bigted

They now posted a new interview with Paris who talks about writing and producing for this "Rebirth..." album

http://www.blastro.com/news/ In "I got quotes for days" news, Curtis "Interscope" Jackson has finally responded to the slick comments that came out of the little homey Spike Lee's mouth. You know how 50 plays it. Why actually I don't EbenGregory, care to explain? Here's the short version: A couple weeks back, Spike Lee laid into 50 Cent for his "gangster" ways. He also took a few jabs at Irv Gotti. You can read all about that here. Back to 50. The G-Unit Capo recently sat down with Bangkok Recorder magazine to talk about a variety of jazz including the recent comments made by Spike Lee. Here's 50 Cent to Bangkok Recorder magazine on Spike Lee giving him the gas face: Like anything violent that goes on, they kind of put me to it. For instance, I think Spike Lee's new motivation for talking about me had something to do with the incident with Busta Rhymes' bodyguard: Cause, Spike Lee's not a friend of mine. Here's 50 Cent to Bangkok Recorder magazine on Spike Lee's movie production skills: I actually dislike the part in his movies where the character stands still [and the camera pans back] and it looks like [the character] moves. I think that’s the corniest thing on the planet. Here’s 50 Cent to Bangkok Recorder magazine on Spike Lee talking jazz: I don't know if Spike Lee actually has a problem with 50 Cent, 50 Cent's image or the things that are being projected on me, or if he just needs new press and publicity: Who's Spike Lee? Spike Lee's not relevant to 50 Cent. He's not even in my life. I could care less about him. He's right about one thing, EbenGregory could care less so: Here's some jewelry being dropped by EbenGregory on 50 Cent talking jazz about Spike Lee and EbenGregory doing a half a$$ story about it: The easiest way for your children to learn about money is for you not to have any. While the jewelry has nothing to do with the price of tea in China, it still looks good. Jewelry doesn't always match, but it always looks good. BR: Like in Crooklyn? 50: Yeah, he does it in all of the movies. He’ll just stop and he’ll have the camera moving instead of the actual character. I think it’s difficult to control [the misrepresentations]. Because whenever you become public property, you have to adjust to people’s opinions. But you can’t allow that to affect your day-to-day. I know what’s important to me and what I’m doing creatively. I can’t tell you, a journalist, ‘well you have a responsibility to write what you want the person that’s reading…’ You could be a journalist writing the actual story, but it’s your fault because you have a responsibility too - to not give people anything that inspires them to be bad. Which means that we think all the information in every story that we receive through our media outlets should be censored. But instead, you want to place those standards just on 50 Cent, just on music. And not even apply it to larger forms of entertainment, like film. They protested my [Get Rich or Die Tryin’] poster boards because I had a gun in the poster boards. But how often have we seen guns utilized for the marketing of a film? For 007, they put a gun pointing straight at you in the logo. I’ve seen the The Matrix, how many guns did you see in that? All of these action films. You know what cheap action is? [Makes hand into shape of a gun and makes a gunshot noise] A gunshot. It’s a blank and a squib that explodes on your chest. That’s cheap. Five dollars. We can do it for like five dollars. [imitating a director] ‘Let’s shoot it again. Wait, let’s shoot this scene again.’ And guess what? The movie’s no good if it doesn’t look real. I think that visuals are more effective than sound, so they should apply those standards harder on film than they should on music. But it’s easier to attack one thing. Like, you’re attacking one person when you say you have a problem with it. And, I don’t know if Spike Lee actually has a problem with 50 Cent, 50 Cent’s image or the things that are being projected on me, or if he just needs new press and publicity. It’s something for us all to look at, you know? Like when you decide from out of nowhere to mention it. Who’s Spike Lee? Spike Lee’s not relevant to 50 Cent. He’s not even in my life. I could care less about him. And to say that he has a problem with my image or what I’m doing creatively, it means nothing to me, you know? You could read the rest of the 50 Cent interview here: http://www.bangkokrecorder.com/?p=redakt.a...6&ArtikelID=168

Well Will doing a song with Nelly would be like doing that "If You Can't Dance" song with the Pussy Cat Dolls or another 'Switch' which would've been huge if it came out or LL doing a song with J-Lo, it'd be a party pop rap song done to get a big hit on the radio and TRL but a song with Souls Of Mischief would be something that'd display Will's skills as a lyricist, and show that he's more than a party rappers but it'd flop like "Party Starter" since people don't buy top notch skills anymore

What reviews said that?!! I think the production on "Lost and Found" is better than anything Dre's done in the last 5 years, there's nothing musically creative about Dre anymore, if you wanna hear dope beats from Dre buy 'The Chronic' album and then you'll see how garbage his beats are today, he just follows trends now, he ain't no different than any other pop rap producer today, his beats all sound the same and generic, it seems like Trackmasters ghostproduce for him now, lol, people just kiss up to him 'cause he's Dre but if anyone else made those beats they'd get dissed no doubt and they diss Will all the time anyway no matter what he does 'cause he's Will, if Will made gangbanging songs they'd give props to his beats, but Dre should just give it up, Jazzy's the G.O.A.T. producer by a country mile....

Will contradicts himself 'cause if he says he loves music so much he would do it more often, he says he doesn't worry about sales now he says that he does movies more 'cause they're more popular than his music, and then he'll come back 3 years from now with another album and be asking people why he don't get respect for his music.... :blabla:

Well I think that Will doing movies is great too don't get it confused, it's not like I hate him doing them, but doing 5 films for every album doesn't make me that happy 'cause I think if he balances it out more he'll be cemented as the greatest entertainer ever, he won't get the full respect as a music artist if takes 20 years to go back on tour, he should release an album for every film with an occasional tour too but it doesn't look like he wants to do it that way and that's what pisses me off, btw if we could have Rolling Stones and James Brown still touring at their ages I don't see why we can't have a senior citizen rapper as well, hip-hop is still not that old yet but realistically there won't be too many 'cause most artists that came from the era of Rolling Stones and James Brown are either retired or dead, there's no way that he'll be able to go on tour 30 years from now if he don't want to now, he's wasting the prime of his life right now by not touring, this is time where the best performances would be done and of course there's so many rappers dying at a young age I'll be happy that he even makes it there to that age but since he ain't in a gangsta rap war he might, lol...

:paperbag: :ohdear: Maybe in 2020 we'll get a JJFP reunion tour...

Afrika Bambaataa and Chuck D Demand Accontability in Hip-Hop Tuesday - February 28, 2006 by Rebecca A. Murphy Hip-Hop legends Afrika Bambaataa and Chuck D of Public Enemy recently held a Zulu Nation meeting at Harlem's National Back Theatre to discuss the issues of hip-hop. Last Tuesday (February 22), the Supreme World Council of the Universal Zulu Nation held an emergency meeting to speak on the current state of rap music. Chuck D and Bambaataa blasted the media, particularly radio stations like New York's Hot 97 and Power 105, for "brainwashing" their listeners with their repetitive radio show playlists. "If you're playing 50 Cent, we want to hear Common Sense," said Bambaataa. "If you play Missy Elliot, we want to hear Sonic Force. If you play Sean Paul, we want to hear Bob Marley." This is not the first time Bambaataa has gone at Hot 97. R.E.A.C.H.Hip-Hop, a group that Bambaataa is a founding member of, has spoken out on multiple occasions against the station and Miss Jones, their morning show host. Chuck D suggested that hip-hop artists add a variety of sound to their music, speaking directly to rap stars such as Lil' Jon and the Ying Yang Twins. "That's all you hear is a mixture of a thug life and children," said Chuck D. "How you going to make a club song and your marketing campaign is aimed at a 14-year-old? Why? A 14-year-old can't get into the goddamn club. And not only is it a club, it's a strip club. So what the hell does an 11-year-old who rushes home from school to turn on the radio or television know about strip clubs anyway? "This is not a building full of bitter people, bitter old recording artists who are mad that their records ain't getting played on the radio anymore," he added. "This is a town meeting for the survival of people . Hip-hop is caught up in a time where one's worth and status are contingent upon money rather than a genuine love for the music."

Did I read that right, Eric B. with Death Row??!! :hmm: It seemed like Death Row died with Pac...

will gave us a gem of an album but it still didn't impact the way it should've, people still consider him as an actor who makes rap albums more than a hip-hop artist who acts, but that's more of interscope's fault more than anything, there wasn't enough promotion for everyone to even know that album came out, there's no JJFP reunion tour, and right now Will and Jeff are doing seperate music projects rather than coming together and recording an album like they should be, and in a few months will's gonna be back on his movie career again so that means he'll be putting music on the backburner for awhile again, things could be better no doubt, but i guess that room for improvement will keep will hungry to stay in the game rather than if everything was perfect 'cause it seems like when a lot of will's ol' school peers get a lot of recognition they don't work that hard anymore, except for a couple...

AllHipHop.com seems to be showing love to a lot of the ol' school hip-hop artists

thanks for the news, maybe there's a possibility he's traveling to look for collabs for his album too?

this seems to be the million dollar question on this board, the way things look now i wouldn't hold my breath to say that there'll be a JJFP reunion album or Will quiting acting anytime soon though :stickpoke:

I think Will owns his publishing if that's what you're asking

If Will did a song with Nelly it'd get major airplay in the clubs and on the charts

I think that "Rock The House" is probably one of the most critically acclaimed albums for JJFP, they had a lot of credability for that album and so did "Code Red" so how could you call them the worst ones? I'd say "And In This Corner..." was probably a dissapointment for many 'cause it came after the classic "He's The DJ..."

-------------------------------------------------------------------------------- http://www.allhiphop.com/features/?ID=1334 Chuck D: You're Gonna Get Yours By Paine IIn their independence, Public Enemy has released some outstanding albums. Still, according to some critics, those albums struggled to reach the masses. For the last two years, there has been talk of Public Enemy allowing their creative vessels to be directed by Bay Area legend, Paris in Rebirth of a Nation. This album, written and produced by Paris, features Public Enemy, dead prez, Immortal Technique, MC Ren, Kam, and the Conscious Daughters in one place. If ever there was an album that Conservative White America would try and stop, they should have attempted with this album. Consider it an opportunity missed. Chuck D discusses his experience in making this album, with AllHipHop.com. He reflects on that distribution system that has made PE’s plans harder than Chuck would hope. The Strong Island icon also touches upon some issues from a recent Elemental magazine column – including why “Stop Snitchin’” is hurting us all. Suckas to the side… Chuck D speaks. AllHipHop.com: It was interesting to me that on Rebirth of a Nation, you have this song, “Invisible Man”. Originally, those lyrics appeared as “I” on There’s a Poison Goin’ On. Was it your idea or Paris’ idea to revisit that? Why? Chuck D: Paris renamed it “Invisible Man”. I think he looked into it, and took it to the next level. When I originally wrote it [as “I”], I wrote it as a story of just a day walkin’ through the hood. When I first wrote “I”, it was actually inspired off of when I saw a video of Bruce Springsteen [“Philadelphia”] walkin’ through Philadelphia. That’s as simple as it was for me. AllHipHop.com: I just loved the opening lines, “I came from a place I forgot / woke up in a parking lot / far from a meal and a cot.” It means something different each time. Chuck D: That’s why we write songs. Sometimes they’ll make an immediate impact, sometimes they’ll be time capsules in themselves. I’m glad you dug the song. AllHipHop.com: On the stuff from this album, “Hard Rhymin’” with Sister Souljah is that classic Public Enemy sound. At one point in the song, you say that young kids are probably confusing the term ‘ghetto’ with the term ‘ignorance’. That said, what does ‘ghetto’ mean to you? Chuck D: Number one: I’d like to clarify – I wrote no lyrics on this album except for “Invisible Man”, and that was the whole gift of the great experimentation of the project. What would it sound like to be actually [written for] and produced by somebody you truly admire from brick to mortar? But my take is that there is nothing ever fabulous about the ghetto, ‘cause the ghetto is forced upon you. Yes, maybe it’s making sugar out of salt. But to me, the “stay in the ghetto” mentality is to accept what the slave-master has forced upon you. That’s always been my belief. Maybe the world is the ultimate ghetto? But let yourself be exposed to all the [things] that the world has to offer instead of saying [that the ghetto] is only your world, and you can’t go no further. That’s some bulls**t, for real. AllHipHop.com: This album was supposed to be released a lot earlier – like a year ago, the campaign started. What was the hold up? Chuck D: I have my own label [slamJamz], and we also release Public Enemy records all around the world. We wanted to release three albums in a short period of time. But in the route, distribution has a bottom line of dictating to you what they’re gonna take, as far as a title from an artist. They’re only gonna take one [release] at a time within a six month window. [laughs] So, it wasn’t so much as what we wanted to do as record labels, artists, or creators – it’s what distribution dictates. I’ve worked very hard to try and balance that playing-field out. But I don’t have a wand that waves over that world. At the end of the day, I’m still using the same distributors that go to the same retail shops which shows how quite primitive that whole system is. We just released a record [New Whirl Odor], and the other record we’re releasing, How You Sell Soul to a Souless People Who Sold Their Soul, which is a real gem – that’s gonna wait till next year. I wanted to release three albums in the period of a year, like they used to do in the 60’s. Distribution dictated that we spread them. Ain’t that some s**t? AllHipHop.com: Except, they did allow Nelly to release Sweat and Suit on the same day last year… Chuck D: Yeah, well, he can release them on the same day. But in essence, it’s the same barcode numbers. Plus, it comes from a major. A major has a ruling thumb on what their gonna dictate to the retail audience. It’s a business that's unusual, right? AllHipHop.com: Now as far as New Whirl Odor, how have you perceived the fan reaction from that album so far? Chuck D: Based upon performance or the recording? AllHipHop.com: The recording. Chuck D: [laughs] I don’t look at albums like – you drop an album and wait for the first month’s reaction. I think it’s a tragedy that they’ve turned the recording industry into the movie industry. That’s so ridiculous. Anything I kinda record and write is always step one. The next step, the main step is – can we perform those songs? If you really don’t perform a song, it’s just a song. When you perform a song, and it’s able to have a part of you, then it takes on another form of life. That’s one thing that Public Enemy [can do]. We can do concert tours with the U2’s or the Dilated Peoples. We can do it till 2026. [laughs] My thing is – always make sure a performance is enjoyable. It’s the thing that’s allowed us our passport to the windows of the world. We deal with about 30 countries, and there’s nothing sweeter than that. AllHipHop.com: You pen a monthly column in Elemental magazine. In the latest issue, you wrote two pages on “What I Want to See From Hip-Hop in 2006”. In particular, you address your displeasure with the Stop Snitchin’ campaign. I urge people to read the article, but tell me, in a nutshell, why you feel that way… Chuck D: What I’m sayin’ is – to make this even smaller than a nutshell – is that I’m so ticked off of smarter people havin’ to dumb themselves down to feel comfortable with themselves in society. It’s not a Black thing homie, it’s an American thing. Americanism encourages people not to be smart, not to figure out what’s really goin’ on in the first place. So when it comes down to it, to see college journalists actually accept these aspects in Hip-Hop just so they can feel like they’re down with it, or down with the streets, this is a ridiculous notion. At the end of the streets, are two industries – jail and death, which are highly profitable for everybody other than who comes up out of the hood. [laughs] So I think, if somebody’s smart, and they know better, than they should say better. The whole snitchin’ aspect – if your mom needs to get from one place to another safely, how you gonna actually say she don’t need no protection? If you can’t protect her, who the hell can? I just think a lot of these cats in Hip-Hop who know better, are so hypocritical to the way things are really supposed to be. AllHipHop.com: What do you tell those people? Chuck D: I would tell them that I don’t care how rough they say they life is in America. I deal with cats who are from Russia, and I ain’t never seen no hard life as Russia. How will people know if they don’t respect themselves? My job is also to give as much respect to them as possible. When I see wrong, I say, “That s**t’s wack, that’s f**ked up.” Hip-Hop is also known as the artform that points at s**t as being wack. Snitchin’ came out of the 60’s, when you had revolutionaries who had the neighborhood in the best interest, [as] they were actually being disassembled by COINTELPRO. But if you don’t know what happened in the 60’s, and you don’t know COINTELPRO, and you just lookin’ at snitchin’ as somebody who just rattin’ out on a drug-dealer who ain’t doing no good for no f**kin’ body any God damned way, you’re grossly misunderstood - and Hip-Hop’s not about that. When it comes down to that criminal element, it affects Black people first. They can say I’m a racist, but that’s just the way it is. When I say I’m a ‘race man’, it’s easy for people to run away from me, or say, “Ah, I heard it before.” This ain’t a passing trend, this is what it is. I’mma die Black. That’s just the way it is. Society doesn’t need dumb mothaf**kas actually speaking for us - that needs to stop. The country already has a village idiot at the top. We don’t need that same attitude in Hip-Hop. Quote me on that. AllHipHop.com: In the same column, you also said, “Rap albums need decent liner notes by good journalists.” Tell me why… Chuck D: I think everything needs an interpretation – not to be studied immediately. I take it yourself, just like myself, can actually have a portal into something we might not have previously been into, based on the liner notes. I mean, if I’m reading into some album by Prestige that they happened to have graciously given us in CD form, with the liner notes included. That allows me to get into the psyche of the music – and also get an idea of the sense of the time that it was [recorded] in. I think that’s very important, to squeeze in the elements of what surrounded the musicianship with clear-cut interpretations. I think that Rap music now has a better chance of being enhanced by the liner notes because what we deal with is dealt with the written word. Having an interpretation by some journalists who have an idea of music history of Hip-Hop, can actually bring the best out of an artist, and explain the best out of an artist to somebody who might grossly be misdirected just on time [period] alone. People need to step away from anti-intellectualism and dumbassification. You always need a think-tank, and it doesn’t always need to be for the sake of money. Believe me, if these motherf**kers were so smart on the money tip, then they should go straight to Wall Street, and make they money that way. This industry is based on the communication and spreading of souls. Yes, it has a profitable window somewhere in the picture, but it is not the theme that we should look and aspire to, and [have it] be the reason that we do it.

Christopher 'Play' Martin Preparing 'Holy Hip-Hop' DVD Showcasing Gospel Rappers By Nolan Strong and Chris Richburg Date: 2/25/2006 5:45 pm Christopher "Play" Martin, one-half of the early rap duo Kid 'n Play, is releasing Holy Hip-Hop, a new DVD that showcases rappers from the world of gospel music. Martin serves as host, director and producer of the 82-minute DVD, which offers an inside look at artists leading the way in the gospel rap scene. "When I got introduced to this world about ten years ago, I had no idea it was around," Martin told AllHipHop.com. "I've been blessed to get a second time around and it's very special to see the packed concert halls to basements, watching crowds of all kinds going bananas over Hip-Hop tracks and flows like it used to be." Martin, currently CEO of HP4 Digital Works, became involved in the gospel Hip-Hop scene in the mid-1990s, following his stint as a member of Kid-n-Play. The rapper has enjoyed both recording and on screen success and has starred in movies such as House Party (1, 2 and 3) and Class Act. Shortly after becoming a born-again Christian, Martin found his true calling was in the film world. "After I realized my purpose and true love for film making, I pitched the idea to my partners," Martin said. "I was given all access into the lives of most of these incredible artists [featured on the DVD] and now I hope I have contributed in sparking a new life into the Hip-Hop culture. "I hope this is the beginning of a new chapter in Hip-Hop music, something better for my sons Christopher and Skyler, for their generation and beyond," Martin continued. "I haven't lost my touch. You know ya boy throws a great house party!'" Holy Hip-Hop hits stores Wednesday Mar. 21 and features 5.1 surround sound, interactive menus, scene selections and trailers.

Jazzy Jeff wanted to do a song with Game?! :hmm: :lolsign:

Happy Birthday! :yeah:

Recording Of Argument At Busta Rhymes Video Set Surfaces 02.24.2006 5:19 PM EST Tape is reportedly being shopped to media for $50,000; label says it plans to release video in March. Busta Rhymes Photo: Scott Gries/ Getty Images The controversy surrounding the investigation of the tragic shooting that took place during the filming of a Busta Rhymes video took a new turn Friday when New York's Daily News reported that an audio recording of the altercation that led up to the shooting has surfaced. On February 5, a member of Rhymes' security, Israel Ramirez, was shot and killed outside the Brooklyn, New York, studio where the video was being filmed. According to police, an argument erupted outside of Greenpoint Studios and Ramirez was shot during the fracas. Police have not named any suspects but have said publicly that they want to speak with Rhymes and also G-Unit member Tony Yayo (see "Police Want To Question Busta Rhymes About Fatal Shooting At Video Set"), who sources said was involved in a verbal altercation with Swizz Beatz and members of the Ruff Ryders camp during the filming of the clip. Both Rhymes and Yayo have refused to talk with police about the incident (see "Tony Yayo Won't Speak To Police About Shooting On Busta Video Set, Lawyer Says" and "Busta Rhymes Issues Statement On Bodyguard Shooting"). On Friday (February 24), the Daily News cited an unnamed source who is said to possess an audio recording of the argument that took place on the set, in which Yayo was apparently involved. According to the paper, a source familiar with the recording believes the fight erupted when members of G-Unit were excluded from appearing in the video, adding that Rhymes seemed to be attempting to defuse the situation. The voice of a third man, whose identity is not clear, is believed to be the shooter. That man is heard calling another man, apparently Rhymes, a "bitch." The shooting, which took place outside the studio, is not audible on the recording, but the aftermath is. "You can hear screaming and the chaos and the 911 call," the source told the Daily News. The recording is reportedly being shopped to media outlets with a price tag of $50,000, and has not yet been provided to police or attorneys. "I hope the person who has this tape or video would cooperate with authorities, especially if it provides evidence in this case," Jerry Schmetterer, spokesperson for the Brooklyn district attorney, told the Daily News. A spokesperson for the New York Police Department said, "It's totally irresponsible of this person to withhold what could be a vital piece of evidence in an active homicide investigation." NYPD Commissioner Raymond Kelly has harshly criticized witnesses of the shooting for not coming forward. Despite the controversy, Busta's label, Interscope, still plans to release the video for the remix of "Touch It." It has already been submitted to video outlets and could begin airing as soon as the beginning of March. The video begins with Busta and Flipmode member Spliff Starr battling an all-female group of teenage steppers. From there, the video segues into Busta dancing and performing with all six of the guest performers with whom he recorded remixes of "Touch It": Mary J. Blige and her rapping alter-ego Brook, Rah Digga, Missy Elliott, Lloyd Banks, Papoose and DMX. (Elements of the three separate remixes of the song have been edited together for the video.) Each performer is wearing an outfit that matches the color of the set on which they're performing. Other guests in the video also include boxers Winky Wright and Felix Trinidad, reggae singer Sean Paul and DJ Kay Slay. For his part, Rhymes released two new mixtapes this week, both of which include spoken messages in which he promises to honor Ramirez's memory, as well as that of recently deceased producer Jay Dee, a.k.a. J Dilla (see "Jay Dee — Producer For Common, Busta And Tribe — Dies"). "Before we get into what we about to do, I just want to set it off by saying from this day moving forward, every single thing that I do will be in the loving memory of my n---a Izzy and my n---a J Dilla," Rhymes says at the beginning of The Crown. "Until we meet again, my n---as, rest in peace. Love y'all. Salute."

I was watching ESPN this morning and they were saying that the Spurs and Pistons are both trying to sign Latrell Sprewell

Well Penny was making basically the same amount as Francis and he didn't play much this year since he's been injured so at least they'll get somebody who's gonna play now but that's not a good move for the Knicks' future 'cause at least if they didn't make the trade Penny's contract would expire so that'd help the Magic out in that since he'll probably retire along with Grant Hill pretty soon, they'll be getting those large contracts off the books and be able to add to their young team, they could be a force in the East pretty soon.. The Knicks'll probably gonna have to trade Crawford, Richardson, Rose, Francis, or/and Marbury eventually 'cause there ain't enough balls for all of them, it was a stupid trade 'cause they're gonna miss the playoffs anyway, plus I think they're still paying Allan Houston too even though he retired, the Knicks are f'd for years...

Steve Francis goes from the Magic to the Knicks for Penny Hardaway, Trevor Ariza: Francis dealt to Knicks for Penny, ArizaBy Chris Sheridan ESPN Insider Steve Francis is headed to the New York Knicks, who acquired the three-time All-Star from the Orlando Magic on Wednesday for Penny Hardaway and Trevor Ariza. Francis The deal will pair Francis with Stephon Marbury as the highest-paid backcourt duo in the NBA. The Knicks were still talking with several other clubs as team president Isiah Thomas worked at remaking a roster that has stumbled to the league's second-worst record, 15-37. For the Magic, the trade will provide salary cap relief in 2007 (once Grant Hill's $16.9 million comes off the cap) when they can drop further beneath the cap than any of the league's 30 teams. That will be particularly attractive that summer when a bumper crop of free agents -- including Paul Pierce, Chauncey Billups, Rashard Lewis, Vince Carter and Mike Bibby -- will be on the market, giving Orlando several options in figuring out exactly how to rebuild around 20-year-old power forward Dwight Howard. Ariza Hardaway Francis is owed $49 million over the next three seasons, while Hardaway's $15.75 million contract comes off the cap at the end of this season. Ariza, who fell out of favor with Knicks coach Larry Brown, was averaging only 4.6 points in 36 games for New York. He was a second-round pick by the Knicks (43rd overall) in 2004 after spending just one season at Southern Cal. Francis, who turned 29 on Tuesday, had been on the trading block since refusing to re-enter a game against Seattle on Jan. 11. The Magic suspended him and sent him home before he was reinstated following a meeting with coach Brian Hill and team executives. He was averaging a career-low 16.2 points this season, a drop of more than five points from last season. The arrival of Francis could mean the impending departure of Jamal Crawford or Quentin Richardson from New York, where Thomas is willing to try almost anything to reverse the fortunes of a team that has failed to meet even the lowest of expectations. Already with a league-high payroll of more than $120, the Knicks will now be above $130 million next season. But while other owners and general managers have been shocked by the Knicks' free-spending ways (they took on a $34 million obligation when they traded Antonio Davis for Jalen Rose two weeks ago), Thomas has been given the go-ahead by owner James Dolan of Cablevision to spend whatever it takes in an effort at making Madison Square Garden the basketball mecca it once was. The Knicks began the day 10 games behind Philadelphia for the Eastern Conference's eighth and final playoff spot, and only a miraculous turnaround could get them into the postseason this year. Still, it was a virtual certainty that New York would make a deal of some kind, and Crawford even polled the team's beat writers after Wednesday morning's shootaround to ask them where they believed he would be headed (Insider was the only one who told him Denver). The Francis trade, first reported by ESPN.com, came on a day when the Knicks awoke to rumors of a possible trade with Minnesota for Kevin Garnett, a rumor that made its way around the league late Tuesday night -- possibly as a piece of disinformation that was disseminated in order to force the Magic's hand. Garnett's future in Minnesota seems secure through the end of this season, but all bets are off once the summer arrives -- especially if Garnett tells ownership he'd like to be traded. Hardaway was also shopped to the Portland Trail Blazers, who had been unwilling to part with Darius Miles in a deal that also would have brought Theo Ratliff to New York. Hardaway, a 12-year veteran, will be reunited with the team he broke into the NBA with in 1993 when the Magic acquired Hardaway and three first-round draft picks from Golden State for Chris Webber. Hardaway left Orlando after six seasons to sign as a free agent with the Phoenix Suns, who traded him to New York 4½ years later in the deal that brought Marbury to the Knicks. Hardaway played in only four games for New York this season and had been away from the team for several weeks, ostensibly to rehab his arthritic knees. It was not known if he planned to play for Orlando this season, nor was it certain whether Francis was to be available for the Knicks on Wednesday night for their home game against the Miami Heat. Francis was expected to at least be in the building, however, as the trade happened while the Magic were in the New York area for a road game against the New Jersey Nets. "This is a trade that we all feel makes us a better basketball team for both now and in the future," Thomas said in a news release announcing the deal. "In Steve, we add an All-Star caliber player to our team without giving up core assets that are key to our future." Francis had career averages of 19.7 points, 6.1 rebounds and 6.5 assists in 452 career games for the Rockets and Magic entering the 2005-06 season. He was the 2000 NBA Co-Rookie of the Year and was selected to start for the Western Conference All-Stars from 2002-2004. "Acquiring a player of Steve's level and talent is very exciting for this team," Brown said. "In him, we have added a veteran that could help us in many areas, and assist with our young players' development."