thenextlevelmagazineissue5 by The Next Level Magazine

12. ROY JONES JR THE BOXER BECOMES A RAP MOGUL 14. GUERILLA BLACK MICS AND MIRRORS 20. AKON THE CRACKED CONCRETE 48. DEM FRANCHIZE BOYZ ATL HAS A NEW FRANCHIZE WITH DEM BOYZ 50. NINA SKY SKY’S THE LIMIT 54. YOUNG BUCK 58. 50 CENT PHENOMENON 64. JADAKISS J TO THE MUAH 68. FABOLOUS PRESENT WITH THE MAN 94. TEAM JORDAN FASHION SPREAD 100. THE BEST OF 2004 AUTO SHOW

24. MUSIC IN THE STREETS MUSIC REVIEWS 28. RALPH MCDANIELS STAYS RELEVANT 30. SICK NOTES LIVE AND LISTEN 32. SCRAM JONES A HIP-HOP PRODIGY 38. DJ LADY TRIBE THE CLUB QUEEN OF THE WEST 40. CLINTON SPARKS THE MIXTAPE GAME HAS BEEN INFECTED WITH AN OUTBREAK 42. FINAL CHAPTER BEGIN AGAIN 72. WAR & PEACE WELCOME TO OUR WORLD 74. SMOKESCREEN PRODUCTION THE REMIX VIDEO KINGS 76. GEOLANI WALK WITH HIM 84. PL SWEETS MF MUSIC GROUP 85. FATS DARKCHILD NO MORE 86. RASHEEDA WEARS THE BEJEWELED 104 PLAYA PLAYER VIDEO GAME REVIEWS 108. LUV TO THE NEXT LEVEL CELEBRITY PHOTOS 114. SHOUT OUTS I’D LIKE TO GIVE A SHOUT OUT

rowing With the Game To our loyal fans and new readers, welcome to The Next Level. As the voice of Hip Hop rises, The Next Level Magazine is here to make sure the message is heard loud and clear. We have stepped up our game and are expanding our coverage of the Hip Hop, Entertainment and Fashion industries ensuring that our readers always know what’s poppin. As you run through our staff listing you will notice some significant changes. We are reinforcing our staff with individuals dedicated to keepin it real. As the new Editor in Chief I am determined to keep content fresh. Keep reading The Next Level as we add new features, reviews and hot topics. I would like to thank our fans, especially those representing New York, for helping us sell 95% of our last issue. As always, we will continue to feature Hip Hop’s entertainment and fashion stars as well up and coming players new to the game. We’re working 24/7 creating a new generation in publication. In this issue we say good bye to Brooklyn’s own O’l Dirty Bastard, a founding member of the Wu-Tang clan, and to many, the leading personality in the industry. ODB will be missed but not forgotten. 50 Cent gives a detailed account of his business strategy. Jada Kiss tells us about his new album Kiss of Death and the changing face of the hip hop scene. Guerilla Black tells his story differentiating him from B.I.G., and Nina Sky step up. Don’t miss the pics of the hottest and the fastest from the 2004 New York International Auto Show. We appreciate the support as we strive to reach The Next Level

Kate Toale

The Next Level Magazine is committed to covering the urban Entertainment, Fashion and Hip-Hop industries from a fresh and passionate perspective. Since its inception, Hip-Hop has been rooted in the wealth of creativity and perseverance that emerges from the urban community. With that same determination and drive to create a unique statement, The Next Level Magazine is committed to being a clear and vibrant voice for Entertainment, Fashion and Hip-Hop fans everywhere. When profiling established artists in Hip-Hop, The Next Level highlights the ideas and practices which have propelled them to prosper as artists and individuals. Equally important, The Next Level is committed to covering independent/emerging artists and companies on the rise, documenting their unique journeys on the road to success - like no publications have done before. The Next Level also provides readers with an insider’s view of the urban Entertainment, Fashion and Hip-Hop industries; where the lights are not so bright and the cameras are not aimed. From respected A&R’s to music video professionals, The Next Level also profiles industry players who work hard behind-the-scenes to keep Hip-Hop Culture blazing hot. This credo has been the driving force of The Next Level and will continue to be the key factor in the success of this magazine. Publisher / Founder Ray Ramos

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Founder & Publisher Ray Ramos Editor in Chief Kate Toale Vice president Luis Acevedo Assistant Vice President Miguel Acevedo Business development Juan Aceves Eugene Toale Senior Writer Elijah Murray Director of Photography Rudy Rimanich Photographer Brian Map Anthony Ramos Graphics Coordinator Ed Swift Technology Editor Neil Beck Newsstand Consultant John Blassingame Midwest Promotions Rezell “NYCE” Simmons Website Designer Joey Candelario Assit to Publisher Kisha l Mohammed Contributing Writer Karen Torres Kay Konnect Rainey Cruz Jessica Koslow Rahiem shabazz Sean Perkins Contributors Mike Bangles Brankie Jennifer Rovira Manny Rovira Jessica Mecardo

the next level magazine issue.5

think an athlete can make it in music.” The The journey to be a warrior is about self music industry is the only game where you mastery, involving discipline and focus that can lose it all, be on the brink and one slight must be pledged internally constantly. You of hand or record can save your life. Label, can master a weapon, an art-form, or an idea. artist, promotion, A&R you name it. So this Within that comes the freedom to become. is familiar territory for Roy. Because timing Dedication will determine your progress. For and commitment are the keys to success, you Roy Jones Jr. being a warrior at the top of his got grease balls all over the game just like in game in boxing allowed him the grace to be boxing. You got grandstanders, and fighters in the history books as one of the greatest. that lose because the game won’t let them in. Roy recently lost an epic battle with long You have questions from the loyals that hate time nemesis of his, Antonio Tarver. Tarver where it is going and wish for glory days. You seemed to be Roy’s equal in every respect and got flash that is undeniable, and characters that measurement; bravado, flash and skill. Yet no get it done. You got people in your corner and one in their right mind thought that Roy would an entourage that follows you around. Some be in a fight where he looked out classed, and have yes men others have loyalty keeping out of shape. Not the man that would face them on point. Hip-hop, just like boxing, you any challenger, not the man who moved up in have two fighters in the ring going at it, some weight class to fight heavy weights. No this is will be defined by a win, and others ultimately Roy Jones Jr. the pound for pound best fighter by losing. You have major events that climax in the world. How can this be? One word a career and you have events that usher in a to describe this cataclysm. Hunger… It is as simple as that. Not to take anything away from new reign. Yet if you give the game what it needs you will be fed, and that hunger becomes Antonio Tarver, as well as the latest fighter to satiated by the pleasure of success. So why taste victory from Roy, but watching the fight does Roy want to get in the music business? in my living room with my fam, it was clear to “It’s a challenge, and that’s what I like, you us that Roy was not Roy. Yet an L is an L and know? You’re making something that the Roy took both bad. whole world is going to feel. I don’t have to Hunger is defined as an insatiable use my hands. I want to see my artists win, I feeling that needs to be pacified which mean I got mines. I’m so into this music thing depends on what the appetite is, a woman’s that this is my focus and it’s where I want to touch, food, work, alcohol, literature, politics, be”. Watching hip-hop come up in the inner sports. It is all consuming, burning in you city, my take is totally different than the way and must be satisfied. At times you can be Roy saw it in the back woods of Pensecolla fed and this hunger keeps calling you back Florida. Yet it caught hold of him and those and you succumb falling back into its grasp. around him. Roy made a promise that before I wondered about this because, a boxer’s life he blew up, if he made it big in the ring that is a death game. There is no in between, even he would give back and start a record label. It in this promotional, greedy pay-per-view was promise that he made willingly and has world of event fighting the game is still the made a reality. He is not only a CEO, but he same. Pummel or be pummelled, pounce or be is also an artist himself. This is not Roy’s first pounced upon. Walking into the ring with Roy foray into the biz, but this time it’s a different not too long ago was like having an evening taste than the course he had before. This meal out with el Diablo. You are a lonely visitor is simmered and sautéed the way he likes. to a world of hurt that doesn’t end till you are Although the food is not finished, the places out cold on the canvas. The writing was on at the table are set, the guests are family, and the wall and the questions immediate. Perhaps all that is left to do is for the Chef it is time for Roy to retire; perhaps his age is to say dinner is served. There catching up to him. Being an indomitable are a million things that can go force is no longer a façade that will contain right and a million him in the eyes’ of rivals. They see that he more that can go can fall. I don’t totally subscribe to that wrong in the thought. What I will say is that Roy is music industry. distracted. He is distracted by wanting Because the to live a life outside of Boxing. grind is so Music that is Roy’s new bloody real now in meat to savor, the prize is successfully conquering a new endeavor. It is passion that speaks volumes for how Roy and company describe their music, label, and artists. The Pensacola Entertainment company Body Head is the umbrella for the jump-off. This time instead of releasing a solo album it will be a compilation starring his artist and featuring Roy. “I can’t wait for the world to hear what we got. We put a lot of heart into it and we got music people not going to deny. Plus new artists like my boy Magic and Choopa, man we ready!” I don’t think it will be long before we hear that Roy Jones wants to retire. I’ve watched this man knock men out and be more humble (that’s saying something), but when Roy talks about music a grin without smiling stretches across his face, yet it is invisible. So how in the world is he smiling? It’s in the eyes. I made sure to look dead inside of them. I read between the lines when I asked him about boxing and he answered me elusively but enough to tell me his future would not be a legacy in the ring like George Foreman, (Who, by the way should thank God for a grill that is a necessity). So why wouldn’t he just retire? Hip-hop and the music industry today is a beast unlike any other. Can he survive? “You know there’s nothing that they can throw at me that I can’t deal with. I got a team and God on my side, this is something I’m confident I can make happen. The greatest feeling is provin’ people wrong, because they don’t

Hip-hop everything is up for grabs. There are even fewer who can walk the walk with pride and faith and trust that the higher they go the more secure the ride will be to the top. Roy knows, because he’s been through it in the boxing world. “I know what it takes to fight at a high level. You have to be prepared to fight to the death, that’s something you better understand, cause if you don’t you going to get ate up in there. So the music industry is the same way to me, and I’m ready.” He understands the work and commitment that it takes to be a man of his caliber. Sure he’s being a brute to make money, but the art of boxing is a deadly dance that requires a regiment and discipline that one has to dig down deep for. Boxing, just like creating music, is a craft you have to keep at. If you don’t know that, than you ought to learn that early. So now here in the middle of a new square is where Roy Jones Jr. the man stands ready to climb to success, not for himself but for those around him. “It’s a great feeling knowing that I give back, not just money, but my knowledge of how to be on top cause I been there. Once I can get them to that place then I’m alright, that’s what it’s about.” If this is indeed Roy Jones Jr.’s exit, more than just a mind frame and a plan that he has in motion with the music, one can only root for him not as the champion, but as the underdog. In this twilight zone of possibilities, destroyer and redeemer, it is in this square that Roy will redefine himself, and become something different. But not uncommon champions set the pace. If you continue to do what you have been doing you get the same results you’ve been getting. To change today is to become tomorrow. That is the magic of music. It is what you came for, the event of a new life.

tnl

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hat if The Notorious B.I.G. was still around? It’s a question that invokes so many responses from so many different angles. The one answer that is universally accepted is that the game wouldn’t be what it is now. In some respects perhaps Jay-Z wouldn’t be as big and maybe it would have been he and B.I.G beefing on records instead of Nas. Maybe it would have been B.I.G battling Nas and perhaps ending his career, who knows what would have been. The possibilities are endless. In recent years there has been many a new artist who has come up sounding like B.I.G, not exactly, but the claim being made all the same. You had the little known rapper Bubba Smith, Shyne who had bidding war frenzy around his singing, and now the recent member of the club. Guerilla Black…I never thought that Shyne sounded much like B.I.G, but the new kid on the block, Guerilla Black, seems to be the man incarnate almost in every respect. Whoa, step back and let that statement sit in your stomach and mind, ponder it please. The first time I heard of Guerilla Black is the day I went to interview him. I was getting prepared to leave my house and as usual I had the television on 106 & Park. It was early afternoon so it was a repeat from the day before. At first I didn’t put two and two together, I hear a record and I yell out to my brother “Yo, Puff putting out a lost record on B.I.G.” My

anything till a Virgin records rep starts playing the Guerilla Black album. Again, wow….just wow… You see heads shaking, shuffling of papers, the screeching sound of tape recorders rewinding everybody talking to each other about what they are hearing. Me, I get up from my seat and walk towards the speakers. I press my ear literally against the speaker, I want to catch every last nuance of the verse, the sound, the combination of music and lyrics. I want it all. I go from shock to impressed to leery and back again. The main reason being that it’s one thing to sound like somebody, and almost look like them, but when the intangible things that make a person unique show up damn near exactly the same it is scary. At that moment it is no longer important for me to meet Guerilla Black; I have to look him in the eye I gotta get to know the man. There is more to a man than his voice. We tend, as an audience in Hip-hop, to forget that and place impossible expectations that forge a cocoon to what is real upon an artist. A man’s life and the way he came up and lives dictate who he is. Born June 23, 1977 at Cook County Hospital in Chicago Guerilla Black lived in Joliet, Illinois till the age of five. The family moved down South and from there found way to

brother screams back no, it’s the artist that sounds like him… Guerilla Black... What the f? I run out the bathroom and watch the video with him and Beenie Man. Wow…just…Wow…I had to interview this guy. It was disbelief, more than anything, that it was possible for anyone to sound and look that much like someone else. Now mind you it is surprising, but not uncommon. For instance there are a couple of unknown artist out there right now who sound exactly like Jay-Z and he’s still alive, and then you have his imitators. So I guess the obvious question is; is Guerilla Black a viable artist and alternative to the late great veteran? Should he and other clones be allowed to thrive in an industry that is saturated with copy cats? Sitting in the Virgin conference room waiting for Guerilla Black I sit with some other journalist and reporters. Nobody says

Compton, California. The life of everything being all good in California that was sold to his mom by Guerilla Black’s uncle was false. His family had to live in a shelter for two years. “Sitting down watching one television with 50 other families, when you eat dinner you eat with 150 other people, you open up your toy you play with your sister, your brother and probably six more other kids no privacy. We were really at the bottom.” He was the new kid getting picked on and being beat up, but “Eventually if you back an animal in an environment your either gonna kill it or it’s gonna kill you”. So he fought back to gain respect and grow. Guerilla Black came up hard he didn’t have his dad at home, but eventually his mom remarried. His step dad worked hard to raise three kids that were not his own. Guerilla Black began experimenting in the street life. Wasn’t much money coming in so at twelve he hit

the block. “I remember my first pistol was a 38 with tape on it, my brother’s was a 22, he ain’t even know how to cock the pistol, ha, ha, ha”. They started stealing cars, robbing and selling. “I was making it happen looking fresh, getting money, have a fresh curl every week. It felt good to put money in my mom’s hands, she knew it was bad money, but again if you box any animal in, either you gonna kill it or it’s gonna kill you”. When he left 9th grade he had a 4.0 average, pictures in the Compton news paper with his hair curled. It was tuff growing up in Compton. The stories pour out of Guerilla Black’s mouth and his life starts to play out, 27 years of struggle in a movie frame, except there’s no popcorn or music and lyrics. Perhaps the hardest topic to touch on for Guerilla Black is the passing of his wife. “You ask me questions and I have visions and flash backs, she was one of the strongest women I knew besides my grandmother. She was really down for me. I was wild out in them streets I used to drink like 5 32’s of magnums; I used to drink 3 before lunch and smoke 3 or 4 joints of some good weed. When I meet her, I had a desire not to smoke, or drink. When she came into my life she changed me to a big degree, really changed me up. She was so unselfish; she would give me her whole check and keep like $20 for herself. God is my witness, my family can tell you, that woman did everything in her faith to help me”. Talking about his deceased wife is the only time where the energy and vibrancy in Guerilla Black’s voice waned; it was more than obvious that he misses her. Music has also always been a friend to Guerilla Black who can play three instruments. His mother was a church going woman, who created music in the choir. She imparted her love of the craft on her son, who gladly followed in that. “I like create music all around man, like with my rhymes I’m just not trying to give you a hot 16, I want to give you a real song that you gonna feel. I think that’s what separates me from many other artists in the game.” What is surprising,

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if you can get past the fact that Guerilla Black sounds like B.I.G, is that the dude is nice. He has more skill than half the rappers that are coming out now. Yet, that is a problem, most people can’t get passed that, or maybe that’s only the case in New York. As I write this article Guerilla Black’s single with Beenie Man is getting major airplay all over the country. Yet you can’t separate Biggie from New York and try as he and his label might Guerilla Black needs to be co-signed by New York. That is an endeavor that has to be taken seriously. A humble and real genuine understanding of what The Notorious B.I.G meant to us has to be respected. “I can’t replace that man, I can’t be that man, I can only be myself. With that being said I respect B.I.G and what he stood for and his music is great. I may never reach that high, but I plan to it’s whatever God has in store for me man.” Like most people and things that come out of Compton, California there’s controversy around them. It is a dynamic deeply rooted in the game and hustle of living in California and coming from Compton. In Guerilla Black’s case this guy sounds, looks, and talks like one of the greatest rappers of all time. The Notorious B.I.G. who, (if you don’t know by now, scream loudly for someone to help you out from under that rock) hails from BK New York. Now for damn near everyone who hails from New York things are not going to go easy. Questions start to arise about Guerilla Black’s viability. Is he stealing B.I.G’s flow, Is he trying to play Brooklyn and New York? Why can’t he get his own sh*t? These are questions that Guerilla Black will have to answer for the rest of his career, and yet New York is not the rest of the country. Especially in today’s market it may not even matter what New York thinks. If he’s selling records that is all that matters. Still the question remains... is his label taking to heart that The Notorious B.I.G is so revered that everything Guerilla Black does will be viewed as; What if B.I.G was still alive. tnl

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o you’re a rapper with your own personal barber-not too outrageous, unless your barber is traveling with you when you decide you need a cut and a shave, especially during the interview - my interview. Hmm..Interesting first impression. But that’s how Felix Delgado A.K.A. Cuban Link rolls these days, but it wasn’t always smooth sailing for this trailblazing Latino rapper back in the day... Cuban Link arrived as a young boy on a make shift boat from Havana, Cuba during the early 80’s ‘Marielito’ exile period, concocted by the diabolical ‘Fidel’. Cuban recalls this event as it “was on some real Scar face sh*t, for real”. That’s putting it mildly. Traveling through shark infested waters with little food or water with your parents, had to leave an indelible impression on Cuban for life. But like everything else, or because of that hair raising experience, he continues to take his life journey in stride and just chill. Next Stop -63rd Street and Sheridan, The South

Bronx-Born of very strong parents, Cuban credits his father’s perseverance for surviving when they landed in Miami then later on moving to Puerto Rico. His father started building bodegas and never looked back. From there they hit the South Bronx, Sheridan Ave. where a very young Cuban claims ‘he had to proof himself’. Not speaking English, his fists would usually do the talking for him. That’s when he discovered Hip-hop especially Run DMC, crediting them as a heavy influence musically when he started writing rhymes in fifth grade. The music proved to be his outlet and the early rapper pioneers such as Big Daddy Kane spoke to him. He remembers 1988 being a turning point for him. Cuban felt that the music “identified who I was” and he had something to add to the mix. Hip-hop had a personal message for Cuban and he was ready to answer the call. By 1989, at 15 years old, he started to try spitting by himself, in the hallways no less. He was shy (!) to let people ‘on the block’ hear him. Triple Seis, who was considered a vet as the time, encouraged Cuban to hone his craft. That’s when he met Big Pun and it was a wrap. He gave him the confidence to rap in front of the guys.

He told him to “keep doing it”. And he did. Within six months into their friendship, they were rapping together. Between SeisDomenican, Pun-Puerto Rican and Cuban-well, Cuban - they called themselves the “Caribbean Connection” and the rest is rap history. Terror Squad was born not long afterward and those beginning days during inception of rap with spiced up Latin flava, are still considered the best of times to Cuban. “Saving up for car fare to get to the studio. It was the greatest time of the journey, begging for rides to get the studio”. Together, they hit the clubs and the streets and spread the word. Word of mouth followed by street buzz was the way people career’s blossomed back in the day and so their legend was born. Big Pun broke down doors in the rap world during the early 90’s and together they created Terror Squad. It was a dope time in rap history yet it was not to remain that way. The ways in which rap music was produced, handled and marketed would change drastically as it would outgrow even itself. By 1999, Cuban Link’s album 24K wrapped and

wasn’t dropped till 2001. This in itself says volumes about what kind of political mess reared its ugly head during this supposed creative period for Cuban. Cuban was on the Atlantic label and today takes some responsibility for what went wrong. “I expected people to be taking care of the business side of things while I went out making relationships and handling my career but it wasn’t like that at all”. His label kind of kicked him to the curb for a minute but Cuban was down for a round - not the count. Today, with a new attitude and a new album released on MOB Records, ready to drop in the beginning of March 2005 called Chain Reaction, Cuban’s experiences in the business have given him a whole new perspective on life and the bullsh*t. “Making Chain Reaction was good for the soul and the spirit”. With guests like Jadakiss, Mya, Game, Peedi Crack, Triple Seis and Baby Pun with production by Swizz Beats, Tiger, Humma and others, Cuban feels open. “I have never been a limited minded person and as Pun used to say ‘Think morbid’”. Which translates into not being afraid to go there musically. Hey, whatever flows your boat, Cuban.

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Akon’s story didn’t begin with his incarceration and his creation of the song “Locked Up”. Instead it starts in the dirt filled, busy streets and village in the western country of Senegal, Africa. Akon left Senegal at the age of 8 and came to live in New Jersey and Atlanta. A well traveled young man, Akon lived a life that had him struggling, yet he came from good stock. Akon saw struggle early on, he knows what it means to have nothing but the clothes on your back and no opportunity. Life in America compared to life in Africa is eons apart. What we complain about are luxuries in a country where tribalism and corruption are rampant detractors for black people to grow. As well as the international communities commitment to keeping Africa a third world continent despite its vast resources and riches. We have a foot on our necks, our opportunities are limited but we have far more to allow us the ability to succeed if we grab hold and make everything count. I wondered as we spoke what lead Akon to live a life that was out of order with his upbringing. Hustling is a part of his life. His challenge was deciding that he didn’t want to live the life that he was living while being locked up for outstanding charges. It took two to three years of incarceration before those charges were dealt with. “I was already on the path that was preparing me to live a different life, but I had to deal with my past first”. Akon is more talented than what people may suppose. Before a deal existed Akon was creating music, both songs and rhymes. Ghost writing and creating for himself, he kept his love of the art of music and his great aptitude for it to himself. “In the places and the people I was around I didn’t want them to know nothing about what I could do. My art was mainly for me, keeping me sane, and expressing myself.” If it wasn’t for his God brother, one of hip-hop’s best dance choreographers, who heard some of Akon’s music, the world wouldn’t know him at all. In his music, akon doesn’t create on a deadline, it is a process like the wind that has its own rhythm and he allows it to be his guide. “I create music whenever I feel it, wherever I am. I had over 600 songs before I got signed. Not all of it is meant to be heard, it is just how I go about creating.” There is no pressure for Akon to create a second album; by the time that comes around he will be in a different creative place. “This is all new to me, this music industry, I come from a world and a place where you don’t envision your life better than where you are at the moment. If you pay attention you got street dudes trying to get out that game. There is no

of Loud records Steve Rifkin’s SRC. Steve Rifkin may not have been the only executive to hear Akon. He was the only one who thought Akon’s story and music needed to be told. “I had to sign to Steve Rifkin, he wasn’t the only label that wanted me, and I wasn’t in a rush to get signed. He was the only one who came to my house to see me, he stepped into my world and said I see something in you that you don’t see in yourself, trust me to make that a reality. That was real to me.” Taking more than a year for the record to catch on, Akon took the unusual route to promotion. “At first radio wasn’t with my record, they said it was too urban. So what we did was we went to prisons and jails around the country and performed the record for inmates. It was crazy the response, in fact it was the best place to take the record. Inmates would call their family and have them request the record on radio, and that’s how it began to bubble. At the same time Styles P was incarcerated and he got on the remix because the record was so close to home for both of us.” (Editors note, that is the stupidest reason an urban radio station can turn down a record.). Now Akon is a new artist who has caught the attention of everyone in the game. Some don’t like the song, but few can deny its reach and content. Akon has a unique voice that gives the record and his album a personality all its own. I am not trying to play him, but I can’t help but be reminded of Bobby McFerrin who had a very unique vocal technique as well. It is no doubt that the R&B game is in need of a transfusion of new blood. You can count on your hands consistent R&B artist

that have made an impact and gave us incredible music in the past 6 years. The genre is not as robust as the rap game is. Perhaps because it requires a lot more work to break an R&B artist. My opinion is that they are not connecting with the audience and the music sucks period. There have been some good songs but no future in the streets particular artist who can be felt and get people excited. Perhaps like that. That life is not viable Akon is the birth of that, if he can stay consistent and honest he has anymore. So you have thugs and street dudes a wealth of talent, emotion and background to be an incredible artist. getting into the music game because it is a legal Akon has a very nonchalant attitude; you can’t help but be influenced hustle.” Watching Akon speak you are transported to a place where you by his easy going manor and demeanor. He has no concern for being a are a kid in the middle of the street walking around a market filled with “star”. It is this view of the world that isolates Akon from what others people all the same color as you. Women with babies on their backs, may say and think. It is also what may have saved his life and allows him selling pan cakes, fish, yarn and clothing and all sorts of knick knacks. to create despite what is around him. Akon’s story has just begun, the Then fast forward to a little kid sitting on a plane looking out the long journey that he started is far from over. Akon, the person, the man, window at clouds flying over a new continent, a new place of wonder. is about family. Not much has to be spoken for him. “I can’t see myself Then the film screeches and you are transported to this kid in the good and my family and friends not, that’s not right, that’s not me”. It is middle of a crack house filled with drugs and drug paraphernalia, dudes this conviction that you hear in his voice. It is this strange serenade that strapped, weed smoke in the air. Women scantly clad with gloves on. calls out to people to listen. It is not blatant, instead it is an undercurrent Street corners manned. His eyes dart back and forth as he sits in a Lexus that dwells in the lyrics and melodies he creates. I won’t deny most driving a car with a woman and something in the trunk. Then the film people, myself included, can’t listen to a whole album. I don’t quite vibe screeches once more and moon light cascades blue into a cell and a piece with his voice and tone that well. I have to listen in spurts. Yet that does of tissue paper and pen glint in the night light. Screams and crying are not detract from me appreciating the music and what he is doing. “I’m heard. The film screeches once more and this same young boy is now on always working I don’t want to be comfortable, I’m young. Some people a stage looking at an audience that repeats back to him lyrics to a song live their life trying to get to a place and then deciding to live. Me I want he wrote. This is a life that can’t be imagined because the in-between to work now so I can see my family grow and enjoy life. This is the time is foggy, yet if you pay attention you can see the fabric that is creating for me to work while I have the energy.” It is this commitment to himself, the quilt of Akon’s life. You can’t help but see the secret to freedom is life and his craft that make him an artist to watch out for. tnl in the mind beyond all that the eye sees. His world is a wonderment, a stranger constantly in a strange place. Signed to former label owner

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Curtis Jackson chose the perfect title for his sophomore LP. The Massacre, with many of his songs dominating air waves as I write this review. They put Sound Scan (think Nielson ratings for record labels) in a body bag. However, I have mixed feelings about 50’s LP. If you’re looking for hardcore street perception and club appealing music then look no further. On the other hand, lyrical superiority and creative application are almost non-existent. Though “Baltimore Love Thing” is an interesting approach to story telling, it cannot be compared to songs of it’s like such as “I Gave You Power” by Nas and “Damien” by DMX. A more intricate rhyme scheme is needed from 50 to interest/dominate true hip hop fans. The Massacre bears no sign of growth since his debut Get Rich or Die Trying. Although he gives listeners a little more insight into the life that built hip hop’s favorite bad guy on “Hate It or Love It” when he spits: “Coming up I was confused/my momma kissing a girl/Confusion occurs coming up in a cold world”. 50 is still raising eyebrows and blood pressure on beef records like “Piggybank” where he attacks fellow heavyweights Fat Joe, Shyne, Jadakiss and even Nas. It is clear 50 is secure in his position using the same formula as his debut LP. However, music is an expression of self, and without growth, it should be kept to one’s self.

The last few years hip hop has been stricken with the “Gangsta” syndrome. The arrival of 50 Cent had made it an unofficial factor to become a successful hip hop artist. The Game follows suit with him being an evident product of gritty Compton streets. At first glance, The Game is an over proofed thug with nothing more to offer than his own version of violence and corruption. But when the surface is broken, the nucleus has a lot to offer. The Documentary should have been titled The Student. Game honors rap vets and professes a love for hip hop that is a rarity in the 21st century. Brewed with an awareness of self and his surroundings, The Documentary is truly needed in this day and age. The song “Start from Scratch” decries regrets for making him the man he is, yet beckons for remedies to the pains that plague the ghettos all over the world. Another good example “Runnin” serenades struggles of everyday life. The chorus influences Game’s listeners with lines like: I gotta live for today ‘cause tomorrow ain’t promised to me/ …I want my own destiny. Despite these positive credits, The Documentary lacks a creative flair that makes a true emcee. Admiration for his idols in the game overshadows what he actually learned from them. All in all The Documentary is one of the best debuts in a long time, and the absence of his crew’s repetitive formula is inspiring.

s Rhythm and Blues is an interesting genre. The music that’s been generating from it as of late is associated with love, relationships, sex etc. So in order to make some noise being an R&B artist you must be creative-very creative. It is sad to say that Ciara does not do much in that category. Paired with mediocre production and boring concepts, Goodies is definitely a misleading title. On “Pick up the Phone” Ciara complains: You know you’re ya dead wrong for sending me straight to voicemail/ ‘cause if it was my phone and I did the same you‘d be raising all kind of hell. The title track is also more of a forbiddance from the “goodies” than an invitation which is a breath of fresh air. If fellow listeners can make it halfway through the LP then much props to their patience. Otherwise, the rest of us will admit defeat to the wasted money.

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The title of Lil Jon’s Crunk Juice is self-explanatory. The music is Crunk, primarily club friendly with country beats. After listening to the album it is apparent that there is no real direction. Lovers and Friends is a cut where Usher and Ludacris question non-platonic relationships that occur between men and women. For the most part the album is repetitious and the beats get boring and you may start to wonder why Lil Jon did not reach to achieve his full potential. However, Grand Finale puts the album out with a bang with superb lyrics from rap elites like Jadakiss warning: If you stressin’ to get buried /My niggaz’ll send you back to the essence in a hurry/ Sippin’ Crunk Juice, blowin’ Dutchies in the Chevy /Try to figure me out dawg, I’m light but I’m heavy. Though Ice Cube ends the track with a his signature gangsta no holds barred flow, Nas takes the cake with lines that made him famous like: …the inf’ glow on his clothes and you know it’s over/ hammer hit pin, pin hit shell, from the shell the slug gonna chew ya/ try not to lose me, I try not to lose’ya/ mamma say mamma sa mu makasa, fly to Cuba… Unless you’re a true fan of Crunk music this LP does not provide much to elevate the game.

Nasir Jones is a man of many faces. Poet, thug, father, and most recently, husband. His ability to mesh these personalities into one may be what has gained him so much respect over the years, as opposed to his lack of recognition. Street’s Disciple stands out among rap’s latest albums like a lump of coal in a jar of diamonds. Yet it will still go unnoticed like a murder in the street of Compton, CA. This is due to God’s Son ultimate sacrifice: he will not compromise. There are true hip hop pieces like “Sekou’s Story” and “Disciple” that deliver a journalist report on casualties of the hood; both sonically drive the point home with hard bass lines respectively. Gangster hopelessness is absent; instead, Nas delves into himself without restraint on cuts like “Getting Married” where he raps about the expectations of his big day with new bride-wife Kelis. “Bridging the Gap” is an ode to the Jazz and Blues era of his father’s own artistry and youth. Street’s Disciple is the double LP Nas needed to make no doubt to harness himself as one of rap’s elite. With cuts from “Coon Picnic” to “Virgo”, there is something for everyone to enjoy.

Ludacris is arguably the best emcee in today’s game. Arising from the depths of Crunk music, he maintains his Southern sound with lyrical efficiency. The intro is a forewarning to haters and critics with lines like: And last album they don’t like me to tell this/debuted at number one and sold more records than Elvis. Ludacris is still bogarting the club with cuts like “Get Back”; Luda takes it back to the old school with Nas and Doug E. Fresh on “Virgo”. The Red Light Districts album production will have you nodding your head as naturally as breathing. On “Spur of the Moment” Ludacris spits a carefree flow about doing as he wants since his days of being on the block, as easily as DJ Quik is able to finesse a beat. Being Luda, he bangs out club and radio friendly cuts that do not dumb down his rhyme scheme. With a Clive Reville sample on the hook, “Large Amounts” is an easy favorite. However, the album’s jewel is “Hopeless”. Trick Daddy lends him a hand on stresses of race, bias and poverty spitting: I had a dream about a dope fiend /And its strange cause he get a Bentley right away/ seem to get just for bout anything/ Pure survival, I want to talk with him /He said he was too busy for that but I was more than willing the walk with him. Ludacris never fails to please and impress, and The Red Light District sticks to his diverse track record.

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Best known as the founder of Video Music Box, one of the longest running urban music shows in New York, Ralph McDaniels is still a pioneer. “I’m always pioneering different things as I go,” assures the DJ/radio personality/ video director/all-around entrepreneur, as he readies for his regular Friday night gig at Pamela’s on the edge of SOHO. “I remember my past but I’m always thinking forward.” Wise words from the man who associate produced the movie Juice, directed videos for everyone from Boyz II Men to the WuTang Clan and has been in the game for 20+ years. Listen and learn. What have you been up to lately? I’m on Sirius Satellite radio. I look at Sirius Satellite as a new frontier almost how like cable was when it first came around. Sirius is a thing you have to pay for but it’s what you want. It’s variety, without interruption, uncensored. I do the Coast 2 Coast Hip-Hop Countdown, a show like a Top 20 show with new artists and new music. We go across the country from Miami to Houston, from LA to NY and talk about various artists and the sound that may be coming out of that particular area. We try to give a lot of information. I was a big fan of Casey Kasem growing up. My father owned a candy store. I always used to listen to him on Sunday mornings. The last couple of months we’ve got the word that Howard Stern is coming there in 2007, and Eminem has Shade 45, his own channel, which just started. Hiphop has been real important there. I’m at Hot 97. I came to Hot 97 eight years ago. I do Saturday afternoons. I still try to bring my same energy, entertaining you with the best I can with the music that I’m programmed to play. It’s not my choices. It’s the station’s. Hip-hop is what it is because of radio stations like Hot 97. People complain about it but at the same time that’s business. Now I found Sirius Satellite radio. With my boy Hot Dog. He danced for Chubb Rock back in the day. He’s the guy that taught Puffy how to dance. I tell guys, a lot of old school cats, you have to change or you’ll be left behind. Keep your integrity. Be aware of what’s happening. But listen to what people are saying. I’m always learning. Everyday I realize I don’t know anything. We’re putting out the “best-of” Video Music Box on DVD, which is way overdue. Video Music Box started in 1983. It was called Studio 31 Dance Party, because it was on Channel 31, which was owned by the City of New York. I was just the voice of the show. I didn’t program the show. After a year, I decided to come up with Video Music Box. From there, everything took off. It’s funny because in the early days we didn’t have a lot of hip-hop videos. Maybe like one Grandmaster Flash video, “The Message,” one Sugar Hill video, the Fat Boys were very popular back then. They were definitely one of the groups that were ground breaking for urban music with videos. Whodini was also ground breaking with “One Love,” “Freaks Come Out At Night.” Run DMC with “Rock Box.” And everything else was whatever was pop. We started going out to different clubs and taping these artists live because a lot of them didn’t have videos but their records were popular on the underground hip-hop stations, like Mister Magic’s Rap Attack on WHBI in NY and at colleges. Videos weren’t happening yet. I wanted to create a show that represented what young people wanted to see. This was a public TV station and there were no African-American or Latino shows, or anything representing the hood. Or any part of our culture. I wanted to do this with my show. The station didn’t represent the public that I saw when I got on the subway. I wanted to do the NY urban scene. Was the show successful early on? Our show started getting ratings, and no show had ever gotten ratings on that channel. We were in the middle of the afternoon at 3:30. We were going up against Oprah. I thought I could catch Oprah in NY. That was my motivation. It was a ground swell because there was nowhere for anyone to see these videos. We were on everyday. It gave the station more worth. It gave the station the numbers to get millions of dollars.

Then came Fresh Fest. That was a big show and I didn’t realize it at the time. We taped the whole concert and it was Run DMC headlining with Grandmaster Flash & Furious Five, Whodini, Fat Boys, LL Cool J, Dynamic Breakers. We aired that whole show, hung out backstage. That show influenced a whole lot of people to want to be part of hip-hop… filmmakers, producers. They realized that hip-hop was no longer just in some clubs in the village or in a center in the projects. It was in a big venue at The Nassau Coliseum that holds 15-20,000 people. Fab Five Freddy told me that when he saw that show on Video Music Box he was really convinced it was happening. We continued to do our thing. What other projects were you working on then? I was also at the time directing videos. My partner Lionel Martin who was the Vid Kid, we started a company called Classic Concepts. Lionel spearheaded Classic Concepts, and we’ve done over 300 music videos. We worked with everyone from Boyz II Men to the Wu-Tang Clan. We had this ground breaking show, directing all these videos. Then I got a call to be associate producer on Juice and help Ernest Dickerson, who had written and directed it, because he had written it 9 years before it came out. It was old school. We changed words and made it up to date. I think my influence was bringing legitimacy to the film. People knew of Ernest, he was Spike Lee’s cinematographer. But they didn’t know him. The other producers were two white guys from LA. So I called Queen Latifah and told her to come through. The Bomb Squad did the sound track for that. I called Hank Shocklee and said this is the real deal. And because I was down with it, the word got out and everyone wanted to be in Juice. And Tupac, that was his first film. Why do you think Video Music Box was and still is so popular? Video Music Box is still holding it down. Yo! MTV Raps could only do certain things. It was a national show. We could get real grimy. We were still holding it down in NY. One day I met Louis Farrakhan and I told him what I do. Because all his FOI and brothers knew who I was but he didn’t know who I was. So I went and he told me I was a very influential person. He said, ‘You can change the way people think and what they do with TV.’ I never looked at what I did that way. I wanted to make sure I entertained people and gave them a positive message. I always wanted to talk to the artist with respect. I wanted it to be real talk. I wanted to give people a balance. Because I know the drug dealers, the preachers, I know them all. This show was the mainstream of urban life as far as TV was concerned for everybody in NY. How have things changed over the years? In 1995, we were on for 12 years, the city sold our station, Channel 31. We had to figure out where to go. I scrambled for six months and I ended up getting the show to the station we’re on now, Channel 25. It was a totally different scenario. They didn’t get what we were doing. They put us -- and all the Black programs -- on late at night. It is what it is. We inspired a lot people. I remember Shaq said he grew up in NJ watching us. We put Nia Long in her first video, Bel Biv Devoe. Hype Williams was my art director. We see our scene still in the mainstream. Today we continue to do what we do because we think that we are what is still left of what hip-hop was back then. The face and sound of hip-hop has changed. Hip-hop is corporate now and we try to keep it at that grass roots level. We still go out to those parties and events. The whole thing of doing “shout-outs” came from my show. I heard Chris Rock say that. I heard Howard Stern say that. If I had copyrighted that, but who knew. It’s not like I started it. The streets started it. But we picked up on it and everybody else started saying it. As a pioneer, do you sometimes feel disrespected by the “new school”? I always feel uncomfortable when I go to a label and there’s some 22-yearold kid just out of college and they don’t know. And they don’t give you the respect like they would someone that’s poppin’ right now. And who’s to say that person that’s happening today will be happening tomorrow? Or even me? But I do have a 20-year track record behind me that shows that I’m pretty consistent at what I do. I can get pissed off but I don’t let it last too long. I just keep it moving. To me, right now, the music business, a lot of people that work at labels are fans. They’re not innovators and movers and shakers. I’m like don’t be a fan, you’ve got an opportunity now, do something, change something. Break down barriers. The music and artists are always the most important part of our culture. Those people can be more influential than our politicians. I hope that in 2008 the artists will influence the people and the people will rise up. There’s a reason why we don’t hear Public Enemy or NWA on the radio. They don’t want to spark your brain like that. We got to bring that back. Do you consider yourself a role model? I never set out to be a role model. I didn’t want to be on TV. I wanted to be the voice. And the station said, they want to see you and know who you are. To me it was an extension of DJing. I treat it like I’m mixing. As far as a role model, you can’t do certain things in public that you used to do. I learned that. No more wildin’ out. How do you feel about hip-hop music today? If you really are a fan of hip-hop music, you can find what you want and what you like. Radio is limited. But if you’re looking for it, it’s there. It’s like a fruit basket. It’s still a young genre of music. It’s not going away. tnl

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ow did you guys get started producing? Pep: We’ve known each other since high school and we always loved music. So professionally it was 3 years after high school in total it’s been ten years producing. We first started out as a rap group rhyming, and then as we got more into producing and getting good at it we started focusing on that side more. How long has the road been? Witt: Man like I said it’s been ten years and in that amount of time we went and still going hard. We started working with a producer in Detroit named Dogmatic. Making beats with him and for him, working with every underground artist in the D getting experience and making a name for ourselves. Pep: Yeah, and it must have been like 1995 when we meet Proof from D12 he was solo at the time and he liked our stuff so he became somebody we knew real well. Working on Proof’s solo project. We then lost contact with him for five years, which is crazy, but that’s life, that was in 2000. He had a group called Promatic and we did the entire album, which Proof took to Em before the first D12 album. Em liked what we were doing, but I don’t think he thought we were ready. Proof just told us to stay in contact with him and keep sending him tracks. So we did and we finally got to a point where they felt it was time. So the second single on the new D12 album is what it is. How does the process of producing work for you two? Witt: Well it works like we in a band. Like Pep will start working on something say a drum pattern or whatever and take it somewhere. Sometimes he might have the whole track, and I’ll come in and add something or vice versa. It’s really based on who gets inspired and he leads. We try to stay creative and push each other. Do you guys have a signature sound like the Neptune’s or Dr. Dre? Pep: Um no, not really, we don’t have one sound that you can say that

we do. We just do different things to get different sounds. If it feels right that’s what works. Plus we take from different influences that way we don’t get stuck doing one thing. Is producing the only things you guys want to do? Witt: Nah, we got a band and we have a label we putting together, because we have artists that are in our camp. We fit to do it all. Like the band is something very different, it’s like a family and we trying do things that push the sound and what we can do. Pep: Yeah, I mean we want to be innovative, and do more hot music and make tracks that are fire. We want Detroit to be hot so we making sure we work hard, so everybody knows about us. With our artist it’s the same way, they hot and different bringing something fresh to music so that’s what we focused on. How do you get the artist that are with you on the same page and focused? Witt: Well we don’t sell them no dreams, they professional already in a sense and we try to show them our work ethic and what we believe in. So they trust that from us, and they understand what needs to be done. We not totally there yet, but they know how long we been doing it and the people we worked with so they understand. Pep: We built our own studio, put out underground mix-tapes, we do so much that our artist see our hard work and effort cause it’s not just for us we the world up on this here. Is putting out good music, and doing your own thing your motivation for producing now? Pep: Hell yeah, pushing hard and doing it from the gut you know grinding. That’s what it’s about, my artists motivate me. We feel like they have to be heard so we work hard. Ain’t that much to it to me. So what’s next for Sick Notes? Witt: Man the top. (Laughter) nothing else, we putting Detroit on the map like Em, there are so many artists and talent. We got our label, plus we want to keep producing for other big artists out there like the Jay-z’s, OutKast, Ludacris and whoever is hot we can make them hot music that the world can feel and that’s innovative. tnl

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don’t know you rhyme as well. Was that a strategic plan to be a producer then come in the game rhyming? Scram: Nothing was planned. I was doing everything anyway. I wasn’t thinking of it on the business level at first. I was doing it cause I loved it, it was my passion. At first, I was introduced as a DJ, at least to my hood. Officially, I was introduced as a rapper when I came out with my first white label for a song called “Liquid Heat” in 1999. Then I did another white label song “Jackson Jacked” in 2000 where I jacked the Billy Jean (Michael Jackson) beat. Then in 2001, I did two songs on the D&D Project, Usual Suspect featuring Aquanaut and Marvelous. Then I was on a 11-minute long posse cut with eleven rappers (Tony Touch, M.C.Search, Craig G, Smith & Western, Big Tigger) In February 2002, I got the Unsigned Hype column in The Source which led me to becoming a finalist in the Unsigned Hype battle. Next Level: So why no label deal? Scram: I don’t know, I was going hard with the spitting and I did my rounds to the labels but they wasn’t really budging. They need like five hits or they need a big co-signature. I saw it wasn’t going to really pop like that. So I just continued shopping my beats and trying to get them off. Back then they were premature and first I had to go through the motions and go through all the chambers. I just kept sharpening the sword getting nicer and nicer with the beats. Now dudes are snatching them and suddenly I’m a producer and not a rapper. I’m now finding out

Billed in the industry as “A Hip-Hop Prodigy” Scram Jones has solidified his post as a rapper, producer and DJ and is often referred to as ‘the epitome of a triple threat’, for occupying so many positions in the game. His name is on the lips of mixtape luminaries who study his craft and style, A&R’s seeking the hottest producers for their clients and rappers looking for their first song to land them on commercial radio. The streets became abuzz with this rapper/producer/DJ through his latter profession as a local DJ performing in clubs. Unbeknownst to many, it would not be long before he immersed himself into the culture of Hip-Hop as a rapper/producer. One music critic described his rap style like this - “As a lyricist, his rhymes are packed with metaphor after metaphor, constantly manipulating the English language and using intricate rhyme schemes.” Next Level Magazine was afforded the opportunity to chop it up with the busy and in-demand producer to speak about his early years in hiphop, the recent comparisons to Kanye West and about which artists he is lending his production skills to. Next Level: Hip-Hop music became embedded in you at an early age, take us back to that era. Scram: Basically, I was born and raised in New Rochelle, NY. After I finished school I moved to Manhattan then to the Bronx, where I currently reside. When I was young back in elementary school I f***ed with break dancing, bugging out listening to Fat Boys and Run DMC. I use to always jot rhymes down just messing around in class. When I turned fifteen I got my first set of turntables and a microphone. Everyday after school we would have sessions in my basement freestyling, scratching, and bugging out. I got a four-track so we started recording ourselves rhyming. That’s when I started pushing the pen even more. After I finished school I got me a MPC 2000 and I’ve been making beats since then, rhyming, recording myself and DJ’ing making mixtapes as well as performing in the clubs. Next Level: What clubs are you currently holding down now? Scram: I DJ twice a week in Manhattan, on Friday’s I do Boulevard and on Saturdays, Club Spirit. Next Level: Most people know Scram Jones as the producer but many

when I introduce myself to people as a producer they don’t realize that I’ve been spitting. Now they are getting it twisted saying things like, ‘Oh this producer is trying to rap, he’s trying to be Kayne.’ But, they don’t realize I was spitting way before the producing. Next Level: What are some of the projects (production wise) you worked on and what you got simmering on the back burner slated for release? Scram: I did four tracks for Khadafi’s Still Reporting album which I got A&R credit for - two of them were with Havoc from Mobb Deep. That was my first official project that I got credit on. Then I did the “No, No, No” for Jae Mills. Then they remixed it with Camron and T.I., which was a good look. Coincidentally, I went from “No, No, No” to “Yeah,Yeah, Yeah” with Remy Martin and Fat Joe. That was actually the Terror Squad’s buzz record that set if off for the “Lean Back” single. I did the song called “Work Magic” with Lloyd Banks featuring Young Buck. I’m currently working with Saigon blazing the mixtapes. The standout song right now is called “The Color Purple.” On Nore’s upcoming album, there’s a song I did called “Bad Man” featuring Beanie Sigel and on Mariah Carey’s album it’s called Your Girl. We’ve also got Beast Mode Part 3 - me and Vin the Chin doing the mixtapes, hosted by Grafh. Next Level: In five years from now where do you envision Scram Jones? Scram: Hopefully, my production company “Beast Music” will be turned into a label or to get a distribution deal for my company so I can come out with my own artists. So that is something I definitely look forward to. With nine CD’s strong and still going look out for Loose Cannon featuring everybody from Marvelous, Jack Venom, Swigga, Amadeus Nature, Nore, T.I., Camron, etc. His latest work includes 26 exclusive joints with all production done by Scram Jones. Label reps who were just receptive to his production skills will now be checking the man who went from winning first place in the Tommy Hillfiger National Demo Contest to releasing his lyrical prowess on the industry.

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It’s at least 30,000 deep to be exact. The house is packed. Picture them: Dominicans, Puerto Ricans, Colombians, Mexicans, and just about every black, white and gray shade in between. United Nations could learn something here. This crowd is more than twenty countries strong, all here for one thing, Reggaeton a.k.a. Spanish Reggae. So what does this all have to do with The Killa Three, composed of rappers DWN LZY, Musaliny and Maze? It has

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absolutely nothing to do with them and absolutely everything to do with them. The Killa Three are not reggaeton artists, but because trio’s long-time compadre, rapper Noreaga, has just about reached boiling point with the ultra-hot reggaeton/rap crossover hit, “Oye Mi Canto.” Nore’s stock is on a Wall Street-sized rise, so guess which lucky three are about to cash in on their newly found trading options?

ou guessed it - DWN LZY, Maze and Musaliny are on stage tonight at what could quite possibly be the biggest public relations opportunity of their careers, Madison Square Garden’s Megaton 2004. The Killa Three rocked on stage in front of 30,000 of the wildest, loudest and most energetic fans this side of the Americas. And, boom, just like that, the pieces on the Thugged Out Militainment chessboard are in place. DWN LZY, the latest addition to the three-man team, says “We been together all our life. We all family here at Thugged Out.” Although he’s been down with the crew for a minute, LZY’s break into the industry began only a mere three and a half years ago. Remember that sick Swizz Beatz production for Nore’s “NuhMeanYaHeard?” Well, that was LZY on the hook. “That’s when I started rapping,” LZY explains. Now he is

“Lefrak Iraq,” as they like to call it. Maze hails from Brooklyn, home of Biggie and Jay. The two managed to link up lyrically via Noreaga’s connections, and took off from there. They’ve been at it ever since, collaborating with the self –proclaimed “Melvin Flynt The Hustler,” laying down tracks for the first Violator compilation, among other projects. With the pieces in play, The Killa Three have recognized the opportunity at hand. Their coalition is unified under the hustle. They’ve been family, but Musaliny admits “We just brought this thing together six months ago just to make things pop.” And with Nore’s recent roster move to the Roc-A-Fella crew, there’s more depth to The Killa Three’s strategy. Like real military generals do it, The Killa Three’s war room is about to jump into overdrive. “People say it’s 99% business and 1% is the rest of everything,” says Musaliny. Musaliny calls it “evolving,” which can sometimes

ready to step up to the plate in hopes of tipping the industry scale in his direction. “I’ma keep it real to the fullest, I ain’t got time to beat nobody in the head,” the deep-voiced rapper confesses. “There’s a ghetto everywhere, we all think alike, we all s**t, drink and eat alike, it’s the same!” With LZY on the squad Thugged Out Militainment has the full arsenal in place. Now it is just a matter of keeping the family tight with projects such as the upcoming Killa Three album. The other two-thirds of The Killa Three coalition, Maze and Musaliny, trace their break into the rap game back a bit further than DWN LZY. “Since ’98,” says Musaliny. He had just been released from prison in 1998, when Noreaga’s N.O.R.E. album dropped. Musaliny linked up with Maze right after. Both Musaliny and Noreaga grew up together in Queens.

be a slow process. Fortunately enough for DWN LZY, Musaliny and Maze, there is nothing slow about Noreaga’s new buzz. verything is evolving right now, we just trying to get all these doors open in every direction just like how Nore opened up the doors with the reggaeton. Just keep on opening up doors, so we can keep walking through these doors and make more opportunities for ourselves,” Musaliny concludes. Sounds like a plan for success. You might want to keep an eye on them in 2005.

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Behind every successful DJ, there are countless crates, struggles and experiences a DJ had to go through to get to where he or she is. When I was asked to interview one of LA’s hottest DJ’s, I expected a boisterousvoiced woman on the other line of the phone with little or no story to tell, but ready for shout-outs. What I got instead was Lady Tribe. Lady Tribe is soft spoken, gentle and bubbly - the opposite of what I thought all DJ’s sound like. She giggles and speaks barely above a whisper. She’s also very open with sharing her experiences and thoughts on the life of a DJ. But what impressed me most was the story behind her DJ lifestyle. Raised in Los Angeles, California, Lady Tribe is also a respected graffiti artist, still one of her main passions in life. After being put on house arrest for illegally painting on property, she decided to get her life together and focus on DJ’ing. As a female DJ, Lady Tribe has also encountered what she described as “good and bad prejudice.” At first, she found it hard to make it to the next level of DJ’ing because of her gender and grew tired of being known as “the female DJ.” Instead, the doubts gave her the drive to prove everyone wrong. Not stopping there, she’s taking her clique, the Murda Mami’s founded by NYC’s Lazy K, along for the ride. Welcome to the life of Lady Tribe… Next Level: How did you get the name Lady Tribe? Lady Tribe: Tribe is a CD art name. So I just added in Lady so people would know that I’m a girl. Next Level: What made you decide to become a DJ? Lady Tribe: I was a graffiti artist and I was very heavily grasped by the whole culture and that culture was very close to DJ’ing. I had a lot of homies who were DJ’s. So one day I was messing around at my friend’s house and I decided to get my own turntables, but I just f***ed with it. I didn’t take it seriously until after I got on house arrest and then it was sitting there calling my name. Next Level: You mentioned you were on house arrest, do you mind going into detail about what it was for? Lady Tribe: I was on house arrest because I got raided for my graffiti art. Now I just really express myself through my mixtapes, through DJ’ing and through my website. It’s cool because I can travel! (giggles) Next Level: Do you sometimes miss doing graffiti art? Lady Tribe: Oh I still do it; I just don’t do it illegally anymore. Next Level: How was your first DJ’ing experience? Lady Tribe: It was so scary. I was really nervous and my hands couldn’t stop shaking. But then once I was up there and I got into the flow I actually was not that nervous anymore. Now I’ll play in front of 20,000 people at the sports arena in LA or open up for Ashanti, or I’ll be at the Hot Import night at the Convention Center. And I’m not even nervous a little bit. Next Level: What is your favorite style of DJ’ing? Lady Tribe: I love mixing music and making people dance. I like turntables where you can actually show some skills. I love battle style mixing. That really gets me going (she giggles). Next Level: Do you listen to how the crowd reacts to your music and then base your music upon them, or do you usually have a pre-planned set that you’ll play? Lady Tribe: I’ve never had a pre planned set. I don’t think that really works because they play so many different pieces in this country. If I play some stuff that I would play out here in Atlanta, the crowd probably never heard it before. Or if I play some stuff out here that they only play in New York, then people ain’t gonna be feelin’ it. The worst thing to happen at a club is for the crowd to disappear, so I’ll play for the crowd and I’ll only play the bangin’ ass songs first so right away they’re just like “damn!”, and then I just keep it going. Next Level: What separates your DJ’ing skills from other DJ’s? Lady Tribe: The way I feel the crowd. I’m not like “Oh I’ll do one dirty South, or my West Coast or East Coast.” I can play for any kind of crowd. I play mostly for the females so then they can keep it sexy, and keeping it sexy makes the guys want to come to the dance floor and that keeps the dance floor packed. Next Level: Have you worked with any other famous DJ’s? Lady Tribe: I played right after Funk Master Flex at a show in Las Vegas. But it wasn’t like we planned it together, you know? And I’m

not going to say, “Oh yeah we DJ all the time”. I really look up to him; how he markets himself as a DJ, and the way he talks s**t, I just look up to him in so many ways. Next Level: If we were to go through your crates, what artists would appear most? Lady Tribe: Right now, Lil Jon. I have so much stuff from Lil Jon. Either he produced it or he’s rapping in it, one of the two. But at home, I like my West Coast and G-Unit. Kurupt is one of my favorite rappers and so is Tupac. Next Level: Would you ever consider crossing over and becoming a rapper or singer yourself? Lady Tribe: I’ve done little rhymes here and there but that’s not something that I’m totally concentrated on. But I like making girl versions, like when boys talk s**t. That stuff’s fun for me. Next Level: Let’s get into the technical aspects of DJ’ing, for those interested in learning more about the art and science. Which turntable set do you recommend using? Lady Tribe: For Techniques, the 1200’s turntables. I also recommend the Desktech 0612 mixer for technique, that’s what I got and it works good and I’ve had it for like six years and nothing’s messed up yet. Next Level: Technology has advanced so much. Some DJ’s prefer CD mixing over record mixing, while others like to keep it old school. Which type of mixing do you prefer? Lady Tribe: I like it old school with the crates and the records, but I also do CD’s because there’s some stuff that you can’t get on Vinyl. Next Level: What do you feel is the hardest part of DJ’ing? Lady Tribe: The battles. The battle tricks because you got to get it on point and perfect. Next Level: What do you feel separates the good DJ’s from the bad DJ’s? Lady Tribe: Good DJ’s will make you feel good, they just put you into another world and take you on a high like, “Oh damn!” The bad DJ’s will just make you mad. tnl

the next level magazine issue.5

oston, Connecticut, Baltimore, plus the North Carolinas on the way, DJ Clinton Sparks spreads originality around the masses. Sparks, the pure element behind new heartthrobs rhythm and blues group XL, who are creeping in the game like thieves is prowling. Syndicated show in 40 cities, Shade 45 on Sirius satellite, Smash Time live from Time Square, DJ Clinton Sparks projects are under surveillance. Sparks is grinding. Yes sir, DJ Clinton Sparks has moved out of the traditional DJ spot into the slot of the hottest of the hot DJs. Not to mention, he won 2004s best DJ of the year in Puerto Rico. TNL: For starters, there is a lot of stuff going on with DJ Clinton Sparks. Your name is everywhere. DJ Clinton Sparks: Well that’s a good thing. Even if they are hearing bad stuff, it is still a good thing. You are hearing my name. TNL: Last year you were doing it. How did the outbreak of DJ Clinton Sparks happen? How did the Get Familiar movement smash so quickly? DJ Clinton Sparks: I love that term outbreak. TNL: (Laughing) How did the outbreak of the sickness happen so quickly? DJ Clinton Sparks: How did the Sparks plaque happen? Man, by constant work, by constantly, constantly, constantly beating myself up. Always knowing that there is someone else working just as hard…trying to take my position or whatever I have. What motivates me is to keep on working and be successful in whatever I do. I don’t like to hang out. I don’t like to shoot the sh*t. I don’t chase ass. I don’t drink. I don’t go to the club. If I go to the club, I am only there to smash. That’s it. I just work. I am a workaholic. TNL: You are on radio in Boston, Connecticut, where else? Is it just those two states? DJ Clinton Sparks: No, I do Boston Monday through Thursday, I do Connecticut on Friday, and I fly to Baltimore every Saturday. TNL: Boston. Connecticut. Baltimore. So three major spots… DJ Clinton Sparks: Yeah and I am starting North Carolina at the end of the year. TNL: Plus North Carolina on the rise? How did you manage to pick those gigs up? Did you have a plan to spread yourself so wide as far as radio? Or did the opportunities come toward you?

DJ Clinton Sparks: I mean no, it was definitely a conscious effort. It was definitely something strategically planned out to get people more familiar. There is a big picture involved in what I am trying to do. The more people that I have listening to me, the more people are going to Get Familiar with what I am doing. I never say no to more work. I also have a syndicated show in 40 cities and I still maintain that as well. TNL: Syndicated show, 40 cities? DJ Clinton Sparks: When I was doing the syndicated show, the Boston station opened up, so my name had a buzz in Boston, and people in the right position reached out to me. Then the new station opened up in Connecticut, I found out about that, and me being the workaholic that I am I said “aahh, I got to get involved with that.” So I do the syndicated show, I do Boston, I do Connecticut, I do Baltimore, and I just signed on with Shady Records, they got their own channel on Sirius satellite radio called Shade 45. I am going to have my own show starting November 2004. I will be doing it live from Times Square, New York. TNL: Let’s review. So your doing Shade 45, Sirius satellite radio, then you are on Boston, Connecticut, Baltimore, plus North Carolina… DJ Clinton Sparks: Just so you know my show at all the stations is called Smash Time. TNL: Let’s talk a little bit about your upcoming projects. DJ Clinton Sparks: (Hype) Before we do that, let’s talk about how I didn’t win runner up, I didn’t win best East Coast, I won the Best DJ of the Year in the whole entire country in Puerto Rico (2004). TNL: (Laughing) So tell us about that win…The Best DJ of the Year Puerto Rico 2004. DJ Clinton Sparks: It’s just a great feeling to see all the work you put in recognized and acknowledged. It is great to know that people think that I am worthy of winning Mixshow DJ of the year. That means if you take every DJ in the country on radio, I am recognized as the number one Mixshow DJ right now. TNL: Did you expect it? DJ Clinton Sparks: No, I didn’t expect something like that, but three years prior to that I won the DJ Threat award. TNL: So what does this new title bring to you? DJ Clinton Sparks: It makes me feel like I have to live up to that title. I can’t let the people down that voted for me. tnl

the next level magazine issue.5

n literature the final chapter of a book culminates all that has transpired in the previous chapters. It brings closure and sums up the emotions and the journey that the characters and the reader have gone through. In hip-hop a group that calls themselves Final Chapter has a history that is preparing them for a whole new adventure not an end to one. Well that is at the very least the thought process behind two rappers from Lefrack City, Queens. Team 57 is the team, Audacity Entertainment is the umbrella that Final Chapter resides under. Final Chapter is a two man group made up of Sho and Algado. Two life long friends who grew up living in the projects of Lefraq, Queens. The two absorbed living life in a hood, forged their identities and code of conduct into the foundation that built them. Progress, but never forget is their motto. When hip-hop found them they took it seriously, they did what you and I did in the hood; dance, tag, ball, and freestyle. “Man we love this, if we didn’t we wouldn’t be here right now trying to make it happen” says Algado. Just like two man duos before them, they want to make their mark. There is a disciplined way Final Chapter moves. “We ran with Nore and Capone, being that we was from Lefraq they put us on tour, we were able to learn from them. Plus getting featured on Nore, and CNN albums we got experience”. Stepping into the studio to interview Final Chapter I feel first an energy in the room that is rare. The vibe is crazy, sort of like when I was little and went to the basketball court for the first time and saw cats balling. It’s electric, lots of yapping one in the booth, a couple of cats in the click off to the side having their own conversation, a shorty on a dudes arm, and one guy holding court. The guy holding court was Sho, tall dude, and contrary to what Kanye West said about light skin guys not coming back we got some problems Houston, cause shorty was on homies arm real tight. The two now stay in New Jersey where they record and are creating their music for release. Just finishing up their mix tape hosted by Dj Kool Kid, Final Chapter is preparing to drop their long in progress album. Their sound and style remind you of Queens and the influence that Mobb Deep, Nas, Cormega, Capone and Nore established. Yet Final Chapter’s take on it is a new perspective. “We are trying to create music from a real stand point; we want to relate to everybody.” What they would like to do is be the next two man group to really do it big and make an impact. How do they do that and set themselves apart from the music that is out now? “We know the game, from being in it for so long, we understand that if we take our time and put out that good s**t people gonna feel it and that’s what we want”. Says Sho. Sho and Algado are as different as night and day, but both creative and inquisitive. Algado watches your movements and conducts himself very automatically every move is measured without force. Sho, on the other hand, is more instinctive, a vibey dude who feels out the room and allows himself to do him. You can see how their personalities can clash because they are so moody. I suppose that is the dynamic that ignites the creativity they have with their music. Final Chapter is creating music for a new generation of fans that don’t know who they are. Time is not anyone’s friend. So Final Chapter is going the independent route, preparing an album for next spring. You are looking at some seasoned men who are ready to push the next level of hip-hop. Can they do it? That is up to an audience that is now more fragmented and fickle than it ever has been. Their infectious and jovial nature is very inviting, their music is above average, what is questionable is whether or not their sound is viable in the hiphop market that exists now. Is it out dated? Can the audience connect with them? Because now more than ever if you are from New York you need to be creating a universal sound that nobody can deny. There is no other place in the world where it is more possible to do so. Perhaps Final Chapter will have to dig a bit deeper and see if they can do so. They can spit, and you are reminded and taken back to when those street lyricists were on point. The other question is can they make that one record that connects them to a bigger audience? Some call it a hit; others call it a commercial record. Me, I like to call it your hello record. The one that calls attention to the new guy in the room, for them to pay attention you need to grab hold of their ear and not let go until the night is over. If Final Chapter can build brand loyalty like Nas, Mobb Deep, Wu-Tang, Lil Jon there is still no guarantee that people will embrace them. So how does Final Chapter do well? It is a question that these two men are well aware of, “We gotta do us, because s**t comes and goes but we know we gonna put in a 100% effort and work hard can’t anyone deny that” say Algado. As Final Chapter crafts their sound the stage has yet to be set, before they go on. Can Final Chapter make an impact in the industry? Are they able to make the move from obscurity to stardom? Sho and Algado act like it is all part of the plan. No one expects or sees them coming. For Final Chapter it is all about creating that next chapter of a saga that the world needs to see. “We confident that we gonna touch you, we been in this so long that we don’t worry about nothing we can’t control, and pushing ourselves so nobody can put pressure on us that we not putting on ourselves, believe that”. Sho’s statement was delivered with a straight look that melted away the whimsical bravado displayed when I first meet him. For Final Chapter this is serious and this is real, and it is only the beginning. tnl

lacktino? Just ask rising comic star Ruperto Vanderpool. That’s what the Bronx native of Dominican heritage calls himself. I went to check him out at the biggest Latino comedy series in New York where all Latino comedians perform in English, peppered with some Spanish to give their performances a Spanglish vibe. In his stand-up act Ruperto has a line that is simple and straight to the point. “At the beginning of my routine I speak Spanish and white people are looking…‘holy sweat he’s Latino, I didn’t know they come in black’...It’s one of my favorite lines because it’s thought provoking. I want to be that Afro-Dominican comedian/ actor that breaks through to make an impact. There is a need for us.” Grabbing his inspiration from Freddy Prinze Sr., the most talented Latino comedian of his time, Vanderpool wants to be the voice for Latinos today as his idol Prinze was for the Latinos in the 70’s. “The person that inspired me to do stand-up was the late Freddy Prinze, Sr. I just happened to turn on the television one day late at night and it was his life story,” remembers Vanderpool. “It talked about his life as a comedian and what he was going through living in Washington Heights. I related so much. I thought, wow, this is what I am supposed to do. I had someone to identify with and I thought there is hope as a Latino comedian to make it. Freddie was not ashamed of who he was and where he came from.” Neither is Vanderpool. Poised for the hard-edged

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spectator, this quick-witted comic comes with an overabundance of high-profiled misadventures. An extremely versatile and masterful storyteller, Vanderpool enlaces every performance with an astounding repertoire of accents and body lingo. His use of physical comedy paints remarkable oral images that fuel the imagination of audiences. Like Prinze, Vanderpool talks about his personal affairs on stage incorporating what he considers “...life experiences but with a touch of Sabor.” This observational humorist turns the darkest pain into uproarious comedy. “At the time that I was raised in the Bronx, no one wanted to know about the Bronx. They used to say the BurntDown-Bronx. For every good building there were 20 that were burnt. But I’m happy because it made me who I am today. Because you need struggle to be successful. If you had it too easy you’ll never appreciate it. I turn this tragedy into comedy and laugh at it in the end.” Long before making comedy his career, Vanderpool used it as a powerful weapon to protect himself. “I was raised in the high bridge projects of the Bronx,” says Vanderpool. “My hyperness and quick-wit allowed me to defend the stereotypes put against me. It was a form to trigger back. I had a quick mouth.” But it wasn’t until this amorous comedian was the best man in his friend’s wedding that he realized his craft. “I was 18 at the time and in front of all the guests I had to present a speech. It was a funny story on how

we met and by me conveying that story there was laughter in the crowd and I said wait a minute this is fun. It was a drug and I wanted more and so I pursued it from there.” Vanderpool’s first stand-up performance was at the One Fish Two Fish club where he remembers being scared before he headed on stage. He claims to this day it was the longest five minutes of his life. Ruperto also prepared himself by going to a comedy boot camp class to learn the fundamentals of stand up comedy. “I had no clue how to pursue it, so I took a six week intensive course where we practiced various exercises. One of them was coming to class and trying out a different joke for a couple of minutes in front of our classmates. I also started to go to open mics. It was a gradual learning process - twelve beautiful years.” “Once a comedian approached me and said, ‘Your Spanish? We want to hear that. We want to know what Dominicans do. How’s your culture?’ And it hit me, ‘Wow’ I have

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to start talking about me. I was still learning and understanding my voice.” Now poised for stardom, Vanderpool has recently appeared as the headliner at the famed comedy mecca Carolines on Broadway. He also appears in the recent hit “The Cookout” starring Queen Latifah, Danny Glover and Ja Rule. Ruperto plays the character Wheezer. “Wheezer is like a kid. He has A.D.D and is always dressing quirky with two different color sneakers and a belt with his name to remind himself. He has on an old pilot hat cause he swears he’s on a mission and goggles on the top of his hat that he never uses. He’s extremely curious with an old school mind.” And since Ruperto’s obviously taking it to the next level, I asked him for his recipe for success, “Never give up. Work with the tools that God has given you and don’t let adversity stop you.” Sounds like good advice for anyone out there trying to do their thing. tnl

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n the heart of New York, where no one sleeps and the city is packed with travelers from all over the world, we are about to witness a first-time appearance from Dem Franchize Boyz. These Boyz are straight from ATL and as we all know “ATL” is on top of the charts. With their smashing hot single and video “White Tees,” Dem Franchize Boyz are ready to take the stage in New York’s most notorious club Speed. Before the performance, I spent a few hours getting to know the group members - Parlae, Jizzle, Buddy and Pimpin. Once I arrived at the hotel room, I noticed the bond these guys have with each other. Making jokes on each other and slap boxing, I must say the scene was very entertaining. It kind of reminded me of Hot 97’s Smack Fest. We popped some bottles and talked about the growth of Hip-Hop. I asked how they feel about the success of Dirty South music.

lot of chemistry and is focused once that track is put up. Jizzle man brings that energy and Buddy got the style so these are the elements that combine Dem Franchize Boyz.” “We about business and music,” yells out Parlae. At this moment, he’s hyping himself up getting ready for his show and he looks at me and says, “this is my first time here in NY, I grew up listening to New York rap - NAS, Biggie, Big Daddy Kane, Rakim all of that. I’m just here to bring and express my lifestyle with this music man.” Jizzle is sitting besides his Boyz with his shades on and says, “We from ATL but our music is for everyone and we giving the people something original. We being ourselves and we having fun.” Though there’s no doubt these Boyz are together, each member has his own vibe, too. Parlae comes off as the aggressor of the group - the loud and wild one. Jizzle is more charismatic and by his appearance, alone you can tell he’s all about his business.

“It’s good man. We here to get this paper and have fun with it,” says Parlae. “The market opened up to Down South music so now we giving you our videos on BET, MTV etc. It’s getting radio spins so enjoy the music and put on your white tees.” Pimpin adds, “Dirty South music always been hot and it’s always been around it’s not just crunk music. We have more than just crunk down here. Now it’s so big and everyone loves it so we blessed to have this opportunity.” Dem Franchize Boyz first came together during the groups’ stay in college. They make their own beats and also got their own label deal with Universal Records. “I’ve been making the beats since day one. I put the beat up and we just go at it,” reveals Pimpin the producer. “Parlae will come up with the hooks. He has a

Buddy can be put in the same category with Pimpin. They both seem to be the ones that get all the ladies with their aura. It’s not hard to tell that Dem Franchize Boyz are built to be in business. After all the talking and slap boxing, we hop in the truck on our way to Club Speed. There we’ll be joined by Miri Ben-Ari: The Hip-Hop Violinist and Lil Vicious. It’s an intense atmosphere when we walk into the club. After another couple of bottles guzzled, the Boyz are anxious to get on stage. It’s showtime. With half the club already wearing “White Tees,” the entire crowd starts A-Town stomping and singing along with the catchy hook. Quite a sight for the group’s first time in New York. That’s how Dem Franchize Boyz get it done, as they keep taking it to the Next Level. tnl

the next level magazine issue.5

s young talent continues to infiltrate the Hip-Hop scene, few are doing it with such force as the twin sister team Nina Sky. Next Level met up with Nina Sky at Universal Records’ offices to get the scoop on their debut album that’s blazing the charts. The girls had just returned from a shopping spree on 5th Avenue and lunch on 42nd Street. Nicole and Natalie laughed when asked if there was more to the name than their aspiring goals. Nina is the combination of the first letters of each of their names. Natalie first got a sun tattoo on her back. Later she added a moon tattoo, representing Nicole, to complete the cycle. The tattoo emphasizes the significant differences between night and day, and the necessity of each. Beyond the aesthetic appeal of twin sisters is a bond that creates a deeper connection. The sisters agree that they know each other better than anyone and take finishing each other’s sentences to the next level. Nina Sky first gained recognition with the club banger “Move Ya Body.” Initially, the song was put out independently by the Jetzons and Cipha Sounds. Cipha Sounds gave Nina Sky the beat and the girls

wrote the song. Next Plateau Entertainment, a division of Universal Records, signed the girls and they immediately got to work on their self-titled debut album. So what’s to keep Nina Sky from becoming the next One Hit Wonder to be showcased on VH1? Nina Sky understands the game. They worked in the industry for four years before they got what they wanted. During that time, they were signed to a production company, but it took another four years to put out a song and get signed. Natalie encourages other aspiring artists to “work hard, stay focused, and most importantly, never to be afraid to be yourself”. Nina Sky is more than just a product that goes in and out of studios to record their part. They’re far more focused on maintaining their position as musicians and artists than they are concerned about their image. “The label doesn’t really know who you are,” says Nicole. “That was something we really faced,” adds Natalie. Nina Sky is determined to develop their own style, at any cost. Respecting the importance of a good beat, the two are also

well aware of the hard work involved in the writing process. Natalie writes a majority of the songs, but they’re never done until they both approve them. Usually they sit in the studio with the beat on, go in separate corners, and write. Whichever version they like better they run with. Sometimes one sister will start an idea and they will build on that together. When Nina Sky wrote “You Deserve” they never expected the magical experience they would share with Betty Wright. The girls explain that no one expects 18-year olds to write a whole album. “You get more respect as an artist if you are so involved, it’s not as much about age,” says Natalie. Growing up in the multi-cultural neighborhood of Astoria, New York, with a DJ stepfather, Nina Sky was introduced to an array of musical artists from all genres. “When recording our album we tried not to limit ourselves to just an R&B or Hip-Hop sound. It wasn’t about specific artists, it wasn’t copying the style, it was about incorporating everything without limiting ourselves,” says Nicole. The girls listened to an eclectic mix of music from Bob Marley, The Police, Mary J Blige to Madonna and the Stylistics. Nicole, who plays guitar and drums, began

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DJ’ing at colleges and parties at age 14. The girls wrote their first song when they were 7. Nina Sky credits their success to the strong network of support they received from their family and friends. While the sisters help to keep each other in check they both agree that their mother would never allow them to forget where they came from. When we met, Nina Sky was working on “Oye Mi Canto” with N.O.R.E., which closed the summer with a radio hit bringing the Reggaeton movement to the mainstream. Platinum producer The Alchemist released their debut album 1st Infantry in September with their 1st national single “Hold You Down” featuring Nina Sky, Prodigy (of Mobb Deep) and Illa Ghee. In the future they hope to work with Alicia Keys, Sting and The Gypsy Kings.

At the end of a long day of writing, recording and photo shoots Nina Sky is just Natalie and Nicole. Surprised that the first album took them so far, so quickly, they are still getting used to people recognizing them on the street. As far as the direction music has been taking Nicole feels “a lot of people are getting more creative, a lot more original” while Natalie wants to see more artists being themselves. But, Nina Sky doesn’t want to look too far in the future. With an album that just dropped, they want to focus on promotion and starting another album. Although the album didn’t have skyrocketing sales, the girls recognize the importance of the consistency of sales, which will help Nina Sky secure a permanent place in the industry. tnl

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oming straight out the dirty dirty is G Units newest rap star, Young Buck who is being billed as more street than both 50 Cents and Lloyd Banks, by music critics and journalist. While many talk about it, his record of minor offenses in Nashville and his alleged involvement during the recent melee at the Vibe Awards which led to a warrant for his arrest for assault with a deadly weapon, not long after G Unit won for Best Group, should only further his street cred and garner greater sales of his debut disc ‘Straight Outta Ca$hville. Even before he signed with his G-Unit cohorts Young Buck was being courted by Cash Money Records before joining Juvenile and his UTP clique. However, due to unnecessary delays it wasn’t until 50 Cent signed him that Young Buck would get his shine while at the same time introducing the world to ‘G-Unit South’. The twenty-three year old emcee whose was born David Darnell Brown has established a prominent presence in the south and is making a name for himself everywhere else on the strength of the success he’s achieving with Straight Outta Ca$hville. After hearing his stand out verses on “Beg For Mercy” you can’t talk about raps prominent presence in the south without mentioning his name. In addition to the group’s phenomenal success, each individual artist excluding Tony Yayo, who just came home from a state imposed vacation, has released platinum-selling albums. Standing out on his own is nothing new to the Tennessee native, who knowingly changed the name Nashville to Ca$hville with the speed and energy it took for his single to climb up the billboard charts. The debut single “Let Me In”, was nominated for a 2004 Vibe Award in the ‘Street Anthem Of The Year’ category. With another single slated for release, its safe to say that Young Buck will continue to carry on the G Unit name in a fashion we have become accustomed to. tnl: How has the fame and fortune of being a G-Unit soldier affected you? YB: It hasn’t affected me any. I can’t find nothing to complain about, except being away from my little girl and being out here on the road. I’m missing out on her childhood being away from her upcoming as a child. Other than that everything is good. tnl: You started out with Cash Money, then with Juvenile and now you found a home on G-Unit Records. Do you think you would have had the same success with Cash Money or Juvenile if they had realized your talent early on? YB: Yeah, I really do. It wasn’t anything outside that circle that I can really say was bad except the fact I wasn’t given a fair shot. Other than that, they are some cool dudes. But, if I was just given that shot maybe it wouldn’t have happen that way.

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tnl: Straight Out of Ca$hville is doing good with two videos out what is next in store for Young Buck? YB: I got “G-Unit South”. Right, now I got two artist I’m trying to decide between one go by the name of D-Tay and the other Solsa, both of them is from Ca$hville. Both of them are hot. I got to see who is the first to be released cause it’s kind of hard when you got two talented artist that got two crazy albums. You want to make the best decision. tnl: Nashville is known for its country music but you are the first to put rap on the map nationally how does it feel? YB: It feels good man. I feel like I’m one person that done made it out a bubble. Nashville, was know for country music until I came here. I’m not the only one, there are probably 10,000 more Young Buck’s out here that is waiting to do their thing. I feel like we got one breath of air. tnl: What artist or entertainer that you haven’t worked with would you welcome the opportunity to do a song with? YB: Outside of the G-Unit, I’m willing to work with any artist I can get a feel of that his situation is real. I’m not bias to other artists, if I had to say it is one artist I wouldn’t mind working with it’s Beanie Sigel. I can really see the realness in him. I kind of base my music from realism, I feel that is the only way a fan can be a true fan of yours if they can understand the burdens you deal with in the street. They say to themselves, “I’m going through the same thing”, or they might know someone who is going through that situation. He is about the only one I can feel outside of my camp. tnl: Are you featured on any songs on Game’s Album? YB: There is so much material that me and Game did I don’t know what might end up on his album. I’m pretty sure I got something on there. tnl: What do you think separates you from the rest of your G-Unit cohorts? YB: Outside of me being the only Southern artist on the label, I would say we all have different stories, we all have different upbringings. I think the south is more respected cause of slang, the way we say things like “right thurr”. tnl

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he Next Level staff met up with 50 Cent at the New York offices of Interscope, in early January, just before the hype of his new album peaked. Curtis Jackson is all about business, eager to share his story and hesitant to hide the details. Media outlets are flooded with his name on the radio, in magazines, on television and on the internet. From Rolling Stone to CNN to About.com, the media is flourishing with new rap-industry-war publicity. Ironically, on the day that marked the anniversary of Biggie’s death, 50 Cent stood before a crowd at the Schomburg Center and asked for assistance in putting “negativity behind us”. In our quest to provide our readers with more than just the latest news brief, The Next Level invites you to formulate your own opinions. In this article meet 50 Cent: The Entrepreneur. After the first album, The Next Level staff wanted to know 50’s reaction to critics who say artists start beef for publicity reasons. He was quick to reply: “I think that people that say the situations are publicity can’t understand it. That means I’m not human anymore. And I don’t have feelings towards what goes on around me. When people make the decisions to do things, regardless of what position I fall into as an artist, people do things to you openly or indirectly, say things to you that affect you, you’re going to respond to it. It’s not publicity, it’s me addressing issues the same way we’ve addressed everything to this point. If I was just popping up with it, I could see them looking at a person trying to utilize it as promotions but I’ve always expressed my issues and said how I feel.” 50 tries not to listen to critics and take it personally. “Everyone’s a critic. Everybody who bought a CD can criticize me”, he smiles, “People disliked me since I can remember. It’s just more people like me now than people who dislike me”. 50 went on to say that he would prefer not to have to deal with beef, although it is just part of the industry that you can’t avoid. He relates beef in the rap industry to beef on the streets: “I’ve always wanted to be happy and in peace. It’s not always an option. Where I’m from we meet aggression with aggression. The kid in the schoolyard that doesn’t want to fight always leaves with a black eye. If you allow them to walk over you you invite them to do it more. Then you’re subject to something even worse . That’s just the way it is. Would I like not to have beef? Yeah. I’d like to just make music. Their beef is: I make music better than them at this point.” 50 Cent turned his passion for music into more than just a creative outlet. He is now applying a full-blown business model. “I’m so excited about the opportunities about being able to do business; that’s all I really want to do right now”, he says excitedly. Obviously he is doing something right. 50 Cent made Billboard history as the first solo artist to have three singles in the Billboard’s top five in the same week. “Candy Shop” came in at #1, “Disco Inferno” at #5; and he also appears on “How We Do,” from Game’s The Documentary which came in at # 4 . 50 fans can look forward to 50 releasing even more material that has the same quality over a shorter time span. He explains he had to wait to set Banks and Buck up with Beg For Mercy and then they released their solo projects. Now he doesn’t have to wait any more. His second solo album is out and he is shooting a large production with Paramount and MTV Films, in April for 10 weeks which loosely outlines his life story. Next Tony Yayo and Olivia’s albums are being released. Lloyd Banks’ and Young Buck’s albums will be coming

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out in the fourth quarter alongside a video game 50:Cent Bulletproof with Vivendi Universal. G-Unit Clothing Company is running and G-Unit Radio is next with DJ Whoo Kid and 50 Cent taking over the Shade 45 channel on Saturdays on the Sirius Satellite Radio network. 50 also got a book deal and with Garcia Vitamin Water for Formula 50, stating “ I’ve seen other artists endorse alcoholic beverages but that’s not really a part of my lifestyle. I went toward something that’s more health conscious”. 50 also just announced the launch of a new foundation, the G-Unit Foundation Inc., a community based program helping people overcome poor situations. 50 had clear goals with his new album. “To top the first one was my goal.” The Massacre is a more well rounded album. The project itself has more detail to it, “I took my time writing”, he explains. Sometimes it is difficult to break old habits he recalls; “I recorded 11 records in three days. Then I scrapped that. I thought they don’t want to hear my thoughts for three days. They want to hear the best material they can hear from me. I went back and I recreated music. I prepared about 60 songs in preparation for an album that I’ll release about 17. Maybe 18 records”. Outside of the success of Get Rich or Die Tryin’ 50 hadn’t had the chance to explore more than his actual neighborhood. He explains how promoting his last album taught him more for the nextalbum; “After going around the world and seeing so many different things I was able to capture a different feel for the music. I got a chance to go places where I’ve seen music breaking the language barrier. I look and learn”. 50 didn’t anticipate his success. He was focused on putting the work in, and not blinded by the ideals of success. “I created a plan. I think everyone should have one. A five-year plan that you may shorten. You make short-term goals leading to your long-term goals” he advised. The success of Get Rich or Die Tryin’ reduced his 5 year

plan to a six month time frame, still running smoothly, which he accredits to his ability to think ahead. He was anticipating developing G-Unit into a record company. “A lot of people view us as a group and as I begin to diversify the kind of music that comes from our camp they’ll start to appreciate us more as a company.” As a 50 Cent song drifted into the interview room from an outside office 50 interrupted the interview to ask: “Is that the radio?” An assistant ran out to confirm that it was the radio. “I’m back on the radio again!” 50 yelled as he pounded out a drum roll on the desk infront of him. As far as competition goes it is not something that 50 fears, “I’m competing with myself”. He describes the nature of the industry: “ I did my first record deal with JMJ Records. Jay’s touring schedule with Run DMC had become so hectic, it didn’t allow him to focus on me. I had to move on without him and I did, with Columbia. I did a deal with Columbia Records and got $65,000. Of that money, Jay had to have $50,000. After that the attorneys needed $10,000 to negotiate the release from Jam Master Jay and then the deal with Columbia. It left me with $5,000. I went right back to selling crack while I had a recording deal. The whole Columbia time I still hustled because I had no other way to provide for myself.” In a recent radio appearance 50 made it clear that he did not want to fight it out with labels again. Although he spoke with high regard of Dre, and respects the fact that he is busy with other projects, he insisted that if it looks like he won’t keep it moving, he intends to fulfill his requirements with Interscope Records and end his Shady/Aftermath deal in order to focus his attention on the possibilities of his career as a Shady/G-Unit artist. However, 50 says he has learned a lot about the business from working with Dre and Em. 50 has the motivation to succeed, but is learning to be more patient working with Dre and Em who he

calls “perfectionists”. He explains that patience was not an easy lesson, “When you get like that out of habit you start to second third and fourth guess what you thinking. For me it’s like I get it and I go this is right. That’s it. Let’s go. When I start second guessing myself I think I’m ruining it. It’s not organic anymore, not natural. I can’t say lines like I love you like a fat kid loves cake when I’m dead serious. I’ve got to be enjoying myself or I won’t come up with it, creatively.” He extends the same liberties to his artists. It is important to 50 that artists stay true to themselves, “I don’t want to alter their perception of who they are. I want your music to be about you. So if I tell you what to do it can’t be real.” That is how 50 keeps it real for his fans. 50 Cent is dedicated to business. “I don’t have a choice”, he said, I didn’t have a Plan B, I never filled out a job application in my life”. 50 Cent puts in the effort, “I put work out non-stop, always something new, got to keep dreaming” to ensure that people enjoy his music. While he commends the efforts of Em and Puffy’s political efforts he admits “I don’t have any political ambitions”. He has a sense of humor about the possibilities, “I don’t want to be President. I am the President of New York City. Nobody likes me. But I still run it for the next four years. Full-term.” “I’m just joking around”, he flashes that classic 50 smile. tnl

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received the news of the sudden passing of “The God Unique Ason” who is often referred to as Ol’Dirty Bastard like everyone else. I was taken back by the unfortunate news at first, thinking it was a hoax. That was until my family and friends starting calling asking me if it was true. I immediately began fielding phone calls to those in the industry that are in the know, to find out if the information I received was valid. I was contemplating what I was going to write until I read a R.I.P. (Rest In Peace) on a internet thread stating “may he find the happiness in death that eluded him in life’. It is obvious that the person who wrote this viewed the life of ODB from the viewpoint of the media as conveyed to the public. Speaking from the perspective of a person who knew him before and during his Wu-Tang days, Ol’Dirty was living life to the fullest. Despite the often-false portrayal of the propaganda machine (media) he took care of those in his immediate circle and was not the arrogant, crazy, deranged person they displayed. I would be amiss if I did not remind you that it was ODB who helped a trapped child that was stuck beneath a vehicle. He even visited the young girl in a hospital. It was only when the four-year old girl’s family recognized Ol’ Dirty that the media was alerted and the public became aware of his heroic action. He did not do it for the camera or to gain recognition. He did it cause he cared for her like she was one of the thirteen children he fathered. Remember, it was ODB who shocked America when he stormed the staged at the Grammy unannounced to declare, Wu-Tang is for the babies”. When I met ODB he had just moved to Harlem from Brooklyn we quickly became aquaintance through a mutual friend name Lord Sincere Allah. Being that both of us were heavily involved in the teachings of the 5% Nations of Gods And Earths as well as upcoming rappers, we instantly became friends. During this time the Black Nationalist Movements were on the rise ushering in the wave of conscious rap. Black people felt disenfranchised and were looking for a change. I rapped about knowledge of self along the lines of Rakim, Brand Nubian, and KRS-1. Ol’ Dirty,

well he rapped about what he rapped about as Method Man is fond of saying “there is no father to his style”. At times, he would laced his rhymes with social conscious lyrics oftentimes leaving hidden jewels buried beneath a heavy bass line, over shadowed by his screaming vocals and sometimes slurred words. At this time I was part owner of a health food store with Lord Sincere Allah, across the street from Lincoln project on a 132nd Street in Harlem. There was never a day you could walk in there and I wasn’t free styling or writing rhymes. Ol’ Dirty would come by and kick it with me. During this time he was working on the Protect Your Neck single. We had a large Ad posted on the outside window on Amino Acid pills that read, “First things first, protect your health”. That one liner is the opening to the now classic “Protect your Neck” single. Ol’ Dirty went through life trials and tribulation as we all do, the fame and fortune did not make him immune to the everyday struggle. He enjoyed more good days than bad. “I’m happy to be here,” Ol’ Dirty said at a press conference after his release from prison. “I thought I wasn’t gonna be able to touch another microphone. I’m happy my eyes are still open.” Those words were spoken from a man who was just released from the under belly of the beast (prison), one who’s life would soon take a turn for the better. As I write this article I wonder how will he be remembered? I know his loving wife Icelene Jones and children will remember him as a man of commitment and dedication to his fans and family. I know I will remember the good times that he enjoyed. I will remember when he got booed by an unruly crowd in Midtown Manhattan at Harambe, who later grew to love him. Although, he was relatively unknown at the time, he was still Dirty. He was man enough to humble himself and before departing the stage told the crowd ‘F*ck it, I still love yall anyway’. I asked Lord Sincere Allah if he wanted to speak of Ol’ Dirty Bastard. “Indeed so, I would like to say that the people loved him cause he was the people celebrity. Regardless, to the status he had achieved he was one of the only brothers I know to this day that use to hang out on 125th Street. He would come back to the hood;

drive around and often times walk around the hood. He didn’t hold himself above the people cause he knew he was right there for the people. Rest in peace Ason”. Lord Sincere Allah & Hip-Hop Journalist Rahiem Shabazz were personal friends of ODB and owners of The Original Way store on 132nd Street where ODB wrote the rhyme for WuTang’s breakthrough single Protect Your Neck “To the public he was known as Ol’ Dirty Bastard, but to me he was known as Rusty, the kindest most generous soul on earth. I appreciate all of the support and prayers that I have received. Russell was more then a rapper; he was a loving father, brother, uncle and most of all son.” -CHERRY JONES- ODB MOTHER statement released to the press “Its a tragedy, prayers go out to all his kids and his family. It just go to show you have to live life to the fullest”. -BIG BOI (OUTKAST)With our culture, people don’t understand hell is what a man has to go through to really get right in his life. He did his. Everybody in the world has got some type of bullsh-- with them. I been around the world three times with the Wu-Tang Clan. Everybody in the world loved that man. That man is a legend, an icon. He used to leave his car parked at a [stop] light, jump out and give all the kids money. He showed people love. He was so real”. Freedom Allah (PAPA WU) Cousin of ODB. tnl

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Jason Phillips aka Jada Kiss or Mr. Raspy grew up in Yonkers, New York. Growing up as an only child Jason describes himself as being a good kid from a solid family structure. A surprising start for an industry flooded with broken home, battle scarred kids who have to overcome poverty, drugs, and violence just to survive. Rhyming since 8 or 9 years old, he started out free styling and snapping on kids in the neighborhood. Early influences for Jada included artists such as Run DMC, The Fat Boys, Grand Puba, and later Kool G Rap, Nas, Jay-Z, and the Notorious B.I.G. When asked about the direction of Hip-Hop Jada was philosophical about it. “The face of Hip-hop changes like every 2 months, cuz the game is up for grabs right now” It wasn’t lost on him that with the current care takers of the Hip-hop, The Dirty South has a heavy grip. “The Dirty is 90/10, 90 percent beat 10 percent lyrics, and up top we’re used to rhyming to break beats or DJ cuts so more importance is given to lyrical content. More importantly today in Hip-Hop you gotta have a good story. Something that will lend credibility to the image you or the label is trying to sell. 50 had a great story, so he caught a good spurt, my story is, I been in the game when it was Pac, B.I.G, Nas, and Hova and I still maintained.” Jada recalls his past at Bad Boy saying it was good but he and the other members of the LOX felt they couldn’t be as successful there as the would have liked. From those times at Bad Boy Jada got the feeling he could be a major player in the rap game. At a Budweiser Super Fest in 96’ The LOX who were uninvited came out to perform “All about the Benjamin’s” during Mary J. Bilge’s set, “The response was crazy”. “With Jay-Z retiring and DMX doing movies the spots opened up”. The Kiss of Death album, which is Jada’s sophomore effort, is a more personal album with deeper meaning than the first. “MC’s should take time off before recording to give themselves time go thru things in life”. Being a Gemini the diversity on the album is apparent. “When I’m spitting on R&B joints I’m L.L. Cool Kiss, and when I’m in the streets I’m the Kiss Of Death”. The “Why” song on his album is not only a favorite, but also a timely song in light of what is going on in the world. Featuring R&B newcomer Anthony Hamilton, it’s a concept song where Jada asks some very interesting questions that some people might find controversial. “Why did Bush Knock down the towers? Why Team U.S.A. keep getting

blown out”? This song is an extension of where he wants to go and where he’s been. It is an education in dealing with the world of the music business. To be successful, every artist in the industry needs a certain level of cooperation from his record company, with money being most important. Jada wouldn’t knock the cooperation on the “Kiss the Game Goodbye” his first LP, but he feels it could have been better. On this new album, he received an incredible amount of

support form Jimmy Ivine and Interscope which he feels is going to make the difference for him. Jada doesn’t have a hard time dealing with success because his family and friends keep him grounded. “Somebody always needs help, cab money or something, and I’m there in the Hood”. When asked if he ever prays, Jada didn’t hesitate: “I pray every day; I keep a Bible at the head of my bed”. Maybe the prayers are being rewarded because Jada talks about his budding movie career with a straight to DVD release of an up

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coming movie starring Vivica A. Fox and Duane Martin where Jada plays a young rapper named Benjamin Hackett. Also with a recent appearance on the “EVE” show Jada is laying the groundwork for an acting career. When asked where he sees himself in five years, Jada wants the level he co-owns with Sheik and Styles P of the LOX called D-Bloc to be on Interscope Records with the rest of today’s hottest acts. He also says he’ll be somewhere sipping on strawberry daiquiris and calling the shots. tnl

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rooklyn’s own gives us Real Talk on his latest release, plus catch up on his newly-launched label, liquor company, clothing company and more. Fabolous is one of the calmest dudes you might ever meet. It might be because he hit the sheets at 5AM the night before, or maybe because he’s not, as he states, on no star s**t. “I don’t walk in the room and demand all the attention,” F-A-B-O assures. “I’m cool and laidback. I’m just a regular guy.” Well, not so regular. He’s about to drop his third official album, Real Talk on the heels of two Platinum CD’s. He recently launched his own label Street Family Entertainment with artist Mike Shorey. He reps Reebok. He sports matching white and yellow gold and diamond jewelry: earrings, bracelet and hanging pendant with Jesus’ head. No, this is no regular guy. Spend a lil’ time with Brooklyn’s own Super MC. Next Level: Talk about your new album. Fabolous: It’s a very different album from the last two albums. You’re going to see a lot of my growth and versatility on this album. It caters

to a lot of ears. It goes everywhere: down South, West Coast, and keeps my East Coast vibe. It’s just hot music in general. I titled it Real Talk because I felt like that was what I was giving the audience, listeners and fans. What I’ve been through, where I’ve been, people I’ve seen and met, experiences I’ve gone through, all those situations. The album’s about making good music and being able to put it in a format that’s relatable to the people. Next Level: What producers did you work with? Fabolous: Just Blaze, the Neptunes, Rick Rock, and Scott Storch, who recently did the “Lean Back” record. Also, we got some producers who didn’t have the big name but they came with the fire joint, the hot joint. It wasn’t just about having a big name. It was about coming with the dope beat. Next Level: What are some of the things you’ve experienced in the past year?

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Fabolous: Seeing how the people embrace me and show the love. Just the love that I receive all over, even when I don’t have an album out or songs out. That was one of the key things I got to see while I was moving around, going different places. I got to see the way the people react when my album’s coming, show me their interest and that they have love for me. Next Level: A while back, you were having a lot of run-ins with the cops. Fabolous: I just think it was a time with some bad karma. Some things swing back around. The situations actually got resolved very quickly. The charges were dismissed, but of course, that’s not what gets publicized. What sticks in the papers is ‘Fabolous Arrested With Gun.’ That’s what they’re showing to the people. And of course, most of the things were ironed back out. Unfortunately, that doesn’t reach the paper. So what we did was file a complaint and lawsuit against the New York Police Department just to let them know you can’t falsely accuse

people and wrongly arrest them and then just let them go and that’s supposed to be it. I think anybody out there whose been in a situation like that, and I’m sure that situation is very relatable to people, you should definitely file a complaint or file a lawsuit to let them know that you’re serious about it and to keep the police from doing stuff like that. Next Level: Joe Budden and Game were just going at it. How do you manage to stay out of beef? Fabolous: Beefs are really just misunderstandings between two artists. I stay out of it because I’m mostly cool with everybody. Even the people I’m not cool with or don’t have a connection or liking to, I just keep myself away from them. I don’t mix in or try to say something about them when I get the people’s ear. I don’t go in magazines with reckless talk. I just do me. I’m not here to feud and go tit for tat with other rappers. I’m here to make good music, make some money. Beef is not one of the things I’m in the game to do. If I wanted to just beef with

people I would have stayed in the hood where you can get into plenty of beefs all day. There’s no need for me to bring that element to the game. That’s not what I’m here for. Next Level: Who would you say your fan base is mostly made up of? Females? Fabolous: I wouldn’t say any. I wouldn’t put my fan base in a box. I think my fans are open people. It’s a wide range of people. By the love I receive, it shows me that me fans come in all different shapes, sizes, ages, backgrounds, cultures, races. I wouldn’t even say one particular people are my fans. Next Level: How’s it going with Desert Storm? Fabolous: The Desert Storm situation is cool. We have a business relationship but we also have a friendship. Outside of the music, we cool. That’s what helps make the music even easier to make, just being cool on the other side of the stick. Our situation is great. Next Level: Your brother Paul Cain is a rapper. Is he also signed to Desert Storm? Fabolous: Yeah, he has a situation with Desert Storm where they’re just finding out which way they want to attack with him. It’s about having the perfect timing. They’re figuring out everything and developing him as an artist. Next Level: Do you think it’s an advantage for you that you don’t have a crew? Or did you ever want one? Fabolous: Not really. I haven’t even studied it. I just do my thing and I make the music that I can make. I haven’t studied that like, ‘I don’t have a click.’ Or ‘maybe I need to go get a click.’ As things come I handle them accordingly. I don’t feel pressure to have a click behind me for me to do well, or for me to feel stable or people to look at me in a stable mode. My click is my family and crew who are with me everyday. They may not be rappers but that’s my family and that’s who I’m with. Next Level: What do you think about Mase’s return? I know a lot of people compared you to him when you first got into the game. Fabolous: I was curious at first, before I heard the music, of how he would come back and what he was going to say. As time went on and I heard the music, the curiosity went away. After that there’s nothing to go with. He’s doing his thing. I’m doing mine. I think the similarity came because when you’re new, people associate you with things that are similar. It’s like tasting a food like frog legs for the first time, you’ll say this tastes like chicken. Next Level: Tell me about your other business ventures. Fabolous: We got a few things in the making. Got a liquor company we’re about to do, clothing line called Rich Young that we’re banking on. I’m reading scripts,

looking for the right part. Everything else just comes in as it comes, commercials… Next Level: How do you feel about Hip-Hop in general? Fabolous: The industry is doing well. People are making a lot of money all over the board. Even other companies are starting to use Hip-Hop in ways to do things. You see rappers in commercials, movies, clothing lines, sneaker lines. Hip-Hop is definitely a big market. It has a huge following and it’s a great way to market another product. I just don’t want the game to get exploited by various companies who are just dipping into Hip-Hop to get their buyers and the generation that’s associated with Hip-Hop and they just jump back out of it. Everything’s working good for me. I’ve been blessed. Fortunately, I’ve had the chance to showcase my talent. I think the music on this album is great. It’s going to be one of the albums you remember. tnl

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swarms the phone to put it on speaker. Everyone is determined to speak t a time when Bush is re- elected and the to the big homie S.I.C.K. But he wants to talk to his brother War off the world is at war with Terrorism, there record for a second cause there is business that needs to be handled while is no peace. When I say there is no he’s incarcerated. After they have their conversation I get on the phone peace I mean literally the Duo War with S.I.C.K. All he wants me to tell the readers is that he didn’t rob and peace has been separated due to anyone and he’s coming home soon to crush the rap game and he laughs. run ins with the law. S.I.C.K; also S.I.C.K. then just stops laughing and puts the phone down. You can hear known as peace, is incarcerated in him screaming at someone in his house he claims to have been in some Rikers Island for a robbery he confrontations, but he got it on smash. “I’m good in here man this is ob claims he didn’t do. Having slash slash, a.k.a the wash up house, while I’m in here War is in control been in jail for 3 months right now recording songs with liveson from d- block and the Dirtpranos for something he says for his solo project titled 41 shots. S.I.C.K. sounds like he hasn’t lost any he didn’t do it must be type of motivation towards his music cause he’s promoting his projects ruff. Before his incarceration it seemed like his partner war, a.k.a while he’s incarcerated telling me to play one of his joints over the phone one shot, was the one always in trouble with the law. Before all this cause he misses listening to his stuff. Before I was locked War and Peace was on the verge of making their spot known in the up I basically lived in the studio that’s how rap world. They completed 2 albums on the War and Peace project we got so much work done. Once get and also completed solo albums in less bucks signed us it wasn’t a game. War than 2 months. Some might say that and Peace earned their spot on the get is impossible, but Sick will tell bucks roster. We worked hard not just on you it’s all in his blood. His music but we worked hard with ourselves musical background began staying out of trouble but still trouble with his dad, who he grew seems to find us. We from East New up watching and learning York the worst part of Brooklyn you can his studio talents from. At be in. There’s nuttin but trouble out here, 12, S.I.C.K. produced songs that’s why we had to stay in the studio for the original Az from Mobb once I stepped foot outside look what Style and worked with other happens. I’m locked up for some s**t I known hip-hop artists. War on didn’t do the system is wack man. I’m the other hand was mostly in the just hoping I get put of here soon cause street back and forth from Cali the world needs to hear my voice and to New York. We are now in the what I have to say. War on the other home of War and Peace, a.k.a. hand is on his grind and is patiently Get Bucks Studio, where all of the waiting on his partner’s release so work and discipline has been put they can form voltron again. Before to the test. Waiting for a phone call we hang up the phone with S.I.C.K. from S.I.C.K. I have a few words with War gets back on and tells his War and he says, “ It’s weird cause homie “ yo I got this ya heard. I’m the one who always got these You got nothing to worry about problems now that I’m chillin my we gonna keep banging them partner is in my shoes. He left me a joints” the phone cuts off while big responsibility but its not his fault he war is talking... “See that’s that didn’t rob anybody we have too much bullsh*t man U. talking to your to lose to go and rob people.” Aside loved one and the phone just from War and Peace they also have a hangs up u can’t even say bye side project called AR squad which is or nothing thats why n****s a combination of the crew they grew get f****d up in jail people up with. War says “now I got to make be stressed in there I sure everyone is on the job writing and know my homie is stressed. making them joints. S.I.C.K. is a major Welcome to the world of War and figure here in Get Bucks he produces Peace we will now guide you through and motivates everyone. Funny thing is our music...” tnl when he got locked up everyone stepped their game up it wasn’t like he was gone and everyone lost focus ... nah we got back in the lab and started to knock them joints out. We started a street campaign: Free S.I.C.K., and not long after that one of our AR squad members was locked up for attempted murder so now its Free S.I.C.K. Free Fresh. That’s how we on it right now. Things are still going according to plan. S.I.C.K. had finished a freestyle mix tape that is being pushed out as we speak called “who’s the sickest”. I’m almost finished my solo album. Tito Grahmz just caught a deal for his single so we running around performing with him. Things are still good with a twist of the bad. But I’m War and I’m in the frontline, I hold all my fell as down. I’m out there with Grahmz, I’m on the strip making sure my kids eat. I’m in the lab doing what I got to do for the get bucks family. So the pressure is on me its something I’m built for. (Phone rings) a call from a correctional facility is excepted and everyone

By Rainey Cruz Photos by Roy Nowin

the next level magazine issue.5

he remix is nothing new. In fact, in double-04 we’ve dabbed at a bit of everything from remixing the kicks, the clothes, the music, and even the soft drink. Sprite Remix anyone? So what makes the remix concept so critical for the next level of Hip-Hop hotcakes? It’s simple, a remix of something that’s never been messed with, music videos. Enter Remix Video alongside Smokescreen Productions and the two young pioneers that have shown to be a hip, hop, and a skip ahead of their time. “Always blow your sh*t outta proportion,” exclaim Scenario and Sanatra. But I’m not sure if they realize that there is nothing proportional about having spit a couple of bars for Kanye West, having shot and directed

Juvenile’s Slow Motion remix, and having a hit remix video that outshone Beyonce and Jay-Z’s original Crazy in Love. These kinds of proportions were not meant for a couple of young bucks to parade through, no sir. Artists and producers alike toil for years on end to even get a taste of what director Worst Case Scenario and artist Sanatra have already accomplished. But don’t sleep and think any of their credit is undeserved, it’s not like the two haven’t paid their dues, it’s just that these two have approached the game with an acquired intensity and practicality that has allowed them to make the most out of nothing. The dynamic duo has been nurturing what is soon to become the industry’s next wave. Scenario and Sanatra have mastered the art of the visual mix tape. For those of us unfamiliar with the likes of a musical mix tape, just think “borrowed” beats and street creativity. Artists get on these tapes, usually pieced together by popular DJ’s, and freestyle or rap over popular beats of all sorts. What Scenario and Sanatra do is literally produce, shoot, chop and edit full-length remixed versions of popular music videos. Imagine sitting down and watching Crazy in Love then during Jay-Z’s part, “BAM! The screen just opens up and Sanatra just bursts through Jay-Z’s whole verse, and then just comes with ten times more fire than the original joint,” yells Scenario. That’s what they do. Hot stuff right? The two have managed to piece together independent visual works of art, but things have arrived fast and easy for the duo. Worst Case Scenario has been all about the directorial aspect of the game since day one. The man’s picked up a thing or two after having worked with and behind MTV and a slew of popular music programs that aired in 2000. However, when time came along for him to branch out and produce something for himself he found it difficult to touch base with an outlet. Along came Sanatra, an aspiring rapper with no outlet to let his skills loose on. “The mix tapes wasn’t showing no love,” remembers Sanatra. His particular talent was also critically overlooked. But after having met Worst Case Scenario through A&B Musicworld, a popular public access television music show, that “no love” became a void that both trailblazers began to tackle head-on. Then came the union. “I came to him with my vision, I’m looking for a hot rapper. You would be the perfect outlet to get this popping,” remembers Scenario. The vision was, during that fateful summer of 2001, to put together a dynamic force. “We could be like, DJ Jazzy Jeff and Fresh Prince, he’s the MC and I’m the turntablist,” explains Scenario. The structure was based on a classic format that worked, but for Team Go things would have to surpass the original. It had to leap past the dull. “Nowadays you see a lot of the same thing, nobody takes risks anymore,” Scenario exclaims. Scenario has since vowed to keep it fresh and together with Sanatra spawned Remix Video, a concept that has catapulted the two

into recognition. Their run to the top force-bred them into two hot draft picks. As if hungry for opportunity wasn’t enough, Scenario and Sanatra went hungry. “[We] quit jobs, [We] went hungry for weeks on some real sh*t,” remembers Scenario. The duo even camped out in front of WQHT NY, known to most of New York City as Hot97 “the number one station for hip-hop and r&b,” and one of the city’s most listened to radio stations. The two wound up camping in front of the station for about a month straight! The goal was to take over. Remix Video was pushed in sticker form, flyer form, and even portable DVD form. Anything that these guys possessed with them was being peddled to anyone willing to watch and listen. And that’s how Remix Video and “Team Go,” the alias Scenario and Sanatra refer to themselves as, claimed a spot on the map. After having accidentally bumped into New York City’s hip-hop elite DJs a and television hosts alike, Scenario and Sanatra set forth to claim the North American Hip Hop scene. If the Hip-Hop industry were more like a sport league you’d think that every scout and label would be begging for a roster update from these two. However, things haven’t been all peachy and gracious for Team Go. Aside from being shutout from the mix tape scene Team Go hasn’t necessarily been embraced by all. Networks like MTV have failed to roll out the red carpet for Remix Video because of label and copyright politics. “They thought we green-screened our stuff,” exclaims Sanatra. However, the joke’s on them, because Remix Video shoots on location and it’s not as easy as copying and pasting. But small things like this don’t faze Team Go, who know that if it weren’t for politics, they wouldn’t be standing where they are. Scenario and Sanatra owe much of their notoriety to Bobby Simmons, host of Flava Videos, and a rebel with a cause. Simmons was the first to air Beyonce’s Crazy in Love, much to the dislike of Sony, who advised him not to air the video prior to its world premier on the BET and MTV networks. Bobby followed orders, but decided to put his own twist on the politics. It turned out that Remix Video had already produced a remix for Crazy in Love, so guess what happened next? Simmons began to air the Remix Video version instead. Talk about impeccable timing! Simmons had Scenario and Sanatra all over the television wires in no time. The remix version even played when the Beyonce original was requested. How’s that for a break? Both sides wound up winning. Simmons managed to get around the Sony restriction and Team Go flooded screens all over. Thanks to politics Team Go shifted into high gear, or as they like to call it, “More go.” This type of publicity you simply can’t pay for! Nowadays you can catch Scenario and Sanatra knee deep in the hustle. Maybe if you don’t blink, you’ll catch the two enjoying a humble Chinese meal at Yummy’s on 13th Street, downtown Manhattan. But aside from that “Go

days” for the duo start up as early as 5 a.m. But this is something they’ve come to terms with. “When you’re on the opposite of stop, you’re on GO like crazy, breaking day like crazy. If you have a relationship it’s gonna go through turbulence because you’re never gonna go home, you’re not gonna see your kids grow,” confess the two. It’s that real. Work ethic and public relations shine above all for the two. Sanatra admits that Team Go’s work is based solely on relationships and the strength of connections. “Everything ain’t free, but right now it’s definitely who you know,” he reveals. He couldn’t be more right, especially after the two have just about wrapped up talks with Cassidy’s manager and shooting his next two videos. It’s been a combination of timing and looking the part, for the two. “Don’t wait for someone to hand it to you,” insists Scenario. The versatility of a two-man team and know-how of two veterans has allowed Scenario and Sanatra to get passed most industry bureaucracy. Not only have the two mastered videos, but they’ve also mastered the art of barging their way through. “I just walked past security,” Sanatra mischievously utters. Sometimes to be taken seriously in this game you just have to walk in with a purpose, not necessarily a reason. Now it’s all about waiting. “We’re just waiting for that balloon to pop,” explains Scenario. Team Go’s balloon is filled to the max. They’ve got DVD’s lined up, Sanatra’s freshman release Start Spreadin’ DA News, and bunch of other projects with artists like Dilan from Da Band and Grafh from Rocafella/Blackhand. Scenario and Sanatra are as eclectic as they come. Z100 is one of Sanatra’s favorite stations, and they play everything from pop to house. He mentions the Good Charlotte album as one of his favorite alternative compilations. It’s rap, “just told in a different way,” believes Sanatra. The two have even expressed their desire to collaborate with teen pop singer, Jojo. I can definitely visualize a Get Out remix featuring the two. Maybe it’s already in the works? Team Go attributes their drive and creativity to divine energy. “My body’s just a vehicle,” reveals Scenario. And there’s something about his composure that verifies the authenticity of his statement. The fortune cookie that he cracks open at Yummy’s is actually a testament to their beautiful struggle. It reads, “You’ll never know until you try.” Word. The Divine might as well be on Team Go’s side, because even Einstein and Galileo were doubted in their time. They saw the world in a way that few others were able to stretch themselves enough to imagine. But it isn’t so hard to imagine for Scenario and Sanatra, not once the Ear to the Streets DVD hits, or once fans check out WWW. GOISGO.COM. Then we’ll see how long it takes for the rest of society to catch up with the “opposite of stop.” tnl

the next level magazine issue.5

eaders come along and as they transform the people around them, they grow. These leaders are revered and placed on mantels, murals, statues, mountains, and portraits. In hip-hop it is likened to what happens when a pebble is dropped onto still waters. A ripple effect spreads out far and wide. Geolani for his team is that leader; his inspiration comes from his people, and their dreams. To understand the man, you have to know where he came from. He grew up fatherless, and penniless, with a mom who became hooked on crack. Geolani was forced to live hard at a young age, when most young boys are looking for guidance and love, for Geo it had to come in the form of the streets. “I’m not different from a lot of people, and I’m not looking for, you know, excuses cause s**t was hard I just had to become my own man my. My moms, god bless, she went through being on drugs. Now things are different for her, but I had to become my own man during that time and learned the good and the bad so I’m here now”. The story of making it happen however, whatever, is his mantra to live by. Growing up in Yonkers, leaving for Baltimore, and now New Jersey. Geolani’s

know the business and be able to move. But at the end of the day the music has to be hot.” Yet the game needs nourishment too, and the music, not only is it lacking, it is just not connecting. “You got wack s**t out there, straight garbage you know. People like 50 make it hard you know not to say he wack, but come on. He did what, like 10 million coming straight from the streets on his first album. How do you follow that? Ain’t any choice but to do it. I feel we can do that me and my team.” As bold as the statement is to think other wise isn’t reaching as far as one can go. Is it realistic? Yes and no because the music has to speak for itself. Yet the story is just as important, if not more so. What the world should know about Geolani is that he hails from Spanish and German decent, he is not fat, but instead has a good amount of girth on him. He has a laidback demeanor, but don’t be fooled if you pay attention to him you can see his stance is that of one who is ready to pounce at any moment. His Knick jersey fresh and clean, he looked like how most rappers do today. If you are going to get in the hip-hop game and traverse its tumultuous waters you have to be built for the game. It’s an endurance test. “I’m doing it first, because it ain’t easy, but it ain’t hard, I want to see my dream team make it they inspire me so I’m here for a minute you know”. Geolani not only rhymes, he also manages one of the game’s brightest

life path had him dipping and dabbing in the drug game, while playing footsie in the rap game. It was not something to focus on. Watching life long friend and mentor Styles P, Geolani felt inspired to make it happen for real. Now he has a team. Affiliated ENT. With a team it became apparent to him that he had a family. Home is where the heart is, but more importantly like Nelly says, it’s all we got. “I want to see their dreams fulfilled so for me, I gotta show them how to win, you know, they look up to me, I’m where they eyes are targeted on and we going to make it happen”. The hip-hop story right now is the story of change, many people getting into the game are looking to change their lives and want the power and freedom of expression and paper it offers them. You have hustlers that don’t want to be looking over their shoulders anymore looking for legal hustles. Add to the mix those that want to be artists. You have a game filled with dreams and make or break lives to lead. How does Geolani expect to win? “I’m used to working hard, this is music, and you gotta

and up and coming producers Live Son. “I got artist down with my label Affiliated ENT, and producers. Like my man Live Son did joints for the Lox, Eve, and some other artists you know. We are trying to do it all.” Watching Geolani speak is more like talking to a coach who has his team running suicide drills, and runs with them to show them how far to go. It is an attitude of watch me so you can learn. He carries the responsibility on his shoulders like he was born to do so. How much can this man from nothing accomplish? Perhaps in his own way he has already answered that question. It is up to the rest of the world if that answer is sufficient enough. With plans on dropping his first album in the summer of 2005, expect to hear a lot from Geolani. If you want to know what he’s about you can pick up his mixtape currently at your local bootlegger/street vendor called “I’m doing mah thizzle”. tnl

ow did you get started Embryo? E: I started rapping first, on and off through out Junior High and High School. I was also DJing around the age of 16. I was only 16 years old and DJing at 21 & Over Clubs spinning House,Drum-N-Bass / Jungle, and Hardcore Techno. A few years later I decided I wanted to record my own rap demo. At the time I didn’t know anything about the process or knew of any Hip Hop producers. I had an older friend who performed Live Electronic Music at Clubs/Raves and produced Trance Records. He had a lot of original analog equipment. So I went over to his house and with his help produced my first two beats. They were Garbage! But at the time I was bored with DJing and playing other peoples’ music. I wanted to create and pursue my love for Hip Hop. So I eventually met some older local Hip Hop producers and would go to their studios and make beats for myself. The first few beats after the initial 2 sounded real good. I knew I had something. After only a short couple of months people from my town and even out of state wanted to use my beats. Somehow one of my beat cd’s got around. From that point on I knew what I was born to do. So I started working with local and out of state rappers. For the 1rst year and a half, I made all of my beats at Guitar Center. I would stay there 6, 7 hours non stop making beats. I’ve been kicked out of a handful of Guitar Centers.... TNL: Briefly, talk about what projects or artists you’re working with, any big projects? And lastly, why do you have so many artists on your roster? It’s quite impressive... E: I am currently working on a few projects. My main focus and top projects right now is on my artist Wyze Randall. His album is entitled “The 3rd Person” and let me put it to you like this...people have no idea what’s coming to them. Also my Secret Weapon Texacal. This kid is one of the illest and most talented emcees I have ever heard in my life! I am also working with Sincere who is signed to Blackground/Universal. The man is FIRE. Slept on, but when he comes out? It’s Over.. I am working on a lot of projects for Ras Kass who just recently was released from Prison. He is one of the most slept on emcees in the game. He is seriously about to drop a f**king bomb on the Industry and light a FIRE underneath the West coast. I’m also working with his business partner and Re-Up Entertainment artist Scipio a.k.a. Young Los Angel. I just produced a joint for R. Prophet of The Nappy Roots. He is working on his Solo LP and we created a f**king HEATER! I’m working with my man 40 Glocc on his Sophomore LP and his Riflemen Project. I’m working with Diamonique on a few tracks for her follow up album. She’s creating a really large buzz in the Industry. I’m working with Krumb Snatcha, Kreators and Chamillion who are all out of Boston, on some mixtape and album joints. I’m working on my debut mixtape LP. I call it the sun, because it’s that Hot! I’ve been in the

the next level magazine issue.5

mix with Vanessa Marquez and her people. She is signed to the Neptunes label Star Trak. This girl is real talented. It’s not official yet, but I am trying to get a spot on her debut album. Hopefully she reads this! We have mutual friends and she lives in the neighborhood, so we’ll see what happens. Also, I’m working on my boy Name Brand’s indie release “The Outspoken”. He is the truth. Plus my Thug Angel Family! I take this game seriously cause my beats are undeniable FIRE! I’m tryna holla at the entire Aftermath Camp & their Affiliates and Star Trak...what up? TNL: What is Area 51 and why do you work with Embryo? A51: Area 51 is an idea I came up with to best describe my style of producing. When you think of Area 51, you think mysterious, unknown, different. My beats are just that. Music has always been a part of my life and producing is what I love to do. I would like to see myself working with big name artists such as Bust Rhymes, Ludacris, Method Man, and the whole G-Unit camp. I work with Embryo because we think alike, yet our styles are different. We compliment each other a lot when we collaborate. To sum it up, Area 51 is the state of mind Embryo and I get when we collaborate. TNL: So what exactly do you do for Embryo Productions? A51: As an A&R for Embryo Productions, I screen through artists that want to work with us, or artists that we are considering working with. I give my input on what I think is hot and what artists I think have that sound or style that we are looking for. I do for Embryo Productions as Embryo does for Area 51. We provide different view points for each other. We produce for each others projects and create projects together. Basically, I’m Embryo’s Second Opinion, his 3rd Ear! TNL: I heard you were the club king in L.A.? Ken: I would definitely agree to being a King of the L.A. club scene. I feel like I have seen it all and done it all. You name it, and if it’s hot, I have either been there or taken place in the making of the event. I have met and established relationships with some of the biggest names in the industry. Some of the names of in attendance of these events are Ja Rule, Ray J & Brandy, Kanye West, Redman & Method Man, The Los Angeles Lakers, The Los Angeles Clippers, Jagged Edge, The Game (G-unit), Houston, Xzibit, Anna Nicole Smith, Tommy Lee, Pamela Anderson, and many more. It is really not a difficult process to get celebrities to attend because of their demographic locations. The majority of the stars listed live in the L.A./Hollywood area, or visit on a regular basis. TNL: Tell us about the Marketing you do for Embryo Productions and how you got started. Ken: As far as Marketing, this is something that I now feel comes natural for me. I am currently a college student in my third year, as a business marketing and finance major. I have learned much about marketing and promotions by working in the club scene, as well from a background of business majors in my family. I met Embryo a while back, and I was amazed with his production. I am extremely critical when it comes to music and Embryo is by far one of the most diverse and talented producers I’ve ever heard. From that point on I knew that we could assist each other in reaching a goal. I am an artist as well, therefore I market my music along with EMBRYO PRODUCTIONS.tnl

on’t confuse MG Records,. a name derived from Murda Game Mafia. as a game. CEO North Starr, his brother CO CEO Pappi Nixon and Executive Producer,/VP Ocho Man, armed with 12 musicians including main artist M. Jonz, are ready to make their mark. Another branch of the MG tree is G Gambino aka Carolina Slim. While everyone has a story its all in how you tell it. These Dixon Line boys are taking street sounds to a new level with spiritual and political expression. From the lower Eastern Shore of Maryland comes a new soul-hop sound with the heart and passion of the poverty, disease, and pain of the street, which club bangers lack. MG Records has a message to spread. With their own crew of poets, female artists, producers, rappers and executives, they are all individuals moving as one great force, each a general in their own movement. MG Records takes its inspiration from the rich history of Maryland, remembering the slave houses, tombs stones in their neighborhood, and Under Ground Railroad of the past. They bring more to the game than the glitz and glamour of bigger artists. Although times were hard in (410), these thugs are “cryin’ through the pen” and getting the message out. MG Records is ready to restore the feeling of Hip Hop in the US to a unified focus on the music. The movement is on. Pappi reminds listeners that there is a war going on; its time to face the facts. Check out MG Records as they make their way to the top. tnl

Alright you Next Level heads, it’s time to get it on and poppin’ with your boy the Brooklyn rebel with a cause, Sean P. I have embarked on a Next Level mission to bring you the best in guerilla journalism. On this excursion, we take you to a small country town just outside of Knoxville called Greeneville, Tennessee. This is the residence of Wyde Open Records recording artist “Q BALL”. In this very interesting and in depth phone interview I found myself caught up in the matrix of the dirty dirty with very little room for mistakes. Big up to a certain long distance carrier for clarity. I took my biz to a better company. Next Level: We had a small technical difficulty prior to our first conversation, so I hope you don’t mind taking it from the top. Q Ball: It don’t matter to me man we can do it all over it’s cool. Next Level: Let’s do the dam thing then. What is your real name? Q Ball: William Johnson. (coughs). Next Level: What’s your stage name? Q Ball correct? Q Ball: That’s right. Next Level: What does your name mean? Does it stand for anything? Q Ball: It means “Bust the Game Up”. Next Level: How old are you? Q Ball: Twenty-five. (coughs again). Next Level: Are you originally from Hilliard, Florida? Q Ball: No, I was born in Greeneville, Tennessee. Hilliard, Florida that’s right outside of Jacksonville I moved there right after I was born then went through a couple of years of elementary school, then I moved back to Greeneville to continue my schooling, but then I dropped out of high school in the eleventh grade, then I moved to Atlanta for five years. Later on I moved back to Tennessee in 2001 (coughing heavily). So I basically grew up in Florida, Tennessee and Georgia. Next Level: Are you okay? Do you need some water? Q Ball: Huh? Next Level: Do you need something to drink? Q Ball: Naw, I got a little cold man. I got me a little Mountain Dew right here though. Next Level: Alright well that should work. So tell us, what made you get into this whole music thing? Q Ball: Well, I always liked music. I started rappin’ when I was thirteen you know what I’m sayin’? I used to rap over various instrumentals you know what I’m sayin’? Until my grand daddy had brought me a keyboard out of umm, Radio Shack. It was a nice Yamaha keyboard, you know what I’m sayin’? There was nobody doing it at my age, so I had to make my own beats, you know what I mean? So that’s how I really got started. I had a lot of people influence me on the rappin’ but I wasn’t really influenced on the beat makin’ until later in life. Then I began producing tracks. Next Level: So did you get some decent sounds out of the Yamaha Ace 13? Q Ball: Yeah I did for that time period. Now I’m working with the big boy stuff you know what I’m sayin’? Next Level: Yeah, of course no doubt. Q Ball: Currently, I’m working with the MPC 4000, the Triton, you know. That’s what I started with The Yamaha Ace 13. Next Level: How do you like working with great machines such as the Triton? Q Ball: I love it. I love the Triton Pro-X, the MPC 4000, oh yeah. Next Level: Where does the creative process take place? Q Ball: At home, that’s where it all goes down in the home studio. Next Level: That’s what’s up. So on the trail to stardom, did you get many venues? Q Ball: I did my first show back in the summer of 1998, In Chattanooga, Tennessee. I opened up for U.G.K. That was the first real performance I ever did man and ever since then I’ve done several shows. One popular spot is called Club 229 In Kingsport. Special shout out to: DJ Jimm-e, DJ B-Lord, DJ Jell and DJ Dynomite, that’s Petey Pablo’s dj. Next Level: I understand you also had a chance to work with B.G. of the Hot Boys. Tell us about that. Q Ball: B.G. and his brother Hakim make an appearance on the title song on my album entitled “Ain’t Stoppin’ Nothin” which is also the first single. Next Level: Were you involved in other projects before and during the making of “Ain’t Stoppin’ Nothin”? Q Ball: Before the album when I was in Atlanta, I was trying to do the music thing like I said umm, I was down there trying to work me a little job. I went down there with like a hundred dollars in my pocket you know what I’m sayin’? I was staying in my car a lot of nights. Then I got this job and umm, trying to hold that down I was making like three hundred a week, you know? At Midas. I was a Midas Muffler man, you know what I’m sayin’? I was like the do boy, you know what I mean? Now a homeboy I had met when I was down there, he was an engineer at this studio actually it was owned by

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Ez Lee he was Kool Moe Dee’s dj. My boy was working for him then. He would hook me up with free studio time. So I would stay up in the studio till the wee hours of the morning. I was coming in late for work, I lost my job cause I couldn’t make it to work, and found myself staying at a hotel called The Suburban Lodge Hotel on Memorial Drive In Atlanta. I was paying two hundred and fifty dollars a week with only fifty dollars to eat on, bad enough I was only making three hundred. So now at this point, things wasn’t really working out so I had to come on back to Tennessee in 2001. As soon as I got back, I went and got me a little job, got my hustle on and got back on my feet. I purchased some new equipment and put my first album out independently in 2001. Next Level: What was the name of that album? Q Ball: It was called “DIRTY WHITE BOY”. Next Level: Why the name “DIRTY WHITE BOY”? Q Ball: Well it was before Bubba Sparks had really stepped on the scene, you know what I mean? You would see all the other white cats that was rappin’ but you never seen one come from the south. Next Level: So how did your first album do? Was the general public receptive to it? Q Ball: I only pressed up 1,000 copies, did all of them on consignment and they are still requesting the album now man. In 2002, I put out another album called “Gladiator Dayz”. We put that out independently as well. Next Level: How many did you press up on this one? Q Ball: We pressed up 5,000 copies and sold all of them. Next Level: That’s fantastic. Q Ball: And now in 2004, my third album “Ain’t Stoppin’ Nothin” is the first one that we did nationwide. It was released on May 25th of this year and nationally distributed by Select-o-Hits. My marketing and promotion is handled by a company called Elusive Inc. which is run by Mr. Sean Williams Head of marketing and promotions at Def Jam South, his work is excellent and he has been a really big asset to the whole project. Next Level: Let’s talk about the album, entitled “Ain’t Stoppin Nothin”. How many tracks are on the album? Q Ball: 19 tracks with 3 skits. Next Level: Any special guests on your album? Q Ball: I got B.G. and his brother Hakim on there, I got Coolbreeze, Cujo Goodie from the Goodie Mob he’s on a song called “Pimp Wayz”, and then I got Haystak which is an artist on Def Jam South. I also have cats from the click on the album like O.M.A. (One Man Army), Sid Vicious and Cuizasosay. tnl

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Words by Leslie Alessandro Romey Rome brings East Cleveland from the shadows of the streets to the forefront with his latest hustle. Like most brothers on the grind, Romey Rome knows what it’s like to struggle. For those trying to make a way as they dodge bullets, gangs and street hustlers, Romey Rome will agree that it is what it is, when you come from a place like East Cleveland. But as you get to know the MidWest rapper known for his tenacity and viciously raw flow, Romey will also let you know that though he represents the struggle, he’s striving to do better. “East Cleveland it’s a little small city, it’s drug infested with a lot of murders. I’m from the streets, I used to hustle and I grew up like everyone else. You gotta mature and do something positive”. For the past several years, he’s done just that. From mix-tapes to several cuts that have gotten radio play, Romey Rome feels his time has come. With a brand new arsenal of cuts ready to drop, Romey Rome is ready to set the world ablaze not only for himself for his people back in East Cleveland. For his latest effort with the Big Dogg record label, Rome Wasn’t Built in a Day, Romey Rome knows that there’s a long road ahead, but it’s one that he’s ready to travel. Next Level: For those not familiar with the East Cleveland streets, tell us what it’s like as well as what it was like for you growing up? RR: East Cleveland is like any other inner city ghetto. There’s a lot of murder and a lot of gangs, drugs you know, just the usual stuff. Next Level: Cleveland has a serious drug and murder scene, were you ever part of it? RR: I’m not no killer if that’s what you’re asking, I mean I was part of the scene just trying to get it like everyone else. Next Level: How long have you been in the rap game? RR: Basically, I’ve been doing it for almost ten years Next Level: It’s said that your rap style is viciously raw, is that a reflection of your environment? RR: Yes, basically coming up it was hard and when it comes to this game if you don’t come off hard no one is going to take you seriously. Next Level: Who were some of your earlier influences? RR: Brothers for the Struggle, a group out of Cleveland, Outcast, 8 Ball and MJG, Scarface, Luke, Pac basically everybody. Next Level: What was the response to your first effort, The Slick, The Sly and The Wicked? RR: Well that was my first release. I made it into rotation on the radio station and I sold over 5,000 units and the response went very well. Next Level: Now in 2002, for your second release, Come on In, how did you hook up with Bushwick Bill and MC Breed for guest appearances? RR: I went to Atlanta for about 8 months and was just trying to follow my dream and I didn’t have no budget or anything like that. I met Bushwick Bill in a club and we smoked a blunt, chopped it up and we went and did the song. MC Breed I had met him in Cleveland and we hung out and while he was in Cleveland I took him to different restaurants and clubs like that. Basically I took him to his shows and stuff like that. He didn’t know his way around town, so when he would come down I would take him around. Next Level: So are you guys boys from way back? RR: We’re not boys from way back, but we’re cool. Next Level: Now the Hip-Hop game has changed, what can Romey Rome bring to the game that’s missing? RR: Basically, the reality edge and not just the bling, bling. It’s not just about how much money you got and how many women you’re f***ing. It’s about the reality of the situations in life that need to be touched on. Next Level: Now when you’re putting a song together, do you do anything special to get your mind right? RR: I smoke a little weed and vibe to the music and let the music take me to where I need to be or end up at. Next Level: Do you have any particular smoke that you like? RR: Yeah, Hydro.

Next Level: For folks who may want to check you out, how would you describe the whole Romey Rome style or movement? RR: Basically I’m just a street guy with my hustle and it’s a positive movement and we’re just trying to do the right thing. We’re an independent company that’s just trying to do it and do it well. Next Level: Do you have any mix-tapes out on the streets? RR: I have a mix-tape with DJ Sax “the butcher”, that’s my DJ. I have a few mix-tapes with him and we’ve been doing that almost all my life. Next Level: Do you have any other guest appearances on your mix tapes? RR: There’s some local cats that I run with in my circle, “Brother’s for the Struggle”, “Fear No Mob” just some groups that are up and coming. I have Gerald Levert on my album, Lil’ Flip, Breed and 8 Ball & MJG. Next Level: Is this on the last project or on the current one? RR: The current one that’s coming out, Rome Wasn’t Built in a Day. Next Level: What’s on deck for the next project and when will it drop? RR: Hopefully, the next one will drop in the summer around July 2005. Next Level: What do you want the public to know about Romey Rome? RR: I just want the public to listen to Romey Rome and then judge and whatever they come up with, they come up with. Next Level: Do you have any surprises in store? RR: The video is dropping at the end of this month and that’s my biggest surprise. The video features 8 Ball & MJG, Ricky Smiley and a few other local celebrities. It’s a nice video and it’s dropping soon. Next Level: Will we catch it on BET? RR: Yes Ma’am, and they are supposed to air it on 106 and Park for the new video of the week. That’s the biggest step for me in Romey Rome’s career and that’s the biggest thing I have on deck for now. tnl

stablished in 1993, MF Music Group was created to bring forth the vision and aspirations of its founder PL Sweets. Hailing from Harlem’s Drew Hamilton projects Sweets roots are grounded in the street, specializing in r&b, hip hop, pop and gospel. MF Music Group has worked with Donnel Jones, Foxy Brown, InI Kamoze, Salt & Pepper, Dawn Lewis, The O Jays, Zhane and many others. The underlying philosophy of MF Music Group is understanding that music is a powerful conveyor of thought and message, and that it has an effect on culture, society and people as a whole. That philosophy is kept in mind and always treated with awareness, respect, and sensitivity. PL Sweets prides himself on producing songs, not just beats with vocals over them. “I can appreciate a cat like Kanye West who is very creative with samples, but looping a sample is not producing” At the age of 18 Sweets was on the rise as a local dj and could be regularly spotted tearin it down uptown. Blending other people’s music was not enough. Sweets wanted to make his own music. His desire to take it to the next level had him practicing his playing and reading everything technical he could get his hands on. Eventually his hard work started to pay off when he started getting some work in a few local studios. It was in one of those studios where Leroy Burgess producer of club smashes Release Yourself and

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Get Loose by the Aleems took him under his wing. “Leroy taught me about music, what chords go together, how to create textures and how to arrange music.” Since then PL Sweets and his MF music group have been on the rise. They have recently started expanding enlisting and veteran Guitar & bass player Jared Booty who has toured with the likes of Al Greene as well as engineer/producer Anthony Myers. As far as the future goes “ in five years I see myself as one of the top producers in the game not stuck in one genre and a positive force in music. I also want to get into alternative sources of income like real estate”. PL recently found an alternative source of income when he inked a deal with Big Fish Audio to produce the sampling cd Off the Hook volume 3 and the Off the Hook hip hop project. For those that don’t know what a sample cd is, here it goes, it’s a cd for producers with beats and every element of the beat individually to be sampled. Usually they go for about $100.00 and they are license free meaning once you buy the cd you own the material to do what you like at no extra charge. “I had a lot of old beats I wasn’t doing anything with and this was a good way to put them to use. Most cats don’t know you can get royalties off that you get a percent of each cd sold.” Sweets has been on the grind lately laying tracks with Donnel Jones , James Lee a new artist on Universal, Dejarow and Jus Boogie on his own New Man Ent/ MFMusicGroup Label a rapper from Virginia. PL Sweets advice to those trying to get into the game “master your craft, don’t pigeonhole yourself into one thing and be true to yourself”. tnl

Fats’ road to rapdom reads like a fairy tale. After an impromptu freestyle session for Rodney Jerkins at the mall, Fats became the first rap artist signed to the hit-making producer’s Darkchild Records. Next thing he knew, Fats had a cameo on two tracks from Michael Jackson’s Invincible album, the title cut and “Heartbreaker,” and one of his songs was featured in the movie Honey. Jerkins inked a distribution deal with Cash Money/Universal and Fats began recording with heavyweights like 50 Cent, Freeway, Brandy, Truth Hurts and more. Although now indie, Fats knows more than the average rookie MC. He has stayed on his grind, recording and releasing mix tapes through his company, Never Enough. With the blessing of the King of Pop, Fats just dropped his first single, “We Love” featuring Michael Jackson’s “Billie Jean” acapellas. Next Level: You’re from Harlem. What are you doing living here in Atlantic City? Fats: I’m not a permanent resident. I’m here off and on. When I’m here, I just came from Harlem and I can fall back and relax and create. Everything that I just absorbed and went through when I was home, I can come here and jot that down. As opposed to when I’m in Harlem, I’m doing something so much that I’m not even getting a chance to stop for a second. I got peace of mind here. I put it all down, paint a picture for you. Like a movie. Next Level: How did you hook up with Rodney Jerkins? Fats: I met Rodney because I went to Atlantic City trying to do the wrong thing, but it was the right time. I got caught up in a bad situation and I had a little mishap with the law. God was willing, I got out of that. I was on parole and probation in AC so I couldn’t leave the state. I was at the mall and this chick I was with pointed out Fred Jerkins, Rodney’s brother. She dared me to go up to him. So I go up to him and say, “I spit. Your brother needs to hear me. I’m serious.” He said, “I am Rodney Jerkins.” So I spit something. He said take my number and come to the studio. He had me on show and tell for two months. Then he got me this gig with a group overseas, Another Level. They paid me $5,000. I was shocked. I got $5,000 for spitting a rhyme and I spit in the street all day, every day. I was feeling real good. We cut tracks with Destiny’s Child, Joe, etc. But some of them didn’t come out. Next Level: How did that situation fall apart? Fats: The Destiny’s Child [track] didn’t jump because Matthew Knowles wanted Rodney to give Beyoncé the publishing on it saying she wrote it. But Rodney said, “I paid my dues. I don’t have to do that.” I was supposed to be on that joint with Brandy, “What About Us?” That didn’t pop. I did two tracks with Michael Jackson, “Invincible” and “Heartbreaker.” Let me just say that that wasn’t how I wanted to do that, but I was being coached. They put me on the stand and told me how to say it. I had to please everybody and give them what they wanted so they can want what I have later on. Rodney took a long time to sign me. Then when Rodney was in Atlanta, he was playing my song in the car loud and Slim [from Cash Money] asked, “Who’s that? What up with him?” And Rodney said, “He’s signed to me.” Slim said maybe we can do business. Let it be known I was the initial thing for the Darkchild and Cash Money merger. But then there was conflict over money and so I’d rather be out of it now. I don’t want to be caught up in it. Let me be half businessman, half artist and make some money for myself. Next Level: Tell me about your company, Never Enough. Fats: I feel like we need something that we can call our own. As artists, we work so hard, stay in the studio late night. But you don’t reap the benefits of that. Artists make money, but you not getting that executive money. If I’m making money for anybody, let me make money for myself. There’s nothing like working for yourself. Cause then you’ll work harder. If I work on anything, I’m going to give it 110%. They’re ain’t no limit with Never Enough. We can do clothing, sneakers, watches, management, music, everything. I lead by example. And all the artists will see how I work hard and come run with me. I got Bathgate, J. Mathis, Future from St. Nicks projects, Pain from Philly and another R&B singer, but that’s the best-kept secret right there. We put out mix tapes every 2-3 weeks in Atlantic City, New Jersey, Miami, Maryland, Harlem Music Hut. We’re moving a lot of them so we know we’re being heard. Next Level: What did you learn from Rodney, Slim and Baby? Fats: I learned how you play with other people’s money to get yourself money. Never use your own money. That’s how the rich stay rich. Whatever they accumulate and own, they don’t use that. Some of the richest people in the word are the cheapest. I don’t think I could be that cheap though. Now I notice this though. Slim and Baby branched out with other artists around the world, but I see how they are real family-orientated. They like the people to be around them while they working. You gotta be around them. Laugh, drink, have fun and party together. They were real dudes, down-to-earth.

Rodney is a different person. He won’t go to the club unless like Mike Tyson’s throwing a party. I respect Ra for what he do. I learned from him, watching his business. You should do one thing, then do the other thing. I don’t think you should try to do three or four things at the same time. Next Level: You’re not looking for another artist deal with a major. Why is that? Fats: If you go to any major label you’re not the main focus. They go with the sure thing, the artist that sold records. There has to be a lot of money spent to break an artist. You’d rather be independent because you’re controlling your own destiny. If you fail, it’s on you. That’s how I’d rather it be. I’m not mad I didn’t drop my album. I wouldn’t have known what to ask for to make it be successful. I would have been putting my best foot forward and getting the short end of the stick. I know you have to give a little to get a lot. I’ve done joints and got nothing but a pat on the back. You can’t hold talent back. I just got a raw talent for what I do. Yeah, people do what I do but I try to do it a lil’ different. I not only can sell music, I can sell anything else you want me to sell. I’m my greatest asset. Next Level: Are you trying to rep Harlem right now? Fats: I don’t want to rep a certain one place. I represent for every hood. I’ve been a lot of places and there’s a hood everywhere. I know their struggle. I’m not just speaking for Harlem. I represent for every person that came out of the hood with the same story, the same struggle as I did, as I do, as I still live, everyday on my grind. I’m the voice for n*gga that hustle and can’t rap. tnl

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ewly-crowned Crunk Queen Rasheeda is undoubtedly beautiful, but in the music industry, looks will only get you so far. It takes determination to survive the game, and Rasheeda knows this all too well. “ I was determined to succeed against all odds being a female and a mother in this industry is not the easiest thing to do,” states the Atlanta rapper. Yet, with the recent popularity of her throbbing, stripper’s anthem “Vibrate,” Rasheeda’s career has found new life. The hit song, released in August, 2005 spent several months in heavy rotation on radio stations in Atlanta as well as Miami, Memphis and Alabama. The radio success of “Vibrate” got the attention of Jive Records, which signed Rasheeda to an album deal and plans to release her upcoming album, Queen of Crunk, in February. However, the road to Jive has been a long and frustrating one. Born in Decatur, Illinois but raised in Atlanta, Rasheeda got her start in hip-hop as one-third of the female rap trio Da Kaperz. Once she decided to venture on a solo career she was quickly picked up by Motown releasing “Dirty South” in 2001 which was a follow up to her hit single “Do It” featuring Pastor Troy. In 2002, we found Rasheeda back on the independent grind releasing “Ghetto Dream” which sprung the title Underground Queen. Now, with Queen of Crunk ready to hit shelves, Rasheeda is focused on repositioning herself as a viable voice in hip-hop. And she’s got a respectable list of artists and producers to help her. Rappers Petey Pablo, Baby, and the Ying Yang Twins make appearances on the album, while Jazze Pha, Drama, Bangladesh and DJ Monte lend their production skills to the project. Rasheeda hopes the album’s second single, “Movin Too Fast” (featuring the Ying Yang Twins) will expand on the momentum that “Vibrate” created. “It will be a crunk favorite,” she says confidently. “If anyone knows the Ying Yang Twins, they bring that energy, and I’m on [the song] just solidifying what it means to be ‘The Queen of Crunk.’” Only Rasheeda knows what being the ‘Queen of Crunk’ entails.

Now it’s up to her to impart that story to the rest of the world. “I got music that will have people saying, ‘About time a woman hit on that subject’ ” she says. “I also have [music] for my n****s to ride to in their Lex’ and Chevys. I’m also a mother so I’m hitting on all aspects of woman things and just females street-thugging that thing out. For sure, I got to bring crunk music to the forefront for the female aspect.” tnl

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209 West 29th St New York N.Y 10001 (212) 563-6106

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NEW HORIZON MODEL AGENCY ORAL WELSHMAN DIRECTOR Photos By Rudy Rimanich

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INTRO

That’s right…We’re back!!! For all of our X-Box fanatics who’ve been waiting for a game to explode on, here we go. Also, we would like to thank all of the software companies for their cooperation on this issue and the next one. As you read this, we are in Japan working on our next installment of PlayaPlayer. Stay tuned, because we’ll have something special straight from Asia for all you gamers out there.

SPIDER MAN 2 : ACTIVISION

Playa - This time Spidey developers should win an award. I know now for a fact it can only get better. GTA meets web slinger is my best description for this game. I love its awesome graphics. Spidey’s movements are so accurate, with moves like hanging enemies from light poles and acrobat swinging across the city. Side missions are a bit repetitive, but you won’t mind doing them over anyway. Player - I have to admit I hated part one but Spiderman 2 has definitely taken it to the next level. This time Spidey takes it to the street unlike the first installment, which had nearly all its action on the rooftops. With great controls and more web slinging moves than ever, this is a game you must have. Where’s my Mary Jane!!!

SHELLSHOCK-NAM : EIDOS

Player – Goooooood Morning Vietnam!!! Right now, there’s a few Vietnam games fighting for supremacy on the X-Box, but this one is the best – no doubt. One of the most gruesome games I’ve seen so far. Fire it up and start blowing body parts off the Viet Cong. Don’t think it’s gonna be an easy battle, soldier! From beginning to end, you’ll be swarmed by dozens of straw-hat troops anywhere and everywhere. So strap your helmets on and get ready for good old-fashioned combat. Playa - Not only is this game all action, but the details are so exact that it rises above your typical war game. You can go from browsing your army base for “me so horny” hoes to disarming booby traps set to make your life hell. If you like an over the top violent game – then this one’s for you. Controls in this game are satisfying and the graphics are first class so run and tell a friend.

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STAR WARS - BATTLE FRONT : LUCAS ARTS Playa - Wow!!! Crazy graphics puts this game in my must have section. You should pick this up along with the DVD and act like you’re Luke Skywalker. Battlefront offers a ton of your favorite vehicles from speeder bikes to X-wing fighters. Player - A long time ago in a galaxy far, far away…I used to play my other games. Not since Star Wars Battlefront came into my world. This is by far one of the year’s best. Pick your side empire, Republic or Droid clones and get ready for the battlefront where you and your Army fight to take over enemy territory. There are several game modes including 2 players cooperative. (A favorite of my boy Playa and me) There’s a lot more to say about this game but I have a planet to take over. May the force be with you.

MADDEN 2005 : EA SPORTS

Player - Whoa!!!! How does EA Sports make Madden better every year? This time they step it up again with graphics that look better than ever and the new hit stick let’s you crush the competition. No other football game can compete. Don’t be a cheapskate like Playa and get the $20.00 ESPN game. Playa - I might be cheap but I’m not a sports gamer anyway. Plus, I always lose when it comes to football. My question is - what ever happened to the ambulance that ran the players off the field to pick up an injured player? Maybe if they kept that feature I would have liked this game more. But, I can’t front. Madden is the best of the best in football games. MADDEN 2005 REVIEW Crazy is the only word that describes Madden 2005. With better graphics and enhanced stadiums, Madden 2005 is fun even if you’re just on the sidelines watching. Game play is basically the same as 2004, but there are new perks, such as having complete control of all offensive and defensive players on the field. Other features include the hit stick control, where you can attack on the quarterback snap rougher than ever, causing fumbles on the line of scrimmage. Just tap the right analog joystick for that one. Then there’s the EA Sports Radio feature where you can listen as fans call in and talk about your franchise. You are also allowed to choose a team captain and trade off anyone who disagrees. Feel free to even customize your crowd’s face paint and attire. Madden 2005 is a must have. Go cop that

THE SUFFERING : MIDWAY

Playa - If you want to experience suffering, then pick this game up. I suffered through a couple of levels before shutting this game off. Playa likes this one for some reason. Maybe it’s something in the needles those monsters are injecting in him. Avoid the pain and The Suffering. Leave this game on the shelf. Player - Playa doesn’t know or see the value of this game, but I guess he’s hating on me for not playing Metal X. For starters this game is like Dead to Rights, but with scary monsters. The Suffering is creepy and the shooting controls are fair. It can get a little complicated so I haven’t finished it but I like this game and any other game I can bust my gun with. The Suffering is probably one of the best horror games since the original Resident Evil. The game takes place on Carnate Island, which is ten miles of the coast of Maryland. Your character who’s charged with the gruesome murder of his wife and two kids is being sentenced to death by lethal injection although he has no remembrance of what happened. Shortly after you are giving a cell all hell breaks loose as the lights are cut and the fun begins. You find yourself searching the prison for a way out or something to protect yourself with as demonic creatures tail you. Eventually you find some firearms that you could have some fun with such as revolvers, shotguns, flash grenades and my favorite the Tommy gun. The best parts about this game are you can have up to three different endings depending on your choices and actions. The other is having the option to transform into a powerful beast that cleans house when there’s too many to put down with guns. As you progress in the game your inner beast gets attack upgrades that pack devastating blows that are too much for the creatures to handle. I can’t tell you everything but all around, the story line, gunplay and gore make this game one of the best games I’ve ever played. Midway took it too The Next Level with The Suffering...

FABLE : MICROSOFT GAME STUDIOS LION HEAD STUDIOS

Fable is one of the most detailed games I have ever played on the X-Box game console. Based around a boy who loses his family and is left with nothing, Fable’s main character is discovered and taken back to a guild where he leaves childhood behind and begins training. As the boy, you learn cool magical powers including a lighting spell attack that becomes more powerful along with your strength and skills. You quickly grow up and eventually leave the guild after your training to fulfill your destiny, whatever it may be. By avenging your father’s death and the kidnapping of your mother and sister you can choose to be a hero, or you can terrorize the villages making the locals run from you. If you choose to be noble and fight for good, they will love and welcome you to their villages with open arms. If you choose the dark side, they will fear you. Fable’s game play and visuals are really good, but you can only find the game on the X-Box. I’m not a big fan of role-playing games but all RPG’s could learn something from Fable.

BURN OUT 3 : EA GAMES

You can add another master piece to the EA sports collection. Burnout 3 Takedown raises the bar for racing games in 2004. Everything from multi player modes to single competitions the game is hot. You get the chance not only to race across the country you get to race across the world. Compete in Burnout 3’s world tour to win medals and unlock cars. In Burnout 3 a new feature has been added now you can disable your opponents after accidently crashing. By pressing and holding the A button you can access impact time which allows you to steer your totaled vehicle on the road or in mid air causing other cars to collide. Burnout has a collection of over sixty vehicles everything from old school classics to up to date sports cars. Burnout is only one to two players, is online enabled and has a sound track you can customize so you can listen to your favorite tunes while cruising around the world at top speeds. This feature is only for the x-box console. You can also find Burnout 3 Takedown on the Nintendo Gamecube or PlayStation 2. It’s a hot one check it out

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On December 17, 2004 Robert “ Tito “ Montanez A.K.A. “Screw” from Jersey City was murdered outside of a club that was known as his second home (Ringside). I was chosen to write this story simply because I can give the world the truth about Screw. I was fortunate to spend the last day of his life with him. He was a Brother from another mother. I speak for a lot of people who loved and cherished Screw’s presence, funny how Screw had so many brothers, and if he called you his brother he meant it. Before I get into my feelings of this tragic night I must say that this right here will clear up all the rumors, all the bullsh*t reports in the news papers that tried to make Screw look like a bad person. Screw was incarcerated for the mistakes he made in his past but when he came home from jail he changed his life around for the best. He is survived by his daughter Tiana, and 2 sons Roberto & Julian whom he loved very much. Screw was mourned in over 22 states across America from T.V shows to radio stations and celebrity shout outs in his memory. This showed us how big he was, we didn’t know Screw made such an impact on people in so little time. He was ahead of his time. I think screw was the next big executive the “Latino P.Diddy” he had that aura about him. He would light a room up with his his charm, and of course had any and every woman fallin’ for him, Screw was enjoying his life. I’ve known screw for 15 years and he always had an ambition to become an entertainment executive. Screw used to give me 5 dollars to rap for him when I was 12 years old, Screw and my brother Gungie “ Gigante” would laugh and say one day you going to be a star and we going to take care of you and make sure your money is right. Since then we helped each other into the music industry. He started his own label Block Royal records and he recruited his artist Kai, Krook, Fury and a group called Heat. My Brother and I always had Get Bucks Entertainment since 1995 with C.O.S, War and Peace and S.T.R.E.E.T.S. He learned his business as a CEO and then started to push with Akon as his manager, every where Akon went Screw was right there making his presence felt. Screw and my brother had just made it official for him to manage me because he was confident he had the power to move around now and this was his way to make Block Royal and Get Bucks into one family as a business; to complete his and Gigantes long time “Dynasty plan”. We at Get Bucks and The Next Level Magazine will carry the torch alongside his brothers Louis, Joey, Flav, Cesar, Dan, Cheese, Blast and many others in the B.R. family. We will keep his dream alive. Screw lost his younger brother “ Willie Boy” and also a long time friend “G-Money ” to a fatal car accident in November 2004 before his untimely death. Three loved ones gone in 45 days is not an easy thing for us to get over, I tell you that much. Now to give you the truth about the night that started so good and ended so bad. The morning of Dec. 17th all I can remember is how excited he was to start managing me. He was already bossing me around telling me to meet him at the Barbershop. When I got there it was so perfect. He was so happy everything was going down right. He had Capone and Akon there the beautiful Queenz Finest Block Royal girls and his “brothers” as he referred to us. We took pictures & laughed and went on with the day. After that we all went to the Ringside club where Screw with Block Royal held weekly comedy shows for the community. It was hosted by Ray Dejon from Video Music Box and several celebrity comedians and rappers were in the building. Everything was so crazy. He had Tito Grahmz “Not Really” posters wall to wall and all I can remember is him grabbing me and saying “you see what I’m doing for you Little mother f**ker keep that sh*t up, I love you”. He gave me a hug and his famous kiss on the cheek, which if you know Screw like I do, you got that kiss in respect like the Italians do it. With all of our fans’ support we can live up to his dreams as well as ours. NO ONE can ever be Screw, those shoes can never be filled. But Block Royal, Get Bucks and The Next Level Magazine will continue his “ Dynasty Plan” as Screw asked for in a letter he wrote for the day of his demise. I wasn’t there when he was killed, I happened to leave 20 mins before it went down, but I will never forget the good parts of that day. We were the ones at his side, Block Royal, Get Bucks and other immediate people close to him watched him take his last breaths and go off to the pearly gates of heaven. The papers had false info so we are just clearing that up for the people in his community and across the world, to spread the truth. We at The Next Level would like to send our condolences to his father, his children and the rest of the Montanez family. We will live on our dreams and remember all our other fallen soldiers. Kai quote …“my man passed cause of someone hating on him and his people, a hater shows no ambition for themselves no direction into getting their own jewelry or whatever it’s just sad that he was taking from us for something so petty. But he went out defending what he believed in and that’s if you’re with Screw you don’t have to worry about anything he got you”.

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1……white people in Central Park who let their kids tell them to shut up

12…..anybody who still drinks quarter waters and chews Chinese gum for more than five minutes.

2…….girls who still say “Well!”, “What you lookin’ at?”, or the classic “Do I Know You?”

13…..all the politicians that’s about to come out of the closet guaranteeing that we will have a gay President before we have a Black one.

3. ……the old lady who stares at the young men like myself in anticipation that I’m gonna give my seat up like I ain’t been on my feet all day. 4……Ill Bill O’ Reilly for singling out the homey Jadakiss on his thoughts of George Bush in relation to the towers, instead of also addressing the other issues Kiss called out.

14……the Haitians that have shout fest Dominoes games in the wee hours of Sunday morning. 15…..unsigned emcees that roll up to street team vans in pursuit of a record deal. 16…….Barbara Bush for lookin’ like the Joker from Batman.

5…..any dreadlocked barber cutting hair for a living. (Capleton a go bun a fire pon you) 6……Guyana, Trinidad, Barbados, St. Kitts, and Grenada for having yet to contribute to today’s dancehall music. 7……..the island of Jamaica for having towns w/ Spanish ass names but no one speaks Spanish. 8…..the board of education for being operated by a gang of divorced, distraught, and scorned women with gas and electric bill issues. 9……people that speak loud as hell on they cell phone with they horrible 3rd world accents. 10….the fact that everybody think Clue was the first DJ to drop a mixtape album like Terminator X from Public Enemy ain’t dropped the Valley of the Jeep Beats back in 1990. 11…… all my niguz that reaks the loving smell of a spoiled Black and Mild stinkin up the back of the 25 Bus to Irvington or on the 3 train to Saratoga.

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17…cats who call up labels asking if they are signing any artists today. 18….those who voted for Gangsta George W, while on front page of newspapers across the globe ask how can American people be so dumb.