Makin' It Magazine - Issue #5

Page 1


JUNE 2007 / VOL 1 ISSUE 5

A Resource Guide for Independent Labels, Artists, Producers, Models, DJ’s, and Industry Professionals

REAL TALK While in a press conference announcing the nominations for the 2007 BET Awards, Fifty Cent was hit with more Imus inspred questions regarding the content of his lyrics. After trying his best to answer the reporter’s question without loosing his temper he was met with a rebuttal mentioning the fact that Master P was starting a record label which would only produce clean music. At which time Fifty quickly replied, “Master P doesn’t sell records.” Shortly after, Master P released the following statement in reference to the comment: “Curtis Jackson’s comment



motivated me. There are a lot of immature people in the world. Oprah Winfrey is absolutely right, we need to grow up and be responsible for our own actions. I paid for Curtis’s first rap tour through the south. He was such a humble guy at the time. Most artists’ mission is to sell records. My mission is to help save and change lives. There’s a lack of knowledge and false information out there. I could actually say Little Jay and Rap-A-Lot Records inspired my successful career and I will always respect them no matter what. I wrote the blueprint for this

generation. The only difference is there’s no more honor and respect in the game. Think about it: people in jail are not writing letters proclaiming to come out and do the same thing that landed them there in the first place. People in the hood don’t want to stay poor for the rest of their lives. They want to change. Parents that really love their kids would rather sacrifice their own lives so that their kids could make a change to have a better life and a better education. I’m glad that there are people like Al Sharpton, Jesse Jackson and organizations like the Continued on Page 7


A lot of people have been writing us and calling to get more information about this $5,000 rap competition we’re sponsoring. Well instead of answering the same question a million times we’re going to give you the full scoop right here. We at Makin’ It Magazine have teamed up with The Beat Squad, (one of Atlanta’s premiere production companies) to give independent artists the chance to prove they’ve got what it takes to make it in the industry. Let me start off by stating this is not a rap battle or freestyle contest. The beat game is a unique competition all about finding artists who have what it takes to make it in the industry

and giving them exposure they need to take it to the next level. To participate contestants just pay a small $35 registration fee and they receive an official contest package which includes the 15 free contest beats and licensing rights to use them royalty free on their personal albums, mixtapes, and demos. From there, the only thing they have to do is record to any of the beats and submit their completed songs to be judged before the contest deadline on August 31, 2007. After the contest deadline all songs will be gathered and judged by a panel of major label representatives, radio personnel,

and music industry professionals. The best song done to each of the 15 contest beats will be selected as a first place winner. These 15 first place winners will receive song placements on two of the biggest hip hop releases of 2007 including a nationally released album featuring major label recording artists. These projects will be sent out to over 200 urban radio stations across the country as well as over 300 press outlets including Ozone, Murder Dog, XXL, Source, Vibe, BET, Mtv, and more. The grand prize winner will be determined by the people. An international vote will be held and listeners around the world Continued on Page 8 June 2007 ● Makin’ It Magazine | 1

ATTENTION ALL ARTISTS. Makin’ It Magazine is published by CJC Media Services Inc.

Break your record without breaking the bank. Submit your song to be featured on Makin’ It Magazine’s “On the Grind” mixtape.

3939 Lavista Road Suite E-249 Tucker, GA 30084

Office: (678) 528-6925 Fax: (888) 812-9710 Website: Email:

Over 5,000 copies will be given away in Atlanta area nightclubs and retail locations. ONLY 17 SLOTS AVAILABLE First Come first served! For More information call (678) 528-6925 or visit us online at

NOW HIRING: Makin’ It Magazine is currently seeking new

Account Executives If you want to make money in an industry you love just email your resume to 2 | Makin’ It Magazine ● June 2007

Moguls Corner

Getting Bout Yo Business BY WENDY DAY

I never thought I’d have to devote a column to this topic, but apparently it needs addressing based upon feedback to me from major labels, distributors, artists, and indie labels themselves. Here are some basics: 1. Set up a phone for business calls, KEEP the phone in service, and return phone calls. Changing your phone number every few weeks may be the way you normally operate, but when people can’t reach you for business you lose money, opportunity, and momentum. No one could possibly imagine how many calls I get from retail stores, radio stations, and distributors asking me if I know how to find a certain label because all the numbers they have are disconnected. My tolerance for this is very low. I’m not talking about artists and labels who expand from one office to another and transfer their calls to a new number, I’m talking about the hoards of folks who have even placed ads in this magazine with numbers that have been disconnected even before the magazine hits the streets. I understand the value of disposable cell phones with free chips, but can we please spend the $25 a month to have a

voice mail service or a phone line dedicated just to business that remains in service! One of my favorite rappers, KRS-1, has changed numbers (business numbers) so much in the ten years I’ve been running Rap Coalition, that about 5 years ago, I stopped keeping track of him and to this day don’t even try. It has become a joke in the music business about Kris’ numbers changing. When people call me with opportunities for artists, and many do, I call those I know I can find. This is a small industry. Word spreads very quickly. Major labels know which small indie labels are unprofessional and hard to work with, and rarely do the better major labels approach these unprofessional indies for deals--it makes sense really, they just don’t need to. You’d be surprised what is said behind closed doors about indies. In a perfect world, an indie would have many distribution opportunities from which to choose, but with some distributors not making offers because of an indie’s reputation the choices are severely reduced to mediocre distributors, especially with the amount of labels competing in today’s

B4 The Fame

marketplace. I got a call last week from one of my favorite A&R Research guys (a major label’s frontline to find new artists to sign) who told me about a label that I’ve worked with on and off in the past few years. He explained how he left a message at the label, twice, and never got a return call. He had pitched the president of the major label he works for, why he thought they should sign the indie label from the Midwest. Meanwhile, no one called him back. Go figure! Gee, who’d want a deal from Def Jam anyway! 2. Pay your artists. It amazes me how someone who thinks they have a good business mind could be stupid enough to not pay the artists who have made them money, but somehow this happens enough that I have to mention it. Pay your artists. They signed contracts with your label, and in those contracts it stipulates when and how much. This ain’t rocket science. For every unit sold, your artist gets a cut. It isn’t much to begin with, and if you mismanage your money, or spend it elsewhere, you STILL owe them Continued on page 11

Kanye West

Before becoming the most successful artist on Roc-A-Fella records outside of Jay-Z.... Before making America drop its jaw as he bashed president Bush live on national TV... Before the multiple grammy nomination that lead to six wins this Atlanta born, Chicago native was folding sweaters at The Gap.

Kanye got his start as a ghost producer for Badboy Record’s Deric “D-Dot” Angelettie.

June 2007 ● Makin’ It Magazine | 3

Artist’s Corner

RAP WARS: Battling Vs. Beef Chase Freedom

Battle rhyming has been an art in hip hop since its beginning. Beef first reared its ugly head within hip hop in the late 90’s. There are differences between the two which even rappers find hard to understand. In order to separate battle rhyming or “battling” from beef, you must first know what defines them. Battling is a contest or competition between mc’s that displays their talent and love for the art of rhyming. Beef is a slang term often used when two or more people have problems, dislikes, or disagreements with one another. Battling is a positive tool for rap listeners while beef is damaging hip hop’s foundation. Most of raps’ listeners are familiar with the KRS One, LL Cool J, Ice Cube, and NWA battles. Their love for the art brought respect from competitors and brought out the best in each opponent. The Tupac and Biggie controversy is a grave example of how beef can escalate into violence. Two very skillful rappers used music to pursue personal vendettas and lost respect for each other and their craft. Battles take place at shows, clubs, and contests, but beef happens in the street and anywhere a rapper is caught off guard. Battles provide a platform for contests, cash prizes, record deals, and exposure. Beef provides a violent atmosphere and opportunities for rappers to slander each other. In most battles, your mind and microphone are your weapons. Unfortunately, beef includes guns and high powered assault rifles. True mc’s are not trying to end each others career or life, only the battle. Rappers plot to fight, kill, and destroy when beef is an issue. There have been physical altercations from battling, but they are usually hand to hand and man to man. The fans decide who wins a battle and after mc’s leave the stage, it’s over. Rappers and fans are involved in beef related confrontations which result in ongoing grudges. The infamous “diss record “, plays a part in both battling and beef. This allows rappers to record their thoughts about each other and be heard by many. Diss records have different impacts in battling and beef. In the art of battling, a diss record only allows an mc to use more time and skills to defeat their opponents. A diss record by beef’s standards gives rappers the opportunity to discuss affairs, rumors and misfortunes of their rivals. It doesn’t take numerous songs to end a battle, but in beef, there is a lot more effort put in 4 | Makin’ It Magazine ● June 2007

campaigning ones downfall. Verbal assault comes with the territory of both categories, but physical assault is an extreme measure. Battling and beef have both become exploited by the media. It appears as though resources are more concerned with beef than battles. Beef attracts more controversy and affects more people than battling. Battling had lost its luster until Jay-Z and Nas revived the art. Instead of trying to destroy each other, they managed to gain new listeners because of the methods in which their talents were displayed. The two rappers attacked each other with crafty lyrics and infectious beats. The most important aspect of their tactics was their respect for music. They are currently business partners with no grudges between them. Beef can be controlled and does not always have to end disturbingly. Atlanta rapper T.I. and Houston rapper Lil Flip, had beef earlier in their careers and managed to squash it. After numerous attempts to assassinate each others character, they resolved their issues with a truce. 50 Cent has beef with several artists and there have been minor altercations stemming from it. As long as rap artists feel some responsibility for their actions, they have the freedom to say what they choose. The media tends to instigate when rappers have beef. Whenever rappers are involved in disputes, they begin to receive more coverage and exposure. Although they receive more attention, the questions and comments they are asked only pertain to their difficult situation. Many rappers find themselves addressing rumors they never knew existed. The media also inflates the egos of these rappers and focuses on petty issues to keep the fire fueled. Rappers are now filming their own videos and responses to their industry problems in efforts to avoid exploitation. Beef occurs more than battling with today’s rappers. It has taken over the spot that battling once occupied, but there can be an upside to this dilemma. Since there have been artists that were involved in beef and managed to avoid violent encounters, there is light at the end of the tunnel. “Sticks and stones may break my bones, but words will never hurt me”. Man up rappers and live by wisdom and live to rap another day.



A cocky flow that commands you attention… that’s the first thing you’ll notice when in the presence of Cheeto Gambine. This native of Jacksonville, Fl discovered his unique gift for rhyming at the early age of six. Now in the ATL, Cheeto is hard at work building his movement. Unsatisfied with the deals being offered to him by major labels, this determined and business savvy rapper has his sights set on obtaining a distribution deal for his own label imprint, OSDL Entertainment (Only Soldiers Die Legends). Having moved thousands of units independently Cheeto has built up a considerable street buzz. As he now positions himself to capitalize off of this following and lead his team to the next level Cheeto Gambine and OSDL Entertainment are two names that you should definitely be on the look out for.

For booking information call (678) 768-8156 OSDL Entertainment, LLC -

ON DECK HUSTLER You wanna talk about hustle? Lets talk about going from sleeping in a bus station with nothing but two shirts and three pairs of pants to being one of the most recognizable faces on Atlanta’s urban nightlife scene and emceeing for everyone from Young Jeezy to Lil Wayne. Well that’s the back story on Corey Crum, or as most of you might know him. Originally from the small town of Greenville, Crum has made a name for himself all across Georgia and parts of Alabama as one of the crunkest event emcees to ever touch a mic. Starting from his humble beginnings at Club Lakeside in Alabama you can now find him hosting at such events as Atlanta’s Sweet Auburn Festival which draws over 30,000 people each year.

Outside of emceeing Crum has

played a part in breaking many notable artists such as D4L, Da Shop Boyz, The Alliance and others. He has also played a part in building up many popular publications such as Break Magazine, Street Talk, Ozone Magazine, Grip and Hot Block.


ing and joking with the people around him, but even then he’s at work networking, promoting, introducing people, and helping others build relationships. As I stood with Crum outside of Club Crucial I asked him this simple question, “Even though this is just the beginning of the journey, you have definitely come a long way in your life to get here. What is your big plan? Where do you want to go from here?” Without an ounce of hesitation he nonchalantly replied, “Heaven. I may run around and do a lot of things but above all else I’m a Christian. I owe everything I got to god. That’s why I keep him first. I stay humble and come with my hands out. I know in my heart I’m gonna be a preacher one day when he calls me. Until then I’ll just be waiting.”

When you sit down and kick it with Crum you feel like you’re with family. Dealing with people in the entertainment industry you meet so many phony individuals that are outright full of sh**. They shoot you fake smiles and give you dap with one thing on their mind, “What can you do for them?” But this is far from the vibe that you’ll get from Crum. To quote Tip, “Its like the feeling that a real ni**a get around a real ni**a!” and I believe everyone else picks up on that same vibe. Ninety Nine percent of the time you’ll catch Crum smilJune 2007 ● Makin’ It Magazine | 5

REAL TALK NAACP that are out there fighting for our rights and dignity. I have finally realized that EVERY person is either a part of the problem or part of the solution and that is why I have decided to take a stand! I’m reaching out to corporate America to form an alliance for the sake of putting the value back into our communities by rebuilding and developing schools and businesses. First of all, it’s simply disappointing to see people that are in a position to help make a change just sit back and entertain the negativity. It’s sad to see Steven Hill set all of these programming standards at BET, just to contradict himself for the sake of marketing dollars or artist performances in order to create the appearance of a successful award show. The record company with the biggest marketing check controls the music video stations so we need to go after the people who actually control these programming networks if we want real CHANGE. I guess by taking a stand, my son and I will probably not be invited back to the BET awards. But it’s O.K. I got love for BET; there are a lot of good people there. Hopefully, this will help people to see the real changes that need to be made. My son and I will sacrifice our airtime because this is bigger than us, this issue desperately needed to be addressed a long time ago. There are four things that differentiate me from artists like Curtis Jackson. One, I can honestly admit that I was once part of the problem. Two, I don’t want my son to grow up and be like me. I want him to be better and do better – and that is why he is taking the time to pursue a college degree. Three, money don’t make me, I make money. My goal is to educate our people in building generational wealth and knowing how important it is to own real estate. Four, I’m a TRUE entrepreneur; my boss is God not Jimmy Iovine. From one brother to another, if you misunderstand my pur-


pose you could always pick up the phone or talk to me in person. I’m trying to be part of the solution not the problem. The media thrives on entertaining, especially the negativity no matter what the cost. I’m praying for the brothers that are lost out there. Throughout the years, I have lost so many relatives and friends. This year, I’d like to focus on the comedy movies because we need to laugh more. The first movie that I’m producing is “Black Supaman” and thereafter will be “The Mail Man” starring Tony Cox and myself. I’m setting up a book tour for “Guaranteed Success” and a Hip Hop Business class with financial expert Curtis Oakes for those seeking knowledge. I understand that I can’t change the whole Hip Hop industry; I’m only trying to do my part. If you’re real, be a part of the positive movement with Take A Stand Look for the first single “I Wanna Be Like You” from the album “Hip Hop History.” I’m in negotiations with Wal-Mart and Target for direct distribution. Those are all examples of the positive difference I am trying to make in this industry. I’m reaching out to my friends Shaquille O’Neal, Will Smith, Russell Simmons, Queen Latifah, Derek Anderson, Charles Barkley, Emmitt Smith, Beyonce, and Reverend Run to help contribute to this positive movement. I will also be holding a press conference with the president NAACP and will be able to answer any questions at that time. I am not asking any other hip-hop or gangsta rap artist change what they do; that’s how they make their money. Furthermore, I am not a preacher; I’m just telling the world what I’m doing and the changes that I am making because it’s something I want to do. If that’s sending mixed signals to people then they need to deal with their own conscience first. P. Miller

HARDWARE VS. SOFTWARE PT. 2 BY B. DAVIDSON JR. WHO CARES? People don’t includes finding the right artists, ment or on software based

What qualifies someone to be considered a “real producer?” I’ve heard the term come up in many conversations where people compare hardware equipment with computer based programs. There seems to be this perception amongst some producers that if you make beats and you use programs like Fruity Loops, Reason, etc, you’re not a “real producer.”


understand that the price or the status of your equipment doesn’t make you a “real producer,” it doesn’t even make you a good producer. It’s not always how you’re making the beat or what the beat is being made on, it’s the person behind the music that matters. Being a “real producer” isn’t just making a beat either. It also

song structuring, songwriting, and so on. If you’re playing the piano and hitting the pads on a beat machine and someone else is clicking buttons on a mouse and making better beats than you, what does that say about you as a producer? Music is music, whether it’s made on “traditional” equip-

programs, the new wave of the future. A “real producer” is someone who can make hits no matter what he or she uses. A “real producer” is someone who can take 2 sticks and a trash can and make a hit song if that’s what they want to use. Most important of all, a “real producer” doesn’t hate on anyone else, they just do them.

June 2007 ● Makin’ It Magazine | 7

THE PLUG will be able to vote for their favorite artist online or by texting in with their mobile phone. Once the voting period has ended the grand prize winner will be announced and receive $5,000 plus appear on the cover of Makin’ It Magazine. We’ve set this contest up to give artists a taste of what it’s like to be in the industry. We give

$5,000 RAP CONTEST & FREE BEATS continued from page 1

them industry standard tracks and a deadline just like any label would do. After that its up to them to make a hit record. The 15 first place winners are selected by the company but the grand prize winner will be determined by the people who matter most, the listeners.

is getting professional quality beats so we have provided our contestants with $75,000 worth of free production from The Beat Squad. Since all contestants receive the same 15 beats everybody is on a level playing field and there is no room for excuses.

One of the biggest problems many independent artists have

Whether you want to stay independent or you prefer to rap to

your own beats, The Beat Game provides an opportunity for you to get some great promotional exposure and put your skills to the test. Good Luck!!! Check out the beats online at Open to solo artists and groups!


All contestants receive 15 free beats to use royalty free on their personal albums mixtapes and demos.

FREQUENTLY ASKED QUESTIONS Q:Are the beats really free?

OPPORTUNITY All contestants will have their music heard by major label reps, radio personnel, and other industry professionals that could help take their careers to the next level.

Yes, All 15 of these beats are yours to use royalty free on your personal projects as a participant in The Beat Game competition. Whether you sell one copy or one million you owe the producers nothing.

VALIDATION 15 first place winners will have the

Q:Do we all get the same beats?

EXPOSURE 15 first place winners receive a ton of great

Yes. All contestants receive the same 15 beats. We do this to level the playing field for all participants. Since all contestants have access to the same beats, this ensures that songs can only be judged by the talent and creativity that the artist brings to the track and not the production. Contestants may however have any of the contest beats custom sequenced for their song for an additional $65. This includes reformatting song structure and adding or removing any intros, breakdowns, verses, bridges, etc. (Hint: Having your track custom sequenced will give it a distinct sound and make it stand out to the judges)

Q: Can I submit a song using my own beat? No, All songs submitted to the contest must be recorded to one of the 15 contest beats. We do this to level the playing field for all participants. This ensures that songs will be judged solely by what the artist brings to the track and not by the track itself.

Q:How many songs can I enter? Although only one song entry is included with your contest registration artists may enter as many additional songs as they like by paying the $35 entry fee for each additional song. The more songs you enter the more chances you have to win. 8 | Makin’ It Magazine ● June 2007

opportunity to appear on a nationally released album alongside National recording artists like Juvenile, Fabolous, Jadakiss, UGK, 8ball and MJG.

promotional exposure that will help build their fan base across the country and give them the bargaining power they need to land the deal of their dreams.

FORTUNE & FAME One grand prize winner will appear on the cover of Makin’ It Magazine and walk away with $5,000 Cash and bragging rights.

Q:When is the deadline? August 31, 2007 Q:What is the an age limit? Contestants must be at least 13 years of age. Any contestant under the age of 18 will need to have parental consent.

Q: How do I register?

Enter online at WWW.THEBEATGAME.COM and receive everything you need to get started sent to you online for instant download. Contestants without internet access may also enter by visiting an official contest location and purchasing a contest package. All others may send a check our money order in the amount of $40.00 ($35 registration fee + $5 shipping and handling) to the following address: The Beat Game C/O Makin’ It Magazine 3939 Lavista Rd. Suite E-249 Tucker, GA 30084

Eunice Modeling for just a year and a half, this Haitian beauty’s first love is the stage. More than just another aspiring actress, she enjoys every aspect of the theatre from props to sound. You might even catch her getting her hands dirty doing a little set construction. All and all she manages to keep it very sexy while remaining down to earth. She says it comes from a valuable lesson that her her mother always instilled in her. “You’re cute, but so what? If you flew through a windshield tomorrow then what?” So she has always made it a point to be self reliant and to work hard.

Name: Eunice Pierre-Louis Age: 23 Years Old Measurements: 36DDD - 28 – 44 Turn ons: tall men with a good since of humor. Turn offs: lame guys sending vulgar messages on Myspace Annoyances: People not about their business


What The Hook Gone Be

Artists Corner

UH OH! You don’t have a Hook! For most rappers out there, that sounds like trouble!For those of you who haven’t noticed, the radio is flooded with songs with crazy beats. What are they backed by? - nice hooks. Back in the day the two would come together to make a banging song.Now, it’s a conspiracy to cover up a lack of talent!!! (Did I go too far!) Let’s face it, without the hook, most rap songs wouldn’t stand a chance! (You waiting on me to call names…I ain’t gonna do it!! You know who they are) In this era, we have gotten accustom to a catchy hook. “ Let it rain, clear it out” You find yourself rapping the hook, but don’t know a word of the actual song. And to top if off, you don’t even know who it is rapping. That’s because, the artist ain’t saying much in the song! You find that far too often, and I’m telling you we have been had!--- Hoodwinked and bamboozled into buying albums with no substance! I’m sorry, I’m getting a little crazy. But somebody has to stand up for the hooks! They are being misused! The hooks are forced to sell the songs, not the verse! And that’s backwards. In my opinion, the hook should reinforce the verse! The Hook catches you, get your attention, and the Verse, it WOW’s you!(You know it makes you think, laugh, cry, reminisce, rob, etc depending on the artist) But, the verse will continue to disappoint, when the artist has the no flow! I’m sure you remember the rest… “I don’t need a F@#king hook on this beat!” That’s a bold statement! NO HOOK! You ain’t gonna use NO HOOK! You better have a mad flow or be hella captivating! A song with no hook means that you are confident that you can keep the listener entertained with just YOU and your flow. In my opinion, some of the best rap songs, had no hooks! The artist just told a story, like Slick Rick.. La- di Da-di, we likes to party, we don’t cause trouble, we don’t bother nobody, We’re..Oh! I’m sorry. (Don’t

act like you wasn’t rapping it too) Or maybe they just kept the flow going. As it is done in, Da Rockwilder, by the incredible tag team Method Man and Red Man!! They take the words out of my mouth, “Oh my GOD!!” Both songs bring it, from the beginning to the end! Then you have those who hit hard, and just let the music play. Go back with me… “Paper Thin, by the one and only Mc Lyte, “I’m Bad” LL. Cool J of course, and DMX’s “Crime story” off “Its Dark and Hell is Hot” album, just to name a few. Now I’m not downing the use of hooks. I’m just saying, throw in some skills, please! “You can’t touch the untouchable, break the unbreakable, shake the unshakable…Its Hovie Baby…” You knew it was Jay-Z right! From verse to hook there is no break in the message, the message being HE IS HOV. The Hook just drives it home! Then again he’s Hov! Then there’s the subtle hooks, like in, “Breathe!”- Fabolous, (he went off!) and “One Mic”(just impressive)-Nas. They went so Hard in those verses that you almost need the hook to settle you down. I guess what I’m trying to say is, I don’t care “What tha Hook Gone Be!” The only thing I ask is that it not be the only part of the song that is worth something!! Don’t use all your energy and creativity on the hook, and then get to the verse and…nothing! Oh, and please, Don’t recycle a hook! (You don’t know what I’m speaking of, I’ll tell you. Its when an artist takes a phrase from a previous hot song, and turns it into the hook for another song! “Oh, I think they like me!”-no disrespect, Much love J.D.) Let’s be considerate, and not make the hook do all the work! Once you get that track in the background, put something, with something, and make something happen that’s worth BUYING!!!(Thanks, LaQueta!) And just rip it!

Getting Bout Yo Business


what you owe them. So set enough money aside EVERYTIME you receive payment from your distributor, retailer, or customer, etc. You owe them a percent of sales (usually around 12% AFTER they recoup what you spent making the record and on advances) and mechanical royalties (roughly seventy cents for every album sold). We’ve all heard the alleged rumors of No Limit and Cash Money not paying their artists and the artists leaving; don’t let this happen to you. Contracts keep your artists there; paying them keeps them happy and keeps their lawyers from breaking their contracts. If you’re selling units, it’s because of the music and the artist, NOT because of your logo. A logo brand may help, but a record without a logo still sells, a logo without a record does not. Pay your artists. Get the point? 3. If you don’t know what you are doing, seek help and information from those who do. The music industry can be a very expensive place for trial and error. I’ve seen labels waste $50,000 to $75,000 in a few weeks time learning this business. It’s not worth the aggravation. Find someone who has done it before, preferably successfully, and ask questions. Or hire an experienced consultant. Or work with another label to learn the way it is done, or hire someone COMPETANT who has. This game is full of people skilled in the art of hype, however, so do extensive research before hiring anyone!!! I also believe the majority of folks in this business to be inept, so make certain you hire someone competent. Ask for references and check them--every single one. This is a business, and although it would be nice to have your boys around you since you trust them, that’s not smart business. Hire the best person for the job. You will make more money and then you can hire your boy to do whatever he’s good at, which will hopefully make you even more money. The earliest lesson I learned was to not try to fit a square peg in a round hole: this means don’t put someone into a position they are not right for, just because they are available. Thanks for reading this far, I know it was the basics but I see these mistakes being made everyday in this business. Since I started in this industry in 1992, there are less than 50 people still doing something worthwhile ten years later. People come and go quickly, and although to outsiders this looks like easy money and an easy game, that is so far from the truth. Labels who were at the top five short years ago, don’t even exist anymore. A true case of killing the golden goose.

June 2007 ● Makin’ It Magazine | 11



It went down real big at the 2nd Quarter Street talk networking Event in Atlanta, GA. Artists from all over converged at Club 360 on March 11, 2007 to perform and the chance to mingle with some of the games hottest DJ’s. Label reps and tons of industry professionals were definately in the house. Make sure you’re there for the 3rd Quarter networking event.

12 | Makin’ It Magazine ● June 2007




Anouncements ADVERTISE HERE AND BE SEEN BY 60,000+ People EACH MONTH FOR JUST $25. CALL (678) 528-6925


For Sale



Booking ADVERTISE HERE AND BE SEEN BY 60,000+ People EACH MONTH FOR JUST $25. CALL (678) 528-6925


Graphic Design



Consultants ADVERTISE HERE AND BE SEEN BY 60,000+ People EACH MONTH FOR JUST $25. CALL (678) 528-6925





Dancers ADVERTISE HERE AND BE SEEN BY 60,000+ People EACH MONTH FOR JUST $25. CALL (678) 528-6925

ATTENTION ALL ARTISTS submit your song to be featured on Makin’ It Magazine On the grind mixtape. 5,000 copies will be distributed for Free in Atlanta. This is your opportunity to break that hot new song without breaking the bank. For more information call (678) 528-9777

Magazines Advertise in Makin’ It Magazine - Atlanta’s #1 resource for aspiring rappers, singers, dj, producers, models, and industry professionals and be seen by 60,000 new people. With ads starting as low as $25 this is what you need. Call (678) 528-6925 for more information

DJ’s DJ Ashton - Party like a Rock Star at your place. 5,000 watt P.A, Coputerized light show, Pool Parties, Dances, concerts. We can fill a big room (404) 754-1135

Artists & Dancers earn $100$2500 Cash per show. Hip Hop, R&B, & Pop (404) 505-1978



Duplication Call Next Day Duplication to receive 100 CDs duplicated & thermal printed inside of slim jewel case for just $89.99 - (678) 528-9777 Ext #3

Shawn Doedell Photography All Models and artists get %25 off with your copy of Makin’ It Magazine. (404)957-4900


When you dont need 500 CD’s



$99 for 5k Flyers 4x6

$99 for 100 CD Dupes $99 for 24 custom Tshirts Band Merch Made Easy 404-222-9337

(678) 528-6925

(678) 442 0933 100 Color Flyers for 29.99 11x17 Posters $0.65 Each 100 Color Business Cards $7

Atlanta Laptops on Deck Sales & Repair Every Major Brand - Refurbished/New starting at $150$250. “We specialize in laptop/PC Repair” Open 7 Days a week. (404) 684-0805

Producers BEATZ $50 48 Track Protools (7.3) Neuman... Avalon...Apogee...Waves 404.519.5591 Accepts: Visa, MC & AMEX

- Private voice instructions, public speaking, and beginning piano 404.642.6968




Cash for music gear and pro audio equip. Don’t Get eipped off by pawn shops & music stores. Want quick cash (678) 643 5534

$35/Hour Studio Time. Pro-Tools Engineer Provided. Female Showcase. Call 770-960-2828 *** 25 FREE CD’s *** RexTrax Tracking mixing and CD Duplication 4 hour block for just $159 (678) 7300008 Purchase hours online at

Promotions ADVERTISE HERE AND BE SEEN BY 60,000+ People EACH MONTH FOR JUST $25. CALL (678) 528-6925



Voice/Piano/Songwritting Lessons with Atlantic/Warner Bros Artist who knows how to get a deal. 770.480.1985

Rappers Best Rapper in Atlanta looking for a Manager. Check out my Myspace at


Webdesign Webstyles by Need A Website? flash Sites, Html & E-comerce. Prices very reasonable. Email to


#1 Intense Guitar Lessons Jimmy Cipher (404)932-8430


Video Production Digital Video Editing. With or without operator. Block rates. We transfer analog tape to digital. Right Image (404) 638 1994


ATL’S BEST VOICE COACH SINCE 1988 - 770 218-1221 Kevin Bales, Pianist (Formerly Ted Howe Studio) Lessons in Jazz and improvosation for all instruments. 770.971.6598 Looking to enhance your singing or speaking? Pitch Perfect Studio



ONLY THE HOTTEST OPEN MICS, SHOWCASES, & NETWORKING EVENTS MONTHLY EVENTS JUNE 14 & 15 The Get Seen - Get Signed Conference Atlanta, GA. Perform in front of a panel of industry elite who will critique, advise, and give you valuable feedback. Open to R&B and Rap artists; Solo or Groups. Also: 3 Informative panels for more info call (404) 474-2804 TH


JUNE17TH On Stage Live Review for more information call (404) 843-4970 24 hour infoline JUNE 27TH - 30TH 5 Annual Southeast Urban Music Conference at the Sheraton Atlanta -165 Cortland St. At International BLVD Downtown Atlanta, Georgia. SUMC/LOD Awards Dinner, Label Showcase, Seminars, Music Series, Club Events & More... For more information contact us 866-232-4954, th or JUNE13 Hood Magazine Music COnference @ the Aqua Lounge in Daytona Beach Florida. If you are a rapper, singer, DJ, model, promoter, publicist, printer, designer, writer, label rep, label head, or just want to network with people in the industry you need to be there. For omre information call (386) 871.6455 or email or visit us at www. TH


MONDAYS (OM) Monday Night Hustle & FLow at Club Crucial (2517 Donald Lee Hollowell Pkwy) Doors open at 9pm show starts at 11pm with a $10 cover at the door. For more info call 404 (794)-2114

14 | Makin’ It Magazine ● June 2007


(OM) Microphone Tuesdays at Throbacks (4847 Old National Highway) Doors open at 9pm show starts at 10:30pm. Cover starts at $8. Cost to perform starts at $10. Come out and show what you got every tuesday to audition for Sunday nights $500 cash prize. For more info call (678) 610-2126 (NW) We Got Next: Industry Mixer presented by Monarch Concierge Every 1st & 3rd Tuesday of the month at the M Bar (257 Peter Street SW. Atlanta, GA 30311). Sign In/Registration is from 6:006:30pm For more information call (404) 523-1555

WEDNESDAY (OM) ATL’s Most Wanted Talent at the Peacock hosted by Akini of Hot 107.9’s A-Team Morning Show. Doors open at 8PM. Show starts a 9:30pm

with $10 caver for the men and a $5 cover for the ladies. $5 to perform for the first 25 acts and $50 for the last 5. Win a chance to get your song in rotation on hot 107.9! For more info call (404) 246-0621

THURSDAY (OM) Exposure at the Atrium Each and every Thursday. Call for more info and to reserve your spot (404) 298-6545

Attention all Artists. Break your record without breaking the bank. Submit your song to be featured on Makin’ It Magazine’s “On the Grind” mixtape. Over 5,000 copies will be given away in Atlanta area nightclubs and retail locations.

Sunday (OM) $500 Open Mic Competition at Throbacks (4847 Old National Highway) Doors open at 9pm show starts at 10:30p



For More information call (678) 528-6925 or visit us online at

Advertise in Makin’ It Magazine and reach 60,000 people. Let Atlanta’s #1 resource for independent record labels, rappers, singers, producers, models, DJ’s and entertainment industry professionals work for you.

June Special* Full Page Ad: 1/2 Page Ad: 1/4 Page Ad: 1/8 Page Ad: Event Listing: Classified Ad:

$412 $256 $153 $89 $50/mo $25/mo


Advertising Deadline for the July issue: Tuesday, June 15, 2007 6:00PM Limited Ad Space available. First Come, First Served! Call (678) 528-6925 for more information. Email: Website: