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LiL' Kim
After strolling down the cracked boulevards of Bed-Stuy, Brooklyn - looking ghetto-queen lean and chocolate-wine fine - the mack momma who answers to the name Lil' Kim is rocking rugged on her Undeas/Big Beat/Atlantic debut disc, "HARD CORE." The lieutenant for Junior M.A.F.I.A., Kim has already been heard on the group's gold-selling album, "CONSPIRACY," and completed cool cameos on singles by Skin Deep, the Isley Brothers, Mona Lisa, and Total, in addition to dropping a cut on the hot, gold-certified motion-picture soundtrack to High School High.
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"The solo project was a lot harder to do because I wrote it all," says Kim. "Plus I was going through a lot of drama... business and personal. I'm real pleased with how everything turned out though. What made it all possible is my faith in God."
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With a voice as sweet as syrup and lyrics that are as wild as a Vanessa Del Rio flick, the diminutive diva backs the tracks layered by producers Sean "Puffy" Combs, Jermaine Dupri, Stevie J., Nashiem, Prestige, High Class, and Cornbread. "I like ghetto-melodic beats with lots of bass, guitars, and piano," states Kim.
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Unlike other female MCs who drop PC verses, Kim crashes through the rap-scapes with a rawness that is rare. She's honest in her explorations of sexual freedom, and - although she's been attacked by hip-hop conservatives for being too nasty - she flexes the female liberation that a generation of women fought for not so long ago. "I'm a very sexual person," insists Kim, "and what I'm revealing on my album is my personality and experiences."
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"Big Momma Thang," which features that black Roc-A-Fella, Ja -Z, bites back at some of the pesky insects annoying Kim. The song "M.A.F.I.A. Land," meanwhile, shines a light on how Kim rolls and who she hangs with. "I used to associate a lot with girls," she says. "But they were always talkin' a whole lotta he-say-she-say, getting into trouble and taking me along. Now I hang with my niggas, especially Biggie Smalls, who I owe 85% of my career to; he's the one that gave me and the rest of Junior M.A.F.I.A. our shot at stardom."
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Another cut, "Spend A Little Doe," details a past relationship with an ungrateful hustler who gave Kim up to the cops when a street situation got hot. Then there's "No Time," which opens with the Moet-cool of Puffy's smoky voice. The song is the latest player's anthem in the lexicon of GQ. With a beat that bounces like a pimp with a bullet in his leg, "No Time" is the perfect soundtrack for ghetto femme fatales, Rolex-staring like black cats in the darkness.
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Born in Brooklyn, Kim lived ghetto-comfortable with her mom and dad until she was 9. At that age her parents split up and she moved in with her father. But, she recalls, "things started getting bad and he kicked me out." She lived with friends and turned to the streets for sustenance. "I always loved music, though, and when Biggie found out I could rhyme he helped put me on," she says.
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Kim introduced herself to the world on the Junior M.A.F.I.A. single "Player's Anthem" and was also featured on the group's follow-up "Get Money." With pinches of inner-city street ego slipping from her crimson-hued lips and lots of sexually-spiced subject matter (hot as a gushing volcano), Kim refuses to be restricted by the repressed minds who judge her style. Much like a black female haunted by the ghost of Henry Miller, Kim has fashioned "HARD CORE" as an exotic black-light soundtrack that busts through the barriers of uncut funk and censored language.
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Whether hanging with her homies or dropping phat lines, Lil' Kim is ushering in a new style for female wild childs to follow. "I'm gonna keep doin' what I'm doin' cuz it's workin'," she says

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M-A-Dolla Sign-E Ma$e
Since his auspicious arrival, attached to 112's certified gold single"Only You," Bad Boy Entertainment's Mase has been an attention-grabbing rapper--reflecting both the simplicity of true hip-hop and the grabby saavy of chart-toppingpop. In just a few short months the mellow-voiced MC has easily leap-froggedfrom relative obscurity to become a poetic powerhouse attached to more hits than a little bit.
In addition to the 112 joint, Mase has laced such hits as Sean "Puffy" Combs' double platinum "Can't Nobody Hold Me Down;" Notorious B.I.G.'s platinum "Mo Money, Mo Problems;" Mariah Carey's platinum "Honey," Puff Daddy's "It's All About The Benjamins;" and "You Should Be Mine (Don't Wast MyTime)" by Brian McKnight. Mase has also adds his signature flow to Mario Winans'"Don't Know"; Keith Sweat's "Just A Touch" remix; Busta Rhymes' "The Body Rock"and Junior MAFIA's "Young Casanova." Each successive track has succeeded commercially. No verse has passed a listener's ear unnoticed.
Before dropping a single of his own, Mase was already a familiar face--having been a featuredartist in more than six high-rotation, chart-topping music videos. And on the 1997 MTV Video Music Awards, Mase joined the entire Bad Boy family in a stellar live performance of the night's winning single "I'll Be Missing You" along side rock legend Sting.
"The way I look at it," Mase says, "everything that has happened to me so far is a blessing from God. I can't take credit for any of it. I've always just kept my head straight, doing what was right, and it's like God's finally telling me, 'Yo, I appreciate how you've been livin'."
So far at this point in his career, Mase has been a featured performer on some of thehottest records of the past 18 months. Now with his eagerly-awaited full-lengthdebut album, Harlem World, he is offering listeners a chance to fully experiencehis life and growth. "With my album I'm just telling you how I feel," insiststhe young rap star. "I don't write rhymes 'cause they sound good. Any song fromMase is gonna be the truth. Honest."
Harlem World is an infectious, often humorous, intricately-woven continuation of Bad Boy's way of moving crowds right. As such it enthusiastically plays to win. Mase wants to follow in the Bad Boy multi-platinum footprints of Notorious B.I.G. and Puff Daddy, but he alsoseeks to forge his own musical path and create his own signature sound. "Growingup," he says, "I was always the guy who went left when everybody else went right. I'm my own person and I like things my way."
So even though he recorded most of Harlem World at the Manhattan Bad Boy-owned Daddy's House Studios, Mase ventured outside of the company for some of his tracks. "I love how Puffy and [hisstudio squad] The Hitmen produce, but I wanted to try working with some new catstoo. My main concern when picking beats was, 'Are they hot!' I've got to loveeverything, 'cause if I don't the public won't either and I don't ever want to bepredictable."
Besides hiring The Hitmen Deric "D-Dot" Angelettie, Stevie J, Ron"Amen-Ra" Lawrence and Carlos "Chucky" Thompson, to name a few, Mase alsocommandeered producers Jermaine Dupri, The Neptunes, Chad Hugo, PharrellWilliams, Grease and Mo Suave-A. The resulting jams roam through a widerange of soundscapes, including frothy funk, hot-buttered soul and earth-shakingbump and thump.
Titles include the hard-hitting "24 Hrs. To Live" featuring The Lox,Black Rob and DMX; the R&B flavored "Love You So," featuring BillyLawrence; the Jermaine Dupri produced "Cheat On You" with Jay-Z and Lil' Cease; Mase'shead noddin' message to playa hatas "Wanna Hurt Mase" and Busta Rhymes'contribution, "Niggas Wanna Act." Puff Daddy adds his flavor to "Do You Wanna Get $" and also joins Mase along with Queen B Li'l Kim on "Will They Die For You."
Born 20 years ago in Jacksonville, FL., Mason Betha was one of six children --three boys and three girls. Jacksonville was his home until age five, when his familymoved to the heart of New York City's Harlem.
As a kid, Mase was a good student who spent much of his spare time playing basketball or in church. And until the age of 13 he managed to avoid the lure of dangerous ghetto games. When hebegan showing the slightest sign of getting caught up in the world of Harlemstreet economics, he got shipped back down South. "My mother saw I was becomingmore negative than positive," Mase recalls. "So she kind of tried to rescue me."
After returning to New York two years later, older and wiser, Mase'sinterest in music began to sprout "from nowhere." As he remembers it, "I just used tolike to play basketball. And as one of the guys going to games on the team bus, Ijust tried to rhyme like everybody else. At first they used to tease me about myvoice, saying I talked slow. But, as I saw it, that's what made me unique."
For encouragement, Mase turned to neighborhood MCs. "They always used to tellme that if I wanted a rap career, I had to be serious," he says. The fledglingperformer also received inspiration from young manager Damon Dash and his clique ofMCs that included Jay-Z and Big Al McGruff. "They all influenced me indifferent ways," Mase remembers. "For instance, I liked Jay-Z because he was such aslick talker, and McGruff was cool 'cause he always came across with so mucharrogance."
From spending time in hip-hop hangouts, rapping, dancing and havingfun, Mase made the acquaintance of more established performers, includingKeith Murray, MOP, Redman and Busta Rhymes. While in Atlanta to hook up withJermaine Dupri last year, he ran into Sean "Puffy" Combs. "I rapped for him,"remembers Mase, "and when I got back to New York he put me on the 112 remix. It wasall love after that."
Mase has shown he has the stuff to hold ears, and in preparingfor his solo set, he has worked hard to steer clear of formula. "EverytimeI rap I'm tellin' you somethin' that I feel," he insists.
For instance, "Instead ofplayer-hating me-- get to know me. If you want to get money with me--get money with me. Don't knock me 'cause I'm gettin' mine," says Mase. "That'sbasically the vibe of Harlem World. It's showing where I'm from and mapping outwhere I'm lookin' to go."
And Mase is quite clear about where he's going. Harlem Worldgives you a chance to come along for the ride.

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