 some work with him I mean as far as when we were doing ozone I would have the opportunity to kind of just tag along with him with certain rap live stuff and then I ended up helping him with his his book release in the art and science of respect respect you know I think he has seen what I did with the pimpsie project you know I've seen you on drink champs with Jay Prince how how did you and him formulate a relationship for us you know just a business type or whatnot just give me the history on how you guys linked up well I guess around the time ozone started really expanding because like we started in 2002 but we were pretty much just in Florida so ozone started in 2002 but we were very like central Florida focus and we didn't have any money so it was like however many issues we can print up that's however many we're gonna put out so the way we started expanding was that I would be surprised like I put I put a few magazines in the box in Miami in a box in Tampa and we wouldn't really get a huge response like from the big cities like you know somewhere like Miami they've got three radio stations and they've got newspapers and they have outlets but what surprised me was that like for example like that first you know we put a box out in Tampa and we started just getting all these calls from Tampa whether it was DJs or artists or you know people who had stores that wanted to advertise like stores like yours so cities like that once we started really traveling a lot like cities like Tampa or Birmingham or Mobile like they didn't have you know the artists in those cities they didn't it's very hard to get on the clear channel station or whatever is not going to play you know rich boys trying to come out of Mobile or you know somebody like that who really does have some some movement has a fan base but there's not really and back then there wasn't Twitter and Instagram and YouTube and all that so they wouldn't really have a platform to you know put themselves out there especially visually you know we take things like YouTube for granted but back then like you know plies or somebody like that would have a mix-save come out everybody would be playing it but not know what he looks like you know not really have like that visual aspect so I guess I'm getting off track from your question but okay I'm just glad you're talking so we started we had this map on the front of ozone and it was supposed to represent our where we were distributed and people started we started getting these angry calls because we weren't in Texas yet so the map didn't have Texas and so people would always call and send us back like how are you are you saying this is the South like how are you not including Texas so for me I don't think I had really traveled you know to Texas at that point so I didn't understand like the culture and the reach that you guys have here right you're really very kind of insulated but also have a huge you know distribution network well I learned a lot even researching the PIMC book I learned I learned a lot about was it Southwest yes I was no not that not the conference but the the distribution network oh yeah yeah yeah that's how that's in Houston yeah well I don't think they existed no more they were usually came was actually the first like independent project that they distributed and so I interviewed a lot of artists who would talk about how they really weren't pursuing major label deals because they could distribute in Texas and sell like a hundred fifty thousand albums so why would you go and give you know a chunk of your income away so Texas had a this huge network but it also was like kind of closed off to other it was very insulated so I say all that to say we started like every month we would get the the magazines I would literally like I think I had like a Corolla back when I first started out so we would have like 20 boxes of magazines you drove it would just be on the ground and so we would drive we had to we had a sort of like independent distributors so it would be somebody like it might be somebody like you who has a store and you have you know people in the community come in or might be like a DJ or a radio station so we would just go city to city every month and you know hey come meet me at Chevron I got a box for you you know so that's how the distribution you know start out because we tried to get in the beginning when I tried to get an actual magazine distributor they weren't you know this is you know it's a story magazine so Rappelot around the time that we started distributing in Texas was around the same time that I think that they had a deal with was it asylum I think it was there asylum Warner because Rappelot was kind of you know of course they were very known like on the streets oh yeah in Texas but they also they weren't prior to that I don't think they were doing a lot of like national press like they didn't really have a market they weren't really like marketing it in the same way that major labels it so once they linked up with asylum you know that put them kind of under the Warner umbrella and labels back then would do a lot of like press junkets where they would reach out to you know all these different media outlets and just really put a push behind the album release so around the time we started doing a lot of stuff in Texas was when I think they put out definitely the Pimp C solo album I'm gonna be honest this is going back 15 years or so so I'm trying to remember all the specifics but around like 05 is when I started coming out here a lot so there was you know this is when Mike Jones was dropping yeah I'm like John Paul Wilde and my guys who was I'm not sure which were which were Rappelot but around that time like 05 there was a lot of material coming out Swisher House you know Rappelot that was previously of course they had been putting material out but it wasn't getting like the national kind of look and so since we were kind of in that system at that time like Atlantic and Warner and asylum would you know reach out to us so that's why I started doing a lot of stuff with with Rappelot and so of course I would you know Jay is very I mean I love the fact that Jay is always out like he's so that's how he works he works he knows what's going on he's not you know a lot of executives you know kind of will fall back up in their their mansion or whatever he'll be in the streets and really know what's going on I think you have to when you when you like he was he's always been a guy to go to guy and so you have to know what's going on and I believe he was able to speak to it throughout the years probably better than anybody else could you know when he come down to hip hop especially when yeah I mean I really learned a lot working with him and just just being able to you know kind of observe and see how he handles business and stuff like that so I did some work with him I mean as far as when we were doing ozone I would have opportunity to kind of just tag along with him with certain Rappelot stuff and then I ended up helping him with his his book release and the art and science of respect respect you know I think he has seen what I did with the pimpsie project and you know he had obviously he had all kinds of avenues to put a book out through a major you know through a major publisher but he was weighing the options like could I just put it out myself and so that's so he self-published yeah so well basically I basically helped him set up a Rappelot arm you know a publishing arm to actually put the book out so he was able to keep it all in house we did everything you know the whole design and the whole release and everything and I told him you know I felt like it fit the Rappelot you know rather than you just going and getting a check from somebody and then you don't really have full control over the project you know that's what they had been doing the whole time all those years with the music so it made sense to do that with the book and at that time you had so much knowledge where that was concerned just to be able to teach him and tell him exactly what to do yeah I mean I had learned a lot about the publishing side of it and so we were able to put it out independently and have full control over it and then I helped him put together the the marketing for it so we ended up I think originally it was gonna be like a three-week tour and it turned into like three and a half months you know he did tons of press oh yeah he was everywhere yeah we on boss talk one-on-one one-on-one yeah we gonna talk