Posts Tagged ‘New Orleans Union for Entertainment’

985 Lyricist “Drama” aka Dreezy Drops Hot New Video “Us”

Saturday, December 8th, 2012

Drama also known as Dreezy






He started his career as a teen dropping music with neighborhood friends and artists from New Orleans. In the early 2000’s, his career took off after signing with Eltoria Hogan’s YzGyz Entertainment. After recording a hit single, “That’s How We Play It” featuring Lil Flip, the label and Taurus “Drama” Williams went on a regional tour promoting his first solo project, “Product of My Environment.”

The hardworking emcee is not only an artist but a family man and master barber. These attributes have impacted his life in a positive way and permeate his musical style and delivery. After a short hiatus and a few years of recording various projects under the moniker, “Dreezy”, he released several mixtapes including the “Sixth Man”. Drama has collaborated with Maxminelli, C Loc, X Files, Devious, Lil Flip, Brandon Watson, and many more Louisiana and dirty south artists.

Family Portrait of Drama with his daughters













Drama and YzGyz return with his new video “Us” featuring Tabitha Accardo. The video was directed by Kut Creator.  The Heat Magazine will keep you posted on his upcoming projects. Check out the video and lyrical content.  The single has also been featured on New Orleans Union For Entertainment All Stars mix tape series.   For more information, contact Drama at or Dion Norman at

Louisiana Industry Professionals Discuss Music Business

Thursday, February 23rd, 2012

In an industry that changes more than the weather, The Heat Magazine wanted to enlighten artists and music business stakeholders with pertinent information.  A superficial glance  at the music industry can deceive an upcoming artist or company.  The Heat Magazine realizes the importance in educating artists.

One of the first issues addressed in this discussion concerns copyrighting and publishing. It is imperative that all music and lyrics are copyrighted through the Library of Congress.  Copyrights protect an artist from infringement by other artists, companies, and it also helps identify owners and songwriters of a particular tune.  Although a song is copyrighted once recorded, it has to be legally copyrighted using the correct forms.

A buzz word in the music industry is publishing.  Publishing deals with mechanical, performance, and sheet music royalties.  The songwriters can collect upfront monies as well as semester payments based on the magnitude of a song.  This can be managed by publishing companies ASCAP and BMI and a publisher.  An artist has to register as a songwriter,  and a company as a publisher.  This enables an artist and a company to collect owed royalties.  For example, if a motion picture uses an artist’s song in a film, royalties are owed by the film company to the artists and other co-owners of the publishing rights on that song.  If another artist uses a portion of your song or creates a cover, then royalties are due to the artist and publisher.  This is a streamlined example but the artist  can receive money anytime another entity uses or makes money with his/her song or portions of it.  Royalties can be collected from record sales, radio/video play, club performances, and sheet music.

The Heat Magazine hopes this summary helps upcoming artists and companies.  The next subjects were covered in the following interview:

The Heat Magazine: How important are email blasts?

LaJoan of Dream Management

LaJoan  of Dream Management: Eblasts are very important. It’s the driving force that spreads your music worldwide to different D.J.s and helps start fan bases in other cities and states. Eblasts are respected more by D.J.’s.  They rather get it sent to them that way instead of artists filling up their inbox.

The Heat Magazine: How important is artist management?

LaJoan  of Dream Management: Management is important because it takes the everyday stress of the music business off the artist. I think everyone needs good management to help develop plans, marketing & promotional strategies, make phone calls and take care of other needs the artist has. Having proper management can open many doors that you may not otherwise have access to.

For more information, contact

The Heat Magazine: How important is a publicist?

Arlene Culpepper: As music artists, you need the world to know your particular brand. In order to achieve that, you need press, particularly a social media buzz, including articles regarding your work. Publicists can help brand you and get your art out to the world.

Arlene Culpepper-Assistant Editor of The Heat Magazine/Publicist

The Heat Magazine: How important is the D.J.?

Original Ice Mike 1200: Well the DJ is certainly one of the most important people to an artist.  The DJ is the soundtrack to the good times in the life of party-goers. If an artist makes a record that is so hot it withstands the test of time, the DJ is the one that is stitching that song in the memory of the people in that time of their lives.

The Heat Magazine: How important is a producer?

Ice Mike 1200-Producer

Original Ice Mike 1200: The producer is probably the most important of all in the career moments and recordings of an artist.  It’s not just making the beat. That is the music writer but the producer is the one who will not only pick or make the music track,  but who delivers the final product. The way a song comes across from the left and right speaker.  Its dynamic ability and spectrum.  Sometimes a producer can be hired by an artist to give that artist the type of songs the artist may know from the producer’s success and the artist may begin to dive into telling the producer what to do in a production and yet fall upon the same average wave of success as they were already at. It’s a factor of not letting their producer do what he was hired for.

When choosing a producer, it must be someone you can have faith in with your job. Otherwise an artist may very well see others achieve more success from the same producer. Techniques in recording,  pulling out the best in an artist, or stopping an artist from overusing their talent are all the call of a producer. The object is to have an undeniable music work before any person outside of a studio hears it. If a DJ has to say it is not mixed right, or an A&R has to say it takes too long to get to the good part,or if a consumer has to say, Why isn’t loud like I heard it in concert, 9 times out of ten you just lost one for good, who would have played it, signed it, or bought it! Production is a craft not just a title.

For more information, contact

The Heat Magazine applauds the panelists for sharing valuable knowledge concerning the complex music business.  The entertainment industry is much more than singing, dancing, and rapping.

For more information, contact Dion Norman at

Conversation with a Legend: Sthaddeus Polo Terrell ‘Da Ghetto Olan Mills’

Sunday, January 15th, 2012

Many believe that a picture is worth a thousand words.  The beauty and memories recorded in photography archive the happiest moments experienced by mankind.  In New Orleans, a city known for its uniqueness in music and culture, there exists a photographer who has dedicated his time to snapping more than twenty years of intriguing and meaningful photos.  The Heat Magazine wanted to cover the man who coined the name “Da Ghetto Olan Mills.” Sthaddeus “Polo” Terrell, a native of New Orleans from the Uptown area, began photography years ago.  Here’s what he had to share with The Heat Magazine concerning his career and work, which has been featured in the “Where They At Nola” exhibit, that was housed at the Ogden Museum in New Orleans.  The collection highlighted twenty years of rap and bounce music created by Big Easy artists.

The Heat Magazine: How did you get into photography?

Polo The Picture Man: Lil Ham, my godbrother, I had to do his album cover.  I noticed how everybody hung out Uptown at the neighborhood bars where rap first took off.   I met this dude at Flirts: Button Man.  He told me he made $6,000 taking pictures one night.   I said, “I’m in the wrong business then.”  At first, I was running with the rappers.  I went home and started sketching up some stuff.  I tried to get my friends into it. They didn’t want to get involved so I went alone.  I told my grandfather what I wanted to do and he helped me make my stands and everything I needed.  I watched other photographers and I started putting my equipment up at Big Man’s.  At first,  I was still used to  going out and partying.  I did not set up. I kept it in my trunk , but on one Saturday December 16th in 1990, I finally set up on the neutral ground and I’m still at it.

The Heat Magazine: Where did you receive your training?

Polo The Picture Man: Well, I was aware of  photography because I took photography classes at the Boys Club when I was young.   I took classes in high school also.  In High School, I was on the yearbook staff.  The Polaroid shots weren’t that hard to do, but I got into it even more when I started using the 35mm.  I bought a Canon camera and took classes at the Fine Arts Studio on Magazine.  They offered free classes  at UNO too.

The Heat Magazine: Who inpires you?

Polo The Picture Man: My mother was my role model.  My mom always told me “whatever you do, do your best.”
The Heat Magazine: Describe a bittersweet experience for you as a photographer?

Polo The Picture Man: I have done more rest in pictures and coming home from jail parties than graduations.

The Heat Magazine: How did you get the name, Da Ghetto Olan Mills?

Polo The Picture Man: I call myself  Da Ghetto Olan Mills because I work in the ‘hood’ and take pictures.  It started from me clowning with Wild Wayne. My cousin Sam who drove tow trucks called me “picture man”.

The Heat Magazine: What separates you from other photographers?

Polo The Picture Man: My backdrops separate me. My first backdrop was a raider jacket then a polo and the 8 ball jacket.  I had several backdrops. Whatever song was hot, I made a backdrop.

The Heat Magazine: What advice would you give to an aspiring photographer?
Polo The Picture Man: Practice makes perfect.  The more you practice and the more things you shoot, the better I get.
The Heat Magazine: Tell us about some of the highlights of your career?
Polo The Picture Man: When I attended photography seminars and photographers like Eric Waters and Girard Mouton speak highly about my work.  Mouton attended the M.I.T of photography, RTI.   I also started doing second lines and taking  pictures of the clubs.  I take pictures at kids parties also.
The Heat Magazine: Are there any other memories or accomplishments you would like to share?
Polo The Picture Man: I went to Warren Mayes’ Club 88,  and his concerts at Treme.  I’ve done the Turkey Bowl  with D.J. Jubilee.  Some nights I would do three gigs in one night on holidays.  I would travel from the concerts to Club Detour. Most of time I’m up the whole weekend.

The Legendary Warren Mayes (Rest In Peace)

The Heat Magazine would like to thank Terrell for his service in photography in the city of New Orleans.  Imagine if  Da Ghetto Olan Mills would have shunned the dream of  trying to earn a lucrative living using a camera.  Much of  New Orleans’ cultural history might have been lost.  The Picture Man is definitely a blessing to the musical and social club community in the Crescent City.
For More information on Sthaddeus Polo Terrell, contact Dion Norman at
Contact Terrell at or on Facebook at

Young Lil Wayne

Conversation with a Legend: Cise Edwards staying afloat in music industry

Sunday, January 1st, 2012
The more things change, the more they remain the same is a cliche’ often stated in the midst of adversity. In the music industry some may beg to differ. Adjustment and adaptation may be better terms to describe today’s technology based music industry.
New Orleans legendary producer Cise Edwards professionally known as Cise involves himself in mixing, mastering, video production, and editing. Cise is known for forming Big Boy Records with Robert Shaw and Charles Temple. He also produced all of the albums released on the Big Boy label throughout the 90s. Some of those artists include Mystikal, Black Menace, Ghetto Twinz, G Slimm, Partners n Crime, Fiend, G Quikk, and more. Cise is also credited with working on Juvenile’s album Cocky & Confident. The Heat Magazine had an opportunity to discuss and discover what’s happening within Cise HD.

The Heat Magazine: What are your latest projects or endeavors?
Cise: I will be working with a lot of people who you all think I should be working with, and I will be working with a lot of people who you all think I shouldn’t be working with. It’s going to be a hot summer. That’s the bubble right there.

The Heat Magazine: What separates you from other producers?
Cise: Nothing separates me from other producers. Everybody is individually dope within their own right. I don’t do what Mannie does, Mannie does not do what I do, and KL does not do what Mannie does. That’s the era we come from.
The Heat Magazine: What are some of your accomplishments?
Cise: My resume is decent. It could be better. In a bundle, starting my own label Big Boy Records with Charles and Rob, finding Mystikal, putting that project together and sending that out to do what it did. That is the one I am going to go with.
The Heat Magazine: How do you feel about the state and condition of the music industry?
Cise: The music industry is being rebirthed in a way. There are ways you have to do things. You still have to do the meat and potatoes of the game: promote, have quality product, have a good image, and the “it” factor never dies. The business of music has changed. The state of music is in rebirth and you either have to get with it or get gone. It really doesn’t affect most people like it affects some people. Some of us come from where we had to create what we had. We had to create our own opportunities. For us, a rebirth is more of an advantage.
The Heat Magazine: What advice would you give to upcoming artists and producers?
Cise: The main piece of advice to the upcoming artists in the music industry is to make sure you have your publishing rights. Make sure you get a fair shake on your publishing. Make sure you get an advance on your publishing and not sell your publishing. Make sure your songs are registered. You can’t expect someone to have their paperwork together and your paperwork is jacked up. Get your publishing.
The Heat Magazine: How is tour life and how does it affect relationships?
Cise: The road, the tours, the concerts,  the promotional tours. Some artists can’t get past that phase. It’s an everyday job. It’s more than being at home. When you’re at home, you have time off the clock. When you’re on the road, you’re on call 24-7, you have to get it while it’s hot. A lot of people won’t make it because of the situations they are in. Some of the situations happen to be relationships they are in. I’m glad I never had that problem. You may have to go from a promotional event earlier that day to a promotional performance to an appearance at an after party to somebody’s studio recording until it’s time to get on the bus and leave. It’s no different from being a doctor or lawyer, that’s the business. It’s the life, it’s a job.
The Heat Magazine: Who inspires you?
Cise: When I get up everyday, I’m basically self-motivated. I get up and go get it. The times have changed. It’s more I can do now in a day than I could have done ten years ago. This digital game is the bubble.
The Heat Magazine: What are your goals as a producer for 2012?
Cise: As a producer, I am going to try to work with as many people as I can work with. This is something I haven’t done in a while. I am going to spread it thin this year. If you’re hot, I am with you. If you’re trying to do the right thing, I am with you. It’s not a problem for 2012. We’re going to go get it!
The Heat Magazine: What defines a complete artist?
Cise: An artist like Juvenile puts it in all day. He spends money on things he needs. You have to be more than a microphone fiend. It’s a lot you have to do before you get on the microphone, and it’s a lot you have to do after you get off the microphone. Being a businessman makes you a complete artist. Most successful artists are businessmen like Rick Ross, Jay-Z, and Lil Wayne.
The Heat Magazine: You have produced for many artists, how does it feel to be considered a legend in New Orleans?
Cise: As long as I am being considered for the job, I am cool with it.
The Heat Magazine: Being from New Orleans, what is it that you think is unique about New Orleans rap?
Cise: The unique thing about New Orleans music is that it’s culture music. It’s all about what goes on at that time during that generation. It depicts the culture at the time: secondline, jazz, and rhythm and blues. It’s culture music. That is what I love about it, it’s real.
The Heat Magazine: How important is education to you?
Cise: Education is a must. I talked to a group of kids at Xavier University a couple years ago. It’s easier with your whole struggle for you to achieve what you achieve with an education. I can’t stress it enough.
The Heat Magazine: What is your favorite dish?
Cise: My favorite dish is from Acme Oysters house. It is grilled oysters on a half shell. What!!!
The Heat Magazine: Whats the biggest lesson you have learned in your career or life?
Cise: The biggest lesson is to have everlasting patience. I’m talking about patience to continue your grind until you get what you want. Don’t worry about what you don’t have, work with what you do have and beat the competition at something else.
Cise Discography

5654 Mystikal Mystikal (CD, Album) 1995 01241-42330-1 Mystikal Y’All Ain’t Ready Yet (12″) 1995 BB0002CD Black Menace Really Doe (CD, Album) 1993 BB0010C G-Slimm Fours Deuces & Trays (Cass, Album) 1994 BB0011C Partners N Crime* P-N-C-3 (Cass, Album) 1995 BB0015C Sporty-T It’s All Good (Cass) 1995 BB0016C Black Menace(Cass, Single) 1995 BB0019 Partners-N-Crime Pump Tha Party (Puttin’ In Work) (Cass, Album) 1995 BBR0012 MystikalMystikal (Cass, Album) 1995 BBR-0017 Black Menace Drama Time (CD, Album) BBR-0017 Black Menace Drama Time (Cass, Album) 1995 BBR-0017LP Black Menace Drama Time / Hit ‘Em Get ‘Em (12″) 1995 BBR-0018 Fiend (2) Won’t Be Denied (Cass, Album) 1995 BBR-0018LP Fiend (2) Won’t Be Denied / Baddest M.F. Alive (12″) 1995 BBR-0020 Ghetto Twinz* Surrounded By Criminals (CD, Album) 1995 BBR-0021 Insane (10) Camp 4 Life (CD, Album) 1995 BBR-0021 Insane (10) Camp 4 Life (Cass, Album) 1995 BBR 0023 Elaté Elaté (CD, Album) 1996 BBR 0023 ElatéElaté (Cass, Album) 1996 BBR-0024 Various The Compilation Album – We G’s (CD) 1997 BBR-0024 Various The Compilation Album – We G’s (Cass, Comp) 1997 BBR-0025 J-Dawg Smokin’ & Rollin’ (CD, Album) 1997 BBR-0026 J-Dawg The Dawg House (CD, Album) 1997 SCMG-0013 Mystikal Mystikal (CD, Album) 1995 SCMG-0014 Partners N Crime* P•N•C•3 (CD, Album) SCMG-0015 Fiend (2) Won’t Be Denied (CD, Album) 1995

Contact Dion Norman at for more information on Cise Edwards or Cise HD.

DA INDEPENDENTS: Latest N.O.U.E. Mixtape Release

Tuesday, October 18th, 2011

New Orleans Union Of Entertainment All Stars return with their fifth installment in less than 120 days, “Da Independents” featuring Corner Boy P, Da U Boys, TNC Boys, Partners N Crime, Devious, Fiend, Jay Jones, Bruce-Lee Roy, Marcy, Redd, Mz. Wizdom, Y Dot Luck, Eazy Money, Magnolia Shorty, Konfo and more.

This mixtape exhibits the rawness and lyrical prowess of New Orleans and will definitely become a favorite of true heads and “snap backs.”

Released earlier today, it is already breaking records. Da Independents is a highly awaited mixtape being released on the heels of Da U Boys‘ “Tha Shut Down“, Corner Boy P‘s “Limitless“, and Fiend/Don Cannon mixtape.

“NOUE tries to stay aligned with what’s hot in the streets of New Orleans so we can keep things moving consistently.” Da Independents will be available at most major mixtape sites, blogs, and forums.

Follow the New Orleans Union For Entertainment on Twitter @NOUE1.


CONVERSATION WITH A LEGEND: Fiend a/k/a International Jones

Thursday, August 18th, 2011

Cool is definitely in session when Fiend's around

“Stay straight baby. Stay straight. It’ll all make sense one day. Forget the prestige – Congo Square in the flesh.” – Fiend

It was 1995, the year that the world would come to know rapper, Fiend. Having released his first album, “I Won’t Be Denied”, on Big Boy’s label, Fiend was well on his way.

Two years later, he signed with No Limit Records and the rest as they say, is history. Fiend’s lyrics will forever be etched into our memories, as they are deep and thought provoking. His lyrical skills are most definitely on another level.

Fiend is now currently touring with Curren$y and quite a few other popular artists on the Smokers’ Club Tour – a move that is taking his brand around the globe.

Fiend made numerous appearances on No Limit features and in several instances, took them over like they were custom written and produced for him. His second album, “There’s One in Every Family” was a bonified hit and has become a solid classic. It made it to the top spot on Billboard’s Top R&B/Hip Hop chart and in the Top 10 on Billboard’s Top 200 – quite a feat for a New Orleans rapper of that era. “Street Life” also debuted at the top of Billboard’s charts, as he introduced another hit to the world. “Walk Like A G” is a classic street anthem to this day and is even more memorable because of his collaboration with the late New Orleans legend Soulja Slim. “Can I Ball” and “Shell Shocked”, duos with Mac, are two more Fiend hits that will forever live in the streets and beyond. The list is truly endless.

Fiend was one of the legendary artists who helped lay the groundwork for the genre. He’s worked with artists from Mia X, Mac, Mystikal, C-Murder, Silkk That Shocker, Mr. Serv-On, Three-6 Mafia, and Master P to Snoop Dogg and UGK to the late legends Soulja Slim and Tim Smooth. Fiend has added the title of producer to his already impressive resume.

We recently caught up with Fiend on the heels of the first part of the Smokers’ Club Tour, which is set to pick back up on October 12, 2011 and also includes Curren$y, Method Man, Big Krit, Smoke DZA, The Pricks, Corner Boy P, and others.

Fiend filled us in on his latest projects, and he dropped some knowledge on us about the industry:

THE HEAT MAGAZINE: How’s the tour going?

FIEND: It’s getting ready to crank back up on October 12th. We’re just getting back from ATL. Good people, good times. Good times, good vibes. Because of Curren$y, a lot of the younger fans are familiar. He helped get downloads of the mixtapes. Many of the kids are aware of me through Curren$y.

THE HEAT MAGAZINE: What’s your latest project?

FIEND: It’s “Cool Is In Session” – it dropped 7/28/11. I’m trying to drop a new mixtape every two months. I hope the drop the next one on 9/14/11. The most recent one was a little late, but I hope to drop a mixtape every other month.

THE HEAT MAGAZINE: We have several NOUE affiliated artists that cited you as having a huge influence on their careers. What advice do you have for the younger artists in the industry?

FIEND: Learn the business. You have to learn the business. Go sit in somebody’s library or somewhere and learn the business. Have a plan and execute it. You can be in the studio and waste hours, days, months, or even years, and if you don’t have a plan …. If you learn the business, you get the most of out of the experience. Don’t be afraid to ask questions. You gotta out hustle cats. It takes structure to get serious and you better know what you’re selling. You gotta stay consistent. Somebody once told me, “Ricky, have some prestige about yourself. Don’t be a whore for the business. Don’t jump at everything.”

THE HEAT MAGAZINE:: What do you think about the newly formed New Orleans Union for Entertainment – the N.O.U.E.?

FIEND: It’s a nice movement. We lacked organization and structure in the hip hop scene. You have to know what you’re working on. New Orleans has a lot of talented artists – rare artifacts for real – but the music scene hasn’t’ progressed due to a lack of structure. Culture year round in New Orleans – Congo Square in rap form. Maybe one day they’ll get it.

THE HEAT MAGAZINE:: What are your thoughts on the loss of a legend, Tim Smooth?

FIEND: Tim Smooth was the big brother for Down South artists. He saw the talent and helped nurture that talent. He will really be missed. Lord knows what his family is going through right now. I can only imagine. Tim was one of those cats – whether he was on the road, in the studio, or just in life, he always helped out in crunch times. He was the only man who had been there a lot. He was a hip hop big brother, no doubt, and he’ll be greatly missed. He’ll be greatly missed. God has a plan. Tim was just another soul that left entirely too young. Tim Smooth helped me through some tough times on some real life ish.

THE HEAT MAGAZINE: How do you see the music industry evolving?

FIEND: You gotta stay consistent. I’m dropping an album every two months. People know what they want now and they’ll go straight to it. I make music and go from there and I’m interested to see where it goes. A lot of music is overlooked. It aint’t easy, but God is great. I get up and keep going at it. There’s more to the music I’m making. It’s packaged well and has a message in it. Genius is 1% inspiration and 99% perspiration.

THE HEAT MAGAZINE: Is there any other work you’d like to get into?

FIEND: Movies – cartoons and voiceover work. I would love to narrate. That would be cool and I’d still be making the music.

EDITOR’S NOTE: We salute Fiend and look forward to hearing much more from him. He is a legend whose music continues to evolve. Make sure to check out the Smokers Club Part 2 and his new releases. Visit Dat Piff for downloads of Fiend’s mixtapes: Dat Piff downloads

You can check Fiend out on these sites:!/fiend4damoney!/JETLIFEOFFICIAL