the resource magazine vol. 4

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The Resource

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RESOURCEmagazine

EDITOR IN CHIEF Defiance

PUBLISHER Imperial Hustle

Designer Defiance

Assistant Researcher Tsmoov

Creative Director Defiance

Artist Model Scout Jovon Michelle

Photographer Alberto Bernal

Digital Imaging Specialist Defiance

Digital Illustrator Daric Bergerson

Events Coordinator TSmoov

CONTENTS

For customer service, change of address, and subscription inquiries,

please visit www.imperialhustle.com

FEATURED INTERVIEW WITH AONE TO SPEAK ON THE AMG MOVEMENT.

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4Exclusive Freeway Rick Interview by Stallion of The Resource Magazine

10Young Noble Of the Outlawz interviewBY: DEFIANCE OF IMPERIAL HUSTLE

14Aone Super Produver InterviewBY; IMPERIAL HUSTLE

22Exclusive with Clock Da Vigga INTERVIEW WITH DEFIANCE OF: IMPERIAL HUSTLE

25Interview with Rosci .BY: HUSTLER HONEY SHOWCASE

30Exclusive interview with Noah JonesBY: IMPERIAL HUSTLE

34boss spook interviewINTERVIEW BY DEFIANCE

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IMPERIAL HUSTLE“Beauty is in the eye of the beholder”

- Anonymous -

PLEASE KEEP IN MIND THAT ARTICLES AND INTERVIEWS THAT ARE PROVIDED IN THE RESOURCE MAGAZINE WERE PROVIDED BY, ALL ARTISTS, MODELS INTERVIEWEES AND RESEARCHERS. THE RESOURCE IS AN AVANUE FOR OTHERS TO REPORT NEWS ,

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Stallion: Ok, Ok. First of all I want to introduce myself. I go by Stallion, you know. I'm with the resource magazine, Imperial-Hustle.com. Today I have the great pleasure of speaking with the man, the myth, the legend Mr.Freeway Ricky Ross. Rick, how you feelin' today, brother?

Rick Ross: I'm so good man, you know. Everything has comin' along just like it should, you know. I've been doin' my thing, man. Just enjoyin' my freedom and it's wonderful to be free, you know. A lot of people really don't know what that means. I ain't talkin' about free from incar-ceration, from behind

bars, you know. Because as we would say in here there was people out on the street that had hand-

cuffs around their mind. To have a free mind is a wonderful thing.

Stallion: That's a good thing to here. That sounds like some-thing positive. I mean, I know you've got a lot of projects, you know. Everything from social net-works to TV shows to movies and I definitely wanna talk about all that in a minute but, first we want to talk about the Man. I mean, we all know your life's been a movie in the makin' and, you know, at what age did you really realize your path was going to be different from everybody else's?

Rick Ross: Well, you know. I always, I mean, everybody wants to be different from a child, you know. Everybody wants to be spe-cial and I always felt that some-how, you know, someway I was gonna be somebody of means, you

know. Nobody wants to be a no-

FREEWAY RICK ROSS the exclusive story

“when you start bringin' a mil-lion dollars a day and two

and three mil-lion dollars a day you start to say,

"Wow!”Rick Ross

Continued on page 5

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body - a lump on the log, you know, everybody wants to be important. Everybody wants to hear their name called and be recognized. And from a child, you know, those were the things I always wanted and those were the things I dreamed about. I had no idea how that would come by for me, you know. Because I had some handicaps when I was goin' up, you know. I didn't learn how to read intil I was twenty eight years old sit-tin' in a federal prison.

Stallion: I mean, can you describe the conditions that led you to become one of the most notorious hustlers in America here?

Rick Ross: Well, you know. I always had that drive to be somthin', man, and I al-ways wanted to be somebody special, you know. I wanted to make some-thin' out myself. I wanted my Mom to be proud of me. I wanted my friends to be proud of me. It just happened to be

that that path I took, what I thought was my first opportunity, was drugs. And, you know, in our community there's not many products that we can get a market advantage on. What I mean by that, you can't go to may tag and tell them: "Can you get a dis-count on washers and dryers? Can you get them on wholesale so you can sell 'em at retail. They don't hardly give us those type of breaks. So, the

type of breaks that we normally get are, sad as it is, is the drug game. And that's why so many of our young - brilliant - you know, 'cause when I speak of other drug-dealers I like to speak of them as brilliant because

when I look them and I just marvel at the progress they make, you know. Guys like Big Meech and young Tom-my from L.A and Harry O, just so many of 'em, Aaron Jones from Phila-delphia, Larry Hoover from Chicago, man. When you see the mastermind that went to put these type of organi-zations together, man, you just have to Marvel. That what if, you know, somebody would've pointed them in

a different direction and use their brilliance in somethin' other than drugs.

Stallion: No, I agree, you know. It's capitalism, you know. You're definitely doin' an American dream. These business people on the other side they're really not

much better. You're just marketing, you know, everything's about sales and about the product you're sell-ing. At what point did you actually realize that you created like a empire, you know. Where you were bringin'

GIVING UP IS NEVER AN OPTION editor’s note

Photo from freewayenterprise.com

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in some money. When'd you realize like, "Hey, I made it!"?

Rick Ross: Well, you know what, I knew that I was bringin' in a quite of bit of money, you know. When you start bringin' in three or four hundred thou-sand dollars a day, you know, you're sayin, "Hey, that' a lot of money." Then when you start bringin' a million dollars a day and two and three million dollars a day you start to say, "Wow!"

Stallion: I believe it. The justice sys-tem that you know, they wanna go ahead and label you a drug trafficker. They went ahead and tried to sentence you to twenty years in prison, you know. But, they failed to identify the actual sources that help you become what you were. I mean, can you actually tell me…

Rick Ross: You know who they are? They steal the record highs [laughing].

Stallion: That's what I'm tryin' to ask you about the CIA's involvement, and you know, and the whole time I ran contra-affair, you know, I hear about names about Oliver North, he has a TV show - you're doin' time in jail - Gary Webb went ahead and wrote those arti-cles that I know definitely helped get that out there, you know, with the connection with Danilo Blandon. Can you give us a little bit on that?

Rick Ross: Well, you know. Gary Webb got killed. They said he shot him-self in the head twice, right, with a shot-gun. I mean, I don't know about the evi-dence but, you know, I'm thinkin, I'm like, "Wow! You shoot yourself in the head twice with a shotgun! You're real good!"

Stallion: [laughing] You would think that one time would do it but, he had to get that second one off apparently, right? Hehe!

Rick Ross: A shotgun, right!? With a shotgun, you know! I have shot a shot-gun, you know, myself and it's hard to hold it in your hands, no less to hold it in

WELL, YOU KNOW. GARY WEBB

GOT KILLED. THEY SAID HE SHOT

HIMSELF IN THE HEAD TWICE,

RIGHT, WITH A SHOTGUN. I MEAN,

I DON'T KNOW ABOUT THE

EVIDENCE BUT, YOU KNOW, I'M

THINKIN, I'M LIKE, "WOW! YOU

SHOOT YOURSELF IN THE HEAD

TWICE WITH A SHOTGUN! YOU'RE

REAL GOOD!"

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your hand and shoot yourself in the head and then cock it and shoot it twice, right?

Stallion: Right! Yeah that's what I agreed in that you didn't even know before you were even connected in, these caps were, you know, comin' in from Nicaragua and this and that. I'm tellin' you, you know, reality is definitely stranger than fiction.

Now, I know you got a movie comin' out and I heard it's being directed by Ted Demme, that is the person that made 'Blow', am I cor-rect?

Rick Ross: No, Nick Cassavetes. Stallion: Ok, Ok. And how's that comin'

along? Rick Ross: He wrote the script. The script

is sick! Stallion: Ok… Rick Ross: They want the script so bad.

They don't know what to do, you know. I really got 'em in the head lock because they dont know weather Give me what I want, and on the script, or rather go in partner-ship with me and do the movie or sit back and see if I don't get it done. 'cause the movie is that good, man. They told me that this could be the all time selling movie. They said, like man, everybody in America's gonna go… I mean, just imagine this here. You make im-plications that Ronald Reagan sold drugs. You know I bought me some Ronald Reagan poster stamps yesterday and I kinda'… his stamp upside down when I put it on my let-ter, you know. He fucked the country (upside down).

Stallion: What did you say, it was "Rea-ganomics cannot help Economics."

Rick Ross: Yeah, not at all. So, you know when they found out - and we got a docu-mentary that's comin' out, man it's goin' to be sick too.

For th rest of the exclusive Audio Inter-view go to www.imperialhustle.com

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Attack Media Groups New: SwAGG!TTeamwants to rap these days. A lot of people out in Frederick aren’t original, they like to copy other artist.How does it differ from Chattanooga, TN? Artist in Chattanooga are more original, plus they talk more about the streets in their music. Now we know you were previously a group known as YHB, what was the call to change to SwAGG!T and What differences

came into play? Yes, after we moved to Frederick we decided that we were going to change our style of rap and led to the change of our name(Thanks to a friend). After we became SwAGG!T we got more involved and became more serious with our music.What are some of your primary focuses on your career?

like any other place out there, everybody

out in Frederick, MD? Frederick is just

The difference between a design that works and one that doesn't is found in these details.

What initially influenced you to start your Hip Hop Career? It was about 6 or 7 years ago, we were at a family gathering and our two older cousins started to freestyle right in front of everybody. We thought it was the coolest thing ever and we been making music ever since. We actually talk about this a lot. How is the seen for the rap game

Who’s SwAGG!T? SwAGG!T is a duo from Frederick, MD that creates chill/feel good music. SwAGG!T is also a crew of friends that dream big everyday.

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Right now we plan to increase our fan base, continue to create feel good music and encourage others to always follow there hopes and dreams. What kinds of things have you learned now in the game, that you wish you knew years ago? We use to think that being in the game was easy, that you could just go with the flow, but it’s actually more than that. You have to be on top of everything, making sure everything is on the track. Now recently SwAGG!T has closed a deal with Attack Media Group, How did that come about? What can we expect to see from this union?We actually got in contact with Attack Media by promoting, we sent them a couple of our tracks and we’ve been working together ever since. We are releasing our first album with AMG, also they have set us up with a lot of deals including ringtones, MTV, etc. What are some of the things you would say any serious artist should be utilizing if they want to increase their marketing and network? We would say that they should use their computer for its advantages. Most of the networking and marketing is done over the internet anyways so why not use facebook, youtube, myspace or any music blog site to network or market yourself. Promoting in your own city or town wouldn’t hurt either because the more of a following you have the easier it would be to get known. So what should we

Expect From the upcoming album “Freshman Year”?“Freshman Year” is somewhat of a mixtape within an album, full of skits and songs that reflects who we are...also were having fun throughout the entire cd.

Now will there be more Mixtapes to follow “The Wake Up” before the album drops? We are currently working on our second mixtape “Journey to the Clouds” but we plan to release it to follow up the album later this year. When you’re in the independent part of the game, do you see there are more benefits to Mixtapes or Albums? Yes, we believe that there are more benefits to mixtapes or albums when you’re independent because with major labels you don’t have the option of how many or when you can release cds. Taking the independent path you are your own boss, and you pretty much do everything yourself.You think there's more to be made independently or with the Industry? We believe that being independent is more laid back than being with the industry, nowadays more artist are taking

the independent path more so it has to be more out there. Also doing everything independently helps you learn the business side of the game too.

Anyone interested in booking, or fans that want to purchase the albums, how can you be contacted, and were can they do this?

You may contact us atEmail:[email protected], [email protected], [email protected]

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THE LEGENDS, THE LEGACY the one and only...Outlawz

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Defiance:I got a few questions, probably twelve of them that we could run through. I will start with the first one. A lot of people don’t know that there were a lot of different factions and groups where the Outlawz before the outlawz came to be. I wanna know what is the structure of how outlawz came about.

Young Noble: Well, you know. First it was a Dramacydal that was E.D, Kastro, Napoleon, and Kadafi and it was like Outlaw Immortalz with the rest of the group Fatal, Big Syke and Preme. That was Outlawz Immortalz and then they just cut the Immortalz and it was just Outlawz. Then Outlawz consist of 2Pac, Kadafi, Me, E.D. Fatal, Kastro and Napoleon it was seven of us. Defiance: Right, Okay. That pretty much was a final group probably up to the passing of Pac right?. Young Noble: Yep. Defiance:Alright. Going in to that I know you’ve been in the game for min like I said earlier so coming into the game way decade ago, you’ll seen a lot. Young Noble:Definitely.

Defiance: So what is the most significant change that

you seen for all this coming into the game today maybe com-pared to back into mid 90’s. Young Noble:I think the internet. Nowadays, artist got a lot more access to the world. Back when we first started doing it, It was basically like word of mouth. The streets was fucking with it and shit would spread pretty much like wild fire. Nowadays people twitter, facebook and the World Star Hiphop, YouTube pretty much trying to create their own boss online vs. created it on the street and haven an actual movement behind you. You know what I’m say-ing? Defiance: Right. Young Noble: You know artist. Today they got a lot more access to the world. You know what I’m saying? Defiance: You think that’s kind of hurts the game or helps it? Young Noble: Both. It helps because you got access to the world with a simple click of a button. You know what I’m saying so that’s a great thing. I’m loving that but at the same time I think it get people a false sense of reality. You know what I’m saying. You might have a cool online fan base but

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nobody on the street might be fucking with you. You know what I’m saying? Then you got dudes who Just trying to create name for himself and actually will go to do anything. Artists coming out you never heard of them and they try-ing to make a name for themself. They trying to diss lil Wayne or Jay-Z and it opens up a different can of worms. Its just kind of disgusting that what people will do nowadays Just for five minutes of fame, it never translates into any kind of success to these people.

Defiance: Right. It’s almost like the values, the morals, the artist itself are lowered. Young Noble: Yeah, it’s disgusting right now. I hate that part of the game. It really kills me to my gut.

Defiance: Yeah, right. I was in a discussion with somebody before and they brought up the conversation was kind of similar context but we were talking about back in day when somebody made a hit that hit and that classic was tied to a memory. You have a memory of kicking it with your boys or being in the whip

and people listening to that track and ohh shiiittt that’s that still I rise that came out with the Outlawz that’s oh shit thats that Mobb Deep. You have a memory attached to it. Now people just got on dat piff and there’s nobody with them when they listenen it’s like classics aint made the same way. What would you say on that? Young Noble: I agree. Music depends on who you really are talking too. The generation now they feel like they got some hot and classic shit. I know exactly what you’re talking about when you listen to Run DMC now it take you back where you were at, what are you doing. Or You know 2Pac or EPMD or Slick Rick or whoever the case maybe. I just think music as a whole now it just suffering. It’s a lack of soul and it’s a lack of support for real substance in the music. You know what I’m saying? Obviously it’s more corporate driven. Dudes is just trying to get in the game and make a hit and they be cool with that and get a little internet ring tone hit I made it out the game. I made a little money and trying

to do something else but I just take the game as a whole. I think that’s why it’s suffering men because dudes and the labels and the DJ and supporting this microwave music. That’s only hot for right now. It ain’t nuthin a mutha fucka is going to play a year or two years from now when they actually all fuck with that shit. Ohh this shit is some classic. It’s like for the time being. So that translate into the listener like I hear this shit on the radio 50 times a day and you know theirs no reason for me to go buy this mutha fucka. I can listen to this shit in the radio or in the club but I’m not going to buy this shit and play it in my car or at my house. I think all around music is suffering from the lack of soul in the music. That is just my opinion. Defiance: That’s why we’re here for.People gotta ask themselves "Do I even like this?" or shit it just beat into my head, because it was on rotation 50 times a day. Young Noble: I’ve think that’s the problem. It’s like the other shit that the shit that they kind of substance too even the classic shit.

I just think music as a whole now it just suffering. It’s a lack of soul and it’s a lack of support for real substance in the music. You know what I’m saying? Obviously it’s more corporate driven.

OutLawz May photoshoot that they did for their Album perfect timing and the Mixtape that is available for free download.

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Young Noble of the outlawz the Inteviwer with Imperial Hustle.

People think they see a mutha fucka on TV every day or hear them on the radio every day. That That’s the hottest shit out and that’s just totally far from the truth. It’s a crazy. But I think that people should open their eyes and start looking around for other music other than what they hearing on the radio and hearing in the clubs and seeing in the videos. They only play a handful of artist on a radio everyday as it is. You can pretty much name, the ten rappers that they can consistently playing on a radio or videos on TV. So right now yall think this is hottest music thats being made? I totally disagree. Like we dropped a mixtape last year Killuminati came out on Hal-loween and this is my opinion, that shit was damn near better than 90% of these dudes albums that came out last year. Hand’s down from beginning to end our shit was retarded. The street is definitely going crazy about this shit but I’m just saying like if one of these other dudes would of dropped the same kind of quality and it would been a whole different effect just like, I don’t know men it just like trendy, mutha fuckaz is groupie, Its like If Eminem signed us tomorrow, Everybody would be on our dick again, all of a sudden all the DJ's would start playing all our fucking music. It’s a just like, its crazy man. Defiance: That right name stand behind whatever you’re doing these days. Okay, quality that dont mean shit. Yall was always spitting hot and you had the level that the street needed because it was real. It was authentic but then you all were able to spit just like some of the top 5 Mc’s. Young Noble:No doubt. Defiance: It was never just your average. You always spitting had metaphores had lyrics and it was street science with it. Young Noble: No doubt,You know we just grown and really focus on perfecting what we do and try to solidify the Outlawz as a brand and our legacy. Defiance: Right. Young Noble: We want our legacy to be way bigger than what we did with Tupac. Just like you know Pac been gone’ for 15 something years it’s like when people gonna start recognizing like damn these niggas been holdin they own for a minute, it’s like how many artist you know done came with it since 1996, you know what I mean were still here, like and just get better like musically as far as the Outlawz concerend without Tupac our music is better than ever been, hands down, Our Killuminati mixtape is better than every album we droped. You know what I’m saying? Defiance: Yea Noble, I hear what you’re saying, I say it like this, I don’t even think that a lot of artist today may be could even use that words legacy with their music. Young Noble: I agree Defiance: That’s’ powerful. Young Noble: You know I think that it has something to do with a kind of music they making. you know what am saying, it’s like you know if their music is based on anything else, other than reality or substance, nah I mean it’s not going to stick right, hold up for 1 second Defiance: Yeah go ahead. Young Noble (Tending to his Son): You know you got your kid that always, you know always in the mist of getting into every god damn thing no matter what. Defiance: I just had my little stank booty little boy over here man, I had to go ahead and tell him to find his own real quick.Young Noble: (Laughs) ya,These kids are amazing man, Defiance: Sure are

Hear the rest of the interview at www.imperialhustle.com

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THE YOUNG TALENTED PRODUCER SIGNED 2 MAYBACH MUSIC GROUP GAVE US AN EXCLUSIVE INTERVIEW TO LOOK AT HIS BACKGROUND AND SOME OF THE CATS HE HAS WORKED WITH. ALSO TO GIVE US INSIGHT ON THE INSIDES OF THIS BUSINESS. HIS CREDITS INCLUDE- YOUNG BUCK, RICK ROSS, THE OUTLAWZ, BIRDMAN, DIPSET, MISTA FAH, NEYO , RICK ROSS'' Ashes to Ashes http://tinyurl.com/3xh538j check out 10'BRICKS

1. Why dont you to go ahead and tell us how you began your Journey into the music world. How did you come to know that you wanted to be a producer? Ans- I was smoking a blunt one day listening to the Chronic album and after playin that cd over 1000 times, I said to myself "this what I wanna do with my life", make beats. 2. Who were some of your biggest inspirations and focuses coming up in the game? Ans- A.Z, Havoc, D-block, Rick Ross, Drumma Boy, 3.6 Mafia 3. There are many distractions that keep you side tracked on the path for success. What were the things you kept in mind to stay grounded and focused? Ans- Always paying attetion to the people that really made it happen 4. With beats in such a high demand and everyone trying to get in with the hottest producers, what do you think Artists can do to get noticed by the best DJ’s and Producers? Ans- If you take over the web,

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everybody will reach out too, its an automatic thang 5. How did you meet Rick Ross? - Ans- A good friend and mentor “Spiff TV” put it all together. He would hit me up at like 4.00 a.m everyday for beats, he never went to sleep. He is a true work-a-holic, his work ethic is #1 6. What kind of tools should today’s producer have under their belt before really stepping in today’s game? Ans- Your Music business, buy a book or sumthing, read, ask about it, do alot of listening but don’t belive alot of what you hear, cus the game is fill with alot of wanna be’s. 7. Where do you think an artist’s today reaches more success, Mixtapes? Or Albums? Ans- The Mixtapes of course but don’t let these rappers fool u, they all wanna sell albums, dats how u really win. 8. An Independent Record Label wanting to start, what are some things they should have under their belt to be grounded and grow successful? Ans- A team of people that are devoted to the same goal success (Teamwork make a dream work). 9. What was one the fun times in your career? Ans- lol working at the Mobb Deep Studios, shout out to my hommie Joe the Engineer, Fly, the whole Infamous team. We would smoke blunts after blunts and just make music all day & night. 10. What do you feel has been some of the best outlets that have given way to your success? Ans- The internet for sure and me knowing a lot of people. 11. And do you think those outlets can still be utilized the same ways today? Ans- Of course, its even getting better but your relationship with the atrist is sumthing a lot of people sleep on but its very important. 12. What is the vibe you get from artists today, and what direction do you see the game going right now? Ans- Everybody is trying to sound like sumone else thats hot right now, but I believe the game is heading in a better direction cus the internet has given every artist the power of the major labels. You gotta see yourself as one and start making money. 13. For beat makers out there that want to publish their work, how should they determine reasonable pricing for their work? Should they set their prices or wait for a bid? What’s your

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Hard Work and Heavy Grinding pays off for Aone

take? Ans- Stop worrying about money, sucess comes with the money & fame. Just focus on making that big hit, as soon as u do, all the publishing houses will come running too, trust me they know how to find you 14. Who do you feel is a hot up comer in the game right now? Who are you vibing with right now? Ans-I really like listenin 2 a lot of underground stuff, so ill have to say Meek Millz, Loyalty, Reek da Villian, Chewy, The President, EnJ, Arlis Michaels, Rawdeal, L.A, Laylo, Lady Lawless, Fire Arson, Just Suprano, Slim Dunkin, Richkidd

15. What are some projects we can look out for you?

Ans- The Outlawz album drops Sep 11. I produced "PAY OFF" feat. Young Buck & "Jelousy" feat Rick Ross. Lil Wayne-Carter IV, Rick Ross and alot of Maybach music projects. Mary J Blige new project, Brick Squad 1017, Gudda Gudda, Rocko and my hommie Young Buck. 16. Who’s some of the hottest producers in the game right now? Ans- Drumma Boy, Lex Luger, Cozmobeats, Cashous Clay, Beat Billionaire ,Young Shun, Yung Ced, Boy1da ,and of course myself, lol

17. Are you open to Indie artists contacting you, and what do you look for? What do you expect when they want to work with you? Ans- of course, i luv working with Indie Artists but they gotta have a heavy web presence and are ready to give it a 100% 18. How can People get in touch with you? Ans- I am always by a computer www.twitter.com/Aonebeats www.facebook.com/Aonebeats [email protected] 19. What are sum of your new goals as a producer? Ans- Building my brand, making my company ‘’AMG(AONE MUSIC GROUP)’’ bigger

20. Who are sum of the top AnR in the game right now-

Ans- my hommie "Spiff tv’’, Young Money fly, Sarah Johnson, Dre` McKenzie, Tony G

I wanna dedicate this interveiw to the late Brendon McRae (Smoove) & Naquan Bell(Q), gone but never forgotten RIP--

http://www.myspace.com/a-onebeats http://www.twitter.com/aonebeats

«LIMA PRODUCER OF THE YEAR 2010; AONE”

Aone wrist on freeze

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A current California bill, AB 499, would “allow a minor who is 12 years of age or older to con-sent to medical care related to the prevention of a sexually transmitted disease.”[1] That is, children as young as 12 will be able to get a Gardasil or other STD vaccine without their parents’ knowl-edge or consent if this bill passes. Disturbingly, North Carolina has a much broader child con-sent law already on the books: “Any minor may give effective consent . . . for medical health ser-vices for the prevention . . . of venereal disease and other [reportable] diseases…”[2] I call these laws “Stealth Vaccine Laws” because they pro-vide for the administration of vaccines without the word “vaccine” or “immunization” appearing in the law. Thus, they may slip under the radar of anti-vaccine activists doing electronic search-es for vaccine bills and laws using those terms.There are serious legal and moral problems with

stealth vaccine bills and laws. First, they violate parents’ fundamen-tal Constitutional rights. In Troxel v. Granville, 430 U.S. 57 (2000), the U.S. Supreme Court held that “the Constitution permits a State to inter-fere with the right of parents to rear their chil-dren only to prevent harm or potential harm to a child.” Troxel requires a “threshold showing of harm” that is lacking in the California bill and North Carolina law. Troxel also tells us that par-ents are presumed to be fit and to make deci-sions that are in their children’s best interests. So, giving the children of every parent in the state the ability to consent to medical treatment at any time amounts to the state declaring that all parents are unfit regarding those matters to which the children are given authority to consent.Under Troxel, parents are presumed to be fit un-less there is a showing of unfitness. So, child

“Stealth Vaccine

Laws Allow Children to Consent to Vaccines”

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consent laws violate the due process clause of the 14th Amendment, unless they include the req-uisite “threshold showing of harm.” As a prac-tical matter, this means that there must be an emergency, a significant harm or risk of harm be-fore someone may make decisions on behalf of a child without a parent’s consent. Medical and other professionals already have this authority. Neither children nor parents have to consent to a child’s receiving treatment in a medical emer-gency where immediate intervention is needed to save the child’s life or avert serious harm.Proponents of child consent laws argue that there are some children who need the ability to consent to medical care, children whose parents can’t or won’t take proper care of them. But there are al-ready measures in place to help children in those situations. State workers in Child Protective Ser-

vices (CPS) and Social Services may seize cus-tody of children when necessary to protect them from severe physical and/or emotional harm. And where parents are unfit, their fitness can be challenged and their parental authority given to other persons or agencies that are capable of exercising proper care of the children when they are not. If current laws are letting some children slip through the cracks, then by all means let’s take steps to fix the problem, but enacting laws that violate the Constitutional rights of all parents is not a proper solution. It is, however, a rather convenient way for the pharmaceutical industry to bypass parents to administer vaccines and other therapies directly to children (who are not likely to say ‘no’ to a doctor). And while parents may opt out of unnecessary medical treatments for their child that they can’t afford, child consent

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laws ensure payment for ser-vices every time–from the state.There is a second, narrower Constitutional issue in states that offer a religious exemption to immunizations (every state but MS and WV). For legal pur-poses, a child’s religious beliefs are deemed to be that of the parents. So, a law that would allow a child to consent to an immunization would violate parents’ First Amendment “free exercise” of religion rights. It doesn’t matter that few parents may actually be affected or that some children may accurately report their parents’ religious objections to vaccines. The fact that the law creates a situ-ation reasonably likely to result in a Constitutional violation is sufficient reason for a court to rule that the law is uncon-stitutional. (For that matter, in states that offer philosophical or medical exemptions, state exemption rights of the par-ents could be violated as well.)Which brings us to an impor-tant point: A law is not officially “unconstitutional” merely be-cause someone says so, or even if they present a compel-ling legal argument, as there is virtually always someone with an opposing view. Only a court may officially decide if a law is unconstitutional. Un-fortunately, the practical con-sequence of this is that states can and sometimes do enact laws that turn out to be uncon-stitutional, and they can do that whether legislators know of that possibility in advance or not. Once a law is enacted, it is “good law”–fully enforceable–unless and until it is repealed by the legislature, or deemed

unconstitutional or otherwise uneforceable by a court. This means that pro-vaccine lobby-ists can support the passage of unconstitutional bills that are profitable to the pharmaceuti-cal industry, and they may suc-ceed–unless we remain vigilant and successfully oppose them. The same is true for any other industry, of course. Big busi-ness can roll right over the Constitution, and get away with it to the extent that the citizens and legislatures allow it. This is something that should cause every one of us great concern.Child consent laws also fail the common sense test. Children, by definition, lack capacity–the judgment and maturity–to make important decisions for themselves. For this reason, they can’t enter into binding legal contracts and don’t even truly own their possessions (technically, their parents do). So, giving children authority for medical decision-making sim-ply doesn’t make sense. Child medical consent laws not only put decision-making authority in the hands of those not able to exercising it responsibly, they do so by taking that author-ity away from the mature adult parents who are much more capable of exercising it respon-sibly. These laws are intrusive, an example of overreaching by the state into private family lives, a violation and interfer-ence with parents’ fundamental right to raise their children. If present laws leave some chil-dren’s medical needs unad-dressed, let’s fix those laws. But taking authority away from all mature adult parents and giving it to immature children

is irrational–a step that could only make sense only from the narrow perspective of those who stand to profit from it.Unless each one of us becomes legislatively active, more laws providing for the administra-tion of vaccines and other unnecessary medical treat-ments will be enacted, because the pharmaceutical industry (among others) supports leg-islation to further its own bot-tom line–that’s the business of business. Health rights are not stagnant. We are either acting proactively to expand them, or we are passively allowing them to disappear. There is no safe middle ground! Join the NVIC Advocacy Portal and the Pandemic Response Project to stay informed and be active in vaccine legislative issues. In the meantime, go to your state legislature’s website to see if there are any stealth vac-cine bills or laws in your state. If there are, contact your state representatives with your ob-jections, and alert others to do the same. Meanwhile, I’m avail-able to assist with U.S. vaccine rights and legislative issues.

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22

clock da vigga interview 1st Part

From The DVD SNBN Founder to President of Young Freeway Entertainment.

23


IMPERIAL HUSTLE: Yeah okay, so whats good Clock? You said that you just got back from Atlanta?

CLOCK DA VIGGA: Yeah, you know handlin’ some Atlanta business because we trying to get down there too or whateva.

IMPERIAL HUSTLE: Okay, well I want first of all say welcome to online interview of imperialhustle.com. Today I have the special honor of being able to speak with the CEO of SNBN entrepreneur and independent business owner Clock Da Vigga the one and only, so tell the people how you’re doing today.

CLOCK DA VIGGA: Ohh Man, I’m doing great now since I’m speaking to yall and I got the pleasure to be on this magazine. I was just so excited, especially when I seen the Nappy Roots, cuz I haven’t seen a magazine out now that had the Nappy Roots, you know, I like the Nappy Roots, they different. So it’s definitely an honor to be on this magazine and I respect the grind or whatever and see that you guys are definitely on the grind.

IMPERIAL HUSTLE: No doubt 24/7 you know, but you know about that. I mean if somebody goes ahead and looks you up online or they see your products and you know, they know that you’ve come in contact yourself with a lot of credible artist, musicians and businesses. I mean why don’t you give us a little run down on how you got started in the industry.

CLOCK DA VIGGA: Well basically, I mean I’ve been doing this since I was young; but getting actually started, I mean hey, I’ve been working with people because I’m originally from Baltimore and I was working with some guys that was like a drummer for Dru Hill so I kind of started like that way. Then I moved down South and I got a lot of connections down here and then I put out the big DVD and it was just like after that, it was like nonstop. Like I have different artists on my DVD, lot of interviews, you know. There’s a lot of things came about with the DVD or whatever.

IMPERIAL HUSTLE: Yeah, because we know you got this

Snitch Nigga Bitch Nigga DVD and we know you got the documentary so how did it come about the idea for you to go ahead and work on the DVD, was it just a time came where you felt like a lot of bitch niggaz needed to get exposed?

CLOCK DA VIGGA: Definitely that…I felt like, well first of all I wanna give a shout out to the guy that made Stop Snitchin, I liked the movement and he’s from Baltimore too and I liked the movement. Then I had a little situation on myself where I had got snitched on and I was just like man, this just need to stop like somebody really needs to put people on blast---- like this is just rediculous ---- like okay, if me and you are doin something together and I get caught and you didn’t that’s my bad. I go ahead and lay myself down, I do my time, I don’t go tell on you, I don’t go tell on your mother, I don’t go tell on your family, I don’t do that and I feel like there’s no loyalty out here no more. Like people will sell they own mother out these days. It’s just like crazy, it’s like ridiculous. So I just say you know what, when I

24

came home, because I got locked up behind it and when I came home it was so funny because I was talking to this girl as soon as I came home or whateva and her friend had a camera and from then on I was like man, everywhere I go, Ima go hard on everybody; every woman, every block and ----. I’m see whose trippin, ima just go asking and I never thought in a million years I would put it together like I did. But it did a lot numbers for me. So I’m definitely a stop snitchin movement. I’m not on some – oh, we gonna kill the old lady because she’s telling that people are in her yard; no, I’m not on that, I don’t agree with that at all. What I do agree on is loyalty and handle your business, handle your time, that’s your time. You know when the people come at me and they ask me – this is your crime? Did you do it? That’s my crime. I’m not about to say – oh yeah, resource magazine, they do some all source magazines or my mother she’s selling; I’m not about to that, you know so, I just believe it wasn’t no more loyalty in the street and all that is gone so that why I put the DVD out or whatever.

IMPERIAL HUSTLE: Right and you’re absolutely right. There’s a lot of cats that they just don’t know how to stay true to the game no more. They running around you know with these skinny jeans and purple shirts and they just really I mean I don’t know; I just don’t know what the understanding is – the O heads, O pledge, the O macks, people that were lacing the game back in the day, there’s a certain amount of respect and a certain amount of integrity you had to carry yourself with to even be involved in any type of level of the game or people didn’t want

to talk to you, you know? So…

CLOCK DA VIGGA: Exactly and that is another case because see a lot of things is going on now a days. A lot of things you see now you wouldn’t of saw ten years ago what’s going on now and you know I can’t really pin point the finger and blame everybody because I will even take blame for some of the stuff too, you know for some of the stuff that happened.

IMPERIAL HUSTLE: Yea, we all play a part.

CLOCK DA VIGGA: Yea, like you just said we all play a part but it’s like there’s has to be some type of leadership or there will be a lot of chaos. Somebody really has to say “no this can’t happen”. Like I was honestly thinking about, they really need to start like a hip hop critic show. People really need to own up. A lot of people get on Wacka Flocka but you know one thing I do like about him, he never said he was a no lyricist, he never said he was lyrical, he never – he only… what he was doing was trying to be himself. I never seen nothing else in him so at the end of the day if I feel a certain way about him I got to respect what he’s doing and I respect what he do besides somebody else coming out and saying they lyrical and blasé bla and they not ownin up to what they doing. So I honestly you ask me I respect what Wackas doin’. If you can make some money and you’re keeping it a hundred because that’s what hip hop is, right? You suppose to keep real.

IMPERIAL HUSTLE: Right, keep it a hundred.

CLOCK DA VIGGA: So, he kept it a hundred, he never said I’m the best rapper alive. No, he

never said that. He said what he was so…

IMPERIAL HUSTLE: You got artists out there that can spit just like taking it back to the day, that could spit, just heavy spitters but then at the same time if they talking about everything that they never done did or ever have been around then…does it even matter if they can spit or not? You know you got to be authentic and I agree with you a hundred percent – people have to hold themselves to a certain level of accountability.

CLOCK DA VIGGA: Exactly and another thing like these rappers out here the ones that cant spit, see the problem with them is that they just say they can spit and people just suppose to hear them and sign them and that’s it; they don’t see people like Wacka Flocka and other people in that type of gender of music they get out there and they promote themselves, they going make you like them. The people that can’t spit they’re on some, “oh I can spit” so Im suppose to get signed or Im supposed to do this because I can spit. I learned, and Jada said it best in that line…he said “hard work always beat talent if talent don’t work hard”.

IMPERIAL HUSTLE: Don’t work hard, yup?

CLOCK DA VIGGA: You know, I respect anyone getting money.

IMPERIAL HUSTLE: Yeah, and I hear you. Coming from you, yourself, you see that a lot of artist might not recognize that today you have to be more than just the artist you have to be the businessman.

Get the Full Audio Interview on:

www.imperialhustle.com

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25


SEEN ROCSI ON GGURLS AND BEEN IMPRESSED EVER SINCE

Q: How did you get started into Modeling? A:I’ve always loved the camera everyone would always tell me I should model and that I have the look. I bumped into the maryjane models and their CEO master moo joined their movement an things are really starting to come together now.

Q:What branch of modeling do you choose to focus on and why? A: Mu-sic videos, magazines...I really want to do some runway. I’ve been doing a couple of music videos lately. You never know who you may run into at a shoot. It allows me to network with

people and build a name for myself because I’m still very new at this and I’m always looking for ways to build my modeling career.

Q:What work are you most proud of? why

A:? Well like stated before I’m still very new to this but I’ve done a couple music videos in the past 2 months for a few major artists. I’m on ginuwines drink of choice video, also Maino fr. Swizz beats, jada kiss, Jim Jones, joel Ortiz “we keep it rockin” video and I just shot a video for a song featur-ing papoose. So keep your eyes open look out for me and remember this is only the beginning.

Yet another

Sexy Model ROCSI!

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Q:How hard is it to break into the Industry?

A: I’ve learned that this is a really competitive industry. Its not something that you can just stumble into and expect to be successful. One thing you MUST do is promote yourself and everything that your doing. Build a name for yourself and make sure you network with people. Make people like you so that they call you for their next jobs.

Q:What are some of the things in the modeling world you know now, that you wish you knew before?

A:Its not as easy as it looks. Everything isn’t always about a pretty face or a nice body. There’s a lot of other factors that play a huge role.

Q:Do you have any unusual talents?

A:I’m very flexible.

Q:Whats one of the Key things to remember when working with a Photographer?

A:Make sure you are comfortable working with the photographer you choose and if not bring someone with you. If you are uncomfortable it will definitely show in your photos.

Q:What is your favorite body part in Photos?

A:My legs. I have nice long legs.

Q:what do you enjoy doing most when you have free time?

A:I like to relax. Modeling on top of working full time can be exhausting at times so I just like to chill out with my friends, family and my dog.

Q:How can people contact you if their interested in booking you for more work?

A: I’m on twitter @ima_bad_bitchx3 you can also email master moo the CEO of maryjane models at [email protected] or visit the website maryjaneenterprises.com to book myself or any of the other girls. There you can also see any upcoming events that we have including our model may-hem event that’s going down in August in negril Jamaica [hedonism 2 resort]. I also have a model mayhem account Facebook account and can be emailed at [email protected]

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Government PlansThe Associated Press reports today that the Obama administration has held discussions regarding the possibility of “geo-engineering” the earth’s climate to counter global warming by “shooting pollution particles into the upper atmosphere to reflect the sun’s rays.” However, such programs are already being conducted by government-affiliated universities, government agencies, and on a mass scale through chemtrail spraying.

The AP report states that Obama’s science advisor John

measures could have “grave side effects,” he added that, “we might get desperate enough to want to use it.”

“Holdren, a 65-year-old physicist, is far from alone in taking geoengineering more seriously. The National Academy of Science is making climate tinkering the subject of its first workshop in its new multidiscipline climate challenges program. The British parliament has also discussed the idea,” reports AP.

“The American Meteorological Society is crafting a policy statement on geoengineering that says “it is prudent to consider geoengineering’s potential, to understand its limits and to avoid rash deployment.”

However, a study of past and ongoing upper atmosphere aerosol programs confirms that the government has been active in this field for years.

The Atmospheric Radiation Measurement (ARM) Program

was created in 1989 with funding from the U.S. Department of Energy (DOE) and is sponsored by the DOE’s Office of Science and managed by the Office of Biological and Environmental Research.

One of ARM’s programs, entitled Indirect and Semi-Direct Aerosol Campaign (ISDAC), is aimed at measuring “cloud simulations” and “aerosol retrievals”.

Another program under the Department of Energy’s Atmospheric Science Program is directed towards, “developing comprehensive understanding of the atmospheric processes that control the transport, transformation, and fate of

energy related trace chemicals and particulate matter.”

Read The Rest by Paul Joseph Watson

at Prison Planet.com

Holdren is pushing for radical terra forming programs to be explored such as creating an “artificial volcano”. Despite Holdren’s admission that such

Geo-Engineering

29


by FuNkwoRm

Let’s be real. It’s getting increasingly more difficult these days to be able to let go of your

9 to 5 or odd job to do this music thing full time. If you’re a do-

it-yourself artist, there’s a good chance that you’re recording your

own projects, doing your own graphic work, booking yourself, promoting, marketing, and even editing your own indie videos. Maybe your’re doing some of

these if not all of them. If you’ve become good at any one of them, you’ve just developed a valuable

skill that many other artists need. And these are skills that

can provide you with some extra income or replace a sucky job that not related to the music business

at all.

It’s true that taking on these extra tasks, leaves less time for creating music, but by doing them, you save money and learn a set of skills that expands your entrepreneurial possibilities. Some artists who have recording setups at home, are now earning extra cash by recording the projects of other artists. Design your own mixtape cover or promotional flyer? Well there are a bunch of artists who’d rather not deal with the headache of learning photoshop or who don’t know a graphic designer. Also,

having the skill to do good grassroots promotion and marketing, can serve you well beyond your years of being an artist.

Using myself as an example, what I’ve learned about blogging just a couple of years ago, has earned me some extra income by helping other artists set up and manage blogs. I’ve even helped those in other businesses with building a web presence. That wasn’t my mission upon starting this. I was just serving my own interests at the time. But people started noticing some of the things I was doing, and wanted me to help them with their own visions. The things you do for yourself become a display of your talents. And in this era of the independent artist, everyone is going to need some of your knowledge and talents to get their careers off the ground. Hell, I’m still running into artists who don’t know how to use Twitter.

And who knows how far this can take you. A lot of very successful startups like Pandora and CD Baby were started by former or active musicians who better understood the needs of artists. Whether you’re doing all of these things on your own, or if you’ve assembled a team to take on some of these tasks, you are developing potentially profitable services that can not only serve the needs of you and your crew, but others as well.

How Being A Do-It-Yourself Artist Increases Your Value

30

Noah has recorded over 50 guest appearances in 2010 al-ready. With a few radio singles and major music video shoot for "N E Way U Want" produced by The Toybox Crew on the way, Noah plans on continu-ing his motto to further build his career -- hard work. Noah Jones has recorded with NIPSEY HUSSLE,KNOCTURNAL,CROOKED I , J A Y R O C K , G L A S S E S MALONE,RAIN,SLY BOOGY,CHARLIE CLIPS,ST.LAZ,EBONY EYEZ,X.O.,JIMI KENDRIX,FOCUS,MS. TOI,SLIP CA-PONE

How did you get your start in the game? I started writing short stories at a young age. I wasn't the best mannered adolescent so i would always get put on restric-tion. I was limited to drawing and writing which allowed my creativ-ity to flourish.

Who were some of your influ-ences coming up that you had listened to?

Big Daddy Kane, Kool G Rap, Special Ed, Kwame, B.D.P. and X-Clan

What would you say it takes these days to be respected artists in the hip hop community?

Theres two levels to that ques-tion because the community is split between 2 factions. The listener and the artist. listeners can respect u do to your success level and if u have a hot song. Other rappers may respect u ac-cording to your grind and your lyricism. So for example someone

NOAH JONES

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NOAH JONES

Exclusive Interview

like crooked i will always be loved for his lyrical prowess by artists but fans will lean towards someone like drake who's less complex lyrically and more popular.

What are some of your primary fo-cuses on your career?

To build my brand so im able to work with everyone i feel musically i compliment.I also want to provide for my family using my gift. I cant lay out my exact plan for doing so because i'm a strategist and i dont want the other artists with more resources to utilize my ideas before i can manifest them.

What kinds of things have you learned now in the game, that you wish you knew years ago?

cater to a specific demo-graph of fans instead of try-na make music for everyone. if i would have done that years ago i might have a cult following now instead of ran-dom fans that just so happen to like my music.

What are some of things you would say any serious artist should be utilizing if they want to increase their marketing and network?

The social networks like twitter and facebook.They also need to plan strategies according to who is hot and current at the time and tie it into their music so they can gain new fans. Coming up in New York and having the chance to hold it down in Cali, what are some of the differences you've seen with breaking into the game?

Both markets are extremely saturat-ed. For me being able to use resources from both coasts helped a great deal. I also was able to use the rhyme pat-terns and musical influences from N.Y. Cali, and ST. Louis in order to craft my own unique sound. Without me stating im from the east coast or that i live on the west coast,most people cant distin-guish where im from musically.

Either one, Harder or Easier?

It's hard on both coasts due to the amount of people choosing rap as a profession. Not due to competition, due to over-saturation.

What kinds of things do you think the generation coming up after you in this game, should know?

That this is a do it yourself industry now so if you are relying on ANYONE to help you on a large scale, your wasting your time. We have alot of resources available to be your own boss and run

your own company, so take it seriously.How many albums have you re-

leased?4 albums "THE INCINERATOR" "THE

MISSING PROJECT" "THE EXPENDABLES" "CINEMATIC" How many mixtapes?

2 mixtapes "THE HOOD NEEDS A HERO" and "THEY LABEL ME A MONSTER"

When you're in the independent part of the game, do you see there are more benefits to Mixtapes or Albums?

They both have advantages and dis-advantages. The biggest disadvantage

is that the mixtape audience is geared towards wanting free music because its labeled a MIXTAPE. Once the fans are used to getting your music free, they always want it free and it becomes a manner of bragging like "I got the new noah jones joint free" Which hurs on the indy level because we havent made it yet.

What is one of your best recording memories? Recording with Knoc-turn'al. I remember saying to myself "damn

im in the studio with someone who worked directly with DR.DRE. It was an amazing feeling.

What was one of your funniest memories?

When i was on tour with Knoc-turn'al and he got so hype that he climbed up on the bar and damn near got us thrown out of the club!! Dude is fun to be around. You think there's more to be made in the Streets or the Industry?

I think the industry is safer and if you are a smart and strategic person u can do extremely well.

How important do you think it is for a Rapper to still be able to free-style?

i think its up to the artist. Artists need to know their strengths and weaknesses. Some artists are great at freestyling and battling but are horri-ble SONGWRITERS. There's a difference between spitting bars and creating a likeable song with some content and replay value.

What are some upcoming projects that you got going on right now?

"RELATIONSHIP THERAPY" a project for my female demograph which i have neglected for a great portion of

my career. I have amassed 10,000 fe-male twitter followers just for the pur-pose of releasing this album for them.

Any shows?Im not focusing on doing shows un-

til the end of this year when i have an even bigger following and records people are familiar with. There's noth-ing like 1 artist being able to bring 500 people to a venue by himself $$$$

Itatenis itibusam exeribus peresto reribus dolupis eos

32

In his President"‘s Mes-sage in the Fall issue of MEIEA‘s Newsletter, Tim Hayes shared some sug-gestive thoughts about nurturing other sectors of the entertainment econ-omy within the MEIEA or-ganization. He reminded us that the word "enter-tainment" is in MEIEA‘s title.

Related to this valuable reminder is an important commercial trend I've no-ticed that holds vast im-plications for music busi-ness programs and the students we teach: every business is becoming a

music business.Converging industries, a digital lingua franca

and a relaxed regulatory climate are enabling traditionally separate enterprises to ally with one another in completely new ways. In the process, unprecedented career opportunities for those trained in the musical and entertain-ment arts are evolving.

Examples abound: AT&T now has a music di-vision; so does IBM. Home entertainment retail-er Best Buy has an artist development program and a record label in the works. Everyone from Pottery Barn to Victoria’s Secret issues compi-lation records. And this past fall, Sting made a deal with Compaq for the computer giant to es-sentially serve as the marketing department for his latest recording (in loco A&M Records).

Each of these "non-music" companies are staffing up in the music and entertainment ar-eas. They are seeking to know how music works in the marketplace and how value is added through music and entertainment affinities.

Delving into the arts is a trend also reflected in the current crop of business books. Compa-nies which used to draw their metaphors from the military and machines, are now encouraged

to see themselves as jazz bands and theater productions. Titles like John Kao’s Jamming, Peter Senge’s The Dance of Change and Max Dupree’s Leadership Jazz argue that successful contemporary businesses must be guided by these more musical and artistic models or be left in the dust.

How can we begin applying these develop-ments in our music business programs?

These trends require a new way of think-ing about the "music business" and "industry careers." We must encourage our students to "think outside the box" of traditional music business models and explore fresh possibilities; to reflect on where musical skills are used rath-er than on where music has traditionally been sold; and to not limit themselves by standard job titles but to instead find ways to creatively engage their skills with the evolutionary dy-namics of emerging business paradigms.

Music business faculty can encourage the exploration by their students of other arts and entertainment areas in their schools in order to synergize creative alliances; they can create bridges to other university departments in or-der to constellate true interdisciplinary success; and they can scope out new business partners eager to "dance" with the music industry (read: provide jobs).

The traditional music industry is transform-ing. With the right mix of creativity and bold-ness we can help our programs grow in value to our students, our institutions, and newly emerging workplaces.

By Peter Spellman

IS EVERY BUSINESS TRYING TO BE A MUSIC BUSINESS?

Corporations of all kinds will be looking towards the music industry to fund future budgets.

The traditional music industry is transform-ing. With the right mix of creativity and boldness we can help our programs grow in value to our students, our institutions, and newly emerging workplaces

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34

IMPERIAL HUSTLE: Ok, this is Im-

perial Hustle, Resource Magazine and

we have the honor today of speak-

ing with Boss Spook - Manager of the

south, Freeway Enterprise. How you

feelin’ today Spook?

BOSS SPOOK: Ah man, I’m cool.

Checkin’ in. Doin’ what I do. Stayin’ a

float out here. IMPERIAL HUSTLE: I hear

that. We all know being in a presiden-

tial situation is busy and hard work.

I’m talking to a fellow grinder; I just

wanna let the people know. Spook, let

get into a little bit of your background

on the music industry and some of

the stuff you’ve done and what got

you started in this.

BOSS SPOOK: Well by me being

from New Orleans we come around

Jazz and around Musicians all our

life. I attended various Colleges in

BOSS SPOOKWWW.BOSSSPOOK.COM

ENTREPRENEUR , FOUNDER OF CONNECTED AND RESPECTED,

PRESIDENT OF FREEWAY ENTERTAINMENT SOUTH

INTRO OF INTERVIEW

35


California and Hawaii, Nebraska, Chi-

cago, Memphis and I just made a lot

of relationships with different types

of people and I always kept those re-

lationships solid. But I always had a

love for music in my heart, so this is

something I knew I wanted to do once

my college years were up.

IMPERIAL HUSTLE: Right, so basi-

cally you got a chance at a early time

to be able to travel and touch base at

different colleges and different places

and coming from that soulful New Or-

leans sound that ya’ll got you were

able to probably also bring that to the

table and get feedback of other styles

that are across the nation.

BOSS SPOOK: Yes, I’ve always been

a person that would network with

anybody and I’ve always been a per-

son that can go anywhere because

I’ve always been about I give a lot

of respect so I’m going to get a lot

of respect. I always maintain, never

burn bridges with anybody; you nev-

er know when you are going to need

them people once again and I try to

stress that to everybody I come into

36

contact with.

IMPERIAL HUSTLE: Right, I can defi-

nitely dig it! I know that you got En-

tertainment Notorious also, how did

that come about and what kind of stuff

do you guy be involved with with that

whole movement?

BOSS SPOOK: The Notorious Move-

ment was kind of like a spin off free-

wayenterprise.com. I -felt like I always

came in contact with Notorious people

like the Real Rick Ross, the Big Meech,

C-Murder, and that’s how I came up

with the name Notorious. When Wendy

introduced me to Rick, we went from

there. We kept talking, while he was

locked up I went and saw him and then

he was like Spook I have a position for

you. Me being from New Orleans, we

really don’t get no opportunities we go

out and make opportunities.

IMPERIAL HUSTLE: Right Right, so it

came about you and Rick when you

went to see him locked up and ya’ll

talking and kinda building that rela-

tionship that’s how it turned into him

seeing you, a man of your statur and

you seeing an opportunity and him

seeing a opportunity. Both ya’ll kinda

putting your heads together and said

this is something he felt that both of

you could benefit from.

BOSS SPOOK: Yes. He was always like

“I like the South, I wanna do something

within the South and I have a division

of the company that I want you to be a

head of if you want to take the opportu-

Boss Spook touches base with some of the most Notorious O.G.'s

I attended various Colleges in California and Hawaii, Nebraska, Chicago, Memphis and I just made a lot of rela-tionships with different types of people

37


nity”.

That’s when

he came up with the Freeway

South. Since then I been trying to out work him, he out-

working me right now (laughs).

IMPERIAL HUSTLE: I hear you. You being the President of

that, the Freeway Enterprises of the South what kind of im-

pact do you plan for that division to have on the industry as

a whole? What kind of things can we expect from it?

BOSS SPOOK: It’s not just go-

ing to be entertainment I want to

cater to every genre. It can be

rock, country, I want everything…

techno music. I’m not just all

one style of music, I listen to ev-

erything. I have different genres in me; I go everywhere I

listen to every type of music. I’m not one person to be like

ima just do this, ima just do this. Nah, I don’t wanna do

that. I’m gonna get into skateboarding!

IMPERIAL HUSTLE: Right! Why limit yourself. You aint sup-

pose to, there’s too many opportunities out there.

Please check out the rest of the Boss Spook interview at

www.imperialhustle.com, were you can here the full Audio

interview.

I’ve always been a person that can go anywhere because I’ve always been about giveing a lot of respect so I’m going to get a lot of respect.

38

DRAE JACKSONFounder of 6103 Entertainment artist managment company, Film Director and Entrepreneur for many upcoming projects.

FRANK NITTYWestCoast Producer, Entreprenuer and promoter. Thrown some of the largest events n the west coast.

TANA MARIEmodel for a variety of urban showcases recently featured in Show Magazine Exclusive section and gives advice for upcoming models.

RAS KASSLegendary West Coast Emcee, impe-rial Hustle had spoken with Ras for an upcoming interview .

SLIP CAPONEPioneeer along with the golden age of the west coast DPG affiliated and has been in the game before it peeked. Drops some jewels with imperial.

ALKATRAZyoung emcee out of inglewood shows his support with a video interview and speaking on his trials as an indie artist.

Exclusive Interviews and Proformances Coming Soon

39


the resource magazine vol. 4

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