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E-Class even has someone guarding the inflatable gorilla for the weekend.Īs we settle into a table at the poolside bar of an expensive South Beach hotel, Ross sniffs the air and says with a smile, “Money-I can smell it.” Rick Ross is a huge man, over six feet tall and over 300 pounds, plus the great wall of a beard and the nearly ubiquitous shades barricade him off even further.
They put everything up at 4 AM the night before a show, they get permits when necessary, and when the event is over, they go right back out and take everything down so it can be used again. Now labels see what we do, and they paying us to print they shit.” E-Class also bought Poe Boy Entertainment an industrial cherry picker so their street team can reach the spots nobody else can reach. “We said fuck it and bought all the machines and equipment, and we print everything ourself. “Do you know how quickly you can spend a million dollars on this shit?” Ross asks, pointing up at another endless line of promo boards as we finally shake free from the traffic and speed over the bridge towards the Beach. As we stop-and-go through traffic, Ross points at the promo posters of other artists-ripped, dirty, and hung 15 feet below his-and asks, rhetorically, “Who are you?” In addition to the huge posters, there’s also a tethered Rick Ross hot-air balloon bobbing above a parking lot, a giant inflated gorilla that announces his manager E-Class’s label with the words “Welcome to Poe Boy, Florida,” and we pull up next to an actual-factual white diesel semi truck that’s plastered with caricatures of Ross’s face. Die-cut posters at the top of every light post in the area announce Rick Ross and his album Port Of Miami, Coming Soon. It’s still hours before Ross is due to hit the Springfest stage, but we’re over by Bayfront because he wants to show us his promotional presence and buoy it with a spontaneous drive-thru appearance for the milling crowds. At one point the DJ instructed him, “Now say, We’re gonna finish it out with my song ‘Hustlin’,’ the hottest record in Miami.” Ross squared up to the mic and said, “We’re gonna finish it out with my song ‘Hustlin’,’ the biggest record in the country.” When we had initially met up with him earlier in the day, he was doing drops for a local Clear Channel radio station, Beat 103.5. Ross has never had a licensed record for sale, but he’s been given one of the night’s prime slots for a simple reason. It’s Miami Springfest weekend, and although we’re headed for South Beach, Ross takes a detour to ride by Bayfront Park, where a huge radio-sponsored concert featuring Lil Wayne, Bun B, Three 6, Paul Wall, Young Jeezy, Mike Jones, Juelz Santana and everyone else who’s recently sold between 500 thousand and two million copies of an album is already getting underway. “The express pass is for weed smokers,” he says with frustration. On one car ride towards the Beach, Ross is five sixths of the way through a strawberry Phillie, playing his new mixtape loud as fuck, when we have to stop in the cash lane at a toll booth. With traffic and pit stops, it can take damn near an hour to get from one to the other, so it’s not a coincidence that his favorite place to smoke a blunt seems to be behind the wheel. Meet up with Ross in Carol City and he’ll probably put you in his Rolls Royce Phantom (he drives it himself) to go cruise “the Beach” for a while meet Ross in South Beach, and after an hour or two he’s ready to switch back to Carol City.
It may seem like a hokey concept, but ever since the song “Hustlin’” took over airwaves and mixtapes across the country, this “two Miamis” Miami has been Ross’s real-life routine whenever he’s not working his big hit on long radio promo tours. The rest of the video takes place in the parking lots of a catchall ghetto department store called Carolmart, and a massive, windowless concrete bunker of an establishment called Club Rollexx. Ross swaps out the super-clean BMW mentioned in the song for a souped-up Chevy and heads towards the city’s infamous Carol City neighborhood. Then, as the swelling organs, snappy snare roll explosion and woozy, manipulated “everyday I’m huss-a-lin” chant of Ross’s single take over, he drives a white 745 Beemer past the cruise liners docked at the Port of Miami, until the camera lens suddenly switches to sepia and gives the video a sun-scorched hood griminess. The clip’s introduction starts out on Collins Ave, with generic Cuban cha-cha muzak soundtracking women in string bikinis as they walk the famously upscale South Beach strip.
The concept for the video of Rick Ross’s menacing breakout hit “Hustlin’” is not subtle-it goes like this: there are two sides to Miami.
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