot on FM. Also, we are filming a T.V. show in NJ which will be released in the spring and its music focused. Then I’m just working on mix tapes, clubs, and getting my artists out there that I fuck with.

Twitter: @djblazita

14 ENVEONLINE.COM/MAY 2013

//RESPECT THE DJ EDITION//

DJ

KAY OTIK INTERVIEW BY AZARR JOHNSON

“I ENJOY the chemistry of being able to blend

and mash up two different records to make them sound timeless. I enjoy the chemistry of being able to blend and mash up two different records to make them sound timeless...”

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Q: How did you get introduced to hip hop and what were your earlier influences?

A: First, I was a party promoter and then, evolved into a master of ceremonies [Emcee]. I became a liquor ambassador, I used to represent hypnotic. I have been in the entertainment business for a minute. Ultimately, I want to evolve and become a DJ. I love the entire atmosphere of controlling the party from start to finish and being able to entertain is my true passion. Influences to me are people like, Kid Capri, Red Alert, SNS, Biz Markie, and Jazzy Jeff.

Q: What’s the difference in some of the pioneer DJ’s to the new school DJ’s?

A: I take the art form of being a DJ very seriously. I am a scratch DJ and an emcee. The foundation and the principle of being a DJ is what I focus on. I think the newer DJ’s are lacking the technique that I learned on 1200’s and on vinyl records. If we ever lost serato, I can go back to carrying crates of records and rocking a party.

I think those are the things that the pioneers had to deal with. Today it’s a lot easier for someone to say, “I am a DJ.” For me, before I put those two letters in front of my name I have to respect the art form. Scratching, mixing, blending is an art form, if you’re not doing that in your set live or in your mixtapes, you are not a DJ. Q: Name one of your favorite mixtapes and what influence did it have on you?

A: I go back to when Kid Capri used to do mixtapes and prior to that, DJ Craig G. Since I’m a New Yorker, I go back to a group of Jade L and Relo. They used to do mix CD’s all the time. They were really the blend master’s. I enjoy the chemistry of being able to blend and mash up two different records to make them sound timeless.

Q: Who do you think takes the blame that timeless music isn’t being heard as much?

A: The first party that I’m going to blame is the Internet.

The Internet controls what is going on virally when it comes to music. Back in the day we didn’t have the internet and music wasn’t at your fingertips. Now, you can pick and choose what music you want to listen to.

DJ’s have a lot of power that we don’t utilize. I revert back

to old records and mesh them with the new records to keep it a happy marriage. The reason being, I want them to understand the importance of music, longevity of music, and timeless records.

Q: What do you look for in an artist before you break a new record?

A: Body of work, creativity, and the content. There are cats getting 2 million dollar deals for songs that make no sense, but I commend them. That’s not the type of DJ that I am. I might break that record and support that record, but an artist that I work with, I want them to be creative and respect the craft of being an artist. I want them to respect that because the pioneers that came before them paved the way that allowed them to do what they’re doing today. “If you make bubble gum music that doesn’t mean I’m going to be the bubble gum DJ.” Q: Being from Queens and now living in Texas, how do you blend both cultures into your sets?

A: Strangely enough, it was difficult in the beginning stages. It was tough because a lot of people don’t give respect to New York music. I can’t go into a club in Dallas and play Nore music and I can’t go into a club in Dallas and play “AZ.” Now, the times have changed where the south is driving a lot of music. There is less attention on the New York artists and more attention on the southern artists. It’s a lot easier to play a 2 Chainz, Future, and then mix in some Jay Z and old Biggie. I had to learn the different cultures of music for Texas, its DJ Screw, Big Mo, Paul Wall, Chamillionaire, and Slim Thug.

If you don’t know your core audience then you’re going to shoot yourself in the foot because then you won’t be able to rock those clubs. If you’re a real DJ, you are confident in whatever you play.

Q: A big debate on Hot 97 was on what gets played on mainstream radio. Do you think mainstream radio damages the culture of hip hop?

A: It’s a double edged sword because everywhere you have underground artists that never get any shine. A prime example, you have “Kendrick Lamar” who has been underground for a long time and then radio decided to make him mainstream. I feel like it can damage the message of hip-hop because the artist that’s really creative and that’s really driving the message home

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never gets any shine. I think Wiz Khalifa is a perfect example of how to break the barrier. He was a “backpack artist” with a fan base of both black and white people. He just continued to focus on his craft, his fan base, and his music. Ultimately they [radio] found a hit record for him.

Q: Outside of hip-hop what ventures are you getting into and how are you aiding the children?

A: I have the KAYOTIK (Kareem’s Alternative Option to Improve Kids) foundation; we focus on self-esteem and literacy for young adults. Coming from Queens, I understand how you can go left or right. I hone in on grabbing the kids that just beginning to stray away. We focus on doing the right thing from listening to your parents, doing your homework, eating three meals a day, etc. I do KAYOTIK kid’s camp every summer where I go out and feed the kids, play volleyball with them, and take them to Dallas Maverick and Cowboys games. It’s a combination of being a big brother and being a mentor.

Q: To the young aspiring DJ, what advice would you offer?

A: Do your homework and if there is a pioneer DJ in your market, reach out to that pioneer DJ. Don’t be afraid to ask questions.

Q: Who are your top Emcee’s and why?

A: Pac, Rakim, Nas, Krs 1, Jay, Kendrick Lamar, Drake, 50cent (The Old 50 “Boo Boo”), Smith & Wessen, Mob Deep, etc. I go back to the era where music had a message behind it.

Q: What’s next for DJ Kayotik?

A: I’m getting ready to drop my second installment of Kayotik chronicles vol 2. It’s a platform that I’m using to shed light on up and coming records. I’m a true believer in if you do a mixtape it should have a flavor of multiple projects. Besides that, “Allstar” is the next thing I’m working on. I’m also working on a sitcom called “All for My Love,” we are shooting the pilot in Atlanta. I’m just working on my radio show every weekend, Saturday 6pm – 10pm and Sunday from 6pm – 9pm. I also might be working on a mixtape with Young Jeezy.

Twitter: @djkayotik

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“I HONE

in on grabbing the kids that just beginning to stray away. We focus on doing the right thing from listening to your parents, doing your homework, eating three meals a day, etc...”

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//RESPECT THE DJ EDITION//

“LEARN HOW TO BE A DJ; don’t let

the image and technology make you become a DJ. Do your homework, learn how to build your character, and at the same time learn about the business...”

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DJ

RED ALERT

BY DESHAUN JONES 20 ENVEONLINE.COM/MAY 2013

Q: In the 90’s you played a big role on the radio, at Hot 97 FM and 98.7 Kiss FM, and you are no longer DJing at these stations. How were you informed when they were going in a different direction and how did you handle it?

A: One thing that I have learned as far as when I got into the business, you don’t own what you get involved in. They are giving you the opportunity to come in, to build, and to make something out of it. Not only that, you do not last forever. There only a few [DJs] that you’ll see in a situation for very long, like Reggie Miller. He spent his whole entire career with the Pacers, or like Kobe with the Lakers. You have to understand what a gentleman taught me a while back, ‘You have to learn something, and that is change.’ Whatever it is, it will not last forever and you have to adapt to change. You can’t be comfortable where you live at, where you are at, or what you do. Being involved with Kiss FM as long as I was, I’m always going to consider that my home. I saw the machine [Corporate America] and started making their moves. I had to adapt to that, because they’re the ones that call the shots. When they were closing out the format for what we were doing, they owned Hot 97. I had to move over from Kiss to Hot, and now that was a blessing. They felt like my time wasn’t up, so they brought me over there to Hot, I pulled out for a good three months.Then, I reconsidered and went back to Kiss and I did a year there. After that I had an offer to go to Power 105.1 FM. Sometimes you have to take things upon yourself to maintain your strategy, your position, and your sense of business. You have to learn to adapt, because you don’t own any of this. Not only that, I got involved with satellite when it first launched, these are things you have to be open to.

Q: When hip-hop first started, the DJ was as relevant as the artist in the culture, but as time went on the DJ started to become irrelevant. Who do you think takes the blame that the DJ became irrelevant and do you think some of the blame is on the DJs themselves?

A: The reason why the DJ was fading into the background was because we were in the studio making records and making songs. It wasn’t the DJ that you heard making records, making songs, and making music. You heard the emcee, which mainly has become rappers. When you heard Eric B and Rakim, people always talked more about Eric B, because everybody thought Eric B was the one rhyming, but it was Rakim.

What had happened was the record companies started to figure out how to push the profile of the person that was actually rapping on the records. The DJ was always with them, but you need to acknowledge more of the emcee. That’s why when you heard Grandmaster Flash

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and the Furious Five, Flash had that platform. You needed to acknowledge the emcee that came out more, Melle Mel. When you heard Gangstarr, they kept it at a balance; side to side. Now, what had come around later on is a phase called the mixtapes. The world famous Brucie B and my man, who just passed away, Starchild, they were the first two that started doing the mixtapes.

Brucie B emerged at the rooftop and Starchild emerged at the fever. Then others came out later and made a name for themselves like, Kid Capri, Ron G, Triple C, DJ Demo, Buckwild, S and S, and more. The list is long.

Now, on the street the mixtape became a brand and that’s why you saw DJs on the radio like Funkmaster Flex make albums and call it the mixtape. In the past I did a couple of compilation albums. When I heard that everybody wanted in on this, I made it sound like the radio. Flex took the mixtape and called it the tape. Radio later started to see how popular the mixtapes were becoming on the streets and they started picking them up. Then, you take a person like 50 Cent, who I have a lot of respect for, and he says that he doesn’t need a DJ, I will make a mixtape myself, I’m not a DJ, but I will put out my own music. That’s why it’s sad to say that later on when you heard a “mixtape,” it wasn’t really mixing.

They were just throwing stuff on and hollering on the mic, so 50 took that blueprint and said I can do this shit my damn self. Then, that blueprint went for rappers and emcees followed behind that.

Q: Why do you think there is a lack of female emcees in today’s era and that only one woman is being pushed to the forefront?

A: I think that it’s more of an image thing than talent.

One thing I learned today is that the majority of the people follow behind image and technology instead of talent. You had to prove yourself in the past on how good you sound or how good you are at what you do.

From the very beginning, Shy Rock proved her point on what she could do on that microphone. Lisa Lee, Salt and Peppa, Sweet Tea, Queen Latifah and many others also proved their point on that microphone. I think that when we came into the 90’s, we had Little Kim and Foxy, which became more about sexism rather than actual talent. They had the talent, not to take anything away from them. But, you know, sex sells. Companies are asking if you sound as good as you look. That’s the point.

Q: One topic that is causing a lot of controversy is the Hot 97 debate. Artists have stated on record that the radio is not supporting the work they do in their own back yard and playing a lot of down south records on the majority of the playlists. This lead to the program director, Ebro, coming out to defend the station’s choice of music to play and he also had to debate with

the artists. These actions alone have a lot of people feeling like this brings truth to the saying that the East has fallen off. What is your opinion?

A: First, respect to my man Ebro, the man plays his position as far as keeping a job. The higher ups, corporate, are looking to him to go after the popular music to be played. Now, during my time coming up at Kiss, playing hip-hop was still a diamond in the rough, we did not get heard until we were on the weekends.

Whoever had a popular rap song was not getting heard until after six o’clock in the evening and maybe only three songs, at the most. Eventually, corporate started catching on to how popular rap music became, it became so popular, they started to form this thing in the early 90’s called ‘doo wop diddy,’ which is when corporations can start owning more then just one radio station in the same market and the same city. Here come the clear channels and the Emmis; there are quite a few of these companies that gathered up all the stations.

They started going after research departments that started letting everybody know what is popular all across the board. Now mind you, at one point in time when I was coming up and DJing in different cities, I was willing to come back and play something different, something that New York had never heard before. Now, no matter where it’s from, wherever you go, everything sounds the same. Corporations depend on research to make everything sound the best and that’s why everything sounds bland. Ebro will speak for himself and also for the station, because he’s saving that ass.

He’s got to listen to the higher ups tell him what’s going on, what’s in the top 20, what’s popular, what’s the most played, and what needs to be played. It’s important to learn to develop yourself in the street, develop your talent, develop your craft, develop your brand, and then become who you are. That way you become accepted.

“...YOU don’t own what you get

involved in. They are giving you the opportunity to come in, to build, and to make something out of it...”

Twitter: @kooldjredalert

Q: What advice would you give DJs just starting out in the game?

A: Learn how to be a DJ; don’t let the image and technology make you become a DJ. Do your homework, learn how to build your character, and at the same time learn about the business. Technology lets some people become a DJ overnight. For example, I remember when the IPod came out, people would be happy they got all these songs and they don’t even listen to half of them.

It’s the same thing with DJing, take time to study these songs, take time to study different types of music, and take time to practice your craft. Whether you’re a CD changer or nice with the turntables, learn how to make yourself sound better instead of just hollering on the mic. I’m not knocking anyone; I’m just encouraging people to become better.

22 ENVEONLINE.COM/MAY 2013

//RESPECT THE DJ EDITION//

“ORIGINALITY, SOUNDING DIFFERENT is

always refreshing. Honesty too, because I hate broke rappers talking about money. I rather you snap on yourself for being broke or talk about the struggle then lie to sound generically rich and not have enough money to even get into a studio...”

DJ

SCRAM JONES

BY DESHAUN JONES 23 ENVEONLINE.COM/MAY 2013

Q: How did you get introduced to hip-hop and what were your earlier influences?

A: I was exposed to hip-hop really young. When I was in second grade I remember the kids in sixth grade break dancing at lunchtime, I fell in love with the culture immediately.

I started collecting tapes; Fat Boys, Run DMC, Big Daddy Kane, etc. I then started to break dance myself. Hiphop was exciting because it still felt very exclusive when I was growing up and it became a scavenger hunt for me to find new tapes and records.

Q: In your opinion, what’s the difference in some of the pioneer DJ’s to the new school DJ’s?

A: The pioneer DJs had to work a lot harder to find the music and keep up with the music. Nothing was free, there was no internet. You literally had to hunt for records and spend your last dollar on records. On top of that, DJ equipment was very expensive. It took a lot in order to get two technic turntables, two sets of needles, a mixer, an amplifier, a mic, and two speakers. Of course, a cassette player to make blends on top of all of that. Records would skip unlike now, with serato/ laptops, it took a lot of practice to get your scratches on point and to blend ‘blindly’ [without matching waveforms on a computer and already knowing BPMs like laptop DJs today]. The new school DJs that were post-vinyl definitely have it lucky with not only consuming damn near any song they want from just sitting on the internet and downloading, but also using the serrate technology, which leaves very little room for error. You can always tell who has been doing it for a long time and who just jumped into it. I think crowds appreciate technical skills and ‘deep crates”.

That being said, I’m not a hater of the computer craze because it has allowed DJs to be ten times more creative with my sets, acquire more music, and hauling crates of records was not fun!

beats constantly switching. I liked Double R and G Bo the Pro for their creativeness, and I liked Kid Capri and Ron G for their crazy blends/remixes.

Q: What do you look for in an artist before you break a new record?

A: Originality, sounding different is always refreshing.

Honesty too, because I hate broke rappers talking about money. I rather you snap on yourself for being broke or talk about the struggle then lie to sound generically rich and not have enough money to even get into a studio. And the obvious, picking the right beats and having catchy hooks.

Q: Do you feel that the politics in mainstream radio is killing the “message” in hip-hop?

A: Yes, to some extent, especially in New York where we started hip-hop and dominated it for the first two decades. Now, suddenly we seem to be losing our identity and the DJs aren’t really being pro-active with switching that. It’s obvious the south/slow BPM sound is what’s popular but that doesn’t mean there’s not room for an hour show a day strictly dedicated to New York artists.

Problem is it’s all about ratings with radio and majority rules. The reality is New York loves that south sound too, so it gets confusing, but we definitely need some balance.

Q: Outside of being a DJ you’re also a Grammy nominated producer what is your favorite record or project you produced on?

A: I may have to name more than one. Producing on Mariah’s album was my biggest accomplishment. I was producing on an album that sold ten million copies worldwide and won three Grammys, but I wasn’t with her when she recorded it. On the other side of the spectrum, when I worked on Raekwon’s Cuban Links two album, I was with Rae for every session and was proactive in putting the entire project together. We found the skits together for the album and he even put me in the booth a of couple times. I helped him work out features, the playlist/order, and the mixing and mastering of it. At the time people were sleeping on the project thinking it wasn’t coming out and if it did, it wouldn’t be hot. To see that album be so critically acclaimed after putting so much work into it felt great.

Q: Share one of your best experiences that you have had in the hip-hop business?

Q: Name your favorite mixtape and what influence did it have on you?

A: Best experience generally speaking is being able to work with a lot of my rap heroes and artists that I’m a fan of, or that I was a fan of growing up. Rapping with Kool G Rap, touring with Raekwon, becoming close friends with Nore, things like that are rewarding to me on a personal level. Now getting paid weekly to DJ in NYC, which is my first passion, I feel very blessed.

A: I have had a lot of favorites so I’ll just say Doo Wop’s tapes definitely.

He was an emcee too and had great intros with different emcees and

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Q: In “Blacksheep” you say, “I played a beat Diddy, didn’t flow for puff/ He coped the beat for Biggie now he owns my stuff.” Can you elaborate what happened in that situation and what other situation caused you to make “Black Sheep?”

A: When I said, “I played beats for Diddy didn’t flow for puff,” I was referring to the meeting Puff and I had in regards to me signing as an in-house Bad Boy producer [“hitman”]. It was just him and I in the room, at the time I was going hard with the rapping too, but decided not mention that to him let alone “flow for puff”. I just played beats for him. After that meeting I wound up producing the song “Just a Memory” on Biggie’s Duet album. The album sold over four million copies in the U.S alone, but because it was technically a remix album using old Biggie lyrics, none of the producers received royalties. That’s why I said “he copped a beat for Biggie now he owns my stuff”. He owns all the rights to that album. That being said, it was still an honor to be a part of. The other stuff I mentioned in that song was “40 songs with Sai-Giddy and no not one stuck?” referring to producing 40 songs with Saigon before his album dropped, most of them being leaked on mixtapes through the years and then not being on his album. That song shared the frustration of the business and loyalty. It had seemed to be a reoccurring theme with a lot of artists that I’ve worked with. Basically, thinking of the business as secondary and the music first when it should be the other way around. I know a lot of other producers that share similar stories, but don’t necessarily have a platform to speak about it. I took it upon myself to share my story. I ended that song reminiscing about the old school hip-hop and how the new generation has no clue how exciting it was growing up before hip-hop became so main stream.

Q: Who are your top emcees, past or present?

A: An artist and an emcee are definitely two different things, even though someone could be both. I look at an artist as someone who doesn’t just write/spit rhymes, but is also a song writer and is not afraid to step out of the box musically and creatively. Someone who understands the business inside and outside the studio, and could be appealing to the public in more than one way is an artist.

An emcee is someone who’s true passion is mastering their rap craft, with the pen and the mic, and is more about skills then business. That doesn’t mean there are not business-minded emcees, but their priority is lyrics and showing their lyrical skill more than anything else.

Q: What’s next for Scram Jones?

A: I just produced a full album with Styles P and that is going to be released on 4-20 through High Times Records.

I’m also still working in-house with Raekwon and have some material coming out with him on his new project and later this year I will be dropping my own compilation through Nature Sounds.

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“PRODUCING on Mariah’s album was my biggest accomplishment. I was producing on an album that sold ten million copies worldwide and won three Grammys...”

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//RESPECT THE DJ EDITION//

DJ

SCREAM

BY DESHAUN JONES

IT’S A MISS EDUCATION, because some of the artist that

I work with that are educated won’t go anywhere without their DJ. It’s important to know why you need a DJ instead of some electronic device.

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Q: What does hip-hop mean to you?

A: It started off as an expression of urban culture, but it’s grown to be a worldwide culture. It’s poetic; it can be happy, sad, real, or fictitious. Overall it’s a musical expression that has sound and it’s different from rock or R&B. Q: Discuss your label Hood Rich Entertainment?

A: My partner Marcus Rigby and I own Hood Rich Entertainment. It’s a vision that we had to keep the legacy of the big Atlanta executives going. It also gives artist, DJs, and producers an outlet. Anything connected to the Atlanta hip hop culture has an opportunity.

Q: What’s the difference in the Golden Era DJs such as DJ Premiere, Malley Mal, Pete Rock, and the DJs into today’s game?

A: All those names that you mentioned are big influences to me. I actually had the chance to meet DJ Premiere and he showed me a lot of respect, he also told me that he was a fan of my work. I think the legacy continues of course the DJs are going to change with the musical state of hip hop. I take pride in keeping the legacy going by being a DJ that’s recognized for his talent; playing dope records, moving crowds, and being part of dope mix tape projects. It’s an honor to be a part of the culture as a whole and keeping it going on a day to day basis.

Q: At one point the DJ was a part of the image of the emcee then it began to change. Why do you think this changed throughout the years?

A: We haven’t educated a lot of the younger artists, we can’t just say the DJ got moved to the background. I think it’s a miss education, because some of the artist that I work with that are educated won’t go anywhere without their DJ. It’s important to know why you need a DJ instead of some electronic device. Having a DJ allows you to do more with your show; some of the biggest “Pop Artists” have DJs. I think it’s not what the DJ did or what the rapper did, it’s something that just happened over time because people weren’t educated properly.

Now that you see big artists incorporating DJs in there show and giving the DJ props, people now understand the purpose of having a DJ Q: Name the mix tape that did it for you and why?

A: The first tape that had a mix in my career is Shorty Lo “I’m The Man 2”. We did a mix tape before it and it

did well, but this tape had both of our phone’s ringing from a lot of big names in hip-hop. Also, recently I did a mix tape with Rick Ross titled “Rich Forever.” Those are two of many, but I can’t take away from the projects I did with Gucci Mane, Soulja Boy, Rocko, and so many people.

Q: How did you link up with Rick Ross?

A: The first time he hit me up was around the time “Shortie Lo” came out. He called me out of no where and told me, “I see your hustle and what you’re doing.” It kind of fucked me up. It was cool and good to know he was watching me because I never had met him before then. Moving forward, he built his empire Wale, Meek, and Staley reached out and asked me to be apart of the empire. So then he flew me out to handle business and it was on from there.

Q: As a DJ you have the power to break records what do you look for in music or the artist before you break their record?

A: Innovation, something fresh and new. I take pride in introducing a new talent to the world. A lot of people come up to me and say that they sound like someone else out there in the game and that turns me off immediately. I like to hear something fresh, it’s just like fashion; you want something fresh, something you have never seen or heard before that’s what excites me and the audience.

Q: You have had a chance to work with many artists, who would be your dream collaboration that you haven’t worked with before?

A: I would say Bob Marley; rest in peace. He was a fore father of hip hop because he came in and spoke his voice, he spoke about what was going on and didn’t hold anything back. He always made such dope music, in my opinion he was the first real emcee. It would have been an honor to have had the chance to sit down and meet with him, and make some dope music.

Q: Are you planning to drop an album under Hood Rich & MMG and if so what can we expect?

A: The album is slated November 20th, “Long Live the Hustle.” Then there is a big MMG tour that’s going to kick off at the top of the month to promote that album.

It’s been in the works since I inked the deal last year, so far so good. It’s dope; it’s a real street album.

Twitter: @djscream

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//RESPECT THE DJ EDITION//

DJ SUPERSTAR JAY

BY DESHAUN JONES WHEN I FIRST STARTED

I didn’t know anything, my cousin gave me the money to print 5,000 of my mixtapes and I ended up only selling eight. I kept getting rejected, but that didn’t stop me.

Q: What does hip-hop mean to you?

A: Hip-hop means saving a lot of people’s lives in the hood. It’s the music that I grew up to, the music that got me through the good times and the bad times.

Q: A DJ has the most important role in hip-hop, what are your views on today’s DJs?

A: During the 90s the role changed as far as money. DJs were being respected as an artist instead of just the guy in the background DJing. Jam Master Jay started the thing where people had to notice the DJs and artists involving DJs in their shows started to show how important it is to have a DJ. A DJ is the most important part of hip-hop because we make music go.

Q: How important do you think it is to evolve as a DJ?

A: I always tell people that you have to evolve with what is going on now. I don’t think there are set examples of party DJs, scratch DJs, or Internet DJs; DJs are just DJs. There are people like DJ Khaled, he produce records.

More DJs are becoming producers because we have the ear for the music that a lot of people don’t. We control the crowd and that’s the most important part of the DJ. People always say that they can DJ, but if you get in front of 3,000 people and don’t play that right record, people will look at you like you’re crazy.

Q: What was the turning point in your career?

A: My success is only because I wouldn’t stop. When I first started I didn’t know anything, my cousin gave me the money to print 5,000 of my mixtapes and I ended up only selling eight. I kept getting rejected, but that didn’t stop me. I called my man “Scam” and this is when G-Unit and Joe Buddens were going at each other. Scam told me that he had the Joe Buddens diss to G-Unit and said, “I’m going to see what you’re going to do with it.” I dropped the mixtape on a Tuesday and the “African” asked for a copy, an hour later he called me back asking for 100 more copies of the mixtape titled “The Grind Don’t Stop part 1.” Then G-Unit had a diss, so I dropped another mixtape titles “The Grind Don’t Stop part 2” on a Thursday in the same week. Having two mixtapes released in a row, dudes was like “what the fuck?!?!” Then Joe Budden’s came with a diss so later I dropped the mixtape “The Grind Don’t Stop part 3.”

A: The first one I did with Remy Ma, she had a song called “Shesus Kryst.” We were politicking and she said, “Yo Nas always saying that he’s god Hova [Jay Z], and Hova is saying why can’t a girl do it; I feel like I’m Shesus Kryst.” I told her we should do a package mixtape and DVD. So we went to Long Beach and put to logs together and she was rhyming on a cross. We put the video on youtube and I will never forget when channel 2 called me to get the video. They put it on channel 2 news and it got so crazy everyone was calling for that mixtape.

Q: What do you look for when you break a record?

A: I just give the artist a chance. At the end of the day it’s just business, I look at artists that grind. Busta Rhymes told me an ill thing, “Okay, you have a great ill record but what’s the plan behind it?” A lot of these artists don’t have plans and think the world is going to like it because a couple of their man’s is shaking their head. I look for dude’s that grind, if I keep seeing you all the time putting out music or you come to me humble, I’m going to put you on.

Q: Why did you start your radio show Superstar Radio?

A: If you’re not going to let me in, I’m going to do it myself. Like at parties, if you’re not going to hire me, I’m going to do it myself. If you’re not going to put me on your web site, I’m going to do it myself. FACTS. Q: What would be your dream collaboration for a mixtape?

A: I want to collab with more female R&B artists because I love chicks. I would love to work with Keyshia Cole. I had a dream that I did a mixture with Faith Evans and that we finished, but her husband was like, “Nah, we’re going to put it out as an album.” I would like to do that or a rock mixtape, something with Jay Z or Nas. Q: What’s next for Superstar Jay?

A: Everything man; I’m not stopping. Right now, I’m doing Superstar Jay Documentary, it’s real live. A day in the life with me is real crazy, but I pray every day that I stay humble.

Twitter: @djsuperstarjay

Q: What your favorite mixtape you put together and why?

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//RESPECT THE DJ EDITION//

MIX TAPES

will always be important to Hip Hop, a lot of people birthed their careers off of mixtures like 50 Cent and Nas.

DJ

THORO

BY DESHAUN JONES

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Q: What does hip-hop mean to you?

A: It’s a part of my culture; I was born into it. I breathe, live, and contribute to it. It’s been my lifestyle since I was a kid and it’s what I do for a living to feed myself and my kid.

Q: What is the difference of the Golden Era DJs from today’s DJs? A: The Golden Era DJs are from the late 80’s and early 90’s.

They were the actual producers of the music. For example “Pete Rock,” DJ Premiere, and Malley Mal were actually producing the music that they were spinning. As far as today DJs on the radio there are really no producers that double as DJs on the radio. To me, that kind of took away from a lot of kids knowing who people like “Rakim” and Big Daddy Kane are. If you ask them who these pioneer artists were, that came before them, they wouldn’t know. That’s the difference; there’s no more teaching now. The new DJs are not into music like that anymore. Now it seems like they are just into the money aspect.

Q: Name your top favorite mix tape growing up that just did it for you?

A: Everybody knows who this guy is, but it’s not going to be expected because of where I’m from. The mix tape that did it for me was a mix tape by Dr. Dre called “Boom & Bass.” This was in ‘87 or ‘88, he was doing what we call “blends.” Back then it was called mega mixing. He would do a four track mixing; he would have four songs playing at one time over three different acapellas. No DJ at that time was doing that.

Others would do the standard acapella and beat. Dr. Dre blew my mind Q: In your opinion how have mix tapes evolved over the years and how important are they in today’s game?

A: Mix tapes will always be important to Hip Hop, a lot of people birthed their careers off of mixtures like 50 Cent and Nas. There are a lot of people who made their mark off of mix tapes. That’s where we [DJs] come into play, when label’s get new artists they run to the DJs to play records. Just look at “Future,” who started off doing mix tapes with DJ Drama…

Now he’s out of here. It’s true that it did slow down because the “RIAA” started acting like people were selling crack; running in stores busting people for selling mix tapes.

Q: I listened to Applied Pressure mix tape that you hosted for Cassidy and I noticed you took a different approach.

How important was it to you to do something different?

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A: A mix tape is not you getting a DJ to talk over music and you putting it out, that’s not a mixture, that’s just someone talking over your music. A mix tape is somebody blending, being creative, a little cutting and scratching, intros, and mixing…Which is why it’s called a “Mix tape.” A lot of dudes are not being creative anymore. I take pride in my mixture.

If you give me a title of a tape, I’m going to find a movie, skit, commercial, another record, or something that will coincide with the theme of the mix tape.

Q: How did you and Cassidy link up?

A: I meet Cassidy in ‘99. I knew Cassidy when he was “The Boy B.” Ironically Swizz Beatz pops [TD] brought him to my house. He was like, “Yo I got this kid [Cassidy]. I want you to put him on a mix tape.” I was the first DJ to put Cassidy on a mix tape. The first song he did was “Ante-Up” over a M.O.P. beat.

Q: What was the best mix tape you put together and why?

A: My favorite mixture that I got a chance to work on was with my idol. Back in ’03 I got to work with DJ Doowop and Raekwon hosted it. It was called “Bad Boys.” The fact that he respected me enough to work with me and looked at me like an equal to do a mix tape was really big for me. Now, my favorite mix tape that I did is Cassidy “Mayhem Music.”

Q: How did the position at Shade 45 come about?

A: Through the Mix tapes shout out to Nelson from G-Unit. He gave me my position up there. One day, I go up to the G-Unit office because Cassidy had an interview with “This Is 50” and Nelson was there. He just asked me if I wanted to come to the radio station, and I thought he was bullshitting.

Q: What’s next for DJ Thoro?

A: I’m heavy in production. I just made a track for Styles P album and I’ve got a track with Raekwon called “100 O’s” and a Rental. DJing and Producing goes hand and hand, the best DJ’s are producers. To me, Dr. Dre is the best producer ever; just look at his career. I just want to follow in the footsteps of Dr. Dre, DJ Clue, and DJ Khaled. I want to put out an album.

That’s my next move.

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A MIX TAPE

is somebody blending, being creative, a little cutting and scratching, intros, and mixing…

Which is why it’s called a “Mix tape.”

Twitter: @djthoro

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//RESPECT THE DJ EDITION//

SELF-CONFIDENCE

was the biggest issue. I did not believe I could improve or do better than my family members and friends who had tried before me.

DJ

TROY THEY REMINISCE

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OVER YOU

Q: How did you get introduced to hip-hop?

A: Actually, my parents didn’t let me listen to hip-hop as a kid. I mostly heard reggae, classical, and jazz growing up listening to my father’s vinyl collection. It really all changed when I was eleven years-old staying out in Toronto with my cousins for the summer. They played “The Slim Shady LP” from “This White Boy from Detroit,” like 50 times. My ears have never been the same since.

Q: What influenced you to start DJing?

A: I grew up in a musical family, so I always had a passion for music. Growing up, I had family that had been DJs in Jamaica who played their own sound. Even then, I didn’t take it upon myself to actually do something about it until high school. I had free time after school to go to the guitar center at Atlantic Mall, now Barclay’s center, and practice on their demos with burn CDs from home. It was then that I actually began to put things together.

Q: As I recall back in 2010 “The Matrix Theory Dubstep Mixtape” set it off for you. Why did you choose to do a Dubstep mixtape?

A: I had some friends that put me on to dubstep at the time and I was looking for a new sound to mix. That mixtape was my first real challenge DJ-wise because I never mixed electronic music, never knew how to record a live mix, or how to do editing. I always look back at that and say it was a labor of love because the amount of work I put in to it to get better. After my mixtape dropped, it became its own beast and I started to do collabs with my dude MADWIZZ from Houston.

Q: In your opinion, what is the importance of knowing how to scratch and blend as a DJ instead of relying on serato?

A: It’s a necessity. Many of the people I meet are surprised that I’m young and know how to scratch and blend so well. I wouldn’t say that it’s a requirement to be a DJ, but in the hip-hop circles it’s as important as learning your jump shot in basketball. With serato, the computer can become a crutch after a while. The crowd can tell the difference. Trust me, they’ll know.

Q: You got the chance to DJ a lot of college shows in the past, what was your most wild experience?

A: In my eight years DJing, only one party sticks out in my mind. Back when I was DJing in the dorms, I had a roommate that was on the basketball team and his friend had gone through cardiac arrest during practice.

I remember him walking into the living room looking so down. After he told me the story I just told him, “Look, we got a party tonight. I got drinks mixed and I’m going to be going off behind the decks, just get the party live when I give you the signal. We are going to be good.” When 11 or 12 o’ clock came around people started making they’re rounds from room to room until

they hit mine. By that time I was on the mic screaming for people to come pack the living room to capacity, when I shut the song off I gave a shout out to my dude in the hospital. Then, with everyone’s hands in the air and the energy right where I wanted I dropped “Shots” by LMFAO just like an atomic bomb!

The morning after I had blue jean marks on the wall, a broken fridge door, and clothes hanging from the windowsill. I even got to watch the security tape of the line of people waiting to get into the room like it was the club. I’ve had A LOT of shows in my young career that, by far, has to be the most memorable.

Q: What did you have to overcome starting out as a DJ?

A: Self-confidence was the biggest issue. I did not believe I could improve or do better than my family members and friends who had tried before me. I’m glad my experiences through high school and college helped me to build not only a business, but my selfconfidence as well.

Q: What sets you apart from other DJs?

A: My approach to music in general. Ask anyone around me and they’ll tell you that I never go without headphones. I’m sick without my music, so I’m always listening to anything new to mix.

After a while it became second nature to listen to a song and then figure out what song would match well with it. I’m also a student of the game. I’m always looking for new techniques and ways to improve my craft.

Q: In your latest project, “City of T.R.O.Y.” you decided to rap as well as DJ. How do you balance both and where does your inspiration to rap come from?

A: It was crazy trying to balance at first and I would be lying if I told you that I planned to rap, for real. I was the last person in my group of friends to start rapping. I wasn’t really writing anything close to me, until the thought of dropping out of school became more of a reality. By then, my raps started to become more refined and less wordy the more that I learned about bar structure, rhyme scheme, and flow. Rapping started being real to me and therapeutic, in a way, when I began talking about my experiences.

Q: What’s next for DJ Troy?

A: The tour bus, big time. It’s been #1 on my list ever since I moved back to NYC. I feel that I need to prove to myself that I can perform at a high level day in and day out, in other cities, before I can call myself one of the best out there. However, with all that being said I’m committed to finishing up my degree first.

I made the first “Mindofadropout mixtape” to really represent the space and state of mind I was in. I just look at my music, DJing, and life in general as a series of progress from one day to the next. I might not have the best material all the time, but I do know I demand a lot from myself and the people around me so that the project will come out right. I’m glad every day God or a higher power wakes me up every day to do this because it makes me happy and keeps me going. I hope with my 4th mixtape, “Microphones LP,” dropping next year I’ll have at least 15-20 quality songs. My team and I can promote, so that we don’t have to struggle as hard. I’ve been patient these past 8 years. What’s another 8 years of hard work going to hurt?

36 ENVEONLINE.COM/MAY 2013

THE ES M LL HA B Y DE

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JON

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where you can be as noisy as you please. no complaints ever. record/mix your album, shoot your next video, do your next photo shoot or rehearse for your next gig all in the same place at a reasonable rate.

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37 ENVEONLINE.COM/MAY 2013

YOU’RE AN

AMERICAN GO PLAY SOMEWHERE ELSE!

BY JEZIEL JIMENEZ

It should be the goal of American soccer players to play in the MLS (Major League Soccer). Unfortunately for them, it is not in their favor. The United States Soccer Federation (USSF) and the MLS have made it way too hard for young, up and coming, American players to actually make it into the league.

The way that a player may rise through the ranks in America, as opposed to in most European Leagues, is one of the main factors. Most European players play for their entire lives and begin to try out for professionally affiliated clubs by the time they are 14 years old. At this point, the molding to become a professional begins.

These European players, depending on talent, could see playing time at the senior level as early as 17 years old. To say that the USSF/MLS system is slower would be an understatement. A child in the US may play his or her entire life and be one of the best, but unless he or she knows the system, it could take years before making it. At 14, a young US talent may begin on the path to becoming a pro, but unlike in Europe, this child may have to choose between playing for a club team and playing for his high school.

In America the path to the pros usually starts with playing well in high school, getting scouted by a college team, playing well in college, and eventually getting drafted into the pro league of choice. Now, the MLS provides this sort of path for traditional players… too bad it is probably the slowest way to the league. What most players do not know is that the quickest way for a kid to make it into the MLS would be to play on a club team (and not just any club team) it must be USSF and MLS associated club team. The problem is that the only

thing that warrants these teams association with the USSF and MLS is that they are affiliated with the USSF and MLS. These teams are not necessarily the best teams, or carry the best talent, and they may not even have the best coaching. Unfortunately, the best players in the US don’t know that, they will go to a team with the best players, and their path to the MLS will take a lot longer than it should.

Not only are American players challenged in being drafted into the pro leagues, but players must be aware that the salary differs in the US compared to other countries. Although the MLS has made strides in raising the average wages of American players, the fact remains that MLS salaries subordinate in comparison to the average salaries of players in any of the big four American sports. To shed some perspective on this matter; An American born player who goes through the US system and becomes an all-star caliber player will likely make around $350-$400k, while the MLB minimum is $455k. Unfortunately, the MLS could never compete with many of the well-established soccer leagues if this was all they could pay players. The MLS has a designated player rule, which allows each team three players that they can pay as much money as they want to, and they will only count as $350k against a team’s salary. In almost every occasion these players are not from America.

In America there is a plethora of sports to choose from. Imagine if the Lebron James’ or the RG3’s of America decided to play soccer instead. The MLS can’t change the fact that other sports exist in America, unfortunately the things that they can change, they don’t.

and the faster they realize that the better.

The MLS is its own worst enemy

JOZY ALTIDORE

AK ALKMAAR (NED) PHOTO BY PAOLO GIOVANNINI

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//RESPECT THE DJ EDITION//

AROUND

TOWN WITH

ENVE

ONLINE. COM

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//RESPECT THE DJ EDITION// DJ KAYOTIK

DJ SCREAM

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