While he certainly is a true reflection of his music, I found the 151 to be the type of gentleman of distinction my Uncle spoke of in Little Italy; impeccably dressed, polite, even humble, yet under any circumstance, never to be fucked with.

151 is a bonafide veteran of hip-hop and gangland culture, boasting an impressive resume and life story, indicative of an artist on the cusp of stardom. After leaving his first label AWOL, in 1999 (before ever releasing his debut), he signed to Bay Area legend, and former label mate, C-Bo’s new label West Coast Mafia. 151 released Code of the Streets on West Coast Mafia, in 2002, and is currently working on his untitled follow up, due out in 2005.While still considered up and coming, features in national magazines such as XXL and Murder Dog, a hot new album with local sensations, Lac of Respect, as well as a video in rotation on BET, is breaking 151 to a national audience.

The video for West Coast Mafia Gang’s “Gangsta’ Pimpin’” (check it out at blastro.com), showcases the group’s All Star line up, which includes 151, Killa Tay, Lil' Cyco, and label head and mentor C-Bo. The connection between the 151 and C-Bo represents a greater connection between the Bay Area and the Northwest. This relationship, tracing back to a legendary 1994 meeting between two outlaws on the run from authorities, has not only left an indelible imprint on the DNA of the Seattle sound, but also helps explain the independent spirit that persists in the Northwest rap game. Regardless of the blind eye the music industry has turned on what very well maybe Hip Hop’s next hot spot, artist such as 151, have assembled a body of work that is forcing major labels to take a closer look at the region. 

How did you hook up with C-Bo?
Me and C-Bo got a relationship. We’ve been cool since ‘94’. We were just homies, kickin’ it. . .smoke weed. He was new to Seattle (and would) come fuck with me and shit because I know damn near everybody in the town. He heard me rap. Tapes I had made and shit. He took one of my tapes and took off with it, ‘hey, let me get this.’ And you know, took it to the bay. He was working with Mike Mosley at the time (and said), ‘I got this artist in Seattle. He always told me, ‘we gonna do this. I always had faith in him cuzz he’s a good nigga. . .he always means well, but it took a long time, partly because when I went down to Cali, I got introduced to T, who owns AWOL, Freddy Smith. And then I ended up signing to AWOL at the time I didn’t understand Bo was trying to do his own thing, as far as really starting his own label. I mean we were label mates, but I’m somebody else’s artist now, cuzz Bo didn’t own AWOL (but) I learned a lot. A whole lot.

Can you explain the connection between the Bay and the Northwest in regards to the Rap game?
What I can decipher is that you are either influenced by the Bay, or East Coast backpack rap. (The Bay) Is the closest region (to Seattle) with cars, clothes, and fashion. I would say they are the pioneers of independent game. . .because LA never really felt the bay. . .they have a superiority complex. They really respect East Coast shit, and their own LA shit. They would never show love to the Bay. They couldn’t go to LA and get record deals, (coming) from the bay, because they wasn’t respecten’ their music. So they said fuck it, we’re gonna to it ourselves. ‘Niggaz out here wanna hear out music. . .oh we got Niggaz in Portland. . .we got Seattle, they wanna hear it.’ They really capitalized on the independent game. And really gettin’ money. . .getting $150,000 checks, off of 15,000 records. And they don’t even know who you are. . .but this guy got a video out, and your making more money than him, independent.

What do you love about Hip-Hop?
You know what I really love about Hip-Hop? I really love the fact it done take a lot of cats out of bad situations. Hip Hop as a whole, has created a whole lot of opportunities for muthafuckaz from the projects, from the ghetto. . .all kinds of situations and obstacles they wouldn’t normally be able to overcome. A nigga that’s fresh out the pen, off a ten year bid, can come out and do a record. . .fuck around and sign a deal Interscope. He didn’t have to have a degree, a diploma, they didn’t do background check. You can go out and get a record deal. You just got off a murder beat. . . and your rich and you can provide for you family. Now there’s a whole lot of jobs that are created by the music business. It’s just a whole lot of fuckin’ shit, that hip-hop created. . .for black youth. And there’s more out there. There’s enough for everybody. There’s not a salary cap on hip-hop. There could be a hundred millionaires runnin’ around with platinum records. I just want to be one of em’.

What was the last book you read?
The last book I read was Black Gangster by Donald Goines. . .and Ice Berg Slim. . .a lot em’ (stories) are made up, but he was a writer, I like how he wrote. If he was alive today, and he made those books into movies, they’d be entertaining movies. He wrote about issues the hood could relate to, like ‘my uncle was a pimp, he had four hoes, he used to drive an Eldorado.’ I think they was both talented writers. Usually I read books when I’m locked up. You know I did a little time here and there. Not no Penitentiary time, just in county

Everybody in hip hop has an opinion, but what do you think of Bill O’Reilly?
Bill O’Reilly is a puppet. I’m not sure who has his hand up his ass. But somebody does.

If you ruled the world?
(long pause) I wouldn’t want to rule the world. That’s a headache. I just want to rule my world. Things that involve me, because everything doesn’t. You got to do you. You got to master your shit, before you pull strings on someone else’s shit.