IHE Magazine Vol 9 Issue 2 by Defiance The Don

FEBRUARY 2014 |IHEmagz

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The Vape Company that has revolutionized the industry with its brand of highly diverse flavors. Mr. Good Vape has proven to be the God Father of the vaping industry. With its wide variety of flavors, it has entered a newly untapped market by creating organic supplements with in its product line. Mr. Good Vape has now created a brand that has flourished into the homes of thousands converting them to a healthier more pleasurable lifestyle opposed to many of the risks in traditional nicotine. This company has been known for the time and effort t that is put into each flavor with thoroughly written description on each of their juices. The vaping community has fallen in love with Mr. Good Vape and its powerful flavors, if you consider yourself an amateur or veteran vape user, Mr. Good Vape is the number one brand recommended throughout the vaping community. To get your bottle go to their website and order from their vaping catalog today.

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CONTENTS 02

Mr.GoodVape Mr. GoodVape is one of the number one juicing companies in the vaping industry. Checkout Mr. GoodVape their product line and all they have to offer.

Publisher Notes Get a better understanding on the background of Cory Austin and the reasons he put together IHE Magazine.

07 Digital Music Age 17 Legendary Dj Ron G

A broader understanding of exactly how digital music has been able to change the way we do business. In 2014 see what you could be doing.

10 Double A Interview Lil Kims front runner for the IRS South division of her self made record label. How he did it.

Legendary DJ Ron G has worked with many of the greats, get his insight on the game.

20 DBlock

Super Producer Don Mega

13 Figa 8

The Super Producer for Jadakiss and Styles P, sSee how Don mEga got started and tips for upcoming producers

The artist hailing from the Inland Empire drops a new Album Winter Time Flame Summer Time Snow

IHEMagz | FEBRUARY 9 2014

CONTENTS 23 After School

STAAR Program The unique program that takes street smarts and brings it to the youth.

29 The Real Law

Psychological Slavery and being owned on paper, how real is this to us and how does it effect our lives.

26 Benefits Music 32 Unemployment Licensing

The Statistics of Unemployment what the real numbers are how does it effect us and what they are not telling you.

How is your music protected? Are you getting paid for your efforts? Find out how this is benefitial to you.

FEBRUARY 2014 |IHEmagz

Editorial

hen I first started the journey of creating a publication I had been unaware of the degree of challenge that would be involved. When it came down to lessons that would be learned and patience being tested I found this was all to determine the discipline that it would take to accomplish this. We have experimented and tried many different arenas from digital to print, subscription and hard copies in stores. This was my choice and my path that I wanted to bring to life. There is no easy road in the journey to success that I have found. As we have grown, my readers have grown with me, learned and improved on different aspects of their lifestyle. What I bring to the table is rich powerful content that I hope to empower others that can use the information. The same information I would share with my own blood is the information that I share with my readers. The research invested in the articles is something unique that brings awareness to what one may have not been aware of. So when we create what we create

there is a sense of wanting to contribute to all and offer something with substance that can be remembered. IHE Magazine holds interviews with musicians that can help those coming into the game independently, we also have information that can help propel one’s lifestyle and how they choose to live. We pride ourselves on advice and guidance handing out what we learn along the way and we hope to learn from our audience as well. This coming 2014 we look forward to working with many new up and coming artists and bringing some dynamic interviews to the table. We are blessed as a team and a company to be able to still have a independent magazine with this many issues after so many years and show we are still standing. I don’t believe in failure everything that I do is a learning experience if I don’t garner the immediate results I expect, then I learn the lesson that was being taught. I am glad that we have come this far, yet this is not the finish line this is the mind state that anyone needs to have in order to make it.

IHE Magazine Team EDITORIAL Publisher: Imperial Hustle Entertainment Cheif Editor: Cory Austin defiance@imperialhustle.com Transcription: April Austin info@imperialhustle.com Editorial Assistance: Shannan Loewy info@imperialhustle.com Photography: Cory Austin defiance@imperialhustle.com Contributing Writer: Terel Banks terellbanks885@msn.com

IHEMagz | FEBRUARY 9 2014

SALES Publisher U.S. / Canada Cory Austin defiance@imperialhustle.com P: 7619-866-4792 Business Development Manager International

Team Creative Director: Cory Austin Assistant Editor: April Austin Research and Development: Terel Banks Content Contribution: Terel Banks

Cory Austin Chief Editor

SUBSCRIPTION SERVICES www.imperialhustle.com P: (619) 866-4792 info@imperialhustle.com Available in Stores Across Southern California Online, offline, the store concepts of business for the entrepreneur mind

The Rule of The Digital Music Age While the traditional CD business is clearly struggling and is on the verge of collapse in the digital age, the music industry itself is prospering as niche music markets continue to sprout, and unique genres appeal to growing, new audiences. The advent of digital music has not only changed the face of the music industry worldwide but has also altered our lives, our thinking and approach towards music. The first decade of the 21st century witnessed the rise of computers. In the evolution of digital music, computers became the primary means to record, distribute, store, and play music causing sweeping changes in the music industry’s economics. It infused new dynamics in the relationships between artists, record companies, promoters, retail music stores, the technology industry, and consumers. The digital revolution led to modification in users’ choice, increasing their appetite for digital music while the sale of traditional cassettes and CDs slumped to all

time low.

consumers to transfer their physical recorded media (such as CDs) onto computer hard drives. •

Let us examine the factors that led to the downfall of the traditional CD-enterprise while leading to the mercurial rise of digital music distribution. They will also serve as benchmarks to compare the two epochs. They are as follows:•

•

The initial stage (from approximately 1998 to 2001) of the revolution was a testimony to the emergence of peer-topeer (P2P) networks that allowed the free exchange of music files. By 2001, the cost of hard drive space had depreciated quickly presenting an emergence of the iPod and iTunes system for music storage. These new developments prompted many

Digital music distribution was aided by the dramatic spread of broadband in the middle of the decade. The iTunes Music Store offered legal downloads beginning in 2003, and competitors soon followed, offering a variety of online music services.

•

In this digital age, recording costs have decreased significantly as artists are able to record and mix music from inhome studios and no longer rely on major label funding to pay for professional recording studios, engineers, and producers.

FEBRUARY 2014 |IHEmagz

•

The capital required to make, print and ship CDs (which labels bore in the traditional CD-based industry model) has been largely obliterated due to the growth of its digital competition.

•

Today, artists can disseminate their work through the Internet ,on popular websites like Youtube, Vevo, Vimeo, uStream and other social mediums like Facebook (gaining fame and building a large fan base), largely for free, and do not have to buckle under big label volume pressures (a big headache previously) .

•

Internet has provided opportunities and opened new avenues which were missing before.

•

Further, artists have traditionally earned higher royalty percentages through live performances, rather than album sales. With lower distribution and publicity costs nowadays, artists can spend their resources on touring and increase their revenues through live performance, despite a decline in hard-copy sales.

Though one can easily find data (in abundance) portraying the rise of the digital music distribution over the internet, we would like to highlight some of the points which will give you a glimpse of how the music industry has undergone tremendous change in a very short period. •

The market share of full-length cassettes, CDs and DVDs have plummeted by 1.4%, 7.7% and 0.5% respectively (for the year 2003-2007).

•

The market share of digital download (digital music distribution) has increased by a whopping 10.3% in the same time period.

•

The chief economic impact of these changes was a dramatic decline in revenues from recorded music.

•

In the 21st century, consumers spent far less money on recorded music than they had in 1990s, in all formats. For example, total revenues for CDs, vinyl, cassettes and digital downloads in the U.S. dropped from a high of $14.6 billion in 1999 to $9 billion in 2008.

•

In 2008, physical album sales fell 20 percent to 362.6 million from 450.5 million, while digital album sales rose 32 percent to a record 65.8 million units.

Please note that the above data has been published by Recording Industry Association of America (RIAA). Mind you, these figures represent data collected only from RIAA member labels, which constitutes only a portion of total online music exchanged globally. 8

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Post 2007, market for traditional CDs has undergone free fall while that of digital music distribution has grown exponentially. Furthermore, with internet reaching almost every nook and corner of the world and launch of hundreds and thousands of website like Youtube that offer free music download to the users, while adding a revenue sharing opportunity, the future of traditional CD business is precarious and bleak. While the traditional CD business is clearly struggling and is on the verge of collapse in the digital age, the music industry itself is prospering as niche music markets continue to sprout, and unique genres appeal to growing, new audiences. Many of the inner city inhabitants still generate great use from hard copy CD’s. This is where you will find that many tangible goods remain the most relevant and prosperous. It would be a folly to envisage that the CD business might regain its lost ground completely in the near future, however, there may be a niche market available for distributing Hard Copy (CD’s) along with digital downloads. To maintain even a feeble presence in the market, the whole business model requires restructuring, reforming the way it has been working over years. A couple of measures can be implemented to revive the dying CDindustry which are as follows:•

Artists giving live performances (for both small and large concerts) can give free autographed CDs to their audience. The ticket for the show should be priced as such that it not only covers the CD’s cost but also ensure a marginal profit for the artist.

•

Through massive advertisement, artists can generate a hype and create a new trend of ‘owning an autographed CD’ which should be available at an affordable price. Small complementary gifts can be given to those who purchase CDs in bulk.

•

Create and be a part of consortium of small and large brands (from food to clothing and many more). There should be a legal agreement whereby artists sell their CDs to the brands while the (brands) can use artist’s name and fame to sell their own products. The customer should receive a free CD on purchase of any product of the brands. It will be a win-win situation as both can make profit with a little assistance from the other party.

Presently, it seems a losing battle for the traditional CD-industry. However, the damages can be mitigated using innovative and effective business strategies, and, maybe it can get a new lease on life.

FOKU$ THA CHAMP

FOKUS THA CHAMP RELEASING NEW ALBUM IN SPRING 2014 San Diego, California – Imperial Hustle Entertainment is the #1 resource guide for urban entertainment in music, modeling, and creative arts in the San Diego County. CEO and Creative Director of Imperial Hustle Entertainment, Defiance strives to bring the latest artists to the forefront in each issue of the Imperial Hustle Entertainment Magazine as well as promote their work with various outreach projects in the urban community. Imperial Hustle Entertainment welcomes new artist - Fokus Tha Champ. Fokus Tha Champ is a independently skilled artist having his influence from Compton to North

County San Diego. Welcoming his talents as a young age, honing his craft since he was 14, Fokus Tha Champ first appeared in the group known as Sublogic in 2003, where the group had released their LP “Doin It”. Flash forward to 2010, Fokus Tha Champ re-emerged in the music scene performing alongside west coast artists such as San Quinn, Y.G., Miguel, Tash of The Alkoholiks and Nipsey Hussle while drawing off his experiences with in the San Diego and Los Angeles area. Fokus Tha Champ attributes his recent music achievements to overcoming the loss of his mother and surviving a near fatal stab wound to the chest, these hardships forced him to refocus his passion for success. His much anticipated album, ‘Late Night$, Early Day$’, is set to be released this summer. In addition to his new album, Fokus Tha Champ works on his foundation Grind 4 Mine$ which participates in community give backs like the San Diego Charger Event and Give a way

for the homeless. This will take place on February 14th in San Diego. Grind 4 Mine$ Ent., (Grind being: Getting Respect In New Degreez) is a brand and music label, Promoting Pimpin, Hustlin and Grindin in a positive and motivational way. You can find Fokus Tha Champ on Twitter and Instagram @FokusThaChamp as well as find him on Facebook. Be sure to check out his music on YouTube. com as well as SoundCloud.com. Continuing to be the #1 source for urban culture, Imperial Hustle Entertainment strives to bring valued source of entertainment that include featured artists and quality information on potential career options for aspiring artists, models and social media networks. Yet IHE also broadens its discussions to include global information and discussions that reach beyond the music community. You can get your copy of the newest issue of Imperial Hustle Entertainment at http://www.imperialhustle.com Contact Information: Foku$ Tha Champ, CEO Grind 4 Mine Ent. Contact Info: facebook.com/fokusthachamp, twitter.com/fokusdachamp instagram.com/fokusthachamp reverbnation.com/foku$thachamp soundcloud.com/fokusthachamp youtube.com/FokusThaChamp Written By Shannan Lowey

Double A, Lil Kim

Present IRS Records

DEFIANCE: Give us a real quick interlude on what got you inspired to even get involved with the hip hop game and music in the first place DOUBLE A: Growing up in New York City I was surrounded by that. All the Hustlers - that’s what they did in their spare time. A lot of people don’t know my story but when they sit down and watch Paid in Full, and see the AZ and the Alpo and the Rich Porters and one betrays another like they do in the movie. I walked out of my building to that every day. AZ lived on the first floor, I lived on the 5th floor. So his family is my family to this day. He always had dudes like LL Cool J, to throw some history on some LL Cool J’s songs he’s talking about my block in Harlem. Just seeing 10

IHEMagz | FEBRUARY 9 2014

all of those dudes coming through on their music thing and me walking out of the building to the rich hustlers, all of that combined, it’s just in me. DEFIANCE: Seeing that Rich Porter lifestyle first hand right there in front of your face was influence enough to jump in the game and get it the way you know how. As far as Harlem and beautiful New York, would you say the rap competition in the industry as a whole has changed how it is today compared to the late 80s early 90s on how the get down was? DOUBLE A: A lot has changed but as far as me coming from New York I aint biased of nobody, I support everybody. At the end of the day I look at it like this, a lot of dudes say we need to bring New York back, if they stop

saying that New York aint gonna go nowhere. It’s just everybody’s confused on what kind of music to make. So at the end of the day I go hard and I do me. I don’t change, I’m not trying to make what everybody make. At the end of the day I have a story to tell so you’ll hear it in my music. This kid here grew up, went through something but he’s still here to tell about it though. I aint changing my style for the South or none of that. My family is from the South, I’ve been in the South for years. Moms and Pops were born there, had their kids in New York, and then made it out of the cotton picking’ fields, left the Carolinas and went to New York when they were young. They got good jobs, did what they had to do, got house money and came

“

I don’t wait on Kim, they know what we do through the internet or when it’s time for shows to come. We get phone calls, get here. I hold this IRS South down, period.

“

right back to the South. So we were always coming here. So like I said man, I support everybody. DEFIANCE: That’s the way it should be. A lot of the artists, especially the youngins, don’t see there

is power in unity and trying to divide and separate aint really how the game should be structured in the first place. Trying to look at everybody as different locations, different coasts, it’s not gonna work that way. We all came from the same place, we gotta get it the same way. I wanted to ask you for people getting familiar with the International Rock Star label, what happened with you collaborating with Kim on it and how did the label come together as far as what we see today? DOUBLE A: Well basically her brother is a good friend of mine, Chris Jones. The label was down here and we had a show in Charlotte with Kim. I never sprung my music on her because her brother was my man so I

wasn’t gonna be like I rap and do all of that extra stuff. I aint one of those dudes. Her brother was out here with me, one day we were in Charlotte and did a show and Kim was down here. We were all on a party bus together and I decided to take advantage and pop my shit in. The whole bus was like ‘who was that?’ and when that happened all the fingers pointed to me. So everybody looked at me and said we want you to start up IRS South. So I got my lil team together. They had the ones up top, IRS in New York. I did my own thing IRS South, being that I was in the South I put my own team together and we were doing everything we were supposed to. That’s how that came about

FEBRUARY 2014 |IHEmagz

DEFIANCE: So basically you have a whole different charter, a whole different section going of International Rock Stars running the South Label and New York is a separate chapter that’s running separate artists also up there right? DOUBLE A: Exactly DEFIANCE: How many artists are running on the South label right now? DOUBLE A: Two of us. We have everybody that’s here, that do music and can bring something to the table, but as far the ones who signed the contract it was me and my man SK the Rockstar. We were the ones that signed the contracts. Basically on the South joint is my man SK the Rockstar but you know we still got the other team. My man does the camera work for me IRS Color, I got my squad. We don’t wait

IHEMagz | FEBRUARY 9 2014

for nothing. Kim do what she do, she know what we do. We always link up but I push before I wait for anyone to do something for me. I invest in myself and my team. DEFIANCE: At the end of the day, you are under the same flag but function as separate entities. So what is the main focus for Double A, how do you deal with being responsible for these other artists and your own career? DOUBLE A: It aint nothing about bragging but any one of my dudes will tell you, that’s just good leadership that’s in me. That’s just good strength and power that’s in me. I came from the street and was always around crews. My crews. My brother’s crews. Communication out of your squad you’ll be alright. No suckas. We sucka free. Where I’m going with this IRS thing, like I said

I don’t wait on anyone. I don’t wait on Kim, they know what we do through the internet or when it’s time for shows to come. We get phone calls, get here. I hold this IRS South down, period. They had their thing going up top and certain things died down. When we were told to rep IRS South there wasn’t anyone out there reppin’ IRS. So by me going out to every show and buying two dozen shirts and hoodies, jackets, the chains with my dudes, we were always coming prepared doing things that a label really is supposed to be doing for us. But we weren’t waiting, we just wanted to get out there. When we stop off, whoever’s with Kim down to the security, dudes that wear 6X shirts, we got everybody’s shirts. Security, whoever’s with her, we bring extra. We get female shirts and we get shirts for the dudes,

FIGA 8

@FIGA8THETRUTH EXCLUSIVE WITH IHE

Figa 8 Inland Empire’s West Coast Lyricist The west coast has been comatose until the IE’s young lyricist Figa 8 announced his brand new album ‘Winter Time Flame Summer Time Snow’. With his single “C WHat Had Happened Was” now playing on OneWest Radio, Krill Radio Show and IHE Radio. His personality, his music and his amazing talent to convert powerful lyrics into retro beats is quite appreciable. Figa 8 speaks from personal circumstances while giving an in depth look at an array of different topics that relate to a diverse group of individuals dealing with different issues.

Wondering who Figa 8 is and why he has become the unofficial hype of the west coast? We will reveal what is beneath the surface on this emerging artist and his profile so you can get a firm idea about him and his background. Figa 8 was born in 1986 as Marcus Taylor in San Diego, California. His stage name defines his persona, intellect and his eclectic music style that creates a vibe that resonates well with his listeners. His early sparks with music came from his inspiration by local emcees and drawing from circumstances within his own life. He worked independently on his craft until he met music producer Jo Jo Jotwozaday Myrick and his musical journey received a rocket start. He started mixing his beats and FEBRUARY 2014 |IHEmagz

working on his lyrics that soon developed into two albums. He met Artist’s Propaganda and Mathmatics, the stage names of Adam Flohr and Ted Rizkalla. The first album by Figa 8 was titled ‘The Good The Bad and The Inbetween’ while the second was ‘All Business Know Pleasure’. Both his albums received a great independent response from the Inland Empire who appreciate new artists and their ‘different’ talents. Priding himself with originality, diversity and lyricism is the catalyst in how he maintains his own flavor, which stays unmatched 14

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till date. This emerging artist worked on his third album ‘Year Of The Punchline’ which was produced by Ted Rizkalla. He experimented with his music in this album and the entire soundtrack offered a very contemporary but fairly retro appeal. If you miss old school hip hop that comes alive with a little touch of modern fusion, then Figa 8 should be the artist of your choice. He works extensively for bringing his creative emotions out in his music, which

is ably reflected in the songs that he produces. The young artist has now become the Founder and CEO of Grand Fam Ent., his own production company that promotes new and refreshing music and chiefly showcases the talents of Figa 8. He has been signed for a distribution deal with DIG recording label as well. He is planning to bring out the classy hip hop in the modern urban music by blending the two distinct but relatable genres together. His approach is really innovative but gets targeted with the traditional roots of the hip hop genre. As he is working with Dru Infinite head producer of DIG records, based in Inglewood, California and its assistant music producers, you can certainly expect an incredible amount of work put into Winter Time Flame Summer Time Snow. He would be bringing out his brand new album ‘Winter Time Flame Summer Time Snow’ with this label along with a solo project in 2014 which would be setting the stage for his musical career. If you haven’t had the chance yet, then you must definitely go and check out his brand new Game Face Mixtape. It showcases the exclusivity of his talents and the amaz-

ing variety that he brings in his music. It would be a great way to digest his music to have something to hold over your appetite before his new album launches and reaches your digital music shelves. The story behind Marcus Taylor becoming Figa 8 is quite interesting. Figa 8 is actually a ‘hip hop’ pronunciation of the‘Figure 8’. The name was chosen by Taylor because the symbol 8 signifies infinity. It also signified a complete turnaround of life. You can compare it with a phoenix- a life with no end and a fluid motion that only goes forward without any limit. His philosophy of music matches no other. Figa 8 says that music is all because of love. It is a rehab therapy that makes

him release all his emotions, not only for himself but for all the people who listen to him. His motto is ‘Fan First And Teacher Second’ which he derives from his inspirations, the pioneers of hip hop who made it a worldwide sensation as well as his zeal to keep this branch of music alive and evolving with time. He seeks inspiration from Pink Floyd, Bill Withers, James Brown, NAS and many more. His latest release ‘Year Of The Punchline’ is the perfect example of his musical inspirations and aspirations. It has a very urban appeal that is still quite refreshing and crisp. The lead single of the album’ Good Love’ em-

braces the philosophy and marks on the highest note of love that comes with a vintage theme but a modern treatment. His music is honest, pure and heart touching at the same time. You can visit his website GradFamEnt.com or catch him up on Twitter: @figa8thetruth and YouTube. com/thefiga8thejackass. In the meantime, bang your speakers out by downloading that Gameface Mixtape. Google Figa 8 Game Face.

The

Legendary

DJ Ron G

Imperial Hustle Interview First of all you are a legend in the game, you been holding it down in Hip Hop & R&B, how many years has total now? DJ RON G - 21 YEARS As a veteran Dj how do you feel about the Dj art and its role in the game today? DJ RON G - I FEEL GOOD ABOUT IT DJS ARE NOW ARTIST,DJS,PRODUCE RS,MANAGERS,EXECUTIVES ETC. You have worked with so many artists and many of the greats from Big, Pac, Jayz, Big - L, do you see a difference in the artists from the early to mid 90’s than the ones today? DJ RON G - YES I SEE A DIFFERENCE ARTIST WAS MORE FOCUSED & HAD MORE LOVE & RESPECT FOR EACH OTHER BACK THEN.

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As an upcoming producer what do you think is one of the most important things to do, to develop a name? DJ RON G - GET YOUR BEATS OUT THERE, PUT TAGS ON YOUR BEATS & PROMOTE YOURSELF What brought about the union of the Deadly Combination track with Pac and Big L? DJ RON G - I WAS WORKING WITH BIG L AT THE TIME ON HIS NEW ALBUM BEFORE HE 18

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DIED WE WAS TRYING TO FIGURE OUT WHO COULD WE PUT ON THE SONG WITH HIM THEN I FIGURED IT OUT A FEW MONTHS LATER I PUT PAC ON THE SONG WITH BIG L & CALLED IT DEADLY COMBINATION BECAUSE TO ME THEY BOTH WERE DEAD & 2 OF THE BEST RAPPER IN THE GAME. THEN RAWKUS RECORDS BROUGHT THE SONG AND ITS WAS ON.

or staying independent?

Independent artists these days, do you feel they have more of a chance in the game going with a major label

DJ RON G - I LISTEN TO DJ DRAMA & FOR PRODUCERS DR. DRE,SWIZZ BEATS,MIKE

DJ RON G - IT DEPENDS ON ARTIST SITUATION BECAUSE U WILL NEED MONEY & A FEW OTHER THINGS TO MAKE IT B.I.G Who are some of the upcoming DJ’s and Producers these days you keep your ear out for?

WILL,TIMBALAND,DJ PREMIER, PHARRELL & FEW OTHERS

WWW.TWITTER.COM/MIXKING155 WWW.TWITTER.COM/KINGPROMO155

What rules do you stand by that you think helped you to reach your level of success?

WWW.TWITTER.COM/LEGENDARYDJRONG

DJ RON G - HARD WORK,CREATIVITY,EDUCATION ,BEING HUMBLE,RESPECT & LOYALTY

WWW.FACEBOOK.COM/LEGENDARY. RON.G

Are your radio shows still going, if so where can people jump on and listen to you? I HAVE 4 RADIO SHOWS: SATURDAYS 2-4 PM EST

WWW.INSTAGRAM.COM/LEGENDARYDJRONG CELL - 347 768-5540 How do you feel about upcoming artists handing you their music to take a listen to?

www.1.fm/station/Jamz MONDAYS 9-10PM WWW.REALHIPHOPUNCUT.COM TUESDAYS 6-7 PM EST. WWW.DTFRADIO.COM WWW.EVENTLEVEL.COM/TRAP You were throwing out two mixtapes a month for people to peep, what do serious independent artists have to do to connect with you on them?

DJ RON G- IM ALWAYS WILLING TO TAKE A LISTEN From the days of 1991 and you doing the “Youngest In Charge” and working with legends to get to the top, from those days do you think the grind has changed from the shoulder work you gotta put in to make it? DJ RON G - YES THE GRIND HAS CHANGED ITS DIGITAL NOW ALSO

ALL ARTIST CONTACT DJ RON G AT:

Back in the early 90’s internet didnt exist and social media was the streets, do you think having this online era, has helped or hindered the game?

WWW.LEGENDARYDJRONG.COM

DJ RON G - I THINK BOTH

WWW.MIXKINGENETRTAINMENT. WEBS.COM

Where can people go to get your music?

DJRONG84@GMAIL.COM WWW.MYURLS.COM/DJRONG

DJ RON G THEY CAN GO ON BOTH OF MY WEBSITES OR GOOGLE DJ RON G

FEBRUARY 2014 |IHEmagz

Curabitureuismod,metusatfeugiat consectetur,dolorfelisblanditmassa, utposuereestturpisconsequattellus.

DBlock Super Producer

Don Mega Waka Flocka’s OG Mac Drama brought me in to be an executive, hold down the east coast, and handle doing all the production.

IHE Magazine: How did Don Mega get started in music? Don Mega: My brother introduced me to music. Eight months ago I started my business label Brick Squad Kartel. I’ve been on the road for a year, and received a label deal with Universal. IHE Magazine: When getting involved with music was producing always your first thought? Don Mega: I’ve been professionally producing music for 8 years now. IHE Magazine: Out of all your attributes you bring to the table with your craft, what do you think sets you apart from other producers in the game? Don Mega: Dedication, Perseverance, I love what I do and I know where I want to take this label. Without the artists and fans showing demand and support we would not be here, and my team which has held strong and has been dedicated throughout

the entire stretch. IHE Magazine: How did Mega Muzik get started? Don Mega: When I moved out to Miami I began D-Block Mega Muzik Records and brought the label out to the South and Midwest and ran with it. IHE Magazine: Some people may not know, in 2007 you inked the deal with one of largest Hip hop artists of all time over at D-Block Records, how did this deal come about? Don Mega: My Uncle set up the meeting, and I let them hear some of the New York style music. My Uncle got me the deal, and I got signed. IHE Magazine: How would you describe being able to work with Hip Veterans such as Styles P and Jadakiss? Don Mega: Like a dream come true. I produced for Jadakiss n Styles P...It was like I produced 4 God n Jesus ... Being DBlock is like playing 4 New York Yankees IHE Magazine: What do you think upcoming producers should focus on when pitching beats to established artists? Don Mega: To always come with a budget. IHE Magazine: What would you say is the top two things that should be a primary focus as a independent *producer?

megamuzik1017.com

Interview Continued

Don Mega: Having a vision of where you want to be and working hard to make the vision become a reality. They both go hand in hand. IHE Magazine: When did you notice that you really had gotten your foot in the door with your music? Don Mega: When the first check got cut. IHE Magazine: In 2012 Mega Muzik had made another Power Move, which consisted of inking a deal with Brick Squad, How did that happen? Don Mega: Waka Flockaâ&#x20AC;&#x2122;s OG Mac Drama brought me in to be an executive, hold down the east coast, and handle doing all the production. IHE Magazine: In your career you have had a lot of opportunities for TV and Radio promo, such as VH1, MTV and more, not all producers get this, what was your angle in getting that level of notoriety? Don Mega: My lawyers, Entertainment lawyers, PR and staff made sure I was at the right place at the right time to make things happen for me. IHE Magazine: I know Mega Muzik focuses and a lot of promotional charity events, and healthy rap competitions for lyrical prowess, what are some of the upcoming events people can look forward to with 2014? Don Mega: I have a Reality TV show called The Label, I have a clothing line called Filthy Rich, and Dope Boy, Dope Girl, I also have a movie called Co-City. My plan is to go on tour for Boys & Girls club next year because I would like to create something kids can do after school concerning music/production, basically to give kids something to do, and not be in the streets. Special Thanks to Publicist: Latoya Bisch for making this happen.

STAAR

Academic, Athletic and Street Smart Education

During a time when independent skillsets are nullified and self-expression is influenced from so many external media outlets, the core grounding of our youth becomes more critical than ever. It has been my pleasure to actually speak on a program that is making sure core values take place. I have had the honour of being able to see what Mark Henry’s STAAR program has been able to do. Mark Henry has become a pillar of the community, an Oceanside High alumni and a state recognized high school wrestling and football varsity champ. Mark has taken an education program with the youth to a new level. Mark has coined his program as being able to take “Old concepts and use them in new ways”. The STAAR program has focused in areas

where many schools have cut budget, this goes into the fine arts, with dance, music, sound engineering and production, photography, crafting and culinary arts. STAAR involves a visual and physical display to enable kids to take part in critical thinking. While allowing the ability of solving intelligent problems creatively and energetically. The class is stationed to support strong so-

cial engagement which allows kids to apply problem solving skills that mirror what is seen in real life. Mark’s team works hard around the clock developing unique individual relationships with each student, they become role models while supporting academic enrichment within the students. The staff is young and relatable the ideas and concepts reach the students in ways they understand and it makes sense to them. STAAR works hard to keep physical activates and sports as a high focus among the kids if they choose. Kids are not forced to participate in any activity, instead kids have the ability to choose from many creative programs. Students are also encouraged to give feedback and participate in different ways that can expand and add to the STAAR program. Where STAAR has been unique is the education program and the effect it has had on the kids. STAAR has brought in many mentors to speak to the kids directly. With Mark’s FEBRUARY 2014 |IHEmagz

Mark Henryâ&#x20AC;&#x2122;s STAAR Program Continued By: Cory Austin

STAAR makes sure to have the students practice through a zero waste recymakes it a priority to use this cling program, teaching kids emphasis on real world mentorship to touch base on a concern for a clean comteaching and enlightening his important subjects such as munity. STAAR also enforces students, the students get a teen suicide, bullying, drugs nutritional value and edubalanced education of street and gang violence. Many cation among its students, smarts from various west of the artists have agreed to where the athleticism and coast hip hop music artists help through giving their healthy eating take place that have a background of time and sharing their life hand in hand. STAAR has hard knock stories and lesexperiences with students seen the rise in the academic sons for success. STAAR and parents. 24

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portion of the program due to the support of all the other creative interests that are supported for the students. Life Skills that are being taught has far exceeded many of the traditional teaching methods and it has shown a unique way of bringing teachers, parents and students closer in understanding one another.

STAAR works closely with work directly with the future the school district and meets is an opportunity that you every criteria that needs to donâ&#x20AC;&#x2122;t want to miss. be held in the direction of academic requirements. Any artists, managers, producers and music execs interested in booking a speaking seminar for the youth contact Mark Henry for all engagements. What Mark understands is that these youth are our future and this opportunity to FEBRUARY 2014 |IHEmagz

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THE BENEFITS OF LICENSING YOUR MUSIC, WHAT THEY WONT EDUCATE YOU ON 26

IHEMagz | FEBRUARY 9 2014

With all the new changes that have been going through the music industry throughout the recent years, one of the most lucrative and largest changes the industry has experienced is music licensing. Musicians of rock n roll, jazz, hip hop, classical or other genres know that music licensing is the most important and decisive way for any musician to maintain her/his civil liberties. This means copyrighting and licensing of their music work appropriately as this could be huge royalties for those who have written, and composed music titles for large media outlets. Why It Is Important The most important benefit of licensing the music is exposure. People initially used to write and record their music pieces so that people can hear them through live performance. Before the digital era, it was extremely difficult to get the kind of exposure it is today hence musicians used to take help of cd stores, radio and the campaigns of national tours. But today that age has changed; now artists are literally composing musical masterpieces from their homes and sharing it with the world in five minutes. This is the clear indication that the music business is expanding and it has grown beyond traditional radio and CD stores hence, it indicates that it is high time to become

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Having a sharp minded credible attorney at your side with the kind of piracy instances happening in the music industry only protects your intellectual property, hard work and musical assets.

a licensed music owner in this digital age. Benefits Are Endless Music licensing is imperative for a musician for their upcoming success. It offers them an opportunity to make their presence felt in the music industry. Additionally, music licensing is an excellent source for earning big bucks, as the producers are always looking out for upcoming artists to work with. Moreover, the added benefit is gaining exposure and build your resume in the music industry. If you are an independent artist, who desires taking their career to the next level, then securing a publicist and a manager is a foremost thing required to do. Apart from having these two you also need to build a solid network of fans that can be established by licensing your music and sharing it with the distributors and producers so that they can give it the desired exposure. How This Music Licensing Work For instance if you are the owner of a night club, a gym or a restaurant where you need to play the music to entertain your guests, legally you would require public performance rights – for the same you will need a right to play the music at your place of business. You can play the music at the location and have that happy go lucky atmosphere only when you have the rights to. For such places where public performance is carried out it requires rights to do so and these days people tend to go to three of the largest conglomerates handling this work i.e. ASCAP – American Society of Composers, Authors and Publishers, SESAC – Society of European Stage Authors and Composers and the other one is BMI – Broadcast Media Incorporated that simplifies the entire process. For any establishment who is interested in playing music publicly they FEBRUARY 2014 |IHEmagz

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is highly recommended whether you are a newcomer independent artist, group/band, or simple needing a legal protection. To find a licensing attorney might feel like a daunting task but you can always browse any search engine on the web to get the reviews, moreover ask people in the similar industry that can redirect you to a brilliant one. Having a sharp minded credible attorney at your side with the kind of piracy instances happening in the music industry only protects your intellectual property, hard work and musical assets. require a license to do so. Through ASCAP, SESAC and BMI respectively their websites have put dozens of forms that cover various types of establishment’s music playing rights. ASCAP, SESAC and BMI is an association of over 500000 song writers, composers, music publishers, lyricists and lot more from this field who represent thousands of music creators across the globe. The association is into giving and obtaining permission to perform whatsoever music

publicly for music users and creators. The association is also into nurturing the music for the newcomers in the industry. So, how these association works? For instance: • If you are an aerobics instructor you have to pay • If you are in the parade and playing the song then the organizers of the parade have to pay

• If you are a street mu- the work of handling legal sician and playing pub- formalities, money, fines, fees and costs are involved with licly you need to pay distributing and producing the music. Whether you are a musician trying to make your If you are not paying and you mark in the industry, a disare caught red handed while tributor or a producer lookplaying publicly you might ing to generate more money have to face the law suit (even by helping these upcoming though thousands get away talents a licensing attorney is each year). The fines of these always necessary to prevent can be steep ruining what any potential legal issues that started out as a good and could arise in the near future. pleasurable thing. A music licensing attorney Why Need A Music Licens- who has been already working Attorney ing in the entertainment or industry can be helpTo work in the music indus- music ful with any legal issues reltry has become quiet com- evant to music Hirpetitive and often stressful as ing an attorneylicensing. for this work 28

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Being a musician makes it imperative to obtain the license for your hard work. There are many instances where the music of an upcoming talent is invariably copied and left the artist in despair by shady opportunity seekers. Music licensing firms like BMI, ASCAP and SESAC gives you the support of security from various types of piracy. Apart from this, the best part that the firm came up with is the music licensing is no longer restricted to the motion picture and film industry. The industry of music licensing now has its reach in websites, video games, internet radio, mobile media, and television.

oday with the help of these three associations there has been more control with new laws created for digital compositions in regards to piracy and prevention of exploitation of upcoming talents. Everybody needs a chance to showcase themselves and until now there has been a good amount of misuse of digital audio, so protect your musical investment with licensing your music ASCAP, SESAC and BMI have made way to protect artists and their craft in this new digital age

Delivering THE REAL LAW, the enslavment of a nation

SOCIETY ON A PLANTATION

WE have become systematically enslaved by rules, regulations, restrictions, fines and taxes through a corporate agency government structure. . . USA Inc. Many of these corporate agencies launder money and are dealing in human traf ficking . . . all are serving the corporations and NOT the citizens . . .While most of us were sleeping we were being consumed by an agenda so powerful and intent on global corporate profits and control, that our reality has become a wild & un-

believable nightmare, that many never wake from. WE are the “enemy of the state” per “Senate Report 93-549” Your CONSENT shapes your life and world. Without your inherent power of consent, you are a slave. If you abandon your Right of Consent you will become a slave to those who would exploit you. All life defends its free will, because failure to do so is suicidal. The maintenance of YOUR Rights is YOUR Responsibility ONLY.

Consent is given in many ways, of ten without fully realising it. The definition of the word “consent ” includes to “yield” and to “give way to”. The moment you agree to any thing you are asked to do, you are giving your consent. If you get a parking ticket it is an invitation to pay, and if you pay it you are consenting to the ticket contract. Even the Police need your consent before they can arrest you, because before they can arrest you they must read you your rights and then ask “do

FEBRUARY 2014 |IHEmagz

you understand” (stand under their authority), and if you say “yes” – you are consenting in law. Importantly, you are the “holder in due course” of your “Estate”, and since claims on the living man or woman depend entirely on false assumptions and presumptions, you can rebut any claim and regain your living rights, because plainly you are not a dead legal fiction “person”. Under the Cestui Que Vie Act 1666, IV ‘If the supposed dead MAN proves to be alive, then the title is revested.’ You were born “entitled”. You are the owner of your “Estate” and therefore the legal “person” is your rightful property, with all rights and entitlements owned by YOU, as a Grantor, not a Debtor, to the state. Disassociating your living self from the dead legal “person” is an adventure in self discover y. The rules of the game are written in a language called “legalese”, and the name of the game, invented in the 1930s, is Monopoly. In this game of commerce you are expected to be a Merchant at Law who is an expert in paper instruments. He who fails to assert his rights has none. Dealing with the legal “person” “actors” who habitually “presume” that you are consenting to “act ” as a legal “person” under their jurisdiction, requires knowledge, patience, backbone, self-possession – literally, and a measure of empathy toward those who falsely believe in their illusor y paper world of bondage. Any state process requiring a signature is a contract by consent, as is simply answering to the spoken “fictional name”. Legal “person” “actors” who make presentments are ALWAYS looking for a legal “person”. They NEED you in “joinder” because they have no claim against a man or a woman. When a legal “person” “actor”, or their agency, sends a presentment in the post, it is always addressed to a legal “person”, indicated by the use of all-capital-letters, JOHN DOE, or by the use of a fictional prefix, Mr John Doe. Presentments are of fers of contract seeking your “commercial value”. They are not addressed to you. However, if you ignore a presentment, you are by inaction giving your “tacit consent by acquiescence”, so it is essential to “rebut the presumption” by

writing a letter to the sender in their “private capacity”, or simply by writing ‘No Contract, Return to Sender’ on the envelope.

Living people have many powers: the powers of Life, Sovereignty, Reason, Decision, Consent, Contract, Attorney, Credit, and many other powers, including the powers of Compassion, Love, and Learning. But none of these powers exist unless you know who you are. Many people complain about the corrupt “system”, and yet all who “act ” as “persons” literally have no Right in law, no power of Life. Having forsaken their Life, they enable corruption.

“The world we create is the one to which we give our consent.” Known as the “New Deal” in the United States, and Social Welfare in Commonwealth nations, the “deal” gave public “benefits”, “privileges”, and “debt ”, to the people, in exchange for their private “rights”, “freedoms”, and their lifelong “credit ” (labour and property). When a baby is born, the hospital sends

the original of the “record of live birth” (not a copy) to the government, w h i c h creates a Birth Certificate Bond by claiming the legal title of the baby’s Estate, later appearing as a legal fiction name, i.e. JOHN DOE. This bond is registered as a Security, which the Treasur y uses as Surety for new Treasur y securities such as Treasur y Bonds, Notes and Bills. As was planned, men and women provide their “commercial value” to the financial masters of the state via the artificial “legal person”created on the Birth Certificate. The public “registration” of the Given name with the family name creates an artificial “legal personality” administered by the State, so anyone who is unaware of this mirroring device will unwittingly “act ” as a “legal person” transferring their “commercial value” to the State. This “transmitting utility” is called a “straw man.”

accomplish some purpose otherwise not allowed.’ [Black’s Law Dictionar y, Sixth Edition, p 1421] The word person is a derivative of persona, which is a theatrical “mask” worn by actors in Greek drama. “Persons” are “actors” of ten “performing” roles in “costumes” (uniforms) who enact “language” (legalese) to deliver “presentations” (bills), and sometimes they “appear” in a court (theatre). Any living man or woman who “acts” in the “role” of a “legal person” is an “accommodation party” in “joinder” with the fictional “legal person”. This “joinder” creates an “indivisible duo” (individual), and by this artifice the living jurisdiction (de jure lawful) is surrendered and replaced by the statutor y jurisdiction (de facto legal). A “legal person” is a fictional creation of the State, and therefore it is controlled by the State.The “legal person” is the government ’s property, employee, debtor and servant, bound to comply with the government ’s statutes (acts, bills, rules and regulations), which are the “terms and conditions” of its “status”.

Fictional creatures of the State have “status”, whereas living men and women with flesh and blood arms and legs have “standing”. The “artificial person” has no “standing”. “In as much as ever y government is an artificial person, an abstraction, and a creature of the mind only, a government can interface only with other artificial persons. The imaginar y, having neither actuality nor substance, is foreclosed from creating and attaining parity with the tangible. The legal manifestation of this is that no government, as well as any [government] law, agency, aspect, court, etc. can concern itself with any thing other than corporate, artificial persons and the contracts between them.” [PENHALLOW v. DOANE’S ADMINISTRATORS ]

‘Straw man. A “front ”; a third party who is put up in name only to take part in a transaction. Nominal party to a transaction; one who acts as an agent for another for the purpose of taking title to real property and executing whatever documents and instruments the principal may direct respecting the property. Person who purchases property, or to

Written By: Terel Banks

Wake Up Call to the Great American Nation - Beware of The Unemployment Trap!

When the dream economical enigma comes down crumbling under the sheer weight of Unemployment, the consequences can be disastrous for the society. Before looking at the existing scenario, it would be wiser to take a look at the root-causes that might have led to this situation. Every social catastrophe has deep rooted means in the following: Economical reasons Social reasons Technology related reasons Industrial and Trade related reasons Psychological reasons and many more The major economical reason is the unequal income levels that vary between class, race and community infrastructure. There is a small percentage in society that enjoy the luxuries of endless spending sprees as their pursuit of a weekend-pleasure. There are millions of people on the other hand whose income is getting further weakened by the day to day disadvantages that they face. Race based inequality in Unemployment ratio is also causing a great worry to the Federal Government. The funniest factor being witnessed is the kind of sup32

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port offered by the federal-Government to the growing unemployed youth across the nation. Instead of expanding the job-market, the Government is talking about extending Unemployment-benefits. This is very good, but only in the short-run. The long Financial and social consequences could be more disastrous than what meets the mere eye today. There are many hidden reasons that the law makers are probably unable to visualize The Unemployment-benefits can cover only the existence support. it cannot be used for entertainment and pleasure seeking. If you take a look at the kind of violence spreading in many of our impoverished communities nation-wide, you will get the practical illeffects of the impact of the unemployment trap. o The sporadic-violence and heightened crime is born out of social causes for change; you see financial hardships, homes being lost and families being destroyed. The average American youth is taught To Depend on their motorbike and cars To have a girl/boy companion and blow the night out Pub and Club culture is the only way for civilization

entertainment And many other illusionary ideas Everything is fine as long as the family income is soaring and the youth are happily in the college campus. Once, they come out into the job-market and start searching for a suitable-job, their dreams comes crashing down on them. Their parents are no more unable to support their hi-fi lifestyles. The youth gets frustrated and either gets into the wrong job or becomes violent, the internal down cry of feeling discouraged and hopeless. This is one of the root-causes for the increasing cases of vandalism on the American streets today. No direction and constructive outlet is created with in the cityâ&#x20AC;&#x2122;s budget for these youth. Education does not educate for real world events. We are not investing in the real problems at hand that plague our communities and our nation. How long can the Federal Government go on supporting the youth by providing Unemployment-benefits? This is another question that is being asked today. The reasons for this question to arise are quite natural The American jobless population is certainly growing. The percentage of working and capable of working people is dwindling.

The economic resources are being either shut down, getting outsourced or moved to greener pastures of automation. Hence the Existing employees are losing their jobs They are unable to find alternate jobs because their skill sets are limited New jobs are never being created. It is like trying to share a loaf of bread among too many people Jobs have become the only way of living for the majority of youth in the USA today. If there is no job, papa tells Joe to join the Unemployment-beneficiary community. The son has already retired before he has set his foot into the first job. This mentality has to primarily change. There is no point in blaming the Government alone for all the miseries. The American youth has to stand up today and take a look at the thousands of vocational & freelance career opportunites. But primarily they have to develop their skill sets in order to grow in this kind of business market Technology has certainly touched the peak in the USA today. But, how many people are under its protective shade. The great economists and Financial experts have always spoken about the 80-20 ratio in all aspects. Technology has benefited only 20% of the soFEBRUARY 2014 |IHEmagz

cial cream. Many people are asking where the word called technology is. The automotive & automobile technology is being over-run by Japanese and German companies The Global technology market is hijacked by the Chinese cheap-technology. The leaders are only talking about creating more technology-based jobs for the American youth. But the actual figures show otherwise The only jobs that seem to attract the youth today is the Entertainment technology. Get into a Disco and become a DJ. These kinds of jobs only serve for a short span. What the youth needs today are Sustained sources of dependable income A decent standard of living for everyone. The Economy has to be stable to achieve this. A growing job market. Not just Unemploymentbenefits that support them for some time. The technology based education and vocational training has to be equally given to every American youth regardless of his race, economic and social background. Unfortunately this is not happening. A positive mindset to accept the change and grow towards self-employment rather than depending on the Government for all their financial needs But the sad fact is, the 80% of the youth have been left lurking in the dark. Now, the same 80% of the unemployed youth is on the streets, demanding more. If they donâ&#x20AC;&#x2122;t get what they want, there will be increased blood-shed and untargeted violence on the streets The Federal Reserve in the Federal Government are convoncing the public that the fund-reserves is now steadily going down. In addition to this, the ShutDown syndrome is gradually gripping the Economy and pulling it into a state of Frenzy. America is a rich land of natural resources. Moreover, today it is the sole super power in the world. But sadly, it has lost its soul. The poverty level is also increasing rapidly. The Economy seems to take a nose dive

and continues to do so even in 2014. Lee Iacocca has clearly warned of such serious situations in the early 70â&#x20AC;&#x2122;s. Today the nightmare has become a reality. The number of our home-less population is growing. This is happening even more among communities in the black population. This has another major drawback. It widens the race-gap The Middle income group is fast becoming lower income group; this will soon result in even-lower income groups. But the youth have been taught to either ask what they want or snatch it from the others. The same thinking has led to many mall-break-ins, day-light robbery and increasing number of other social evils. If you take a look at the number of increasing number of part time and self-made jobs in the American urban society, the focus seems to be mainly on Male-female escorts Male-female strippers Erotic massage parlors Dance-bar jobs. Entertainment and music. The aim here is not to paint a negative image of the Financial situation of the country, rather to show the sad state of the Economy in the mirror of hard reality The dependency on the Food-stamps is growing. This was the state of the Stalin run Economy which is being more than emulated by the Federal Government today. There is a growing level of insecurity. Insecurity and fear always breeds violence. If you take a look at the youth indulged in violent-activities, 90% of the reasons are Financial insecurity. Last, but not the least. The Federal Government should start taking care of its own country and people first. The need to spend more on the social issues than pumping all the Federal Reserve into the Pentagon and its Military Industrial Complex should be controlled and better yet stopped for there are only a small group of profiteers. Iran, Afghanistan, Pakistan, Turkmenistan and all the other upcoming Stans should not be a part of our plan. The primary aim is to start feeding the American youth, the inner city, elderly, homeless and the less privileged. It is very strange that in spite of the Vietnam, China, Iraq, Afghanistan and other debacles have not made the Federal Government any wiser to the disadvantages that comes as results to the American population.

A.J.

Suede IHE Magazine: Where are you originally from?

ready comfortable working with the same people so I rarely branch out.

Aj: East Harlem, NY but nowadays we run East Stroudsburg, PA

IHE Magazine: How did you get started into hip hop?

IHE Magazine: What is the music scene like out there? Aj: Theres a dope music scene going on, a lot of creativity is formed from the boredom that comes with living out here. A lot of us have a decent amount of time on our hands so we channel it into our music. The slower pace of the city seems to make its way into the music as well. A lot of us are transplants from either NYC, Jersey or Philly so that east coast flavor is there too. I’ve been making music with the same people for about 4-5 years now, people are introducing me to the younger generation but I’m al-

greater assett to go major or remain independent? Aj: At first I thought it was necessary to be a major artist, but that was back when BET, MTV and music choice determined how music reached the public. Nowadays the independent labels are getting the the props they deserve. Some of my main influences came up independently and remain indie. Dudes like Cannibal Ox, El-P, the whole DEF JUX records, Rhymesayers Records, Stones Throw and Hieroglyphics. Thats the just the hip hop side of things. The indie and punk rock labels really inspire the kind of DIY grind that have. There aren’t any serious financial sponsors at our disposal so I’ve learned to use the internet and word of mouth to help reach goals. I also feel more comfortable working independently with a team I trust, while still maintaining 110% of the creative control. Major artists don’t often get that oppurtunity. Eventually the majors might have to back us, but on my own terms. I not willing to negotiate. IHE Magazine: What artist inspired you as you were coming up? Aj: I was raised on alot of East Coast hip hop, some west coast shit too. The only southern hip hop I really liked as a child was outkast, those dudes were fearless in the way they approached music. The only artists that really inspired me are the ones who were the “firsts” of their style or sound. I didn’t really care for artists that aren’t innovative and do what everybody else was doing. In the 2000’s when auto tune, a bay bay, snap music and all that crunk shit hit, I switched over to listening to mostly rock, alternative and indie. That’s what inspires the production and musical aspect of it all. Experimenting with different sounds and drum patterns to make genreless music is one of my main goals. But I look to producers like the RZA when it comes to forging a sound that can’t be replicated. IHE Magazine: Who are some of the artists you would like to collab with in the future?

Aj: I was born into the culture of it. Both of my parents seen the genres start from jams in the park to where it is now. I’m a scholar of this shit. I know hip hop is more than emceeing, I represent every element, from the chair freeze to the spray cans. IHE Magazine: How long have you been doing it now? Aj: I’ve seen home videos of me rapping with a toy mic at 3 years old. So I cant really put an age on it. But I decided that I wanted to put the music before everything once I graduated high school and got my first taste of the real world. IHE Magazine: Do you beleive its a

Aj: I only wish to collaborate with artists that push the boundaries of music to the next level, people who arent afraid to take musical risks. For years I wanted to collab with Serj Tankian, Marilyn Manson, Trent Reznor and a good drummer like travis barker or Joey Jordison when its time to make the really really scary shit. When its time to make the really hippy shit I’m really feeling that girl from hiatus kaiyote, tame impala, atlas sound, flying lotus and the cocteau twins. The only hip hop artists I have in mind are Jay Electronica and Andre 3000. Eventually I’d be able to get some of these talented people in a room to decide the future of music. Theres a lot of underground artists I’d love to work with as well, but that’ll work itself out sooner than you think.

Aside from “Untitled 1.5”, any other project is pre high school graduation and I no longer claim it.

IHE Magazine: Independent artists trying to get to where you are at, what is the number one thing you would tell them to take the next step in their career?

How can people contact you for booking purposes?

Aj: I always tell the people coming up over me to just do their own thing and stay true to yourself, some people just have the kind of personality that the worlds been waiting for. It would suck to lose opportunities because you’re trying to sound like whatever artist is popular at the moment. Just do you, fuck the competition and fuck the people that say otherwise, nobody is as powerful as yourself.

IHE Magazine: What projects do you have coming up that people can look forward to? Aj: Gold and Fire is the sequel to the critically acclaimed Gold and Water. Produced by myself from start to finish, and it will arrive within the next two months hopefully. IHE Magazine: Where can people go to get your music? Aj: All of the important shit is at http://freemindscollective.com

it me on twitter @ajSUEDE anything else you would like to add? Shoutouts to Imperial Hustle for interviewing the god.

IHE Magazine: What projects do you currently have available for the public? Aj: Download “Gold and Water” a truly revolutionary genre bending album. The sequel is on its way. “The Holy Pope” was a project I made when I was first learning how to use protools, there’s great music on there but it kind of sounds like an unfinished demo. FEBRUARY 2014 |IHEmagz