The Resource Urban Intelligence For The Independent Culture
Contents April 2012 / Issue 5
Dangers of Antibiotics
Vaccine pushers often resort to an interesting fear tactic to try to mandate vaccine... The Business Of DisEase
Business of DisEase is an upcoming documentary,on the marketing of sickness.
Slums used as Rockefeller Laboratory 10 Chicago The slums of Chicago used during the
1960’s as Rockefeller lab testing
Do we have any Enlightened Rap Millionaires? 14 The question remains what is the quality of the content produced for success
40glocc Interview P.8
Gates Plans to manufacture a Genocide 26 Bill The true intentions of Bill Gates investments with vaccinations
40 GLOCC INTERVIEW
West Coast G-Unit artist and Zoolife Entertainment founder, kicks game to us.
CASAS INTERVIEW 16 PAULA The Latino Hip Hop market has been looking for an outlet, and its right here
OF DIDDY DIRTY MONEY INTERVIEW 18 KALENNA If you know Diddy, then you know Dirty Money, here is 1/3 of the trio
24 One of the members to Juel Santanaz Skull Gang. He tells how he got started. THE REAL DINERO INTERVIEW
Young Freeway Nation
INTERVIEW 30 ALKATRAZ Host his own battle venue and independently outsells most artists.
YOUNG FREEWAY NATION ARTICLE The upcoming team that is working to take the Freeway Enterprise to the top.
UNSIGNED HYPE 34 FEATURED A list of unsigned artists that will have future interviews with Imperial Hustle.
ENTREPRENEURS 35 FEATURED Upcoming Producers and Entrepreneurs that will be interviewing with the mag. 360 DEALS 38 BEHIND The truth behind these and the reason why they exists for artists.
1% THAT CONTROLS THE 99% POPULATION 42 THE Who and what that we as a people and nation are up against, some food for thought.
HORSESHOE GANG INTERVIEW
Brothers and artists of the known west coast lyricist Crooked I and his label C.O.B
WHAT’S THAT COVER ART??
Represents the shield that is the trademark of the marketing and promotion company known as Young Freeway Nation. Its that New Shit......
Kalenna Interview Paula Casas P.16
Kalenna P.18 THE BEST SELLING MAGAZINE ON URBAN BIZ
APRIL 2012 // VOLUME 006
Publisher Imperial Hustle
Content Managment Tim Phillips
Creative Director Cory Austin
Media Design Terel Banks
Media Development Jovon Michelle
National Promotion Young Freeway Nation
Marketing Executive Cory Austin Paula Casas
Ad & Sales Direcor Cory Austin Tristan Austin
Executive Contributor Paula Casas
Contact: 619-866-4792 email@example.com
Chief Editor/Transcriptor April Austin Photography & Images Glare Photography
Horseshoe Gang P.36
From Your PublisherSometimes it can be so easy for us to loose track of things that we hold closest to us. The world becomes so full of distractions, everyday life of trying to stay a float. Many times we let our time become consumed by things that get us no closer to any goal that we wish to achieve. At times to move forward, becomes so difficult that we get lost in what can seem to be truly unimportant in the bigger scheme of things. The dreams that you have, are more important than you believe, the burning desire to live these dreams are the most important. Do not forget your value that
you hold, and your worth to the world. You are the key to your own destiny, you hold the key to unlock all of your potential, just believe and do not let anyone devalue your own worth. Your time is precious and your dreams are irreplaceable. We offer to you, stories of those that are living their dreams, not for you to envy, but to be motivated and exhilarated. So the next time you wake up, step to yourself, take a look in the mirror, you are that Gem you have searched for your whole life. Do not forget to live your Dream.... -Defiance
Dangers of Antibiotics
accine pushers often resort to an interesting fear tactic to try to mandate vaccine obedience among the masses: They insist that those who are unvaccinated are a health threat to the rest of the vaccinated population because the vaccinated people might get infected by the unvaccinated disease carriers! The quack logic of such a UFF claim should If vaccines protect people ESTbeSTself-evident. B E H T T then vaccinated people should not N from infectious disease, A W YOU at all about being around unvaccinated be concerned people. After all, the vaccine made them all “immune,” right? But of course that’s all propaganda. Vaccines don’t really work at all. They are marketed under a blanket of disease hysteria and pimped by a cult following of medicalized quacks and needle junkies who abandoned real science long ago. After all, who needs real science when you’ve got the CDC marketing all the fear for you? The CDC is to medicine what George Bush was to the war industry -- spread a little fear and the profits roll in. The real risk to others? People who routinely take antibiotics As it turns out, the real health risk that does exist in person-to-person exposure of infectious disease comes from people who routinely take antibiotics. Those who take the most antibiotics become drug-resistant bacteria factories, and they can spread their drug-resistant strains to others around them. Their risk of developing superbugs rises proportionally to the frequency and duration of their taking prescription antibiotics. (http://www.naturalnews. com/028479_superbugs_antibiotics.html) The most dangerous person in your family, it turns out, is not the “unvaccinated” person but the one taking antibiotics! They are human breeding grounds for bacterial mutations that can be downright deadly. Why hospitals are so dangerous to your health That’s why informed people know the hospital is the most dangerous place you can go, other than working in a homemade meth lab of course. Hospitals are where superbugs pass easily from patient to doctor, and then from doctor to another patient. Hospital superbugs are spread by the medical staff, mostly because they routinely fail to wash their hands before touching patients. As NaturalNews reported in January, 2010, a whopping 247 people die every day in U.S. hospitals from medical staff failing to wash their hands. (http://www.naturalnews. com/027981_doctors_hand_washing.html) This is like a jumbo jet falling out of the sky and killing everyone on board every single day. It’s like a 9/11 terrorist attacking happening every two weeks. This is one of the most alarming (and preventable) causes of death in America today and virtually no one even talks about it. Doctors, of course, strongly contribute to the development of superbugs by handing out antibiotics as if they were Halloween candy. Someone shows up at the office with a sniffle, and the busy doctor scribbles out a prescription for
some fashionable new antibiotic that earns him perks from the young drug rep whose PC database tracks every namebrand prescription he writes. The patient, meanwhile, spends a pocket fortune on a useless drug that’s actually quite dangerous. Not only does it increase that patient’s chances of developing a mutant strain of drug-resistant bacteria; it also flushes antibiotics down the drain and contaminates the environment downstream. So if you’re walking around in public suspiciously glancing around to see who might be sniffling or sneezing, clear your head and think about reality for a second. The CDC wants you to stupidly believe all the unvaccinated people are a threat to your health, when in reality people who consciously refuse vaccines tend to be far healthier and get sick far less often than the hypochondriac dweebs who rush out to get vaccinated every few months. Doctors and drugs are the greatest threat to your health far greater than terrorism The real people who are a threat to your health are not just the pill-popping antibiotics consumers, but also: • The psyched-out grandma on psychotropic drugs barreling down the road behind the wheel of a 1978 Buick. (Driving While Medicated...) • The teen schoolboy who was diagnosed with depression and put on SSRI drugs that make him feel violently suicidal. • The pediatrician who wants to inject your child with chemotherapy to “prevent” cancer and insist he’s going to call CPS if you don’t let him poison your child. • The drug addict pharmacist who, in between incorrectly filling your prescription with random deadly chemicals, snorts up his own private concoction of controlled substances in the back room. • The oncologist who misdiagnosed you with breast cancer but wants to poison you with five rounds of chemotherapy “just to be sure.” (Oh yeah, I bet he never told you that he PROFITS from selling you the chemotherapy drugs that poison you...) • The school bus driver with a heart condition who takes an extra dose of deadly statin drugs and suffers a fatal heart muscle breakdown while behind the wheel of a bus carrying 58 schoolchildren toward a railroad crossing. These are the real threats to your safety... not a bunch of healthy people who deliberately refuse to be injected with hazardous vaccines. But of course the medical establishment doesn’t want you to be aware of any risks associated with using their products. All their drugs are perfectly safe! Perfectly effective! Perfectly priced! Perfectly profitable! There’s nothing wrong with them, by God, or the FDA would never have approved them, would they? Learn more: http://www.naturalnews.com/035163_pub-
The Business Of DisEase lic_health_unvaccinated_antibiotics.html#ixzz1okm The Business
of DisEase is an upcoming documentary exploring the hypnosis of marketing, belief systems and the bodyâ€™s ability to heal under the right conditions. The film explores conflicts and distortions in the medical research studies; the misleading and deceptive agreements between drug companies and government, and the futility of most medical tests and interventions to prolong lifespan. The film
aims to provide options and insight into a great many misconceptions. Science is integrated as a means of clarifying the possibilities which exists in better understanding the inner technology of spirit, mind and body. The documentary takes a holistic approach in dealing with disease by exploring cutting edge healing technologies and concepts. The term holistic in this context refers to the whole being; spirit, mind and body.
This film brings focus to the spirit, mind and body connection in a unique way essential in understanding the source of dis-ease. The Business of DisEase is not just about the marketing of disease but also of the genetic and social programs from which our choices and experiences are potentially shaped. This is a film that encourages us to be unafraid to take responsibility for our bodies, our spirits and our minds.
The Business of Disease is expected to be released in the fall of 2012. To find out more you may visit the website www.thebusinessofdisease.com
The man behind it all.
The Mind behind ZooLife Entertainment
40Glocc interview THE MUSIC AND ZOOLIFE ENTERTAINMENT Tell us a little bit about your background. What was it like for you coming up in Colton?
I grew up in a neighborhood in Colton referred to as “ The Zoo”; that name is pretty self explanatory. What really let you know that you had a talent to make music? Everyone around me kept telling me how much they liked my music. Who were some of the influences you had early in your career? My homies and a handful of people I still do business with on a day to day basis.
Was your first album you pushed independently pushed?
Yes; everything has been done independently. everything I have ever done; I got on my own. How did you move forward with getting involved with your G-Unit deal? I’m signed to Zoolife records and my deal is with Fontana/UMG. I’m a G-unit Affiliate; 50’s my homey. You’ve had the chance to work with many different artists; Who have been some of the most memorable in the studio? 50 cent, Cee-Lo Green, and of course with all my Zoolife family. I’ve worked with a
lot of great artist so it’s hard to name just a few. There are alotta cats coming off the streets right now that want to get off the streets and into the game. What are some of the first steps they should be taking to make this happen? Do your homework, put in work and never get comfortable with where you’re at; always strive for more. Don’t get sucked into any negativity; you have to stay focused. I heard that you may have some projects coming together with IE’s own Frank Nitty, can you tell me about that? I have a few things in the air with Frank right now and once we tighten up the details we’ll make sure you are the 1st to know. From the time you started I know you have seen alotta changes in the game, what do
I would change the way independent artists with amazing talent often get overlooked by mainstream press. We have to put all the politics aside and get back to “Just Music”.
Man Behind The Music
40 Glocc Hits the West Coast. With new album NEW WORLD AGENDA
you think has affected the industry the most?
A lot has changed since I got in the game; politics always evolve but I think the biggest factor that has affected the industry is the power of the internet and it’s ability to give everyone a voice. Is there a way independent artists can benefit from that? yea I mean the most important things are focus and balance; keeping your marketing team and your promo team going in the same direction helps. lol.. What do you think is something the west coast needs to be able to bring more artists to the forefront? We need some genuine A/R people who know what they are doing to come get in touch with all the up and coming talent
that is out here. More opportunities for independent artists and producers. More showcase opportunities for our young artists. If you could change one thing about the game right now, what would it be? I would change the way independent artists with amazing talent often get overlooked by mainstream press. We have to put all the politics aside and get back to “Just Music”. I know you got ZooLife Ent, how is that going? Zoolife Records is an independent label so you know it’s always going to be a work in progress. We are making major positive moves in 2012 and are extremely focused. Any acts that we should look out for coming up with that?
Zoo Babies are the future! My current and upcoming album plus a Zoo babies project that we have under wraps are the acts you can look out for from Zoolife. Zoolife as a whole is my only focus right now. Now, we have all heard alot about the New World Agenda, what can we expect from that? Great music you can listen to over and over again!! I know in 2011 you also were featured in a Documentary ‘Rhyme and Punishment’, how did that go? It went well; It gave me an opportunity to let the world see what I have been through and continue to go through in depth. the things i go through and have been through is what inspires my music and the movie is a glimpse of my reality. Everyone that wants to stay updated with all your material, where can they get it? WWW.40GLOCC.COM Serious artists that wanna fuck with you, how should they contact you? Email my manager Gigi Capone and she’ll check things out and if it makes sense; we can get go from there : firstname.lastname@example.org
1960s: Slums of Chicago Used As “Laboratory” By Rockefeller’s Population Council Eugenic mind-operations on the black community of Chicago
Until now unsuspected and undetected, a publication surfaces straight from the Rockefeller Archives which speaks of eugenic mind-operations on the black community of Chicago in the early 1960s. In an outright chilling speech the two men in charge of the operations, Donald Bogue and Palmore, told the American Public Health Association in 1964 that they were “”using the slums of Chicago as a ‘laboratory,’” hoping to develop “principles and theories which could be ‘exported’ overseas.“”, Ph.D. candidate Edmund Ramsden reveals in his paper Between Quality and Quantity: The Population Council and the Politics of “Science-making” in Eugenics and Demography, 1952-1965. After writing extensively on John D. Rockefeller III and his commitment to continue his forefather’s eugenic dream (to create an elite super-race while simultaneously depopulate the planet), Ramsden (now a doctor of the University of Exeter and the
London School of Economics) managed to retrieve some mind-blowing findings from the Rockefeller Archive. Quite inadvertently, it seems, the Ph.D-to-be stumbled upon evidence from within the archives of the Rockefellers themselves, which conclusivelyproves that “Chicago’s negro population” was subjected to experiments in a laboratory-setting conducted by Rockefeller’s “finest” social engineers. According to the material Ramsden consulted in the Rockefeller Archives, the chiefoperators Bogue and Palmore “attempted to uncover general patterns of resistance to birth control that existed in the developed and developing nations and drew parallels between “the crude birth rate of Chicago’s Negro population,” the rural South, India, and Puerto Rico.” “The Population Council (…)”, he writes,“funded the University of Chicago in
1962-63 for a research program in “Problems of Bearing and Rearing Children in High-Fertility, Low-Income, Low-Education American Families.”” The implementation of this mysterious Problems of Bearing and Rearing Childrenin High-Fertility, Low-Income, LowEducation American Families-program on American families was executed with the help of several clinics, propagandists and other individuals, roaming the streets of Chicago during a good part of the 1960s. “This”, writes Ramsden, “would be the first grant by the Population Council to evaluate an action program in the United States, and involved the establishment of a mobile communications center and clinic, the employment of medical personnel and social workers, interviewers, technical staff, the preparation of family planning commu-
nications materials, machine tabulation costs, and so on.” Ramsden only skimmed over the subject in his paper, as it was helpful but not essential to his report. However we learn some more about the tactics used by these “mobile communication centers and clinics” in Mary Ziegler’s excellent Reinventing Eugenics: Reproductive Choice and Law Reform After World War II:“Bogue’s assistants sent targeted mailings to people living in housing projects and advertised in what Bogue called “ethnic newspapers,” like the Chicago Defender. Frequently, he used volunteers who appeared to be objective or even friendly to dispense advice. African-American volunteers were instructed to befriend people in the neighborhoods studied before advising them to stop having children. Those with medical training were supposed to characterize their recommendations as objective medical advice rather than as propaganda put out by the Council.” As Ramsden continues on the subject he writes something astonishing. Here is the quote in full: “In 1963 this program was enlarged, through Population Council support, with the establishment of the Family Planning Communication-Motivation Workshop as part of the demographer Donald Bogue’s plan to develop “Training and Research Program for Fertility Control Through Action Programs.” Speaking to the American Public Health Association in 1964, Bogue and Palmore explained that they were testing hypotheses for hastening the adoption of birth control practices and using mass communication and group motivation “campaigns” among groups with low education and low income. They explicitly stated that they were “using the slums of Chicago as a ‘laboratory,’”
hoping to develop “principles and theories which could be ‘exported’ overseas.” We stress that the quotes applied by Ramsden in the before mentioned citation are literal notes from the Rockefeller Archives. Ramsden himself examined the Archives extensively but casually skimmed over this particular fact he uncovered, as he set out to compile a general history of eugenics in the United States. An interesting read for sure. But the author hardly appreciated the fact that the admissions by Bogue and his colleague uncovered two important facts that have never before seen the light of day, namely 1: that the Chicago-experiment was designed to subject American families in a laboratory-setting to birth controlpropaganda, and 2: export the results of these experiments to Third World nations with the aim of reducing the birthrate worldwide. We must not forget when quoting these people, that the inhabitants of Chicago’s slums were American families with children. When presenting these cold facts it does not do to become desensitized or to shrug our shoulders in superficial indignation- for it is a terrible thing, when people in power target the human mind for their pleasure, systematically undermine their dreams and that in service of that ultimate vision: to exterminate “the unfit” in favor of a self-proclaimed biocratic
elite. And that is exactly what Bogue and Palmore set out to do as they attempted to halt “the crude birth rate of Chicago’s Negro population”. This, of course, is a telltale sign of a eugenic operation underway, perhaps executed under the name “social development project”, perhaps under “family planning for the poor”- but eugenics is what it is, because it involves specifically targeting underprivileged and ethnic minorities in a “laboratory”-setting to export the findings to other people they seek to snuff out. Ramsden: “For Bogue, the (…) “incompetents” were predominately the underprivileged “Negro and Puerto Rican” and other low-income residents on “public welfare” in the rural South, the Chicago slums, and low-income housing developments. He celebrated the development of “wonder drugs” that would “cure” the “really ‘sick’ patients,” such as the birth control pill. He exclaimed ecstatically to Notestein in July
people in power target the human mind for their pleasure
ResourceMag APRIL 2012
cost-saving exercise through the reduction of the fertility of socially and “medially indigent population” 1961 that the “all-Negro, low-income group is taking oral contraception like wildfire.” Similarly, the Population Council post-partum program was justified, as in earlier eugenic literature, in terms of a community cost-saving exercise through the reduction of the fertility of socially and “medially indigent population” who reproduced at tax payers’ expense.” That Bogue’s statements are not exaggerations or misquotations, but rather completely consistent with other statements he made during the course of the 1960s, is strikingly evident by his 1966 paper Population Growth, Problems, And Trends in the United States in which Bogue argues: “Can the Negro population be assimilated in the near future or are Negroes likely to remain segregated and deprived necessitating large expenditures for public assistance and contributing to intergroup conflict?” Words of a eugenic mind cautious enough not to venture out too far into his real objective. The same caution is noticeable among other social scientists and eugenicists from the 1940s onward. Let’s not forget that Frederick Osborn (who was handpicked by John D. Rockefeller to be president of the Population Council) had said: “Eugenic goals are most likely to be attained under another name than eugenics.” So it was that the name “eugenics” never crept up. The names “demography”, and “human ecology” however did creep up, and were cleverly put in its place. “The Population Council’s “support of Bogue reflects a certain transition in the field of fertility research and planning from “family planning”
towards a more pessimistic “population control.””, Ramsden writes. Indeed. In a 2002 publication by the Population Council titled Training and Support of Developing-Country Population Scientists, the authors write: “He (Bogue) encouraged articles on international demography and proposed that appropriate subject matter ranged from educational attainment to religious affiliation to ethnicity as long as it had a “demographic flavor.” He went further to suggest that the field of family planning research should be “co-opted” as a subfield of demography, asked that attention be paid to human ecology and community studies, and requested that the prejudice against social psychology in population studies be “softened”” What is meant by “pessimistic population control” in this regard, is nothing less than top-down indoctrination with the aid of mass media, or, what Bogue calls “mass communications” and “motivation campaigns”, designed to break the resistance of American families to the eugenic overlords. In order to do so, all disciplines of the scientific community should be brought together. Deliberately used them as guinea-pigs in an experiment executed by the Rockefellers and their Population Council, low-income people and ethnic minorities were subjected to the rule of social engineers working. We also learn from Ramsden’s excavations that the president of the Council, Notestein, personally
low-income people and ethnic minorities were subjected to the rule of social engineers working.
ResourceMag APRIL 2012
“Notestein wrote to John D. Rockefeller 3rd in September 1965: “We have given a good deal of thought to the ways in which one could attack the problem of reproduction in indigent and poorly-educated populations without getting into the hornet’s nest of ethnic and color discrimination. This project will go to that problem — we think dramatically.”
County Hospital and the Wayne County General Hospital near Detroit.”, Ramsden writes. And it didn’t stop there. Bogue and his beneficiaries expanded the operations even further, this time projecting the findings gathered in the slums of Chicago to those in the Third World. Listing Bogue’s accomplishments, the International Union for the Scientific Study of Population lauds him for working extensively with students from the Third World in so-called “Workshops”:
for rapid fertility control are excellent.” And further on in the lecture: “The trend of the worldwide movement toward fertility control has already reached a state where declines in death rates are being surpassed by declines in birth rates. Because progress in death control is slackening and progress in birth control is accelerating, the world has already entered a situation where the pace of population growth has begun to slacken.”
What Notestein meant by avoiding getting into “the hornet’s nest of ethnic and color discrimination” can be deduced from Mary Ziegler’s words when she wrote: “African-American volunteers were instructed to befriend people in the neighborhoods studied before advising them to stop having children.” In other words: blacks were used to target blacks. This strategy is reminiscent of the Nazi-policy in occupied Europe, to set up so-called “Jewish Councils”which usually consisted of trusted individuals within the Jewish community- and were therefore trusted by the Nazis to assure victims were sufficiently obedient when they were loaded upon the trains to then be railed off to their deaths.
“Donald Bogue was also among the first to move such workshops to the countries or regions in which the participants worked to provide a more realistic environment for the training and opportunities for field visits. As part of this effort he held these workshops in Colombia, Mexico, Ecuador, Brazil, Ethiopia, Kenya, Sierra Leone, Liberia, Ghana, Senegal, Lesotho, Gambia, and Tanzania.” And it appears Bogue was very optimistic about what he calls “the world wide movement to bring runaway birth rates under control”. Utah State University professor B. Delworth Gardner in a series of lectures on the subject of “population control” quotes Bogue as saying:
“(from 10 minutes, 10 seconds onward) The real trick is, in terms of trying to level off at someplace lower than that 9 billion, is to get the birthrates in the developing countries to drop as fast as we can. And that will determine the level at which humans will level off on earth.”
Apparently the Chicago-experiments were soon expanded into other American cities.
“Recent developments in the world wide movement to bring runaway birth rates under control are such that it is now possible to assert with considerable confidence that the prospects
“As fast as we can”. This, at its core, is an admission of 21st century eugenics in action- and it is yet another example of the fact that eugenics has anything but died out. On the contrary: it has never been more alive.
“The program again targeted hospitals that serviced the impoverished areas of Harlem, East Harlem, the lower Bronx, and in 1967 was expanded to include the Los Angeles
Some 40 years after Bogue did his experiments, a professor at MIT, ferociously writing on a chalkboard, echoed the old eugenic oath. Telling her students that as future scientists they need not worry about the population growth in developed countries, but focus all the more on reducing the populations in developing ones, she continued by saying:
-Jurriaan Maessen infowars.com
reported the progress made in the Chicago-experiment back to Rockefeller. Ramsden writes:
Do we have any enlightened millionaires in rap? JANUARY 2012
perceives leadership as something that can be learned, as a technique that can be deployed. Leadership is a state of being, not a skill.”
I’m not used to writing like this. Since 1992 when I started Rap Coalition, 99% of everything I write is with the emphasis of teaching folks or sharing knowledge and information about the industry. So writing a Blog, where I get to drone on and on about whatever is important to me, without giving a thought to the reader, is very foreign to me. Foreign, but wonderful. I’m not used to writing shit where I don’t care if others read it or not, and more importantly, without a worry about whether the reader likes it or not. And without explaining the “how or why” of something. And if I can’t find a solution? So what. How absolutely delicious…. I’m reading this book (I read a book a week, but I don’t HAVE to explain that) called “Are You Ready To Succeed” by Srikumar Rao, and he made this excellent point about why we have no real leadership in the world today. I can logically take what he has said and apply it to the rap industry: “There are many reasons for this unsatisfactory state of affairs. Our competitive system rewards naked aggression. Our consumption-oriented society equates success with the accumulation of material wealth. Our fragmented worldview
We have no leaders in rap. The folks that seem to lead the pack, are so focused on self that the only things they are leading are sycophants and a slew of followers who have made calculated moves hoping to enhance their personal advancement through the association. Their portrayal in today’s videos don’t encourage others to lead, they encourage viewers to focus on immediate gratification, wealth at any cost, and the degradation of self and others. We have no leaders in rap. We have millionaires beefing with each other over claims to be “the best” or other egotistical “he said-she said” disses. We have stars beefing over whose contribution on CDs had more value. Did you do it for the kudos or did you do it because you wanted your peer to succeed? On the flip side, did you accept the help because the name opened doors for you and once the doors were opened you didn’t feel any loyalty was in order. It all comes down to one thing: your egos are so frail that someone hurt your feelings. By all means, seek and destroy everything in your path. That’s justified. Meanwhile, broke fans are saving up dollars to support your habit and feel multi-national corporations where you are merely a blip on their screens. Micahel Jackson was a commodity. He made a ton of corporations and businesses a lot of money. When his earning potential decreased, who rallied to his side? No one. You’re next. History repeats itself. We have no leaders in rap. We have boys in men’s clothing (and some still in boy’s wear) leading the charts and lead-
ing sales, but no real leaders. We have 50 Cent building the island of misfit toys as a label, Puffy solely focused on building his empire, and Jay Z who gave up a lot to get on back in the day, seeing to it that others coming up under him give up a lot to get on (a decade later) while running the pre-eminent label for giving up to get on. Ain’t shit changed. Master P was the Enron of rap, only Enron lasted more than 6 years—probably because they had friends in high places. No Limit only had pimps in high places. When the cash cow stopped milking gold, it got slaughtered. Hard to feel sorry for someone who never paid the artists properly. Artists, ya know, the thing that made the company all that money in the first place along with P’s marketing genius? When these top of the chart kings do take up a cause, it always seems to be an exaggeration of whatever the recent celebrity cause is. While Vote Or Die was an important point to make, backing a legitimate candidate that benefits a bulk of constituents would also be important (and take more balls). Vote Or Die was a lovely tax write-off for a grip of money spent, but what did it really accomplish when voters did not feel there was a candidate worthy of their vote? I don’t mean to pick on Puff (although he is an easy target), at least he has done SOMETHING while others sat idly by and smoked blunts while clowning Puff making appearances on TV every few hours. Do we have any enlightened millionaires in rap? The ones who seem to have the mindset, lack the power. A cruel joke indeed… By: Wendy Day
4 highly anticipated mixtapes for 2012
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ResourceMag April 2012
Eric Zuley’s Operation Director at WTV Entertainment, Paula Casas How did you originally know that you were going to be passionate about this music thing? I knew since childhood that I had the passion for music, it’s in the family blood and of course watching my parents “rock around the clock doing the rockin robin” ha,ha,ha! How long have you been in the music scene total? I started in the music scene in the earlie 80’s when Break-Dancing was in, thats when DJ’s were still using vinyl and thats when i started my own collection of music and started my own small house party events, so i say
a total of years - like 25yrs and still going strong. I know that you did some DJing back in the day and been heavily in tune with Hip Hop. What were some of your influences coming up into the game? Well i gotta say my strongest influence was and still is “Michael jackson” I followed his music career since he started. I admired his hustle along with other such as; JLo, P.Diddy setting the example of “hard work pays off” and climbing that
Trineer, Zap&Roger, Etc... was the popular scene in San Diego. People back in the dayz then use to rent halls to party, locations like; The El Cortez in downtown San Diego, music halls, etc.... Old School Style!
ladder takes time so dont give up your dreams and goals keep your hustle-on!
I know in your early beginnings you had a breaking crew with some prominent artists in the latin community, how did that come about? Ya! that was another kool experience! In my teenager years in those days that’s where the 2-up coming and in development artists came to surface in today’s Latin world “LIL ROB” (Robert Flores) and “LIL UNO” (Reyes) both from San Diego. I met Robert Flores and his brother Pete when i was in Jr.High, And Reyes when i was 14yrs Old. I hired the “Floor Masters” for a show for my 15-birthday it was nice! Breaking Dancing then isnt like it is today. Then of course I put my own dance crew together the “Street Boogaloo’z” a ALL female crew. We had fun with it!
We know you’re a San Diego native. What was it like? what was the hip hop scene like coming up in San Diego? It was kool! I was able to grow-up with the NEW era of music the 80’s back then “Break-Dancing” and the Old School “Whodini, Planet-Rock, S.O.S Band,
How hard was it, being a Female and Latina in the early days of you trying to get started in the Industry? Well I didnt look at it much from being a female & latina or it being hard as a challenge, since I was approached with my first chicano rap artist for artist devel-
I was schooled by some very high end business people when i was learning the game and now i can say the “keys & elements” to focus on
ResourceMag APRIL 2012
In each way you continued pushing forward and really getting involved with your community and your culture, you worked with a few publications right? Yes! in my younger years I was into the “Chicano Movement”. I’m very much into my latin culture and roots. Back then there was small publications, magazines like “Somos Raza”. It was a art magazine brought together by groups of young teenagers like from Logan Hieghts, they had a center in that area where I also put my time to teach some of these kids to draw, Yes! I am a artist to I love to draw! I also had some of my art work in those days displayed in “Teen-Angel” and “Low-Rider Arte” i also did some publications for a couple local colleges, I was invovled in the “Meccha” groups there. I know that you have worked at promoting and integrating a lot of the Latin Culture into the entertainment scene, Hip hop, promotions and music in General...Is this what brought you to
There are a lot of artists of all colors, creeds and races now days trying to get in this game, what would you say are key elements they should focus on? I was schooled by some very high end business people when I was learning the game and now I can say the “keys & elements” to focus on are; Production- its very important that you have a good producers that knows the market Image- Is very important if your looking to go major and cross over, thats what agents look for and at, are you marketable? Dropping Bars- Its important that you flow correctly on your music, thats what we look at when reviewing artists. Your Marketing CampaignWe look at your following, fans, where youve been performimg, etc... What do you think it is today, that when you see a particular artist, it really makes them stand out? When I see a artists that stands out I see there; uniqueness, different, they’re flamboyant look, there passion for music that comes outta them. Now you do have Latin Nation Entertainment, but you also
run a variety of different projects. Tell us some of the other things you have going? I wear many hats! Ive been on Video-Production Teams as a Associate producer for different music artists, I also do Distrubution for Music & Movies, Management, Business Consulting, Contracts, etc... I do events also, like concerts. I work with models and cars - booking and placing them. Right now I have been working with and for “WTV- Eric Zuley” as one of his Operation Directors. I’ve known him for years, great guy! I can also thank this magazine for giving me the opportunity & bringing me on board as one of their executives! “A one-stop-shop!” no project is to small or to BIG to handle!! Now you also do a lot of work with models as well; What projects do you currently have that you are working in the modeling world? YES! ive been placing models for different projects such as products, promotions, music videos, movies, etc... I’m currently working with a company in L.A that is a studio for models, we are currently placing these models in “The Hustler-Honey” NEW Magazine coming soon! We are also putting on a BIG Runway show in L.A for models in the month of March. We have a lot coming this new year! What advice and guidance can you give to young aspiring models trying to get in that game? To take the right steps and get
there portfolio done and market them selfs or get a representive to help them. Self promotions is a start if they are serious and commited. Serious models and artists that want to work with you, how can they get ahold of you? These talented young indivisuals can contact me through: www.ericzuley.comwww. rapmanagementpromotions. webs.com www.facebook.com/latinnation Or they can send there presskits to; PO BOX 3157, Vista, Ca., 92085 E.mail; Latin_Nation_Music@ Yahoo.Com “Serious Inquiries Only Thanks!” Where can people stay up to date with your projects that you have coming? Keep updated on FaceBook, Twitter, Eric-Zuley, WTV, My web-links and of course here on “The Resouce Magazine” Anything you would like to add? Thank You! “The Resource” Magazine! and always keep this in mind! If your vision is to be the next biggest thing in the entertainment world it takes; Commitment, Passion, Drive and alot of work! If you can see it! feel it! then YOU can do it! How bad do you want it? that is the question to ask your self! Be a dream maker not a dream breaker! Where dreams come true is in YOU! Also.... Thank You! to everyone that has been supportive to my goals & career. Mz. Latin P.Diddy From- The West Coast aka “Mz.P-Dizzle”
opement/ management. I had already developed the passion and drive to be sucessful since young, It came at me naturally. People in the industry today make positive comments “Wow! We admire your HUSTLE as a female in this cut throat career, You’re gonna make it!” That alone makes me feel great about all my hard work Ive been doing and to keep going.
start Latin Nation Entertainment? YES! I wanted to set a blue-print for young latin MC’s that have talent out in the industry, so thats when “Latin Nation Entertainment” came to life! I like to mentor these young artists and teach them the right way to go with there music and taking the right steps.
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2011 BET Best Group Award Kalenna of Diddy Dirty Money Kalenna, a lot of people may not be aware of you having the musical background as strong as you do, but to start, when did you first notice that you had a talent for music?
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Kalenna The Songstress in The Game with Bad Boys
I noticed at a very early age. I sang in church and I would say around age 9 is when I really began to realize my gift. Now coming up, you had been moved around due to your father being in the military. How did this help you with developing your craft? This helped me to become more versatile. I have been introduced to cultures all over the world and it shows in my music and in the fact that I can adjust to any genre of music. I’ve written opera singer Charlotte Church and done songs with Three 6 Mafia, so I can go from one extreme to the next. What were some of the strong influences that you had growing up that helped to shape you with music? Some of my influences are Missy Elliott, R. Kelly, Prince, Michael Jones and Grace Jones. There are many people out there that do not know your background in writing music for a lot of A-List Musicians,. Who are some of the artists you have written for? I have written songs for Christina Milian (Peanut Butter and Jelly), opera singer, Charlotte Church (Mood Swing), Bobby Valentino (Intro), Rasheeda (Pack Your Bags), Aretha Franklin and Fantasia (Put You
on to Game) Slim Thug (Smile), Pussycat Dolls (Painted Windows), Timati (Sexy Bitch and I’m Gonna Love You), Christina Aguilera (Bionic) and countless others. Some other credits include, Maino (Don’t Say Nothing), Three 6 Mafia (Shake My), Ciara (Kiss My Swag), Trina (Let them Hoes Fight) and several tracks on the Diddy Dirty Money “Last Train To Paris” project. I was also featured on the movie soundtracks to “Phat Girls” (Stronger) and “Confessions of a Shopaholic” (Big Spender).
I would suggest that they network and consistently put out hot music for the streets to enjoy. Doing the right amount of leg work, meeting the right DJs to play your music is a good start to catching the attention of music executives. What would you say are some of the biggest tools new artists can take advantage of today in order to help their career? Social networking is a great marketing tool that is free and openly used by the masses. It’s a good and inexpensive way to promote your projects.
How did you begin writing music for artists? How did you first notice this is something you could do?
When writing a solid song what is an important element artist could keep in mind to develop a solid song?
I wanted to explore other avenues for breaking into the industry so I started writing for others. Peanut Butter for Christina Milian was my first placement and that’s when I knew that I could do it for others.
Just keep it real. Be honest in the music and so people can relate and identify with you.
Now we know that you have had been the winner of 4 Russian Grammy awards, did receiving international success come as a surprise to you? It was a pleasant surprise and something we didn’t really expect. We were just having fun, working hard and it paid off. Artists are trying to get a break and get there music heard; Who should they make their primary focus to get in contact with to make this happen?
What would you say are some of your greatest strengths as an artist over all? I have to say it again . . . just keep it real. Being genuinely you will always outshine fakeness. Who do you want to be able to do music with in the future? Missy Elliott and R. Kelly Now, I know that you have been well known for you being 1/3 of the group Diddy Dirty Money, how did the formation of the group come about?
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Add your description right here
ADDITIONAL SPACE FOR YOUR DESCRIPTIONS HERE
What was it like for you as being a developed artist, working right next to Diddy on this new venture? It was an honer to work alongside him. I learned so much from him. I was like a sponge, just trying to soak up everything I could. Did you do any writing of the songs on the album “Last Train to Paris”? Yes, some include Ass on the Floor, Strobe Lights and several others. What was the background of most this album inspired by? This album was inspired by emotions associated with finding love and losing love. We know that this had won 2011 BET Best Group Award and NAACP Image Award, are you still with Diddy Dirty Money, if so any future plans for the group? I am Dirty Money for life. Right now there aren’t any plans in the immediate future but we will always be a group and come together whenever Diddy calls.
little about it? The songs on Chamber of Diaries are inspired by feelings and emotions from my life. Like a diary, it’s documenting my life and an expression of who I am in different areas. Some of the features include producers Rodney Jerkins, Ryan Tedder, D Mile, Firstborne and Shakespeare along with artists Crystal Nicole, Jarren Benton, Dee Simms and others. Where can people get the mixtape? The mixtape can be downloaded from my blog at www.iheartkalenna.com or via Datpiff.com. We also know that you are doing I Heart Kalenna Foundation, with Lupus Foundation of America, how did this come about and what are its goals? Through my organization, the I Heart Kalenna Foundation, I provide social services and resources to low income single mothers, veterans, people suffering from Lupus and the indigent as a whole. During the Coming Home Tour, I met with single mothers and some through the
March of Dimes to in several cities to right give diapers Add your description here and other basic needs. Now we know you had just ADDITIONAL come out with As aDESCRIPTIONS partner of the SPACE FOR YOUR HERELupus Foundation of your mixtape Chambers of Diaries, tell us a America, I assist them with creating awareness via my social networking sites.
After the mixtape, what other projects can we expect to see for 2012? Right now, I’m focused on promoting the mixtape and going into the studio. If there is one thing in the country you could change what would it be? I would change the high poverty level and increase opportunities for those who want to get ahead. That could be more educational opportu- nities, jobs, owning property, etc… If
people want to contact you for booking, and future interviews, how can they contact you?
I can be contacted for booking and interviews by sending an email to dretampr@ gmail.com or calling 347-471-1247. For those who want to communicate with me directly, check me on www.Twitter.com/kdiddybop or www. facebook.com/KalennaHarper.
I found my way in Dirty Money as a writer. After months of working with Diddy who enlisted Rodney Jerkins to work with me to develop the sound for Last Train To Paris, he asked me to be a part of the group and the rest is history.
Creation of a Culture and The Rise Of An Empire...
The game has been in a toss up, and needs a makeover. After having so much time go on with the fraudulence and perpetrating amongst the music industry, a new team has stepped into the light to give the game the breath of fresh air that’s needed. Young Minds with a free way of thinking have developed among a group individuals that is now a nation; Their background stems from Freeway Rick. Now for those still unfamiliar with Freeway Rick, we will give a very brief rundown on his story. Freeway Rick Ross is the epitome of real street credibility, and his life has paved the way for music’s most notorious criminology rappers that we hear in Hip Hop. When Freeway Rick Ross was released from the federal penitentiary in 2009 he knew he would have to rebuild an Empire, but did not know the full extent of the damage and impact of his prior business. Freeway Rick Ross had the mind of a venture capitalist, and understood the world had changed very much since the time he had went in. The true to the game hustler he was, always new that opportunity is available in any market that you’re dealing with people. The Real Rick Ross, also known as Freeway Rick Ross, was the Hustler from Los Angeles, CA that had turned a multimillion dollar drug empire outta the Nicaraguan cocaine supplied by CIA officials in the US government.
This man was business savvy with marketing, promotion and distribution, understanding his product in the world of supply and demand. A man without any formal education and illiteracy as a child had used what he was given to produce the American dream. Shortly after his rise to power, with wealth, money and fame, when government officials found him expendable, they did just that, and incarcerated him while rewarding their team and all involved heavily. Not until years later (Over a Decade) did the story and cover up really start to take wind. A man named Gary Webb, a reporter who had written a book called Dark Alliance, exposed many things that had taken place in the distribution up to the prosecution of Freeway Rick Ross. When Freeway Rick’s case was finally reopened and appealed, the evidence was too great to continue to keep him incarcerated; So he was released. During this time Freeway Rick Ross, had his story told on BET’s American Gangster, has been offered and is in the midst of creating a Major Big Screen Film, and has had short films produced by his agency. Freeway Rick had noticed the damage of
Dirk Dilenga.. Young Freeway Nation, New artists Dirk Dilenga . Dirk has just released his official mixtape Da Pharmacy, which will be backed and promoted by Young Freeway Nation. Dirk is a Baltimore spitter known for his gutter spit style and is clever word play. Young Freeway Nation is excited to release him because his mixtape has become the platform that upcoming spitters need to step to. For more information on Dirk contact him at @dirkdilengadumy
the community, the products that had supplied the neighborhoods, the same streets broken that had once made him king. He wanted to do something, so he founded Freeway Enterprise, were he works as an advocate for youth education, on drugs, crime, and illiteracy. Now he can do this through Freeway Enterprise which is an Entertainment Company that branches into multiple divisions, from Film to Music, marketing and promotion. Out of many of the branches that have been grown from Freeway Enterprise, Young Freeway Nation is standing to make a crucial impact on multiple levels. Founded by Freeway Rick Ross, Clock Da Vigga was named Young Freeway Nations President. Clock Da Vigga, (often just called Clock), is the Producer and Director of the critically acclaimed film S.N.B.N (Snitch Nigga, Bitch Nigga) She’s the Queen Capo
industry professionals to make Young Freeway Nation the empire it’s expected to be.
of the Young Freeway Nation and responsible for engineering her own movement . Similar to the Stop Snitchen motto, but her SNBN DVD credits raw street testimonials debating hood politics. Freeway Rick knew that Clock had a vision, and Clock’s vision was deeper than a record label for Young Freeway Nation. Clock has a way with people and a way of making an impact with whatever she creates; she also had a deep understanding of success, so she took the Young Freeway Nation and ran with it, to develop a team. The team would consist of many individuals to keep the wheels moving, but only a few would be the brain, nuts and bolts of this lucid dream. Young Freeway Nation is an Entertainment Company that falls under the parent company Freeway Enterprise; they focus on promotion, marketing, publishing artists, actors, models, designers and much more.
The unique part of working with this incredible team is the flexibility for artists to work in the environment that best suits their schedule and budget. Young Freeway Nation’s primary focus will be offering music talent and entertainment, giving transparency for the artists and opportunity for all depending on the amount of work an artist is willing to put in. Young Freeway Nation consists of Clock Da Vigga, Slimmo, Defiance, Mookman Don Luchiano, Rykashay and their artists E-Pillz and Dirk Dilenger. Each one of Young Freeway Nations staff operates as independent entrepreneurs outside of the Freeway Nation; this gives the ability to offer many different avenues when working with clients. Members such as Slimmo (Head of promotions for young freeway nation) became an important part of the Young Freeway Nation Empire once CEO Clock da Vigga presented him with the opportunity to broadcast his desire and passion for the business. Slim is responsible for finding / promoting talented artist and events. As an ambitious promoter and future business mogul Slimmo is constantly networking and building relationships with many
Defiance the founder and creative director of the company Imperial Hustle Entertainment/Imperial Media, is the entrepreneur of the very publication that you are reading. Imperial Hustle focuses on media promotion and Defiance carries the role A&R Director for artists within Young Freeway Nation. His ambition and work ethic had appeared to be credible for Clock Da Vigga and has been on board since. Young Freeway Nation is also home to Rykashay, an artist - while being a prominent store owner of independent music and major as well and Mookman who handles east coast promotions. The squad’s a full force and ready to give the industry a facelift. Artists that are looking for an opportunity in being picked up with Young Freeway nation can look forward to many connections that Freeway Enterprise has as a whole, from major artists, tours, distribution and more. For all inquiries for Promotion and A&R Services for working with the Young Freeway nation team Contact: firstname.lastname@example.org www.freewayenterprise.com
E-Pillz... Young Freeway Nation had picked up E-Pillz for his great musical abilities and skill to paint pictures with words. E-Pillz has the ability to sing , produce and rap. He has been something people can identify with, so E-pillz can chameleon to best suit him in any situation. Look out for E-Pillz upcoming projects when Young Freeway Nation launches their website.
You can also contact E-Pillz at: email@example.com
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The Real Deniro One of the Members of Juelz Santana’s Skull Gang... Imperial Hustle: Right now I have the privilege of being able to speak to one of the artists that is in one of the largest underground to mainstream groups that are blowing up within the Mixtape game; we got Dinero with Skull Gang. How you doing bro? Dinero: Oh you already know, chillin, workin, in the studio doing what we do. Imperial Hustle: That’s right, so we got the street kids united by loyalty and loot. Skull Gang is out to get it right now. A few of the things I wanted to go over with you and I’m sure a few people that may not be as familiar with Skull Gang is: really before Skull Gang got to working with Santana and everything, was there already a group formulated before all that? Dinero: Nah nah, Juelz Santana got about 9 different niggas from different walks of life. I was born in New Jersey and moved to North Carolina, and we got Richmond Rabb - hes from VA, and John Depp - he’s from Queens, NY. He didn’t want to put together a group from where he’s from which is from Harlem, NY. He wanted to make a stoop boosted up, he didn’t just want to make one sound, he wanted to pull everyone together and make something amazing and spectacular as we are. You feel me. Imperial Hustle: Yea, and that’s what ya’ll doing right now. So as far as your career solo before Skull Gang, how were you going about getting into this game? What were you doing before that? Dinero: I was in my hood battling niggas; I was putting together mixtapes. Me and my cousin D… we had our own label Straight Paper Entertainment. We had a nice lil buzz around the hood just doing what we do. We hollered at Juelz and Juelz always kept his word, he said ‘we going to get the situation, we going to put
together Skull Gang, we going to do what we do and we’re going to take it from there.’ Imperial Hustle: Right right, I see with ya’ll one of the biggest things that we know is that ya’ll really started blowing up off the scene with this whole mixtape thing. It’s crazy really how the buzz started coming along with being able to do that. Was that something ya’ll had planned to come out that way or did it just kind of play out like ‘ey, this just is what it is.’ Dinero: Nah we didn’t play it out like that, we were experimenting at the time. We were already in the studio putting together a mixtape and we started leaking some stuff out. We were getting positive feedback. We put out the ‘Take Over’ and the rest was history, labels started calling and we caught our lil deal with Koch and that’s where you got that album. Imperial Hustle: Do you feel after you started working with Koch, is there a difference between the creativity you put towards the mixtape versus throwing it down on that Skull Gang album? Dinero: You know, no…there’s not a difference because everything we do is just how we do. It comes out hot. You know what I mean? Of course you put more time into an album or whatever but sometimes I don’t know, sometimes the mixtape be better than the album. Music is Music. We just know how to separate it and make sure, you know, this is going to go on the album, or this is going to go on the mixtape, or this is going to be a leak or whatever. We just continue to make music so that music isn’t even an option. Niggas aren’t worried about that you know what I’m saying. Imperial Hustle: Right because that’s the talk that comes about, because they say that between Skull Gang and the chemistry ya’ll build on the tracks with Juelz and how that all formulates, we can
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This is what Deniro does, been doin it before Skull Gang It all started at the age of 8 growin up listening to music,whether i was cleaning,doing chores,workin etc. Many family members were into the music business .
Dinero: That’s just knowing your niggas in your crew. Chemistry is like a basketball team.
Niggas can’t win a championship if everyone isn’t on the same page. I got to know what I’m going to say, engineer know what he’s going to do, and we on to the next one, we don’t stop.
see its automatic how it comes together. It’s like boom! Ya’ll just drop the tracks and it seems it’s just meant to be.
Gates Plans To Manufacture A Genocide Bill Gates, Monsanto, and eugenics: How one of the world’s wealthiest men is actively promoting a corporate takeover of global agriculture
tax-exempt Gates Family Trust, is currently in the process of spending billions of dollars in the name of humanitarianism to establish a global food monopoly dominatAfter it was exposed that the Bill ed by genetically-modified (GM) & Melinda Gates Foundation, the crops and seeds. And based on the philanthropic brainchild of Micro- Gates family’s history of involvesoftfounder Bill Gates, purchased ment in world affairs, it appears 500,000 shares in Monsanto back that one of its main goals besides in 2010 valued at more than $23 simply establishing corporate conmillion, it became abundantly trol of the world’s food supply is to clear that this so-called benevolent reduce the world’s population by a charity is up to something other significant amount in the process. than eradicating disease and feeding the world’s poor (http://www. guardian.co.uk). It turns out that William H. Gates Sr., former head of the Gates family legacy has long eugenics group Planned Parenthood been one of trying to dominate Bill Gates’ father, William H. Gates and control the world’s systems, in- Sr., has long been involved with cluding in the areas of technology, the eugenics group Planned Parmedicine, and now agriculture. enthood, a rebranded organization birthed out of the American TheGates Foundation, aka the Eugenics Society. In a 2003 inter-
view withPBS’ Bill Moyers, Bill Gates admitted that his father used to be the head of Planned Parenthood, which was founded on the concept that most human beings are just “reckless breeders” and “human weeds” in need of culling (http://www.pbs.org/now/ transcript/transcript_gates.html). Gates also admitted during the interview that his family’s involvement in reproductive issues throughout the years has been extensive, referencing his own prior adherence to the beliefs of eugenicist Thomas Robert Malthus, who believed that populations of the world need to be controlled through reproductive restrictions. Though Gates claims he now holds a different view, it appears as though his foundation’s initiatives are just a modified Malthusian approach that
much more discreetly reduces populations through vaccines and GMOs (http://en.wikipedia.org/ wiki/Thomas_Robert_Malthus). Gates Foundation has invested heavily in converting Asian, African agricultural systems to GMOs William Gates Sr.’s association withPlanned Parenthoodand continued influence in the realm of “population and reproductive health” is significant because Gates Sr. is co-chair of theBill & Melinda Gates Foundation(http://www. gatesfoundation.org/leadership/ Pages/william-gates-sr.aspx). This long-time eugenicist “guides the
(http://www.organicconsumers. org/articles/article_21606.cfm). The same report explains that the Gates Foundation pledged $880 million in April 2010 to create the Global Agriculture and Food Security Program(GAFSP), which is a heavy promoter of GMOs. GAFSP, of course, was responsible for providing $35 million in “aid” to earthquake-shattered Haiti to be used for implementing GMO agricultural systems and technologies. Back in 2003, the Gates Foundation invested $25 million in “GM (genetically modified) research to develop vitamin and
Control agriculture, you control the populations
The Gates Foundation has admittedly given at least $264.5 million in grant commitments to AGRA (www.gatesfoundation. org/about/Documents/BMGFFactSheet.pdf), and also reportedly hired Dr. Robert Horsch, a former Monsanto executive for 25 years who developed Roundup, to head up AGRA back in 2006. According to a report published in La Via Campesina back in 2010, 70 percent of AGRA’s grantees in Kenya work directly withMonsanto, and nearly 80 percent of the Gates Foundation funding is devoted to biotechnology
protein-enriched seeds for the world’s poor,” a move that many international charities and farmers groups vehemently opposed (http://healthfreedoms.org). And in 2008, the Gates Foundation awarded $26.8 million to Cornell University to research GM wheat, which is the next major food crop in the crosshairs of Monsanto’s GM food crop pipeline (http://www.organicconsumers. org/articles/article_21606.cfm). If you control agriculture, you control the populations of the world The Gates Foundation’s ties withMonsanto and corporate agriculture in general speak volumes about its real agenda, which is to create a monopolistic system of world control in every area of human life. Vaccines, phar-
vision and strategic direction” of theGates Foundation, which is currently heavily focused on forcing GMOs on Africa via its financing of the Alliance for a Green Revolution in Africa(AGRA).
maceuticals, GMOs, reproductive control, weather manipulation, global warming -- these and many other points of entry are the means by which the Gates Foundation is making great strides to control the world by pretending to help improve and save it. Rather than promote real food sovereignty and address the underlying political and economic issues that breed poverty, Gates and Co. has instead embraced the promotion of corporately-owned and controlled agriculture and medicine paradigms that will only further enslave the world’s most impoverished. It is abundantly evident that GMOs have ravished already-impoverished people groups by destroying their native agricultural systems, as has been seen in India (http:// www.naturalnews.com/030913_ Monsanto_suicides.html). Some may say Gates’ endeavors are all about the money, while others may say they are about power and control. Perhaps it is a combination of both, where Gates is still in the business of promoting his own commercial investments, which includes buying shares inMonsantowhile simultaneously investing in programs to promoteMonsanto. Whatever the case may be, there is simply no denying that Gates now has a direct interest in seeing Monsanto succeed in spreading GMOs around the world. And since Gates is openly facilitatingMonsanto’s growth into new markets through his “humanitarian” efforts, it is clear that the Gates family is in bed with Monsanto.
“Although Bill Gates might try to say that the Foundation is not linked to his business, all it proves is the opposite: most of their donations end up favoring the commercial investments of the tycoon, not really “donating” anything, but instead of paying taxes to state coffers, he invests his profits in where it is favorable to him economically, including propaganda from their supposed good intentions,” wrote Silvia Ribeiro in the Mexican news source La Jornada back in 2010. Microsoft buys eugenics technology from Merck, becomes drug development partner with top global vaccine manufacturer
population through the use of vaccines (see link to video below). This gene-targeting vaccine research technology purchased by Microsoft was developed by the company known asRosetta Biosciences, formerly owned by Merck. Their software is described as a way to “figure out how genes interact with each other, analyze peptides and metabolites, and determine how they relate to gene expression.” (http://seattletimes.nwsource.com/html/microsoft/2009288622_rosetta020...)
An announcement on the Rosetta Biosoftware web site explains, “The deal allows Microsoft to incorpoThursday, February 02, 2012 rate genetic, genomic, metabolomic by Mike Adams, the Health Ranger and proteomics data management Editor of NaturalNews.com software into the Microsoft Amalga Life Sciences platform for enhanced When you buy Microsoft prod- translational research capabiliucts, you are now promoting the ties.” (http://www.rosettabio.com/ pharmaceutical industry and company/news/rosetta_microsoft) its global vaccine agenda. That’s the new reality in which we live, This same announcement goes where the world’s largest soft- on to say that vaccine makerMerware company is “in bed” with ckwill “provide strategic input to the world’s largest vaccine pusher. Microsoft” as a part of the deal. Merck’s strategy, of course, is to How so? In 2009, Microsoft pur- make money by pimping vaccines chased a key piece of technology and pharmaceuticals, including from the drug company Merck, the now-infamousGardasilvaccine. the world’s largest maker of vaccines (which Bill Gates says can Rupert Vessey, the vice president help “reduce the global popula- of Merck Research Laboratories, tion” by 10 to 15 percent). That openly admits this deal puts Mitechnology, as you’ll see below, crosoft in the role of being adrug can conceivably be used to devel- developer. He says, “We look foropeugenics vaccinesthat target spe- ward to collaborating with Microcific races and nationalities with soft to develop new bioinformatic infertility-inducing pharmaceu- solutions to enable and expedite ticals -- something that is entirely drug discovery and development...” consistent with Bill Gates’ openlyadmitted goal of reducing world This is a key statement to under-
stand, because the term “bioinformatic” can only mean one thing. What stores information in biology? These is only onedigital storage systemin human biology, and that system is, of course, DNA. Therefore, the idea of developing “bioinformatic solutions” really means to develop “genetargeting drugs and vaccines.” This is fully consistent with Bill Gates’ admitted agenda of reducing world population with the help of drug company technologies. At a TED conference, he announced in front of a live audience:”...if we do a really great job on new vaccines, health care, reproductive health services, we could lower [global population] by perhaps 10 or 15 percent.”(http:// www.naturalnews.com/029911_ vaccines_Bill_Gates.html) See the video yourself at: http://tv.naturalnews.com/v. a s p ? v = A 1 5 5 D 1 1 3 4 5 5 FA C882A3290536575C723 All this comes on the heels of other recent news that Bill Gates is fundingsperm-destroying technologyto cause widespread male infertility (http://www. naturalnews.com/034834_Bill_ Gates_sperm_infertility.html). His foundation has also fundedgenetically modified mosquitoesand other mad science experiments (http://www.naturalnews.com/030940_Bill_Gates_ Foundat ion_genet ics.ht ml). Microsoft the new leader in eugenics technology? What’s clear from all this is that Bill Gates is pursuing anagenda of human depopulation. This
is a similar agenda of those who pursueeugenicsefforts around the globe, including Adolf Hitler and a long list of former FDA Commissioners in the United States. One of the most common ambitions of those in the highest positions of power, it seems, is tocull the human populationand eliminate “the little people,” leaving only a “master race” of supreme beings. Even major universities around the globe are now teaching students that human beings are evil for merely being alive and exhaling carbon dioxide, and that killing off humans is “green” for the planet.
a modified avian flu virus that has been demonstrated to be more transmissible among mammals. Although the investigators believe their research has a public health benefit, they acknowledge the fear of some governments and others that the genetically altered virus could escape from labs and infect people.”(http://www.philly. com/philly/health/news/HealthDay660965_20120120_Res...)
That may be precisely the point, it turns out. There is no better way to promote the vaccine profits of the In order to kill off large swaths of pharmaceutical industry than to human beings, the most efficient actuallyrelease an engineered biomechanism to use isa self-repli- weapon virusinto the wild. And cating, gene-targeted bioweapon. there is no faster way to reduce the Microsoft’s Amalga Life Sciences world population than to engineer technology, purchased from vac- either a vaccine or a weaponized cine developer March, theoreti- flu virus that burns through the cally provides a viable platform to human population, targeting develop precisely such bioweap- those of an “undesirable” genetic ons. It is interesting that no an- profile who need to be “cleansed” nouncements from the company from the human gene pool. appear to have been made since being acquired by Microsoft in This about this the next time you 2009, indicating that their work think about purchasing Microis now being conducted in to- soft Office, Windows or some tal secrecy, behind closed doors. other Microsoft product. By doU.S. government admits develop- ing so, you are funding what ing weaponized, deadly flu strains could very well be aglobal euRecent headlines reveal that the genics agendawith the ultimate United States government has goal of wiping out a significant also secretly funded bioweap- proportion of the human race. ons research that resulted in the development of super-deadly flu strains that could wipe out far more than just 15 percent of the human population. As revealed in recent news headlines: “Scientists agreed Friday to a 60day moratorium on research into
ResourceMag APRIL 2012
I HAD THE HONER TO INTERVIEW ONE OF THE HARDEST WORKING ARTISTS ON THE WESTCOAST RIGHT NOW, HipHopAlkatraz
Imperial Hustle: Just to start off I wanted to give some of the people a little bit of background on how you got started in this whole game. When did you really notice that music was going to be the direction you were gonna take? HipHopAlkatraz: Well you know, funny enough, as you get older you start to wonder these things yourself as an individual and hip hop was really a big part of my life since a young kid. Mainly because I had a father who was listening to Curtis Blow and Run DMC and The Fat Boys and stuff like that…he was into pop locking when pop locking was popular so I’ve always been into hip hop. Around 13 is when I really started dabbling with trying to rhyme, but I was still shy a lil bit doing cyphers. You know especially when guys are better than you or you think they are better than you. Being Mexican had another part of it because around the time it was predominantly blacks who were doing hip hop. So if you were outside of being black, people looked at you like ‘what do you think you are doing?’ You know, it was what it was but it all worked out, I built up confidence and just kept going; but I’ve always known though man, I’ve always been into hip hop. One thing about me is I believe in hip hop, the culture. People say its dead, hip hop ain’t dead it’s within a person. Imperial Hustle: Yea, no you are absolutely right. For ya’ll that don’t know, Alcatraz is coming straight out of Inglewood and so when he was starting off a lot of this spitting and in in the early times of hip hop on the West Coast, you were coming out of the heart of really where some of the pioneers were coming out of right there in L.A. On another note, how did you come up with titling yourself with the name of Alcatraz?
13 with freestyle rap and then I started to battle rap
HipHopAlcatraz: Well it derived from my mother’s middle name. Then as I started at 13 with freestyle rap and then I started battle rap. One of my lines was “Yea you know it’s your man Alcatraz, You locked in the jail with no bail, you can’t set sail, my flow will derail” and it was just like lil nursery rhymes but it just stuck, cuz I was like I got bars. Now as a business man I added Hip Hop to it to separate myself and make it easier for people to find me. They can go to HipHopAlcatraz.com and everything that they find on me is Hip Hop Alcatraz. I own the name, I trademarked it. Its my name, no one can ever use it. I had to do that because there were other Alcatraz’s out there. Imperial Hustle: Oh yea, when you don’t put that Hip Hop in it man….when you go google and search that it is hard to fine. It doesn’t just pop up. But when you put that hip hop in there you can locate you right away.
ResourceMag APRIL 2012
HipHopAlcatraz: Right, and its all one word. It’s a compounded word. Imperial Hustle: Right, Right….going back to the early days you were saying how your pops was listening to Curtis Blow and things like that. What were some of the musical influences for you coming up as a young MC and that type of thing? HipHopAlcatraz: Well you know like I said, being young I was listening to all these things he had. He had the Run DMC and NWA and even though I was young, those were my influences because thats the stuff I was listening too; Kool G Rap and Tupac when he was with Digital Underground. You feel me, and anyone that tries to front and say they didn’t listen to Vanilla Ice when he brought ‘Ice Ice Baby’ is a damn lie, because everyone listened to that song and everybody knew the words (laughing), there were a lot of different influences. Imperial Hustle: Oh yea man, we could go back with the Vanilla Ice’s and the MC Hammers and all those. Everybody knows that was what they were getting down to at the time whether they want to go ahead and respect it or not.
HipHopAlcatraz: Especially if you were and 80s baby though because a lot of these dudes, the reason they diss a lot of those artists or try and say they didn’t listen to it is because they weren’t into hip hop like that. One of the truest lines I heard Game say that I love that was on ‘Games Pain’ was ‘Cause who didn’t want to be the fresh prince? Flat top, gold chain and some fresh kicks’. It was true, Fresh Prince was cool. Regardless of what they’d say “oh he turned into Will Smith” that’s what it was. Imperial Hustle: It didn’t matter, because that was the figure for those times and before Belair; Back when it was just him as an artist. The gold chains and stuff like that, everybody was down with it. It was part of the culture.
To listen to the full interview go to: http://www.blogtalkradio.com/urbanintell/2012/01/13/exclusive-interview-with-hip-hops-alkatraz
ResourceMag APRIL 2012
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ResourceMag JANUARY 2012
FEATURED UNSIGNED HYPE
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ResourceMag APRIL 2012
Horseshoe gang @Horseshoegang MEET THE WEST COAST NEW LYRICIST REPPIN THE C.O.B TO THE FULLEST......
What year did HorseShoe Gang officially come about? We’re all brothers who have been rappin together most of our lives, but we’ve had the name Horseshoe Gang for about 13 years. -Demetrius Are the current members the original group? Yes! It started with us 4 & will forever remain this way. -Dice How did the name Horse shoe Gang come about? Initially we called ourselves “Untouchable Gang” (& we’re still Untouchable Gang) but we started wearing Indianapolis Colts gear using the horseshoe in their logo to represent the “U” in Untouchable. Soon after that we started
Plenty of space for your descriptions in this place
referring to ourselves as Horseshoe Gang & the “Gang” is an acronym meaning Grind And Never Give-up. -Demetrius Who were some of the major influences for the group coming up? Of course our older brothers Mad-Mad & Crooked I. Also Tupac, N.W.A, Jay-Z, Nas, Rakim, & Eminem... Just to name a few. -Kenny Are you all native to Long Beach? What was the hip hop scene like coming up in the area? All of us were raised in Long Beach & the L.B has always been a world of its own, full of many aspiring emcees. Particularly in the early ‘90’s after Snoop put L.B. on the map. -Kenny Ya’ll are like a breath of fresh air for the West Coast, did you notice the edge you would have with music off the back? Once we saw how people were gravitating towards Crooked I & other talented rappers, we knew our talent would no-longer get overlooked. -Kenny Now getting signed to COB Digital, did you already have material you wanted to release,
C.O.B DIGITAL’S NEW WEST COAST TAKE OVER
or did you all start from scratch with fresh material for the label? We’re recording machines, so we always have plenty of material in the vault. But all the music we put out through C.O.B digital was all new material. -Dice So how was it coming up under Crooked I? First let me say that Crooked I is a lyrical genius & the dopest rapper ever to touch a mic. So naturally it’s a huge blessing to have him as an older brother & teacher in the art of rhyming. But people shouldn’t feel that the Shoe Gang’s growing success is nepotism in the making. Our work ethic & music speaks for itself. -Julius What projects had you made appearances on prior to the release of Firing Squad? Crooked’s “Young Boss” mixtape series, “Hip-Hop weekly” series, “The Block Obama”, our debut album “Gangsta M.C”, “Mick’s Tape” (through Treacherous records), Royce Da 5’9”’s “Bar Exam 3” & many other underground projects. -Demetrius
producers, paying to get your CDs pressed up or paying for your CD cover’s artwork, all to make your product more presentable, then it’ll all be worth the extra money if it means a better sounding/looking album or mixtape. Talent alone doesn’t equal success. -Demetrius What is your take on the current state of the game right now? The game is not in bad shape right now... The rap industry is looking better these days like Jennifer Hudson. Artists who make music with substance are starting to get more attention & praise. With the help of groups like Slaughterhouse, we’re starting to see a good change. -Dice What do ya’ll feel that the West Coast specifically can use at this time to get back in the game? Unity! Plain & simple. If we as a region would set our egos aside, we would be better off. -Julius
To hear yall coming with heat right behind SlaughterHouse, really got the fans amped, Do you think that we can expect a future collabo? Definitely! That collab will be an overdose of dopeness so we’re gonna let a little more anticipation build up before we record that song. -Dice
Alotta of artists these days suffer from the influences of outside figures in their own music and persona, what do you think the reason for some of that is? Some of it is the Record Labels doing & some of it is the media’s doing. But rap artists shouldn’t allow themselves to be categorized in certain ways. Just because a rapper was influenced by a political rapper or a gangsta rapper that doesn’t mean he or she has to be labeled as one. -Julius
Alotta artists on the West Coast trying to get in the game right now, what do you think some of these indie artists can start doing to develop their projects? You have to spend money to make money. If you have to spend more money paying
What is the strongest tool that some of these independent artists coming up can use to move their music forward? Twitter! Believe it or not, there’s still a lot of people who think Twitter is something to be used occasionally or they just have
ResourceMag APRIL 2012
What have yall felt has been one of the biggest contributors to The Horseshoe Gang Success right now? C.O.B fans. Seriously, C.O.B fans are like supporters of a presidential candidate. They campaign for us so hard that it inspires us to go even harder. -Demetrius Yall are pushing the Bar up with rimes, do you think this will eventually set the stage for future artists needing to put out music? Honestly, that has been one of our goals ever since we got into this game. We hope that by the time we reach mainstream success we will have already raised the bar so high that it creates a wave of groups
& artists with dope bars. -Kenny If you could change one thing about the game what would it be? I would change radio station policies. Radio program directors have a whole lot of power & if they were to show more support to up-and-coming artists & if they were to spin the records of underground artists in their region more often, the game would have a broader scope of rap music. -Julius If you could change one thing about this country, what would it be? I would change this country’s perception of people who express freedom of speech. We don’t have to agree with what people say, but we should allow them to say whatever the hell they want without condemning them. -Demetrius
We listed to Ambitions AZ A Writer, and its Hot, what other upcoming projects can we expect from the group? We will be hittin fans with a whole lot in the near future, but the next project coming out will be a Horseshoe Gang EP. We haven’t decided on a title yet but fans can expect a dope EP. -Dice Where can fans get all Horse Shoe Gang’s currently released Material? The B.O.S.S. Board & PlanetC.O.B.com. -Julius Serious artists and promoters
interested in booking and collaborating with the group, what’s the best way to contact you? Hit us on Twitter... @Horseshoegang. Hit us via DM & we’ll get back ASAP. -Julius Anything you would like to say before we wrap it up? the last thing we’d like to add: Everybody who believes that the Mayan calendar is correct & the world will end this year, we want y’all to know that the calendar forgot to mention that a new world would be created. It’s called PLANET COB & all are welcomed. Sssuuut sssuuut!
a page for the sake of having a page. But if it’s utilized to its full potential, it could be super beneficial. -Julius
Torn Between what you know & what you want You can place a lighter subtitle here Or just delete it.
ResourceMag April 2012
xposed Behind Todays Major Record Contract.. gotta state right upfront that I am biased against 360 Deals. I understand WHY they exist, I just find them unfairly oppressive in the label’s favor in an industry with a draconic history of jerking artists out of money. I stopped negotiating deals for artists in 2005 because I refuse to do a 360 Deal for any artist! How strongly do you have to hate something to stop your own income over it? In the early 2000s, the music industry went through a severe change. Music sales plummeted, the importance of the internet reigned supreme, and there was an influx of artists into the industry causing an over saturation never seen before. It’s gotten worse, not better, for the major record labels. Once used to a healthy profit margin that afforded grand lifestyles for those at the top of the food chain, the major labels became disgruntled as sales dropped while they missed the boat on less profitable digital sales. Taking on the role of dinosaurs fighting for survival, they tried everything from stopping the new digital revolution, to fighting it, to suing it, to band wagon jumping too late. Nothing worked for them. And they still haven’t learned from their mistakes— they still continue to fight the ways the consumers want to receive their music. So to justify their continuing existence, they decided to take an even larger share of the pie from the ONLY aspect of the equation that they controlled—the artist (or the “content” provided for digital download). Back in the day, labels took roughly 87% of the pie while giving the artists 12% of the money AFTER the artist paid back everything spent on them from that 12% share. This means that if the artist sold $500,000 worth of CDs, and it cost $50,000 to market and promote that CD (a very low example), the artist share of $60,000 (12% of $500k) would be divided between paying the label back that $50,000 and a check for the remaining $10,000. The label would receive $490,000 for its investment and belief in that artist while the artist made $10,000. In exchange for giving up the lion’s share of
the sales, the labels always told the artists that they’d make 100% of the touring. Any show money, was the artist’s to keep!
When the shit hit the fan financially for the labels, they decided to tap into the show money, and all other streams of income for the artists, as well. After all, if your profit margin is made smaller, you need to eat more of everyone’s income to keep the fat cats at the top, and the stock holders, happy. Most 360 Deals share in endorsement income (15% to 30% depending on the artist), performance income (10% to 30% depending on the artist), merchandising income (20% to 50%) and Film/TV money (15% to 40%). Before I go any further, I have to thank the good folks at Warner Bros Records for leaking me a major label contract for an artist’s 360 Deal. This enabled me to write about REAL contracts instead of just what I’d heard from lawyers, artists, and label folks. How do labels justify taking an even BIGGER share of the pie from artists? They complain that they are doing all of the developing, investing, marketing, and promoting. Their argument is that they believe in the artist when the artist has nothing, and they feel that assuming the lion’s share of the risk should result in sharing in a lion’s share of the profit. If the label is developing and building the artist to a level of super stardom, they feel they have the right to share in a percentage of everything that super stardom affords the artist. So if they drive the artist platinum, they feel they should get a piece of the tour that came from the fame the label helped the artist build, and a piece of the endorsement deal or film income that came from the fame that the label helped build. I guess I could see this argument better, if I actually agreed that the labels did their jobs well of building artists. I have a different vantage point of record labels. I see major labels based in tall glass buildings in NY and L.A. that have little interaction with the streets, fans, or the artists. I see them sign artists that have already started to build a buzz or sell music themselves, and then I see them sit back and let the artists’ teams continue to do much of the work themselves. I don’t see major labels taking much risk with their artists, but do continue to
By, Wendy Day from Rap Coalition (www. WendyDay.com)
ResourceMag APRIL 2012
take control of your career so many of us will give any and everything, to land what seems to be a deal in the music industry. What we need to understand is how valuable our dreams are and not sell them short for anything. You are the controller of your destiny.
Major record labels understand the dreams and desires of the individual musician and look to exploit that through the bait of material wealth...
ut them through a system that is almost an outdated Or imagine if banks lent money for mortgages expecting 99% of cookie cutter version of how to sell CDs. The labels rarely the mortgages to default, and 1% of the mortgages were expected interact with the fans and are quite out of touch about to make up the bank’s profits that year. Further imagine if each what the fans want or are willing to buy. They seem to homeowner paying back their mortgage didn’t actually get to keep create this assembly line of artists who all sound similar ownership of the house after their mortgage was paid back! The and fit a certain format at radio. They seem to throw a lot of music bank’s argument would be that they took all the risk on the into the marketplace and work whatever catches on quickly house, so they should get to retain ownership. The people and easily. Most labels do what’s best and easiest for the lived in the house would still have to pay for all the How much that label, not what’s in the best interest of the artist. Now, in a repairs and upkeep, but the bank would own the house. is your inway, it’s very unfair of me to make this sweeping generThat’s how the music industry is built. And the folks at the alization, because there are some amazing people who dependent top with the most to lose are the ones fighting to keep this work inside of major labels and really go all out for the creativity? backwards system alive. artists. But I find these people to be the exception, not the norm, and I also find them to be frustrated most of the time People ask me all the time what I think is wrong with the music because they constantly have to fight with their bosses and the business. I would like to blame our troubles on the greed of major status quo to succeed on a project. labels, the proliferation of bad music that the fans don’t seem to want, or the free downloading of (stolen) music. But the truth is I also find that competitor labels usually hire the best people away that if the artists didn’t agree to these incredibly bad deals, there from the labels who are experiencing some success, thereby breakwould not be incredibly bad deals. If a bank existed that kept owning up the synergy within a team once they all learn to work well ership of your house after you paid back your mortgage, you would together. This is why a label like Def Jam or Universal could be so never do business with that bank. Yet all day, every day, there is a strong in the late 90s and yet be struggling to succeed today. I find long line of artists willing to sign their lives away to record labels that artists rarely look at the teams working at labels and just fiend because they don’t understand, or possibly don’t know about, the for a record deal no matter the success of the label or who’s at the consequences. Or maybe they just don’t care. Maybe the need label (staff or other artists). for fame overpowers the need for money…until they realize they aren’t making money but someone else is. I find that it takes artists So labels got further away from the fans, the staffs got lazier or 3 to 5 years to realize they are getting jerked. In that time, a lot of more frustrated (perhaps more work for less pay?), the artists money is lost and one or two things happens: either the artist is took less risk because there were more of them and they were replaced with a new artist willing to make less money, or the artist just happy to have a record deal, and the fans started expecting has enough value to renegotiate their deal and share a larger piece music for free because they could just download it if they didn’t of the pie. Sometimes, they even start their own labels and repeat feel like paying for it. Major labels continued reducing spending, this onerous process with their own new, unknowing artist! They slashing budgets, cutting pay, and signing “sure things” (whatever got jerked, so they turn around and jerk someone else. that means). And to justify the spending they were still doing, they decided to offer deals that cut into more of the artists’ income. The But back to 360 Deals. This new model will exist until artists are willargument was that out of 50 artists signed to their label, only one ing to say “no!” and I don’t see any signs of that happening. What I was successful and funding the 49 losses. No other business on do see happening are artists becoming more entrepreneurial, and earth has such a backwards business model. Imagine if Ford built instead of signing to major labels, I see them finding their own cars and accepted the fact that every model but the Taurus was investors and building their own teams who can help them sucmeant to be a loss leader, and that the Taurus sales had to make up ceed. There are enough laid off employees of record labels who’ve the loss of every other brand under their umbrella. Huh? experienced some success out here to hire to run and work at indie
I hear the artists who sign 360 Deals say that they feel they have to sign these deals because the label won’t work their projects if they don’t give up a bigger split. I hear the artists say they want the labels to help them land endorsement deals, major tours, and TV Shows and film roles—but I’ve yet to see a major label
Example of a “360 Deal” Artist (this is not an actual artist example): Male rapper based in Atlanta with a strong following. He has his own team of inexperienced friends and family around him and a very strong street following. The DJs, fans, other artists and industry are supporting him and propelling him forward. With no real single or CD in the marketplace, demand is high—he’s getting $30,000 a show and performing three or four times a week for the past few months. This will last about 6 months, approximately. He’s put out a series of mixed CDs, for free, over the past year. The label signed him a year ago to a 360 Deal but hadn’t begun to promote him yet because their roster was full. The artist got tired of waiting and began putting out a new mixed CD every month to build his buzz. Advance: $75,000 Album Budget once popularity increased: $350,000 Recoupable Marketing and Promo-
Independent do this. Let’s be realistic, these major opportunities go to the biggest stars and the ones who apply themselves directly in those alternate areas. If you hire a film agent, and take acting lessons, you may get increased roles in film and TV. If you increase your fame through music sales, your endorsement opportunities increase. Beyonce landed a Revlon contract because she was a star, Revlon did not make her a star. How many new artists are the major labels building to be stars? In 2009, it was Taylor Swift and Susan Boyle out of all of the releases that came and went. And neither of them were developed by the major label system—one was a product of an indie label and the other a product of a TV show. The majors had access because they did deals with middlemen and then applied their systems behind those movements that were already happening. Maybe that really is the job of a major label in today’s environment. In my opinion, a 360 Deal is an excuse for a major label to take a bigger piece of the pie without doing any additional work. It’s insurance on their part. If the artist does blow up by chance, it gives them more opportunity to make a bigger cut. And that’s just smart business. I guess if they called it what it really is, I’d be less annoyed by it: the price of doing business with a major label. If they played a bigger role in building overall success, I’d be happy to see them share in a bigger piece of the pie at the end of the day.
tions: $750,000 Monthly Show Income: $420,000 Endorsement Deal: $50,000 Album comes out and sells a total of 350,000 copies (it was a very commercial album but the artist had been very street, almost gutter, up to the point of his album release so fans didn’t really embrace the album as expected). Album income for label: $3.5 million Artists’ Share after Recouping: negative balance of $405,000 $750,000 + $75,000 = $825,000 12% of $3.5 mill = $420,000 $825,000 - $420,000 = $405,000 Artist’s endorsement Deal Share: $37,500 75% of $50,000 Artists Share of Touring Income: $1,764,000 70% of $420,000 x 6 months Artists Share of Publishing Income (50%): $100,000 (estimate of mechanicals and ASCAP/BMI royalties) Income for Label: $4,773,500 gross income on an investment of $825,000 $3,500,000 sales $405,000 recoupment $12,500 endorsement income $756,000 tour/show income + $100,000 publishing income $4,773,500 gross income Less Staff costs Less Day to Day operating expenses Less Taxes
cash $1,764,000 70% of $420,000 x 6 months Artists Share of Publishing Income (50%): $100,000 (estimate of mechanicals and ASCAP/BMI royalties) Income for Label: $4,773,500 gross income on an investment of $825,000 $3,500,000 sales $405,000 recoupment $12,500 endorsement income $756,000 tour/show income + $100,000 publishing income $4,773,500 gross income Less Staff costs Less Day to Day operating expenses Less Taxes Income For Artist: $1,122,375 income $37,500 endorsement income $1,764,000 tour income +$100,000 publishing income $1,901,500 sub total -$405,000 recoupment $1,496,500 gross income Less 20% management fee Less 5% Business Manager fee (Accountant) Less Tour costs/legal comes… costs/tour manager/DJ/OperArtist ating expenses/taxes made 1.5 million while label Let’s compare made 4.7 million gross inArtist share: 24% Label share: 76% Let’s compare Net incomes before taxes… Artist made approximately $1 million while the label made approximately $4.5 million Artist share: 18% Label share: 82% If the label is taking all of the risk (they are not), putting up all of the money in all of the right places (they are not), devoting all of their attention to this one artist (they are not), and doing most of the work (they are not), then this business model makes sense for everyone involved. But if the artist is doing the bulk of the work, risking their career in the hands of the label, and coming out of their own pocket for many expenses, then this business model is hugely skewed in favor of the major label.
labels. There’s a huge void in the marketplace to deliver the kinds of music fans want…and that’s not just one kind of music. What I learned from both the buzzes of Drake (lyrical mainstream artist who’ll succeed at radio) and Gucci Mane (notso-lyrical street artist with gutter stories and experiences to share) is that fans still want music. Major labels are still slow to respond to the needs of the streets and the internet is only speeding up and splintering demand further. There’s still a market for good music that the fans want. Our job is to give it to them. And if we do so with a fair and equitable split of the profits, the artists can build lifetime careers and we can all make money!
The 1% that controls the 99% I
s our back truly against the wall or does it just appear that way. What we have developed is an increase for tolerance and injustice. When we question the assembly line that we consistently live within we question our very existence within the social structure. From the time that you are born, it has been already determined and processed that you will be property and merchandise. It sounds harsh, but the truth is that
most of us are born as cattle to be manufactured to produce enough so a very few at the top remain existing in their current state of living. Some of us become lost in this dark void of endless repetition, having no goal, or not understanding the purpose to our day in and day out, but continue to push. Our reasoning will be for the sake of our loved ones, kids, family or even your own sense of survival. Leaving us many times with health problems, from stress, bad diets, forced energy aids, pharmaceuticals, just to survive. Idle time becomes more common than ever these days with the current digital world that has preyed upon us. As the walls close in and the tunnels start to surround our vision we feel early stages of cataracts, we lose sight of goals and visions that we once had. Do we ever seem to ask ourselves, what has happened? How have these changes come about? Losing touch with your inner desires and limiting our personal potential seems to be the story of the common man/woman these days. Dealing with the everyday weight of more things you don’t understand, and doing less of the things you
do understand, is the trap that has been pitted for us all, or is it? When we look at the world that we live in, how much of that world are we actually looking at? Do we choose to see the world that we live in, or the overall world that exists? Now in another light there are those that look at
What is your world view? the world that you live in while existing in their own. The twist is that the world we live in is the most important world to them, because what we do sustains exactly how they live. From the time that you are educated and trained in the debt camps, you are never really taught to have the mind of your own or independent success. The things that you are taught to have is the ability to retain information that can be a great contributor for the workforce. From the time you have graduated from the 12th level of the training program, you are thrown contracts, apartments, credit card applications, car loans, student loans, bank accounts and many other things, to take your fresh new credit and rack it into debt. You were never educated on how to handle any of these things, you are not educated on how to take care of your credit, but you are encouraged to purchase merchandise and use it, not how to sustain a good, healthy lifestyle. You are put into the world naked, like Adam in the
garden, but not naked physically, naked mentally. You have the ability to hustle in your bones, when you understand a world that works for you, but know the one they offer doesn’t feel right. When it doesn’t make sense and the tools that they equip you with isn’t sufficient for what you need to do, to live how you want. You are sent to chop down redwood trees with toothpicks and butter knives. You were created to be a worker, now; you still have the ability to pay lots of money to go to school to be a specialized
worker, but then you still spend all that money you’re now earning, to pay off a lot of debt you incurred. We are consumers and producers at the same time. See Free -Enterprise is out the door, during the time of the War on Communism, was propaganda to introduce it right to our front door. In a Free Enterprise, a man has the right to produce enough for him and to keep what he produces as his property, hence the right to life, liberty and personal property. Free-Enterprise is the world a Hustler understands, it makes sense, a true to the game Hustler knows, low risk and high profits is where he wants his residuals. We are in the middle of an economic collapsing and government transition, we are in a transition into a fascist standpoint. We are not taught how to produce, but we are encouraged to consume, we can produce for large corporations, banks, monetized industries, and keep a small percentage of what we produce. See the difference between Fascism and Free- Enterprise is ownership. Socialism - the state owns your property and controls it. Free Enterprise You own your property and you control it. Fascism - you own your property, but the state controls it. We are here now, fully
ResourceMag APRIL 2012
TIME IS FREEDOM C
"Y SL o u R AV mi E O nd R A cA FE N B AR E A FU L M DAN AS GER TE O U R" S
dream because you are worth it. You have to cut the conditioning of the slave value they give you, $10.00/Hr., $15.00/Hr. The 1% are at the time that the 99% realize that they have the Freedom to explore their potential, not just the liberty. Your Freedom is, Inalienable rights given by the divine creator that can only be removed by the creator himself. Liberty- is rights with responsibilities, granted to you by government. All my real hustlers out there, this is our time to create an abundance where the ability exists, and take true education and the power for wealth back to the community and each one teach one. Even though we now the 99% that exists, 85% will remain deaf, dumb and blind, 10% will understand but choose not to act, and 5% will take their power today and be the chosen. Are you the one?
controlled from our money, homes, cars, jobs, education, children, health and everything being fully tracked and digitized, watched, scanned, processed and calculated like groceries. Where am I going with this? Well this, all of this does not apply to the wealthy. (Notice I didn’t say Rich) The wealthy, don’t have to worry about these laws, and economic changes and being a share cropper, none of that. They are not born into this, but like I said, our world is more important to them, because it is only with the existence of our world, that theirs will continue. See now days, wars, politics, riots, gas prices, disasters, are all created for control, power and capital gain, these things are done by the control of people on massive scales. This can be done from mind control, manipulation through mass media, internet, television and many other factors implemented to keep you and I distracted from the real possible threats. See this is a psychological war, this time the slaves are not shackled to the bottom of ships; the shackles are placed around their mind. If a slave was fooled to think he is free, then a slave would always remain a slave. Well if these shackles are invisible, how are we tied down? We are tied by our time, TI-Me, that’s what it spells. The time that we spend producing for someone else, and not producing for ourselves. The time we spend consuming more than we produce. Its time to remember your dreams, desires and create that burning desire to fulfill your
San Diego Urban Media, publishes The Resource Magazine Vol. 5, filled with interviews from 40glocc, kalenna from Diddy Dirty Money, Skull Ga...
Published on Apr 23, 2012
San Diego Urban Media, publishes The Resource Magazine Vol. 5, filled with interviews from 40glocc, kalenna from Diddy Dirty Money, Skull Ga...