The Fixxers feat. Quik & AMG: Can't Get Enough

In the confines of San Bernardino County’s West Valley Detention Center, DJ Quik did some soul searching. It was the summer of 2006 and Quik was spending time in prison on a parole violation. The charges stemmed from an incident where he allegedly pulled a gun on his sister back in 2003. The production legend was ordered to serve 45 days in jail on the weekends, but after failing to report, he was thrown in the pen for five months.

Quik used his incarceration as motivation. Upon his release in October 2006, the self-proclaimed “mad scientist” went into the studio with longtime friend and collaborator AMG and formed a duo called The Fixxers. The veteran MCs soon released their first song, “Can You Werk Wit Dat,” to local radio and the record started to generate a buzz, catching the attention of Interscope Records. The monstrous label promptly signed The Fixxers making it the first time that either Quik or AMG had been signed to a major in almost 10 years.

DJ Quik and AMG helped lay the foundation for West Coast hip-hop. Quik’s influence dates back to his platinum debut in 1991, Quik is the Name. The veteran MC then went on to release six more solo albums in the next 15 years while also producing for everyone from 2Pac, to Snoop Dogg to Jay-Z.

AMG hit the scene in 1991 with his debut album, Give a Dog Bone. But 1992’s gold album, Bitch Betta Have My Money, was his coming out party. With pimped out lyrics and party anthems like “Jiggable Pie,” and the DJ Quik produced “Nu Exasize,” the album was hailed by many as a West Coast classic. AMG’s success, however, was short lived. His following two albums: Ballin’ Out Of Control (1995) and Bitch Betta Have My Money 2001 didn’t fair as well.
Now, after working together for over a decade, the Compton, CA natives are releasing their group album, The Midnight Life, this summer. XXLMag.com talks with The Fixxers to about what these veterans can bring back to the game.

How did the group form?

Quik: We always talked about it but never did it. We had obligations that wouldn’t let us together. We created these high maintenance worlds for ourselves that wouldn’t allow us to focus on it. But there’s a lull in the sound here and we realize, in a sense, that we play a part in the barometer of hip-hop on the West Coast.

How did this deal with Interscope for The Fixxers album come about?

AMG: They caught wind of what was going on. We had the radio stations smashing, “Can U Werk Wit Dat.” We actually went to Interscope first, then we were gonna do the deal at Warner Bros. It was one of those, who wants us type of thing. But the record has picked up speed. We started doing appearances and putting the songs into the shows we did. The crowd responded, the reps came out and saw it. It’s a good surprise and something that’s needed. The label [Interscope] was like, “Let’s see what these guys can do.”

What’s the vibe on Midnight Life? Is it more fun and partying?

AMG: Oh yeah, definitely. My thing has always been more of a party atmosphere. I keep it light because that’s the element [needed] to make this record work. Nobody is coming with deep messages. We’re not trying to save anybody. So I think the concept of this album is to just keep the party going. If you wanna learn something, you’ll learn it with or without a record. I don’t think records are here to teach you.

So this album isn’t going to be as heavily West Coast influenced as your previous collaborations?

Quik: Yeah, it’s not. We’ve done it before, over and over again. When the results don’t match the input — if you’re putting a lot in and getting a little out — I think it’s time to walk away from that slot machine and go gamble somewhere else.

AMG: I think we need to do something different besides the same old West Coast thing. We gotta get on some new dance shit. Niggas got a million styles. It just so happens when you get into the record business, you gotta make those certain records. A lot of Quik fans are saying, “It looks like you’re selling out. You’re making down South records.” But you gotta change. You can’t be walking around with bell-bottoms when straight legs are in.

Quik, many regard you and Dr. Dre as the best West Coast producers ever. But it seems Dre gets most of the mainstream attention.

Quik: Of course he will. Dre is a good businessman. He knows how to sell stuff. My thing is — I was always emotionally driven by the music. I think when you give so much of yourself to one thing, you become one-sided and out of balance. So I think that caused the industry to not respect me as much as other people. I’m not a ruthless guy. I’m not robbing anybody for their publishing. I guess you gotta be a shark in this game. I just wasn’t a shark. And I guess, me being dyslexic as I am, or whatever, I thought I didn’t know the business and that’s the furthest from the truth.

As veterans, how do you stay relevant in a game that changes so fast?

Quik: We’re giving people what they want, as opposed to trying to force a structure on people, like, “This is the way it’s supposed to be. This is real hip-hop.” They don’t give a fuck. If it don’t strike them for that moment, then they’re onto something else. We conformed into giving people party music — the feel good music they want.

Quik, last year you went to prison for five months. What happened there?
Quik: That was a real dark time in my life. I was fighting with my sisters. Some of the things they put me through, they probably didn’t really intend it, [but] they were trying to extort me. I always gave them everything and I told them I appreciated them for helping me buy equipment when I was younger. After we got older, I told them, “I really don’t owe you anything. You spent five or six thousand dollars on me when I was coming up. After I became successful, your money didn’t end. I was giving y’all money that I hadn’t even paid taxes on yet.”

[Then] I found out my sisters were trying kidnap my kids for money. So I was like, “Are you guys on crack now? Is that what this is? Are y’all trying to keep it from me? Do you think y’all [are] slick? You’re trying to play me. I’m not ignorant. I’m a genius.” So I could see what it was. It’s just that I’m left-handed and I’m a giver. I’m a philanthropist and I give from the heart. So I love you guys, but I’m not gonna let you hurt my kids. That’s retarded.

I had a strap on me for some dudes. I can talk about it now [because] it’s my situation. My sisters had incorporated some guys involved in the streets into the plot. I caught an assault case and I didn’t pistol whip my sister. She’s little, you don’t have to pistol whip her. But I had my pistol there to shoot them niggas in the face if I would have saw them. I would have blown their ass away. So I snapped. I was out of my mind. I went through therapy and anger management for it and did my jail time. To me, it was more like rehab [rather] than a prison sentence. It was like, go in here and find yourself. Don’t be crazy. Don’t be a victim of the system and don’t let them own your mind.


xxlmag.com

Give It To You: MYHHTV.COM

ONLINE TV NETWORK OFFERS NONSTOP HIP-HOP

When it comes to hip-hop, conventional television varies in its level of coverage. But now, hip-hop junkies worldwide can get their fix 24-7 on the new Web site myhhtv.com, the first-ever Internet hip-hop television network. Launched this past February, myhhtv.com, or Hip-Hop TV, is the brainchild of 26-year-old entrepreneur Ganiu "Scrills" Ladejobi. Fed up with the lack of diverse hip-hop programming on mainstream television, the Bronx ex-rapper looked to create a Web site that would service solely hip-hop fans. "BET and MTV are not really hip-hop networks, so they're not built to cater to our culture exclusively," says Scrills.

Last year, as a senior at Queens College, Scrills self-funded the project and gathered a small team of Web-savvy friends who now help operate HHTV. The site's content includes music videos, in-depth forums, contests and hip-hop shows, like Props 2 Da DJ and the MC battle Face Off. Similar to traditional televison, programs are repeated, and each show features short commercial breaks. By diversifying the content, Scrills hopes to expose viewers to all dimensions of hip-hop. "The purpose is not to get people to switch streams," he says. "My goal is to really just reignite the excitement of hip-hop." One viewer at a time.


XXL May 2007 no. 91

Hold Down The Block: DVD Awards

FIRST-EVER DVD AWARDS SALUTES THRIVING STREET CULTURE.

A sea of artists, crew members and rap fans packed NYCs Club Avalon on December 6 to celebrate the booming street DVD industry with the inaugural Urban DVD Awards. Trophies were presented to rappers, DVD producers and street-marketed videos, the status of which has risen to the level of mixtapes recently, with the popularity of DVDs like S.M.A.C.K. and All Access. Categories included Best Commercial DVD [All Access], Most Consistent Artist on a DVD [Maino] and Best Celebrity Booty DVD [Kay Slay].

Afterward, New York rap staples Saigon, Tru Life, Red Cafe, Grafh, Stack Bundles, Jae Millz and Maino—members of a new rap collective called the New Big East—took the stage, while celebs such as Remy Ma, Marley Marl, Consequence and Kay Slay watched. Although miscommunication, impromptu freestyles and a lack of security slowed the pace of the evening, the respect seemed long overdue. "It's a lot of hard work, chaos and pandemonium, but it's worth it," said Bruce "Mook Diamond" Hatcher, co-organizer of the event, with rapper Littles. "Everyone who's working hard and putting their efforts forward needs to be awarded." The streets were watching. Now the world is, too.


XXL March 2007 no. 89

Behind The Seams

SWAGGER

Swagger’s high-end street wear and design would seem like the latest digs but in all actuality, Japan’s premier line of Hip-Hop apparel has been keeping it fresh since ’99 with innovative color schemes and top quality fabric. Does your aura turn from dull gray to green glow; confidence level hit the Richter scale and sexual prowess growl when you slide into a pair of crisp jeans and comfy hoodie by Swagger? Japanese designers Iggy and Big-O have a strong appreciation for Hip-Hop culture and are dually inspired by unique details, humor and the essence of ‘Wild Style.’ “We have always had a love for fashion and Hip-Hop music so we incorporate our own passions into our designs.” With the extended luxury line released in 2002, Phenomenon, the designers have asserted their brand internationally in Japan, Taiwan, Australia, Hawaii and New York. Exclusive collaborations with North Face and Levis have proven successful. “We just did a custom pair of jeans for Jay-Z. They would retail for around $1,500, but his are one of a kind.” But of course, our Hip-Hop President must roll in style.
www.swagger-co.com



SB Wear

Break beats, verbal intercourse and solar graffiti encompass the immortal Hip-Hop head rocking SB Wear. The trendsetting and ill-rocking fashion phenomenon birthed through the new soul of black culture gone global has smashed the big screen and ripped the runway. But has the B-Boy’s sense of style come from the likes of Milan and Paris, or a prizefighting Rap superstar with business savvy? Designer Stephen Barr votes nay on both ballots and ops for unique products that evolve from complete, creative control. Barr takes the hands-on approach by physically silk-screening each t-shirt, re-working a stylish hoodie in-house to blend perfect with a custom pair of dunks. “I wanted to create a product that would appeal to sneaker collectors who could recognize and respect the effort and detail that goes into the products. SB Wear is a line of clothing featuring fresh new designs to go with exclusive sneakers.” Impeccable coordination is the key. The eighties baby from South Ozone Park, Queens, is inspired by comedy to make his brand of clothes come to life. “It’s about taking things a step further. These days kids are starting with the sneakers and building the whole outfit up around that.” Satisfying a culture of kick-collectors with the right fit to perfect an untouchable stance.
www.sb-wear.com



Lemar and Dualey

Brooklyn always seems to be in the building. International competition in the arena of fashion has grown tremendously and lucky for us, they’re catering to ravenous, nude Hip-Hop heads. The official ambassador between Japanese, London and New York street-wear, Lemar and Dualey infuse their unique experiences and quest for originality into their artistic brand of urban fashion. “We’re trying to bring the element of cats who grew up all around Brooklyn, expanding the market to not only include the SOHO crowd. You can still get off the hood element and be clean and tailored.” Straight up, they’re not a skateboard clique. Longtime friends and Art majors, the designers of Lemar and Dualey have focused their love of music, sports, women and threads into a clothing line that’s been growing for two and a half years. Expertise matched with hustle makes for fine taste and seductive fashion. Self-taught tailors abide by the code of staying true to authenticity.
www.lemaranddauley.com

Trina: So Fresh

Trina’s career blossomed after debuting on Trick Daddy’s 1998 breakout hit “Nann Nigga,” off his album, www.thug.com. Her sharp tongue, sassy style and voluptuous curves are, in large part, what made her an instant star. Two years later, Trina released her gold debut album, Da Baddest Bitch (Slip-N-Slide/Atlantic Records), which peaked at No. 33 on the Billboard chart thanks to the sexually explicit hit, “Pull Over.” Packing more sex appeal than a XXL Eye Candy pinup, Trina was every d-boy’s fantasy. Her follow up album, Diamond Princess (2002), was well received and reflected her artistic growth with memorable moments, such as “No Panties” featuring Tweet and “B R Right,” which offered Ludacris. Unfortunately, Trina wasn’t able to duplicate such success with 2005’s Glamorest Life. Despite guest appearances from Lil Wayne and Kelly Rowland, and production from Mannie Fresh and Jazze Pha, the album failed to achieve gold status. With redemption in mind, Trina now looks towards a fresh start in 2007. She parted ways with her label of five years, Atlantic Records, in 2006 and has now found a new home (which she intends to keep a secret, for the time being). Her new album (still untitled) will be released this July with production from Scott Storch, Cool & Dre and The Runners. Trina discusses her new album, the breakup with Atlantic Records and her controversial past with XXLMag.com

Why haven’t we had more albums from female MCs lately?

The industry is male dominated. It’s crazy because there are only a few females and everybody is so spaced out. The unity is not there. I think with females, we’re a lot more emotional and when things aren’t going great, I think it’s a little discouraging. You kind of get sheltered and don’t really know which route to take. Now, it’s a new year and there are a lot of females coming out. You got the Remy Ma, Shawnna and Jackie-O collaboration.

What do you think about their group?

I think it’s hot! It shows a form of unity for girls to reach out, let their voices be heard and [try to] make a difference. The album should be great. I’m looking forward to working with them on [it]. It’s up to us to stand strong and go hard.

You were speaking at a conference [St. Thomas University’s Second Annual Business Leadership Summit] for young girls recently. How did that come about?

It was a power summit to educate the girls about life, money, the industry and their future. It was really cool. I have a foundation called the Diamond Dolls Foundation. It’s a blessing to be able to give back and share my personal experiences with the girls.

You’ve done a lot — modeled, dropped hot albums — have you proven that you’re not just a pretty face?

That’s so important. A lot of people get it twisted when you’re a chick in the game. Your looks are cool and I’m blessed, but I just want people to respect the work. I work extremely hard, just as hard as the guys, if not more. I’m one of the hardest working females in the business.

But you can be vicious at times too. You put Khia on blast.

[Laughs] That whole situation is really so out of my element. But it is what it is. I felt like she was being disrespectful, so I addressed the situation and that’s the end of it. I just felt like it’s not fair to open a magazine and some chick is talking slick out the face. I don’t know her personally and I never did anything to make her say something about me. If you don’t like me or my music, then don’t look at me or don’t listen. That’s a choice. That’s one good thing about America. So when you come sideways out the face, it’s a problem.

You also went at Gillie Da Kid.

Personally, I don’t know him. I just feel like, as a female, to hear some of the things that come from people’s mouth is disrespectful. I don’t know you, so don’t disrespect me. I don’t have anything to say about you. Whatever you’re going through with anybody else — y’all are dudes, you can battle it out all day. That’s not my thing. But I’m not gonna allow you to disrespect me and feel like its cool, because its really not. And that [goes with] anybody. When you are disrespectful, don’t [think] I’m not gonna have nothing to say back. For the most part, I ignore it, ‘cause I don’t have the time. But I just went into this zone like, ‘Look, don’t come at me sideways.’ I’m not built like that. I’m fly and I’m not gonna let you say anything out the face to me. And that’s that.

There is currently video footage circulating on the Internet of you dancing explicitly on stage at a Trick Daddy concert while guys are groping and pouring liquor on you.

My thing is this — I saw some of that and all of that stuff is like a decade old. Find something new to dig up. We’re in the year 2007. That was like 1997. It’s not even worth the conversation. Please!

Did you feel violated when you saw the video?

This is how we got into music — we were on the road dancing with Trick. When I came into the game, I expressed that. Yes, before I was doing real estate and before I was a rapper, I used to dance at a topless nightclub. I said that and it’s nothing new. So everybody that’s overexcited, clam down. I said that already and it’s over with. People always do anything to pull you down. At the end of the day, it’s something I did when I was a child. We were on stage, wildin’ and dancing. But I was fully clothed, I wasn’t naked and I wasn’t having sex with anybody. I was acting crazy and it’s something that I did when I was a kid. I’m a grown woman. I don’t have to explain myself to anybody and I don’t have any skeletons in my closet. In life, there are people that indulge in anything to make a person look bad. You can’t stop that. But I hold no regrets in life. My past is what made me the person I am today.

What’s your relationship like with Lil Wayne now?

It’s great. He’s a great guy.

People are interested in your situation. They love celebrity couples.

There is so much pressure when you’re in one of those situations. Its my personal life and I like for it to stay that way. It can escalate into so much more. I don’t really like to talk about anything that I feel is sacred to me. I don’t want to discuss it. I feel like he’s a great person and that’s the end of that. He’s a great person.

It must be something real for you to be so protective of it.

It’s definitely a real situation. He’s an amazing person, a very special person, so therefore it’s always gonna be that way. I’m always going to be protective of my personal life, despite what anybody feels or says. Some things you just wanna keep that way.

Are you still signed to Atlantic Records?

Actually, my deal was up with Atlantic Records after [my last] project. It was a decision to either record a new project or not to. I’ve been with Atlantic my whole career. With the last project, I just felt like, at this time, I want to do something different. I had the option to move forward but I want to take the chance and see what happens. I feel like its going to be a great opportunity and a great outcome.

What label are you signed to now?

With Slip-N-Slide. I’m not able to speak on the new proceedings. It’s the labels, they bug out and don’t want it to be over hyped. So I’d rather not talk about it until its finally complete and then we’ll make a public announcement.

Are you disappointed with the sales from your last album, Glamorest Life?

I feel like a lot of things weren’t taken care of, as far as the structure of the album, how it was set up, put out and the rotation of the records. It’s just a lot of different things. Everything wasn’t going accordingly and it showed in the record sales being below expectations. But I still handled my business. Now we move onto the next chapter.

What’s next for you?

I’ve been working on my album, which will be released in July. Not really sure about the title yet, but it’s going to be great. I have the most control I’ve ever had on any project. I got features and a few tricks up my sleeve. As far as producers, I’ve worked with Cool & Dre, The Runners, Scott Storch and a few upcoming producers out of Cleveland.


xxlmag.com

Devin The Dude: All Grown Up

Its been three years since Devin the Dude released his last album, the critically acclaimed but commercial failure, To Tha X-Treme. But a lot has changed in hip-hop since then. Houston is now the hot bed of hip-hop, propelling pioneering hometown artists, such as Devin, into legendary status. Now, with the release of his fourth solo album in nine years – Waitin’ To Inhale – the eccentric MC offers more x-rated tales, but this time, with a sense of maturity.

Devin The Dude’s humble rap beginnings started in the late 80’s when he meet Rob Quest, an MC/producer who was apart of the Houston group, the Coughee Brothaz. The two formed a bond and then enlisted Jugg Mugg and DJ Screw to create the four-man collective, the Odd Squad. DJ Styles would later replace Screw before they released their 1994 debut album, Fadanuf fa Erybody!! It was Devin, however, who garnered most of the attention in the crew. The Geto Boys’ Scarface took notice. He asked Devin to join his group, Facemob. The five MCs released their debut album, The Other Side of the Law in 1996 after which, Devin stepped out as a solo artist, releasing his self-titled debut in 1998. The album garnered a cult following of fans that were enamored with Devin’s penchant for woman, weed and silly antics. While it was a commercial flop, one of the fans he won was over Dr. Dre, who love Devin’s work and featured him on “Fuck You,” off the classic album 2001. It was Devin’s big break. Unfortunately, Devin’s new fame didn’t lead to SoundScan success. His following two albums - Just Tryin’ ta Live (2002) and To Tha X-Treme (2004) - failed to even go gold.

But a lot has changed since his last album. Now a family man, Devin has a newfound maturation. While that’s a characterization not usually associated with Devin, the Houston legend reveals a side of him hardly seen, discussing his moral conscious and artistic responsibility (say what?) with XXLMag.com. Diehard fans don’t fret; The Dude isn’t straying from his foundation, he’s just getting his grown man on. There’s still plenty of blunts, brews and woman to go around. Even if that’s not the only thing on his mind these days.

What’s going on in the world of Devin today?

I’m chillin’. We’re [Odd Squad] in the studio right now going over some old music we did back around 1992.

Are you playing songs or just reminiscing about past experiences?

We’re playing Odd Squad stuff and collaborations we did with the 5th Ward Boyz and Too Much Trouble.

What’s the mood in the studio?

Man, we’re having a ball. I got a couple of brews and a cup of coffee brewing [weed]. I brought some old cassette tapes that I had for awhile to the studio today. We’re going through them—reminiscing and trippin’.

Speaking of the past, you’ve always had a sense of musical history. When did it transcend into becoming an artist?

We was poppin’ and breakin’ in the 80’s. My brother and me formed a group and we would perform in front of a nursing home. We did a baseball [influenced] routine. I always felt sorry for the elderly people in that home, though. It made me nervous, so it was hard to concentrate. But eventually, I got my routine together and when we finished, all the people stood up and applauded. One woman, who lost a limb, was clapping her hand and nub together, enjoying herself. So I was like, Instead of feeling sorry for her, I’m gonna party with her.
But around ‘86, it [break dancing] started to become commercial and watered down. They [the police] were even stopping us from doing it on corners and in front of stores. They really [destroyed] break dancing and it left us with just the music. So, we would have our tapes with the instrumental side, which [influenced] us to pick up a mic and start freestyling. I then started battling in the park in ‘88. My brother would DJ and my crew would get on the mic. We would battle whoever stepped up to the mic. Girls loved us!

What can we expect from your new album, Waitin’ to Inhale?

Just some good feelings and tripped out times that may seem serious, but have a funny ending or meaning behind it. I’m having fun and just trying to enjoy loving the music. I usually title my albums after one of the songs that sums everything up. But I couldn’t find that song this time. So, we were trying to think outside the box and DJ Domo, one of my producers, came up with the title. It’s just something positive. I have a couple of relationship songs on there, as always.

So the formula hasn’t changed?

Not really, but I welcome a lot of producers coming out with hot tracks. When they present it to me, if there’s a track on there that can fit with what we are doing, we’ll run with it.

Speaking of relationship songs, do you get a lot of flack for your content?

Kind of, but its usually in a cool way. One time after a show, this girl walked up to me and was like, “I love that song “Fuck Faces” you have.” So, I kind of get mixed reviews. But personally, I just look at it like; I have to [tone] it down. I got girls myself now. I’m getting older and kind of realizing what’s going down. You just mature and change gradually.It’s healthy for fans to see that growth.I just like to show people respect because that’s the only way you can get it. My mom plays a big part in that. She installed a lot of that in me, as far as being respectful. I don’t even cuss in front of her. I didn’t really care about that with the Odd Squad music. I was so nervous when she got a copy of the album because she was always proud of me. She always said she was praying for me. So when she heard it, she told me what numbers she liked on the album [laughs]. She told me she didn’t like some of the stuff but to keep on going because she was proud of me. Once I heard that, I let it rip. If I can get that support from my mom, then I just gotta do my thing.
How do you feel about Houston dominating hip-hop?I feel blessed just to be apart of that cycle. It will be in another city soon, so we’ve got to enjoy it, keep pushing and do as much as we can while it’s here. It’s all love. It’s just a blessing to be apart of it and see people have their eyes and ears on us.

Even though you are an inspiration for a lot of MCs today, you’ve always remained low-key. Why is that?

I feel comfortable with it. It’s a blessing in disguise. I feel like I’m in the middle somewhere. I don’t feel low or real high, at all. It helps me balance myself in the studio and at home.
What keeps you relevant?The people around me. But also the fact that I have to be someone special. I’m me and there’s only one. Everybody should feel that way. There’s gotta be something different that I can do. I always felt different. I’m no one if it wasn’t for you, and because of you, I am who I am. Plus, I’m a people person. I like to laugh, have fun and be around good people. Color and race doesn’t matter to me. A lot of people are so upset [nowadays], but once you get a chance to communicate and talk to people, you realize everything you have in common with people. It’s really a good thing.


xxlmag.com

Freekey Zekey: So Harlem

Any long-time fan of the Diplomats is familiar with Freekey Zekey, the most extreme member of the Dipset fam. Known for his outrageous video appearances and album skits, his energetic hypeman performances and legal problems, Zeke, who’s been free from prison since November, is ready to get back into Dipset mode. He’s been busy recording his solo debut Book of Ezekiel.

XXLMag.com recently caught up with the Diplomats president to talk about his rap career, the origins and future of Dipset and the recent explosive Hot 97 radio convo between Cam’ron and 50 Cent. Less than a week after we sat with Zeke, the beef between 50 and Cam elevated when 50 released “Funeral Music,” a song and video going at Killa Cam. Later that same day Cam dropped “Curtis” his own 50 diss. You can hear both tracks in XXLMag.com Bangers. We were unable to catch up with Zeke again (apparently he “lost his phone”) but what he did say, explained some things. Check it out.

A few weeks ago 50 Cent visited the Angie Martinez Show and called Koch Records, the indie label the Diplomats are signed to, “a graveyard.” Your Dipset partner Cam’ron called in to chat with 50 and defend Koch. Things got a little hectic…

So Killa’s in the crib, King Jaffe Jo, listening to Hot 97. We out here working now ’cause he’s the head, no homo, dude, and now we just get him cake. Anytime he hear anything that sounds like it’s gonna destroy Diplomats or it got some type of conflict with Diplomats… ’cause right now, Jim is the number one person on Koch. That “Ballin’” song is the hottest song in America. [Cam] heard 50 Cent say something in that factor. The first light bulb that flashed in his head was when [50] said Koch is the graveyard. Second, he said he’ll destroy the best artist on there. Jim is the best artist on there. He just reacted. This is just old school brotherly love since we was little. We knew each other for over twenty years. That’s like if we walking in the street and somebody was like, “Yo, fuck that nigga, Jim.” Bong! I’m smashing the nigga. It’s aggressive competition but at the end of the day, niggas is making money, niggas is out the street, really.

Do you think 50’s words were out of order?

I’m saying, he don’t know what he talking about, yo. He just mentioning shit ’cause at the end of the day Prodigy is on Koch, so how you gone call that the graveyard and send them there? Basically he’s just rambling because he don’t know there’s other smart people out there and he figure he could throw a couple things out there and people on different record labels don’t know too much about different artists. But we cover everything, we on every scene, that’s why we still do what we do on a high level.

Break down Dipset right now. What’s your role?

My status on Diplomat Records is, I’m the President. Being the President of Diplomat Records basically entails everything from signing the check, signing the artist to all the way down to cleaning the office. We got people to do that but we just grew up from the grind together. Everything we did was always together: me, Jim and Killa did everything together so we took all the losses. When we was on Sony we was getting raped by Untertainment. We was 16, 17 and they gave us a six, a house, $350,000 bonus and that’s not even counting the signing.

You were just happy to be on.

But we didn’t know that Untertainment took half our publishing and Sony got the other half. Next thing you know we in the whole $1.4 million. We all grew together so the roles, it went from nothing to something.

There have been rumors of tension amongst Dipset lately.

Nah, honestly, Jim does what he… right now we all individual artists. We’re always gonna be Dipset, but right now Cam got his thing as does Jim, Juelz and myself. Everybody sees us as a crew, but once you just see somebody getting higher and higher…

What do you think about Jim’s success?

I love it! I went in [to jail] when we didn’t have shit. We was fucked up! I’m in there, I’m watching Killa do his thing, everybody just blew. I’m like “cha-ching, cha-ching.” For myself, yeah, I’m about to get it. It’s just that Jim is escalating and he’s getting to the apex of his success so people is gonna start to look and see. And he’s on a demand right now so everybody’s grabbing and screaming “Jim.” So of course a rumor gonna spit out that Cam is getting jealous or whatever. Like we just went out to his house after a video shoot for “Emotionless.” That’s a dead issue. We’re always gonna be one, tight knit. Watch when I pop. The rumors gonna be about me ‘cause I’ma be in high demand. It might happen where I might wanna shoot something in London and Cam and everybody here and they see the video with just me and my niggas. They gonna be like, “What happened?” You know how people start making up their own, but that’s good though.

Tru Life has had some not so nice things to say about Dipset lately. What are your thoughts on that?

He’s some dude trying to make a name for himself. Every time you wanna be somebody or do something with your life, you always at least go for the top. He probably figured, If I touch a nerve with them, everyone will start talking about me. Honestly, I don’t even know the dude. I don’t know who he is still. Like I seen a picture of her, I mean him, and I still don’t know the nigga. But anyway, now Jim took over Tru Life. At the end of the day, nobody really wants to get physical with us. I’m not gonna sit here and poke my chest out like we the toughest people in the world ’cause there’s always somebody tougher. But I will say that we got tough and we got ghetto with us. Honestly, if it was like that, we be in studios, we be at events, stuff be shouted all over the radio so he know where to find us. Obviously he don’t really wanna be involved like that. He don’t really want no problems with Harlem like that.

How did it get to the point where Dipset had such a huge fallout with Roc-A-Fella?

The time when [Cam’s Jay-Z] diss song [“Gotta Love It”] came out, Cam’ did his thing, that was about like three to four years later. 2002 when we signed to the Roc, don’t get me wrong, we was doing cartwheels and back flips and everybody like, “We on the Roc now? What? We outta here!” At the time, if anybody was on the Roc, they was good. So that’s what we felt but for some reason [and] to this day I still don’t know why, the nigga Jay just never fucked with us. We’d ask him to come to the studio. He won’t show up. Cam called his phone—voicemail. Cam would be like, “Hello, this is Cam’ron, the rapper. I’m calling to say, what’s up.” He never responded for no reason. So now we like, “Hold on. What you dong this for?” Then it was a situation with [DJ] Lenny S, where Jim slapped Lenny S. You know when you call your mans and them to back you up, [Memphis] Bleek got out. So we like, “Oh word? So you coming to fight?” That’s what really parted the sea from there on. But, you know, [Jay’s] the type of guy that wants to be on the single and act like, “I’m the one.” I guess he got some bullheaded shit with him. But he’s not even a factor because niggas is making money. Who cares? Niggas ain’t really interested in Jay. Plus, L.A. Reid handles all our Def Jam stuff, so, he’s a lint on the shoulder.

A lot of people are surprised that you are rapping. They’re more familiar with you as the hype man and for your skits on Cam albums and Dipset mixtapes. What are you offering with your solo debut, Book of Ezekiel?

I always believed in the man, the Lord and shit. When I was in jail, once in awhile when I was stressed and needed to calm down, I learned patience. When I wanted to pop off on a nigga and slap the shit out of somebody, I went to that. I’m flippin’ through the Bible and I went to that, the book of Ezekiel and the Lord told Zeke, “Go over there. Tell them niggas to stop playing or I’ma roast ‘em!” So I’m like, Damn, let me speak to my peoples. Let me put them on onto shit that popped off in my life, that pops off period before they get roasted. The way these little niggas move out here, trust me, you gon’ get roasted! My album gonna be instructions on how to move in the hood. I’m the hood Malcolm X, damn near. Right now I got about twenty songs done. I can’t say who but I am working with some big down South rappers. I want niggas to really feel me and hear me. I ain’t work with no major producers, but these niggas that I got, that’s giving me crack, is gonna be major when I’m finished.


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