Justice For All: America in Turmoil

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ELLAONDAMIC LOCATION:

NEW ORLEANS

26years 3

How did you get into the music scene?

apps that made my streaming numbers go up.

Ella: I got into music as a joke. I wanted to make a song for a party bus so I did. When I started previewing the song, everybody said drop it and that’s what I did. From there I became EllaOnDaMic.

If you could change anything about the industry, what would it be?

Ella: I would change the lack of knowledge of the industry for independent artist. Most people think that you are supposed to know everything, but the reality of it you do not know everything and it doesn’t hurt to share knowledge.

Who inspires you to become the artist you are today?

Ella: All artist inspire me.

How would you describe the music that you typically create?

Who would be your ideal artist to work with?

Ella: I would love to work with Meek Mill.

I know he’s in a different lane but I love his music and I wanna work.

Ella: I would describe my music as lyrical most of time. I have a hook that stands out a “bop” as they will say but I’m a lyricist.

Any new music?

Can you compare your music to anyone in the game right now?

Ella: Yes, I have lots of new music. I just drop a song with Jay Diggy called “Feelings” out on all major music outlets. I also have features out there I just drop a song called “Hold It “by Black Fairy ft EllaOnDaMic I also have been working with a Grammy producer stay tune I can’t spill just yet.

Ella: No, the goal is not to compete but lead.

Do you think there is still a bias when it comes to female mc’s?

Ella: Yes. I think there is still bias in some ways.

How are you staying productive during this time?

What steps did you take in getting to the point you are at now?

Ella: Staying productive by writing new music and taking care of the behind the scene of EllaOnDaMic as far as legal issues copywriter etc.

Ella: I stayed consistent and made sure to make way when they would not let me in.

How do you feel the Internet has affected the music business?

For more info on my music visit or me: Instagram: @EllaOnDaMic Facebook: @EllaOnDaMic Twitter: @EllaOnDaMic

Ella: It is helpful in ways of marketing and getting the word out there. For example, once my songs started getting on different

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MICHAEL LOCATION:

NEW ORLEANS

27years 6

Mic Ventress is a talented singer/ songwriter born and raised in New Orleans. With a powerful voice and a sound so unique and diverse, whatever genre of music he jumps on, he makes it his own. You can tell he is no newcomer to the music world. He has let go of a ton of music gaining more than one hundred thousand views. From start to finish you came hear the growth as an artist. Shive has become instant fans and looking forward to the new music Mic has to offer. This is only the beginning and there is a lot more to come from this exceptional artist. He is well on his way to becoming a household name.

Check out our one on one interview with the future of R&B.

R&B legends such as Prince, Michael Jackson and Luther Vandross.

Also modern day legends like Usher, Chris brown, T-Pain and I’m also influenced by the Lyricism of hip hop like PAC, Nas , Kendrick , J –Cole and Jigga ( Jay-z ).

How did you get into the music scene?

Ventress: I don’t want to compare my music, I have my own sound & my own lane.

Ventress: I have been singing since I was 3yrs. My grandmother constantly brought me to church and insisted I get in the choir. Although I grew up on a lot of old school R&B, I started singing gospel and formed a gospel acapella group called “True praise” until 9th grade. My 10th grade year I started an R&B group with four new friends, which lasted until my senior year.

How did you get the name Mic Ventress?

Ventress: I use to go by “Hand Me My Mike / Hand me my mic.” After I graduated high school & began my solo career me & the investors decided I needed a more “mature” name lol so I went Mic( hael ) Ventress.

Who has inspire you to become the artist you are today?

Ventress: I ‘m inspired by old school

What message are you trying to relay with your music?

Ventress: I just want all the women out there to know that I understand.

I got and I feel y’all,” Songs for Women” But mostly love. The world will always need love.

Can you compare your music to anyone in the game right now?

Have you open up for any mainstream artists?

Ventress: I’ve opened up for Juvenile, Mystikal, Trina, Lyfe Jennings & Big Freedia.

Who would be your ideal artist to work with?

Ventress: My ideal artist would be to work with a producer like Kanye West.

Any new music? What are you working on?

New Music on the way, and the release of a brand new music video called “Not Friends” that will be dropping later this year.

What producers have you worked with

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when it comes to your music?

Ventress: I’ve always worked with producers Beatz By Nel & KC Da Producer.

How do you feel the Internet has affected the music business?

Ventress: The Internet has definitely taken the music business to the next level. It allows you to reach a great amount of people without traveling to market physically. I feel it has opened the doors even more for independent artists to put out great work on social platforms and streaming services that carry a large following and gives them the ability to monetize & micromanage their work.

If you could change anything about the industry, what would it be?

Ventress: I would want More R&B to be put out and highlighted at the level of hip hop or higher. I feel like hip-hop is getting the spotlight right now. Lol. How are you staying productive during this time?

Ventress: I have been working out, writing new music, doing a lot of reading, research and I found a new liking in politics.

For more info on my music visit or me: unitedmasters.com/mic-ventress All of my music is on All Music Stream & Download platforms such ass, Apple Music, Tidal, Spotify, Amazon, Google, etc.

Also, add me on all social media platforms such as Instagram, Facebook, Twitter, etc. under @MicVentress

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ARIEE LOCATION:

NEW ORLEANS LA

Feeling young 10

Who is Ariee?

Ariee is a singer-songwriter & entrepreneur full of ambition and a great work ethic.

When did you start your career?

I started my singing career in 2010. I went from sitting in with local bands at a local bar where I was working to performing with Trombone Shorty, Glen David Andrews, Kermit Ruffins & Mystikal. I sang background vocals until I was broke out of my shell and was confident enough to write and perform my original music and develop my own style.

Can you compare your style to anyone in the game right now?

I’m not a fan of comparing any artist to another because I feel like art cannot in essence be compared. I’m in my own lane. Every true artist comes from a unique place that expresses his or her point of view. No two people will look at the world and mirror it in the same exact way. We all bring something that is distinctive to our true selves.

What would you consider your most recognizable track?

Right now, I am developing my own record label AMG (Ariee Music Group). It’s something that I am very proud of because ownership in the music industry as an artist is so important. I am my label so I get to make the calls and own my masters and ultimately I am in control of my own career.

What steps did you take in getting to the point your at now?

The steps that I have taken to get where I am now are kind of simple but not really.

1) I had to create and build my brand from the ground up 2) I had to be really consistent (making music & being visible) and persistent 3) Develop tough skin and work hard. I don’t take things personally and never take no as a final answer.

Being an artist is tough but if you master these steps you can be successful.

Who would be your ideal artist to work with?

I would love to work with Bruno Mars. He just gives me life. His energy and swag are everything!

My most recognizable track right now is FIYA. It is a really good feeling track that a lot of people can enjoy and relate to. It also doesn’t hurt that it was inspired by New Orleans bounce.

Any upcoming projects?

At this point, what’s going on with you? any deals?

What is your ultimate career goal?

My album is scheduled to come out under my label this year. Updates regarding the release can be found on my social media accounts.

My ultimate career goal is to have

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a long-standing career in the entertainment industry. I would love to bring on other aspiring artists to my label and later also get into more philanthropic ventures to bring more balance to the world.

For more info on me or my music visit: www.arieemusic.com Instagram: @arieeariee Youtube: Ariee Music Facebook: Ariee

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& Stitch BRAIDS with Design 12

JUSTICE FOR ALL: AMERICA IN TURMOIL

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P

olice brutality in America is real. And myriads of evidence have proven this fact. The most popular set of victims of this societal ill have been blacks. Being black in America accords you a set of preconceived notions, and this fuels the various expressions of racism in your everyday life. Racism, a mental prejudice that ticks at the swing of an M-16 by a patrol police officer, stands high as the motive by which police brutality is increasingly perpetrated in America today. And gradually, people of color are becoming an endangered species. Cases of black brutality would be explored in this article, as well as the need for reformation and justice.

George Floyd: The current global uproar by Americans for the end of systemic racism was birthed by the killing of an American black male, George Floyd. His death, facilitated by four white police officers during a supposed arrest for forgery, has been regarded as a daylight display of police brutality and racism. The viral phrase and hashtag #ICan’tBreathe is an aftermath of the glaring pinning of George’s neck on the ground by one of the police officers. The video of the scene, recorded by a black female bystander, reveals that the white policeman’s knee was on George’s neck for 8 minutes 46 seconds. He begged for his life with the words, “Please, I can’t breathe.” The topic of his death would have been a contrasting reality if the white policeman heeded George’s plea. Instead, after suspicion of George’s death raised by bystanders, he still kept his knee a while longer on his neck.

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Breonna Taylor: The case of Breonna Taylor is one that holds high in the hearts of every black American right now.

Three white and plain-clothed LMPD officers executed a no-knock search warrant on Breonna’s house. Being intruders that Breonna’s boyfriend termed them to be, he engaged in a shootout spree with them in self-defense. The police officers shot over 20 times, and Breonna was hit on eight different counts.

Philando Castile: Seven bullet counts and five hits were the highlights of Castile’s demise.

He was shot at close range by a Hispanic-American police officer in front of Castile’s partner, Reynolds, and her 4-year-old daughter. This graphic show of fatality and horror played out at 9:17 pm of July 6, 2016.

And at 9:37 pm, 20 minutes later, Castile breathed his last.

What exactly was his offense?

The officer assumed Castile was reaching out for his firearm when he was not.

Alton Sterling: A day before Castile’s death, another black man went down through the hands of two white policemen.

June 5, 2016, recorded the unjust death of a CD seller who had to keep a gun close by because several CD sellers had been robbed just days before.

He was shot at close range.

The police got a call that a man in a red shirt was threaten-

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ing another man in front of a convenience store. And upon arrival, the policemen charged at a black man nearby who happened to bear arms. In an on-paper attempt to disarm Sterling of his arms, they shot him. However, the store owner made an important statement that he was “not the one (Sterling) who was causing trouble.”

Michael Brown: Six bullets to the chest of an innocent man without the chance to wear a bulletproof vest is simply a brutality. A police officer in Fergusson, Missouri, pulled Michael’s neck from outside the car window and had a short pursuit, after which he turned around in surrender. Six shots to the chest were the response Michael got.

Tamir Rice: He would have been 18 years old this year had a white police officer not shot him twice because he held a toy gun. The white policeman sent Rice to an early grave at 12 years; almost immediately he got to where Rice was – without proper interrogation. However, the caller who notified the police had reiterated that the gun-holder was a juvenile and the weapon was most likely fake.

Eric Garner: He was put in a chokehold by a white police officer for seven minutes until he lost consciousness. Still, the police officers simply turned

him over to the side and continued the chokehold despite that this use of force was banned in the state since 1993. At the eleventh count of the same lines of George Floyd - “I can’t breathe,” he passed out. And about an hour later, after the ambulance had arrived, he was announced dead. What was his offense? He was accused of selling cigarettes from the pack without tax stamps. This claim was never proven.

Trayvon Martin: He was walking

back from a convenience store to his father’s fiancée’s house when Zimmerman, a member of the local community watch tagged him as suspicious and shot at him. He was a black 17-year-old high school boy, shot in the chest because of mere suspicion.

Ahmaud Arbery: An unarmed black man who was jogging in Brunswick was accosted by two white men, a man and his son, and was fatally shot dead by these two. These two men

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were not arrested until 74 days after the killing. And the case was transferred to about four prosecutors who recused themselves until the governor of the state intervened.

Atatiana Koquice Jefferson: A white neighbor called a non-emergency number, reporting to the police that Atatiana’s front door was opened.

They came. As she observed the police by the window, an officer shot right through it, killing her.

Oscar Grant: A fight ensued and calmed on a train in 2009, but the police were contacted before the train stopped. When the police arrived, they requested those involved in the fight. However, no one answered. The officers went on to look for “people who looked like they might have been involved in the fight.” Grant and two other African Americans were slammed against the wall. The officers kneeled on Grant’s head, while an officer, holding his groin, shot at his back. He was declared dead later that New Year morning.

Sean Bell: He was killed in the morning before his wedding. His two friends, who were with him, also sustained fatal injuries. The New York police officers shot 50 times in their direction.

Freddie Gray: He was charged with possessing a knife and fell into a coma during transport in the police van. He died later in the hospital.

Eyewitnesses say that unnecessary force was used on him during his arrest, and the medical reports corroborated this claim.

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Kalief Browder: Browder stayed in solitary confinement for two years without trial. His parents were not allowed to post his bail. And this was because he was alleged to have stolen a backpack.

Chris Joseph and Daviri Robertson: Jefferson Police deputies shot them both during an IHop undercover drug operation. No drugs or guns were found in the car with the two of them. The deputies said no flagged were raised until the car reversed. The family sure acknowledged the fact that things didn’t add up.

Armond Jairon Brown: He had bipolar disorder and schizophrenia. His brother reiterated this to the police, who were ready to pounce on Brown’s house because he was armed with kitchen knives. The police called in the Kenner SWAT team, who made use of lethal force to gain entry into the house. In the name of self-defense, one of the policemen shot Brown four times, which led to his unfortunate death.

Brown’s family vehemently denied this claim of self-defense as the facts before their very eyes proved otherwise.

Keeven Robinson: He is a 22-year-old black man accused of dealing drugs in Jefferson, New Orleans. Four undercover agents of Jefferson Parish police engaged in a hot chase with him, and he crashed. The officers gave an account that at the time of the arrest, they discovered he wasn’t breathing. However, the Jefferson Parish Coroner Gerry Cvitanovich said the autopsy revealed clear signs of strangulation.

Marrero Desto: Also known as Reyes, he was a local rapper in New Orleans. He died by a gunshot from the hands of one of the deputies of Jefferson parish law enforcement agents. An allegation that spurred the shot was that Reyes pointed a gun at the police officers after a shit pursuit. However, what seemed to be inconsistent in the story was how one officer would reach out for his stun gun, and the other, his actual gun, and even fired it.

These lives and many others have been taken innocently, and life-dreams punctured halfway.

Protests, riots, and demonstrations have been the reactions to these killings but have been doused as fast as they rose. However, now, the much-needed revolution in the American narrative has just been heightened, fueled by the blood of those who died at the mercy of racial profiling. The death of George Floyd and the immense demand for justice make a beacon of hope shine afar off. Possibly, a better reality than racial profiling of black Americans and police brutality is hoped for in the long run.

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BRANDON (ROCA B) LOCATION:

NEW ORLEANS 3RD WARD

36years 20

Shive: How did you get into the music scene?

Roca B: I have been singing my entire life since I was about four years old.

My parents are musicians and poets and my entire family sings. I started out in the streets of New Orleans, Uptown to be exact. I wanted to be just an R&B singer and musician but being from New Orleans where bounce music was created. I became friends with a lot of different artists and producers all over the city from uptown to downtown.

I was great friends with well- known musical producer Blaq N Mild who has produced tracks for Drake, the City Girls and a plethora of other artists worldwide. I have also become good friends with 10th Ward Buck a well-known Bounce Artist and Big Choo a local hype man and dancer from Shrewsberry La. I recorded my 1st R&B mash up on Blaq’s first mixtape “Blaq Biggie Blaq Vol. 1” from there it was a roller coaster ride I have loved ever since. The story goes deeper but this is just a brief start.

Shive: Who would you say has inspire you to become the artist you are today?

Roca B: To start, my mom and Dad. I’m also a big Michael Jackson, Joe , Carl Thomas, Tank , Stevie Wonder and Prince fan. If we are talking New Orleans my influences range from the Nevilles to Magnolia Chop, Kangol Slim to Pimp Daddy, Juvenile etc...

Shive: How would you describe the music that you typically create?

Roca B: R&B Soul & R&B Soul Bounce. I love and I have sung many genres, classical, pop and Rock and Roll.

Roca B: Kc Da Producer , Blaq N Mild ,Bmgz Producers, Raj SMOOVE , Blaza da Beat Contractor

Shive: What message are you trying to relay with your music?

Shive: Any new projects?

Roca B: I want to give that real R&B deal back to R&B music.

Shive: Can you compare your music to anyone in the game right now?

Roca B: I feel like I’m in a league of my own. When it comes to my artistry, nobody can touch the live beat the way I do. My execution cannot be compared to anyone but many people compare me to Wanya of Boyz II Men, Carl Thomas, Lionel Richie & Sam Cooke to name a few.

Usher and Chris Brown are some comparisons too.

Shive: What steps did you take in getting to the point you are at now?

Roca B: I grind from the bottom.

I started doing free shows hopping on the mic at some of the hottest clubs and music spots in the city. At sixteen I started singing on bourbon street at Fat Cats Night club, The Old Opera House and the Funky 544 just to name a few. I’ve also opened up for some of the biggest artists in the world like Ginuwine ,Tank, Musiq Soulchild, Meek Mill, Jagged Edge, Juvenile and the list goes on and I’ve independently dropped several mixtapes.

Shive: Name a few producers you’re working with:

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Roca B: I am currently working on my first album, “In my own words” the first single #ICanBeTheOne is out now. Salute to @Q93 for always supporting the movement #teamrocab. I recently let go of another single #SOMETHING I with the bounce remix featuring HaSizzle produced by Only 1 Skippa set to be released shortly. I have a mixtape and my debut album dropping soon.

How do you feel the Internet has affected the music business?

Roca B: If I could change anything it would be how the radio stations don’t play a lot of independent artists anymore. I’m blessed to be one of few artists who get played on the radio but I feel they can play more artists from the city as well.

How are you staying productive during the Covid 19 pandemic?

Roca B: It’s been crazy but I can adapt to any situation, But I’ve going live giving my fans Cyber performances also writing for my album spending time with my family etc…

Quarantine life lol.

Wanna know more on Roca B, catch him on Ig@rocabthesinger Fb @ BrandonRocaBMcQuietor and Twitter @Rocabthesinger or just visit his website Iamrocab.com

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WHAT’S A RECORD LABEL DEAL ALL ABOUT? It is my experience that most musicians think they want a record deal, but know nothing about these ominous 80-100 page, single-spaced recording contracts.

Recording contracts are legally binding agreements between artists and/or bands and a record label. These contracts, when signed, commit the act and the label to certain obligations.

So, in this digital age when fewer and fewer Major Labels are signing new talent, and what they sign and release is selling poorly, labels these days are more demanding than they were in past decades, when it comes to signing anyone.

Record labels today are attracted to acts that have built a strong following and have proved to the industry that they are a solid investment. When a record label signs an act to a recording contract, they expect to make a substantial return on the financial investment they have made in that act.

The following information is provided to you as a basic outline to the key parts of a recording contract. Please be advised that should any such contract ever come your way, never sign anything without consulting your entertainment law attorney.

INDIE LABEL VS. MAJOR LABEL Indie Label (See Also, Major Label) By the purest industry definition, an independent label is a record label that is not affiliated in any way with a Major Label, and uses independent distributors and/or digital distribution methods to get their releases into stores, both online and into the traditional brick and mortar music retailers.

Note: For an in depth article on the types of relationships that exist between independent labels and major labels see the chapter I co-wrote with entertainment law attorney Bartley F. Day in the excellent resource book The Musicians Business and Legal Guide, 4th Edition, published by Prentice Hall.

When you think about pursuing an independent record label deal, think about the following issues: DISTRIBUTION Make sure the label has a solid distribution deal on a national level.

Be sure to check on the relationship between the label and their distributor(s). Ask some questions like: • How many CDs has the

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• •

•

•

distributor sold of the label’s product?

Did the label have any problems getting paid by their distributor?

What kind of working relationship do they have with their distributors on their new releases?

Does the label have a budget to pay for some co-op ads, and in-store promotions through their distributor?

What kind of Internet distribution and online sales methods does the label use?

ROSTER Make sure the label’s roster isn’t too big, or else you won’t be given the attention you deserve. Also, make sure the acts on the roster match the type of music you play.

PUBLISHING If the label has an affiliated Music Publishing division, and wants part of your publishing, don’t be surprised, but be sure your attorney protects as much of your publishing royalties as possible.

Never allow a label to recoup any monies advanced to you for the recording of your record from your mechanical royalties. (This is the money owed to the songwriter and music publisher of the songs

you wrote on your record, for the sales of your record.)

MERCHANDISE Merchandise deals are deals made by your attorney outside of your recording contract, for your likeness to appear on t-shirts and other clothing and objects. If the label wants a percentage of the income from such a deal, you may have to negotiate how much they get.

OPTIONS Find out how many options the label wants. Since “options = number of records (CDs),” you don’t want to agree on too many options.

INDIE PROMOTERS and/or IN-HOUSE STAFF Find out if the label works with independent radio and/or retail promoters. It’s a good sign when they do; this raises the chances that your record will be seriously and effectively promoted.

ADVERTISING Find out if the band has an advertising budget for releases.

TOUR SUPPORT Find out if and how they support you on your tour (financially, morally, etc.) and how much of any advances for touring are recoup-able.

POINT / PERCENTAGE of the LIST PRICE You Receive Find out how much you get paid for each record sold. A new act

usually gets somewhere between 10-15% of the suggested list price of a recording. (Remember too that out of your percentage, you must pay your producer their percentage, for producing your record.)

Major Label By industry definition, a major label is a label that commands a high percentage of the annual sales of records, and has their own distribution system. When pursuing a major label deal be absolutely sure that this is what you really want.

Here are some points that might help you determine if this is the right thing for you to do: OPTIONS A major label often signs artists for six to eight “records” (CD releases), not years).

A&R Research the A&R person. Know whom they’ve signed, who they’ve worked with, who they’ve worked for, and how long they have been employed.

NUMBER OF RELEASES Find out how many records the label releases per year. You don’t want to sign with a label that releases too many records. Remember, they only have so much time and enthusiasm to put into the promotion of each record. Many major labels have between 12-25 releases coming out each month.

Here are some clauses that you

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will encounter (and sometimes have to watch out for) in a contract with a record label: EXCLUSIVITY Every record contract includes a provision stating that the deal is “exclusive.” In other words, during the term of the agreement, you can’t make records for anybody else. Therefore, an exclusivity clause in a contract refers to the fact that you may only contract with this record company (you are “unilaterally married” to that company.) I strongly recommend that your attorney define the extent of exclusivity.

TERM The duration of the contract.

(How many records? Any time constraints?)

PRODUCT / CREATIVITY Who will control the amount of product and the quality of the product? You always want as much creative freedom as possible; the record company often maintains a veto power when letting a band choose the producer, engineer, studio, etc.

RECORDING COSTS How much (recoupable) recording money will you get? Don’t overdo it! Remember, you will have to pay it back from your royalty rate as applied to actual sales.

ADVANCES How much (living) money will you get that is recoupable? What

about other advances, such as videos, and touring? Remember, you will have to pay back that amount to the label.

their family of labels.

CONTROLLED COMPOSITION How the label will pay mechanical royalties.

Standard practice is that the label will only pay on 10 songs on your record, and at 75% of the current statutory mechanical license fee.

(As of 2010, 9 cents per song, per unit sold.)

This rate changes every two years.

ROYALTIES The money paid for your service as recording artists. Outside of U.S. is calculated differently. (Canada: 75–90% / UK, Japan, Australia: 60–70% / Rest of the world: 50 % – of U.S. rate).

TERMINATION This clause specifies the songs you may not be allowed to record for a set time after the ending of the contract.

VIDEO Who controls the music video and how the costs are apportioned. Try to have only 50% of the cost recoupable.

SIDEMAN’S CLAUSE You might want to consider including a sideman’s clause. A sideman’s clause allows an artist to do studio work. The artist still needs permission from the record company; they however, can’t say no unless they have a very good reason. Under normal circumstances -without such a sideman’s clause -- you would be prohibited from performing for any other band/label under the terms of an exclusive contract. If you have a sideman’s clause in your contract, make sure all members of your band sign the document.

PUBLICITY The label will need your permission for name, likeness and voice in order to publicize your record. Also, ownership of your website URLs may also be a point of negotiation.

MERCHANDISING Same as with Independent labels.

UNION Your promise to join a union (AFTRA, AFM).

AUDITING Your right to audit the books. Make sure this clause is included in the contract.

KEY MAN CLAUSE If a significant label executive resigns, or leaves the company, you may terminate the deal. The label may also put such a clause in concerning a band member.

I hope this information was useful for you.

Knowing some basics about the realities of recording contracts before you get involved with them can save you a lot of grief down the road. Remember, record company lawyers have a reason for every clause in their contracts — so should you.

ACCOUNTING The label’s responsibility is to report financially to you (reports to artists usually occur every six months; i.e., if an accounting period lasts from January till June, the label will report to the artists approximately in September).

ASSIGNMENT The record company’s right to sell the contract. Majors sometime shuffle acts around from one affiliated label to another within

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Website: nolalouise.com Social: @whereisnolalouise Available on Amazon

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http://www.jasonpierreitaly.com/

Bringing luxury and class from the culture of Nola to the fashion scene.

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JASON TRAVIS PIERRE LOCATION:

NEW ORLEANS LOUISIANA

35years 28

Who is Jason Pierre?

What steps did you take in getting to the point you’re at now?

Jason: Jason Pierre is an entrepreneur

Jason: The steps I took to get to this point is trusting God and believing myself, because at the end of the day no one cares about you only about what benefits them so protecting my energy was key.

When did you start your career?

Jason: I officially started my music career in 2008 as a producer, after being introduced to a program called fl studio from a band brother named lance Hughes.

Who would be your ideal artist to work with?

Can you compare your style to anyone in the game right now?

Jason: If I could work with any artist, it would be Jay Z for business knowledge and Kanye West to upgrade my sound library.

Jason: I can’t really compare my style to anyone in the game because I’m a game changer, and I feel like that’s something the people can have fun with doing.

Any upcoming projects?

Jason: My next music project will be called Clear Smoke no set date on release but it’s already done and will be on all streaming platforms sometime late 2020.

What would you consider your recognizable track?

Jason: My most recognizable track far as numbers is I thank you lord and God is good.

What is your ultimate career goal?

Jason: My ultimate goal is to become a respected entrepreneur and uplift as many people as possible.

At this point, what is going on with you?

Any deals?

Jason: At this point, I don’t see music as a money maker and I’m not trying to sign any 360 deals, so I started a designer brand called Jason Pierre Italy and a hiphop YouTube show called N2 Nola Hiphop show. I am also finishing school to become a professional massage therapist.

For more information on my music visit www.jasonpierreitaly.com search Jason Pierre on all streaming platforms Jason Pierre/JP on SoundCloud ig:@jasonpierremusic and www.reverbnation.com/ n2itpierre

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ISSUE 23

RELEASE PARTY

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