for more violent lyrics. The LP also introduced Jus Allah, a founding member of JMT who had left for college but dropped out a short while after. A self-proclaimed Five-Percenter, Jus was present on every non-AotP track on Violent by Design as JMT's unofficial third member. Violent By Design contained a mix of braggadocio and horrorcore lyrics, combining hardcore/gangsta rap styles with mythological and fantasy imagery. According to Vinnie Paz, JMT used the proceeds from The Amber Probe to buy equipment to produce Violent by Design, which was recorded entirely in Stoupe's bedroom, without a mic booth or soundproofing. The list of guest artists on this album was also their longest, including Mr. Lif, Planetary of OuterSpace, Louis Logic, Diamondback, Philip King Rappah, Coffee Gangsta Child L-Fudge, B.A. Barakus, J-Treds, Killa Sha, C-Baz and Tragedy Khadafi, plus a couple of odd phone-call interludes by Mr. Len. During the course of Violent by Design's 1999–2000 recording period, Paz changed his alias from Ikon the Verbal Hologram to Vinnie Paz, inspired by the boxer of the same name. The reason for this has been reported to be the result of a short-lived rivalry instigated by fellow Philly underground rapper iCON the Mic King. Vinnie Paz decided to settle on his new moniker in order to prevent any further confusion. It was also around this time that he formally declared himself to be a follower of Islam, alluding to this fact several times on record. 2003: Visions of Gandhi In 2003, JMT released their third LP, Visions of Gandhi. In an interview, Vinnie Paz said the title was inspired by Foxy Brown's verse in Nas's song "Affirmative Action", and expresses the need for a prominent figure of non-violent social change such as Gandhi in a post-9/11 world. Stoupe, now supplied with a professional studio in New York, also expanded his variety of production, incorporating grand orchestral samples and a stronger Latin feel. In response, some longtime fans felt let down by Vinnie Paz's lyricism and delivery, as well as the abundance of slick, upbeat loops adopted by Stoupe . Nevertheless, the album helped expand the group's audience as its popularity and commercial success continued to grow. Despite the album's reference to Gandhi, its lyrics were violent and homophobic, with Pitchfork panning the album as "an awkward mix of murder rap and the shiniest boom-bap money can buy." The review also criticized Stoupe's production,