K C O L B Y M
O T E M O C L E W
rland a G . G e y Mauricy Eric Johnson b s d r o W Photos b
I
t’s the Friday after Thanksgiving. You’d expect everyone under the sun to be enjoying their day off, or what Ebay has officially dubbed “National Sleep-In Day.” The employees at Block Entertainment didn’t get that memo. People are shuffling in and out of the small office/ recording studio that sits in the heart of Atlanta’s Kirkwood community. Yung Joc is in the studio laying down a verse, Boyz N Da Hood are doing a photo shoot, publicists are sending out press releases and managers are dropping off demo CDs. “We work every day over here,” says Block, the Atlanta native born Russell Spencer. “Plus, I’m Muslim, so I don’t celebrate holidays much.” After seeing Joc, the first solo artist released under his partnership with Bad Boy Entertainment, achieve crossover success and turn into one of 82
the highest selling Hip Hop acts in 2006, Block has a lot to celebrate. Add that to a groundbreaking 2005 where he turned Boyz N Da Hood into one of the most talked about rap groups in recent memory, and Block’s schedule has turned into one chock-full of holidays. But to him, his seemingly sudden success is nothing to be surprised about. Were you at all surprised about the massive success Yung Joc had this year, especially as a new artist on a new label? Not to sound like a big shot, but no. I saw the drive and passion he had. Plus by me being in the game and having industry instincts, I know what to look for in an artist now. Everyone who didn’t put their money on Joc is apologizing now. So to all y’all, I accept your apologies. They felt that from me being involved in Suave House’s success and the careers of Ciara, Jody Breeze, Boyz N Da Hood, and Young Jeezy. People said I was doing