ihe magazine issue 11

IHE MAGAZINE | SPRING 20152

SPRING 2015 |IHE MAGAZINE 3

IMPERIAL HUSTLE MEDIA

I have published The Resource and now the newly formed IHE for a long time and I have been ques-tioned on why I continue. I am not the largest or the most popular or even the best publication to most. The bottom line is we are the only ones that do what we do the way that we do. Topics that we have covered, people are either taken back by the information provided or it’s over their head; either way it is being processed. To be different and to be original is important to me in a world that is full of so much compliance, blind following, and mimick-ing. People prefer not to ask questions that pertain to the world around them they just take what is given to them as a blind truth. I never wanted to be like any other urban magazine. In many ways we appear the same, but that’s only the surface. We create something that draws you in and gives you the allure of the urban feel you look for in a publication, the content changes once you start reading deeper within the pages. I offer what I have and that’s the information I find profound. I share it with the readers because I feel they have a right to know what exists beyond the bounda-ries of traditional media. When I first started The Resource Magazine, I wanted to create a magazine that catered world events and cutting edge news to the urban community because I felt that they had a right to know. I felt that these subjects were

What we are bringing to the table is something unique. We pride ourselves not only on the infor-mation that makes an Artist or Reader more aware about the Music Industry, but an emphasis about the world around you. Being passionate about the music that you put into the world is important, being able to relay that to people is important as well. What is of equal importance is the content

that goes into what you create.

Cory AustinEditorialPublisher

Editorial

our contributorsMagazine TeamPublisher: Imperial Media DesignT. 760.712.4374 E. [email protected] Director: Cory [email protected] Editor: April [email protected] Relations:: Shannan LoewyE. [email protected]:Glare PhotographyE. [email protected]:Rahman JamaalW: www.rapforceacademy.orgSonia BarrettE. [email protected]

not being addressed within our communities, our households and educational system. What you will find is our publication is small in size with very little advertisement and packed full of articles and in depth Artist interviews. Many times I have questioned my reasons for push-ing on and still doing this. Imperial Hustle as a Company I had never seen only about the money, fame, power or any of the vanity that comes along with exposure and building a brand. I have a strong sense for understand-ing these techniques, but this was more about sharing the information. Each One Teach One. In return I did my part of contributing in giv-ing what I could to make particular concepts move forward on a greater plan governed by the Universe. As far as this issue, I hope you enjoy great interviews with Emerson Windy and Kanary Diamonds who both give in depth knowledge on the benefits of being an Independent Artist. Government tracking of individuals and our population as a whole, tracking and breaching of privacy, and health concerns for population control. A lot of good reading. Enjoy your Issue of IHE Magazine.

Research Team:Cory AustinE. [email protected] BanksE. [email protected] or printed media packs available on request.Sales: Imperial Media DesignT. 760.712.4374 E. [email protected]: Imperial Media DesignT. 760.712.4374 E. [email protected] Magazine is printed bi-monthly digital and print. To subscribe contact our subscriptions team on the number below.Subscriptions: Imperial Hustle Promo TeamT.760.712.4374 E. [email protected]

IMPERIAL HUSTLE MEDIAWWW.IMPERIALHUSTLE.COM


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OG ROME

ARTIST SPOTLIGHT

ebola weapona Hidden agenda

clinton wayne

F-Major

APHILLyATED &TY-STEEZ

OG Rome of the RowDogg Empire gives us inside on his claim to fame and how he hustled his way to the top.

Compilation of upcoming un-signed and independent artist that have contacted our team. We have taken the best of the best and desided to showcase a little about them.

A bone chilling look at how Biologi-cal Warfare is being used against us without us knowing.

Young African American men were treated for a non exiting disease, injected with several questionable chemicals. Even though the story is old, but the parralels between whats going on, today and 40-50 years ago. Makes Sence.Gives insight on how he went from

an artist to a Yahmaha consultant for music hard ware.

Two producers from two seperate worlds came together to create Grammy Award winning Hits.

The man with a vision and an in-credible story gives us insight on his music, thoughts and good conver-sation on national events.

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mechnisms of dukes of davillenazo bravo

ANJALI WORLD

control - ferguson

time 4 hip hop abrinaMAXIMIZINGto save our schools YOUR IDENTITY

agenda

An in depth look at the circum-stances in Ferguson and the outside perspective on America’s call to arms with Gun Laws.

Article on Dukes of Daville is an At-lanta based soul group that has in-tertwined, Hip Hop, R&B and Funk. Started with Capital Records and went Independent.

Independent artist Nazo Bravo’s exclusive article with IHE Magazine. New upcoming music.

Upcoming Artist, just finished new music video with French Montana. Kareem Williams - Interview.

Changing the way we reach stu-dents with relevant education.

Hip Hop and Latin artist that is na-tive to San Diego. Giving a full inter-view with Kareem Williams, regard-ing the fusion of the genre and the success from it.

Creating multiple streams of income within your music career of business

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idesia is a neo-soul/electronic band from Los Angeles, CA. They are extremely ex-cited to announce the release of their sec-

ond album Golden Dreams. It is available for casual listening on Soundcloud and Spotify as well as on iTunes. If you are a fan of Erykah Badu, Jill Scott, J Dilla or Hiatus Kiayote, you might enjoy idesia.

“… a band that enchants and entrances the listener with a sophisticated musical sen-sibility that infuses the effortlessly engaging ambience of its supremely polished neo-soul, jazz, hip hop and electronic inspired eclecticism with a lush, uniquely distinctive aural signature...” -next2shine.com

idesia, has brought you back to a time consisting of a mixture of soul and funk

music that brought so many different people together, just to vibe to a single

sound. A remnance of the late ninties and a signature of feel good music. Idesia brings a modern day Erykah Badu, with a little Jill Scott or India Irie.

A talented group of musicians that have a melodic sound that could be related to the legendary roots , yet, this team has definitly made a mark of their own. With strong lead vocalist and a jazz, sul feel. We would strong-ly advise anyone to go check out the new album Golden Dreams, if you like grown, so-phisticated music.

AJ Suede is a producer/emcee from East Harlem, New York by way of East Stroudsburg, Pennsylvania. His FREEMINDS Col-lective was founded in collaboration with videographer Omar

Jones, Owen Jones and Connor Brennan. The collective is a platform that promotes art and creativity with a DIY mentality and beer. With sample-heavy production inspired by a multitude of genres, Suede continues to produce every track in order to build every song from the ground up.

His first project, Gold and Water, combined hip-hop with dubstep, chillwave and jungle elements. The result was avant-garde approach to contemporary rap music. His second project, Gold and Fire, is part 2 of a 4-part quadrilogy based on the elements water, fire, earth and air. Each element inspires a different style of production. With 5 mu-sic videos to accompany the release of Gold and Fire, the FREEMINDS Collective continues to build anticipation through quality audio/vis-ual projects. “Watch Me Build a Pyramid” is the first single and visual from the upcoming Gold and Earth album.

MUSIC INSIDER:

IDESIAMUSIC INsiDER:

AJ Suede



Virginia native Young Haven is cut from a different cloth. Citing music veteran and heavyweights The Clipse, Timbaland, The Neptunes, and Missy Elliott as influences, this hip hop artist has the markings to be the next big thing out of Virginia. His smooth melodies and catchy R&B-driven hooks com-plement his biting delivery, all evident in the upcoming release of his mixtape “A King Without A Crown.”

From falling for female wiles (“My Girl”) to the anticipation of catching her atten-tion (“Worked Up”) to going in aggressively

on others in true hip hop form (“I’m Wildin”), Young Haven’s body of work showcases a fledgling rapper who’s ready to leave a mark in the game.Young Haven was recently fea-tured in digital outlet Vents Magazine where I enjoyed his music so much I decided to represent him! The magazine’s interviews include a wide range of mainstream artists and music icons like Big Daddy Kane and Dionne Warwick. Here, the rapper opens up about the challenges finding success in a city conquered by Pharrell Williams, his musical upbringing, and the creative process behind his upcoming EP.

Thus far in the run-up to his EP debut, MONEY $ LAYNE Wanted to come back in the new year with the movement

that stared it all for him , this time he gather some of his crew and affiliate and took off to the BOOTH, HE RETURNS BACK WITH “””STILL REPPIN”””” HIS “rep my city” 2014 won ac-claim from the COAST 2 COAST DJS reader-ship. Hoping to continue that streak, the TENNESSEE, returns to our front STAGE with another fresh BANGER, MONEY LAYNE spits some characteristically DOPE BOY bars over The HEAVY BASS production. FEAT -JOHNNY CASHVILLE, KILLAH, And SOS.

With Money Layne’s “I Rep My City” here’s some more southern flavored trap for your Tuesday morning. This beat is tough as hell and Money Layne skates all over it. The Ten-nessee native is poised to do big things in 2014. Keep your eyes out for Money Layne and crew in the future…

Da$H was born in the heart of Chicago. He grew up playing sports, but would soon begin to channel his thoughts and energy into poetry. After years of practice and writ-ing, Da$H knew that he wanted to create po-etry for the rest of his life. He began experi-menting with music and fell in love. Hard. Since that moment, he Da$H has done eve-rything in his power to continue to advance and develop his skills, and the proof is in the pudding.

In 2011 he assembled his first band that would consist of drums, guitar, piano, bass, trumpet, saxophone, violin, and a female vocalist to accompany him: Da$Htone was born and their music was unheard of. Draw-ing influence from artists such as Lupe Fiasco, Immortal Technique, John Legend, Lauryn Hill, Jack Johnson, Citizen Cope, Amy Wine-house, and Blu; their melodies were honest and pure promoting love, peace and under-standing. “If violence is the answer, than the question, it was wrong anyway. Let’s build something great. There’s never been a limit on what love will create” – Felix by Da$Htone.

I really appreciate every fan I have and would like to thank you for visiting Dashtone.com. If there’s anything at all you’d like to ask or just say to me, feel free to view my con-tact page and get at me whichever way you’d prefer. One love.

www.Dashtone.com [email protected] https://www.facebook.com/Dashtone-

Musichttps://www.twitter.com/dashrap

MUSIC INSIDER:

INDUSTRY INSIDER:

Money Layne

YOUNG HAVEN DASHTONE


ROW DOGGS ENTERTAINMENT

IHE - Give us a little bit of background of where you are hailing out of and when you first realized your passion for music?

OG Rome- Thank you for having me, I wanna let the people know that, Aint no business like Rowdogg Business! I’ve been doing music since 9th grade and I’ve been recording music for 9 years, going into my 10th year. They say you get famous after 10 years and I’ve been grinding since day 1, never took a day off. I have a whole empire we build through heart, strength and moti-vation and leading by example. We started

off in Inglewood, CA our first year when we made the group, I was actually a solo artist. The homeboy Cali had Rowdoggs already established but they were a part of a little camp and then I started rapping with them and they recruited me. One of the members went to another group and I just took over all of Rowdoggs. It started off with me and Cali, and it took initiative to invest money in the camp and before you know it we dealt with J2 Graphics, he does graphics for everybody from Snoop Dogg, Kendrick Lamar, Problem, everybody. He’s part of the Rowdoggs and he’s located overseas. I hooked up with him

and from there it was game over. After a year, me and J2 connected very well online on Facebook and I made him part of the Row-doggs and everybody started coming to-gether. I met DJ Chadillac which is one of my beat makers, producers and my video filmer and he has credits with Deal or No Deal, The Price is Right, Extreme Makeover Home Edi-tion; so he does a lot of the TV shows we watch at the moment. I hooked up with him and he did my first 2 videos and after build-ing a relationship with him I made him one of the Rowdogg members and from there it was easier connecting with other people

Curabitur euismod, metus at feugiat consectetur, dolor felis blandit massa, ut posuere est turpis consequat tellus.



ROW DOGGS ENTERTAINMENT

and trying to feed them my dream and have them jump on my team because I was work-ing with industry professionals the first year that we started. The first year we started, we started doing shows with famous people. I couldn’t even catch an adlib and I’m out here doing shows with big people. My first show was with Mack 10 at the Key Club and from there we just started knocking them down

left and right and making industry connec-tions.

IHE - With yall hailing from Inglewood, what was the music scene out there poppin’ like? Did you feel the competition was going fierce for you or were you able to make your own lane with what you were doing?

OG Rome – Competition wise, the only competition you have in the game is your-self because you aren’t competing against nobody but yourself to better yourself and work on your craft and only you can make something out of your talent. As far as oth-ers, you cant sit there and try and compare yourself to them because that’s their grind, their hustle, their connections. A lot of those people are born into the industry with family connections, uncles and cousins. As far as us and me, I came into the game with no direc-tion. I spend a lot of my time doing the wrong things trying to get to where I wanted to be. I see a lot of people I grew up with, Cali Swag

District, I use to coach them when I use to play football. When I was a senior they were sophomores, they did good. They were the first ones from Inglewood and around my era that blew up with their hit single ‘teach me how to dougie’. I’ve seen them grinding and that motivated me to put more money into my dreams because it takes money to make money and if you want to work with bosses they gotta know you bringing something to the table because everybody’s talented, everybody raps, but not everybody puts in the hard work. I found it easier to make my own lane by making the industry find me. I use to go out there and support everybody and try to give to the music industry but be-fore I knew it I started making my own name during that time where it was easier for me to just work on me and my team and pro-vide services and that was the reason a lot of Dogg Pound and a lot of people we know started hitting us up, because we had ser-vices. That’s how it started, it wasn’t about competition, it was about making my own

I use to go out there and support everybody and try to give to the music

industry but before I knew it I started making

my own name during that time where it was

easier for me to just work on me

“ “

The homeboy Cali had Rowdoggs already established but they were a part of a lit-tle camp and then I started rapping with them and they recruited me.


ROME

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name and my own lane.

IHE - Did you plan for Rowdoggs to inte-grate into different industries or did things just play out that way?

OG Rome – I planned it, everything about me is planned out. The problem is, sometimes you just don’t have the resourc-es to get what you want out so you have to take baby steps. One of the steps was to first know that I can do shows, book shows, be able to engineer my whole camp and once that started getting easier then I could gam-ble that and time. Time is my enemy; time is mostly everybody’s enemy. Once I figured out that I could do that and do this, I wanted to do more. I was like, I want Hydro girls in my video but I’m not going to go out and

The problem is, sometimes you just don’t have the resources to get what you want out so you have to take baby steps.

““

pay for girls. So I was like, you know what, I’m going to make my modeling agency, recruit a couple girls and from then people are go-ing to see and the girls are going to recruit more and that’s exactly what has happened. You don’t have to pay people to do things for you, at the end of the day, money comes and goes but history will always be remembered. What we try to do, my team, my players, is provide services and wait for them to better themselves by building a resume.

Listen to the Full interview at www.imperialhustle.com



You don’t have to pay people to do things for you, at the end of the day, money comes and goes but history will always be remembered. What we try to do, my team, my players, is pro-vide services and wait for them to bet-ter themselves by building a resume.


CLINTON WAYNEKING OF THE DESERT

“ First Off, Im Me. I Dont Rap To Entertain, I Rap To Inspire.”



We would like to revisit IHE with an artist that brings so much more than just music to the table, but a train of thought for the younger generation. Even though this is our second interview with Clinton Wayne , Clinton has been a seasoned vet with in the music busieness long before IHE Magazine had hit the scene. His written body of work speaks volumes, just to give a brief run down on who he has worked with; Platinum Selling producer J. Wells, two projects with 2 Grammy Award Winning Producers. Being selected for national tours with Snoop & Kokane. Wayne has solitified songs featuring top R&B artists such as Bobby V & Ne-Yo... His recent project Bipolar features, Billboard #1 Art-ist G.Malone, Platinum Selling Artist Daz Dillinger, Phil Tha Agony, Timbalands artist Smoke-E, Super Producer F-Major, Verbal & More... As we had the chance to sit down and speak with Clinton, we get insight on his mu-sic, new projects, perspectives of the state of America and what keeps him moving.

IHE: Tell us what the reception and after affect was after dropping the Bi-Polar mix tape?

Clinton Wayne: Bi-Polar, I still haven’t released it without the DJ but the people that have heard it with the DJ have been contacting me wanting to know how to buy a physical copy. The reception has been well re-

ceived, but I didn’t want to drop it without finishing up the documentary that is coming along with it.

IHE: Bi-polar has been released but not officially the way that is supposed to. Bi-polar is a phenomenal mix tape, I advise anyone who has the ability to get on the net go to Datpiff.com and really check this brother out. That mix tape is really thorough really put together. What you’re doing with the bipolar mix tape and the documentary going together that is something that is really unique, it’s different than what you usually hear about with people releasing new projects. How did you come up with the idea?

Clinton Wayne: A lot of people nowadays, everyone wants to rap. You need to stand out. Since everyone is doing this, to set myself apart to the consumer I need to put a movie with it too. When you put the CD in you can stick it in and have a DVD or a CD at the same time. As far as what the Bi-Polar documentary is about, its kinda just following me from since I was a child in my hometown of Barstow, CA, and then following me to LA and little excerpts of this and that, with certain people speaking on me and letting everybody get a look into my life because I’m not the type of person that flaunts. I don’t smoke and I don’t drink so a lot of people don’t understand me as a person, so with that being said


“

“

Bi-Polar, I still haven’t released it without the DJ but the people that

have heard it with the DJ have been

contacting me wanting to know how to buy a

physical copy.



people get to see me in my element and get to see behind the scenes of a person that is a rapper.

IHE: What is your take on being able to stay so focused and keeping your mind clean in a game that emulates and glorifies a lot of poison?

Clinton Wayne: First off, I’m me. I don’t rap to entertain, I rap to inspire. Second thing is, for me to say that I’m the realest in my

music, I have to be that. My rap name is my government name. I don’t drink because of the way that I was raised. My father was an alcoholic and I saw things I shouldn’t have been exposed to as a child and I said to myself I don’t want to be that when I grow up. As far as the smoking, I have asthma and I never was intrigued by the weed or whatever. I sold, but I’ve never used it. I don’t subscribe to what people say you need to do to be successful. I don’t have

to be a winner all the time because when you lose, you learn and you become a better person. So I don’t mind losing sometimes be-cause in the end I can be victorious when I express myself to ya’ll.

IHE: What kind of stuff can people expect from this project that you’ve been working on? Tell us a little background and in-sight on what it’s all about?

Clinton Wayne: Basically the new project is untitled. Bi-polar is about to drop but I’m working on an official album that’s unti-tled. You’ve heard me talk the streets, and you’ve heard everyone glorify it but I feel like I need to be more inspirational. Kids nowa-days need role models and I don’t think Artist are doing their job

because they don’t understand that being an Artist you become a role model. I feel me as an Artist, I hold the same credibility as a teacher, as a preacher, counselor or whatever because people look up to you. So if I hear something and I say something I want to make sure if anything happens to you its not because I influenced that. Right now I’m on a mission, when it comes to the lyrics I see everyone talking all that and I don’t subscribe to the theories that everyone is as dope as they say they are. I’m coming as a fan and a battle rapper, but I’m going to be speaking that real. I want to make sure every song hits and the melody hits you into your soul and I’m just going to inspire people because if everything is nega-tive somebody has to do something that’s positive.

IHE: Let some of these people know the come up that Clinton Wayne had to do to make him the man right now.

Clinton Wayne: I grew up in a home where my father was an

alcoholic, Ive seen domestic abuse happen, I’ve seen my brother as a youngster get shotguns put in his mouth. I shot my first gun when I was four years old, that’s nothing to glorify, and that’s just a bad thing. I’ve seen this type of violence with people getting killed as a kid. I grew up and I was angry that led to us stealing, robbing people, stealing cars and a lot of gang activity. I got kicked out of every school I attended, something we cover in the Bi-Polar. Eve-ryone knows I caught the fed case, feds had me in Denver, Min-nesota and Florida polygraphing me, making sure I wasn’t the per-son making weapons of mass destruction. I failed all of the tests and was sentenced to 15 to life and they tried to pin murders on me. I struggled a lot to the point where I gave up on myself and even attempted suicide. Luckily my girlfriend at the time caught me when my eyes were going behind the back of my head and I was leaving this earth and they saved me in time. I had a purpose,

one thing that I found that was weighing me down, that weight that anchor and not in the sense of something positive, were the people that I surrounded myself with. Once I got locked up, every-body that was real and all my “niggas” disappeared. That gave me a chance to breath and once I stepped outside of that cell I moved forward in life. I didn’t need friends because I had my self. I didn’t need friends because I had my soul. I didn’t need friends because I had my mind and I knew that I could do anything.

IHE: That’s powerful man, a lot of brothers can’t get that point of understanding when they get that low.

“

“

I Didn’t Need Friends

Because I Had Myself. I Didnt Need Friends Because I Had

My Soul


Clinton Wayne: I want to give a shout out to my homeboy, Len-ny Allen Lentz. I was 15 years old I was sleeping in the desert on the ground because I had left home because I was getting hands put on me for dumb stuff. I’ve been homeless, I was eating out of homeless shelters, and I was eating out of trash cans. I really hit rock bottom. I can sit up here and glorify the streets, I can glorify the dope that I moved, but all you are gonna understand is move dope and get money but I struggled. I want to be real, I don’t want to be the one to glorify something that isn’t gonna make you be-come anything.

IHE: I want to get your take on some of the things that have been going on in the media. We’ve had everything from Trayvon and countless amounts of brothers that have been murdered

since then by a lot of cops and the Armed Forces. Now you have the Mike Brown situation that’s really popping off in Ferguson. It took a while for celebrities to get involved, I don’t know whether that’s good or bad, but as far as perspective, how do you see this whole situation and what is your outtake on what is going on right now?

Clinton Wayne: When I look at the whole Ferguson situation, I think it’s a travesty. I think things are getting taken out of line as far as law enforcement goes and it seems like there aren’t any rules anymore for people that have that “badge”. A lot of people say we

need to start with each other with the black on black violence. Hell no man. That’s something totally different; black on black violence is considered a crime. When you killing and you are the crime stoppers you are the law and you are suppose to be protecting and serving, that’s not the same thing. Your job is to stop the bad guy but you are the bad guy and you don’t have to be accountable

to anything. I’m glad people out there in Ferguson are standing up for their rights.

IHE: Clinton, its been a real good chop brotha, anything you

would like to close out saying or shout outs before we close it up.

Clinton Wayne: Oh definitly, man its been such a pleasure to sit with yall. I honestly would like to say even though I had plenty of hardships, I have to credit my mother and sisters for constant encouragement & support throughout this journey, both morally and financially. I also thank my grandma and the rest of my family for motivation. I cant forget my community as well for all the sup-port...Ya’ll know I do this for the desert and at the end of the day, i’m always going to rep Barstow to put my city on the map.

Listen to the full interview at:www.imperialhustle.com





EBOLA WEAPONSECRETS BEHIND THE

UPDATE: As I read this notice from ClinicalTrials.gov, a service of the US National Institutes of Health, the US Government and Pharmaceutical corporations have been conducting ebola tests on humans.http://clinicaltrials.gov/show/NCT02041715

This is official confirmation of Dr. Boyle and Dr. Brod-erick’s reports that the US government has conducted ebola experiments. Perhaps the vaccine was not effec-tive, and those on whom the experiment was conduct-ed came down with ebola and perhaps also employees in the US bio-warfare laboratories located in Africa where the experiment was conducted.

It appears that the test consists of giving an ebola vaccine and then exposing the unaware person to ebola, apparently an engineered version for bio-warfare. Whatever the tests are, it is clear that Boyle and Broderick in their articles below are correct that experimentation with ebola by the US government is underway.

Two Scientists Say Ebola Originated In US Bio-warfare Lab

Experts have brought to the public’s attention that ebola is a genetically modified organism developed in US biowarfare laboratories in Africa.

In the two articles below reproduced from Tom Feeley’s Information Clearing House (a good site worthy of your support), Dr. Fran-cis Boyle of the University of Illinois and Dr. Cyril Broderick of the University of Liberia and the University of Delaware provide their fact-based as-sessments. Dr. Boyle drafted the Biological Weapons Anti-Terrorism Act of 1989, the US implementing leg-

islation for the 1972 Biological Weapons Convention.

For speaking out, both Boyle and Broderick will be viciously attacked by the US print and TV media. Re-member the case of Gary Webb who exposed the CIA’s drug-running that supported the Contras in Nicara-gua. The cocaine that launched the War on Drugs was brought in by the CIA.http://www.opednews.com/ar-ticles/WPost-s-Slimy-Assault-on-G-by-Robert-Parry-CIA_Cocaine_Gary-Webb_Journalism-141018-836.html

These are the URLs for the articles by Dr. Boyle and Dr. Broderick:

http://www.informationclearinghouse.info/arti-cle40012.htm

http://www.informationclearinghouse.info/arti-cle40013.htm

See also: http://www.lewrockwell.com/2014/10/no_author/its-the-worse-strain-of-ebola-ever/

US Bio-warfare Laboratories in West Africa Are The Origins Of The Ebola Epidemic

Could Ebola Have Escaped From US Bio-warfare Labs? American law professor Francis A. Boyle, an-swers questions for tvxs.gr and reveals that USA have been using West Africa as an offshore to circumvent the Convention on Biological Weapons and do bio-warfare work.

Is Ebola just a result of health crisis in Africa – be-cause of the large gaps in personnel, equipment and medicines – as some experts suggest?

That isn’t true at all. This is just propaganda being put out by everyone. It seems to me, that what we are dealing with here is a biological warfare work that was conducted at the bio-warfare laboratories set up by the USA on the west coast of Africa. And if you look at a map produced by the Center of Disease Control you can see where these laboratories are located. And they are across the heart of Ebola epidemic, at the west coast of Africa. So, I think these laboratories, one or more of them, are the origins of the Ebola epidemic.

US government agencies are supposed to do defen-sive biological warfare research in these labs. Is there any information about what are they working on?

Well, that’s what they tell you. But if you study what the CDC and the Pentagon do… They say it is defen-sive, but this is just for public relation purposes than anything. It’s a trick. What it means is what they de-

cide at these bio-warfare labs. They say, “well we have to develop a vaccine”, so that’s their defensive argu-ment. Then what they do is to develop the bio-warfare agent itself. Usually by means of DNA genetic engi-neering. And then they say, “well to get the vaccine we have to develop the bio-warfare agent” – usually by DNA genetic engineering – and then they try to work on the vaccine. So it’s two uses type of work. I haven’t read all these bio-warfare contracts but that’s typi-cal of the way the Pentagon CDC has been doing this since at least the 1980’s. I have absolute proof from a Pentagon document that the Center of Disease Control was doing bio-warfare work for the Pentagon in Sierra Leone, the heart of the outbreak, as early as 1988. And indeed it was probably before then because they would have had to construct the lab and that would have taken some time. So we know that Fort Detrick and the Center for Disease Control are over there, Tulane University, which is a well-known bio-warfare center here in USA – I would say notorious for it – is there. They all have been over there.

In addition, USA government made sure that Liberia, a former colony of the USA, never became a party to the Biological Weapons Convention, so they were able to do bio – warfare work over there – going back to 1980’s – the USA government, in order to circumvent the Biological Weapons Convention. Likewise, Guinea the third state affected here – and there is an increase now – didn’t even sign the Biological Weapons Con-vention. So, it seems to me, that the different agencies of the US government have been always there try to circumvent the Biological Weapons Convention and engage bio-warfare work. Indeed, we had one of these two lab bio-warriors admit in the NY Times that they were not over there for the purpose of either screen-ing or treating people. That’s not what these labs are about. These labs are there in my opinion to do bio-warfare work for different agencies of the US govern-ment. Indeed, many of them were set up by USAID. And everyone knows that USAID is penetrated all up and down by the CIA and CIA has been involved in bio-warfare work as well.

Are we being told the truth about Ebola? Is that big outbreak began all of a sudden? How does it spread so quickly?

The whole outbreak that we see in the west coast of Africa, this is Zaire/Ebola. The most dangerous of five subtypes of Ebola. Zaire/Ebola originated 3500 km from the west coast of Africa. There is absolutely no way that it could have been transmitted 3500 km. And if you read the recently published Harvard study on the DNA analysis of the west Africas’ Zaire/Ebola there is no explanation about how the virus moved there. And indeed, it’s been reported in the NY Times that the Zaire/Ebola was found there in 1976, and then WHO ordered to be set to Porton Down in Britain, which is the British equivalent to Fort Detrick, where


they manufacture all the biological weapons for Britain. And then Britain sent it to the US Center for Disease Control. And we know for a fact that the Center for Dis-ease Control has been involved in biological warfare work. And then it appears, at least from whatever I’ve been able to put together in a public record, that the CDC and several others US bio-warriors exported Zaire/Ebola to west Africa, to their labs there, where they were doing bio-warfare work on it. So, I believe this is the origins of the Zaire/Ebola pandemic we are seeing now in west Africa.

Why would they do that?

Why would they do that? As I suggested to try to circumvent the Biological Weapons Convention to which the US government is a party. So, always bio-warriors do use offensive and defensive bio-warfare work, violating the Biological Weapons Conven-tion. So effectively they try to offshore it into west Africa where Liberia is not a party and Guinea is not a party. Sierra Leone is a party. But in Sierra Leone and Liberia there were disturbances which kept the world from really paying attention of what was going on in these labs.

USA sent troops to «fight» Ebola. What do you think about that move?

The US military just invaded Liberia. They send in the 101st Airborne Division to Li-beria. That’s an elite division of combat and they have no training to provide medical treatment to anyone. They are there to establish a military base in Liberia. And the British are doing the same in Sierra Leone. The French are already in Mali and Sene-gal. So, they’re not sending military people there to treat these people. No, I’m sorry.

Weren’t they afraid Ebola’s going to go out of control even in the USA or EU in a massive way?

It’s already gone in the USA and the European Union. So, there it is. Which raises the question: Was this Zaire/Ebola weaponized at any of these labs? I don’t have an answer to that question. I am trying to get an answer. And therefore it is much more dangerous than the WHO and the CDC are telling everyone. The WHO and the CDC are up to their eyeballs in this. They know all about what ‘s going on. It was the WHO that ordered the original Zaire/Ebola in 1976 to be sent to Porton Down for biological warfare purposes. So this could be more dangerous than the WHO and the CDC are saying.

And you can’t believe anything they telling you because they are involved in that. But certainly I can’t say it has been weaponized. I don’t know that yet for sure. I have the Harvard genetic analysis of it. When I was in college I had very good courses in ge-netics, and biochemistry and population biology but I am not a professor of genetics. I have a friend who is a professor of genetics and he is going to take a look at this and try to figure out if there’s been DNA genetic engineering perpetrated or performed on the Zaire/Ebola. Is there a genetically modified organism at work, a GMO? I don’t know. But if a GMO is at work that’s a pretty good sign it’s been weaponized. But in anyway, it is far more dangerous than the CDC and the WHO are telling anyone, because it’s clearly transmitted for a certain distance – we don’t know how far – by air. Breathing and coughing and sneezing. So, anyone treating people, seems to me, are going to need not only a protective suit but probably a breathing apparatus, at minimum. And you saw what happened to that Spanish nurse and that Spanish priest that were brought in, infected with Ebola. So right now the WHO and the CDC are telling healthcare workers that in addition to suits they need breathing ap-paratuses. So, again, I don’t believe you can trust anything the WHO or the CDC are telling you. And I really don’t know about the European Health Agency… If they‘re believing the WHO and the CDC then, in my opinion, they ‘re not properly protecting the health of the European people. And it’s simply bizarre that the CDC and WHO are relegating the screenings to the people in west Africa. It’s just bizarre. They need to be protecting health of their own people and they aren’t doing that. I read some of the European press but I’m not sure precisely what the European Health Agency is recommending but they certainly can’t rely upon the WHO and the CDC. As for Greece, I know you have your own Health Ministry there and they cannot rely upon them at all, as well.

Some experts told recently the Forbes magazine that even ISIS could use Ebola as a biological weapon. I would like to have your comment on that.

This is total propaganda. These people are trying to distract public opinion from the fact. My opinion is that the origins of the current pandemic came out of the USA bio-warfare labs in west Africa. That’s what is going on here. ISIS has nothing to do with this. That’s just propaganda which is trying to scare and distract public attention away of what really is going on here. They doing the same thing here in USA. That’s what we need to concentrate on. Number one. And number two? We have to find out: was this Zaire/Ebola GMOed by either Porton Down or CDC or these US bio-warfare labs? It is far more dangerous than it currently appears. That’s the real issue. And I don’t have an answer to that question. It was the US government labs that research here. I’m not saying that Ebola was released deliberately by these labs. I have no

evidence to that. It could have escaped. But this is really what we need to be focusing on. Not ISIS. It’s ridiculous, it’s preposterous.

What do you think should be done?

I would encourage the Greek government to convene an emergency meeting of your top health science people and to look into this on comprehensive bases and figure out what to do under these circumstances to protect the health of people of Greece. In particular they must not believe anything they are being told by the WHO and CDC. There is a need of open objective minds here about what is really going on. I think this needs to be done.

Back in 1985, I was down in Nicaragua investigating atrocities of the Contras there and all of a sudden the country was hit with an outbreak of a hemorrhaging Dengue Fever which is similar to Ebola. And it seemed pretty suspicious to me. So I met with some of the highest level officials of the Nicaraguan government and said: “you know, this very well could be US bio-warfare against Nicaragua. They did the same thing to Cuba. And my advice is you convene health care medical experts, not politi-cians, to look into this. And if you agree with me and that’s the result, file a complaint with the UN Security Council for violation of the Biological Weapons Convention against the USA”. And eventually that is what they did. Here I am not recommending the Greek authorities to file a complaint against the USA. What I am recommending is the same thing I did to the Nicaraguans. That you need to convene some of your top experts geneticists, doctors, etc.

And don’t get anyone in this group who has ever done any type of research for any agency of the US government. They are completely unreliable. Get Greeks experts completely independent of the US government or the British government. It’s funny here in the USA when the media want to get experts on this, all the experts they talk to are people who have done biological warfare work for the USA. And they are up to their eyeballs on this Ebola. And doing research on this Ebola. Of course they’re not going to give you proper advice. So, find this experts and make sure they never done any research for USA or Britain on any of this stuff but are qualified and can give you a qualified opinion of what is really going on and how dangerous this stuff is. And then aim to protect the health of Greek people. You definitely don’t have to wait for the European Union in Brussels to do it for you. I’m not telling Greece what to do. I’m just telling you how to do it. And this should be done immediately. It should have been done already. But ok, better late than ever.

Francis A. Boyle is a leading American professor, practitioner and advocate of interna-tional law. He was responsible for drafting the Biological Weapons Anti-Terrorism Act of 1989, the American implementing legislation for the 1972 Biological Weapons Con-vention. He served on the Board of Directors of Amnesty International (1988-1992), and represented Bosnia – Herzegovina at the World Court. Professor Boyle teaches international law at the University of Illinois, Champaign. He holds a Doctor of Law Magna Cum Laude as well as a Ph.D. in Political Science, both from Harvard University. He is also the author of “Biowarfare and Terrorism”. The book outlines how and why the United States government initiated, sustained and then dramatically expanded an illegal biological arms buildup.

Ebola Is A GMO Product Of US Bio-warfare Laboratories

Dr. Cyril Broderick

Dear World Citizens:

I have read a number of articles from your Internet outreach as well as articles from other sources about the casualties in Liberia and other West African countries about the human devastation caused by the Ebola virus. About a week ago, I read an article published in the Internet news summary publication of the Friends of Liberia that said that there was an agreement that the initiation of the Ebola outbreak in West Africa was due to the contact of a two-year old child with bats that had flown in from the Congo. That report made me disconcerted with the reporting about Ebola, and it stimulated a response to the “Friends of Liberia,” saying that African people are not ignorant and gullible, as is being implicated. A response from Dr. Verlon Stone said that the article was not theirs, and that “Friends of Liberia” was simply providing a service. He then asked if he could publish my letter in their Internet forum. I gave my permission, but I have not seen it published. Because of the widespread loss of life, fear, physiological trauma, and despair among Liberians and other West African citizens, it is incumbent that I make a contribution to the resolution of this devas-tating situation, which may continue to recur, if it is not properly and adequately confronted. I will address the situation in five (5) points:

1. EBOLA IS A GENETICALLY MODIFIED ORGANISM (GMO)

Horowitz (1998) was deliberate and unambiguous when he explained the threat of new diseases in his text, Emerging Viruses: AIDS and Ebola – Nature, Accident or



Intentional. In his interview with Dr. Robert Strecker in Chapter 7, the discussion, in the early 1970s, made it obvious that the war was between countries that hosted the KGB and the CIA, and the ‘manufacture’ of ‘AIDS-Like Viruses’ was clearly directed at the other. In passing during the Interview, mention was made of Fort Detrick, “the Ebo-la Building,” and ‘a lot of problems with strange illnesses’ in “Frederick [Maryland].” By Chapter 12 in his text, he had confirmed the existence of an American Military-Medical-Industry that conducts biological weapons tests under the guise of administering vac-cinations to control diseases and improve the health of “black Africans overseas.” The book is an excellent text, and all leaders plus anyone who has interest in science, health, people, and intrigue should study it. I am amazed that African leaders are making no acknowledgements or reference to these documents.

2. EBOLA HAS A TERRIBLE HISTORY, AND TESTING HAS BEEN SECRETLY TAK-ING PLACE IN AFRICA

I am now reading The Hot Zone, a novel, by Richard Preston (copyrighted 1989 and 1994); it is heart-rending. The prolific and prominent writer, Steven King, is quoted as saying that the book is “One of the most horrifying things I have ever read. What a remarkable piece of work.” As a New York Times bestseller, The Hot Zone is pre-sented as “A terrifying true story.” Terrifying, yes, because the pathological description of what was found in animals killed by the Ebola virus is what the virus has been doing to citizens of Guinea, Sierra Leone and Liberia in its most recent outbreak: Ebola virus destroys peoples’ internal organs and the body deteriorates rapidly after death. It soft-ens and the tissues turn into jelly, even if it is refrigerated to keep it cold. Spontaneous liquefaction is what happens to the body of people killed by the Ebola virus! The author noted in Point 1, Dr. Horowitz, chides The Hot Zone for writing to be politically correct; I understand because his book makes every effort to be very factual. The 1976 Ebola incident in Zaire, during President Mobutu Sese Seko, was the introduction of the GMO Ebola to Africa.

3. SITES AROUND AFRICA, AND IN WEST AFRICA, HAVE OVER THE YEARS BEEN SET UP FOR TESTING EMERGING DISEASES, ESPECIALLY EBOLA

The World Health Organization (WHO) and several other UN Agencies have been im-plicated in selecting and enticing African countries to participate in the testing events, promoting vaccinations, but pursuing various testing regiments. The August 2, 2014 article, West Africa: What are US Biological Warfare Researchers Doing in the Ebola Zone? by Jon Rappoport of Global Research pinpoints the problem that is facing Afri-can governments.

Obvious in this and other reports are, among others:

(a) The US Army Medical Research Institute of Infectious Diseases (USAMRIID), a well-known centre for bio-war research, located at Fort Detrick, Maryland;

(b) Tulane University, in New Orleans, USA, winner of research grants, including a grant of more than $7 million the National Institute of Health (NIH) to fund research with the Lassa viral hemorrhagic fever;

(c) the US Center for Disease Control (CDC);

(d) Doctors Without Borders (also known by its French name, Medicins Sans Fron-tiers);

(e) Tekmira, a Canadian pharmaceutical company;

(f) The UK’s GlaxoSmithKline; and

(g) the Kenema Government Hospital in Kenema, Sierra Leone.

Reports narrate stories of the US Department of Defense (DoD) funding Ebola trials on humans, trials which started just weeks before the Ebola outbreak in Guinea and Sierra Leone. The reports continue and state that the DoD gave a contract worth $140 million dollars to Tekmira, a Canadian pharmaceutical company, to conduct Ebola research. This research work involved injecting and infusing healthy humans with the deadly Eb-ola virus. Hence, the DoD is listed as a collaborator in a “First in Human” Ebola clinical trial (NCT02041715, which started in January 2014 shortly before an Ebola epidemic was declared in West Africa in March. Disturbingly, many reports also conclude that the US government has a viral fever bioterrorism research laboratory in Kenema, a town at the epicentre of the Ebola outbreak in West Africa. The only relevant positive and ethical olive-branch seen in all of my reading is that Theguardian.com reported, “The US government funding of Ebola trials on healthy humans comes amid warnings by top scientists in Harvard and Yale that such virus experiments risk triggering a worldwide pandemic.” That threat still persists.

4. THE NEED FOR LEGAL ACTION TO OBTAIN REDRESS FOR DAMAGES IN-CURRED DUE TO THE PERPETUATION OF INJUSTICE IN THE DEATH, INJURY AND TRAUMA IMPOSED ON LIBERIANS AND OTHER AFRICANS BY THE EBOLA

AND OTHER DISEASE AGENTS.

The U. S., Canada, France, and the U. K. are all implicated in the detestable and devilish deeds that these Ebola tests are. There is the need to pursue criminal and civil redress for damages, and African countries and people should secure legal representation to seek damages from these countries, some corporations, and the United Nations. Evi-dence seems abundant against Tulane University, and suits should start there. Yoichi Shimatsu’s article, The Ebola Breakout Coincided with UN Vaccine Campaigns, as pub-lished on August 18, 2014, in the Liberty Beacon.

5. AFRICAN LEADERS AND AFRICAN COUNTRIES NEED TO TAKE THE LEAD IN DEFENDING BABIES, CHILDREN, AFRICAN WOMEN, AFRICAN MEN, AND THE ELDERLY. THESE CITIZENS DO NOT DESERVE TO BE USED AS GUINEA PIGS!

Africa must not relegate the Continent to become the locality for disposal and the de-position of hazardous chemicals, dangerous drugs, and chemical or biological agents of emerging diseases. There is urgent need for affirmative action in protecting the less affluent of poorer countries, especially African citizens, whose countries are not as sci-entifically and industrially endowed as the United States and most Western countries, sources of most viral or bacterial GMOs that are strategically designed as biological weapons. It is most disturbing that the U. S. Government has been operating a viral hemorrhagic fever bioterrorism research laboratory in Sierra Leone. Are there others? Wherever they exist, it is time to terminate them. If any other sites exist, it is advisable to follow the delayed but essential step: Sierra Leone closed the US bioweapons lab and stopped Tulane University for further testing.

The world must be alarmed. All Africans, Americans, Europeans, Middle Easterners, Asians, and people from every conclave on Earth should be astonished. African people, notably citizens more particularly of Liberia, Guinea and Sierra Leone are victimized and are dying every day. Listen to the people who distrust the hospitals, who cannot shake hands, hug their relatives and friends. Innocent people are dying, and they need our help. The countries are poor and cannot afford the whole lot of personal protection equipment (PPE) that the situation requires. The threat is real, and it is larger than a few African countries. The challenge is global, and we request assistance from every-where, including China, Japan, Australia, India, Germany, Italy, and even kind-hearted people in the U.S., France, the U.K., Russia, Korea, Saudi Arabia, and anywhere else whose desire is to help. The situation is bleaker than we on the outside can imagine,

and we must provide assistance however we can. To ensure a future that has less of this kind of drama, it is important that we now demand that our leaders and governments be honest, transparent, fair, and productively engaged. They must answer to the people. Please stand up to stop Ebola testing and the spread of this dastardly disease.

Thank you very much.

Sincerely,

Dr. Cyril E. Broderick, Sr.

About the Author:

Dr. Broderick is a former professor of Plant Pathology at the University of Liberia’s College of Agriculture and Forestry. He is also the former Observer Farmer in the 1980s. It was from this column in our newspaper, the Daily Observer, that Firestone spotted him and offered him the position of Director of Research in the late 1980s. In addition, he is a scientist, who has taught for many years at the Agricultural College of the University of Delaware.

Paul Craig Roberts was Assistant Secretary of the Treasury for Economic Policy and associate editor of the Wall Street Journal. He was columnist for Business Week, Scripps Howard News Service, and Creators Syndicate. He has had many university appointments. His internet columns have attracted a worldwide following. His latest book, The Failure of Laissez Faire Capitalism and Economic Dissolution of the West is now available.


IHE – How did you start in finding out you had a knack for this music thing getting started?

F-Major – I always had a really strong interest in music on many different lev-els. In high school I was more into the rap side of things, I was rapping and the guy that wanted to do the freestyle thing and that side of the culture. As a result of that, one of the things about rapping is you need beats so I got into making instrumental loops by using the method on the tape deck called pause tape where you take a section and you record it onto a tape deck, pause it and then rewind it back and then record and you got a loop. That’s really how I got started getting into music production. Later on I got more interested in getting into the production side by listening to some of the producers that were poppin’ at the time when I was in high school, specifically DJ Premier, Dr Dre and Battlecat. What they were doing was amazing and I really wanted to un-derstand how they were getting the music they were getting so I started doing my homework. By the time I got to college I started to meet other musicians that were able to explain the game to me a little bit further. One of the dudes I met when I was a freshman in college put me up on the MPC3000 drum machine and he was telling me if I was going to do this beat and production thing I needed to have this. At the time I knew you needed to have a drum machine to make beats so I was just gonna get whatever rinky dink drum machine I saw that had some hip hop sounds in it. When they told me to get the MPC, I was like ok that will work, he took me to guitar center and showed me the joint and how to get down on it. I played with it the whole night and once I played with it I was like ok, this is it. I’m for sure to gonna get it, I copped it and really just taught myself how to use it to start making music with it. That was really the early beginning of my music produc-tion; buying a MPC and learning it and

really applying myself to figure out how to make something happen with it. The most important thing for me has been staying motivated to continue learning stuff. I’ve always been the type to do a lot of research and just try to figure out stuff because I didn’t have a lot of people to sit down and give me a lot of time and watch them cook so I basically had to learn how to cook on my own.

IHE – You came from the MC side of things and made that transition into figuring out the beats and loops, and training to get in the game. Was it a difficult transition for you or was it just automatic once you started getting a producer ear for things? Did the MC side just fall by the wayside or was it a difficult in-between?

F-Major – That’s a good question. Once I really started getting into the production side of things I think it was just some-thing that clicked with me, it felt more natural. Today I don’t consider myself a rapper by any mean; it’s just something I did because I thought it was fun. I was a fan of the culture and the music so it was just something fun for me to do but once I started doing the production part and getting into the loops and software instruments and what not. Once I got put onto the MPC it really just made the most sense, because then I understood this is what the top dogs are using to make

from the street and also being able to learn in the classroom and sit down and learn something there too?

F-Major – When I first started I had no real training, I didn’t play in band in high school or middle school. I basically did every-thing by ear and I felt like I was hitting a

the music like the DJ Premier, Dr Dre, DJ Quik and the people that I looked up to on a musical level. Once I started really doing it, it pretty much just changed my life because it was just like ‘this is where I need to be this is what really makes me happy’. I felt like the result I was getting out of it just satisfied me so much more than anything I could accomplish with the rap game. That’s what made me transi-tion over.

IHE – What would you say were some of the pros and cons of being able to learn

wall at a certain point because the things that I could do even though they sounded like the music I wanted to make or close to what I was thinking in my head, I knew there were a lot of things I didn’t have the capability of with the limited knowledge I had. I decided that if I’m going to do this for real it’s important for me to learn some type of music theory but it’s also important for me to speak the language so that I could communicate with other

ACCREDITED

By: CORY AUSTIN

PRODUCER F-MAJORMASCHINE Super



in the 90s a lot of the producers trying to emulate a lot of the soul music, it was re-ally based around sampling. How do you feel about that compared to what we got going on today?

something that was familiar to the cul-ture and flipping it to a new sound that was even hotter than the original sound

F- Major – I think that at least within the spectrum of hip hop, sampling is prob-ably the heart of hip hop. I think the hip hop culture has been about bringing

that we were accustomed to hearing. The sampling aspect is so fundamental to the art of hip hop that nowadays that’s what

musicians because it makes it easier to be a producer. Part of being a producer and really being able to not only make a beat but be able to communicate ideas to other individuals you may be working with in order to accomplish a finished prod-uct. It was much more helpful once I went ahead and got that knowledge studying music theory and trying to understand what exactly it is that I’m doing so that I could be more deliberate when I created my music. Everything was a lot more trial and error in the beginning but once I got that knowledge, its more deliberate and I know what I’m doing so it makes it easier to just get the ideas out.

IHE - You are known for your melodic soul funk sound that you bring in, a lot of that old school stuff that I dig too. I remember

a lot of the younger producers have lost touch with. It’s kind of like they got ahead of themselves with the creativity part be-cause it almost becomes or poses itself as a different genre then hip hop. A lot of the stuff that Battlecat or Dr Dre was doing in the later 90s and early 2000, a lot of that stuff was keyboard based or live instrumentation but it was so much sample orientated, they were replaying samples. I think those were the elements that kept it familiar and kept it soulful and grounded it to the heart of hip hop. I think it’s important that people still look back to the old music and still learn from clas-sics and incorporate it into their music because it keeps the culture alive.


“

“

Part of being a producer and really being

able to not only make a beat

but be able to communicate ideas to other

individuals you may be working with in order to

accomplish a finished prod-

uct.

INSPIRATION

sampling is probably AT the heart

of hip hop.



“

“IHE – I wanted to talk about you doing the musical consultation with the Yamaha Corporation and the different projects and sounds that you’ve developed over with them, a lot of people may not know that you’ve worked on a project as big as that. How did that all come about and what were some of the products and sounds that you developed for which machines and everything?

A lot of what’s been offerd to me in my career defi-nitely has been by the grace of god. Definitely some of the alliances that I’ve made like Yamaha and some of these other companies have just fell into my lap to some degree. I’ve been grinding, definitely had my A game on when it came with presenting myself to people with the right stuff like my resume and having my sound library available for them to listen to. I’ve done work with Yamaha, I’ve worked on the Motif ES rack, the Motif XF keyboard, I did drum sound design for them and I did demos in their keyboards. This was years back, I did that 2004 to 2007 was the last time I worked with Yamaha on their Motif XS keyboards. Later on I did work with Native Instruments, they’re a software company. They make a product called Machine and I’ve pretty much been the head sound designer for the Ma-chine product for the past 5 years. Pretty much all the sound libraries and expansion packs that have come out from that company I’ve either worked on or advised on to some degree. One of the projects that I’m really proud to have worked on with them is called George Duke Soul Treasures and this is based on the sound of the legendary composer musician keyboard player George Duke which I had the honor of recording and we captured his sound in the software form so that producers today could use that as inspiration to make new sounds with. I’ve done sound design for almost a decade now and on top of that I’ve done music cues and sound design for televisions as well. I’ve worked on a lot of cable television shows and movies as well and that really keeps me busy too. I definitely attribute that to being strong in my beliefs.

Listen to the Full interview at

www.imperialhustle.com

IHE – I know you have the production company All True West for any independent artist, unsigned artists, or just professional serious artists that want to connect with F-Major what’s the best way for them to get in contact and link up with you?

F-Major – The best way that they could get in touch with me is my website – www.altruwest.com

I check all my emails that come through that website or they can hit me up on youtube, at altruwest.

A lot of what’s been offerd to me in my career definite-ly has been by the grace of god. Definitely some of the alliances that I’ve made like Yamaha and some of these other companies have just

fell into my lap to some degree.

INSPIRATION


“I use to listen to old records back in the day from the 60s, 70s and

80s which really started my craft in being a musician.

APHILLyATEDAND TY-STEEZ

THE ART OF PRODUCING“



IHE: How long have you been producing and what got you started in the producing game all together?

APHILLYATED: I guess I can go back to about 98’ when I started the producing side of mu-sic. Man, I just kind of had a crazy opportunity to go into a studio one night. I was working with an artist at the time. He was a rapper. I had never thought of myself to be a pro-ducer or anything. I started off just wanting to be a musician. Basically I started playing the piano you know, the keys, whatever and realized I was starting to get kind of good at that and then my boy hit me up like we need to work together. So we did a little stuff on Casio keyboards, back in them days you took what you had and tried to make it work. We made it happen one night, we went to the studio and there was a beat machine. I think it was the MPC3000, that’s where I got my first start, when I made first track officially in the studio. When I heard the finished prod-uct, it came out fly! I was like wait a minute. This is me? This doesn’t even sound like me! I didn’t know I could be fly like that one the beat, I was like wait a minute this is crazy. I had some confirmation on top of it who were saying ‘man this is tight, this should be on the radio’. Of course back then, I didn’t know any better. I thought everything should go on the radio; my ear wasn’t tuned like that. To me it did sound like it had that quality and that bump. From there I kept expanding, and growing, I ran into a few independent artists and my journey has come to this point. That’s the short story.

IHE: Lace us up on what go you started Ty Steez with the whole producing and when did you first get an ear for this?

TY STEEZ: I’ve been in my music my whole life. All my family plays instruments or they sing and what not. I really caught the bug when I was playing baseball in college. I moved to LA and thought I was going to make a million dollars as soon I got out there making music. You learn as time goes on that you really got to love it and the money has to come second.

I lost touch with the money aspect of it and really fell in love with the art of it. I’ve been going the route of loving the music not just for the music for 8 years now.

IHE: For both of you, do you think the LA mu-sic scene helped to craft a particular sound as opposed to starting music anywhere else whether it me New York, Chicago, Atlanta or wherever? Do you think that geographic area helped to influence a certain way of your music or was it just pretty much an out-side source that you drew in?

TY STEEZ: I think for me being out in Califor-nia, they are so diverse. This moment right now in music, you hear a lot of West Coast radio but when I started making music it wasn’t like that it wasn’t just West Coast, it was a lot of everything. My inspiration re-ally came from actually listening to other producers like Timb, the Neptunes or Swizz. They had distinct sounds for themselves, but it wasn’t a coastal sound. It was just a production sound so that really gauged me for how I make music. Even today I still draw influence from these producers who have done it in the past rather than just doing a sound. Of course you have to be influenced by what is going on now because that’s what’s hype that’s what people want. You got to put your spin on what is happening so to speak. It was never a coastal thing for me.

APHILLYATED: For me, me and Ty have two different backgrounds. My influence started, I use to listen to old records back in the day in the 60s 70s and 80s which really started my craft in being a musician. I really didn’t have a “current influence” when I started it was more of a backtrack. These cats to me were the most brilliant cats in the world. These cats were able to come with records out of nowhere, the clear blue sky as opposed to the 80s you got into the Hip Hop movement when everybody started to sample. I wasn’t really into the sampling; I wanted to be a creator. I felt like I was an arranger, a pro-ducer, in my head I had all these thoughts that no one else was doing. I felt like being

unique was always the way to go. Of course, as I got more into the industry aspect I had to balance the two. I could be creative but I also want to be conducive with what was on the radio. So I had to put my ear to the ground and listening to, similar to what Ty said, the producers that were cracking back in them days when I started in 98’ all the way up. Of course Timberland was one, I use to follow him a lot because I thought that he was one of the most creative cats in the game. Another producer I identified with was Rodney Jerkins because he would play instruments and I did too. So I was like ‘I kinda like this cat’ based on the fact that he would pull in full arrangements into his music. I use to use strings and horns and that stuff that people weren’t really doing back in them days. I identified with that the most because for me I’m into the melodic aspect of music. The drums and stuff is always the dope thing, you know that’s what everybody likes right now, the beat and the bottom but I’m also into the melody. The melody has to be strong for me to really like the record and to me that’s what touches people, it’s always going to be the music.

IHE: If you have your preference, how do you prefer to be able to work? Where you are able to make an arrangement and then find the right type of artist to fit that arrange-ment that you’ve laid out or you sit down with an artist and work around a particular sound that they are driven for? What’s your particular preference if you have the option to choose one?

APHILLYATED: It’s a lot easier when you could work with an artist who knows exactly what they want. When you can work with someone who has an idea of their sound and their style, and then you can kind of come in and to me arrange what it is they hear. You have to realize they don’t “know how to produce” most of the time, they just kind of have an idea of what they want. My job is to take what they want and then en-hance it and take it to the next level. Some people might come in with a boom bap idea


and then I’m like how about adding this right here and adding that right there. I’m actually adding color to their vision, because all they are is a coloring book but you got to color it in, that’s the job of the producer or the ar-ranger. I kind of like that aspect the most.

TY STEEZ: I’m with FIL that’s my favorite part too. When we create, most of the time we al-ready have ideas laid out. We’ve worked to-gether for so long that most of the time we just look at each other and know that this is what we are going to make right now. When we make records, we make it for us and how we are feeling at the time and we’ll try and make it fit for an artist. That’s when we are creating. We much rather be in the studio with the artist, because it’s easy, what we do we are pretty much putting our feelings out musically. When we are with an artist, it’s easy to get a conversation with them and see where they are at in the moment with everything and compose a song from that or from an idea they already have and like FIL said, take it to the next level. Our whole job isn’t just to fit them into our records; it’s for us to fit into their idea. So how can we put our spin on their idea and still find that happy medium.

IHE: What’s the number one thing a new up and coming beat maker who wants to make

the transition into producing can do to put their best food forward.

TY STEEZ: First of all study the grades, but I would say get with a songwriter, find a songwriter, find somebody you can team up with and really go back and forth with ideas. This is just personal experience for me, but when I get with more writers or I see people who do everything like write and produce it makes me want to do more writing. I see how the process is done. When you don’t k now where to start, that’s the hardest thing, it’s to start something. When you have a foun-dation where you can start to learn how to produce because you are seeing other peo-ple do it or you’re getting tips on how to do it, it makes it a lot easier. So either interning for a producer who is actually a producer or I would say get with a song writer or someone who knows how to write records and vocal produce and learn from them. Maybe they want to produce beats and you want to pro-duce vocals, swap ideas.

APHILLYATED: On the flip side, don’t be afraid to go to school. Learn in the way to where you have some technical ability. That also helps. I’m not saying that’s the only way and usually that’s not the traditional way but there is nothing wrong with going to school and learning as well. If you are going to do it

the Hard Knock way the way that I did, it was all trial and error. I use to go up to the stu-dio, take an artist and I would invest in my-self. You have to be willing to invest in your gift and your craft, whether that’s buying the studio and being able to record an artist or a vocalist. Also too, you got to have points of reference on what a good song sounds like and what a bad one sounds like. Obviously it’s just your taste in music, everybody has different taste but whatever you believe is good, take that and study that and try and implement it in your sound. I’m not saying to bite it or copy it but I’m saying at least emu-late what you hear some of your favorites do-ing in records, that’s to me the easiest way to start. Then if you can go to school to have some technical sense that also helps so you know how to mix and master and all those things that you need to make a good record.

WEST COASTS: APHILLyATEDTOP GRAMMY AWARD WINNING PRODUCERS



“ My job is to take what they want and then enhance it and take it to the next level. Some people might come in with a boom bap idea and then I’m like how about add-ing this right here and adding that right there.

“


When we hear about chemical warfare, thoughts of tanks, chemical weapons or gas chambers may become very prevalent images in our minds. Yet, this type of war born strategy may be more ubiquitous to our local communities than we may real-ize. Many people may be familiar with the Tuskegee Experiments, Started in the early 1930’s. A process where over 500 black sharecroppers in Macon County, Alabama had been deliberately neglected treatment for Syphilis by the Public Health Service (American Health Service). Instead these men were treated for a fabricated illness described as “Bad Blood”. This experiment was being done for the primary purpose of seeing long term effects on the black race’s physical well-being and their social/sexual relations. This study had been in process for 40 years, during the early 1960’s it was taken over by the CDC (Centers of Disease Control and Prevention). During the dura-tion of the experiment the men would re-ceive hot meals, clothing and other incen-tives to be a part of health neglecting tests. In the meantime Men and Women were living infected and no one had been told until a whistle blower by the name of Peter Buxtun exposed the experiments in 1972.

Black exploitation for experimentation is nothing new. Creating loyal test subjects through the guise of public aided assis-tance, has been an old and effective tactic. An old saying goes, “You administer the problem in one hand so you can offer the solution in another”. What we are seeing here are solutions that are only creating a vast number of problems. These Tuskegee experiments never go away they just fall under a new layer with a different ban-ner. These secret procedures have become sugar coated so Black Americans can be spoon fed, the best way to hide any secret happens to be in plain sight. The practices that are taking place today are on a wide array of levels, unfortunately we are still seeing the same blind compliance without any real education on these chemical pro-cedures.

When a child or adult willingly opts in to one of the many readily available vaccina-tion clinics, pharmacies or grocery stores in the community, they have walked out unknowingly compliant to one of the many parts to a systematic black genocide. Vacci-

nation clinics in America are geographically based by the socio-economic standing of a community and become more prevalent in impoverished neighborhoods. The prob-lem isn’t only the administration of many of the vaccinations but, the failed question-ing of the contents of the vaccination itself. Many of these vaccines include Aluminum, Mercury and genetically modified products that can create detrimental side effects 10 to 20 years down the line. What has been found is that, the more popular MMR Vac-cination has been directly linked to cases of measles, seizures and Autism.

A significant relationship has been found between the widely popular MMR vaccine being administered and the Autism found prominent in black adolescence. This find-ing was uncovered by a research scientist at the Centers of Disease Control and Dr. Bri-an Hooker of the Focus Autism Foundation. The two had been able to uncover data ma-nipulation by the CDC that obscured higher incidence of Autism in African-American boys, in relation to the vaccination.

What becomes more disturbing is the In-stitute of Medicine which has been a long time front group for the pharmaceutical industry, receives tens of millions of thou-sands in annual funding from drug compa-nies and private investors annually. While the Institute of Medicine has issued re-ports that the MMR Vaccine is not linked to Autism. This comes in complete disregard of data that professional analyst have spo-ken upon and shown unwavering results. It has become imperative that Black commu-nities become more expansive with ques-tioning procedures that are applied directly towards health. Systematic White Suprem-acy exists in many forms, we have become very keen for recognizing hard oppression targeting us. “The Devil’s in the details” we have to watch for the slow turning knife being administered, because it’s what we don’t know that will mark us an early grave.

Cory Austin

@defiancethedon

A Hidden Agenda: Weapons by Chemical Warfare

an effective way for children to develop fine motor skills for the factory during the Industrial Revolution, not because educators saw any intrinsic value for developing the language of the mind and heart. Right-brain activities like rhythmic patterning & tone recogni-tion fall right in line with emotional in-telligence. Until recently, this was too difficult for exclusive left-brainers to measure. Research now shows arts-in-tegrated learning improves test scores in reading, writing, and arithmetic. As we move from a factory work-base to a digital workspace, we will need whole-brain education to solve our problems.

One cultural phenomenon is doing just that. The last decade, emcees, DJs, dancers, and visual artists have devel-oped independent methods of teach-ing their highly coveted art-forms within schools and after-school programs. To-day’s Future Sound teaches algebra through record-sampling and state-of-the-art beat-making software. Science is now taught through rap cyphers in New York. Rock The School Bells is an education conference featuring artists who use Hip Hop workshops to deliver UC standards-based curriculum that equally stimulates students and aca-demic professionals alike. Hip Hop is organically making learning personal, fun, and socially aware.

How could it not? Art teaches culture. Hip Hop is a movement of youth teaching youth in the streets, only now with some wisdom of age. The RZA of Wu-Tang Clan may have said it best at a Hip Hop Chess Federation panel: “The answers to education are there, we just need to start applying them.”

Right now, America needs to educate herself or she will be stripped of the very critical thinking tools required to main-tain independence. She is already un-der attack by those with resources who believe they know what’s best for her. But she is not being asked to comply to those standards, she is being bought out. It’s up to every parent, teacher, stu-dent, and free-thinking individual now to come up with a better answer.

Rahman Jamaal is a rap-artist, inde-pendent educator, and founder of Rap Force Academy

[www.rapforceacademy.org].



It’s Time: For Hip Hop To Save our Schools

By Rahman Jamaal

American education is at a critical turn-ing point. Culture is being stripped from our curriculum as fast as com-puters are replacing instructors under the new Common Core standards being pushed by the federal govern-ment. Humanity has entered a digital age where all perspectives are acces-sible yet teacher-student relationships are suffering. At this crucial juncture, do we allow practicality to dictate our intuitive knowledge, or is there a ho-listic approach to education that we should be implementing to prepare future generations for the challenges that lie ahead?

Schools are being tested with this question. As technology advances, so must economy. As economy evolves, so must education. If education’s main objective was to prepare us for jobs that will easily become automat-ed in the near future, something has

to change. That change may have to be so fundamental as to turn the en-tire education model on its head. Sta-tistically, 50% of black males in Los Angeles, for example, are failing Al-gebra I... how many know where the word “algebra” comes from? Cultural knowledge is an integral part of global education. If American schools are teaching us only what our government thinks is important, we are missing the larger picture.

We need to think critically… about the way we have been taught to think. We have been forced into left-brain thinking since we stopped using music to teach the basics. When did music become reserved exclusively for those “gifted” enough to make a living at it? Why is it not looked at as a continued learning supplement for the subjects we teach if we still use music to inform ourselves socially on what’s not being talked about in so-ciety?

Eric Booth, author of “How to Become a Virtuoso Educator” describes how musical instruments were seen as

2 SAVE SCHOOLSITS TIME FOR HIP HOP


We have been plagued with recent events that have created a va-riety of atrocities. Yet through each of these atrocities we have

seen humanity waivered then concluded in the face of injustice. The black community has always been on America’s chopping block, as those in power have continued to sharpen the ax. Resistance is futile but the imagery per-petuated has been to entice the viewers of America’s greatest show, televi-sions mainstream media. With a judicial system that had been built not to serve its people but to protect its architects, justice cannot be found for those that it was never intended to protect.

Ferguson, a war torn city, riddled with lies, deceit, propaganda and preju-dice, sits as an example of countless American city’s that suffer from the same ailments. Why? The lack of media coverage and public outcry. These public displays are the gates of well-orchestrated tactics to create a sway in public opinion. The man coined as the Grandfather of Human Relations, Edward Bernays once said, “Propaganda, is the executive arm of the invisible government”. A situation propelled and controlled for purposes of obser-vation of human relation. Targeting black communities becomes viable for the lack of power and the infiltration of economic devastation. Running an experiment that works in favor of military organizations becomes more im-mersive in small second class communities.

Some of the top researchers in the country use the most refined procedures to form analytics within a particular geographic. Recognizing the demo-graphic within an area and ways to emulate people of the chosen environ-ment. The Ferguson situation is a perfect example, many of the residents were in ordinance of peaceful protests and exercising their constitutional rights. While mainstream media enforces its weapon of propaganda, trolling the community for what it deems as newsworthy. This is one reason why the body of Mike Brown had sat for 9 hours, to allow the media to film and cre-ate a story from the slain victim, create something newsworthy.

It has been voiced by residents of Ferguson of strange activities taking place within the protests. When the media feels that it isn’t getting group coopera-tion and the story is not compelling enough they want to create something compelling to become the first to bring “Breaking News”. This is when they start bringing in paid actors, people off the street, professionals or even the homeless to contribute into changing the tides of a protest. The media’s ob-jective is to create an atmosphere that spikes their television ratings. The media is the extended hand of propaganda the government needs, they

have the power to sway public opinion. When you have protests that turn violent manifesting to riots, the lines begin to blur because the paid protest-ers are paid to blend in and look like the residents. In the midst of the chaos and anarchy it begins to become extremely difficult to differentiate local city protesters from paid violent rioters, once everyone’s agitated.

Yes many residents that were truly angry had taken part in riots and assault on many of the white owned businesses with in the neighborhoods. But, the specifics are people were hand selected to infiltrate protesters and agitate any peaceful gathering. This was done by blending in, holding up signs and creating aggravation among citizens. Government had been able to take the media’s manufactured protester outrage as cause to bring in military style tactics and weaponry and arm local law officers for war giving the okay to engage with lethal and hostile force. There has been countless deaths of black men and woman beat or killed by lethal force since Trayvon Martin. Why is the media so largely intent on only covering the Ferguson situation? Through alternative media Tamir Rice’s death is now starting to gain trac-tion.

Gathering for a plan of action of how to prevent and protect the communi-ties is of great need at this time. Taking political stances that are charged with an economic backing is what needs to happen in black communities nationwide. Business leaders and individual’s with local congressional power need to meet from cities that are predominantly black from all over the coun-try. These things need to happen instead of the mainstream media, taking control of how situations in black neighborhoods are seen in the public eye. Not allowing them to have a grasp in how we speak among each other with what we say according to what the media displays. Black communities main source for news reports in their own communities can’t be the platform of CBS, NBC or Fox news. When there are enough strength in numbers in black local leaders throughout the country, then international aid can be garnered from countries that would like to form foreign alliances and partnerships with our communities. If there is one thing to learn, United States became a super power by uniting as much as it could. Whether through murder, coer-cion, slavery, genocide or war. At the end of the day the proven outcome is unity is power and power is in numbers.

Cory Austin

@defiancethedon

MECHANISMS OF CONTROLFERGUSON



come to support your career. Having a business that supports your brand as a music artist is important when becoming a successful independent artist. Your representation as a business for music and a business that you are separately branding should roll together.

To be a professional independent artist everything you do needs to look professional. This is how you brand your name and business. Keeping a consis-tent professional look with everything you )do. Your company and your artistry need to be thoroughly put together, emulating a great presence. Your music, lo-gos, clothing, website, and photos all need to be pro-fessional. I hear many music artists describe music as their life, but will use lackluster photos or the worst graphics and sounds to portray their music. If music is your life and I think you take your life seriously, would you go to an unlicensed surgeon or doctor for medi-cal treatment? If it’s “your life” you need to treat your music with the same concern you would put on your life. Musicians need to understand the importance of emulating the look of a professional music artist along with a professional business. Musicians have no excuse to not create great sounding material with

the amount of equipment that is readily available on the market.

If manifesting the capital is the problem then use your business or save until you can finance projects and get it done correctly. Half-assing any piece of work just shows that you do not find value in doing it correctly. Save yourself the time and money by getting things done properly the first time. Invest in yourself and your brand and you will see new doors open for you. In a world overflowed by entertain-ment and so many doing the same thing, what do you have that separates you from the rest? It’s about be-ing more than an artist but developing yourself as an icon. I hope this has given some insight for many of you looking for direction. Start planning not just your music, but your business. How you will affect people and gain their support is important.

maximizingyour identity

true whether you stay independent or you sign with a major label. When you familiarize your brand with people they will become more receptive to your product.

What do you have to brand? Musicians: it’s im-portant to look at yourself as a business. Why? Because, becoming a music artist is a costly in-vestment. Once you are able to finance yourself it’s easier to get capital from other sources. Mu-sic artists want to focus on their creativity which is understandable but creating a business first is how you will invest in your career. Find a job or a hustle that you can use to help build your busi-ness financially. Being an independent artist re-quires many hats to be worn that a major label has access to provide. Independent musicians have the ability to set their own rules and to collect a majority of their royalty as well. What I have seen create success for many artists (in-dependent and industry) is having a business to brand for themselves. Creating something that offers a service or product to people is a good way to develop supporters and an additional in-

By: Cory Austin (Defiance)

If you are trying to get involved in the music game, having a good under-

standing of your options would be an excellent start. Many people end up thinking, “I’ll just record some music, do some shows and sell some music and that’s it!” That sounds like a good start, but it isn’t. It’s far from where you need to be headed. Record labels are not just waiting for demos to pop into their office. The competition has become overwhelming in a market saturated with the lust for fame. First thing you should determine is if you are looking to do this as a music hobbyist or professional career. In the world of entertainment there are two different platforms that have various sub-levels to them. These primary categories fall into Corporations and Independent.

Once you have decided you want a pro-fessional career in the music business, it’s time to understand the business the corporations want and business needed in the Independent world. There are many artists that don’t un-derstand that being an artist alone isn’t going to cut it. You can’t be a one trick pony, not these days. In today’s music business everything comes down to branding, and you have to brand your-self as a business owner. When labels are looking for artists to work with or even sign, many factors come into play outside the music. In this new digital

age, record execs have the tools to be social scientists. When an artist is being reviewed they are under a microscope with their social media activity, analyt-ics, video views, celebrity interaction, music feature collaborations, inde-pendent sales and much more. Record execs can look from their home com-puter at graphs, charts and numbers that give them a forecast projection of your future sales before signing you. If the numbers lean in their favor they may find you worthy to work with. At the end of the day is this the only way you would want your music viewed? Most artists do not make much money on their music this way, hence there are major disadvantages of some 360 deals. When the music is picked apart and analyzed like in a science lab for its mathematical influence on people, the labels’ main concern becomes what it can earn from artist profits and royal-ties.

So if you were to decide to follow the itch of music and move towards the Independent route, the power of busi-ness would still need to be devised. The road has become very competitive and a lot more work is involved. Everyone has to go down this road to start out, but the key is if you want to remain independent or go with a corporation. This decision is what influences the di-rection of your career. No matter what you want to work on yourself and have the powerful effect of branding. This is

DUKES OF DAVILLE


This Atlanta based duo, Ric-James, collectively known as Dukes of DaVille, the team has skillfully intertwined hip hop lyricism with the soulful har-monies of R&B. Musically, their infectious hooks make instant fans, while their lyrical delivery gains them the respect of the most skilled emcees.

Their music has been featured in movies such as “Perfect Stran-ger” and “What Happens in Vegas”, tv shows, MTV’s “Wake Brothers” and on ABC’s hit show “Private Practice”. Their unique sound is sure to entertain crowds of all ages all around the globe.

Dukes of DaVille, a Supergroup who have achieved much suc-cess in the span of their carrer including major movie place-ments, being signed to a ma-jor label – Capitol Records, and garnering much attention across the globe taking back many of the basics to make a statement in Atlanta. Dukes, always wanted to show love for their home city so they had secured a weekly spot at club Utopia downtown.

“We never forget what is most important and that is the stage, performing for the fans and giving the people what they want…good music,” states the two dynamic singers. The Dukes of DaVille’s video “Aver-age Joe” had helped with furthering the groups interna-tional exposure.

Their love for the stage only scratches the surfaces of why the Dukes of DaVille really do their music and stay dedicated. In 2011 Each month the Dukes will collected school supplies

for the homeless children of Atlanta and dropped it off at the shelter. “Not only did they get a great show, but we dropped off some pencils, a book bag or a notepad and it helped us in our mission to help the kids.” There was a box inside the club during the Dukes set for individuals to donate supplies.

During the events in Haiti, they held a donation January 21st for a show to benefit the people of Haiti. They requested people bring clothes and blankets and they personally assisted getting the materials to Red Cross of Atlanta.

For interview requests please contact Cedric Lindsey (678)-469-7614.

ihe magazine issue 11

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