Slug and Ant are the lords of the underground. As Atmosphere, they have pioneered the proof that hip-hop could survive in a new city, like Run DMC. They followed the blueprint of the culture: performing, similar to KRS-One. There isn’t many Saturday nights in the year where Slug isn’t behind a microphone entertaining the masses. Beyond that, Atmosphere had innovated a type of MC’ing. While Slug has all the swagger and confidence of any MC, he also offers more of himself than most. Slug will rhyme as much of his losses as his victories. His content matter is heartfelt, which is well received by an ever-growing cult audience. Recently, ANT and Slug dropped their fourth album together, Seven’s Travels. On the independent scale, the album is already soaring in its second month out. MTV2 and the magazines are taking notice. Atmosphere is to hip-hop what jam bands are to rock and roll. They respect the audience, they keep the music exciting, and they bear that traveling mentality that makes the group welcome in any city with a tag on a mailbox. While ANT speaks through music, AllHipHop did catch up with Slug. On the road for the current, grueling tour, Slug offers various insights. The updated formulas, the new scenery, and those classic Atmospheric elements that make the duo one of hip-hop’s hall of famers. AllHipHop.com: The new album is getting distribution from Epitaph, a punk label. On the last album you had Fat Beats doing it. Why the change, and how has it changed your audience? Slug: Quite simply, we just needed better distribution. Fat Beats, God bless them. They’re probably one of the best things to happen to independent hip-hop in a long time. Fat Beats is the real deal for cats like us who wanna put out twelve-inches, cats that wanna get their s### to the hip-hop stores. It’s just that for us, as Rhymesayers, it’s constantly about trying to take things to another level. We went and screwed around and talked to a lot of labels about distribution. Everybody wanted a little much [percentage] to give us the distribution.. I gave Fat Beats the rights to the vinyl, I gave Epitaph the rights to the CD. Both of ‘em just do distribution. I gotta give [Epitaph] props for [being] a Punk label. And they’re interested with what’s going on with this type of a scene, this type of a movement. Beyond that, they went way beyond what they owed me as far as the money they put into advertising, and they made me a video, all non-recoupable. They’re basically spending that they’re not gonna see back. They just believe that they’re gonna sell enough records to make up for what they’re spending. That mindset is something that’s missing from the major labels, and that made me respect the f### outta Epitaph. And it’s owned by one dude, who really just wants to see good things happen. AHH: Seven’s Travels’ production and delivery feel like an MC in front of a live band. Was that intended, or is this the product of so many live shows? Slug: I didn’t intentionally do anything. I think what you’re hearing is just the gradual progress, if you want to call it progress. Some kids might hear it and be like, “What you’re doing now sucks.” So I don’t necessarily mean progress as a move up, but just as a growth. Let’s face it dude, in the last twelve months, I’ve played over 150 shows. So it’s like the live sound that’s on the record has probably got to do with the fact that I’ve played live so much that it’s transferring. AHH: And you work the crowd so much. Slug: Right, big-time. I need to make it an experience for the people there. I think that goes for any performer. It’s like this man, if you art, you make your record, you do you s###, you should make that s### for yourself first and foremost. But when you’re on stage in front of a bunch of people that pay fifteen dollars to be there, that’s f###### rent money, to see your ass, it’s your job to make them have fun. It’s your job to make them enjoy themselves. It’s your job to make them understand and relate or even hate. It’s the difference between going to see a movie or going to see a play. With a movie, you can just sit back and study, and analyze it. With a play, they have to overact, they have to do these things to make you reaction like, “Yo, did you see the thing he did there?” I think that who I am live transfers on the record, and who I am on the record, transfers live. I remember KRS-One saying going to shows [you’ll see] MC’s sounding nothing like they do on the record. And I guess that stuck in my head. AHH: “Always Coming Back to You” really seems to mean a lot to people from the Midwest. How important was it to make that track? Slug: When I was a kid, I would hear my favorite people shout out Brooklyn and shout out Jersey, and shout out all these places that I would someday hopefully get to go visit. When I was fifteen the Bronx was like Mecca, and I had to make a pilgrimage. I guess it’s just that proud-of-where-you’re-at s###. I didn’t really look at it like, “Oh, I’m gonna do this and that’s gonna make m############ go, ‘Oh, word! He’s reppin’.” It’s more just like, I’m gonna rep ‘cuz I have to. AHH: It comes across as if Minneapolis is a love/hate relationship. Is that true? Slug: I mean, I guess. But that’s got less to do with the city and more to do with some of the people I know in the city. You always have your circles. And there’s always guys who hate you ‘cuz you made out with their ex-girlfriend. AHH: But you’re […]

The Source Magazine and the U.S. Army have teamed up together to create “The Source Campus Combat – Ultimate MC Battle Tour 2003.” This tour, featuring headlining performance artists such as Memphis Bleek, Nappy Roots and Black Moon, is both a usual and unusual event. It is usual in the sense that it allows college students the opportunity to come out and watch their favorite artists perform, as well as compete in an “ultimate MC battle” to be featured as The Source Magazine’s next “Unsigned Hype.” However, what makes this tour “unusual” is that it also gives students the opportunity to do something you would not normally do at a Hip Hop event – register for the U.S. Army. You must be asking yourself, “Why would the U.S. Army and The Source Magazine team up?” Well, here’s the deal. U.S. Army representatives say that the number of African-Americans enlisted in the U.S. Army is decreasing. This lack of African-American representation appears to be a major concern. Therefore, the U.S. Army is looking to recruit more African-Americans into its service. By combining the two entities, it gives each one the opportunity to attract its intended targeted audience. U.S. Army Senior Project Manager Lincoln Parker states, “We are organically integrating the U.S. Army message into Hip Hop culture, to effectively communicate the benefits and values of an army experience to a targeted audience.” Some of those “benefits and values” Parker speaks of are education, lifestyle and health benefits, career opportunities and enlistment incentives. According to Parker, “The U.S. Army feels there goal is to assist African-Americans in developing productive opportunities for better direction in their lives…As compared to a college or trade school, the U.S. Army presents opportunities for development, education and growth.” Many of the artists and participants in the event agreed to all the great benefits the U.S. Army can provide its soldiers. As participants of “Project Salute 2003” (i.e., a tour that paid tribute to the U.S. Coalition and Armed forces) Atlantic recording artists Nappy Roots are definitely no strangers when it comes to supporting the U.S. Troops. Having toured and visited such cities around the world like Kuwait and Baghdad, Nappy Roots have a very universal outlook on the impact Hip Hop culture has had on the U.S., its Army and the world. When asked their feelings about The Source/U.S. Army collaboration, Nappy Roots responded, “Music is growing for all of us…the world is based around a beat/a tempo of situations…it shows growth and development across the board about where we are going with this Hip Hop culture.” Of course, there is always a flip side to this issue. Although all of the artists mentioned shared their support for the troops, many agreed that the down side to joining the U.S. Army is the possibility of a soldier having to go to war. When asked his thoughts on the U.S. Army/Source Magazine collaboration, Roc-A-Fella recording artist Memphis Bleek responded, “It’s a double edged sword here…Soldiers get paid minimum wage…And they go out there and risk their lives on the line. However, there’s a lot of kids who don’t have education in the Hip Hop community, and if [the army] is going to take those kids and put them through school to get an education, then yeah, I’m all for it.” Duckdown recording artists Black Moon stated, “It was positive that [the U.S. Army] put itself in a situation where they thought about Boot Camp (Black Moon’s affiliation). The army participating in Hip Hop is a good thing, plus it gives us the opportunity for exposure…As long as they are supportive of themselves and of Hip Hop, then we give love to them.” While the U.S. Army was preoccupied with enlisting new recruits, The Source Magazine was busy enlisting participants in its “Ultimate MC Battle.” Between artists’ performances, talented, yet unknown Hip Hop artists got the chance to battle one another for 60 seconds, while the crowd and judges watched on to find out and determine who would be the last emcee standing. Laura Houser, the participant otherwise known as “Emcee Miss Me” held it down as the only female in the competition. Surprisingly, she said that this was the first time she had ever rapped her lyrics “out loud to an audience.” When asked if she was nervous, she replied, “Yeah, I’m just trying to keep a free state of mind and let my work flow out.” She battled it out to the final round against her male competitors “Seezmics,” “Poly Rock” and “K – Cromozone.” However, the determined winner in the end was none other than Cole Policy, known to his audience as Emcee “Seezmics,” of the hip hop group “The Educated Consumers.” The crowd determined his win as he pulled more “Oohs” and “Ahs” from the audience. When asked how he felt about his win, he said, “I’ve been rhyming for nine years, and I’ve been in a couple hundred battles, so, I don’t get nervous. I never think I’m gonna do poorly. So, if a person beats me, then it happens, but that didn’t happen today.” Overall, “The Source Campus Combat – Ultimate MC Battle Tour 2003” held at University of Maryland proved to be a positive event. All of the artists who performed that night gave their fans a great show, and, of course, they each got the opportunity to promote their latest and/or upcoming albums. Memphis Bleek has a new album coming out December 16th, entitled, “M.A.D.E.,” which is an acronym that stands for “Money Attitude Direction Education.” Black Moon’s new album “Total Eclipse” is out now. The final performance of the evening, was given by Nappy Roots, whose latest album is entitled “Wooden Leather.” The tour gives unknown talent the opportunity to be featured in The Source Magazine’s legendary “Unsigned Hype” column. It allows African-American/Urban youth the opportunity to learn about the benefits and values the U.S. Army could possibly provide them with. Finally, it provided college students with good entertainment and […]

Dwight "Beanie Sigel" Grant stands at the crossroads – and perhaps the most pivotal point in his young life. He’s been delivered his share of strife but The Philadelphia-reared rapper is definitely facing the most turmoil of his entire rap career. Currently, Beans is facing federal assault and weapons charges, attempted murder charges and drug possession charges that, if found guilty, could land him in prison for over 20 years. Terrence Speller claims Sigel is the man who pumped two bullets in his stomach and foot outside a Philadelphia bar. Sigel denies these claims, expressing profound innocence. In an exclusive interview, AllHipHop caught the Broad Street Bully and found, despite legal constraints, he still has a lot to say. AllHipHop.com: How are you doing, as a man going through some tribulation? Beanie Sigel: Probably like how a man would go through it. I’m good man. AllHipHop: You aren’t stressing it too much? BEANIE SIGEL: Nah. AllHipHop: How are you doing as an artist? Is it affecting you as an artist? BEANIE SIGEL: Same sh*t. Ain’t nothing really changed. AllHipHop: What are you doing now music-wise? BEANIE SIGEL: Right now I got this house arrest sh*t, this monitor on my leg so its like hard to come up here [to Roc-A-Fella Records]. I’m building a studio right now in the crib so I’ll be back at it probably in another week. It’ll probably be a 2 week process to get everything I need. AllHipHop: So you haven’t done any recording since your case opened? BEANIE SIGEL: No. AllHipHop: Does the legal stuff get in the way? You are supposed to stay in the Philly area? BEANIE SIGEL: Yeah, so I don’t belong here [in New York]. Don’t tell nobody. AllHipHop: You have to get a judges approval to leave? BEANIE SIGEL: Yeah. AllHipHop: You aiight? This is pretty serious. BEANIE SIGEL: Yeah, its serious, but you know, life is serious. AllHipHop: You had a short stay in jail. How was that? Were you good? BEANIE SIGEL: I was cool. AllHipHop: Nobody was messing with you? BEANIE SIGEL: [stares] AllHipHop: [laughs] BEANIE SIGEL: Ain’t nobody f*ckin’ with me, man. AllHipHop: Alright, dumb question. Have you been writing about the case? BEANIE SIGEL: Nah. I ain’t putting that out t there. I’ll wind up saying something reckless. AllHipHop: When Jay had his situation when he was accused of stabbing "Un" Rivera, he got R. Kelly and even did a video about it. BEANIE SIGEL: You know, his case isn’t as extreme as my case. AllHipHop: You took some anger management, right? BEANIE SIGEL: No, they wanted me to take that sh*t, but I’m cool. I didn’t do it. AllHipHop: Why, not? BEANIE SIGEL: I didn’t need it. AllHipHop: The State wanted you to do that? BEANIE SIGEL: The Federal people. AllHipHop: So, what did you do? BEANIE SIGEL: It was in Minnesota…It was rehabilitation sh*t. AllHipHop: What kind of rehab? Drug? BEANIE SIGEL: Man, you know what it was! [laughs] You funny. If you know to ask me that, you know what it was about. AllHipHop: Seriously, I thought it was anger management, but it said something about drugs. BEANIE SIGEL: It was all that sh*t. AllHipHop: Ya mom is like supportive? BEANIE SIGEL: Yeah, that’s my homey. AllHipHop: You seem good man. BEANIE SIGEL: I’m cool. AllHipHop: We all had our little issues and many dudes crumbled under less weight than what you have now. BEANIE SIGEL: I’m good, man, I’m good! AllHipHop: When you get the studio together, you plan to do a lot of material Pac-style thinking the outcome may not come out the way you want it to? BEANIE SIGEL: No. I’s going to go how I want it to go. That’s my outlook on it. How I want it, that’s how it’s going to go. Prepare for the worst, pray for the best. That’s it. AllHipHop: What are your thoughts on how the Philly media treated you? BEANIE SIGEL: Assassinating me. It was expected. That’s what they do, exploit people for the negative. You don’t sell no papers talking about positive and things like that that I do. I ain’t even going to speak on it now. Like, "I am in the situation that I am, but I do this and I do that." I’m going to do that regardless. The people know who I do things for and what I do and as long as they still getting the benefits of that, helping them out I’m good with it. AllHipHop: What about the streets of Philly, how are they treating you? BEANIE SIGEL: Even before the situation, you know how it goes. Even B.I.G. said, "There ain’t no guarantee they are going to love you tomorrow." So, it went from "Yeah, that’s whats up, Philly’s on the map to "F*ck that n####, He ain’t doing nothing for me." That’s just Philly. AllHipHop: That’s a lot of weight. Ya whole team is from Philly. It’s not like you pulling people from all over. BEANIE SIGEL: That’s what I do. That’s where I’m from. I’m pro-Philly all the way regardless. I been through a lot of sh*t. If I can help anybody come up out of that, anyway I can, they got it. AllHipHop: How is the State Property crew holding up? BEANIE SIGEL: Everybody is good. AllHipHop: They had to promote the album without you. BEANIE SIGEL: Yeah that was kinda f*cked up. That was the only thing that was a lil’ frustrating for me. We had one of the biggest songs in the country [Can’t Stop, Won’t Stop] and it ain’t get promoted how I feel it would have gotten promoted if I was here. You know? So, that was the most frustrating part about being down for a minute. Just not being able to be there for my team. AllHipHop: Would you have done things differently? BEANIE SIGEL: Oh yeah! A lot of people would have been doing their jobs. Believe that. It was just that […]