Sunday, February 28, 2010
Thursday, June 18, 2009
Young Jeezy Explains Gucci Mane Beef
“It wasn’t a question of ‘Why do the song now?’ ” Jeezy explained to MTV News. Young has refused to address Gucci for years and says this interview about the subject will be his last. “It was more so of when dude went away, did his little time or whatever — he came back. The sh– was squashed. I wasn’t trippin’ on him. I was getting my money on. I was done with it. I was on my grind. I wasn’t really paying attention what was going on [with Gucci]. But as you know, Slick Pulla is locked up. A few of my partners that I really been down with since day one. He started taking shots on his little mixtapes. I was really kinda done with it, because on ‘Stay Strapped,’ I killed him with one verse. To make a long story short, I’m tired of the bullsh–, because I know him. He ain’t like that. To be honest, I don’t have a problem with Gucci because I wear it — I have a problem with Radric [Gucci's Mane's given name].”
There’s a song called “Hurry” off of Gucci’s mixtape The Writing’s on the Wall that contains lines that could be taken as jabs at Young and his crew. “Girl you look like Keyshia Cole/ I know you a di– pulla,” he raps. “But can’t f— you Blood Raw/ Damn I like them Kinky flows.”
Gucci will neither confirm nor deny if he was throwing disses, but obviously Slick Pulla, Blood Raw and Kinky B are in Young’s crew, and he used to date Keyshia Cole. Jeezy found it funny that Gucci called radio-show host Miss Info on Tuesday and downplayed the whole situation saying Jeezy was just dissing him to build hype.
“This is what he does. He always does it,” Jeezy said. “He says what he says, then he hides his hands. Then when you say something, you’re the bad guy. I’m definitely not the aggressor in this situation. I’m just holding my business. I’m a grown-ass man. The best thing for you to do is get your money and leave me the f— alone. I heard their little statement, ‘We ain’t feeding into that.’ Y’all been feeding into that for four years. Get your money, dog. Don’t be out here with the bullsh–.
Wednesday, June 17, 2009
Thursday, April 23, 2009
Gunplay Gets Fern On G-unit & 50 Cent At Rick Ross's Album Release Signin: "F*ck G-Unit. You Do It. Doo Doo. Sh*t Face MuthaF*cka"
Wednesday, April 15, 2009
Oj Da Juiceman & Gucci Mane With Soulja Boy At The Gucci Bandana Music Video Shoot
Friday, March 13, 2009
Cam’ron: Season of Change Part 1
The Notorious B.I.G. once proclaimed, “You’re nobody ‘til somebody kills you.”
Cam’ron couldn’t possibly subscribe to the notion, because most of his trials have involved near death experiences in varying degrees. In 2005, an unknown assailant fired on the Harlem rapper in his Lamborghini, striking him in the right arm. Then, there was the near death of his career in a precarious beef with 50. In response, Cam’ron created a music video where he energetically leapt out of a casket to represent his sudden resurrection.
These days, Cam’ron is looking like the proverbial Phoenix rising from the ashes of the past. But the present isn’t as sweet or as simple as the public perceives. The sabbatical from the rap game was mostly self-imposed due to real family issues. His crew, The Diplomats, is the UFC of crew infighting with several conflicts running concurrently. Still Cam lives on. In 2009, he plans to release three albums (Crime Pays on May 5), a pair of movies (including “Killa Season 2”) and handle a whole bunch of other business like Dipset and 50 Cent if necessary. There truly is life after death.
AllHipHop.com: First of all, can explain your time away? We know some things, but a lot of people are assuming as well.
Cam’ron: My Mom had a stroke, she had three strokes in one day, three minor strokes. She’s paralyzed on the left side of her body. I took her to a specialist in Miami. Its about 11 months rehabilitation, transferred her back up here for about 6 months rehabilitation here, made sure she was back on her feet. You know, during that time everybody was like, “Where’s Cam, where’s Cam, where’s Cam?” People who was close to me kind of knew what was going on already, but then after a while I was like I’m in the process of doing this album. It doesn’t really make sense to come out and say anything without the music coming out so I’m like I’ll take advantage of the “Where’s Cam” situation for another six, seven, eights months. And I then come surface when its time to put the music out, but it didn’t make sense for me to come out and be like “Aye , Where’s Cam?” and we didn’t have any music to put out. Then, I’ll just be wasting’ time when its time to put music out, we might as well talk about everything at one time
AllHipHop.com: Right right, how’s your Moms? I met her in one of our earlier interviews.
Cam’ron: She’s about 75%, 80% you know she’s driving again, walking again running around being the hoodlum that she is. You know what I’m saying? My mom is real street. She’s from Harlem. She won’t ever leave. I done bought her houses condos. I gotta force her to go stay there, but she’s in love with Harlem though. She’s good. She’s doing much better. She’s not 100%. She’s walking with a cane, but she’s alright. Appreciate that though.
"I mean at the end of the day, being Dipset is like being a smith or a Williams or Johnson once you’re Dipset, that’s your name. You in Dipset."
AllHipHop.com: Would you regard this album as a come back album?
Cam’ron: I wouldn’t, but everybody else is kinda is making like Cam is coming back, Cam’s this and Cam’s that. But at the same time, I don’t think I’ve had that long of a lay off, but I view it as this is just what I’ve been doing. I’ve ever stopped recording anyway. you know I have my own studio when I was in Miami I was in the studio..made sure my mom was good I go to the studio but I’ve always been recording the whole time now also maybe that’s why I don’t look at it as a come back album but I would say about 90% of the public eye people are looking at it as a come back album
AllHipHop.com: We saw pictures of you at Six Flags or something like that.
Cam’ron: That’s old footage that’s about three years old. I seen that footage too and I was like I haven’t been to Great Adventures since 2006. I looked at one of the watches and I haven’t had that watch in years. That’s like a 3-year-old picture. People are pulling stuff out of there closets like, “Oh there’s Cam” - .yada yada yada
Cam’ron: I mean at the end of the day, being Dipset is like being a smith or a Williams or Johnson once you’re Dipset, that’s your name. You in Dipset. You know our communication - a lot of stuff surfaced in 07. We were distanced from each other two or three years before that. It just wasn’t publicized we all kind of wasn’t talking maybe from time to time maybe two or three times a year for the last two years before that. So everything kind of was like behind the scenes falling apart. It got in the public maybe 2007, but everybody’s still Dipset. Everybody got a piece of the company so it is what it is.
AllHipHop.com: So you don’t talk to Juelz or Jim or anymore?
Cam’ron: I haven’t spoke to Juelz in I don’t know the last time I spoke to him maybe Christmas ‘07. I seen him outside of the bank and…spoke…I let him out his contract in June. I called Zeke phone day before yesterday. I always speak to Zeke.
Cam’ron: Yeah, I would say that time...I was just explaining that to people…once you don’t speak to somebody for two, three or four months, you get your own schedule and you kinda go in your own lane. Especially if you’re doing alright and its just like time kind of breaks people up but its no beef like that.
AllHipHop.com: What about the whole “selling” Juelz back to Def Jam?
Cam’ron: He took that out of context. I said I sold his contract to Def Jam, which I did. You know? I wouldn’t say I sold him. I didn’t call him a slave or yada yada yada. I sold his contract to Def Jam he wanted to get out of his deal and I let him out.
"If the money is right, I’m willing to talk about anything, man. Business is business. If the money is right, we can definitely sit down and talk [a Dipset reunion]."
AllHipHop.com: What about Jim Jones? I just heard he had to pay you $10 million to have the use of his rap name?
Cam’ron: No, that’s not the case at all. I never even heard that at all.
AllHipHop.com: Oh nothing like that?
Cam’ron: No, that’s not true at all, nothing at all.
AllHipHop.com: So a lot people respect and believe in the Dipset movement that you all built through the years, still do. Is it possible we’ll get a reunion or another group album or anything like that?
Cam’ron: If the money is right, I’m willing to talk about anything, man. Business is business. If the money is right, we can definitely sit down and talk.
AllHipHop.com: It won’t be like people sleeping in the studio together or anything like that though?
Cam’ron: I doubt it, you know? You know, you never know what happens when you get around people you grew up with and love and have that reunion. But. to be honest, if the money is not right it doesn’t make sense to do it.
AllHipHop.com: But the money probably would be right. I mean look everybody’s looking forward to this day – a Dipset reunion.
Cam’ron: My price is different, man. You know what I’m saying? My price…I don’t really want to throw numbers out there. But I don’t know what the right money is for some people, but I know what the right money is for me. And I don’t know if they willing to give that up.
AllHipHop.com: Okay, so do you regret saying that Juelz was doing syrup (Sizzurp)?
Cam’ron: No, regret it for what? No, that’s the truth. I’m not going to sit and lie. What happened is, everybody had there side of the story. Eventually I’m going to tell my side of the story. Not just with Juelz, [but] people in general. Basically, the only reason I haven’t been talking yet, because it doesn’t make sense to talk and no music is coming out. Second of all, I’m not going to get up and blog just to be blogging. If you gonna do it, its got to make sense about doing it.
I don’t regret it, because it’s the truth and really what happened severed our relationship. I never said that I wasn’t his friend. I never said I’m not messing with him. Its like if your little brother is doing something you don’t approve of. He took it how he wanted to take it and went whatever way he wanted to go with it, but I don’t regret it cause it’s the truth. And I’m not gonna be fake and not say nothing about it. People who don’t say anything about it - those are the people that’s fake. And those are the people that are yes men and not gonna say anything.
AllHipHop.com: Do you still consider Dipset friends, family?
Cam’ron: Definitely, you know at the end of the day like with Jim, I known Jim since I was like 4 or 5 years old. I met Juelz when he was 15 or 16 years old so I knew Jim a little longer. But Juelz I still consider him family, whether he’s mad or he don’t wanna be my family or he don’t wanna be my friend. I still consider him like my little man. Well he’s not little no more, but but I consider him like my man.
In part 2, Cam’ron discusses 50 Cent’s and Jim Jones, as well as the future of the Dipset movement.
T.I. Initiative Aims to Remove Guns from Communities
Superstar T.I. and his K.I.N.G. Foundation have formed a coalition with the Political Swagger Foundation and C.H.A.N.G.E. Initiative to remove guns from urban communities.
The first stop for T.I. is Houston, where on March 14 the Atlanta native will host Responsibility Is a Lifestyle: Give Back Your Gun Day.
The event commences at Good Hope Missionary Baptist Church. Throughout the day, any person with an unregistered weapon will be able to turn in the firearm without fear of questioning, fines, or arrest.
The outreach program was enacted partly due to a recent sociological study by Northeastern University.
The results displayed that from 2002-2007, there was 31 percent increase in the murder rate for juvenile African-American males.
Of those murders, there was an increase of 41 percent in black male perpetrators.
Additionally, Northern University found that the numbers increased further when firearms were utilized.
According to the Houston Chronicle, the city of Houston has seen a reported 139 percent increase in the amount of young African-Americans suspected in gun murders.
T.I., who was convicted last year on several counts of possessing illegal firearms, referenced that his actions going forward will reflect a new spiritual consciousness.
“Instead of walking with guns, I now have to walk with God,” T.I. told AllHipHop.com in a statement.
Colleagues see that professed change in T.I., but Political Swagger Foundation co-founder Tonja Styles detailed the community must be willing to support his efforts.
“Every era of great change has had its music and the artists have always been at the forefront of that change; from John Lennon to Marvin Gaye,” Styles explained to AllHipHop.com. “Today, T.I. is using his influence to affect change and we’re excited to join him. The responsibility is on us.”
Later this month, T.I. will begin serving a one year sentence per his guilty plea on federal weapons charges.
The Give Back Your Gun Day begins this Saturday (March 14) at 11am.
Missionary Baptist Church is located at 3015 North MacGregor Way in Houston.
Thursday, March 12, 2009
Rick Ross Behind The Scenes With The Dream On 106 & Park! + Rick Ross In Bronx New York
Tuesday, March 10, 2009
Juicy J, DJ Paul Prep New Solo Albums, Tour
Three 6 Mafia members Juicy J and DJ Paul are set to release two new solo albums within a month of each other.
J’s new project, Hustle Till I Die, is slated to feature Three 6’s trademark production sound, and serve as a follow-up to 2002’s Chronicles of the Juice Man.
According to Juicy J’s promotion team, the album will give listeners “something to ride out to.”
The first single is “30 Inches,” a dedication track to the rapper’s favorite car, with the vehicle personified as a woman.
The production features a looped sample of the soulful, 1976 O’Jays track “Darlin’ Darlin’ Baby.”
DJ Paul is also putting the finishing touches on his solo effort, titled Scale-A-Ton.
In a recent Youtube clip, Paul confirmed that his brother Lord Infamous is still a member of Three 6 and will contribute to his upcoming LP.
“He helped build Three 6 Mafia, and create Three 6 Mafia,” Paul explained. “Lord was just going through some things, and he had to get that together. We got it together now. We’re going to be back in the lab working.”
Currently, work is being done to finalize a promotional tour aptly titled the “Keep It Hood Tour.”
In addition to Three 6, the tour is slated to feature Project Pat and Lil Wyte.
At press time, DJ Paul’s Scale-A-Ton will be released on May 5, and Juicy J’s Hustle Till I Die on June 2.
TOP 5 DEAD OR ALIVE: Killer Mike
Atlanta-bred lyricist Killer Mike is known for spewing knowledge both on and off the microphone. During last year’s AllHipHop Social Lounge, moderated by our own Chuck “Jigsaw” Creekmur, Killer Mike wowed the audience with his witty, street, yet educated point of view. He’ll admit that its taken some time to realize that being smart is also cool.
The former Morehouse scholar can engage in a discourse of a wide variety of topics from politics to the streets to Hip-Hop. So of course when it comes talking about his Top 5 Dead or Alive Emcees, expect nothing less but the realest.
This list of artists is also indicative of Killer Mike’s versatility, which is evident on his album I Pledge Allegiance to the Grind Part Two, which is in stores now. Killer Mike recently joined forces with T.I. in a joint venture so the King of the South recognizes Mike’s talent. Its not a stretch that Mike names himself as an honorary member of Hip-Hop’s elite. He beckons doubters to listen to three specific songs: “Good-bye,” “Pressure,” and “Woke Up This Mornin’.”
The Preface:
"The way I regulated my list was, rappers that no one ever threw a stone at, with the exception of maybe one. Nobody ever f**ks with these rappers because you know their going to f**k your life up," says Killer Mike.
Andre 3000
Killer Mike: Andre 3000 is southern lyricism; he is the blueprint for a southern lyricist. Whether you’re talking about B.O.B or Bobby Creekwater, two great up-and-coming MC's out of Atlanta, their absolutely wonderful, Andre 3000 is in their DNA; he's in the DNA of all of us. He's only preceded by 8 Ball and MJG. He is the standard of southern Hip-Hop in terms of being cool and early in his career in terms of that dope boy type shit.
He has all the superstar qualities of a rapper; the girls like him and when he puts a turban on his head guys want to be like him. He’s smooth, his music is impeccable, introspective and he’s so around the corner educated. He is our Langston Hughes rap wise. Langston took the language of the common people and he made intellect so simple, easy, emotional and valuable that equals people from all levels; from working class and all the way up. So Andre 3000 works on all levels.
Killer Mike suggests: ATLiens album.
Cee-Lo Green
Killer Mike: Actually as a rapper, Cee-Lo Green is better than Andre 3000. Bar for bar at being introspective, whimsical, funny, everything as an MC. He never took himself outside of the human experience. Cee-Lo said I wonder if they put the gates up to keep the crime out and our a**es in, that's the type of s**t you discuss at the barbershop. The thought of separating humans according to class, that's something you done heard about at Morehouse when I was there, you hear about at Howard; but that s**t is on a rap record.
This is the same guy that has such a beautiful musical voice, but he gave over ten years to rap before he used it. Nobody ever tried him and nobody ever will, because bar for bar he will crush, he will kill. Cee-Lo Green is the epitome of what an MC is. He will get on stage, he will grab a microphone and for the next two hours, you will be duly entertained. You will not only be entertained, you will be edu-tained.
Killer Mike suggests: Still Standing [Goodie Mobb] album.
Eminem
Killer Mike: I know a few people have named Eminem, a lot of them were just d**k sucking, they just wanted to name another rapper that was better than them. They're d**k riding because it’s a white guy and it would be cool to say. I say Eminem because bar for bar he is the super manifestation of super rapper. He attempts and succeeds at cramping so many syllables at different times. If you’re not talking about Kool G Rap or Big Punisher, you're not talking about anyone else in this league. When you talk about the speed knot flow, the precision, the harmony within the flow, because Eminem uses harmony a lot too- people don't give him his credit for that.
I love Eminem because he made us understand what the white kids who were attracted to the energy of rap, what their life was like. Beyond that, he confident enough in his own skill to sign an artist who could have possibly overshadowed him, had he been a weaker ego of man like a lot of the black contemporaries are. He was so passionate about making sure rap is still dope that he signed 50 cent. He is the prototype of how every rapper slash fan should be, someone who loves rap enough to do what's right by rap. Him giving the world 50 cent, he did what was right by rap and I really mean that.
Bar for bar no one is touching him, bar for bar no one is fucking with him and dudes know it. He does his white boy shit and pulls me into another world. Eminem takes me to not only Detroit and Eight Mile, but what it’s like to grow up f**king crazy and white in America. Now that's dope music!
Killer Mike suggests: The original “Renegade” Featuring Royce da 5'9.
Scarface
Killer Mike: No one has talked about death like Scarface; he talked about the human toll of death. From the black community you get used to death lines you can hear his mama crying, his mama said why yall take my baby away. But when Scarface talks about a father having to identify his son, as a man you feel weak when you cannot protect your own flesh. When he said they want peace in our community, but ain’t no open opportunity for unity, he talks about they killed Martin Luther King because he had dreams. He talks about by the time you finally figure out the science of life you're owned, your mind done cracked and you done gone crazy. That’s real, that's stuff that only someone who is truly mentally disturbed can write. He's writing from a place of hope and hopelessness at the exact same time and that's bigger than self pity.
If you’re talking about that gangster s**t and I don't mean that shoot ‘em up bang bang, I mean that what it’s like to be in sixth grade and the teacher tells your mom your selling dope like Face rapped about. Also and this is not to offend, because we have a lot of legends and a lot of egos. When you're talking about who has consistently played great not good, name a 20 year veteran whose music in this particular way has been relevant all the way through. Scarface fans can name you a record on every Scarface album, his core audience is devoted; he has grateful fans and the bulk of his core audience are rappers.
I remember watching the “greatest of all time” Jay-Z, on television doing an interview with Toure’, talking about Scarface. When you’re the greatest commodore in the world, who makes you say wow he is great and Scarface is that. He is the bar for a great rapper. Fans argue over who the greatest rappers are, the greatest rappers argue over Scarface.
Killer Mike suggests: Untouchable & The Fix albums.
AZ
Killer Mike: AZ is the perfect hybrid of Jay-Z and Nas; he has all the swagga, the flavor and a damn good dresser. Nas is one of the sickest dressers in the game and he has all the slickness and fly s**t of a Jay-Z of a Big Daddy Kane, of a Brookyn fly n***a. He has the mental of the Five Percent(ism) and the Egyptian mysticism of Nas or the Queens movement. I think AZ is on tier with Nas and Jay-Z, it’s only because of beat selection and one producer producing the whole album that he don't get his just due.
I don't think that anybody wants it with him and I don't think anybody wants it with anyone I named on this list. The s**t he says is just phenomenal, he use words like their women, words just bend themselves to dude, it’s like they love him. I looked at the line when he said ni**gery caligraphy. Who the f**k thinks to say that? When you think about gutter and ignorance, you think of the word n****r. When you think of beauty and opulence, you think of calligraphy. Who says I'm gonna put them on a date in the middle of my verse? That's why n****s don't want it with him.
If Jay-Z and Nas are the ying and yang, he is the lining in the circle that connects them. Dude is absolutely amazing!
Killer Mike suggests: Doe or Die or S.O.S.A (Save our Streets AZ) album.
The Side Bar: Currently Killer Mike is working on a compilation album, Underground Atlanta Volume One, which features everybody from Gucci Mane, OJ Da Juiceman, to Grind Time Rap Gang, and many others. He is also working on the Grind Time Rap Gang album with S.L. Jones and Gangsta Pill. Grind Time would like to follow in the footsteps of Rocafella and The Diplomats back in the day [minus the drama of course] in regards to their music and movement!
Actor Joaquin Phoneix Knows His Hip Hop History: Joaquin Talks About His Upcoming Hip Hop Album! "Wu Tang Influenced Me"
Sean Puff Daddy Combs: Once Upon A Time In America (Diddy Confirms Biggie Was Really Gettin Head In The Audio Interlude For "Ready To Die" & Making Of
Rick Ross Interview On Funkmaster Flex Speaks On 50 Cent Interviewing His Baby Momma "She Used Him" + Dj Vlad Getting Beat Up! "He Looked Like The Ele
Kanye West, Murdoc & Ahmad Freestyle Cypher On The Wake Up Show!
Notorious B.I.G's Last Interview On The Wake Up Show (R.I.P Christopher George Latore Wallace) [May 21, 1972 - March 9, 1997) [Throwback Dedication]
Monday, March 9, 2009
Jannelle Priego
The comments section is really the make ‘em or break ‘em part of Beauty & Brains. The women who’ve come before you are either damned if they do or damned if they don’t. Here to make you say “got damn,” is the 24-year-old caliente beauty, Ms. Jannelle Priego.
She’s on a first name basis with Hugh Hefner and has the curves to make you feel like danger’s approaching whenever she walks in the room. With her first time sitting down with Beauty & Brains, the cautious Cancer plays a game of “what if” with us, tells two truths and a lie about herself and the modeling industry and roots it up for Hillary Clinton.
Beauty & Brains: Happy New Years to you, Ms. Jannelle. How are you doing?
Jannelle Priego: I am doing fantastic! Happy New Years to you to! I had a blast ringing in the New Year with friends in Mexico. I danced the night away and watched the fireworks. I know 2009 will be an adventure! I am currently working on my website, ClubJannelle.com and you will soon see me featured on Starlett.tv.
B&B: 2008 was a pretty fantastic year all around, but for yourself you made a lot of men drool with your Maxim issue. How was that experience for you?
Jannelle Priego: My experience was wonderful! I really enjoy modeling. The results were produced only through all those involved – though the work was hard, the crew provided a fun and professional environment. I thoroughly enjoyed the experience. I am happy with the photos & even happier that others enjoyed them as well.
B&B: Let’s play a little game, shall we? Seeing as how you’ve been in front of Hugh Hefner, FHM and other publications – this will be called, “I Would.” You game?
Jannelle Priego: Of course, I think games are fun. So let’s play!
B&B: If you could be a sexy call girl or a pediatrician – which one would you rather be?
Jannelle Priego: How about a sexy pediatrician? [Laughs] A pediatrician is a well-respected position, one I would be honored to hold. I enjoy helping children, but wouldn’t want to give up being sexy! A sexy pediatrician gets the best of both worlds!
B&B: If you could work for NASA or as a stylist for Brad Pitt – what would you rather do?
Jannelle Priego: I think working for NASA would be my preference. What other job could you possibly be any closer to the real stars? Going to the moon would be an unforgettable experience! As far as Brad Pitt goes, I don’t think I would have the patience to be a stylist and I have never been attracted to the pretty boys. [Laughs]
B&B: If you could date 50 Cent or just a regular Joe Schmoe – who would you want to link up with and why?
Jannelle Priego: Well, the truth be told, I would certainly enjoy a weekend with 50 Cent [click to read], to experience his exciting world. His parties are legendary! However, when it comes to everyday life, I am "Joe Schmoe" sort of girl. Partying hard for a weekend with 50 Cent would be great, but at the end of the day, I want to be with someone who I mean the world to.
B&B: Name two truths and a lie about yourself.
Jannelle Priego: Two truths are easy –
Number one: I was born in a small town in Mexico, where I have a younger sister and brother, who I am very close with. I love when I have the opportunity to visit family back home in Mexico.
Number two: I really enjoy modeling. It is not just a ‘job’ for me, its something that I pride myself in being able to do, and do well.
One lie: I am not a natural blonde, I’ve tried several different hair styles and colors, but as a blonde, I do have more fun!
B&B: What are two truths and a lie that you could say about the modeling industry?
Jannelle Priego: Two truths –
Number one: The modeling industry and work is fulfilling to me. I am passionate about the work I do and appreciate the response I receive.
Number two: Modeling work is harder to do than most people realize. There is a lot of waiting around, makeup, hair, poses, cold weather and travel, jet lag. People don’t think about these things about the industry, they tend to think that the industry is all glamour and sexiness. It truly is work!
One lie: Most people think there is great money in modeling. This is not true for an every day model. It is a labor of love, something that provides me with self-fulfillment as opposed to large amounts of money.
B&B: Brains is a stressed importance here at HipHopDX and with that in mind – what is your assessment of the Gaza conflict that’s going on?
Jannelle Priego: To give a real assessment on the Gaza conflict is truly a stretch without really knowing all the facts and following it every day. However, I can tell you this: I am against innocent people; men, women and children, being bombed and living in fear every day. It is sad that intelligent countries and men cannot find resolutions without terrorizing each other and their innocent people. My true assessment is discouraging and my prayers are with the innocent children to someday live without fear soon.
B&B: It seems like the world is going through turmoil. Being from Mexico – what are some changes that you’d like to see in terms of U.S./Mexico relations?
Jannelle Priego: What I think would be amazing, is if the US and the Mexican governments could actually work together in finding solutions to safer borders with better ways to monitor illegal immigrants, possibly trying to educate both sides in understanding one another. I am sure illegal immigration will be in the news forever, but I’m also sure there are better, more humane solutions in dealing with our borders. This would make less turmoil in our chaotic world.
B&B: Rap has come under fire for not selling. In Mexico and abroad – outside of the U.S. – who are the American Hip Hop stars regarded with respect. Who do you like?
Jannelle Priego: I was not aware that rap has not sold as well in other countries. I enjoy Hip Hop very much and can’t believe that people don’t feel that way around the world. What are they dancing to? Some of my favorites are: Three 6 Mafia [click to read], 50 Cent, and Snoop Dogg.
B&B: How did it make you feel to see a woman like Hillary Clinton up for the presidency of the United States?
Jannelle Priego: I feel Hillary Clinton is a strong personality that has what it takes to be a President of the United States. The President of the United States should be elected based on merit, experience and ability. I believe that having a woman president would help equality between men and women, especially in the corporate world. I am very pleased with our recent election results. The hopes of the people have been renewed, at a time when it is much needed.
B&B: How fair is the modeling world to women in the grand scheme of things? Is there any room for growth?
Jannelle Priego: Yes, I feel the modeling world is fair to women in the grand scheme because it provides opportunities for hard work and commitment to pay off. Yes, there is always room for growth. All industries have the ability to grow as new technologies are introduced. Additionally, I feel that women are more freely allowed to express their sexuality this day in age. Due to this, I believe that the door for male models has opened increasingly over the past decade.
Project Pat: Tenn Toes Deep
Tell a friend (even a fellow Tennessean) you’re headed to Memphis, and you can pretty much predict the responses. References to early Three 6 Mafia records and corny Hustle and Flow references are just a few that come to mind off hand. Make no mistake about it, Memphis is distinctly Southern. Which is expected since it borders both Arkansas and Mississippi. What you may not expect to see is the town’s influence in unexpected places, like MC Hammer’s Gangsta Walk-influenced dance steps [click to read]. Understanding it all is about as difficult as trying to wrap your head around the fact that the blueprint for Crunk, Trap and New Orleans Bounce music actually originated in Queens with the Showboys song “Drag Rap.”
Perhaps no one represents this dynamic better than Project Pat. He arrived to greet this writer with the stereotypical southern rap accessories—an Escalade on chrome (admittedly more utilitarian than anything, considering his linebacker-like frame), a top row of gold teeth and a fresh pair of Coogi jeans. He exchanges pleasantries, contact information and a free mixtape with our waiter—who instantly recognized him, yet still played it cool. After over a decade of dropping his mix of street tales with a unique delivery that attracts inmates and certified Hip Hop junkies alike, you get the feeling he’s seen it all.
Pat’s glad to talk Hip Hop, especially if it involves the younger generation influenced by the Hypnotized Minds catalogue. Aside from the most recent Super Bowl, and the seemingly endless list of his upcoming mixtapes, Pat’s encyclopedic knowledge of Hip Hop created by and for those below the Mason-Dixon Line is one of the few things that get him animated. A lengthy conversation over lunch yields what you would expect, as well as plenty of surprises. It turns out that both Pat and the M-Town aren’t that hard to understand after all.
HipHopDX: People trace what’s currently going on in Southern rap back to songs like “Drag Rap” by The Showboys and “Where They At” by DJ Jimi. Would you agree or disagree with that?
Project Pat: Really, that “Drag Rap” was like a format, ‘cause we was so on it, and there was a dance to go with it—Gangsta Walking. It was like a beginning for us, and Juicy [click to read] started making different beats with that same format. So he would switch the bass around and add different things and flip it. See Memphis is a black city. You’ve got Stax Records and a lot of old Soul and stuff as the influence.
DX: Definitely. And we've heard you over samples from the O’Jays, Willie Hutch and all kind of classic Soul records…
Project Pat: Real talk, if Willie Hutch jumped out the grave right now, he could instantaneously be mayor of the city, hands down. It’s like that. We call it “Pimpin’,” and we love that Bobby Womack and David Ruffin. So we took them old, soulful beats and put it with them Gangsta Walk beats, and that’s how we came up with our style. We took that, and we took that scary music like Jason [Voorhees] (Friday The 13th). That’s all Memphis right there; we started that shit. When you listen to “Stay Fly,” that’s Willie Hutch in there.
DX: Yeah, and y’all stayed on that “I Choose You.”
Project Pat: Yeah, that’s Hutch. Dudes took that, and now they got that format. Like Shawty Redd. Shawty Redd [click to read] ain’t from Atlanta. A lot of people didn’t know that. He’s from the north side of Memphis. And Jazze Pha [click to read] and Drumma Boy [click to read] are from Memphis too.
Memphis dudes probably make 50% of the beats down South. I’m talking Georgia, Florida…you name it. Drum Squad did “Put On” [by Kanye West and Young Jeezy] [click to listen] and [Rocko’s] [click to read] “Umma Do Me.” I’m telling you man, all them scary beats from Jeezy’s first CD, where he’s like, “Red paint inside/peanut butter…” that’s Shawty Redd. And he’ll tell you he got that from us. But we ain’t trippin’. We’re glad to be of service. And when we go to Atlanta, dudes like Dem Franchize Boyz [click to read] well tell us, “Man we got that off of y’all.” And I’m not mad. Them dudes are doing their thing, and they’re down there getting money.
DX: I need you to clear something up real quick. Way before “Crank That” and “Stanky Legg,” you had the Gangsta Walking. Legend has it that there was a club called Studio G, where Paul and Juicy used to spin…
Project Pat: Yeah, I used to be up in there too.
DX: So, they had some dance contest called “Last Man Standing,” and that’s where Gangsta Walking originated from?
Project Pat: Yeah, and it was wild, man. It would always end up in a fight or somebody would get shot.
DX: So “Tear da Club Up” isn’t just a phrase then?
Project Pat: Nah, you can ask anybody about it.
DX: A lot of people don’t know that you started out in a group, but you made your debut on that Kamikaze album by The Kaze.
Project Pat: [Laughs] Yeah, I forgot all about that. When I was locked up, me and Paul came up with that name. Three 6 Mafia was already a group, and since groups were so big then, we figured that would be like a little spinoff group. It didn’t really pop, but it was alright. I had just started rapping on mixtapes around then, and I mean actual cassette mixtapes, ‘cause this was back in the days.
I had just got out of jail. And to be real, real honest with you, I was still selling dope then. That’s for real, for real. My cousin got out about seven months after me, and we were selling dope, playin’ [counterfeit] paper—you know checks, credit cards, whatever. We were really out there, and I know a lot of these dudes are out here like that when they first get into the game.
I won’t say names, but when I did fed time, I learned a lot of rap dudes were selling dope too. There were two dudes that were twins who used to be with Master P, and they got caught up with that dope.
DX: Oh yeah, Kane & Abel?
Project Pat: Yeah. And niggas is still out here like that. That’s real talk. Hey man, it is what it is. Back then, I was bringing some of them things back on the plane from California. We done had dope all on the tour bus. When we found out you had to have a search warrant to get on the tour bus, that driver was looking at us like, “Man…”
I ain’t on that now, because that would be dumb. But at the same time, I understand what time it is. You might be out here rapping, man, but until then, you gotta eat. There’s a lot of rappers in Memphis who did that, and I know it, because I did it. A lot of dudes that were with us did it. Crunchy [Black] was selling syrup and pills, and I was doing the same thing. That’s why when that Mista Don't Play album came out, it said “Everythangs Workin’.” That’s what I was talking about, everything was work—I’m charging hoes, I got a hoe stealing money out of the cash register, and this was my girl. So I was out there rapping, but everything was work; it wasn’t just a song. That’s what I was on. I’m off that now though.
DX: On Ghetty Green and all of the albums after, you seemed to be more comfortable on the mic. You started doing that thing where you’d draw out your words and say, “Hungry like a Hip-po.”
Project Pat: Yeah, the swag kicked in right there [laughs.]. Like Shawty Lo says, “I found my swag.”
DX: Where in the hell did that idea come from?
Project Pat: Real talk, I’ll tell you when I first did that. Three 6 Mafia had a song out called “Wonabees.” And I said, “So you wanna find-a/nigga with the nine-a…” After I came like that, I said, “So you wanna be a/playa just like me-a/ridin’ on tortillas/choppin’ up a ki-a…” When I came like that, Juicy was like, “Where did that come from? You gotta go like that again. That was hard.”
So I came like that later with Ghetty Green. “Wonabees” was from an underground mixtape [Underground Vol. 3: Kings of Memphis], but it was on CD though. It was like a compilation joint with everybody from the label. When I came out with Ghetty Green, that’s where that style right there started from.
See Juicy is a producer, and he’s the one who told me to spit it like that. I was just rapping about what I knew and what I do, what I used to do and will do. Other than that, I don’t get involved in styles and all that. I just do whatever, and I caught on to what niggas liked. So if they like it, I love it. [Laughs]
DX: [Laughs] There seems to be a little bit of a method to the madness though. Most people can tell the difference between so-called “gangsta rap” and a song like “Choices” or “528-Cash?”
Project Pat: “528 Cash” [click to read] is a real song. I was talking about something that really happened in my case. When I did fed time, it was for a robbery. The nigga who let me in the door got the prosecutor on me. That’s why I said, “How a plea from not guilty turn to guilty / Could it be that my homeboy turned states on me.” He wasn’t a childhood partner of mine though. I ain’t never had no childhood partner. So when I walk into the courtroom, he’s sitting right there with the prosecutor. That killed me!
So that Ghetty Green album was what I was either doing then, or had just been through. Now Mista Don’t Play was what I had just stopped doing and what I would do. And I kept that format from then on. I just kept rapping about what I will do and how a nigga will somewhat handle it out here. But I took this new album, Real Recognize Real, back to those Ghetty Green days.
DX: One thing your fans like is that you talk about the consequences of these acts also.
Project Pat: I make story raps too. But I always try to tell it so it will come off real. You have to talk about how you might go to jail. That stuff really happens.
DX: And even though the raps can be simple, even repetitive at times, your music has always appealed to us self-proclaimed rap nerds.
Project Pat: A nigga from the streets wants to hear about struggling, going in and out of jail and all the stuff he’s going through. He wants to hear what the business is, because he can relate to it. This is truth for him. You hear people talk about being in jail before they was rapping. But I’ve been in jail before and while I was rapping. I’m not bragging on it, but just be true to what you do. I ain’t gotta say nothing or fabricate about dope and guns.
A lot of dudes I grew up with were foot soldiers when we were little, but now they’re OGs. So they’ll tell these young dudes, “Pat? That’s my nigga.” I knew them before they was Crippin’ or before they was a GD. They’ll still be legit, goon dudes, but I just knew them back then.
DX: Obviously it’s nothing to glorify, but because of that, the prison crowd shows you love also. You could probably go platinum off of just selling albums to the people locked up in 201.
Project Pat: Yeah, 201 has horror stories. And I could tell you a bunch of ‘em ‘cause I stayed in there…Oh my God. The longest time I’ve been in there for one bid was probably two years. But I’ve probably spent a total of three…maybe three-and-a-half years in there going in and out. I’ve been to 201 three times since I’ve been rappin’.
For some strange reason, every time I did time, it was the hardest time. The first time I ever went to jail they put me in a federal prison unit. When I went to jail they started me out in Memphis, then they shipped me to Beaumont, Texas—“Bloody Beaumont.” Man it was off the chain down there; there’s a lot of Blood niggas down there on that compound. They come out of Galveston, Texas and Little Rock, Arkansas. It’s wild as a bastard down there, dog! And Mexicans? Every Mexican gang you can ever dream of is down there.
Beaumont was a disciplinary joint, so they went hard. And if you were a snitch, kill yourself. You couldn’t live on the compound and be no rat. Ask anybody who did fed time about Beaumont. They didn’t even have to have done time in there, but they know about it. Alfamega [click to read] was in Beaumont. Me and him talked on the phone, like, “Man I heard you was in Beaumont.” And I told him, “Yeah I was. In population.”
But it’s all good though. Like I said on Back 2 Da Hood, “A wolf won’t mess with a wolf. A gorilla won’t mess with a gorilla.” I was up in Greenville, Illinois and they had some real body snatching niggas out of St. Louis up in there. Old heads were like, “Pat, we love you man. Keep rappin’. These rats and fake niggas are out here, and you’re in population. We heard you was down in Beaumont keeping in one hundred.”
DX: That sounds like some serious stuff.
Project Pat: That’s anybody though. You have your people that you’re cliqued up with. Most of the blacks stayed cool, but we stayed getting into it with the Mexicans. Dog, it was so sick down there. The first night I got there, they killed a nigga right upstairs from me. But niggas was seeing me with two knives, and they knew what it was, because they had them too. So they would call back home like, “Dude is a real dude. We just went on lockdown, and he’s right here with us.” I must’ve took 1,000 pictures.
DX: See, that will make you want to do nothing but rap.
Project Pat: Yeah, I’m cool…don’t wanna do nothing illegal. Just let me put these mixtapes out and I’m straight. It’s another side of the game doing that fed time. That joint right there messed me up. You gotta have a strap.
DX: So what do you think creates that mentality?
Project Pat: That’s the mentality of a street nigga. A street nigga don’t think he’s doing nothing wrong. He’s thinking, “I ain’t killed nobody or accidentally shot no babies or nothing like that.” The police could catch him, and he might be smoking some weed. Now he doesn’t have any dope on him, and he has a gun on him, but he ain’t messing with nobody. So if the police pull him over, they’re the ones messing with him.
DX: Is that what happened to you in 2001?
Project Pat: Yeah, but then the feds picked the charge up. So that’s why I went down from 2002 through 2006. And I had a felony robbery charge before that. What’s crazy is, that’s how a street nigga will think. You’ll sit here and think, “But you’re breaking the law?” But street niggas have our own laws—that’s the code. So when the police pull you over and say the weed is illegal, you’re like, “Huh? This ain’t no pound. I’m not selling no dope, this is just to smoke.” So in his mind, the police are harassing him.
DX: [Laughs.]
Project Pat: But see the reason why we think like that, is because it’s niggas out here kicking doors in and killing babies. If you know there’s other people out here robbing folks and raping hoes, you’re thinking, “What the hell you messin’ with me for? I don’t have no cocaine on me. Go find one of these young niggas shootin’ on folks. I’m not hurting nobody.” If he tells me the gun is illegal, I’m thinking, “What the hell is wrong with you? You’ve got a gun too, don’t you?” It’s a messed up mentality, but that’s just how we think.
DX: That’s crazy, when you put it like that…
Project Pat: There’s been so many times, when the police pulled me over. I remember they pulled Juicy over, and caught him with guns in the car like,
“What you doing with these?”
“Hey, those are for protection.”
“Hmmm. We ain’t lookin’ for you. Go on about your business.”
And then they threw the guns back in the car. They didn’t give him a charge, because they knew he needed the guns. That’s a real policeman, and I can deal with that. But let them catch you with the dope. They’re gonna take the dope, and they’re gonna take your money. And they’ll ask you, “What do you wanna do? Do you want this back, or do you wanna go home?” You see them same police out here, and what are you gonna do?
DX: Alright, let’s shift gears a little bit. Street nigga shit aside, Hypnotize Minds has always been independent businessmen…
Project Pat: Yeah, we done sold a million records. I look at the game thinking, “I done sold a million records when I was in jail in 2001.” It ain’t a lot of people who can say that. I was blessed in that situation, but it really happened. So I thought about it, and I seen dudes doing the mixtapes. When I came out in 2006, I should’ve been making mixtapes then. But Sony wasn’t thinking with the mixtape mentality. They were thinking, “Make a song and we’re gonna put it out and make it hot. Then it’ll be on.”
DX: And this was right around the time Sony absorbed Loud, right?
Project Pat: Yeah, Loud Records was that company. If I had got out and still been on Loud, they would’ve told me, “Man we gotta get about three mixtapes on you first, then we’re gonna drop the album.” See Loud was smart. They know about the street and promoting that type of music. When I got out, I was thinking it was like back in the days, where you make one song, get on the radio and start poppin’.
What I did was sit back and start peepin’. In 2007 and the top of ’08, I said, “You know what? It’s the mixtapes. I’ve been out here messin’ with Sony and fooling with Koch, but it was all about the mixtapes.” And a dude from Koch told me, “Man, you need to get out here on some of these mixtapes and put some verses together. That’s how you get hot.”
DX: What caused the move from Koch to Asylum?
Project Pat: Koch is cool. I mess with Koch, and they’ll get you on the radio. They took “Don’t Call Me No More,” and I didn’t really make that as a single. I just made that to be making a song. I noticed that when I was with Sony too, when I made “Good Googly Moogly” too. And those are cool for maybe second or third singles, but I wasn’t on it like that.
The thing is though, I ain’t making no more of those songs. I got a few now that I ain’t even trying to write, ‘cause Asylum will be the main one…actually, the thing I like about Asylum is they let you put out what you want to do. They’ll give you that time to get that buzz going.
DX: Now that downloads and ringtones are taking a piece of the pie, does that time in the independent game make it easier to adapt?
Project Pat: Oh yes. I just got off the phone with Juicy, and we were talking about how things are just like they were when we first started. We already know what to do, because we’ve been in this position before. What’s so easy now is that we’ve sold millions of records before, but Three 6 Mafia ain’t really done any mixtapes. They saw me doing the mixtapes, and now they’re about to get on it too.
Juicy J has a new album coming out called Hustle Till I Die. We always messed with underground people coming up. So now we’ve got a girl from Memphis coming out named V-Slash; I’ve got her on the Dutty Laundry mixtape. I got some young niggas out of Memphis too. People still want that underground, street shit.
DX: It seems like mixtapes are filling that void that “Rap City” and “Yo! MTV Raps” left behind.
Project Pat: We from down south man, and I’ma put it to you like this. A nigga can be brand new, and make nothing but mixtapes. You’ll have to pay some of these deejays if they don’t know you. But, guess what? You’ll be so hot in the streets that they can put out enough mixtapes and just get that show money. Ain’t nothing wrong with that. You’ll see dudes down here making $8,000 a show and they’re not even on yet.
DX: Why do you think it switched up like that?
Project Pat: Down here in the South man, we’re stuck in our ways. And we’re gonna keep it for a minute. New York gave it away because they didn’t let surrounding areas get on. You had dudes from Boston who were banging. And New Jersey is gutter as a bastard. They could’ve kept the game longer if they hadn’t have been so selfish.
See, down south, we ain’t trippin’. Wait till Arkansas gets on. I’ve met so many dudes from Arkansas that can put it down. And one thing about them is if a dude ain’t a real, stand up, street nigga, people down there won’t back him. Florida is doing their thing, and we ain’t trippin. They’re talking about that dope, that money, hoes and them shiny cars. Let’s make it happen. Down south, we got the same style. But our swag ain’t the same. A Memphis dude won’t have the same swag as a Miami dude.
DX: There’s a generation gap between the first generation of Southern artists, and some of the younger cats making music related to dances and ringtones. How do you balance that?
Project Pat: After listening to OJ Da Juiceman and Gucci Mane [click to read] and them, I said, “You know what? We’ve gotta keep this thing street.” TV took the music away from the streets, but everybody still on that street music. Stuff still goes down in the streets, but the mainstream, they’re not dealing with it no more. They not taking no chances. But after seeing what happened with those singles, I can’t have it no more. I gotta make some bump. Dudes now think the street music is everything. That street music is almost becoming extinct, so when some of it finally drops, dudes is like, “Man, I gotta have it.”
That’s why I dropped that Dutty Laundry CD, ‘cause I knew I had to go on and make something happen. The only people who can come out after Gucci drops, are dudes that ain’t nobody heard about. Man, Gucci is gonna cut a lot of heads when he comes out. If you ain’t made your mark by then, you just might not make it. Gucci and OJ are what the streets are talking about right now. It’s like Batman and Robin.
DX: So when you see independent artists like Gucci or OJ doing their thing on the mixtape grind, does that remind you of the early Three 6 Mafia days?
Project Pat: Oh, for sure. I was listening to Gucci in like ’06. After I started hearing him, I said, “Gucci ain’t sold a million records nationwide as far as in the stores. But he’s probably sold a million mix CDs.” If one sells 20,000 and another sells 30,000, all that starts adding up. And before you know it, he’s probably got a million or even two out there. That means he’s just building his resume up, and if they promote him right, he’ll be set.
But, them my niggas right there, and they bumpin’. I saw how Gucci was coming with the styles and the swag. Almost anybody can rap, but Gucci had that swag. Real talk, I already had a swag. So I just reinvented mine, and came through another door—which is these mixtapes. The younger generation might’ve heard some of my older albums, but they were like, “Well, what’s he got out now?” Everybody’s on mixtapes, so I did one with DJ Scream, and then I did another one with DJ Trap out of Johnson City, Tennessee. I did one with DJ HeadBussa out of Tampa, Florida. I did another one with DJ Big Biz up in Canada. You already know about the one I did with Dutty Laundry out of Chattanooga, and I’m doing one with DJ J1 out of Atlanta. I’m working on one right now with Trap-A-Holics, and I’m finna do one with Michael “5000” Watts. Those are both gonna be monsters. I’ve got two songs with Uncle Murda [click to read] from Brooklyn that I just finished playing in the car.
DX: What? Project Pat and Uncle Murda?
Project Pat: Yeah, I like him. I’ll tell you something, he’ll come up ‘cause he’s from the street, and that’s what people wanna hear. His raps are just retarded, and he’s on straight goon time.
DX: That’s a random combination. How did you two hook up?
Project Pat: I heard him on a mixtape rapping over “A Milli.” It was probably like 10 other dudes on that song, and I don’t even remember who they were. And these were industry dudes. But Uncle Murda came on there and started rappin’, and I said, “Who is this nigga? This nigga wangin’!” He was talking about being in the street and talking about them pistols, and I said, “Whoo!”
So I started asking around about him, and dudes were saying good things about him. When I got to New York, I got up with Kay Slay and J Grand. I’ve got some people in New York—dudes in the street from Brooklyn that I know. If you wanna know something about somebody, you’ve gotta go to their city. And they were telling me, “He shot on niggas…got a murder charge. Niggas shot on him, and he was robbing out here.
That made me like him even more. Kay Slay gave me his manager, Hood’s number, and we got him on the phone right there. So when I talked to him, he was like, “What? Nigga I know you, fool!” We got two monsters together, and I did the hook for both of them. So I’m gonna take them joints to Trap-A-Holics, ‘cause Murda is known up north in New York, Connecticut and Jersey. I’m about to get out here, man. I gotta get that, and I gotta finish this one with Michael Watts. I used to be in Dallas every week doing shows. It’s just a younger generation, but they know who I am. A lot of the younger dudes coming out of Dallas like Tray-D want me to do songs on their albums.
DX: Sometimes the racism in the South is so obvious. I drove past a state park dedicated to KKK founder Nathan Bedford Forrest on the way here. Does that climate force Southern artists to be more unified?
Project Pat: Well, I don’t think that really plays into it. As far as the rap game, we’re the last to get our shine. You have to understand that we sat back and watched New York and the West Coast get theirs first. We was like, “Man, they just ain’t hearing us. It’s like we ain’t nobody.” So rest assured that now we’re greedy, and we’re gonna keep it. We’re stuck in our ways down here. And, no offense to anybody on the East Coast, but we just ain’t trying to hear that right now. I don’t care who you are.
We like a certain kind of flow, and we like when dudes flow to the beat. We came with Crunk, we came with Snap, and now we’re on Trap. And we’re gonna be on trapping for minute, ‘casue we were always about that. Go back and listen to some of that old Master P, and you’ll see what I’m talking about. The Crunk sound came in, but if you look at Geto Boys and stuff like that, we was trappin’ from day one.
DX: With the exception of today’s interview, a lot of the stuff you and Juicy talk about has mellowed over the years. Do you attribute that to growing older?
Project Pat: I had this partner I used to run with. He had a daughter when we were about 18. And I told him, “I always had a daddy. But you got a little girl now, and that’s cool.” So when I went to break into this house, he was like, “Oooh let me go.” And I told him, “Nah dog, you can’t go. Somebody might be in here. And since you’ve got a daughter, you can’t be getting caught up.” I told him we canceled that one, but we really didn’t. But I had to do that, because it was hot out there.
I used to dodge him a lot after that, and he thought I was acting funny with him. He wanted to go on the robbery that I got caught up in and went to jail for. I explained it to him, and when I was behind bars, we had a little talk like,
“I didn’t tell you what I was getting into, because I didn’t want you to get caught up. If I had kids out here, I wouldn’t be doing this bullshit.”
“But man, you got a momma and a daddy.”
“Yeah, but I’m trying to help them out. You got a daughter, and if you go, then she’s got nobody.”
If a dude won’t take care of his kids, he ain’t no real nigga if he’s around you. If his kids are out there hungry and starving, and he’s giving you money so y’all can buy dope, get high and mess with hoes, why isn’t he doing anything for his kids? The cross is coming for you. If he’ll cross his blood, he’ll definitely cross you.
I never had a big brother, ‘cause I’m the oldest. But my cousin was like my big brother—he was like two years older than me. His baby’s mother died, and he got custody of the kids. That’s what a real nigga does. I’m in the process of getting custody of my boys right now. My baby’s mother went to jail for child negligence. And the day we go to court, I’m getting custody of both of my boys.
For a while I didn’t have any kids. But I got two different girls pregnant at the same time before I got locked up. Then, when I got out, [my sons] were three years old. I said, “Man, I’m not gonna do that stuff no more. I’m not going back to jail; that’s over with.” The illegal game was a wrap. And I know I made the right decision.
DX: Do they know what you do for a living or have they ever listened to one of your albums?
Project Pat: Oh yeah, they’re six now, so they know. They try to rap and everything. They know what’s up.
Cam'ron: Criminal Minded
Cam’ron is walking around the circular 24th Floor Asylum Records offices like he owns the place. The 10-year veteran is cracking jokes, talking to various label personnel and holding court as only a flagship rap artist should. You can hear his distinct voice reverberate around the floor with eagerness, an excitement that his Crime Pays return is hardly an independent underdog release, but the true article of anticipation.
A few hours later than expected though, when Killa Cam, separated from his crew, steps into an empty boardroom for a HipHopDX interview, he’s all business. In a day filled with questions about his three-year Florida hiatus, The Diplomats' status and unfinished beef, Cam’ron almost begs for the questions. Soundbytes aside, DX discusses the album, the origins of “no homo” and Cam’ron’s Children of the Corn late, great rhyme partner Big L. We love our job.
HipHopDX: How do you think the time away from the industry light helped you, both as a man, but also as an artist?
Cam’ron: Um, as a man, [it didn’t] really help me, period. I’m just gonna always be a man, regardless of music or TV or movies or if I was a janitor; I’m gonna be a man regardless. Being away from the game just made me realize how much I love [I have], [and that] people were interested in where I’m at. You know there’s a lot of people that could be gone for the same amount of time I was gone for and nobody’s interested in where [they are] at or what’s goin’ on. They’d be like, “Fuck ‘em. We’ll see ‘em.” But you know, just in general, the interest and everybody wantin’ to know where I’m at and what’s goin’ on with me and why [I was] not comin’ out with an album, it just lets me know that I’m more appreciated than I thought I was.
DX: Flowing with the single, one of the things I like about you is, I’ve been in this game myself for 10 years. You were here was I started. You’ll be here when I quit --
Cam’ron: -- I hope so, man. I hope so.
DX: But at the same time, you represent that era – that Tunnel era, you ran in the same circles as Biggie for a minute. I want to ask you, with all the sensationalism and the gossip Hip Hop is at today, is there ever a day where you hate your job?
Cam’ron: Well…that’s a good question. There was a time, maybe about two [albums] ago, where I was like bored with it. I’ve been rappin’ since I was nine, 10 years old. Just in general, it wasn’t necessarily about me hatin’ my job, but [it let me know] I could do other stuff. I’ve made enough money; I wanted to do other things. I was like, “I’m not gonna rap.” I found myself eatin’, at the tables, just makin’ up raps. Or I’d find myself in the car, makin’ up raps. [I’d] go to the movies [and I’d be making up raps]. I’m like, “Damn, I’m not even tryin’ to rap and I’m rappin’.” It kinda [started the fire in me]. Even if I wanted to stop, I couldn’t stop. There was a time where I wanted to, I just couldn’t. so I guess I hate it but I still love it at the same time. I couldn’t stop if I wanted to. Now I’m enjoying myself.
DX: I remember where I was the first time I heard “357.” You introduced a whole new style to the game, in my opinion. Not only lyrically, but sonically. Every single one of your albums has done that. I look at joints like that, “Killa Cam,” the new single. Tell me, sonically, the level you’re taking it to on Crime Pays.
Cam’ron: This album here, I would say it’s vintage Cam’ron, but it’s still ’09 Cam’ron. There’s a lot of people that come up to me and be like, “Well I want that Confessions of Fire album” or “I want that S.D.E. album,” and I’ll be like, “Confessions of Fire came out in 1998. I can’t give you what I gave you in 1998.” But this album is just…I can’t put my finger on what to [call the style], but the creativity is just incredible. I’d say I have about 40% topic songs – the “I Hate My Job” [click to listen] stuff. I got maybe 20% of party records. The rest of it’s street. There really aren’t any cross-over records on there, radio-type records. It’s real gritty. It’s real dark – and when I say dark, I don’t mean like [roars], it’s a real street record. There isn’t too many “See More Hundreds” or “Hey Ma’s” on there, or stuff like that.
DX: Did you record most of this record down in Florida or did you do it up here?
Cam’ron: Um, I did a majority of it here. I own my own studio here, but when I was in Florida, I had access to a studio also.
that’s on there [is] eight months [old]. I’m a person that, we’ll be in the studio, and I’ll come in [while] my friends are playing some of my songs. They’ll say, “Yo, this shit is fuckin’ hot…” I’ll be like, “Yo, it’s a year-and-a-half-old.” They’ll [argue that nobody has heard it], but if I heard it, it’s old. I kinda stay current. If a song that’s timeless, I think it wouldn’t matter. I gotta stay updated. Whether the music comes out or not, I’m always working.
DX: From Digga to Heatmakerz to Kanye West, you’ve brought a lot of people with you. Are you introducing producers this time or are you revisiting old friends this time?
Cam’ron: Most of the album is done from in-house producers. New—well, they’re not really new producers, but they’ve done a lot more work on the album than on previous albums. My man Skitzo, he did about 60% of the album. Arab, a new producer from Rhode Island, he did about the rest of it. Besides Skitzo and Arab, there’s probably two other producers, but [they] did most of the album.
DX: Between XXL and Miss Info, they covered a lot of The Diplomats questions people had. So many people have questions, and they’re getting their answers. Are you touching on these issues at all on the record, with questions people have, regardless of what those questions are?
Cam’ron: A lot of people ask that. I tell ‘em: get the album. You’ll see when you pick it up.
DX: Fair enough. One of things I respect about you is you made being independent seem like a smart move. You were the first artist to go to a Koch or go to an Asylum, and make artists who thought they were good at a major kind of rethink it. Last year, between T.I. and Lil Wayne, it was a winning year for the majors again. Is there anything you’ve figured out, with the new technologies, on how to make being independent what it was for you in ’05, ’04 and so on again?
Cam’ron: We’re gonna see, man. Like I said, you can’t really say. If somebody asked me five years ago what I’d be doing today, I wouldn’t see no Internet be this poppin’, so and forth. Everything I’m doing, I’m definitely doing for the whole one hit. It’s not like [Asylum executives] Todd [Moscowitz] and Joie [Manda] are like, “We are an independent; we need to sell 20,000 records this week.” We definitely gonna move some units, but I can’t sit here and say we guarantee we’re gonna do [a number]. ‘Cause like you said, there was a time where being at a major was crazy, and now it’s like – like you said, T.I. [click to read] and [Lil] Wayne [click to read] doing good, I think they’re just putting that umph back into it. You’ve got to realize too – I’m not sayin’ that Asylum didn’t do their job, but that’s why I love them, ‘cause I get a majority [percentage] of the gross [sales]. So for them to even want to put their foot in the project like they get the majority percentage, I love them for that. They definitely put their foot in like that. As far as me making predictions, I don’t know, couldn’t tell you. But we’re definitely going for the whole [thing].
DX: Flowing along with that, yesterday, the biggest record on our site for listens was the remix you did with OJ Da Juiceman and Gucci Mane, “Make Da Trap Say Ay!” [click to listen] To what extent does this label make you want to be a leader?
Cam’ron: You know me, if I like the beat…and I heard the beat and it was knockin’. Like I said, Joie and Todd [were] patient with my whole situation. They gave me a lot of money, and I haven’t turned in a [second] album yet because of my mother’s [illness]. I don’t want them to think that I’m not a team-player – they may have gotten that vibe from me over the last couple of years. Now that I’m back in motion, I just want to let them know [I have their back after all the delays]. Anything I can do to help the label out, it’s not a problem. Plus, I’m a fan of Gucci Mane [click to read] anyway. Gucci’s a good artist. I like the new song that OJ has. It was my first time hearin’ it, but it was a good record and I heard it was doin’ real good in Atlanta. So definitely happy to be [a team-player].
DX: On a lighter note, in your time away, the phrase “no homo” really took off. You’ve been a trendsetter. At the same time, as you took this time away, did at any point, you think that phrase got out of hand?
Cam’ron: Nah. Like I said, ‘cause it isn’t like people didn’t know where it originated from. A couple times it was crazy, ‘cause a friend of mine’s son is like three or four. [He] thought Lil Wayne made up “no homo,” but the younger kids are gettin’ into it too, like infants are no-homoing. I think Wayne just crossed over with it. That’s my man, use it anytime you want.
I didn’t originate that. It’s from the east side of Harlem. I learned that at Jefferson Projects at 115th [Street] and 1st [Avenue]. they are the originators of the “no homo.” That’s where it started from. The first time I heard that phrase, it might’ve been 1990, ’91; it’s a 20 year-old phrase. DX: Last week marked the 10 year anniversary of Big L passing away. It’s not talked about too much, but some of those tapes that you guys made together have leaked, and it’s some mind-blowing stuff. I wanted to ask you one or two questions about that. One being, what’s your favorite memory of your brother from that era in your life? I would say my fondest memory is the times I used to just come to the block and L’d be standing there by himself. He’d be like, “Yo, I can’t think of no rhymes. Give me some inspiration.” I used to be like, “Wow, Big L wants me to rhyme,” even though that was my friend, I looked at him like the main rappin’ nigga. Like damn, he had a [record] deal, he’s from my block, he wants me to rap? Hell yeah, I’m gonna rap for him. I used to come over to 139th and [Lennox] and he’d just be sitting out there, asking me to rap for him, I just thought that was just [amazing]. DX: And you had a verse on his debut, Lifestylez ov da Poor & Dangerous. What did that mean to you in 1995? DX: Of all your career, what’s your proudest verse? DX: Last question. From the color pink, to the phrase “no homo” to driving Italian sportscars in New York City, you’ve set a few trends. After Crime Pays makes its rounds, what do you forecast being the next Cam’ron trend?
Cam’ron: Big L? Big L was a funny guy, man. He was the comedian on the block; he always hung out. He was the one who told me I should rap. I used to play basketball and stuff like that. He was like, “Oh, you good” or whatever.
Cam’ron: Yeah. That was crazy! I was just gettin’ out of high school, gettin’ ready to go to college to play basketball. So to be on a real rapper’s album, it was really, really cool. It was a good look, man. I really appreciated it.
Cam’ron: My proudest verse…that’s a good question. I don’t know, man. I never been asked that question before, you know what I’m sayin’? I made so many songs, so many different things. I would say basically, if you pick up Crime Pays, right now my favorite verse is the intro. [It’s] deep; you’ve got to listen to it. It talks about how when I was growing up, and the teacher asks you what you want to be, so on and so forth, it’s kind of going in that direction. But I spit a verse that’s kinda crazy on the intro to Crime Pays. I don’t want to say that’s my favorite all-time. I can’t think; that’s really a great question. But right now, at the top of my head, I’d have to say that’s my favorite verse right now.
Cam’ron: I don’t even try to set trends. It’s just me being me, and it kinda happens. When I wore pink, I didn’t know everybody was gonna wear pink. Or, like you said, saying “no homo,” I didn’t know – that’s just some shit from Harlem I picked up. I don’t really try to set trends. I think saying you’re gonna set a trend is kinda jinxing yourself. So I don’t know. Maybe everybody is gonna start wearing a cape. I don’t know.
