HipHopHavoc - Interviews

Jim Jones Interview (Courtesy Of Complex)

HipHopHavoc — Sun, 17 Feb 2008 03:24:00 +0000

Things have changed dramatically for Jim Jones in the past three years. Sure, he’s

still the slick-talking, swaggertastic Harlem Diplomat, but you’d be wrong to call him just another hot rapper. In addition to proving that artists on an indie label
can sell healthy, Jones recently inked an out-of-the-ordinary 50/50 venture deal with
Sony. Although the strained relationship he’s had with Dip Set partner Cam’ron has been the talk of the rap community as of late, nothing clouds Jones’ focus on making sure his business game is proper. We caught up with Capo at his video shoot for his latest single, “Love Me No More,” to talk Cam, Jay-Z, money, and what he likes to call swag-splashin’.

By Joe La Puma
Photos by Jared Ryder

Complex: It was reported that Juelz hasn’t spoken to Cam in 3 months, what’s the status from a relationship standpoint between you three?

Jim Jones: We’re all grown men, at the end of the day, we’re still friends, we’re still brothers. Juelz took a moment off to get his music together and come back stronger than ever. Cam took his own hiatus and that’s what goes on. As far as we’re concerned it’s still Diplomats, it’s all Diplomat business, nothing’s changed, the bird still flies high, Byrd Gang/Skull Gang, let’s do it.

C: Cam seemed like he was in the leadership role up until about a year ago, what do you think the main reason was for the shift of power?

Jim Jones: Cam’s still in the leadership position; we started this thing together, we’re partners, that’s my partner. We’re CEOs of this, and he has his own business that he does, and that’s how it goes. It’s still a business above all when it comes to Diplomats, but everyone has their own ventures that they become bosses of and making money off.

C: When’s the last time you spoke to Cam?

Jim Jones: Last time I saw him was Christmas Eve, we were both in the bank doing bank withdrawals. In the best place we could ever run into each other, in the bank ’cause we’re getting money, ya dig? That’s that Diplomat shit right there. Ain’t that the best place to run into somebody, like “What’s up? I’m coming to get a quick $30K, what you coming to get,” he’s like “I’m about to get a quick $40K,” I’m like shit we’re still getting money, I can’t get mad. That’s just for Christmas, just for the pocket.

C: Did he mention anything to you about going on stage with 50?

Jim Jones: Jones: He can’t tell me what I can do. I’m a grown man, I’m a boss of this shit, what I do for my own career and what I do for publicity is what I do. I always have my own edge, and there’s a method to my madness. It works for me and it works for us at the end of the day. I got a song with Game right now, so nobody can tell me what the fuck to do, and when to do it. I do what the fuck I want to do if it makes sense for me, and where I’m goin’. As long as it’s not going to taint the brand, you can’t tell me shit.

C: How did the Sony deal come about?

Jim Jones: Hard work, all the work I put in as far as having the last most three incredible years a person could have on an independent label. I’ve sold more records than most of the major artists this year. Jay-Z just barely made platinum by the skin of his teeth on that American Gangster, and if you ain’t go platinum you’re definitely not making any money. I don’t know why you’re renegotiating, you haven’t even recouped. What people don’t know about Juelz Santana is that he’s a platinum plus artist. Last time he left the game, he sold over a million records, so he’s as good as when he left. Imagine what he would have renegotiated for. This is what people don’t understand, this shit is all about money for us. We can do what we want to do, we want to take a little time off, we’re going to take a fucking break. We want to come at you niggas, we’re going to come right at you niggas, right to your doorbell, like bing-bong! What’s hoppin’? You in there?

C: Who do you respect on a corporate thug level?

Jim Jones: Dame Dash. Dame is the ultimate corporate dude, it doesn’t beat Dame Dash. He came in this game, he accomplished what he dreamed of and he sold what he came in for. That’s what it’s all about for you being able to sell your thing for millions of dollars. This is what Dame has done as far as having his Rocafella conglomerate and then he disappeared from the game because he didn’t need it. He’s rich beyond belief. But you’re going to see a lot of him now because he’s been consulting me on some things, you may see us running around on TMZ or channel 5 or something like what’s hoppin’?

C: Has your relationship with Dame got stronger since he left the Roc?

Jim Jones: You know how long I’ve known Dame? Since I was six, literally. When I knew Dame, no one was famous. During elementary and high school, even though he was always older than me. He’s one of my mentors; I fuck with Dame, sincerely. He’s that dude, he’s the real.

C: You think Dame would be a good replacement for Jay, now that Jay stepped down?

Jim Jones: Did he leave Def Jam, or was he fired? Or was he weak? Which one? What happened with Rocafella?

C: How do you feel about Roc?

Jim Jones: I’m about to throw them a raffle, we’re going to write their [Rocafella] artists on a piece of paper, give me a hat. The name we pick we’re going to give them a deal. [Laughs.]

C: What do you think is the main the reason for their turmoil?

Jim Jones: I don’t know what their turmoil is. You know why I’m pissed off at him [Jay-Z]? He was my favorite rapper and then he just went out like a dud. He had a chance to do the unthinkable and then he did the unthinkable. Where I’m from, loyalty is everything, above and beyond everything. When you violate that, it fucks everything up. Especially when you were the hustler’s poster child and you chose to become a corporate stepchild. That don’t make sense when you’re all black-owned. I took an executive position because I didn’t know the game, I took it to learn both sides of the game; there’s a difference.

C: How did you feel about the American Gangster album?

Jim Jones: It was a cool gimmick; he geared it around the most popular movie of last year about gangsters and shit like that, and that’s what hip-hop personifies, this gangster rapper image. He seems to be infatuated with Harlem from way back in the day and this was his opportunity. I say some people do soundtracks to the movies and we do soundtracks to the streets, which we live on, which we came up on, which made us. I’m not going to discredit him, he makes a good song every now and again, I don’t hate on anybody’s music; when he has a good one, he has a good one. There are a few songs on American Gangster that I did appreciate, I can’t front, he got off on a few.

C: Which ones did you like?

Jim Jones: The shit with Nas, he got crazy on it. “How many times can I go to Mr. Childs?”

C: Has your perception of those two working together changed at all?

Jim Jones: For somebody trying to stay in the game and keep life and get off the respirator and say they came out of the coma, it’s good. I’m not knocking nobody’s hustle. I’ve become older and some of my childish grudges, I’ve let go of a little bit. What I call a stupid move may be a smart move for him. Maybe that’s all he can accomplish or all he can negotiate. For what it’s worth, he [Nas] was in a position where he had to deal with [Jay-Z]; he was the president of that label. For me, though, I would have never done that. I’m my own boss by all means; I figure for a person of that stature who has put so much work in the game and is a veteran, I thought he would never do that move. Sign of the times goes to show you though; people play chess in a different way. You’re either a king or a pawn.

C: What’s the deal with your reality show?

Jim Jones: This is a reality show, my life without the cameras. VH1 is digging in. I didn’t think that YouTube clip was going to even pop up on the Internet, to tell you the truth, big baby. But they caught a real life moment. Who am I to say anything?

C: How important is Internet marketing now?

Jim Jones: Very important. Everything is viral! I just learned that word the other day?everything is fucking viral. I guess that’s the Internet, MySpace and YouTube and Bossip.com, all that type of shit.

C: Are you going to focus more on the net?

Jim Jones: I’ve been doing pretty good on the internet for the past few years. I think I’m still in the top five when it comes to viral artists, independently. Shit, I do my thing, I can’t complain, but we’re going to take it to another level now that we have more money and more opportunities and people that own certain viral situations.

C: A few weeks ago, I heard some cuts off the new tracks with your artist NOE on them, he sounds pretty similar to Jay-Z?

Jim Jones: You were sneaky peeking? How you felt about that? We’re not trying to be like nobody, we’re just trying to do excellent music. There are similarities between everybody, if he didn’t make good music, you wouldn’t be inquiring. Fab sounded like Mase when he first came out, did he not slide right in and start getting Mase’s sales? Who Shyne sound like? Shyne sounded like B.I.G, did New York not start loving him? C’mon, let’s get money. It’s all about business here, 90 percent business 10 percent music. I got the 10 on the music and the 90 on the business.

C: Does the new album have any shot of having another “Ballin’”?

Jim Jones: That’s what everyone’s going to hold me accountable for because it was a very strong record, it made history. This is music, though, I don’t plan on giving you another “Ballin’” I’m planning on giving you another record that’s emotional and that you’ll be able to feel. Fuck a “Ballin’,” I am ballin’. That’s what I gave it to you for, now I might swag-splash you give you a little bit of style, ya dig?

C: With rap sales down?

Jim Jones: Whose rap sales are down?

C: Well, the majority of rappers?

Jim Jones: Then say that!

C: OK, with the majority of rap sales down across the board, what other hustles are you looking into for 2008?

Jim Jones: Whatever I can get my hands on. I’ve been doing the fashion thing, I was at Fashion Week, learning everything from top to bottom. From the real chic to the urban demographic. We’ve indulged in liquor, I’ve gotten better at that. If you think back to “Oh Boy,” we were the first people with smell-goods, but we didn’t know how to do a deal. Now that I’ve seen people have exploited the “smell-goods” market, I’m going to jump back into that. You might catch me on the side of a bus- in Calvin Klein ad, spread out [does modeling pose], BAM! Holla at me, ’cause I gets moneyyy!

C: Going back to Dame, how did you feel about The Untouchables?

Jim Jones: It gave you the real thing, it gave you the raw. It had detectives that were involved, the D.A.’s that were involved, some of the players that were involved, the emotions that were involved. Some of the people today are still hurt on the face of disloyalty that Nicky Barnes has shown. From a Harlem perspective, before the snitching, Nicky Barnes embodied everything that we were about. Going hard hustling, fly, flashy, taking care of his people, creating a bond amongst people, and then he violated everything he built due to his own selfishness. I guess he didn’t watch some of the movies, when you choose you choose, and the bitch chooses who she wants to be with.

C: Is snitching ever OK?

Jim Jones: Nah. Let me tell you like this. You have to have integrity in everything you do. Snitching is at its worst when you snitch on a friend you built a bond with. A loyal friend that would never think of what you’ve done-to do something that would discredit them, or lock them up and take them away for life, that’s like death. There’s a thin line between love and hate when it comes to snitching. Where we’re from, don’t do the crime if you can’t do the time, why would you try to find a scapegoat to suffer your consequences? Wrong is wrong, everybody has to get dealt with accordingly.

C: Right.

Jim Jones: There’s a justice system for everything, and we can’t say we hate police because they hold order in this world. As much as we like to say we hate them, and fuck them and shit like that, and that they do us wrong, at the end of the day if there was no police everyone would be running around here like it was the Wild Wild West with guns and shit on them getting busy.

C: You’ve said you’re an emotional person, on 106 and Park you got emotional, what has the response been to that?

Jim Jones: For what it’s worth, there’s been a great response. A lot of people have told me for what I have done, it was very powerful. A lot of people don’t want to step out in that form or fashion, and it’s touched my family in a way where I couldn’t wait for an opportunity to speak out. There’s not too much of a human element in rappers, before they started they were very humble, then they get a little bit of money and they get vain and obnoxious. Then when they get knocked back off they want the same favors as before, but as it turns out they’ve burned a lot of bridges. For what it’s worth, I hope that what I did shows we do have a human element.

C: Where do you get the hot-shot dialect from?

Jim Jones: My swag? I’ve been swag-splashin’ these niggas. It comes from coming up in the ghetto. Coming up in the gutter, coming up amongst the pimps, the hoes, the hustlers, the thieves. I was what you’d call a prince amongst thieves, and I still am. There’s some honor in that, I was allowed to roam where I wanted to roam, I was allowed to learn the game from all angles. A fast tongue is what you needed to have if you were a hustler, if you were trying to get money, fast hands what you need to have if you wanted to survive in the streets and fast feet is what you had to have if you wanted to get away from them cops. Coming up in Harlem, all the flash? I mean all the flash like everything you can imagine. The dice games, you go to one dice game you’ll learned all new slang it’s unbelievable. We could do a big article on dice games, and how much slang comes out of a dice game, how much quotable you have in one dice game. Niggas start betting thousands, and niggas start talking greasy! That grease starts falling out their mouth, that can of oil, ya dig!

Prodigy Interview(Courtesy of Art of Rhyme)

HipHopHavoc — Fri, 04 Jan 2008 13:46:00 +0000

What's up Prodigy? How was your Christmas?

Prodigy: Everything is good man. Everything's good.

On January 9th you're set to begin a 3 and 1/2 year prison sentence. Where is your head at right now and is it tough to go through the holidays knowing what's coming?

Prodigy: No, not really. I don't really celebrate holidays like that. I'm just working on my album, know what I mean? Just repping my album up, putting the final touches on that. That's where my focus is at right now.

Your solo album H.N.I.C. Part 2 is dropping in March. What label will it be released on and who did you work with?

Prodigy: The label it's going to be released on is called Voxonic. It's a new company and they have this new technology that they are bringing to the table where they can have my album in any language in the world. Basically it's a translation technology, it's a really big idea and it's going to change the game.

Yeah that sounds crazy. Who approached you with the idea and is it strange to hear your own voice in a different language?

Prodigy: Yeah man. I had a meeting with the guy who owns the company. Basically we came together and made a big deal. We made a nice little deal over there and it's a nice situation to put my album out. I got a position at the company, I partnered up with them. So we're partners in the company.

Were you already finishing up this project before the sentence, or did you decide to speed up the process once you got the news?

Prodigy: The project was already in its process. I had been working on this since 2004, somewhere around that time. Maybe 2005. So yeah, that's when I basically started working on it. I was doing songs here and there but we were busy doing Mobb Deep. You know we were always on tour, making new deals for Mobb Deep and making sure that's right because Mobb Deep makes everything happen. Basically that's what I was doing during that time. When we got back from the Blood Money tour and the Massacre tour I just basically started wrapping the album up and then I caught the case.

How do you think you've grown and changed as an artist since you dropped your first album?

Prodigy: I've just been through a lot, know what I mean? I have been through a lot more in my life. Fans get to build with us because we've been blessed with longevity. We were kids when we came in this game. You got to grow with us and see where we are at now. Basically that's what it is on the album.

You said you're going to use your time to be very productive such as writing a screenplay and your autobiography, what are some of your goals?

Prodigy: You know just making sure hnic2.com gets real big, making sure my album is straight, making sure all the promotion and marketing ideas are good for how we are going to promote the album. That's basically it, because it's a tight album and I kept the home team there. I got Havoc on there, I got UN Pachino from Far Rockaway, I got Twin Gambino. As far as Producers I have Havoc, Alchemist and some others.

Yeah the new stuff definitely sounds good. "My World Is Empty Without You" is a dope song that leaked recently. Will that be on your album?

Prodigy: Nah, that's not on the album. That's just a song I had leaked. That just was some stuff I was working on. It was one of the ones I wanted to leak out.

You mentioned hnic2.com earlier. What can fans see if they check that out?

Prodigy: Basically it's a world I've created where people can network with each other, see my ideas and what I'm going through and find news on what's going on with me and Mobb Deep. That's basically what it is. It's a community where people can come see what's going on, post videos, post pictures and see everything I'm interested in as well as build your own little world on there.

Sounds like there is definitely something for everyone.

Prodigy: Yeah, definitely. We're also selling T-shirts, Hoodies and bandanas. We got a store in there so you can see what we got. We got a lot of different stuff and I designed most of it.

It definitely sounds like the spot for fans. Is connecting with fans an important aspect of the music to you?

Prodigy: Yeah, definitely. Connecting with the fans, you have to do that. The fans are always there for you. They're the ones that go out there and spread the word. Telling other people, "Yo, get into this Mobb Deep shit right here. This is where it's at". You know what I mean? Everyone is going out there and buying the albums.

You have a video for "ABC" out right now and it has a very cinematic feel. Can you explain it a little bit and did you come up with the concept yourself?

Prodigy: Basically Dan the Man and I came up with it together. I try to make the videos almost look like horror movies. It's a mixture of shit you wouldn't expect to see. Like "Oh shit! Did you see what he just did"? Some nice visuals for the people.

You must have a large following overseas, so they'll finally be able to understand your lyrics the way they were intended.

Prodigy: Yeah it's crazy. Because we'll be over seas and they can say the songs word for word but when we try to talk we can't even have a conversation. I was like that's crazy how they can repeat the lyrics and not understand what they are saying.

So what's going on with Mobb Deep now?

Prodigy: Oh Mobb Deep? We are always working. We got songs in the stash that's crazy but they aren't going to drop till I get back home. We'll put out H.N.I.C. 2 out right now and push that. Then when I get back home it is what it is. You're going to get that next Mobb Deep album. I'm still over at G-Unit, so I have one more album over there on G-Unit.

Can we assume that the Saigon Beef is over now?

Prodigy: Yeah I mean, it's whatever with him. Like I don't even pay him no mind.

Anything else you'd like to add?

Prodigy: Basically H.N.I.C. 2 is on and popping. Get ready its going down. The kid is back in effect on his grizzly, know what I mean? So while I'm inside you're going to see how I do it. I got a video for every song on the album. It's going to be real crazy man when the album drops, that's all I got to say man.

Interviewed by Drew & Andy(Artofrhyme.com)

Ghostface Interview (Courtesy of Rhapsody)

HipHopHavoc — Sat, 01 Dec 2007 13:22:00 +0000

A decade ago, the Wu-Tang Clan and Ghostface dropping new music within a week of each other would have been cause for a national hip-hop holiday. Unfortunately, in 2007, it only heightened tensions between Wu members already bickering about everything from compensation to the musical direction of the group’s upcoming album, 8 Diagrams. Rhapsody had a chance to sit down with Pretty Toney while he was promoting his seventh album, Big Doe Rehab. We got his thoughts on the inspiration for his ghetto stories, on G-Unit's Tony Yayo’s claims that Ghost may not be the author of Supreme Clientele, and on where things currently stand with the RZA and the Wu.

[WARNING: The following interview is not recommended for the kind of vegetarians who shy away from hip-hop beef or those who take offense to starred-out profanity.]

When you’re telling stories like “Maxine” or “Alex (Stolen Scripts),” are they inspired by real-life experiences?

Ghostface: When I hear a certain type of music, it brings certain things out. I’m an artist. I’m a real poet. Whatever the beat makes me see, I’ll go write. It might sound like a murder. It might sound like a real snowy day, or kids having fun in the snow. It might sound like “The Sun.” “Maxine” was a true story. It was based upon what happened with fiends in the projects. Crackheads is funny. They be doin’ all types of dumb s**t. You gotta watch ‘em. They sneak things from you.

What’s the dumbest thing you’ve ever seen a crackhead do?

Just anything. These m*th*rf*ck*rs dance for crack. Some of them do anything you tell ‘em to do. M*th*rf*ck*rs spin on their head on concrete for a f*ck*n’ rock.

So when you’re constructing a story like “Maxine,” how long does it take to write?

Sometimes it takes a long time. It depends on how much you keep going back to it. I might write a page and then don’t go back to it for like two weeks or three weeks. It just depends on what comes that day.

What was it like collaborating with Mobb Deep on classics like “Right Back at You”?

That was early days. I don’t remember none of that sh*t. We were just in the studio. I think they had that sh*t already done and we just came and tagged on it. I wasn’t there when [Big] Noyd finished it off. Also, somebody else was on it from Staten Island. N*gg*s cut ‘em off, and put me and Rae [Raekwon] on. It was my man. I don’t want to put him out there or blow him up, though. It was one of the dudes they were f*ck*n’ with at the time.

Did you have a relationship with Hav and P before that? There were a lot of Wu-Mobb collaborations early on in your careers.

No, it was just being cool. We heard that beat, liked that beat, and it was like, "Yo, let us get that space.”

In a recent interview Tony Yayo said Superb had written Supreme Clientele.

Yeah, I was in Europe when I heard that. That’s just nonsense. I still put mad sh*t out. ‘Perb was ‘Perb, Ghost was Ghost. ‘Perb is Rae’s man. He been in the studio a few times while we’re doing sh*t. He ain’t write sh*t. All ‘Perb contributed was a couple of lines that you could put in the air. When we write, we all do that. “Say this one right here” or “Put this one right here.” We all catch lines with each other ‘cause you in the studio. You got n*gg*s around you that write. Even if he did write a verse, he could never make an album of mine. He couldn’t make an album, you feel me? I made Supreme Clientele what it is. Those are my stories, based around whatever they’re based upon. It’s me. I can’t see what songs ‘Perb wrote. He ain’t write “Mighty Healthy” or “One” or “Apollo Kids” or “Cherchez LaGhost” or “Saturday Nite” or “Malcolm.” But, Yayo can suck a fat d*ck. Tell him I said that.

Do you still work with Superb?

Superb been in jail for like four or five years. He started getting high and one day he tried to steal my DAT with all the songs from Bulletproof Wallets. N*gg*s f*ck*d him up. We knew he had it. He was being sneaky. I don’t know what he was trying to do with it, but he had it. That’s that, though. It’s like with Yayo, I don’t know what the f*ck he talkin’ about.

Sean C and LV produced six songs off your new album including “We Celebrate.” What led to them doing so many tracks?
They worked on “Momma” off Fishscale. They had a lot of nice [beats]. I [had] said to myself I was going to go hard on my next one. ‘Cause you never know what the fans want. They trick you. Once you give ‘em this, they don’t want that because they looking for this. For me, I had a hard time selling records. So it’s like, “You know what, f*ck all this other sh*t. Let me just go for what these people know me for and go hard.”

Did you like the tracks they did on American Gangster?

American Gangster is cool. As a matter fact, I did have one of those beats on one of my [beats] CDs, but I never used it. I think it might have been the Marvin Gaye-sampled “American Dreamin’.” For whatever reasons, I ain’t pick it. Maybe I didn’t see the vision at that time. That’s what happens.

Shifting to the upcoming Wu album, how would you say the music on 8 Diagrams measures up to classics like “Da Mystery of Chessboxin’”?

Could never match up. You crazy?!

Raekwon recently had voiced his displeasure with 8 Diagrams’ musical direction. Are you happy with how the album came out?

That s**t is wack. I heard RZA was changing some of the beats around the last minute. I didn’t hear that. I don’t know what y’all listening to out there. I never heard it. I’m with Raekwon.

Both you and Rae had spoken about being owed money by the Wu hierarchy. RZA stated in an interview with Tim Westwood that he doesn’t owe anyone money.

I just won my court case from them n*gg*s. The suit been in there for three years. So put that out there. They just lost their f*ck*n’ case. So who don’t owe who money? Let’s get it straight, RZA. That’s all I’m sayin’, baby. It was a loss, they lost. L-O-S-T. That’s really it.

How you and RZA’s relationship now?

I don’t see RZA, man. That n*gg*’s real sneaky. I love him, though. Ain’t no bad blood. Ain’t nobody doing no bad to him. It’s just that you can’t get money with a n*gg*.

Talib Kweli Interview (Courtesy of HHH Affiliate Site UGO.com)

HipHopHavoc — Sat, 29 Sep 2007 13:41:00 +0000

Talib Kweli Interview
By Adam Rosenberg

"U.S. journalists to want to constantly ask where the next Black Star album is. It's not like people are asking Busta Rhymes when the next Leaders of the New School is coming." Talib Kweli is a bright, shining ray of hope for the hip hop industry, one of several that have broken through cloudy skies in recent years. His lyrics make you think, his music makes you move and his history in the business leaves you constantly wanting more. The year 2007 has been a busy one for Kweli, who started things off on a positive note with the initially free release of Liberation, a collaboration with Stones Throw producer Madlib. Then, this past August saw the release of Eardrum, Kweli's third solo effort and his first release under his own Blacksmith Records label.

During a recent chat, we found Kweli to have reached a sort of crossroads in his musical career. With a new album out, a labor of love web series on the way and the always-constant chatter in the air about coming albums and collaborations, the MC's primary focus right now is on where to turn next.

UGO: So did you jump into Eardrum straight after Liberation?

Talib Kweli: Eardrum was made in the midst of Liberation...in the interim sessions.

UGO: Were the tracks more outtakes from Liberation, then?

Talib Kweli: Well, I wouldn't say outtakes, because I had so much music with Madlib to experiment with - you know, he did three tracks on Eardrum - that I realized if I kept going in that direction, I'd just be doing a whole Madlib album. So I was like, why not do that? The idea was to call it Liberation because our names both end in 'Lib' and [we wanted to] give it out for free. That became the catalyst to get it done.

UGO: It's been a month now since Eardrum came out. How do you feel about the record now?

Talib Kweli: I think it's good. I mean, now is not the time to... pat myself on the back, now is the time to work harder and capitalize on the relative success of it.

UGO: I read in an interview with VIBE that you said your next album is going be called Prisoner of Conscious...

Talib Kweli: I'm really kind of bummed about how fast that spread. I said it that one day, but now I've actually been talking about how that's not going to be the name of it because now I've been asked that question in every single interview.

UGO: But do you feel that way, that you've been typecast as a 'socially conscious' rapper?

Talib Kweli: Yeah... I don't think it matters whether I feel like that, I think it's a fact.

UGO: Even if that's not the name of the album, how are you going to approach this new album with that idea of being a 'prisoner of conscience' in mind?

Talib Kweli: Well, where I'm at right now with it is I want to try a new sound. You know, I've tried new sounds before, and it's been well documented before [that] people don't like when I try new sounds. But I mean...I'm an artist, that's the way I should rhyme. So I recorded Eardrum in a sound and style that I'm very comfortable with and so now I want to try to challenge myself with a new sound again.

UGO: Another thing I've noticed about your career over the years is that, apart from other musicians, you seem more tuned into alternative forms of media. Things such as your upcoming Blacksmith TV web series, video game contributions and a presence on the Second Life virtual community. How much involvement do you have in looking for those kinds of projects?

Talib Kweli: As far as looking for those things, none at all. Blacksmith TV was my idea, but who we could reach with it wasn't. Second Life is something that was brought to me. The digital department at Warner Bros. is excellent and I give them a lot of props for [bringing me] that.

UGO: How about your work in video games?

Talib Kweli: I don't even play video games. If a video game wants to use my song and they want to give me some money or give me more exposure, I'm always down for that. I have no idea what games my songs are in.

UGO: Didn't you also provide the voice of 'Trane' in Marc Ecko's Getting Up: Contents Under Pressure?

Talib Kweli: See, that comes from my relationship with Ecko, it has nothing to do with video games. I was doing Ecko ad campaigns for three years before we did that game. What I do search for is alternative ways market myself because, you know, I live in New York City, but I'm not your average Hot 97 spun record. If the average kid in the 'hood is not going to hear my records on hip-hop radio, then I need to find other ways to get the music out there. That's something that my manager, Corey Smith, has worked hard on doing, ensuring that I always have a presence in the marketplace.

UGO: Can you tell me anymore about Blacksmith TV?

Talib Kweli: Well, it's just...a good opportunity to garner some excitement. You know, I mean I'm a fan of stuff like [The Larry Sanders Show] and Curb Your Enthusiasm, but a lot of that stuff, you bring it to the 'hood and [the people there]...don't get it, the subtle humor. So I wanted to do a show that's like that, but mixed with Smack DVD [Magazine, the quarterly DVD 'zine focusing on a variety of entertainment industries.]

UGO: So there's going to be a fictional element to the series?

Talib Kweli: Yeah, and I want to do it in a way where you're not sure how much of it is fiction and how much of it is real.

UGO: Blacksmith TV is currently designed as a ten episode web series. Are you planning to take the idea any further than that?

Talib Kweli: To be honest, it's a vehicle to sort of promote more of who we are. You can't exist simply on CD sales anymore, so we're trying to figure out new ways to make money off of what we do. The TV show is a way to do that. It's about being creative, because we're not making any money by filming it, but we do believe that putting it out there, putting it on the Internet, will allow people to see different dimensions of not just what I do, but what Corey [Smith] does, and [Blacksmith artists] Jean Grae, Strong Arm Steady.

UGO: When is Blacksmith TV going to start? The trailer mentions August, but we're in mid-September and I know well how these things can go.

Talib Kweli: Yeah, it's not going to start at least for another month. I've seen the first couple of episodes and I'm very excited about them but we're still tweaking them.

UGO: I'm sure you get this question a lot, but you mention Mos Def in the trailer and I have to ask. What's the status of Black Star?

Talib Kweli: Black Star is something that doesn't exist in the music business because it's open-ended. We knew when we started from the history of hip-hop groups that we were going to do our own thing, as far as calling it Mos Def & Talib Kweli are Black Star. What's exciting about the Black Star thing is that both me and Mos Def are maintaining a career track record that allows U.S. journalists to want to constantly ask where the next Black Star album is. It's not like people are asking Busta Rhymes when the next Leaders of the New School is coming. I see Mos all the time. In my professional life and in my personal life I run into him. I do at least two or three shows with Mos a month and that's why we always get a kick out of people getting excited about a Black Star reunion. He's just somebody who I spend a lot of my time with, so it's sort of funny to me that the public perception is... not that there's a rift but that [my frequent collaborations with Mos Def and Black Star] is so separate. I think that's why it hasn't happened, because we're so familiar with each other. It doesn't seem like we actually need to prove it to anybody.

UGO: You and Mos recently performed together at the Black August Benefit at the Nokia Theater in Times Square, right?

Talib Kweli: Yes, and that was the third time that week. We had done Rock the Bells in San Bernadino before, we did the Zune event in Chicago a week before that. This summer especially was a constant thing.

UGO: So what are your plans for the future that the album is finished and released? I guess that since you've already announced the next album, it's going to be taking a lot of your time in the coming months.

Talib Kweli: Yeah, I mean you know... I'm like, I want to chase Mos down and make this Black Star album happen. That's something I've been thinking about as well. I'm at a point where I want to make music, I just gotta focus in on what I want to work on next. I might work on a Hi-Tek album - I worked with him back on Reflection Eternal - but I haven't focused in on what I want to do next.

Havoc Interview (Courtesy of XXLMAG)

HipHopHavoc — Wed, 26 Sep 2007 12:46:00 +0000

What did Havoc really mean when he called out T.I. and the South last month? The Mobb Deep producer sparks The Kush with xxlmag.com and airs it out.

Once deemed “infamous” for his signature brand of melancholy boom bap, Havoc’s notoriety, as of late, is mostly the result of two words: “Fuck T.I.” Last month, in an interview on Sirius satellite radio’s Shade 45 channel, the Queens native chided T.I. and the South for their perceived arrogance. “Fuck T.I., right? Yeah, fuck T.I.,” Hav said. “He’s a good artist. I love him to death as an artist, but he can’t fuck with M.O.B.B. I don’t got no problems with the South, but them niggas need to get off their own dick.” Needless to say, Hollywood Hav’s comments came off as pretentious, especially since Mobb Deep’s G-Unit debut, 2006’s Blood Money, sold less than 300,000 copies. Nevertheless, controversy isn’t stopping Havoc from releasing his long awaited debut solo album, The Kush. Following in Prodigy’s footsteps - who released his solo LP, Return of the Mac, on KOCH Records earlier this year - Hav went the independent route for The Kush, joining forces Nature Sounds Records. XXLMag.com spoke with the producer extraordinaire about his new album, the disappointment of Blood Money and whether or not he’s hating on the South.

How would you characterize the sound of your new album, The Kush? Is it similar to previous Mobb Deep efforts?
The Kush is that smoked-out New York sound. It’s an album that just came together through chillin’ and smokin’ in the studio with my people. The same thing you might expect from a Mobb Deep album, you can expect from The Kush.

Was it different recording your first solo album without Prodigy in the fold?
It wasn’t done intentionally to leave out Prodigy. We all just need to do our own thing sometimes. He was in the studio the same time I was in the studio. I had a little bit of time, so I was like, Fuck it, let me just put something out real quick.

Were you inspired by Prodigy’s success with his independent album, Return of the Mac?
I encourage that kind of stuff. As an artist, you wanna be consistent. But you also want to give people different things. You can’t always rhyme on a Havoc beat. He’s not married to me as an artist. He gotta do this thing and Alchemist is my homey, so most of the time, I was in there anyway, judging it with them. I prefer to let him do him and I’m proud of what they did.

How did this deal with Nature Sounds Records for The Kush come about?
It came through a friend, Tragedy Khadafi. I’d never even heard of the label and I’m always the type of person where I don’t want to follow the flock. I wanna go in my own direction. The situation, to me, is the same on any label. Independent or major, they’re all labels. You gotta stay on top of them. You get your promotion money, your video money, you do your promo runs and do whatever you can to get it started. They’re a small label, but they’re gonna work their way up like the rest of the big independents did.

Do you have more creative freedom making an album outside of the G-Unit brand?
To tell you the truth, there wasn’t no creative differences with G-Unit. There may have been like one or two songs [on Blood Money] that maybe I wasn’t feeling, but it wasn’t even an issue because [50 Cent] really gave us a lot of control [over] the project. On The Kush, I worked with Tragedy Khadafi and since he’s my mentor and has been for a while, I had similar freedoms.

Blood Money was released to a lot of expectations, but some fans and critics felt it didn’t live up to the hype. Since then, you and P haven’t addressed the criticism. Why not?
I don’t go into the studio with my mindset like, This is what I’m gonna say about this situation and this is what I’m going to say about that. It was more like, whatever vibe I got in the studio, that’s what I was going to say. On this album [The Kush], I’m not really airing out any kind of situation that maybe fans want to hear ’cause I don’t get fan mail like that. But I do hear people saying, “Why’d they sign to G-Unit?” In my heart, I feel like it was a good move, so I don’t even feel like I have to address it.

Does it upset you that 50 vented his frustrations with Blood Money’s disappointing sales and the crew not wearing his G-Unit apparel?
Nah, I’m not upset at that at all. That’s how he feels and that’s what he saw, so that’s what he’s going to say. So if I don’t have on a pair of G-Unit sneakers, I know he’s not talking about me. He’s talking about everyone on a whole. He’s just trying to say if you’re down with a crew, support your crew. If I was him, I’d feel the same way.

What about his criticism over Blood Money’s disappointing SoundScan numbers?
I mean, numbers don’t lie, so if he loses money with any kind of artist, it is what it is. If he says he lost money with Mobb Deep, at the end of the day, he lost money with Mobb Deep. I can’t be mad at him. All I can do is continue to make my music.

During an interview on Shade 45 last month, you said, “Fuck T.I.,” in response to the South’s popularity in hip-hop. Why did you call out T.I.?
When I made that comment, it came out the wrong way and people took it out of [con]text. My issue is that New York needs to get it together. The problem is not T.I. and the South, at all. They’re making beautiful music. They need to be looked at like a reflection of us, like, “We used to do it like that.” Right now, I’m like, “Come on, what’s going on here?”

Do you regret making that comment then?
I regret that people took it the wrong way, but I don’t regret bringing certain issues up. I admit, I was a little juiced up when I said it, but anyone that knows me knows I don’t have no hate for the South. I’m not a hater. I could appreciate a lot of energy that they’re coming out with. I don’t make that kind of music, but I can appreciate it.

Have you seen T.I. since then?
I actually saw T.I. at the Screamfest [tour]. We gave each other a pound and kept it moving. I got love for T.I. It’s just a friendly competition thing.

Twista - Adrenaline Rush 07

HipHopHavoc — Tue, 18 Sep 2007 21:20:00 +0000

It’s that time to jump back in the Chevy, take off the Big Boy shoes, throw them 30’s & Vogues back on, and lets WANG!!! That’s right we going back to ’97 Chi-Town, at least it feels that way, we on some Adrenaline Rush sh*t.
It’s a decade later and a lot of things have changed, we living in a state of inflation, we at war for every reason but the right one, but one thing is constant; no matter how much everyone claims the game is good; Hip Hop needs an Adrenaline Rush. I been holding this interview 4 a minute, waiting 4 the right time to hit you in the head with this realness; and what day is more deserving but the homey, Twista’s release date of Adrenaline Rush. So if you new to the Chi, and weary of the surroundings, don’t trip sit back and enjoy the convo while we expound on everything from getting your B.I correct, staying true, survival techniques, and remaking a classic. I’m a hit you in head with Part 1 of the Interview, and this what I want yall to do, go cope the homey T’s classic give it a good listen, and come on back. Maine got part 2 for you to focus that new found energy on, MINUTE.

Twista: I think we slightly passing the era, where n****s dollars is off the immediate rap dollar. You know where n****s have to eat directly off rap, well certain n****s do, you nowhatumsayin. But, I think the veterans, have started businesses and doing other things, so they can relax a little bit and make choices with the music they want to make a lil bit.

HHH: Yeah, that’s wise. I think it should be like that period, cause once the money get into it, it drives yo hustle; and it ain’t always about the art and it ain’t always about the love then, nowhatumsayin.

Twista: Yeah, Mims should have some shit to stack. Bladaskippy should have some condos, or some shit being built. The new n****s should already be doing it.

HHH: Through da door. It seems like half of them doing it, cause they coming with they own labels already.

Twista: Labels are different; you reinvesting your money back into the element that you making money off of. You wise, cause you investing your money, but you also want to make investments off of things that have nothing to do with rap, whatsoever.

HHH: Kind of like you and the Barber Shop?

Twista: Yeah, trying to get a club together too. Like 2008, on Randolph (Downtown) down the street from Greek town

HHH: That’s key, that’s a nice area too. That’s good, that’s what I’m talking about. You are starting to see us invest more back into our community. It’s Grown Man Season.

Twista: Man, Joe, I’m getting wise now. Then the way the music industry looking right now, pretty much everybody stocking they bomb shelter, tightening up.

HHH: With that being said, is all your other hustles blue collar? I notice you got a lot of blue collar hustles, like Midwest dudes. You don’t seem to put all the glitz and glamour to your shit, you just straight up hustle.

Twista: It depends on what type of person you are. I be tripping cause I be seeing guys who got it, GOT IT and they love that limelight. It’s like a drug, I guess I been taking the drug so long, I’m use to it now. I be trying to do things that’s low key.

HHH: That’s one thing about the Chi, people don’t understand. It’s a lot of people that make money low key.

Twista: That’s a good word you said, cause when people ask me about Chicago, that’s one word I’m going to use to describe it. N****s in Chicago don’t do all that rah-rah-rah, we got this, I slap this from this, I fuck this n****, etc. We do it amongst ourselves, but once cameras come out or some shit, we ain’t on that shit. We don’t care how good we rap, Gotdamnit, we ain’t fin2 put our business out. We finna hurt that n****, we ain’t finna tell you. We like nah, me & dude cool (lol).

HHH: I wanted to know what made you revisit Adrenaline Rush, because I don’t know about the rest of the world, but the Chi been waiting since that 1st dropped?

Twista: Really that’s why I did it, Joe. It’s like some people not familiar with their fans, or some people thinking about the outwork, they not looking at what’s getting them there. Me, I think about what I hear all the time. It’s like this the main thing. “Twist, what you hear about your music all the time?” N****s, females walking down the street, what’s the common phrase you hear? N****s want that Adrenaline Rush shit, n****s ready to hear that Adrenaline Rush shit, n****s want that Adrenaline Rush shit. So I’m giving them that Adrenaline Rush shit, so I sat my ass down and said ok; Adrenaline Rush 2007, Boom. Took the album cover picture sitting in the chair with the different sweater on, did the whole lil style up for the fam. So that’s why I did the album like that.

HHH: You don’t see to many people reaching 2 they fans like that, and that was like 97, am I right? .

Twista: Ten years later.

HHH: This the anniversary

Twista: You got the 9 & the 7, the number for perfection and the number for completion. Now it’s 07, I’m like BAM, gotta hit them again, its perfect.

HHH: It’s just everybody fiending 4 that real raw dope, that undeniable. Like the 1st Adrenaline Rush, oh my goodness them beats.

Twista: Yeah, I put some of them songs on there, I kept it open. I couldn’t just go whole Adrenaline Rush, cause I learned some new stuff & met a lot of new people, so you got that new shit in there. But gave you that base 9 joints you looking 4 to make up that Adrenaline Rush.

HHH: Who do have featured on the album?

Twista: We got Speedknot Mobstas, we got Toxic, the new one is Tight Mike; He did “Make U Moan” on “The Day After”, “Whip Game Proper” for this album. So the album come on with the skit’s and shit, “Man, what’s going on with Twista, Joe?? On the same vibe, this time it’s coming off of when I had the accident. So these n****s get into some where them n****s who caused the accident. So we kept it on that Adrenaline Rush vibe in yo bones when you hear it.

Interview: Sha Money XL

HipHopHavoc — Mon, 03 Sep 2007 18:35:00 +0000

Interview: Ryan Proctor (Courtesy of XXLMAG)

Although 50 Cent may get most of the credit, Sha Money XL has been just as instrumental in building the G-Unit brand. Born Michael Clervoix, the Hollis, Queens native broke ground in the mid ’90s as a local DJ and producer. Originally under the moniker Sha Self, the first generation Haitian-American crafted tracks for hometown artists such as Royal Flush and Cormega. His big break came, though, in 1996 when he landed an internship at Def Jam Records. During his two years at the historic label, Sha befriended Jam Master Jay, who introduced him to a burgeoning Queens rapper named 50 Cent that the Run-DMC jock was mentoring at the time. Sha and 50 immediately formed a strong friendship that culminated when Columbia Records dropped Fif in 2000 and they decided to create G-Unit. Operating as the brand’s marketer, financer, mixtape producer, engineer, A&R and 50’s manager, Sha was eventually named President of G-Unit Records when Curtis signed his historic deal with Shady/Aftermath Records in 2002. Contributing beats to all of label’s subsequent releases, Sha not only positioned himself as a shrewd businessman but a talented producer as well. To date he’s helmed the boards on tracks such as 50’s “Poor Lil Rich” and co-production credit on Young Buck’s “Do It Like Me” and Mobb Deep’s “Put ’Em In Their Place.” However, after disappointing 2006 releases from Lloyd Banks (335,000 for Rotten Apple) and Mobb Deep’s G-Unit debut (271,000 for Blood Money), 50 Cent held a meeting in January 2007 announcing major changes within the camp. As a result, Sha Money and 50 agreed to reorganize the company, as Sha vacated his position as the label’s president in order to focus on his Money Management Group. Formed in 2002, the company manages most of the G-Unit roster and a vast lineup of beat-makers, including Jake One, Chris Styles and Nick Speed. With rumors of internal tension being at the root of the position shifts, XXLMag.com caught up with Sha Money to discuss his current role within G-Unit, his Money Management Group and 50’s highly anticipated album, Curtis.

Since you’re no longer President of G-Unit Records, what’s your current role within the camp now?
Me and 50 sat down and had a conversation. We decided that musically, I’m still gonna be contributing to G-Unit, but we wanted to expand [our] management and put ourselves into some new lanes. So instead of me being in the office all day, I’ll be moving around in places like Los Angeles, Seattle and New York—wherever I need to be to do new deals and bring new things to the table. But I’m still managing Lloyd Banks and Young Buck.

Initially, there was speculation 50 had fired you. Was there ever any friction between you guys or truth to that?
Nah, it was a joint decision and there was no confrontation. I was with 50 yesterday, so everything is on the up-and-up. We’re still in business. I’m just expanding my wings and taking on new career challenges. I’m doing new deals for myself and any artists I manage.

In the August issue of XXL, 50 said he held a meeting with the G-Unit roster at the beginning of the year and basically said it was time for people to stand on their own. What impact did that meeting have on the camp?
For the first six months of the year it was like riding a skateboard for the first time for some people because they were used to 50 being the leader and G-Unit being a family. But at the same time, it was a blessing, so I’m not mad at 50 for doing it. He could’ve probably found a better way to do it, but the end results would’ve still been the same. I can’t speak for others like M.O.P. and Mobb Deep, but it’s definitely helped me and I think we’re going to see the change in others, too. 50 holds the weight and he’s gotta worry about his own career. He’s getting ready to do movies with Al Pacino and Nicolas Cage. So he’s gotta go off and do his thing and make his money. He gave the other guys in G-Unit the push they needed. They’re all individuals and now they’ve gotta hold their own weight just as much as 50 did, if not more, because he’s already made it.

Some people view Mobb Deep’s Blood Money and Lloyd Banks’ Rotten Apple as failures for not going platinum, or even gold for that matter. How do you feel about those projects and how they sold?
People are waiting to see us fall, but like the saying goes, first they love you, then they hate you, then they love you again. Banks got the backlash of that hate with his album [Rotten Apple] and the Mobb Deep album [Blood Money] suffered due to a bit of that hate and also some confusion. We gotta remember, Mobb Deep has been here for 10 years already. These guys are vets, but this is a new generation of listeners we’re dealing with. I think Mobb Deep delivered an incredible album. Nobody can fuck with Havoc on those beats, man. But what we have to start doing is seeing beyond the perception of being a rapper and be smart businessmen. We gotta take a record like the Mobb Deep album that scanned 300,000 and put that muthafucka out independently. Then pray for those 300,000 fans to come back for the next one. Then that 300,000 is $3 million. If I was Mobb Deep’s manager, I’d be going independent.

Given the current state of the industry, how many units do you think 50 will sell with Curtis?
I think there’s going to be a little skim-off. It’s not going to be the same million first week sales as before. I think it’ll probably be more like 600,000 or 700,000. But 50 has what it takes to get people excited and entertain them, so he’s definitely capable of doing it. The new album is incredible.

How involved have you been in the recording of Curtis?
My production company has done six tracks on the album. The Money Management Group is really rolling and we’re about to take over some more albums. I’m working on Hi-Tek’s [Hi-Teknology 3] album and Money Management is on the new 2Pac album [Nu-Mixx Klazzics, Vol. 2]. We’ve got two tracks on the new Talib Kweli album and we’re also working with artists on Young Buck’s Cashville Records label, like C-Bo and The Outlawz.

G-Unit has always worked with new producers instead of pandering to the industry’s bigger names. Did your background a producer play a role in that decision?
I’ma producer myself, so I know the struggles other producers go through to get their music played, or at least heard. It’s hard! People don’t really look at guys with no names. They just look at their beat CD as another one to throw away. So I think it’s a skill to be able to take a producer you don’t know and find something that works. Sometimes these unknown guys are making better beats than the producers who’ve already got a name. It doesn’t matter how long you’ve been making beats, what matters is how talented you are. I listen to everything that I’m sent and I’m also passing it to 50, Banks and Buck. If they hear something they like, we’re cutting that producer a check and then they’ve got a foot in the industry and can start to build a career. People keep saying hip-hop is dead, but the only reason it’ll die is if we don’t continue to bring new talent through and allow the music to evolve.

There’s been a rumor Interscope is offering you a label deal. Is that true?
I won’t say that I’m denying it, but I’m hearing a few offers at the moment and I just want the right one. But if anyone knows what I do, Interscope knows. People in the industry are starting to realize now that Sha Money is a businessman. I was managing 50 at the beginning of his career, when he went from nothing to the biggest artist out. So that has to count for something. What’s happening with my career right now is the easy part. The hardest part was back when I was in my basement trying to figure out how to get the fuck out of it.

Pimp C speaks on the State of Hip Hop Music and more

HipHopHavoc — Fri, 27 Jul 2007 13:51:00 +0000

Pimp C Interview-Click here to listen

Flex Interview: Jim Jones & Max B

HipHopHavoc — Tue, 24 Jul 2007 01:44:00 +0000

Click Here for the interview...

Pete Rock Interview

HipHopHavoc — Sat, 21 Jul 2007 04:35:00 +0000

Smirnoff threw an event in New York City to honor DJ Premier, Pete Rock, & 9th Wonder as icons. We spent a few minutes with Pete Rock to reflect back on his amazing career. He also shared with us his upcoming plans for new projects to solidify his place as one of the greatest rapper/producers ever!! By the way, Pete Rock is looking to challenge anyone in NBA LIVE for one thousand dollars.

Interview was conducted by Jason Rosario. The intro/outro track “Meditarranean” was produced by the I-Beat.

Interview Courtesy of HHH Affiliate site UGO.COM

Pharoahe Monch Interview

HipHopHavoc — Sat, 21 Jul 2007 04:20:00 +0000

A few days ago Smirnoff threw an event in New York City to honor DJ Premier, Pete Rock, & 9th Wonder as icons. We spent a few minutes with Pete Rock to reflect back on his amazing career. He also shared with us his upcoming plans for new projects to solidify his place as one of the greatest rapper/producers ever!! By the way, Pete Rock is looking to challenge anyone in NBA LIVE for one thousand dollars.

Interview was conducted by Jason Rosario. The intro/outro track “Meditarranean” was produced by the I-Beat.

Interview Courtesy of HHH Affiliate Site UGO.COM

Xzibit Interview

HipHopHavoc — Sun, 20 May 2007 16:27:00 +0000

Xzibit By Melisa Tang

Having established himself in music, movies and television, Xzibit is one of few artists still standing 10 years on from his debut release. As he prepared to embark on his European tour, The Situation sat down with X to talk about everything from Gumball to politics...

To many people around the world, Xzibit is a face they'll recognise from watching MTV - but it hasn't always been that way. Long before he became known as the host of 'Pimp My Ride', X was a key figure in the growth of West Coast hip hop. At a time when the East Coast/West Coast feud was dying down, there was one man who stayed on his grind, dropping track after track of raw, unadulterated hip hop. And while his releases haven't always been multi-platinum successes, Xzibit has constantly remained true to his roots, refusing to succumb to the lure of the spotlight, even after his hugely popular hit 'X'.

Eleven years on from his debut 'At The Speed Of Life' and Xzibit - aka Alvin Joiner - is back in London to promote his latest album, 'Full Circle'. Fresh off the plane from Italy, The Situation caught up with X to find out what really went down at Gumball, the truth behind his Strong Arm Steady split, and why the US is in for a political overhaul...

‘Full Circle’ was released last year – why has it taken so long to come over and promote it in Europe

[Xzibit] Well, I only had two months to put the record together because I was in between filming things. It was right after I finished filming ‘Gridiron Gang’, and I had to finish ‘Pimp My Ride’, so this was the only time I had free to actually come over and do what I had to do, so it’s better late than never.

It was also your most critically acclaimed album to date – how do you plan to top that on your next release?

[Xzibit]Well, I’m just gonna keep making music. You can’t please all of the people all of the time, you know, I just do it as I feel the music.

There’s reports circulating the internet saying you’re readying your new album, ‘More Than Just A Game’. Who’ve you got lined up as producers/guest appearances?

[Xzibit]On the new one? I haven’t started the new one yet! People have been telling me (about) that, but it’s not true. I don’t know where that came from!

You’ve managed to release one album every two years since your 1996 debut – is that something that you had planned, or is it just a coincidence?

[Xzibit] No, it just happened. I don’t have a plan; I just go into the studio and make good music when I feel it.

You were previously a part of the Strong Arm Steady crew, which you founded. Why did you leave the group last year?

[Xzibit] They went and signed with Blacksmith (Talib Kweli’s label), but I just didn’t agree with the terms of the deal, so I left. It was a personal choice; it just wasn’t right for me. You gotta do what you gotta do.

50 Cent recently stated that making a hit record and making money was more important to him than sustaining his lyrical credibility – what are your thoughts on this?

[Xzibit] You know how I feel, just listen to ‘Paparazzi’. I mean, what if gay rapping became the status quo, like just being a straight up fag and selling millions of records – does that mean you’re gonna become a gay rapper?! Just because it’s selling? He didn’t really think about that! Just because it’s making money doesn’t necessarily mean it’s made out of gold, you know what I’m saying? And that’s by no means disrespect to 50 Cent. He may feel like that, but for me, I come from a different principle.

What do you think of West Coast hip hop at the moment? Snoop’s still going strong, The Game’s still holding it up…

[Xzibit] I think we’re eventually gonna come to a place where we all can come out together as a movement, and do our thing for the West Coast.

Who do you think’s the most innovative artist on the scene right now?

[Xzibit]I like Amy Winehouse. When I heard her record, I was floored. It's music, real music. She's from that era of Etta James and Billy Holiday, Miles Davis, even before Miles Davis. You know, that old, real soulful sh*t. I think she's got a good thing going.

Would you be looking to hook up a collaboration with her?

[Xzibit](Laughs) No, I can appreciate music without trying to make it my own!

Prince has been talking of Amy joining him on stage for a duet during his summer gigs – what do you think that will be like?

[Xzibit] It’s gonna be crazy. She’s dope. Prince, I don’t know. He’ll shriek all over the track (mimicks Prince’s vocals)!

What about on the rap scene - who do you tip for success in 2007?

[Xzibit] I hate rap right now.

Not even one of your own crew?!

[Xzibit] Nope… Rap’s too stagnant. Underground hip hop is good, but rap is just... whatever. I don’t know how to walk it out, I don’t know how to do the motorcycle dance, I don’t know how to do that sh*t. I just know how to spit, and if there’s people that still wanna hear that, then I guess there’s still a market for me. But if you want me to make up a dance to go along with my record, then you’re f*cking missing the boat!

So when Nas said hip hop is dead, did you agree?

[Xzibit] I understood what he said. I mean rap is dead; hip hop will never die. I mean, rap is pretty much stagnant, it’s in the ground. I believe him more now, but it’s more shocking to say hip hop is dead because it’s something we said would never die for so long.

How do you define hip hop and rap, because nowadays the terms are practically interchangeable?

[Xzibit] Well, it’s simple. KRS-1 said it a long time ago: hip hop is something you live, rap is something you do. Hip hop is the culture; it’s the way we live, the way we dress, the way we communicate with each other, the way we celebrate. That’s hip hop. Rap is something that people get together, and then they put together a beat, then they go on TV… those are rappers. But in hip hop, rappers are just a part in this huge conglomerate of sh*t that we call hip hop. Rappers do not represent the whole of hip hop.

You’ve had several movie appearances in the last few years – what kind of roles have you got lines up?

[Xzibit] I’m not really looking now. I did Gridiron Gang, I was happy with that. It’s not looking for the next thing, it’s looking for the right thing.

What would be your dream role?

[Xzibit] I don’t know. I would have to definitely create it, cos there’s not a lot of strong roles for black men out there in Hollywood. It seems as though you gotta be slightly dumb; you can never be the hero, you’re always the sidekick. There’s a lot of work to be done, you know?

As you must have heard by now, Paris Hilton is going to jail…

(Proceeds to give a standing ovation)

[Xzibit] She’s apparently written to Arnold Schwarzenegger to pardon her from her jail term – if you were the Governor of California, would you excuse her from serving time in prison? Given that performance, I doubt you will!

B*tch, you gonna get 45 more days just for writing me that letter! How bout that?! She needs to go to jail to get a dose of reality. She’s gonna be someone’s b*tch! A tip for her: don't drop the soap! Someone's gonna move into your luxury suite, Miss Hilton! I love it!

Arnold Schwarzenegger featured on a special ‘Pimp My Ride’ episode recently – what was he like to work with?

[Xzibit] That’s my homie, I’ma call him and be like, let her sink. Let her go to jail! (Laughs) It was good working with him. He was very down to earth, came in, talked to us. He didn’t have too many security, I mean he had a couple of secret service guys there with him, but it was cool. Actually, I was a little taller than him, and that kinda shocked me! (Although imdb.com records state Schwarzenegger is 6’2”, while X is 5’9”…) I was like, ‘Damn, that’s the Terminator! I can get him a little bit!’

Do you think he would make a good presidential candidate?

[Xzibit] Hmm… I’d have to see his policies, not his movies!

What about the current presidential candidates? Who do you fancy as Bush’s successor?

[Xzibit] I don't know... This race is very diverse, you can say that. We could have the first female president, the first black president… I don’t know, we’ll have to wait and see what happens. I wish they’d stop slinging mud at each other, long enough to tell us what they plan to do in office.

Do you think Barak Obama has a real chance?

[Xzibit] Yeah, it all depends on what he says, what he does.

You recently participated in The Gumball 3000 Rally, but it was reported that you’d lost your license after you were caught speeding…

[Xzibit] Yeah, well I got a ticket, and in Belgium, if they don’t have the DA on the phone, then they can’t do anything like take your license. So it wasn’t that serious. But it was my first Gumball, and it was definitely a once in a lifetime experience, so it was good.

The event was cancelled after the fatal car crash towards the start of the race – were you disappointed at that? Do you think it’s fair for the whole rally to be called off because of this?

[Xzibit] I was definitely feeling sorry for the family, the person who got into the accident but out of respect I had no problems, it was just like, woah, let’s handle business, it’s not about me. But there’s a lot of hearsay going around, a lot of rumours (about scrapping the race). I think it’s hard to pin things on the rally when it’s an individual act, you know.

You’ve been doing ‘Pimp My Ride’ for a while now – when do you think it’ll be time to move on?

[Xzibit] I don’t know, I mean, we have a lot of laughs on set. But I don’t know what they wanna do with it.

Would you be willing to carry on?

[Xzibit] I don’t know. That’s a decision I’m gonna have to make when I get to it.

What do you have in store for the next month, until you’re back in London?

[Xzibit] More of this, more press. Just let everybody know I’m here and I’m around.

Xzibit's latest album, 'Full Circle', is out now. Look out for the rapper in a town near you this summer as he embarks on his Back 2 Basics World Tour. For more information, visit his official MySpace page: www.myspace.com/xzibit.

Interview Courtesty of The Situation

Bone Thugs -n- Harmony - Strength & Loyalty

HipHopHavoc — Sat, 31 Mar 2007 22:33:00 +0000

Interviewed by Maine
For
HipHopHavoc.com

We’re not against rap, we’re not against rappers, but we are against those Thugs. If this doesn’t ring bells, you need 2 take a Hip-hop 101 course or pay close attention, because we have one of the groups that’s ushered in the Thug culture. While politicans, the upper class, and even some of our own would love to outcast the culture, American culture has and will remain fascinated with the Thug culture. With a style like no other, it’s no way to mistake this group or there sound. After breaking down misconceptions of how the style developed, these Cleveland cats have trailblazed a path like none other. From students to teachers of the game, we have followed Bone Thugs –n- Harmony from their thuggish ruggish debut to the Crossroads, now we prepare for their latest offering Strength & Loyalty. One of the few groups to have worked with some of Hip – Hops most notorious fallen soldiers (Eazy –E, Notorious B.I.G, and Tupac), and still around to past the lessons on. So let’s take a ride to Cleveland and holla at Layzie.

HHH: What’s going on Layzie, are u out here promoting yourself or the collective Bone?

Layzie Bone: I’m out here promoting the “Strength & Loyalty” album that’s about 2 come out next month, 4/17/2007. It's off the hook, we got mad production on there (Akon, Will.I.AM, JD, Vizualz, Swizz Beatz).

HHH: So are you guys signed to Swizz, what’s the situation?

Layzie Bone: Naw, we signed to Interscope, but we got a production situation with Swizz through Interscope. We partnered up with Swizz about 2 yrs ago, we was trying 2 do a deal with Full Surface, but that never worked out, so when we got this situation over here, we brought the him in and got that cracking.

HHH: So it’s got some straight bangers. The last album was tight, overall it was strong, I think 1 or 2 tracks seemed like a stretch. Do you guys get pressure from the industry to stay current or yall just going to do yall?

Layzie Bone: We just do us, even though it might seem a stretch, but we still out here living and doing these everyday thangs. It’s real, so if you here Bone rapping about Candy paint or some shit like that, they be like that ain’t Bone,. I be damn if it wasn’t, we was 14 or 15 trying through some paint on some shit. We always been about the hustle mood.

HHH: That’s the Midwest.

Layzie Bone: You know, we just do us. We talk about where stay, we do it from the heart so it’s always real. But some people know us better as, like they know the Crossroads so they want to put us in that category of music, but Bone always hit from every angle.

HHH: Yeah, it can get personal at times, fans want to hear certain music, but they gotta let you live, cause everything can’t be the same or you’ll get tired of it.

Layzie Bone: Yeah that’s what it be with the Industry. An artist bring out a hit, then they want to chase that hit on the next album, muthafuckas be sucking up and falling off, instead of letting the artist grow. It’s like the inside of the Industry create that world, where the fans don’t like the next single, the next album they come with, cause they trying to do something different. That album probably been out 2 years, in a 2yr period you’ve experienced some thangs, you supposed to let an artist grow; but we just gone do us. We gone get in there and bang, bang, shot ‘em up, make a nigga cry, all that shit.

HHH: That’s gravy, one quick thing, I’m from the Chi and I was thinking back 2 the situation with Bone and Twista, and Chicago fans of Bone didn’t get a chance to see you guys to much. I saw the DVD, like you and Twista had a common friend and yall ironed it out, now that was real, how did that work out?

Layzie Bone: Yeah, yeah, it was a lot of talk going on; Cleveland niggas, Chicago niggas, Midwest. We ain’t about 2 under estimate each other, it’s real killas out here, niggas ain’t bullshitting. This is how they approached me, I was in the restroom by myself, niggas was like, “what you feel about Twista?” They probably though I was gone come lame, we in Cleveland and they try 2 play like some Cleveland cats to see what I was going to say about Twist. I was like I don’t even know that him, they figure off the rip, “Oh this a real lil nigga right here”. I don’t know what they talking about stole a style, I ain’t never bought a Twista album. They was like we from the Chi, and we know Twista, yall need to build the Midwest up and put that shit to the side, and that’s how it came about. I end up going down to Indiana, me and my wife, and I met up with Twista, we did some music; now he come 2 Cleveland and I fuck with him. It was just real shit.

HHH: That’s definitely good shit, cause it had the potential to turn the other way; which we see a lot.

Layzie Bone: And then it was all kind of shit going on, so it could have got really bad. With Do or Die, and 3-6(Mafia), Twista and all that, because that was in the era muthafuckas was killing muthafuckas. The game was crazy, you go 2 the Source awards back then, it wouldn’t like you getting dressed like, “Oh I’m clean and comfortable.” It’s like niggas got they gloves on, like if anything go down in this bitch we gone do this. Pac and Biggie and them, Pac had the game shook once upon a time, you feel me. It was real in the feel, but thank God it didn’t have to get that deep. But Twista, that’s a good ass dude, we kick it like, like we really, really kick it, that’s my nigga period Joe. Whatever the misconception was, I felt it was the Industry trying to get some niggas out of not being able to get money, and we wasn’t having that.

HHH: Through the door, the industry just instigate shit, and keep shit popping so hard that you got so many people hollering at u and somebody hollering at him, they gone keep it going; when yall ironed it out. Now yall cool, can get money, as black men we gotta take advantage of that.

Layzie Bone: Yeah it’s all a game, it’s 2 many obstacles out here for a dude not 2 see that. Niggas was out in’98, ’97, already out talking about “The Art of War”, Sun-Tzu. Little young niggas, wild, like on that knowledge shit, that’s where I come from. You from the Chi, you know we was militants.

HHH: I think that’s what the game missing, don’t nobody speaking on what’s real. As far as the younger generation coming out. I don’t think they go through the shit that we went through, cause I was raised in that era. I was wondering if you wanted to talk about Flesh?

Layzie Bone: Ah, It’s all good. He got the new article in the Source, in the March issue. We can talk about it now, the worst of the worst is over with, he goes up for parole 15 months from now. Next summer he will be home.

HHH: What was his charge, it was weapons, all types of weapons, what else?

Layzie Bone: Weapons, assault, you know what I mean, He had ridiculous weapons though.

HHH: Right, I read the article. I was like this dude ready to go to war 4real. But that’s real life.

Layzie Bone: Yeah, but we was young man, it was like life came at us so fast, we saw everybody out here caping. We was like niggas gotta be ready, that’s how we was thinking, but we was a little wild with it, we wasn’t really like hush, hush like we should have been . Smacking on niggas and shit, smacking on niggas with 5 pistols in the car, and going 2 jail; dumb shit. Niggas live and learn, we didn’t have that guidance, like hip hop now got guidance, with niggas they can look up to.

HHH: Like Russell(Simmons) and the HSAN?

Layzie Bone: Yeah before Russ started it was like it was blank 4 artists out there, we didn’t have any direction; Hip-hop Summit and shit like that. I mean it’s a little more structured for them, hip hop has come a long way.

HHH: You know what I want to be really recognized. How much people put down hip hop and everything like that, as much shit we go through and we still give back, I don’t see any other entertainers doing it like that. Like you said we basically raised our self.

Layzie Bone: Hell nah, dog that’s just the ways of the world. You know u writing so u already know how the media and how politics go.

HHH: I don’t know if you want to talk about the Bizzy situation. Is there a Bizzy situation?

Layzie Bone: Basically Bizzy choose not to fuck with this project, he had an opportunity man, but me personally I didn’t think he was thinking right when he was saying what he said, but at the same time I didn’t have time to waste. I couldn’t schmooze him into believing what a I was talking about; it was like lets ride. He was nah man, it is what it is, he didn’t make this project, but it’s always a possibility of things going down, a full Bone Thug reunion. That’s money man, I’m kind of glad that it went the way it did, it gives me more potential and room to market, and plan and plot another Bone Thugs project, cause that’s all I’ve been doing is playing my role, just making sure this Bone Thug thang stay alive period.

HHH: Any last thoughts with the state of the world, with Katrina, war, etc?

Layzie Bone: What’s on the news already been written in the Bible, you know, it’s like the state of the world is what it is. You got your good, you got your bad, it just all depends on if your optimistic enough to see past the bullshit. Its like a cruel world out here, you just gotta be on your shit, and have faith, believe in God. That’s the main thing, believing in God and understanding that you ain’t an island on your own. You put here 4 a reason, that’s what I believe anyway and it works 4 me, cause I’m blessed around here, Bone blessed. We bought to do the damn thang, we got Mo’ Thugs, Thug line, Young Felecia album coming, Immortal Thugs, Ken Dog, Dirt, all that shit we was doing back in the day it’s another opportunity for us to do it again, so we gone do the damn thang.

HHH: So they’ll be touring with u guys, when you guys going on tour?

Layzie Bone: We gone be on promo 4 a couple months, so we’ll probably go out like July or August.

HHH: I do appreciate the time, and good lookout Matt 4 hooking Hip Hop Havoc with the Bone interview.

Ms. Issa - Is it all a dream?

HipHopHavoc — Mon, 12 Mar 2007 16:29:00 +0000

Interviewed by Maine
For
HipHopHavoc.com

Diversity breeds innovation, and with that being said; we want to break the mold of the typical R&B artist and introduce you to a singer that’s cut from a different cloth. Ms. Issa Bayaua, who owes her roots to a Latina/Filipina background, is making waves with the hot “Stay Up” single featuring Fat Joe.
From the days of singing in the parks, the little lady from San Diego is demanding attention and is headed for the center stage. Hear her feelings on Jim Jones, how she linked up with Fat Joe for the hot “Stay Up”, and what separates her from all the rest. So join us as we experience Ms. Issa.

HHH: Ms. Issa, I’m trying 2 get a little info on you. I see you are a new artist and I see you did the single with Joe (Fat Joe). How’d you link up with Joe?

Ms.Issa: My manager has connections in the industry, that’s how we got Fat Joe. We sent Fat Joe like 3 tracks and he likes “Stay Up” a lot. So he did his thing on “Stay Up”.

HHH: Joe seems 2 take more chances with new artists and R&B, than other rap artist.

Ms. Issa: I kinda see a little bit of both, you know. I see him on the Pitbull track, the joint with Lil’ Wayne, “Make it Rain”

HHH: Can you give me some info on your background?

Ms. Issa: I was 5 years old when my mom started training me. It wasn’t what I really wanted to do at that time, but I would do it anyway because I was a kid and that’s what she wanted for me to do. She would send me to parks, I would sing for people in the park, sometimes a couple hundred people; during Easter or something. Later on I started to feel that this wasn’t what I wanted to do, and she kind of sensed that from me and she stopped working with me in that way cause she thought I wanted to be a comedian. Sixteen, Seventeen rolled around, I started watching BET, I wanted to sing. I was in awe when I would see people sing on television and I knew exactly, that’s what I wanted to do. In between the time that my mom thought I didn’t want to sing, I would still sing, just not in parks. That’s when I came out here 2 years ago and tried my luck and now here I am.

HHH: Where are you originally from?

Ms. Issa: Born & raised in San Diego, CA.

HHH: So what’s going to separate you from the other female artist coming out?

Ms. Issa: Pretty much my music, my style, my craft, my personality; how I bring things 2 life. I think that all has a part to play in me being separated from other artists. I think the only other thing I can do on top of that, is just be myself. You know, I honestly think that separates me from other artists.

HHH: I think that’s a very good answer, a lot of people try 2 focus on what people want, instead of being themselves.

Ms. Issa: That’s what people want, they want you 2 be yourself; they don’t want you to try and mimic Beyonce or Alicia Keys. They want you to be yourself, your voice is your own identity, it’s like a thumb print. People are going 2 accept you & love you 4 who u are.

HHH: I think that’s why we have a lot more independent labels and artist making it in the industry a lot more now, cause people recognize when you’re genuine.

Ms. Issa: It’s not easy being an independent label, there are a lot of limitations and down falls. It doesn’t get a lot of respect, like the major record labels do.

HHH: When can we expect the album to drop?

Ms. Issa: The album should be dropping like Mid-April. The only reason is we got another collaboration, I have a single coming out, it’s called “Let Me Be the One”. It’s a remake of Expose’s from back in the 80’s; we have Jim Jones on that track.

HHH: Jimmy’s hot right now.

Ms. Issa: Jimmy’s very hot. He’s a real cool person, real down to earth. I’m happy he’s trying to help a new artist coming out, I know it’s cause he knows it’s not easy coming out.

HHH: 4sure he's been on the grind 4 a minute.

HHH: Do you mind me asking your nationality? I seen your pictures and your pretty attractive.

Ms. Issa: My pops is from the Philippines, and my moms is Mexican.

HHH: What’s the plans for touring?

Ms. Issa: I’ve had a lot of offers so far, it’s just a matter of getting the right one for me. What’s going to benefit me, but we’re still in discussion at this time.

HHH: Ok, just keep Chicago on the map.

Ms. Issa: Yeah, I wanna go out to Chicago, I heard they have some good pizza.

HHH: Who were some of your influences growing up?

Ms. Issa: My mother was my major influence growing up; she was the person that got me hooked on singing. Gladys Knight, you know a bunch of Motown artist from back in the day. Besides my mother, Whitney, Mariah Carey, Gladys Knight, the list just goes on.

HHH: Ok, you talking real singers, real singing.

Ms. Issa: Yeah, I like using my vocals and the CD I have out right now definitely showcases Issa. This is my first CD, I was scared, they threw me in the studio raw, I’ve only been singing professionally for a year. So my next CD I want to unleash, I want people to see who Issa is.

HHH: What gave you the courage to go for it, what made you decide to say this is what I’m going 2 do.

Ms. Issa: I guess it was just building up from when I was little, cause I was always singing. One day I saw an advertisement for UPN Are You the Girl? and I was like, “I gotta do this.” For some reason I gotta do this, and I never auditioned in my whole entire life, for anything, so that was like a big deal for me. It’s still scary when I look back on it.

HHH: 4sho, at the same time you gotta go 4 what you believe.

Ms. Issa: When you first do something like that you don’t have a lot of confidence, versus someone whose been doing that for a long time, so my confidence got really hurt I was surrounded by a lot of girls that did that for a living, and I kinda lost a little confidence in myself at that point. But through perseverance I got a spot on Are You the Girl? My confidence boosted right back up, and I got a solo deal.

HHH: Outside of music, what other interest do you have?

Ms. Issa: I want to have my own clothing line, that should be coming out by the end of the year; I also want to get into acting. It’s so many things, but it’s baby steps right now.

HHH: So we can look 2 hear from Ms. Issa in the future on several stages. Thank you as always.

Young Buck - HipHopHavoc.com Interview

HipHopHavoc — Tue, 06 Mar 2007 04:53:00 +0000

Young Buck Going at it Hard!
Interviewed by Jewels from HipHopHavoc.com

It seems as if controversy and fame go hand in hand in the career of every successful rapper, and with the increasing popularity of David "Young Buck" Brown it is clear that he’s no exception to the rule. Starting with his departure from Cash Money Records which led to an estranged relationship with Birdman & Lil' Wayne, down to the much talked about conflict with Compton rapper,The Game,. Buck has been taking shots at his competition all while managing to keep his audience anticipating more. With his freshman debut, "Straight Outta Cashville", a platinum selling success, he has come out of the gates unscathed surpassing the critics and underhanded attempts to circulate his album illegally, a pitfall that ninety-nine percent of artists face in these digital days of cyber-jacking. "I worked hard for that shit, niggas was trying to bootleg me and I had to prove myself to [them], but I'm on the edge, and [they] are understanding me right now.", says the dedicated Nashville native.
His sophomore release, "Buck the World" , scheduled for release on March 27, is a testament to having learned from experience on how to put together a classic album. The title track off of the album "Get Buck" is produced by Atlanta's own Polow The Don and definitely delivers a side of a Young Buck that we're accustomed to, "I think the people really wanted a record with that energy, the first single I kinda like got at the ladies. I wanted to give them something from Buck. The biggest record that I had on my last album was, "Shorty Wanna Ride wit' Me", so I wanted to come back and give the ladies what they wanted first, so I can get straight to what I do best and that’s making good street music, period." The album features a variety of producers and artists that will not only defy the myth of the sophomore jinx but will also secure a high ranking on the charts. So, if you're asking yourself who could possibly be on the album to garner such high expectations, well, Buck told me just that and more.

[HipHopHavoc.com]: Who can we expect to hear on the album as far as some of the production and other artist that you may have featured on the album?
[Young Buck]: Aww man, you gonna get records out of this album like wit me, Snoop Dogg and Trick Daddy together. [ I also got tracks] wit me, Bun B and Eightball MJG. Man, I even got a record wit Linkin Park. I brought them straight to the 'hood. I also got Lyfe and of course Fifty. As far as production, the album is "stupid", Dr. Dre produced some shit , Em[inem] produced some shit...even though I didn't get him rapping, he laced some shit for me. You know how he do!

[HipHopHavoc.com]: How did you approach the second album differently than the first? Do you feel as though you had more creative control with this sophomore album?
[Young Buck]: Well, at the end of the day I know I had more control. I don't owe nobody shit off of my last album, I recouped. I don’t owe the label, I don’t owe Fifty, or nobody nothing as far as my album, they made back the money from whateva they put off into me so it was like whateva I wanted to go off and do I was able to and I had room to do it because the budget was there. I didn't move in this fashion with the last album as far as me knowing the business. I was aware of the word "recoup" that a lot of artist aren’t aware of. So I kept my budget low, like with my first record I brought to the table, and worked with a lot of “other” producers rather than working with big name producers just because I want to be able to recoup and see money. Regardless, I didn’t know I was gonna come out and sell a million records so I budgeted my album so that if I went gold I would still be paid then I came out and sold 2 million records, so you know [how I did in terms of money].

[HipHopHavoc.com]: Since you've been signed as an artist, have you realized that you have to be more of a business man than an artist at times in this industry?
[Young Buck]: Yeah, I understand that. I mean I have no choice that’s why this album is so important for me to do well because it establishes me and everything that I got going, especially wit my label Cashville Records. I just signed C-Bo from the Outlawz and we're almost at the end of negotiations. I'm in a whole 'nother lane. Catch my own group, 615. It's myself, a kid by the name of Hi C, Blue Murda, and D.

[HipHopHavoc.com]: When can we expect to hear the first release from the 615?
[Young Buck]: At the end of the day I don’t know for a fact which company I'm gonna sign us under but I just left a meeting with Jimmy Ivine and the way he's sounding he ain't really trying to let anything come up out that building without [him] being a part of it. He knows what I created wit my own company so he's really trying to push the end on giving me what I deserve to make my thing happen through another division of Interscope Records. So really, you can expect to see a record release this year sometime from Cashville records [but] I don’t know whether its gonna be C Bo's [album first] which is titled, "Ready for the World". It's crazy, then the Outlawz, their shit is ridiculous so its gonna be a good look.

[HipHopHavoc.com]: With the latest trend of rappers coming in the game and branching off into so many ventures do you plan on going in any other directions in the entertainment industry for example, acting? Do you have any thing lined up for us on the Big Screen?
[Young Buck]: Man I'm just leaving my acting coach right now. I got a movie, its entitled "The Story". I start shooting in three weeks it's [depicting] my life. I got a reality show that's coming out on MTV in the summertime. its gonna be sixteen episodes of that shit, its titled, "Buck the World" and what we doing its like life behind the music, you know? A lot of these rappers….what they do is rap about other people’s life or rap about their homeboy's life.….. when I speak this shit in these verses, I'm taking certain records outta my album and I'm gonna narrate [the scenes] through the music. So some of these people that you hear me speak about on these records you can get a chance to see. Like the situation with my auntie, whose dying of aids and she's in the penitentiary and you can get a chance to see some of these people come to life through my reality show [people] understand that this shit is real and its not a game that a nigga spittin. There are certain artist that’s really real and are speaking from the heart cause they're really going through it and living that shit and I’m one of 'em. Fuck talking about it, I'm gonna show 'em, so that’s where my reality show come in with matching the music up with the life, and letting see that you hear about this line I’m spittin, well here it is. This that person I was talking about right here.

[HipHopHavoc.com]: Have you noticed that there are a lot of imposters in the rap game?
[Young Buck]: Yeah, man definitely. That’s the biggest disappointment of the rap game You grow to love niggas, nah em’ sayin? When you come up being a real street nigga, half of the niggas that I’m running around this industry and doing business with was niggas that, when I was on that block, I was listening to and was a real fan of their music. But moving around like how I move at times in life and listening to some of the niggas that [are] sittin' right beside me and I get a chance to analyze some of the shit that I used to look at them for, and appreciate them for but I'm close enough to see it aint that. I mean, I don’t dislike them [but] I grow away from them. I don’t pay attention as much as I did when I was there [out on the block], a lot of the times.. but some of them would be exactly what it is [real] and exactly what they say they are. I can name a few of 'em, but its only a handful. I call it report card. The report card gotta match you and if the report card don’t match what you doing then it aint worth it. That’s what I look for when fuckin wit an artist. I respect an artist for what he does. If a nigga aint from the streets and he from the suburbs and all he did was go to school and come home everyday. If that’s what’s on his report card when he spit his music, and that’s what comes out then that’s a good nigga to fuck wit cause he's not trying to be this other nigga. It's the ones that try and spit that other life [through their music] knowing damn well that aint them. That’s the ones that twist the game up.

[HipHopHavoc.com]: Recently the G-Unit album sales have been declining. Why do you think this is happening? …and, How do you think your gonna change this going in with your sophomore effort?
[Young Buck]: Yeah, I think honestly we catch a lot of flack for the standards we set for ourselves and I tell that to my crew all the time. We set the standards so high that we gotta be able to keep up with them. I mean you get a nigga like Fifty to come out and sell out all these millions of records, then Banks come and sell like one or two million and then I come and do what I do, wit million of records then Yayo come and the nigga go get a gold record, then its like oh shit what the fucks goin' on, then Mobb Deep come after that then they don’t do shit. So people are like oh shit, but I know that we come and set the standards so high that we get a lot of that flack, so it’s best to stay on top of our game. I don’t think no individual has damaged G-Unit as far as stopping us from selling records. I know me as an individual, I'm about to do my thing like never before, and at the end of the day I think a lot of people feel like I don’t get what I deserve from G Unit...

[HipHopHavoc.com]: Is that why you established Cashville Records?
[Young Buck]: Exactly, so that I could get myself into position and still remain loyal to the Unit and loyal to the situation I'm in. I love Fifty cause he made my career happen from nothing so a nigga will never see Buck [disassociate himself] from Fifty cause I'm a real nigga. If I had a problem with business, honestly nobody would know about it. I’m a real man, and real men get down wit going straight to the horse’s mouth and then handling things from there. That’s how I handle my shit so I never have problems with nothing. [Me and Fifty] respect each other from day one, he understand that I’m my own man and I have my own direction and I have the knowledge that he has too, [relating to] the business. Fifty's like the biggest supporter that I have with Cashville Records. He wants me to get my shit right which is unheard of! He's on me sometimes like "nigga hurry up and get your label going." He's on me sometimes about my own [situation] than our deal, and I respect him for that...

[HipHopHavoc.com]: It's been a long road for you coming up from your days when you used to run with Cash Money Records to now being situated in G Unit and having your own label. Has your life changed dramatically? Are you still able to go the same places you used to go without being mobbed by your fans?
[Young Buck]: Shit man, a nigga will get mobbed by the fans but I appreciate that shit. I go to the mall to get mobbed. I’m a different breed from it all when it comes to shit like that... because the only way my life has changed is that on the other side some of the niggas I used to hang around and the things I used to do, being a street nigga for real, I cant do anymore. I can’t affiliate myself wit some of the niggas that’s still active in the streets, being in the game that I’m in. You know? ...and run wit 'em the way I would if I wasn't in this game. Certain places I can’t hang, like hanging around "the trap" how I used to. So things like that have changed but for the most part when you get a nigga from the ghetto the minute he get any kind of success he gonna run back to the poor people in the projects. That’s how I use my success. I give more back to the hood. Damn right, I’m the mayor of my city and the niggas will tell you that! I hold it all the way down from donating money to the schools all the way to rebuilding the community centers.

[HipHopHavoc.com]: What’s the current relationship between you and the Core DJ's and DJ Will from Hot 107.9?
[Young Buck]: Nigga, we good. [DJ Will] just two-wayed my homeboy Sha Money and asked him, "where's his G-Unit track at?" That situation was a situation that I knew was gonna work itself out because it didn't happen the way that everybody was [making it out to be]. [People] was sayin' that I put my hands on a DJ, but that's not my thing. I don't do no shit like that. I knew Will knew I didn't put my hands on him and he voiced it and let it be known. I didn't touch DJ Will, you know? and it wasn't like DJ Will played a Game record and then I said that I was gonna rush him. I was paid to be at this club and perform and once I got on stage, my DJ was set up and we was about to start the show and "One Blood" was dropped and I thought for a minute that maybe my DJ was playing it then come to find out it wasn't him because I was like, "Nigga, what you doin'?" and he was like, "It ain't me!". So I got on the mic and was like, "Yo cut that off!" and once the record was cut off the fans just went crazy for me...Eventually the Core DJ's was the first to stretch out to me to let me know that they knew the situation from reliable sources that it didn’t go down in the way that it was gettin' presented to them and they just wanted to show me their support and they invited me to their party in Milwaukee, which was hosted by the Core DJ's. Shout out to Tony Neil, one of the "Big Dog's" over there. He organized everything and they bought me out and showed me nothing but real love. They let me know that they totally support my projects and that they always supported me and for me to just move forward from there. Then DJ WiIl came around and eventually he broke to the situation.

[HipHopHavoc.com]: How do you feel about the beef between 50 and Cam?
[Young Buck]: I'm not fucking wit that shit. I feel like that shit is funny. I think that Cam is trying to do whateva he need to do to get his feelings across and I just don't think its gon' really last long. Then Jim Jones stretched out to me, and me and him is pretty even wit each other and he let me know his take on the shit and I let him know my take on it and both of our takes was like, "we'll let 50 and Cam, do the damn thing with that one." It's bound to happen but it's about keeping it hip hop because outside of that its dumb and my report card speak on how I move and me fucking wit it from that end makes it hard on me from the law enforcement end because they play hard wit me, and I aint trying to get caught up. Ya heard?

Shortly after this interview, Young Buck joined 50 in a diss song aimed at Cam'ron titled, "Hold On". It is not clear what inspired this retaliation on Buck's part but in the spirit of Hip Hop it has been characterized as just "aggressive competition".

Also check the following snippets from "BUCK THE WOLD" (In Stores March 27)

Young Buck - Clean up Man

Young Buck - Push Em Back

Young Buck - Money Good

Young Buck ft. Paul Wall- Dead or Alive

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