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Speaker 1: When I right, y'all all across the USC Compton Watts

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Speaker 1: Day to l A, come on the California the Valley.

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Speaker 1: We represent that kind of county. So if you're keeping

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Speaker 1: it real on your side of your town, you tune

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Speaker 1: into Gangster Chronicles. Gangster Chronic Goals are gonna tell you

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Speaker 1: how we go. If I like my nose a girl

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Speaker 1: like Pinocchio, We're gonna tell you the truth and nothing

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Speaker 1: but the truth. Gangster Chronicals. This is not your average show.

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Speaker 1: You're now tuned into the Reil m c a Day

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Speaker 1: James and Big Still from the Streets. Hello, where you act?

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Speaker 1: This is o G Gangster Granny and Against the Chronicles

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Speaker 1: podcast is back in effect. Thank you for tuning into

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Speaker 1: another episode of Against the Chronicles podcast. Make sure you

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Speaker 1: download I Heard That and subscribe to the gainst the

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Speaker 1: Chronicles for my Apple users, hit that Purple Mike when

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Speaker 1: your front screens described to Against the Chronicles and leave

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Speaker 1: a five star rateing in comment. And we have a

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Speaker 1: very very special guest in the house and night. We

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Speaker 1: have a man with thirty plus years in the music

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Speaker 1: and management business and he's touched on something everybody on

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Speaker 1: the West Coast He's a pivotal figure on the West Coast.

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Speaker 1: Um the former co owner of Shepherd Lane Records, UM

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Speaker 1: that brought us such people as DJ Quick, Sugar Free,

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Speaker 1: the late Great Marsburg managed Battle Kat. Let's introduce some

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Speaker 1: stand Shepard. How you doing. That's a blest, It's a

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Speaker 1: pleasure to be here, young brother. Thank you for having me.

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Speaker 1: We don't have to have you because this is your

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Speaker 1: first interview ever. This is the first interview I've done

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Speaker 1: in forty years. I have never done an interview before

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Speaker 1: before a variety of reasons, and one of the main

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Speaker 1: the main reason was because when I was working with

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Speaker 1: Shepherd Lane and we had all the success that we had,

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Speaker 1: I was threatened by kidnappings every every week. Not only

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Speaker 1: was I threatened by kidnappings, we had eighteen murders, including

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Speaker 1: my closest friend, events who traveled with me for many

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Speaker 1: years from Compton, and I love that man, and so

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Speaker 1: many people that I knew over a death row and

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Speaker 1: the Shepherd Lane are now dead. And when I look back,

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Speaker 1: I think of the violence that occurred all across Compton

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Speaker 1: and it's sickening. And right now it's still the same

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Speaker 1: thing I was told by my contacts, and Compton don't

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Speaker 1: even come there now, don't even tell people to come

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Speaker 1: there because there's a violent conflict going on across the city. Yes,

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Speaker 1: and so I'm tapped in from Kelly Park on down

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Speaker 1: the looters part. So there's nobody I don't know them.

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Speaker 1: And if I don't know you as a shop caller,

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Speaker 1: the people next to me know you, and I can

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Speaker 1: at least talk to you. So in Los Angeles people

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Speaker 1: must understand. Across the world, there's something different about Compton. Compton,

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Speaker 1: as explained to me, is an entity into itself, and

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Speaker 1: either even in the prison system, Compton both Blood excuse me,

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Speaker 1: both powerus and crypts bond together to protect one another.

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Speaker 1: And they're not gonna let outsiders get anybody from Compton.

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Speaker 1: They'll go when it's in prison, they'll go back and

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Speaker 1: deal with it later. But people from Compton have a

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Speaker 1: way of sticking together even in the prison system. That's

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Speaker 1: different from anywhere iness world. And believe me, I've been

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Speaker 1: involved in a lot of situations where I can compare

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Speaker 1: it to things. Stand when you say, when you said business,

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Speaker 1: you mean visits with Kenny. Yes, oh man, that was

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Speaker 1: my rider. Die right there now, I know. That's what

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Speaker 1: I'm saying. Vince was the first. Vincent was the first

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Speaker 1: person who came to me in a sit down meeting

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Speaker 1: and says, stand, we need you, we want you to

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Speaker 1: help with DJ Quick. Quick was in a difficult situation

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Speaker 1: your Profile records at the time, and I intervened and

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Speaker 1: I got Profiled to back off some of the demands

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Speaker 1: that they were making for Quick because one of my

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Speaker 1: strong points is I am attorney based. And when I

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Speaker 1: say attorney based, yeah, there's nothing that goes on in

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Speaker 1: the music industry without the attorneys doing it. So I

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Speaker 1: don't care if you're a president, I don't care what

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Speaker 1: you do of your company. Unless the attorneys say it's

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Speaker 1: a done deal, it's not. So therefore, I'm saying that

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Speaker 1: to say I know just about everything that's going on

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Speaker 1: with everybody's business because I'm that connected. And when I

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Speaker 1: went to work with Shephard Lane and doing what I

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Speaker 1: was doing, Vincent was a person with with tone that

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Speaker 1: traveled me all the time. And all of the people

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Speaker 1: that death Row from rock Chisholm down to um Um

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Speaker 1: which is the name of heron all these guys. I

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Speaker 1: used to go there, all of the time because you

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Speaker 1: know why, James, You know why because at that time

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Speaker 1: Capitol Records was trying to buy death Row. Nobody knew it.

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Speaker 1: So Capitol Records gave me a deal financed my label.

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Speaker 1: Nor did I find out what they were doing until

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Speaker 1: after the deal was over. They gave me a label

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Speaker 1: deal because they knew of my connection to leave Forward

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Speaker 1: and to Chill Nate. That's with me where and not

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Speaker 1: when I was dealing with him. Now I was dealing

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Speaker 1: directly with the chairman and the president. His name was

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Speaker 1: Gary Gersh and they called me behind the scenes to

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Speaker 1: take the president of Capital Records back and forth to

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Speaker 1: meet Chill to negotiate the deal. That went on for

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Speaker 1: about two months. We thought we had the deal done,

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Speaker 1: but then Mr Bronfman from m c A, the owner

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Speaker 1: of Seagram's, flew in on a late night flight and

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Speaker 1: closed the deal. So I was able to see everything

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Speaker 1: up close and everybody up close, and so everybody at

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Speaker 1: death Row I knew very well. And because lee Ford

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Speaker 1: has so much cloud, it was kind of easy to me.

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Speaker 1: He introduced me Norman and eight Lee Ford introduced me

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Speaker 1: to James. Mhmm. Now I managed James, so it's a

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Speaker 1: situation where I just want to do whatever I can

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Speaker 1: do to help, as I said before, but I also

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Speaker 1: know how thirty this businesses, and I know how to

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Speaker 1: clean stuff up, right because I'm attorney based exactly. And

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Speaker 1: with that being said, Stan, you're the clean up man, right,

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Speaker 1: which is initially why you were bought into this situation

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Speaker 1: to help broken that deal between Capital and There for

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Speaker 1: a record, right, Yes, they the president of Capital and

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Speaker 1: the chairman of Capital could get Jimmy Ivan to the table,

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Speaker 1: who was the owner of Interscope who was distributing death

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Speaker 1: row at the time, but they couldn't get shipped to

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Speaker 1: the table. So it was a deal that was going nowhere.

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Speaker 1: So they offered us a percentage of whatever if the

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Speaker 1: deal went down. They paid us some money to go

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Speaker 1: back and forth. But it didn't work out. And the

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Speaker 1: cold blood thing about it, let me tell you how

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Speaker 1: evil it is is that now. Remember they hired me,

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Speaker 1: told me all this good stuff, oh standard this, and

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Speaker 1: you're that. When the deal did not go through for Capital,

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Speaker 1: I went up to talk to them to say, hey,

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Speaker 1: you know, I'm sorry it didn't work out. They banned

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Speaker 1: me from the building. They used to do that a

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Speaker 1: lot back in the days, did you hear me? They

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Speaker 1: and me from the building because I had quote unquote

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Speaker 1: gang connections, but the same gang connections that I had

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Speaker 1: brought me to you to give me a multi whatever

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Speaker 1: deal for my first label. And understand something. My label

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Speaker 1: was called g Vine Entertainment and it was the first

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Speaker 1: hardcore rap music label and the history of Capitol Records

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Speaker 1: and it's and I did the deal with DJ Battlecat,

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Speaker 1: and as soon as the deal with SUG fell through,

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Speaker 1: they banned me from the building and said I was

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Speaker 1: a threat because I had access to SUG. My friend

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Speaker 1: was Harry Oh. For twenty seven years, I was involved

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Speaker 1: with people from the streets that had clout and they said, oh,

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Speaker 1: he's too dangerous to be up in here, because if

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Speaker 1: anything goes wrong, there's a problem. No, the reason they

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Speaker 1: didn't want me up in their James eight and norm

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Speaker 1: is because I know how they run their games. I

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Speaker 1: know what they do, I know how they cheat and steal.

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Speaker 1: So when Stan comes in the room, uh uh, we

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Speaker 1: can't run these games on this fool right now. And

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Speaker 1: they don't want to see me. But guess what, I'm quiet.

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Speaker 1: I'm quiet in the background, and people call me. Even

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Speaker 1: from the major labels, they stand, we're dealing with so

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Speaker 1: and so. We're dealing with so and so. Are they cool?

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Speaker 1: This is a dirty business. It's a dirty business. And

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Speaker 1: I don't trust anyone in this business because they will change.

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Speaker 1: They will change on you. And in Los Angeles, if

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Speaker 1: you're not connected to some pie rows or some crips

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Speaker 1: or some or some bloods, you ain't got no cloud.

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Speaker 1: You got nothing. And the A and R directors don't

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Speaker 1: want to deal with you. First thing they asked you,

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Speaker 1: who are you connected with? Who can you hook me

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Speaker 1: up with? Norm? You know what I'm talking about. They

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Speaker 1: do it to you all the time. Yeah, I know

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Speaker 1: exactly what you're talking about. Because when I was A

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Speaker 1: and R over at Mind of music, you know, when

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Speaker 1: I'm signing an artist, that's when I realized. I thought

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Speaker 1: I had some power, but I had a pin with

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Speaker 1: no incumit. You had some situations to where you saved

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Speaker 1: the well known singer's life. What happened was that I

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Speaker 1: was coming from a studio recording session and I was

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Speaker 1: coming down the street in Los Angeles. It's called Beverly Boulevard.

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Speaker 1: There was a recording studio over there called Lions Share

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Speaker 1: at that time, and it was a very popular place

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Speaker 1: for recording artists. Well, I'm coming from a meeting and

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Speaker 1: it was the past twelve midnight and in the middle

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Speaker 1: of the road I see this man laying out and

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Speaker 1: he's waving his arm. So, being paranoid like I always am,

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Speaker 1: I thought it was a set up. So I stopped

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Speaker 1: and I looked, and I said, man, let me go

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Speaker 1: help this man. And when I got closer, I saw

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Speaker 1: blood spurting out of different locations on his body, and

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Speaker 1: I was actually dropped, uh dodging blood spurts. And when

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Speaker 1: I got to him, I saw it was Melvin Franklin

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Speaker 1: with The Temptations of Bass singer, and he had been

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Speaker 1: shot multiple times. He had been robbed coming out the

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Speaker 1: studio and the guy shot him twice and then the

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Speaker 1: third time he shot him. The only reason he let

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Speaker 1: him live is because Melvin yelled out, I'm Melvin Franklin

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Speaker 1: from the Temptations, Please don't kill me. Well, the guy relented,

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Speaker 1: got in Melvin's car, drove off around the corner. There

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Speaker 1: was very little gas in the car, and he pulled

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Speaker 1: up to the gas tank, filled the gas tank up

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Speaker 1: and killed the attendant and drove off. This was a

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Speaker 1: pardon me, This wasn't in the movement. No, there was

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Speaker 1: something they you know, it was something nobody wanted to

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Speaker 1: go into. Was very violent. And what happened at that

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Speaker 1: point I took off I had. I was twenty six

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Speaker 1: at the time. I was just out the military, and

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Speaker 1: I knew how to stop bleeding. So I took off

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Speaker 1: my shoes and tied my socks around the wounds to

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Speaker 1: stop the flow of the blood, and I loaded him

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Speaker 1: into my car and I took him to the hospital.

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Speaker 1: And they said if he didn't get there ten minutes early,

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Speaker 1: he would have bled to death. Now here's the here's

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Speaker 1: the clincher to this. One and a half years later,

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Speaker 1: I was hired by Motown Records to produce the Temptations.

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Speaker 1: I walked into the studio. I hadn't seen Melvin since

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Speaker 1: he was shot and Motown filmed it, and he turned

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Speaker 1: around and he saw me, says, wait a minute, you're

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Speaker 1: the person to save my life and now producing a record.

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Speaker 1: And the record I produced on them was called Special

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Speaker 1: and it turned out to be their album title, and

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Speaker 1: it turned out to be a massive hit single for them.

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Speaker 1: So I'm very proud about that. You stand you. You're

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Speaker 1: a little smoothie rousing up. Well, you know what. I

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Speaker 1: had a great career, James. I had a great career

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Speaker 1: at Motown. I produced six top ten records and one

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Speaker 1: number one record. I produced the Temptations. I produced a

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Speaker 1: Need to Point and Point of Sisters. I produced Gerald Dalston,

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Speaker 1: who was the lead singer to Manhattan's you Know, Kissing

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Speaker 1: Kiss and Say Goodbye and Shining Star. I did all

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Speaker 1: those and I worked in the A and R and

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Speaker 1: music production for many years. And a side note, I

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Speaker 1: had an R and B group called By All Means

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Speaker 1: and I signed them. It was my first deal ever.

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Speaker 1: It was in eighties seven, and I signed him to

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Speaker 1: Island Records and we did a remake of the Marvin

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Speaker 1: Gay song called Let's Get It On and went to

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Speaker 1: number three in the country, and it solidified my career.

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Speaker 1: And that's when I went to Motown. Mr Gordy and

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Speaker 1: Gerald Busby offered me a beautiful deal to come there,

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Speaker 1: and I stayed at Motown for five years until I

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Speaker 1: joined Jermaine Jackson because the Jackson family asked me to

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Speaker 1: come on and work with them, and I did that.

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Speaker 1: For two years. After that, I was introduced to a

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Speaker 1: young man named harry O and DJ Battlecat. Now, how

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Speaker 1: do you feel about harry O? Me at home? I talked.

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Speaker 1: I communicated with harry O last night via text. I'm

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Speaker 1: not bothering him because he's adjusting to everything in his life.

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Speaker 1: And Uh, I have talked to I called it Michael.

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Speaker 1: I have talked to Michael every year for twenty seven years.

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Speaker 1: I'm very emotional when I talk about that man. Okay, So,

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Speaker 1: I mean he's he's my partner man. So he started

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Speaker 1: he started with me with battle Cat. Understand something when

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Speaker 1: I tell you this. We've never met in person, me

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Speaker 1: and Harriet. It's all been since he's been incarcerated. He

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Speaker 1: trusts me. I trust him, and that's where we are today.

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Speaker 1: It's a bond and anything he asks of me is

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Speaker 1: going to be done to the best of my ability.

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Speaker 1: It's as simple as that. I love that man. They don't.

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Speaker 1: They don't find too many people in this world that

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Speaker 1: you can call a friend. Since I've known you, That's

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Speaker 1: how I've been feeling since they won and I met

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Speaker 1: you over there at the house in Beverly Hills. Uh.

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Speaker 1: Just good people. Staying. Thank you, James, you go, thank you.

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Speaker 1: I really appreciate that I misunderstood just because I work

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Speaker 1: with gang members and just because I work with people

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Speaker 1: from the streets. Don't don't tell me I can't come

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Speaker 1: into your offices. Don't tell me you don't want to

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Speaker 1: call me back because you man if something go wrong.

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Speaker 1: Let me tell you something, all of you, all of you,

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Speaker 1: and that is the most evil backstabbing people in business

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Speaker 1: work at the major labels, and if you don't check them,

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Speaker 1: they'll check you. I am not a person that turns

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Speaker 1: to the other cheek. You slap me, I'm gonna try

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Speaker 1: to slap you back, James. Let me tell you something,

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Speaker 1: all of you guys, I come from seven in nine

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Speaker 1: Street on the South side of Chicago, gang banging up

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Speaker 1: until I was twenty six. I had twenty two fights

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Speaker 1: and lost all twenty two. I became a virtual psychotic person,

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Speaker 1: and any time you even look like you were going

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Speaker 1: to threaten me, it brought back memories. And I'm quite

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Speaker 1: sure if anybody has been gang banging for any amount

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Speaker 1: of time, if anybody looks like they're gonna do something,

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Speaker 1: if you've been harmed before, it's a defensive mechanism, right,

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Speaker 1: and that's what it is for me. And sometimes even

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Speaker 1: at my old age, right now, I still never left

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Speaker 1: seventy nine Street. It's still in my soul because whatever

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Speaker 1: you experience growing up, it stays with you. I was

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Speaker 1: one of the first, and I want you to hear this.

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Speaker 1: I one of four of the first gangster disciples on

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Speaker 1: Sunday Night Street. And my history is there was I tough. No,

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Speaker 1: I was a scared fifteen year old that wanted to

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Speaker 1: be accepted and I was beating up daily and I

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Speaker 1: got tired of getting beaten up, so I said, let

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Speaker 1: me join the g DS. You get some protection. It

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Speaker 1: wasn't because I was a maniact wanted to do some wrong. No,

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Speaker 1: I was scared. And if anybody has been beaten up

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Speaker 1: real bad, you don't want to see that again. You

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Speaker 1: don't want to experience that again. And it made me

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Speaker 1: a different type of person, getting my butt whip twenty

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Speaker 1: two times and never winning. So when I came to

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Speaker 1: Compton and I started working with Shuk, I started working

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Speaker 1: with everybody involved with my label, with Shepherd Lane Man.

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Speaker 1: By the time people got to me, I was looking

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Speaker 1: at them with horns in their head. I said, if

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Speaker 1: anybody came towards me with anything, they got trouble because

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Speaker 1: I'm panic stricken. I've seen too much death in Compting,

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Speaker 1: eight of my friends dead. So what you said, how

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Speaker 1: would you say, you know, the transition of coming from

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Speaker 1: the time when you first started in business, and you're

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Speaker 1: like you said, we've all seen our our scales of

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Speaker 1: violence or perhaps, but you don't venture into the rapt

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Speaker 1: game and come into Compton, which you say that was

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Speaker 1: a whole different story altogether. Let me say this. I've

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Speaker 1: been to the Marsha projects in New York. I've been

303
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Speaker 1: on Sevenday Night Street, I've been I drive past Old

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Speaker 1: Block every day here in Chicago. I've dealt with every aspect.

305
00:22:01,840 --> 00:22:06,960
Speaker 1: My son is with the role of sixties. So we

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00:22:07,119 --> 00:22:11,840
Speaker 1: got a situation where I can look back and I

307
00:22:11,920 --> 00:22:20,280
Speaker 1: can see how vicious it became. Compton is totally different

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Speaker 1: from Watts, Compton is totally different from South Central, and

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00:22:26,080 --> 00:22:32,080
Speaker 1: Compton doesn't usually like to associate with outsiders. It just

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Speaker 1: doesn't happen. And I know if there's twenty seven hoods

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Speaker 1: from through town, all down, all the way down, I

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Speaker 1: know these guys. I know the South Side people, and

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Speaker 1: it's totally different. These people are Compton is more meticulous.

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Speaker 1: If Compton wants to hit you, there's already been a

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Speaker 1: plan laid out. It ain't and these people know, they

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Speaker 1: know what they're doing. I saved another man's life from

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Speaker 1: New York. You know what his name is. He's never

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Speaker 1: heard what I'm getting ready to say. It's gonna shock

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Speaker 1: him for you. Well, no producer for Public Enemy, for

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Speaker 1: the group Public Enemy, Yes, yes you are. His name

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Speaker 1: is Hank Shockley. He let me tell you what happened,

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Speaker 1: and I'll be bullet point you. There was a young

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Speaker 1: group from Watts, young man from Watts that I was

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Speaker 1: represented name Filthy Frank. I had a deal at the

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Speaker 1: time for Filthy Frank with a record company who was

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Speaker 1: run by a man by the name of Al Bell.

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Speaker 1: He used to have this big hit record called Whooped

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Speaker 1: There it is okay, it's called Bellmark Records. Well, he

329
00:24:05,280 --> 00:24:09,080
Speaker 1: wanted to get into the rap game, and I took

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Speaker 1: him the Filthy Frank project. Oh I love it. Stand

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Speaker 1: Here's a hundred and seventy five dollar deal at that time.

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Speaker 1: That's a lot of money for an unproven artist. So

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00:24:22,000 --> 00:24:27,160
Speaker 1: he says, here's uh, prepare the paperwork. I called my artists,

334
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Speaker 1: so this is what we got. He said, oh man,

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00:24:29,880 --> 00:24:34,320
Speaker 1: that's great. So then the following day, I have a

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Speaker 1: meeting at m c A with the head of A

337
00:24:38,400 --> 00:24:43,520
Speaker 1: and R. Her name was Madeleine and at that time

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Speaker 1: Madeleine's boss was Hank Shockly, okay, well, Madeleine heard what

339
00:24:50,840 --> 00:24:53,960
Speaker 1: she said, Stan, what are you working on? And I said,

340
00:24:54,000 --> 00:24:57,000
Speaker 1: I'm working on this project for from an act out

341
00:24:57,000 --> 00:25:00,840
Speaker 1: of what can I hear it? I said, yeah, you

342
00:25:00,840 --> 00:25:03,960
Speaker 1: can hear it? I played it for She went crazy.

343
00:25:04,080 --> 00:25:06,640
Speaker 1: She said, Stan, what what deal have you signed? I said,

344
00:25:06,680 --> 00:25:09,040
Speaker 1: I haven't signed anything yet. I said, I have an offer,

345
00:25:09,240 --> 00:25:11,040
Speaker 1: but I haven't signed a deal. She says, I'll beat

346
00:25:11,040 --> 00:25:14,760
Speaker 1: it by a hundred thousands. Whatever you've got. I said,

347
00:25:14,760 --> 00:25:16,719
Speaker 1: you give me two seventy five because that's what I got.

348
00:25:16,760 --> 00:25:20,600
Speaker 1: I got one seventy five. She said yes. I said, okay,

349
00:25:20,840 --> 00:25:25,720
Speaker 1: I called my artist. Let's roll. He went from one

350
00:25:25,800 --> 00:25:29,520
Speaker 1: seventy five to seventy five and twenty four hours, So

351
00:25:29,600 --> 00:25:34,480
Speaker 1: everybody's happy, right, Okay. So now fast forward. She says

352
00:25:34,480 --> 00:25:38,480
Speaker 1: she's going to get the paperwork together for two weeks

353
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Speaker 1: past three weeks past, no paperwork. I called up. I said,

354
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Speaker 1: what what's going on? Where's the paperwork? I don't know,

355
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Speaker 1: I don't know what's happening. I'm checking with my boss

356
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Speaker 1: in New York and I'm not getting a response on this.

357
00:26:00,840 --> 00:26:07,760
Speaker 1: I said, whoa. Now, remember this is this is this

358
00:26:07,880 --> 00:26:13,960
Speaker 1: is at the height of the East Coast West Coast drama. Okay, Well,

359
00:26:14,040 --> 00:26:19,120
Speaker 1: at that time, DJ Quick, who I was managing, did

360
00:26:19,160 --> 00:26:22,640
Speaker 1: a drop, and the drop for Power one O six

361
00:26:22,760 --> 00:26:28,320
Speaker 1: radio station said quote, I am no longer a supporter

362
00:26:29,040 --> 00:26:35,120
Speaker 1: of East Coast rap. That was the drop. Well, New

363
00:26:35,240 --> 00:26:39,639
Speaker 1: York heard of that. The executives in New York said,

364
00:26:40,320 --> 00:26:46,760
Speaker 1: do not deal withstand he represents gangs on the West Coast,

365
00:26:46,800 --> 00:26:51,200
Speaker 1: and DJ quit Mossburg Sugar Free. He's too involved with

366
00:26:52,359 --> 00:26:56,320
Speaker 1: So they never called me back. After two months, I

367
00:26:56,359 --> 00:26:58,600
Speaker 1: had to tell the artist, guess what your two seventy

368
00:26:58,640 --> 00:27:04,320
Speaker 1: five went down to drive? All right, fast forward, we're

369
00:27:04,359 --> 00:27:08,040
Speaker 1: having and you I don't know if you guys remember

370
00:27:08,080 --> 00:27:12,119
Speaker 1: this place it was. It was on nor It was

371
00:27:12,200 --> 00:27:15,919
Speaker 1: norm Nixon's place with his wife. It was called George's

372
00:27:16,920 --> 00:27:21,120
Speaker 1: and it was on uh it was in Hollywood. Well,

373
00:27:21,160 --> 00:27:25,359
Speaker 1: at that particular night, that we went. There was nine

374
00:27:25,400 --> 00:27:30,399
Speaker 1: of us and I had four saman bodyguards. None of

375
00:27:30,440 --> 00:27:35,200
Speaker 1: them were under I think three and fifty pounds. And

376
00:27:35,560 --> 00:27:41,879
Speaker 1: as we went into this restaurant for this joyous occasion,

377
00:27:43,160 --> 00:27:48,359
Speaker 1: Hanks Shockley walks in. I said, oh, this is great.

378
00:27:48,400 --> 00:27:50,320
Speaker 1: I get to talk to him in person, because I

379
00:27:50,359 --> 00:27:52,640
Speaker 1: haven't caught haven't called him in two months to talk

380
00:27:52,680 --> 00:27:55,840
Speaker 1: about what happened with the deal. Well, he was with

381
00:27:55,880 --> 00:27:59,359
Speaker 1: two people and I walked up to him at the

382
00:27:59,400 --> 00:28:03,200
Speaker 1: bar and I said, oh, Hank man, I'm so glad

383
00:28:03,240 --> 00:28:06,639
Speaker 1: to see you. And as soon as I started to

384
00:28:06,680 --> 00:28:11,040
Speaker 1: talk to him, he had two young men with him

385
00:28:11,119 --> 00:28:14,719
Speaker 1: who came in front of him and pointed at me

386
00:28:15,640 --> 00:28:19,119
Speaker 1: and said, get away. We don't want to talk to

387
00:28:19,160 --> 00:28:24,160
Speaker 1: you about this s H I t tonight. Well, unfortunately

388
00:28:24,840 --> 00:28:29,400
Speaker 1: they didn't know that all of our people were there,

389
00:28:29,400 --> 00:28:35,200
Speaker 1: and they saw him point and get aggressive. Lo and behold,

390
00:28:35,320 --> 00:28:39,760
Speaker 1: now I have eight people coming to do damage to

391
00:28:39,840 --> 00:28:43,680
Speaker 1: these three people from New York. I asked them to stop,

392
00:28:44,840 --> 00:28:50,000
Speaker 1: and I escorted Hank Shockly and his two men to

393
00:28:50,160 --> 00:28:53,160
Speaker 1: their car and I got him out of there. What

394
00:28:53,280 --> 00:28:59,280
Speaker 1: I didn't know was that they were followed when they

395
00:28:59,360 --> 00:29:04,440
Speaker 1: left and I get a call about thirty minutes later,

396
00:29:05,880 --> 00:29:11,720
Speaker 1: and they said, Stan, when we got to Homie pulling

397
00:29:11,800 --> 00:29:16,560
Speaker 1: in to the hotel, we can get him for you

398
00:29:16,720 --> 00:29:21,320
Speaker 1: right now and we'll get the other two. I panned,

399
00:29:23,480 --> 00:29:27,600
Speaker 1: I said, please, I begged, and James knows the hitters

400
00:29:27,640 --> 00:29:31,400
Speaker 1: that I was with in these James knows these are

401
00:29:31,440 --> 00:29:36,800
Speaker 1: people that do not play. They were from Fruittown. They

402
00:29:36,800 --> 00:29:41,960
Speaker 1: were from Looters and Crypts organization. I think it's called

403
00:29:42,040 --> 00:29:48,080
Speaker 1: Cross Atlantic or Atlantic Drive or something. Okay, well, these

404
00:29:48,120 --> 00:29:51,840
Speaker 1: were the people. These were huge men. And I begged

405
00:29:51,960 --> 00:29:56,920
Speaker 1: them to let him go, and they did. And I'm

406
00:29:56,960 --> 00:30:00,959
Speaker 1: gonna tell Hank Shocking right here, right now, a direct

407
00:30:01,000 --> 00:30:07,080
Speaker 1: statement to you. You're very lucky man. You're very lucky man.

408
00:30:07,160 --> 00:30:12,040
Speaker 1: And that's all I'll say. And I said that to say,

409
00:30:12,480 --> 00:30:20,760
Speaker 1: treat everyone in this music business with respect. You don't

410
00:30:20,880 --> 00:30:25,560
Speaker 1: know who they're connected to, you don't know what favors

411
00:30:25,600 --> 00:30:32,440
Speaker 1: are owed. So stop thinking you're tough. The most untoughed

412
00:30:32,640 --> 00:30:39,760
Speaker 1: people can have you clipped immediately. That's why I don't

413
00:30:40,200 --> 00:30:44,680
Speaker 1: disrespect anyone. And I'm telling you something again. This is

414
00:30:44,720 --> 00:30:51,960
Speaker 1: directed to you and and our directors. Stop lying. Two

415
00:30:52,040 --> 00:30:55,760
Speaker 1: people from the streets telling them you can do this,

416
00:30:55,840 --> 00:30:59,760
Speaker 1: and you'll do that when you know you're lying. And

417
00:30:59,800 --> 00:31:02,720
Speaker 1: then and you want to know why people are running

418
00:31:02,760 --> 00:31:05,080
Speaker 1: up in your offices and catching you and beating the

419
00:31:05,160 --> 00:31:07,120
Speaker 1: dog crap out of you when they do see you,

420
00:31:07,360 --> 00:31:13,800
Speaker 1: because your liars, your liars. Everyone up here has been

421
00:31:13,840 --> 00:31:17,600
Speaker 1: that's on this call has been lied to in this business.

422
00:31:18,600 --> 00:31:23,560
Speaker 1: I know eights men lied to. Definitely. I don't even

423
00:31:23,680 --> 00:31:26,479
Speaker 1: I don't even know the interestinges of your career, and

424
00:31:26,560 --> 00:31:31,080
Speaker 1: I know you've been lied to. It's just when you

425
00:31:31,200 --> 00:31:37,800
Speaker 1: get successful, the sharks come out and they're hungry. But

426
00:31:37,920 --> 00:31:41,400
Speaker 1: see I'm a barracuda and I know how to fight

427
00:31:41,440 --> 00:31:48,200
Speaker 1: a shark and they know that. So just to understand something,

428
00:31:48,560 --> 00:31:54,840
Speaker 1: I'm speaking to the independent artist. Know what you're doing now,

429
00:31:54,920 --> 00:31:58,320
Speaker 1: how are you doing it? And who are you missing with?

430
00:31:58,680 --> 00:32:01,800
Speaker 1: Because your money will go out there window promoting whatever

431
00:32:01,840 --> 00:32:04,080
Speaker 1: you're doing. We call it having a hit and going broke.

432
00:32:07,400 --> 00:32:11,080
Speaker 1: It's just it's just a different world. And when I

433
00:32:11,160 --> 00:32:17,960
Speaker 1: say we, I'm talking about music executives. We don't care

434
00:32:18,440 --> 00:32:25,520
Speaker 1: about you. Did you hear me? You? As rap artists

435
00:32:26,360 --> 00:32:34,360
Speaker 1: are interchangeable parts. You're gonna come You're gonna go. And

436
00:32:34,440 --> 00:32:41,280
Speaker 1: these executives hate you, and you know why because you

437
00:32:41,520 --> 00:32:46,760
Speaker 1: make more money than them and they have to promote you.

438
00:32:49,080 --> 00:32:54,760
Speaker 1: I'm telling you, I work on the inside, you see

439
00:32:54,800 --> 00:33:00,280
Speaker 1: the outside. I know when your record is being laid.

440
00:33:00,480 --> 00:33:04,240
Speaker 1: I know when you're being ripped off. I know when

441
00:33:04,240 --> 00:33:11,160
Speaker 1: it's legitimate what they're doing for you. So please understand something.

442
00:33:12,560 --> 00:33:17,760
Speaker 1: Don't ever think as an artist you have any clout.

443
00:33:19,120 --> 00:33:26,680
Speaker 1: You have none. They will do something wrong and they'll

444
00:33:26,680 --> 00:33:28,560
Speaker 1: do what they did did g J. Quick? You know

445
00:33:28,600 --> 00:33:31,680
Speaker 1: what they did to quit? You know what suspension is?

446
00:33:31,840 --> 00:33:39,480
Speaker 1: A you know what suspension is. I'll tell you. I'll

447
00:33:39,520 --> 00:33:42,520
Speaker 1: tell you what suspension is. What they did did J. Quick?

448
00:33:43,560 --> 00:33:47,720
Speaker 1: They said, we're not gonna pay you, We're not gonna

449
00:33:47,760 --> 00:33:52,880
Speaker 1: promote you until you give us what we want. And

450
00:33:52,920 --> 00:33:56,080
Speaker 1: guess what suspension does when they put you on suspension.

451
00:33:56,960 --> 00:34:01,040
Speaker 1: If they put you on suspension on January and they

452
00:34:01,040 --> 00:34:05,040
Speaker 1: put and they keep you in suspension, you don't get

453
00:34:05,040 --> 00:34:07,600
Speaker 1: out of that suspension until you give them what they want,

454
00:34:07,640 --> 00:34:12,719
Speaker 1: and then your contract starts. Over the time that we're

455
00:34:12,760 --> 00:34:17,759
Speaker 1: on suspension is not lifted. Now you go back to

456
00:34:17,800 --> 00:34:26,719
Speaker 1: the start when I came into Quick's life, he was unsuspension.

457
00:34:28,440 --> 00:34:33,520
Speaker 1: I had to work for six months convincing people I

458
00:34:33,719 --> 00:34:38,080
Speaker 1: wasn't Shug Night's cousin because when I called up there

459
00:34:38,920 --> 00:34:40,400
Speaker 1: and we ain't talking to you, stay and we know

460
00:34:40,480 --> 00:34:45,279
Speaker 1: you should Knights cousin. I went through six months of

461
00:34:45,320 --> 00:34:51,200
Speaker 1: this and this is when he was on a Profiles right. Yes,

462
00:34:51,640 --> 00:34:55,680
Speaker 1: I had to. I had to negotiate a deal for

463
00:34:55,800 --> 00:35:02,319
Speaker 1: DJ Quick where he would do ten songs and give

464
00:35:02,400 --> 00:35:08,080
Speaker 1: Profile ten songs and then they would let him out

465
00:35:08,120 --> 00:35:11,759
Speaker 1: the contract when he did the ten songs. The first

466
00:35:11,760 --> 00:35:13,919
Speaker 1: of thee was for Shock I was thinking was called

467
00:35:13,920 --> 00:35:21,280
Speaker 1: straight Plan. Then Profile was able to sell their company,

468
00:35:21,320 --> 00:35:25,120
Speaker 1: but they couldn't sell their company until DJ Quick gave

469
00:35:25,239 --> 00:35:29,920
Speaker 1: them the album. So when Quick gave him the album,

470
00:35:30,040 --> 00:35:33,319
Speaker 1: they stole their company to Arista, Arista, Arista, whatever you

471
00:35:33,320 --> 00:35:39,919
Speaker 1: want to Davis. Clive Davis calls me, stand, I need

472
00:35:39,920 --> 00:35:42,400
Speaker 1: to have a sit down. He flew out with his

473
00:35:42,440 --> 00:35:47,279
Speaker 1: head of an R. He said, we're gonna buy Profile.

474
00:35:48,760 --> 00:35:51,560
Speaker 1: Is DJ Quick or easy person to work with because

475
00:35:51,600 --> 00:35:54,680
Speaker 1: we want to do a documentary blah blah blah. I said,

476
00:35:54,719 --> 00:35:57,759
Speaker 1: he's a genius and he's a great person. I said,

477
00:35:57,800 --> 00:36:01,279
Speaker 1: so forget what you think you heard they did the

478
00:36:01,320 --> 00:36:06,080
Speaker 1: deal with us and I brought second to none over

479
00:36:06,120 --> 00:36:14,840
Speaker 1: to Aristom. That worked perfectly until the war started between

480
00:36:14,840 --> 00:36:18,840
Speaker 1: Puffy and everybody. And it got even deeper because the

481
00:36:18,960 --> 00:36:22,880
Speaker 1: night Biggie was killed coming we were coming from the

482
00:36:23,000 --> 00:36:28,840
Speaker 1: Vibe party in Los Angeles, and guess who was standing

483
00:36:28,880 --> 00:36:31,920
Speaker 1: next to Biggie when we were waiting for our cars

484
00:36:32,160 --> 00:36:36,400
Speaker 1: coming out the event, DJ Quick and I Biggie standing

485
00:36:36,480 --> 00:36:40,680
Speaker 1: next to Quick. I'm next to Quick on the other side,

486
00:36:41,880 --> 00:36:47,080
Speaker 1: Biggie and Quick not at each other, respectfully. He pulled

487
00:36:47,120 --> 00:36:54,279
Speaker 1: off and then the rest happened. After that, myself and

488
00:36:54,400 --> 00:36:58,600
Speaker 1: DJ Quick we're called into the l A. Sheriff's Department

489
00:36:59,480 --> 00:37:03,680
Speaker 1: and they old me point blank, stand, I know you

490
00:37:04,880 --> 00:37:10,000
Speaker 1: and your Shepherd land Crew and DJ Quick we're involved

491
00:37:10,040 --> 00:37:14,600
Speaker 1: in this murder some way, shape or form, and we're

492
00:37:14,600 --> 00:37:20,600
Speaker 1: gonna hound you until we get the facts. Obviously, DJ

493
00:37:20,800 --> 00:37:26,400
Speaker 1: Quick didn't do anything. It's just a whole mess. So

494
00:37:26,560 --> 00:37:30,839
Speaker 1: understand when I'm talking to you about issues back then,

495
00:37:30,960 --> 00:37:35,280
Speaker 1: it's a whole different situation that it is now. Everybody

496
00:37:35,320 --> 00:37:40,080
Speaker 1: on this panel knows that it was total violence. Crips

497
00:37:40,080 --> 00:37:42,719
Speaker 1: weren't taking it for par Rouse and pirous weren't taking

498
00:37:42,719 --> 00:37:48,320
Speaker 1: it for crips. Yeah, and and that was a very

499
00:37:48,400 --> 00:37:52,360
Speaker 1: volatile time right there, like you said, and um, everybody

500
00:37:52,360 --> 00:37:54,000
Speaker 1: in the streets knew what was going on, so we

501
00:37:54,040 --> 00:37:56,520
Speaker 1: don't have to even you know, go into that. But

502
00:37:57,440 --> 00:37:59,880
Speaker 1: they were looking to blame anyone if they can't except

503
00:38:00,040 --> 00:38:01,560
Speaker 1: the person that did it, because there was a lot

504
00:38:01,600 --> 00:38:05,560
Speaker 1: of stuff going on during that time. Well, if you remember,

505
00:38:05,920 --> 00:38:09,600
Speaker 1: Quick had a beef with eight, then he had beefs

506
00:38:09,600 --> 00:38:14,239
Speaker 1: with other people. Eight people weren't playing, the people on

507
00:38:14,360 --> 00:38:18,919
Speaker 1: Quickside weren't playing, So you got a volatile situation, man,

508
00:38:20,080 --> 00:38:24,640
Speaker 1: that anything could have happened. And I remember there was

509
00:38:24,680 --> 00:38:29,480
Speaker 1: another large faction out of l A that was after Quick,

510
00:38:31,840 --> 00:38:37,400
Speaker 1: So there was nothing but drama. I would get a

511
00:38:37,440 --> 00:38:42,120
Speaker 1: call every night, man, somebody has arrested, somebody got beat,

512
00:38:42,200 --> 00:38:44,680
Speaker 1: somebody got killed. I got to the point where I

513
00:38:44,719 --> 00:38:51,880
Speaker 1: didn't want to look at my phone because it's that bad, exactly.

514
00:38:52,000 --> 00:38:54,120
Speaker 1: And you understanding, I want to ask you about that

515
00:38:54,160 --> 00:38:56,960
Speaker 1: now that we're don Quick all on quicken those guys,

516
00:38:57,000 --> 00:38:59,160
Speaker 1: that ship of Lane crew, I want to ask you

517
00:38:59,239 --> 00:39:01,759
Speaker 1: what a few stre at first, we're going to one

518
00:39:01,880 --> 00:39:07,680
Speaker 1: sugar Free. How did you in Tone find him. Tone

519
00:39:08,400 --> 00:39:12,879
Speaker 1: Tone had his relationship with sugar Free, and he said, man,

520
00:39:13,239 --> 00:39:18,360
Speaker 1: we got something especial. So now remember you must follow

521
00:39:18,400 --> 00:39:21,200
Speaker 1: me when I say this. When I came into the

522
00:39:21,280 --> 00:39:27,959
Speaker 1: rap game, I knew nothing about rap. I just knew

523
00:39:27,960 --> 00:39:32,320
Speaker 1: what I liked, but I didn't know what was good, bad,

524
00:39:32,400 --> 00:39:38,239
Speaker 1: whatever the case may be. Okay, so now here comes

525
00:39:38,239 --> 00:39:44,640
Speaker 1: sugar Free. Tone played me sugar Free. I said, Wow,

526
00:39:45,239 --> 00:39:50,040
Speaker 1: he's going against the flow of the pocket of the song.

527
00:39:50,600 --> 00:39:54,279
Speaker 1: I said, it's and it's comical, it's it's funny. He said,

528
00:39:54,320 --> 00:39:58,680
Speaker 1: that's what's gonna be different. I said, okay, Well, it's

529
00:39:58,800 --> 00:40:04,200
Speaker 1: my job at that point to convince the industry that

530
00:40:05,200 --> 00:40:07,520
Speaker 1: this is something different than what you're used to hearing

531
00:40:07,520 --> 00:40:11,160
Speaker 1: on West Coast rap. Well, guess what. This is a

532
00:40:11,239 --> 00:40:16,839
Speaker 1: more behind the scenes information. I was managing a young

533
00:40:16,880 --> 00:40:20,400
Speaker 1: man by the name of Damian Young. He was the

534
00:40:20,400 --> 00:40:24,239
Speaker 1: program director of Power one oh six and guess what,

535
00:40:24,880 --> 00:40:29,360
Speaker 1: he was also the program directive High Nineties in New York.

536
00:40:30,000 --> 00:40:32,000
Speaker 1: But I didn't want anybody to know that we were

537
00:40:32,040 --> 00:40:39,040
Speaker 1: working together because it's a situation where hold off for

538
00:40:39,120 --> 00:40:48,879
Speaker 1: one second. It's a situation where, um, it's just when

539
00:40:48,880 --> 00:40:53,240
Speaker 1: you go to a radio station and you play something different.

540
00:40:54,480 --> 00:40:57,240
Speaker 1: I was like wow. I went to Power and Damien.

541
00:40:57,280 --> 00:41:00,239
Speaker 1: I took the Damien. He said, Stan, I can't play this. Man,

542
00:41:01,280 --> 00:41:03,840
Speaker 1: you're asking me to play some stuff that's going against

543
00:41:03,840 --> 00:41:07,160
Speaker 1: the grain. I said, man, this is some new stuff.

544
00:41:07,280 --> 00:41:12,640
Speaker 1: Damn you no, bro, I can't play it. I said,

545
00:41:12,680 --> 00:41:17,560
Speaker 1: all right, you're gonna be mistaken. I'm gonna break this record.

546
00:41:18,320 --> 00:41:22,040
Speaker 1: So there was another station at the time called three

547
00:41:22,080 --> 00:41:27,000
Speaker 1: to Be. I went over there, and the program directed

548
00:41:27,000 --> 00:41:32,239
Speaker 1: at the time his name was Ta Walla Sharp and

549
00:41:32,360 --> 00:41:37,160
Speaker 1: sugar Free should always think to Walla Sharp, because when

550
00:41:37,200 --> 00:41:40,319
Speaker 1: I played to Walla Sharp the sugar Free record, it

551
00:41:40,400 --> 00:41:42,840
Speaker 1: was called if you stay ready, you don't have to

552
00:41:42,840 --> 00:41:47,560
Speaker 1: get ready. He heard it up to the first hook

553
00:41:48,239 --> 00:41:52,320
Speaker 1: and he said, stand you gotta smash, and you gotta

554
00:41:52,440 --> 00:41:56,959
Speaker 1: smash artist. Let me break it for you. I said,

555
00:41:57,000 --> 00:41:59,799
Speaker 1: be my guests, my young brother, do what you gotta do.

556
00:42:00,440 --> 00:42:03,680
Speaker 1: He broke it in l A and then I broke

557
00:42:03,680 --> 00:42:05,799
Speaker 1: it all over the West Coast with my connections with

558
00:42:05,880 --> 00:42:11,359
Speaker 1: my people. The rest was history. That's how we broke

559
00:42:11,400 --> 00:42:16,840
Speaker 1: sugar Free, and everybody wanted to sugar Free on their project,

560
00:42:18,160 --> 00:42:20,439
Speaker 1: and then nobody want to embrace him. When he first

561
00:42:20,480 --> 00:42:25,800
Speaker 1: started saying that to say, you don't know what's gonna happen.

562
00:42:25,840 --> 00:42:30,319
Speaker 1: In music, you have no idea, and what we say

563
00:42:30,400 --> 00:42:33,920
Speaker 1: until it crosses the counter. In sales, you're just guessing,

564
00:42:35,280 --> 00:42:40,600
Speaker 1: simple as that exactly. I want to go back to

565
00:42:40,680 --> 00:42:43,360
Speaker 1: one of my personal friends. Man, he always gonna be

566
00:42:43,440 --> 00:42:47,959
Speaker 1: Big John to me. Mass Burg lit Great mars Burg.

567
00:42:50,200 --> 00:42:56,640
Speaker 1: Who um that young man was brought to me by

568
00:42:56,680 --> 00:43:03,080
Speaker 1: Lee Forward. He says, stay in kind of emotion about

569
00:43:03,080 --> 00:43:06,839
Speaker 1: this too. He said, stand as a young man named

570
00:43:06,880 --> 00:43:13,400
Speaker 1: Big John, and he said you gotta hear him. I

571
00:43:13,480 --> 00:43:17,920
Speaker 1: took it to tone. He said, oh man, this is

572
00:43:17,960 --> 00:43:25,000
Speaker 1: he Okay fast Forward. I called quit. I said, quick,

573
00:43:26,160 --> 00:43:29,680
Speaker 1: my bring something to you. And I think it's gonna

574
00:43:29,719 --> 00:43:31,960
Speaker 1: be complete fire. And I think he's gonna want to

575
00:43:32,040 --> 00:43:37,160
Speaker 1: be involved with this long story short. I went over

576
00:43:37,160 --> 00:43:40,879
Speaker 1: there quick, hurt. He says, oh my god, let's go.

577
00:43:41,560 --> 00:43:46,879
Speaker 1: He started working with Marsburg. Immediately. This continued, and then

578
00:43:47,040 --> 00:43:50,920
Speaker 1: Massburg was so was blowing up so well. R Kelly called,

579
00:43:51,000 --> 00:43:52,960
Speaker 1: he wanted to do something at that time. We let

580
00:43:53,000 --> 00:43:56,279
Speaker 1: him do a cut with him, snoop, and the list

581
00:43:56,320 --> 00:44:01,000
Speaker 1: goes on. I was in the student with him and Quick.

582
00:44:01,680 --> 00:44:05,719
Speaker 1: Uh we worked on something at one point. So yeah,

583
00:44:05,760 --> 00:44:10,600
Speaker 1: Mark was around. He definitely was getting around. Uh, he was.

584
00:44:10,719 --> 00:44:15,640
Speaker 1: He was plussed. He was a huge individual and you

585
00:44:15,680 --> 00:44:19,200
Speaker 1: know he was parrou and just one of the just

586
00:44:19,280 --> 00:44:23,120
Speaker 1: one of the greatest guys I've ever met. And you

587
00:44:23,160 --> 00:44:25,480
Speaker 1: gotta understand some Let let's explain something. Tell me if

588
00:44:25,520 --> 00:44:28,960
Speaker 1: this is wrong, because I need some input on this.

589
00:44:29,760 --> 00:44:34,120
Speaker 1: When I first started working with artists, the two producers,

590
00:44:34,160 --> 00:44:36,799
Speaker 1: there was only three producers who were super producers as

591
00:44:36,800 --> 00:44:40,879
Speaker 1: a dre Quick and battle Cat. Well, I managed Quick

592
00:44:40,920 --> 00:44:47,120
Speaker 1: and battle Cat. So therefore when I came on, I

593
00:44:47,320 --> 00:44:51,560
Speaker 1: demand because Quick and battle Cat take weeks to do

594
00:44:51,640 --> 00:44:55,120
Speaker 1: a particular record. It could be one single, it could

595
00:44:55,160 --> 00:45:01,880
Speaker 1: be one single, and Quick and battle Cat we're not

596
00:45:02,960 --> 00:45:10,640
Speaker 1: charging their friends who were trying to get music from

597
00:45:10,680 --> 00:45:13,240
Speaker 1: And when I came on board, I said, oh my god,

598
00:45:13,320 --> 00:45:18,280
Speaker 1: you guys are wasting three of your year round income

599
00:45:18,800 --> 00:45:21,960
Speaker 1: doing stuff for people who are never going to return

600
00:45:22,000 --> 00:45:25,560
Speaker 1: you any money. They're only promise to Quick and Battlecat.

601
00:45:25,760 --> 00:45:29,359
Speaker 1: Was that quote, When we get a major label deal,

602
00:45:29,440 --> 00:45:34,279
Speaker 1: we'll hook you up. That's great too, But at the

603
00:45:34,320 --> 00:45:38,120
Speaker 1: same time, my focus is making sure that they're straight.

604
00:45:38,239 --> 00:45:43,120
Speaker 1: So what I did, I said, anybody, I set a standard.

605
00:45:44,080 --> 00:45:49,920
Speaker 1: Anybody who wanted production from DJ Quick on my label,

606
00:45:51,120 --> 00:45:56,160
Speaker 1: they had to share publishing for the first record. After

607
00:45:56,320 --> 00:46:00,480
Speaker 1: that they got all their publishing because now I gotta

608
00:46:00,560 --> 00:46:03,279
Speaker 1: take both of my platinum producers off the market for

609
00:46:03,320 --> 00:46:06,719
Speaker 1: three months and they can't make no money. So what

610
00:46:06,920 --> 00:46:11,799
Speaker 1: we did we offered any artist that was signed to us,

611
00:46:13,000 --> 00:46:17,320
Speaker 1: you gotta split on the first We're gonna establish your career,

612
00:46:17,840 --> 00:46:20,640
Speaker 1: not even charge you for that. And as you will know,

613
00:46:20,880 --> 00:46:23,640
Speaker 1: a anybody that is to recording artists norm you notice

614
00:46:23,719 --> 00:46:27,600
Speaker 1: everybody knows this. They'll charge you for anything and everything.

615
00:46:28,280 --> 00:46:32,600
Speaker 1: Definitely anything and everything I got charged for. I got

616
00:46:32,680 --> 00:46:37,120
Speaker 1: charged for conversations. Did you get let me ask you something.

617
00:46:37,120 --> 00:46:39,520
Speaker 1: Did you get thirty seven dollars and fifty cents bills

618
00:46:39,680 --> 00:46:42,600
Speaker 1: from your attorney? Because I got three pages of thirty

619
00:46:42,600 --> 00:46:45,440
Speaker 1: seven dollars and fifty cent bills? And guess what those are?

620
00:46:45,480 --> 00:46:50,120
Speaker 1: Four calls that were made on your behalf that weren't answered. Yeah,

621
00:46:50,440 --> 00:46:53,880
Speaker 1: it's still thirty seven fifty. I had a fifteen thousand

622
00:46:53,920 --> 00:46:58,200
Speaker 1: dollar phone bill thirty seven fifties. I said, well, what

623
00:46:58,239 --> 00:47:05,480
Speaker 1: did you do? No? Well we try, Oh the stamps.

624
00:47:05,480 --> 00:47:08,799
Speaker 1: They charge you for meiling. They charge you for everything. Man,

625
00:47:09,040 --> 00:47:11,759
Speaker 1: I got charged back for everything and being a young

626
00:47:11,920 --> 00:47:15,000
Speaker 1: artist not really knowing this ship. Because not to say

627
00:47:15,040 --> 00:47:18,359
Speaker 1: all attorneys are bad, but you know, you have them

628
00:47:18,400 --> 00:47:21,560
Speaker 1: opportunities where if you don't know too much, then record

629
00:47:21,640 --> 00:47:25,440
Speaker 1: labels ain't gonna give you a lot. So they know ship.

630
00:47:25,520 --> 00:47:27,600
Speaker 1: I didn't know. They were charging me back for every

631
00:47:27,680 --> 00:47:31,920
Speaker 1: fucking thing, like they fucking sat on the phone with

632
00:47:32,080 --> 00:47:35,960
Speaker 1: my attorney for an hour and discussed paperwork. I got

633
00:47:36,080 --> 00:47:38,839
Speaker 1: charged a thousand dollars for that ship. I didn't even

634
00:47:38,920 --> 00:47:43,680
Speaker 1: know that ship. You got right, everything, any and every

635
00:47:43,719 --> 00:47:47,600
Speaker 1: and any little thing they fly, you feed, you, give

636
00:47:47,680 --> 00:47:51,040
Speaker 1: you some lunch at the fucking record label. They're charging

637
00:47:51,120 --> 00:47:54,680
Speaker 1: you for that ship. Like everything they go, you go

638
00:47:54,800 --> 00:47:58,359
Speaker 1: out for. You go out to dinner and you're thinking, like, yah,

639
00:47:58,440 --> 00:48:03,600
Speaker 1: they're treating your ass. Oh dinner and motherfuckers was eating

640
00:48:03,640 --> 00:48:07,160
Speaker 1: that Mr Childs And it's a man. They ste you

641
00:48:07,239 --> 00:48:10,120
Speaker 1: got a three thousand dollar bill they're charging you for

642
00:48:10,600 --> 00:48:14,280
Speaker 1: they take they it all back to you. Let alone.

643
00:48:14,320 --> 00:48:17,080
Speaker 1: You ain't getting no motherfucking royalties to begin with, because

644
00:48:17,120 --> 00:48:19,719
Speaker 1: record labels weren't giving up Ship. And that's what I

645
00:48:19,719 --> 00:48:24,319
Speaker 1: always always confused me, is like, goddamn, I'm producing the song,

646
00:48:25,040 --> 00:48:29,960
Speaker 1: I'm writing the song, I'm fucking the artist, but y'all

647
00:48:30,000 --> 00:48:33,160
Speaker 1: only giving me fucking a couple of cents and y'all

648
00:48:33,200 --> 00:48:36,239
Speaker 1: taking your money just for putting my ship in the

649
00:48:36,320 --> 00:48:41,080
Speaker 1: record stores. And Ship is crazy, it's an amazing thing.

650
00:48:41,719 --> 00:48:45,560
Speaker 1: And I'll just share another story with you. Norman and James.

651
00:48:46,400 --> 00:48:51,000
Speaker 1: You gotta hear this one. Their battle Cat to the

652
00:48:51,080 --> 00:48:59,720
Speaker 1: platinum album on the east Side. Mm hmm. Nobody got

653
00:49:00,200 --> 00:49:05,279
Speaker 1: their money properly. Guess why a TV T man they

654
00:49:05,320 --> 00:49:10,560
Speaker 1: weren't fucking wouldn't know. I said, now, wait a minute,

655
00:49:10,680 --> 00:49:15,120
Speaker 1: check this out. James, check this out, you guys. Battle

656
00:49:15,160 --> 00:49:19,320
Speaker 1: Cat calls me. He said, stand man, we got to

657
00:49:20,960 --> 00:49:26,319
Speaker 1: uh the East Side has blown up everywhere. Man ain't

658
00:49:26,320 --> 00:49:29,680
Speaker 1: sent and it's our money. I said, okay, man, He said,

659
00:49:29,719 --> 00:49:31,719
Speaker 1: can you help me with this situation? I said, let

660
00:49:31,760 --> 00:49:34,680
Speaker 1: me look into it. It. Just remember I tell you

661
00:49:34,719 --> 00:49:39,840
Speaker 1: I'm attorney based. So I called. I called the attorney.

662
00:49:40,520 --> 00:49:51,160
Speaker 1: I called the attorney and that represented t VT and

663
00:49:51,160 --> 00:49:56,239
Speaker 1: he said, stand you're my buddy. I know there's a

664
00:49:56,280 --> 00:49:59,760
Speaker 1: lot of money. Old you guys, you're not getting a penny,

665
00:50:00,400 --> 00:50:06,320
Speaker 1: so stop calling me. I'm doing you a favor. Ain't

666
00:50:06,320 --> 00:50:10,640
Speaker 1: nothing going down, bro. We're filing for bankruptcy. So if

667
00:50:10,640 --> 00:50:13,960
Speaker 1: you want to make some money from your clients, now

668
00:50:14,000 --> 00:50:16,680
Speaker 1: listen to this. If you want to make some money

669
00:50:16,680 --> 00:50:22,600
Speaker 1: from your clients, I work with you. I'll say. You

670
00:50:22,719 --> 00:50:24,759
Speaker 1: trying to get the money, but ain't nothing coming. So

671
00:50:24,800 --> 00:50:26,399
Speaker 1: if you want to make a couple of thousand doing

672
00:50:26,440 --> 00:50:30,400
Speaker 1: what you're doing, this, that's cool. I looked at the phone.

673
00:50:31,840 --> 00:50:37,520
Speaker 1: I said, Oh, the evilness is your spreading everywhere. Nobody

674
00:50:37,560 --> 00:50:42,160
Speaker 1: you can trust anywhere, I said. I called Battlecat. I said, man,

675
00:50:42,239 --> 00:50:46,600
Speaker 1: you know what that hundred thousand whatever you think you're getting,

676
00:50:47,239 --> 00:50:52,319
Speaker 1: it ain't coming, bro, It ain't coming, so don't look

677
00:50:52,360 --> 00:50:55,120
Speaker 1: for it. You know how many calls I've had to

678
00:50:55,160 --> 00:50:56,920
Speaker 1: make like that, the artists to think they have a

679
00:50:57,000 --> 00:50:59,640
Speaker 1: royalty check coming, and then when they get the paperwork,

680
00:50:59,680 --> 00:51:04,240
Speaker 1: like you said, they say ship, excuse me, oh stop,

681
00:51:05,239 --> 00:51:11,240
Speaker 1: what is this? And they never recovered. Then what happens

682
00:51:11,320 --> 00:51:15,600
Speaker 1: is the label knows you're in debt, they offer you

683
00:51:15,680 --> 00:51:20,520
Speaker 1: another contract exactly. That's it right there. You become what's

684
00:51:20,600 --> 00:51:24,080
Speaker 1: known as an advanced baby, Um, I'll tell you. And

685
00:51:24,120 --> 00:51:27,400
Speaker 1: the publishing side of the business is the most valuable side.

686
00:51:27,800 --> 00:51:30,839
Speaker 1: And I've seen guys turn over the stuff in perpetuity

687
00:51:30,880 --> 00:51:34,879
Speaker 1: for twenty five dollars for thirty thousand dollars because it's

688
00:51:34,920 --> 00:51:37,160
Speaker 1: usually all in cash. And another trick that they do

689
00:51:37,320 --> 00:51:40,279
Speaker 1: too is I saw my publishing company do this. They

690
00:51:40,280 --> 00:51:42,200
Speaker 1: have put the check on the third or fourth page

691
00:51:42,239 --> 00:51:44,879
Speaker 1: of the contract, you know, with a paper clip in there,

692
00:51:45,360 --> 00:51:46,759
Speaker 1: so you know. You get a young dude and in

693
00:51:46,880 --> 00:51:49,520
Speaker 1: his nineteen twenty years so he's looking at it. He

694
00:51:49,640 --> 00:51:53,200
Speaker 1: see that check for twenty five thousand dollars. Oh, man,

695
00:51:53,239 --> 00:51:55,279
Speaker 1: we ain't gotta go through all this, I trust y'all.

696
00:51:55,360 --> 00:51:58,080
Speaker 1: He signed the ship because he wants that check now,

697
00:51:58,360 --> 00:52:02,120
Speaker 1: John round six months later, after you don't want to

698
00:52:02,160 --> 00:52:05,400
Speaker 1: bought a car, you don't bought some clothes and change,

699
00:52:05,480 --> 00:52:08,280
Speaker 1: that money is gone. How about the motherfucker just steal

700
00:52:08,360 --> 00:52:13,360
Speaker 1: your publishers straight up. My first contract when I first started,

701
00:52:14,800 --> 00:52:20,840
Speaker 1: I signed a contract with unknown with Techno Hop Records, okay,

702
00:52:20,920 --> 00:52:27,240
Speaker 1: and our first deal was stu Orpheus Capital Okay. Charles

703
00:52:27,280 --> 00:52:32,680
Speaker 1: Huggins had a label called Orpheis. They had a distribution

704
00:52:32,760 --> 00:52:36,840
Speaker 1: deal with capital. Okay, me as a young motherfucker coming

705
00:52:36,880 --> 00:52:40,440
Speaker 1: from the hoods and content, I just wanted to wrap

706
00:52:40,920 --> 00:52:43,759
Speaker 1: I ain't no ship about contracts and publishing another that

707
00:52:44,480 --> 00:52:50,600
Speaker 1: so unknown knowing signed the motherfucker to you, then you

708
00:52:50,680 --> 00:52:53,120
Speaker 1: go get the deal with the label. So that's what

709
00:52:53,239 --> 00:52:56,840
Speaker 1: we basically did. I signed a deal with a knowns

710
00:52:57,000 --> 00:53:01,080
Speaker 1: company called Big Beat Records. Okay, we'll be be Productions.

711
00:53:01,200 --> 00:53:06,080
Speaker 1: That's what happened. That's where Mike Karen came from. Okay,

712
00:53:06,280 --> 00:53:12,120
Speaker 1: And what he did is after I signed the recording contract,

713
00:53:12,600 --> 00:53:17,040
Speaker 1: he stapled a publishing contract on the back of it

714
00:53:17,400 --> 00:53:23,120
Speaker 1: and added it as an exhibit. Oh look, he just

715
00:53:23,480 --> 00:53:26,560
Speaker 1: us who we talked about up, took my PI. Yeah

716
00:53:26,600 --> 00:53:31,520
Speaker 1: I know, No, I ain't no ship. So all the records,

717
00:53:31,600 --> 00:53:35,720
Speaker 1: my first CMW records, all that ship, it never had

718
00:53:35,760 --> 00:53:39,160
Speaker 1: my names on it because it was his publishing company,

719
00:53:39,400 --> 00:53:42,920
Speaker 1: because he just and not until I met John Smith,

720
00:53:44,080 --> 00:53:46,839
Speaker 1: which was I able to go back because he had

721
00:53:46,880 --> 00:53:50,320
Speaker 1: got an eighty thousand dollar publican deal through m c

722
00:53:50,560 --> 00:53:53,560
Speaker 1: A and the Nigga gave me twenty five hundred dollars.

723
00:53:56,160 --> 00:54:01,560
Speaker 1: I wrote everything, I've written, every fucking song I've ever done.

724
00:54:01,680 --> 00:54:04,720
Speaker 1: I've never had a ghost writer or never. I've always

725
00:54:04,760 --> 00:54:08,680
Speaker 1: written all my music, but for the first three albums

726
00:54:08,719 --> 00:54:13,000
Speaker 1: of my career, I received no publishing because he took

727
00:54:13,000 --> 00:54:19,719
Speaker 1: it off, just just took it. My goodness. I went

728
00:54:19,800 --> 00:54:26,080
Speaker 1: through Dude Something from gang Banging and thought that rap

729
00:54:26,280 --> 00:54:28,799
Speaker 1: was my way out of the hood. You get me,

730
00:54:29,080 --> 00:54:32,880
Speaker 1: so don't. I didn't know ship. I just wanted to rap.

731
00:54:33,080 --> 00:54:36,279
Speaker 1: You get me, fucking rapp is gonna take me from here.

732
00:54:36,520 --> 00:54:39,279
Speaker 1: I was seventeen years old, and the motherfucker knew that.

733
00:54:39,480 --> 00:54:42,520
Speaker 1: So he just took my ship like fuck it. So

734
00:54:42,920 --> 00:54:45,439
Speaker 1: that's the nature of the beasts of motherfucker's like that

735
00:54:45,440 --> 00:54:47,520
Speaker 1: that you had to deal with. And I didn't learn

736
00:54:47,560 --> 00:54:50,120
Speaker 1: to three albums later that I was supposed to be

737
00:54:50,160 --> 00:54:52,440
Speaker 1: getting paid for all the songs that I had broken.

738
00:54:53,880 --> 00:54:57,160
Speaker 1: It's it's it's amazing. James, you've never been on the

739
00:54:57,280 --> 00:54:59,560
Speaker 1: artist side of things, but I know you've been around

740
00:54:59,680 --> 00:55:04,120
Speaker 1: because every everything that you've been around, the Norm, your history.

741
00:55:04,320 --> 00:55:08,280
Speaker 1: Norm has a deep history in everything. But I shared

742
00:55:08,360 --> 00:55:11,960
Speaker 1: something with Norm the other day that I have to

743
00:55:11,960 --> 00:55:16,320
Speaker 1: share with you eight and James about what eight just said.

744
00:55:16,960 --> 00:55:21,600
Speaker 1: Let me tell you how they get you. Just say, James,

745
00:55:21,640 --> 00:55:28,360
Speaker 1: signs of contract for three hundred thousand as an artist, right, Okay,

746
00:55:28,560 --> 00:55:32,520
Speaker 1: they generate they being let's just say it's universe. They

747
00:55:32,640 --> 00:55:37,359
Speaker 1: generate the contract to the management of the artist. Right.

748
00:55:38,680 --> 00:55:43,160
Speaker 1: The artist usually has only had one meeting, if anything,

749
00:55:43,480 --> 00:55:46,400
Speaker 1: with the label to say hello, how you doing? And

750
00:55:46,400 --> 00:55:50,719
Speaker 1: then they're ushered out because the manager and the attorneys

751
00:55:50,920 --> 00:55:55,439
Speaker 1: don't want you involved as the artist. Okay, So now

752
00:55:55,680 --> 00:55:59,080
Speaker 1: here we go. Here comes the contract, which is about

753
00:55:59,120 --> 00:56:04,560
Speaker 1: fifty to six pages, all right, usually okay, so now

754
00:56:04,600 --> 00:56:10,200
Speaker 1: they give you three contracts. Now you've got designed multiple

755
00:56:10,280 --> 00:56:15,360
Speaker 1: signatures right a beginning artists, and they they just signed it.

756
00:56:15,560 --> 00:56:19,279
Speaker 1: They signed it. So what what the record company does?

757
00:56:19,440 --> 00:56:24,239
Speaker 1: They send you a legitimate contract, right, But when it

758
00:56:24,280 --> 00:56:29,840
Speaker 1: gets to the manager and the attorney, if those two

759
00:56:29,880 --> 00:56:35,520
Speaker 1: are in cahoots what I've seen done numerous times. Please listen,

760
00:56:36,960 --> 00:56:42,600
Speaker 1: they take the contract from the major label, they photo

761
00:56:42,680 --> 00:56:48,880
Speaker 1: copy the top, and they put carbon copies of papers

762
00:56:49,400 --> 00:56:54,880
Speaker 1: to blank out the details of the original contract. So

763
00:56:55,000 --> 00:56:58,960
Speaker 1: now you only have a heading of a contract. And

764
00:56:59,040 --> 00:57:05,720
Speaker 1: now they feel lend what they want? Do you feel me? Okay?

765
00:57:06,400 --> 00:57:11,600
Speaker 1: So now your manager and the attorney that's working with

766
00:57:11,680 --> 00:57:16,480
Speaker 1: the manager tells you, the artist, you've got two hundred

767
00:57:16,520 --> 00:57:20,640
Speaker 1: thousand coming, when in essence you had three hundred. So

768
00:57:21,080 --> 00:57:25,320
Speaker 1: what happens now you're signing? They got the original contract,

769
00:57:25,440 --> 00:57:31,160
Speaker 1: that's the good contract from Universal, but it's buried in

770
00:57:31,200 --> 00:57:37,240
Speaker 1: the signing. So now the artist signs everything. They turned

771
00:57:37,280 --> 00:57:40,680
Speaker 1: in the original contract to the record company, they send

772
00:57:40,680 --> 00:57:44,000
Speaker 1: out the three hundred thousand, but the management and the

773
00:57:44,080 --> 00:57:49,040
Speaker 1: lawyer only send you two hundred. So everybody made a

774
00:57:49,120 --> 00:57:52,400
Speaker 1: hundred thousand off of you, and you didn't even know

775
00:57:52,480 --> 00:57:54,800
Speaker 1: what you had. And tell me an artist that knows

776
00:57:54,800 --> 00:58:01,400
Speaker 1: who's in his contract, I'll wait and up until um,

777
00:58:01,440 --> 00:58:05,800
Speaker 1: I think it was five years ago. That's why I

778
00:58:05,880 --> 00:58:10,160
Speaker 1: started becoming commonplace for the law that the artists had

779
00:58:10,280 --> 00:58:13,080
Speaker 1: and the artist everybody's contract had to be the same.

780
00:58:14,320 --> 00:58:16,120
Speaker 1: If you went back and there the audit and if

781
00:58:16,160 --> 00:58:19,520
Speaker 1: it was anything else, if it was anything like weird

782
00:58:19,520 --> 00:58:21,520
Speaker 1: in that contract, that wasn't the same thing. As the

783
00:58:21,600 --> 00:58:25,560
Speaker 1: artists said, the contract is automatically avoided, and he was

784
00:58:25,600 --> 00:58:28,040
Speaker 1: free to go. And you're pretty much gonna open yourself

785
00:58:28,120 --> 00:58:31,040
Speaker 1: up to a lawsuit. Um. And you know, going back

786
00:58:31,080 --> 00:58:33,919
Speaker 1: to the music business stand, you know you were into

787
00:58:33,920 --> 00:58:37,080
Speaker 1: the time with black it's a lot better right now

788
00:58:37,960 --> 00:58:40,280
Speaker 1: because a lot of more information is out there. But

789
00:58:40,400 --> 00:58:42,000
Speaker 1: you were in a time man, and where a lot

790
00:58:42,040 --> 00:58:48,920
Speaker 1: of black artists was really getting screwed over lord have hey, hey,

791
00:58:49,000 --> 00:58:52,720
Speaker 1: let me ask this why as nobody got hurt behind

792
00:58:52,840 --> 00:58:57,160
Speaker 1: this ship, you're working with my money? Uh? They know

793
00:58:57,240 --> 00:59:00,920
Speaker 1: they crooks? Man. That That's when I glad I ain't.

794
00:59:01,760 --> 00:59:04,520
Speaker 1: That's that's when they started. That's when they started banning

795
00:59:04,600 --> 00:59:07,240
Speaker 1: us from the labels. That's when they started putting security

796
00:59:07,280 --> 00:59:10,080
Speaker 1: in the in the lobbies and telling you, like staying,

797
00:59:10,320 --> 00:59:12,919
Speaker 1: you can't come up here no more. And because they

798
00:59:12,960 --> 00:59:16,120
Speaker 1: started knowing when motherfuckers started coming up in their breaking

799
00:59:16,120 --> 00:59:19,200
Speaker 1: their motherfuck's ship, kicking indoors and threatening the A and

800
00:59:19,400 --> 00:59:22,960
Speaker 1: rs and people like that, that's when they started banning

801
00:59:23,000 --> 00:59:26,080
Speaker 1: people like us from getting into the lobbies and ship

802
00:59:26,400 --> 00:59:30,720
Speaker 1: because they started fearing. Because we started wising up, we

803
00:59:30,760 --> 00:59:34,120
Speaker 1: started being able to understand what contracts and splits and

804
00:59:34,200 --> 00:59:38,200
Speaker 1: publishing was and how much royalties we were getting, and

805
00:59:38,280 --> 00:59:41,080
Speaker 1: basically it was getting fucked. We're giving you all this

806
00:59:41,240 --> 00:59:44,080
Speaker 1: material and all this money, you're taking it out selling

807
00:59:44,120 --> 00:59:46,840
Speaker 1: it for ten dollars and fifty nine cents, making ten

808
00:59:46,960 --> 00:59:49,640
Speaker 1: twent thirty million, and then you're telling me I'm still

809
00:59:49,680 --> 00:59:53,760
Speaker 1: in the fucking red. The ship was unbelievable. So that's

810
00:59:53,800 --> 00:59:56,360
Speaker 1: when they started going, Okay, I need to hire off

811
00:59:56,440 --> 00:59:58,640
Speaker 1: duty cops and put them in my life because I

812
00:59:58,680 --> 01:00:01,320
Speaker 1: know when eating them walk up in here, it's gonna

813
01:00:01,320 --> 01:00:03,919
Speaker 1: be a gang of mess because he just sold two

814
01:00:03,960 --> 01:00:08,080
Speaker 1: million records. Million just hit the table. But we've been

815
01:00:08,160 --> 01:00:10,240
Speaker 1: to tell him he's still in the red for fucking

816
01:00:10,280 --> 01:00:13,640
Speaker 1: a hundred and something thousand or three hundred thousand, so

817
01:00:13,880 --> 01:00:17,080
Speaker 1: you ain't getting a roarty check. But I'll tell you

818
01:00:17,080 --> 01:00:20,440
Speaker 1: another thing too, this funked up about that, James, Like,

819
01:00:20,480 --> 01:00:22,560
Speaker 1: I'm gonna tell you how the record business go right.

820
01:00:23,280 --> 01:00:25,440
Speaker 1: Usually when you break it down the laymish terms and

821
01:00:25,600 --> 01:00:28,000
Speaker 1: artists only getting a dollar a record, right, what is

822
01:00:28,040 --> 01:00:30,200
Speaker 1: it stands sixty five cents to a dollar record or

823
01:00:30,200 --> 01:00:32,640
Speaker 1: some ship like that? Right that I was getting a

824
01:00:33,000 --> 01:00:36,160
Speaker 1: sixties something cent. I probably was giving about fifty some

825
01:00:36,520 --> 01:00:41,080
Speaker 1: sense a record. Let me try to get this off

826
01:00:41,080 --> 01:00:45,040
Speaker 1: real quick. Go ahead, they are taking all when you

827
01:00:45,120 --> 01:00:47,240
Speaker 1: recoup your money, James, Let's say they gave eight a

828
01:00:47,320 --> 01:00:50,480
Speaker 1: hundred seventy five thousand, and you figured they're getting anywhere

829
01:00:50,480 --> 01:00:52,720
Speaker 1: from six fifty to eight dollars a recording in at

830
01:00:52,720 --> 01:00:55,040
Speaker 1: that time, right, because we've got fiftical releases, you got

831
01:00:55,040 --> 01:00:57,480
Speaker 1: the final thet tapes and the CDs and ship right.

832
01:00:58,480 --> 01:01:01,400
Speaker 1: What it happened is, hey, it is getting recouped off

833
01:01:01,480 --> 01:01:04,960
Speaker 1: this little fifty cents. They're making that extra six dollars,

834
01:01:04,960 --> 01:01:07,560
Speaker 1: six fifty cents that don't come for eight. No, you

835
01:01:07,600 --> 01:01:11,480
Speaker 1: ain't accumulated enough money yet because he's recouping off the

836
01:01:11,520 --> 01:01:14,760
Speaker 1: fifty cents that he's getting the record. I'm not recouping

837
01:01:14,800 --> 01:01:17,800
Speaker 1: off the whole record. I'm only recouping off of those

838
01:01:17,800 --> 01:01:22,560
Speaker 1: fucking eight nine points they're giving me point worth seven cents.

839
01:01:22,800 --> 01:01:25,960
Speaker 1: So if I'm only getting seven seven points a record,

840
01:01:26,200 --> 01:01:29,240
Speaker 1: I'm only making forty nine fucking cents a record. Because

841
01:01:29,280 --> 01:01:32,480
Speaker 1: you gotta remember again, one point was seven cents, So

842
01:01:32,600 --> 01:01:35,960
Speaker 1: fucking if they're giving me eight nine points a record,

843
01:01:36,240 --> 01:01:40,040
Speaker 1: that's my sins. Okay. So I'm getting fifty cents a record,

844
01:01:40,400 --> 01:01:43,040
Speaker 1: so they charging me that. So when they fucking give

845
01:01:43,080 --> 01:01:46,120
Speaker 1: me that budget of one seventy five, I gotta pay

846
01:01:46,160 --> 01:01:49,520
Speaker 1: that back out of that fifty cents I'm getting. Okay,

847
01:01:49,560 --> 01:01:53,440
Speaker 1: when they don't spend three hundred thousand on my two videos.

848
01:01:53,920 --> 01:01:57,120
Speaker 1: I gotta pay that back out of my fifty cents,

849
01:01:57,880 --> 01:02:01,480
Speaker 1: not out of the ten dollars that record them sold for.

850
01:02:02,320 --> 01:02:05,320
Speaker 1: I gotta pay all that back out of my fucking

851
01:02:05,480 --> 01:02:10,840
Speaker 1: fifty cents. Okay. I wrote the record, I produced the record,

852
01:02:11,280 --> 01:02:18,200
Speaker 1: I wrapped the record. But because there label, they get

853
01:02:18,240 --> 01:02:22,680
Speaker 1: their own almost nine of my record, they get the

854
01:02:22,760 --> 01:02:26,440
Speaker 1: owner unless you com me in like smart motherfucker's and

855
01:02:26,640 --> 01:02:30,320
Speaker 1: was like funk that I'm oning my masters. You get

856
01:02:30,360 --> 01:02:34,040
Speaker 1: me keep your bread up front or give me fifty

857
01:02:34,120 --> 01:02:37,160
Speaker 1: thousand and I'll make sure whatever, whatever. But the key

858
01:02:37,320 --> 01:02:40,040
Speaker 1: was the on your masters. But if you if you

859
01:02:40,160 --> 01:02:42,320
Speaker 1: was just the starving nigga, like I said, James, we

860
01:02:42,440 --> 01:02:46,480
Speaker 1: come from content seventies and eighties babies, you get me.

861
01:02:46,720 --> 01:02:51,840
Speaker 1: So life in the hood wasn't that lucrative for motherfucker's

862
01:02:51,880 --> 01:02:55,200
Speaker 1: for a nigga like me who wasn't good in the

863
01:02:55,280 --> 01:02:58,240
Speaker 1: dope game, a little nigga selling crack or whatever. When

864
01:02:58,280 --> 01:03:01,480
Speaker 1: I wasn't the nigga, you get me. I don't five

865
01:03:01,560 --> 01:03:03,880
Speaker 1: six niggas on the block trying to hustle to the

866
01:03:03,960 --> 01:03:10,560
Speaker 1: same car. My way of Okay, rat was cracking Todd

867
01:03:10,680 --> 01:03:14,720
Speaker 1: t and then was cracking one DMC easy. Everybody was cracking.

868
01:03:14,760 --> 01:03:16,800
Speaker 1: So that's my way. I got tales of the Hood,

869
01:03:17,040 --> 01:03:20,160
Speaker 1: you give me, But I'm an uneducated nigga. When they

870
01:03:20,200 --> 01:03:22,840
Speaker 1: come to motherfucking music, you get me. I know, an

871
01:03:22,920 --> 01:03:26,520
Speaker 1: uneducated motherfucker. When it comes to the business of contracts

872
01:03:26,520 --> 01:03:28,920
Speaker 1: and all that I've been banging for the last four

873
01:03:29,000 --> 01:03:31,640
Speaker 1: or five years, I don't know nothing about it. All

874
01:03:31,720 --> 01:03:34,400
Speaker 1: I know is I could talk about the streets of Compton,

875
01:03:34,720 --> 01:03:37,439
Speaker 1: and these motherfucker's want to sell it because from here

876
01:03:37,480 --> 01:03:39,480
Speaker 1: to Tim Buck, two niggas want to hear about the

877
01:03:39,560 --> 01:03:42,760
Speaker 1: niggas in the khaki suits and the fucking raiders hats

878
01:03:42,800 --> 01:03:46,520
Speaker 1: and rags and ship. So that's when the executive come

879
01:03:46,560 --> 01:03:49,840
Speaker 1: in and go, it's motherfucker, don't know nothing here, motherfucking

880
01:03:49,840 --> 01:03:53,439
Speaker 1: here going he goes studio time, Here go a chain,

881
01:03:53,880 --> 01:03:56,040
Speaker 1: he go, A little money for your pocket, and I

882
01:03:56,120 --> 01:03:58,960
Speaker 1: spit all in tales about the Hood. We're gonna go

883
01:03:59,080 --> 01:04:03,680
Speaker 1: sell that ship for in dollars, okay, but you're not

884
01:04:03,880 --> 01:04:06,520
Speaker 1: knowing only giving you fifty cent a record. All that

885
01:04:06,640 --> 01:04:10,880
Speaker 1: work you just put in, we're only giving you fifty cents. Okay,

886
01:04:10,880 --> 01:04:15,800
Speaker 1: so motherfucker self two million records, made million, but they're

887
01:04:15,800 --> 01:04:18,560
Speaker 1: gonna go. Motherfucker. We sent you on tour, We sent

888
01:04:18,640 --> 01:04:22,240
Speaker 1: you on promo tour, We bought you lunch, we shot

889
01:04:22,280 --> 01:04:26,840
Speaker 1: two videos, we put posters up and down Hollywood Boulevard.

890
01:04:27,200 --> 01:04:30,560
Speaker 1: Motherfucker you was on Yo NTV wraps or this or that,

891
01:04:30,720 --> 01:04:34,000
Speaker 1: blah blah blah. We're charging you back for all that

892
01:04:34,040 --> 01:04:38,400
Speaker 1: ship out of your fifties dads, who ain't you just

893
01:04:39,480 --> 01:04:44,160
Speaker 1: he just laid it out what goes on every day.

894
01:04:44,160 --> 01:04:48,160
Speaker 1: And I hope every young artist just listened to every

895
01:04:48,240 --> 01:04:53,760
Speaker 1: word that you just said, because it is absolutely the

896
01:04:53,920 --> 01:04:59,440
Speaker 1: gospel in this music business. You are charged if you

897
01:04:59,600 --> 01:05:03,720
Speaker 1: pass gas in their office, they will get you on

898
01:05:03,840 --> 01:05:09,280
Speaker 1: anything and everything and then you will clean and if

899
01:05:09,280 --> 01:05:12,880
Speaker 1: you pass gas, thank you, thank you. So it's a

900
01:05:13,000 --> 01:05:17,840
Speaker 1: situation where please you young artists, please understanding. And James,

901
01:05:17,920 --> 01:05:22,920
Speaker 1: like you said, how come nobody has been hurt. Oh

902
01:05:23,080 --> 01:05:30,520
Speaker 1: there's been kidnappings, there's been ass whoopings, it just ain't

903
01:05:30,640 --> 01:05:34,640
Speaker 1: them publicized to the normal people. That's why A and

904
01:05:34,680 --> 01:05:38,480
Speaker 1: our directors who were getting whipped up on the West coast,

905
01:05:38,520 --> 01:05:41,520
Speaker 1: they were doing that in New York. But they were

906
01:05:41,560 --> 01:05:50,760
Speaker 1: tapping your ass on that West coast, and so he part, me, know,

907
01:05:52,280 --> 01:06:00,960
Speaker 1: it's amazing, that's great. I didn't start kidding. They need

908
01:06:01,360 --> 01:06:04,840
Speaker 1: they need some rooms, some shorts out there, make them

909
01:06:04,840 --> 01:06:09,080
Speaker 1: stop the ship, because that's that's yeah, that's what they did.

910
01:06:09,120 --> 01:06:13,160
Speaker 1: So what happened was the A and R directors got

911
01:06:13,200 --> 01:06:15,840
Speaker 1: panicked because you must understand, most of the A and

912
01:06:15,960 --> 01:06:19,960
Speaker 1: R directors that make the decisions are white guys, so

913
01:06:20,280 --> 01:06:23,560
Speaker 1: they don't they don't they don't know how to move

914
01:06:23,720 --> 01:06:27,440
Speaker 1: like that. So they do one or two things. Norm

915
01:06:27,600 --> 01:06:33,080
Speaker 1: they hire somebody from the street that's got connections, and

916
01:06:33,120 --> 01:06:37,480
Speaker 1: then they lay up under them and feel that they're protected,

917
01:06:38,280 --> 01:06:41,000
Speaker 1: but they don't know. They don't know that these dudes

918
01:06:41,040 --> 01:06:44,080
Speaker 1: ain't gonna protect them from other people. They're gonna step

919
01:06:44,080 --> 01:06:46,280
Speaker 1: back when some other people come and let that dog

920
01:06:46,880 --> 01:06:51,840
Speaker 1: crap be beat out of them. And staying you've been

921
01:06:51,920 --> 01:06:55,520
Speaker 1: you've been dealing with the music business from back in

922
01:06:55,560 --> 01:06:58,760
Speaker 1: the Motown days, from back in the early There is

923
01:06:58,800 --> 01:07:03,520
Speaker 1: no really difference or difference in what labels have always

924
01:07:03,560 --> 01:07:07,200
Speaker 1: done them or especially after this black artist. They have

925
01:07:07,280 --> 01:07:09,480
Speaker 1: been doing this since the beginning time. As far as

926
01:07:09,600 --> 01:07:12,520
Speaker 1: music and taking control of people's music and paying them

927
01:07:12,600 --> 01:07:15,720
Speaker 1: pennies on the dollar they hard earned work. So it's

928
01:07:15,800 --> 01:07:19,000
Speaker 1: basically it hasn't changed one bit. I mean, it's just

929
01:07:19,120 --> 01:07:22,720
Speaker 1: like we say with politics sometimes, you know, we get

930
01:07:22,800 --> 01:07:25,320
Speaker 1: the change of the president's every four years or every

931
01:07:25,400 --> 01:07:28,200
Speaker 1: eight years or whatever, and people hoping, hope and hope.

932
01:07:28,400 --> 01:07:31,080
Speaker 1: But just like with the music business, nothing has really changed,

933
01:07:31,120 --> 01:07:33,320
Speaker 1: and nothing has really changed for us artists. That's why

934
01:07:33,320 --> 01:07:34,960
Speaker 1: you got to learn how to take control of your

935
01:07:35,000 --> 01:07:37,880
Speaker 1: own destiny with the music business, to feel me, that's

936
01:07:37,920 --> 01:07:40,960
Speaker 1: why you got you got a lot of independency going

937
01:07:41,040 --> 01:07:43,520
Speaker 1: on now, and dudes, just hey, I'm just I'm I'm

938
01:07:43,520 --> 01:07:46,040
Speaker 1: gonna put my own record out and I'm just roll

939
01:07:46,120 --> 01:07:49,240
Speaker 1: of dice there because if I'm gonna get fucked but

940
01:07:49,520 --> 01:07:52,760
Speaker 1: for millions that I might as well roll a dice

941
01:07:52,880 --> 01:07:56,520
Speaker 1: myself and and and take the chance on myself. And

942
01:07:56,640 --> 01:08:00,280
Speaker 1: that's the truth I would at this particular point in music, Yeah,

943
01:08:01,440 --> 01:08:04,840
Speaker 1: the only way that majors are gonna make money is

944
01:08:04,880 --> 01:08:10,600
Speaker 1: through black music. Now. Saying that to say, could you

945
01:08:10,800 --> 01:08:14,480
Speaker 1: imagine I talked about this with Norm the other day.

946
01:08:14,960 --> 01:08:22,200
Speaker 1: Could you imagine if Puffy jay Z all the multi

947
01:08:22,400 --> 01:08:27,479
Speaker 1: millionaire rappers that own these companies. If they said, guess what,

948
01:08:28,320 --> 01:08:32,799
Speaker 1: We're gonna start our own distribution system. We're gonna promote

949
01:08:32,840 --> 01:08:37,600
Speaker 1: our own stuff and we don't need the majors. What

950
01:08:37,720 --> 01:08:39,760
Speaker 1: do you think the majors would do? I'll tell you

951
01:08:39,840 --> 01:08:42,559
Speaker 1: what they do. They cry and they've moaned, and they said,

952
01:08:42,600 --> 01:08:49,760
Speaker 1: what do y'all want? Don't leave? Don't leave. But these

953
01:08:49,880 --> 01:08:55,320
Speaker 1: executives like that shoe of money. They like that show

954
01:08:55,360 --> 01:09:00,280
Speaker 1: of money that's coming in. But they don't understand some things.

955
01:09:01,600 --> 01:09:05,639
Speaker 1: They have no power. Tell me something. They tell me something,

956
01:09:05,760 --> 01:09:08,080
Speaker 1: James Norm tell me a black man that you know

957
01:09:08,240 --> 01:09:14,679
Speaker 1: at a major company can sign the check. There is none.

958
01:09:15,240 --> 01:09:22,360
Speaker 1: They send out requests for checks and it has to

959
01:09:22,439 --> 01:09:26,360
Speaker 1: be signed by the upper alan. And who does it

960
01:09:26,520 --> 01:09:34,720
Speaker 1: go to first? My friends? The attorneys mm hmm. So

961
01:09:34,920 --> 01:09:38,320
Speaker 1: now you gotta kiss their asses. Now you've gotta kiss

962
01:09:38,360 --> 01:09:43,040
Speaker 1: the secretary's asses, because guess what. The attorneys don't type

963
01:09:43,120 --> 01:09:48,080
Speaker 1: up the documents those secretaries do. Now you're waiting for

964
01:09:48,200 --> 01:09:51,360
Speaker 1: your money. I've been in the office as Grace said,

965
01:09:51,800 --> 01:09:54,840
Speaker 1: fuck that mother, blah blah blah, he making all this money.

966
01:09:54,920 --> 01:09:57,680
Speaker 1: Hold up the check for three weeks. You calling as

967
01:09:57,720 --> 01:10:00,519
Speaker 1: an artist, where is my money? Where's my And they're

968
01:10:00,560 --> 01:10:03,519
Speaker 1: back there, we're working on it. We're working on it,

969
01:10:03,680 --> 01:10:06,080
Speaker 1: and they're throwing you the finger. We'll get back with you.

970
01:10:06,439 --> 01:10:09,120
Speaker 1: We're working on it. And then they hang up the phone. Bad.

971
01:10:09,439 --> 01:10:13,280
Speaker 1: Put that ship on the bottom of the pie. That's

972
01:10:13,320 --> 01:10:16,800
Speaker 1: how it works. And if you think a lot of

973
01:10:16,840 --> 01:10:21,280
Speaker 1: these rappers are getting signed because they're good, they ain't

974
01:10:21,280 --> 01:10:24,000
Speaker 1: getting signed because they're good. They're getting signed because he's

975
01:10:24,000 --> 01:10:28,000
Speaker 1: here and our directors needs to protection and they don't

976
01:10:28,000 --> 01:10:32,559
Speaker 1: want to ask whoop. And all they do is huddle

977
01:10:32,640 --> 01:10:34,800
Speaker 1: with these people from the street. Tell me what I

978
01:10:34,840 --> 01:10:39,200
Speaker 1: should do, Tell me what I should do? Where where

979
01:10:39,360 --> 01:10:42,679
Speaker 1: is the power of Atlantic Records? Aren't they the biggest

980
01:10:42,720 --> 01:10:46,280
Speaker 1: in wrap? Tell me who black over there is calling shots?

981
01:10:46,439 --> 01:10:50,760
Speaker 1: Oh wait, there's nothing And you would think that, um,

982
01:10:53,880 --> 01:11:00,439
Speaker 1: how about how about Universal? How about Sony? Tell me

983
01:11:00,640 --> 01:11:05,519
Speaker 1: who's stigning and checks this black? No? Wait, nobody. In

984
01:11:05,600 --> 01:11:07,679
Speaker 1: the sad part of Buttery was a lot of those

985
01:11:07,800 --> 01:11:11,320
Speaker 1: ass whoopers. That's usually giving out is given to the

986
01:11:11,439 --> 01:11:15,600
Speaker 1: person that don't have no control over nothing, thank you.

987
01:11:16,320 --> 01:11:18,880
Speaker 1: They just person at the time, the guy that is

988
01:11:18,920 --> 01:11:21,320
Speaker 1: actually doing all the stealing if the guy that you've

989
01:11:21,400 --> 01:11:24,120
Speaker 1: never met, you know, when you went Platinum, the one

990
01:11:24,200 --> 01:11:26,000
Speaker 1: motherfucker to the show up just to take a picture

991
01:11:26,040 --> 01:11:27,760
Speaker 1: with your ass and didn't get on, you've never seen

992
01:11:27,800 --> 01:11:33,360
Speaker 1: him again? Yeah, I probably met him probably in my

993
01:11:33,479 --> 01:11:36,040
Speaker 1: whole time being over at thrown me in the epic,

994
01:11:36,160 --> 01:11:40,120
Speaker 1: I probably met him once. That's what I'm saying. And

995
01:11:40,240 --> 01:11:42,880
Speaker 1: I'll tell you another thing. I'm sorry, man, it's just

996
01:11:43,280 --> 01:11:45,719
Speaker 1: I don't mean to laugh. But it's just like AH said,

997
01:11:45,840 --> 01:11:49,760
Speaker 1: jan Hey, ship ain't changed since when I got into

998
01:11:49,840 --> 01:11:53,759
Speaker 1: the business. On the on the work side, the executive side,

999
01:11:54,240 --> 01:11:58,280
Speaker 1: I represented the Jackson's, I represented Jermaine. Me and Jermaine

1000
01:11:58,439 --> 01:12:04,040
Speaker 1: were co presidents of Jackson Communications. So I sit in

1001
01:12:04,120 --> 01:12:07,320
Speaker 1: the room. Who's bigger than Michael Jackson at that time?

1002
01:12:07,400 --> 01:12:10,519
Speaker 1: Who is bigger than the Jackson's? Nobody? And I'm just

1003
01:12:10,640 --> 01:12:12,920
Speaker 1: saying that. It's not a pad on it. It's like

1004
01:12:14,360 --> 01:12:17,280
Speaker 1: I've been I've been through it all, and I know

1005
01:12:17,520 --> 01:12:20,519
Speaker 1: when you're lying to me. I know when you're bullshit.

1006
01:12:21,200 --> 01:12:23,719
Speaker 1: And if I don't know, I'm gonna pick up the fall.

1007
01:12:24,120 --> 01:12:26,160
Speaker 1: I'm gonna call people who do know, and I'm gonna

1008
01:12:26,160 --> 01:12:27,840
Speaker 1: get back to you and say please miss me because

1009
01:12:27,840 --> 01:12:31,280
Speaker 1: I don't want to deal with you. You know, it's

1010
01:12:31,280 --> 01:12:33,439
Speaker 1: crazy though staying a lot of people don't believe me

1011
01:12:33,520 --> 01:12:36,480
Speaker 1: when I tell him this. But I've seen stuff firsthand,

1012
01:12:36,880 --> 01:12:38,840
Speaker 1: because you know, I should go over to London like

1013
01:12:39,040 --> 01:12:41,080
Speaker 1: maybe two or three times a month because the company

1014
01:12:41,120 --> 01:12:43,759
Speaker 1: of working floor was over there. And you will wonder

1015
01:12:43,880 --> 01:12:46,599
Speaker 1: how these people are conditioned to be so evil. I've

1016
01:12:46,680 --> 01:12:50,920
Speaker 1: seen the people always working for hold the guy's check up,

1017
01:12:51,200 --> 01:12:54,120
Speaker 1: knowing and check the money was physically there. The guys

1018
01:12:54,160 --> 01:12:56,920
Speaker 1: about to lose his house because when you sign a

1019
01:12:56,960 --> 01:13:00,280
Speaker 1: publishing deal, they don't matter when asked calf be in

1020
01:13:00,360 --> 01:13:02,600
Speaker 1: my releases the money to them. They're gonna sending it

1021
01:13:02,640 --> 01:13:03,920
Speaker 1: to you when they want me. They gonna make some

1022
01:13:04,080 --> 01:13:06,479
Speaker 1: entries off of it. The guy was about to lose

1023
01:13:06,560 --> 01:13:08,479
Speaker 1: his house and either he had to check coming from

1024
01:13:08,520 --> 01:13:12,360
Speaker 1: maybe forty dollars and he was behind Tim Graham in

1025
01:13:12,400 --> 01:13:15,360
Speaker 1: his house so he needed the money. They wouldn't send

1026
01:13:15,400 --> 01:13:18,160
Speaker 1: the guy's money, or he wind up killing himself, and

1027
01:13:18,240 --> 01:13:21,840
Speaker 1: the people just said, oh, that's too bad. You know,

1028
01:13:21,960 --> 01:13:23,720
Speaker 1: that's too bad. His family's on the streets of the

1029
01:13:23,800 --> 01:13:27,160
Speaker 1: man can taken them, you know. Murder itself. But a

1030
01:13:27,240 --> 01:13:29,640
Speaker 1: lot of these people are involved very much in the

1031
01:13:29,800 --> 01:13:34,560
Speaker 1: dark arts, you know, wonder for you to become that

1032
01:13:34,800 --> 01:13:37,400
Speaker 1: evil and because I know I couldn't do it, I

1033
01:13:37,439 --> 01:13:39,560
Speaker 1: couldn't sit up and knowing the eight is about to

1034
01:13:39,640 --> 01:13:41,360
Speaker 1: lose his house and I got some money of his,

1035
01:13:41,560 --> 01:13:44,240
Speaker 1: they can help him. No, you get money and you

1036
01:13:44,320 --> 01:13:47,320
Speaker 1: give people, You give everybody, they they they piece and

1037
01:13:47,400 --> 01:13:50,200
Speaker 1: you move home, you know what I mean. But these

1038
01:13:50,280 --> 01:13:53,599
Speaker 1: people are very much involved in the mysticism, the coke

1039
01:13:53,800 --> 01:13:57,200
Speaker 1: and all kind of stuff, and they've been mentally conditioned

1040
01:13:57,360 --> 01:13:59,600
Speaker 1: not to give a funk about you. You or you.

1041
01:14:00,800 --> 01:14:02,519
Speaker 1: That's just the way it eels. And that's the part

1042
01:14:02,600 --> 01:14:06,960
Speaker 1: people don't talk about. But you've incommendations. Then it's you

1043
01:14:07,080 --> 01:14:10,080
Speaker 1: know what. Let me say that you guys, And I'm

1044
01:14:10,120 --> 01:14:15,120
Speaker 1: gonna withhold names obviously, But there are some very powerful

1045
01:14:15,200 --> 01:14:19,360
Speaker 1: Italian people in this business that I know very close,

1046
01:14:20,240 --> 01:14:23,960
Speaker 1: very closely. And I had a conversation with these people

1047
01:14:25,280 --> 01:14:28,000
Speaker 1: and I just wanted to ask some basic questions because

1048
01:14:28,439 --> 01:14:31,639
Speaker 1: they've known me for thirty years. They're out of New York,

1049
01:14:32,640 --> 01:14:35,360
Speaker 1: and I said, man, I gotta ask you guys some questions.

1050
01:14:37,120 --> 01:14:41,200
Speaker 1: I said, do you respect black artists. It took a

1051
01:14:41,360 --> 01:14:45,880
Speaker 1: nano second and he said fuck no. I said, why not?

1052
01:14:46,960 --> 01:14:49,760
Speaker 1: He said, because y'all don't respect yourself, so why should we.

1053
01:14:50,160 --> 01:14:53,759
Speaker 1: We'll fuck you at every chance we can get. I said, manness.

1054
01:14:54,240 --> 01:14:56,120
Speaker 1: And my cousin was with me at the time, right,

1055
01:14:56,920 --> 01:15:00,120
Speaker 1: and so we looked at each other. He said, you

1056
01:15:00,200 --> 01:15:03,240
Speaker 1: know what's wrong with black people? I said, what's done?

1057
01:15:04,840 --> 01:15:08,599
Speaker 1: He said, y'all don't listen to your elders. He says,

1058
01:15:09,360 --> 01:15:12,479
Speaker 1: and now remember he's saying this, and two other gangsters

1059
01:15:13,600 --> 01:15:18,479
Speaker 1: sitting next to they're nodding, and he says, you black

1060
01:15:18,560 --> 01:15:24,000
Speaker 1: folks don't listen to your elders, But every other group

1061
01:15:24,360 --> 01:15:28,160
Speaker 1: of people on this earth do. From the American Indians

1062
01:15:28,320 --> 01:15:31,840
Speaker 1: when they used to sit around and have meetings around

1063
01:15:31,880 --> 01:15:34,839
Speaker 1: the campfire, they listened to the chief with the most feathers,

1064
01:15:35,040 --> 01:15:39,360
Speaker 1: who have the most experience. Then you go to the

1065
01:15:39,520 --> 01:15:48,640
Speaker 1: Asian population, they pay attention and respect. They're elders, the Hispanics, everybody,

1066
01:15:49,439 --> 01:15:54,040
Speaker 1: everybody but one group, and it's us. We are so

1067
01:15:54,360 --> 01:15:58,759
Speaker 1: weak as far as unity is concerned. I'm talking about,

1068
01:15:59,360 --> 01:16:03,080
Speaker 1: why are we always under somebody's umbrella? Why aren't we

1069
01:16:03,320 --> 01:16:08,120
Speaker 1: the umbrella? Why are we always the ones that got

1070
01:16:08,240 --> 01:16:10,200
Speaker 1: to go ask somebody for some Could you put my

1071
01:16:10,320 --> 01:16:14,519
Speaker 1: record out? Can you give me an advance? Why don't

1072
01:16:14,600 --> 01:16:18,160
Speaker 1: these black men get together and say, you know what,

1073
01:16:19,320 --> 01:16:25,160
Speaker 1: we're gonna finance new acts. We're not gonna treat them wrong.

1074
01:16:26,520 --> 01:16:30,640
Speaker 1: We're gonna be here to help and do something like that.

1075
01:16:30,760 --> 01:16:34,120
Speaker 1: Instead of always giving your content to people who don't

1076
01:16:34,200 --> 01:16:42,080
Speaker 1: like you as a race. Understand something, No major record

1077
01:16:42,280 --> 01:16:46,880
Speaker 1: company in the United States wanted anything to do with

1078
01:16:47,000 --> 01:16:51,479
Speaker 1: a rap They want to keep you out of your office,

1079
01:16:51,560 --> 01:16:55,320
Speaker 1: out of their officers. Understand something. I'm talking to you

1080
01:16:55,560 --> 01:16:59,559
Speaker 1: from the nineteen eighty nine time on up to right

1081
01:16:59,680 --> 01:17:03,640
Speaker 1: now because I'm in those offices and every time you

1082
01:17:03,720 --> 01:17:06,719
Speaker 1: try to bring a wrapper up in there's like, oh ship.

1083
01:17:07,320 --> 01:17:09,600
Speaker 1: When I worked at Motown, the only rap artists we

1084
01:17:09,680 --> 01:17:14,519
Speaker 1: had was Queen Lachief and that was too hard for him. Yeah,

1085
01:17:15,560 --> 01:17:18,960
Speaker 1: that was too hard. I brought a rap group, the

1086
01:17:19,000 --> 01:17:21,360
Speaker 1: rap group I told you about called Watch Car. I

1087
01:17:21,439 --> 01:17:24,320
Speaker 1: brought them to Motown to Gerald Buzzby says Stan I love,

1088
01:17:24,560 --> 01:17:27,679
Speaker 1: I love this group, but man, we're owned by Boston

1089
01:17:27,840 --> 01:17:32,080
Speaker 1: Ventures and all our money comes from there. We they

1090
01:17:32,120 --> 01:17:34,920
Speaker 1: will not tolerate this type of language, or at I

1091
01:17:35,040 --> 01:17:38,880
Speaker 1: love you, but you got to go elsewhere. Well, nobody

1092
01:17:39,040 --> 01:17:43,559
Speaker 1: was signing. Then you go to the phase of they

1093
01:17:43,600 --> 01:17:48,240
Speaker 1: didn't want to sign you. Now it got regional. The

1094
01:17:48,360 --> 01:17:52,040
Speaker 1: A and R directors didn't want to sign anybody from

1095
01:17:52,120 --> 01:17:59,960
Speaker 1: the West coast. Nobody, James, you could you can get

1096
01:18:00,000 --> 01:18:04,040
Speaker 1: of me a hundred thousand dollars. Back then as they stand,

1097
01:18:04,520 --> 01:18:07,360
Speaker 1: can you shop this West coast? At can you shop

1098
01:18:07,640 --> 01:18:11,400
Speaker 1: MC eight for me? Man I couldn't get m to

1099
01:18:11,479 --> 01:18:13,600
Speaker 1: deal if he was just starting out, and at that

1100
01:18:13,760 --> 01:18:17,320
Speaker 1: time New York was giving out the money. M hmm.

1101
01:18:18,280 --> 01:18:21,960
Speaker 1: Nobody was signing anything from the West coast. Norman nobody.

1102
01:18:22,000 --> 01:18:24,280
Speaker 1: You know that Norm was dealing with the same thing.

1103
01:18:26,120 --> 01:18:28,360
Speaker 1: I would say, why aren't you signing something from the

1104
01:18:28,439 --> 01:18:31,040
Speaker 1: West coast? You know what they told me? This was

1105
01:18:31,200 --> 01:18:35,760
Speaker 1: even the radio programmers. They said, stand, you know what's

1106
01:18:35,800 --> 01:18:39,840
Speaker 1: wrong with West Coast artists? I said, what's that? He said,

1107
01:18:39,880 --> 01:18:43,840
Speaker 1: It's like Christmas time when everybody all we all know

1108
01:18:44,000 --> 01:18:48,760
Speaker 1: what's in the package. It's just wrapped up. It ain't

1109
01:18:48,800 --> 01:18:52,839
Speaker 1: nothing different. It's not that we disliked the West Coast.

1110
01:18:53,479 --> 01:18:57,280
Speaker 1: It's like we don't want to hear about what's going

1111
01:18:57,360 --> 01:18:59,800
Speaker 1: on in south central Compton and Watts at that time,

1112
01:19:00,000 --> 01:19:04,040
Speaker 1: they didn't. They just didn't. It was all centralized in

1113
01:19:04,120 --> 01:19:08,840
Speaker 1: Los Angeles. So to get your record played anywhere east

1114
01:19:08,920 --> 01:19:12,960
Speaker 1: of the Mississippi, I forget it. You know what Clyde

1115
01:19:13,040 --> 01:19:17,639
Speaker 1: Davis told me about Quick? I asked for some more

1116
01:19:17,720 --> 01:19:24,040
Speaker 1: money to promote Quit. He called me directly and he said,

1117
01:19:24,160 --> 01:19:27,240
Speaker 1: Mr Shepherd, I want you to talk to my promotion director.

1118
01:19:28,120 --> 01:19:30,679
Speaker 1: I talked to his promotion director, and the promotion director

1119
01:19:30,760 --> 01:19:34,400
Speaker 1: told me point blank, we are not giving you one

1120
01:19:34,520 --> 01:19:37,679
Speaker 1: penny more then what we gave you when we first

1121
01:19:38,160 --> 01:19:41,960
Speaker 1: did the deal. Now, if you want to market DJ

1122
01:19:42,200 --> 01:19:46,840
Speaker 1: Quick east of the Mississippi, then you do that with

1123
01:19:47,120 --> 01:19:51,120
Speaker 1: your money, but you're not gonna get it for from aristom.

1124
01:19:51,520 --> 01:19:56,559
Speaker 1: We promote you on the West coast. Now what does

1125
01:19:56,600 --> 01:19:58,519
Speaker 1: that do to you as an artist? What the death

1126
01:19:58,560 --> 01:20:01,040
Speaker 1: do with Qrick? What does that do to Quick? Point

1127
01:20:01,160 --> 01:20:07,439
Speaker 1: or limits the amount of money you're gonna make? And

1128
01:20:07,640 --> 01:20:11,160
Speaker 1: remember this norm you work in publishing, right, you have

1129
01:20:11,240 --> 01:20:15,200
Speaker 1: a history doing that. You must understand when you're trying

1130
01:20:15,280 --> 01:20:19,920
Speaker 1: to get a record released, then you have to have

1131
01:20:20,600 --> 01:20:26,519
Speaker 1: everything working properly at that time or you're going to fail.

1132
01:20:27,640 --> 01:20:31,840
Speaker 1: Everything has to work with every aspect of what you're doing.

1133
01:20:33,120 --> 01:20:37,280
Speaker 1: So now I'm trying to find out, well, how are

1134
01:20:37,320 --> 01:20:40,880
Speaker 1: we gonna break some West Coast artists east of the Mississippi.

1135
01:20:41,840 --> 01:20:46,599
Speaker 1: And my people call back and sistan, it's never going

1136
01:20:46,920 --> 01:20:53,680
Speaker 1: to happen. There are no West Coast artists played in

1137
01:20:53,920 --> 01:20:58,080
Speaker 1: Chicago except Kendrick Lamar. You may hear him once a

1138
01:20:58,160 --> 01:21:06,439
Speaker 1: month on a record, but any other artists other than

1139
01:21:06,600 --> 01:21:09,280
Speaker 1: Kendrick and you may get a feature like with a

1140
01:21:09,479 --> 01:21:12,400
Speaker 1: y G on a record and they played in Chicago

1141
01:21:12,560 --> 01:21:15,000
Speaker 1: or somewhere, but nobody played in the West coast east

1142
01:21:15,040 --> 01:21:19,400
Speaker 1: in Mississippi. So your money is your money is cut

1143
01:21:19,520 --> 01:21:24,479
Speaker 1: in half. So I would always tell the West Coast artists, man,

1144
01:21:24,520 --> 01:21:27,640
Speaker 1: don't talk about your hoods. It's a turn off to

1145
01:21:27,720 --> 01:21:33,439
Speaker 1: these programmers. They don't want to play it. But things changed,

1146
01:21:34,720 --> 01:21:37,920
Speaker 1: as they do in American record business, and then now

1147
01:21:38,000 --> 01:21:40,719
Speaker 1: we's switched back over to the West coast because why

1148
01:21:41,280 --> 01:21:43,519
Speaker 1: because you've got a whole lot of new young people

1149
01:21:44,400 --> 01:21:49,520
Speaker 1: that are coming into this game, not black folks, Hispanic

1150
01:21:49,800 --> 01:21:57,360
Speaker 1: white and Asian black by hardcore hip hop, not black folks,

1151
01:21:59,200 --> 01:22:04,519
Speaker 1: very very few. What are you going to tell somebody

1152
01:22:04,560 --> 01:22:06,320
Speaker 1: from the hood about the hood when they're living it

1153
01:22:06,439 --> 01:22:10,240
Speaker 1: every day. But the white kids across the world want

1154
01:22:10,280 --> 01:22:14,800
Speaker 1: to hear everybody else wants to hear it. So that's

1155
01:22:14,840 --> 01:22:18,160
Speaker 1: where your sales come from. So that's why these record

1156
01:22:18,200 --> 01:22:23,120
Speaker 1: companies and our directors say, hey, you gotta I'm fast forward.

1157
01:22:23,880 --> 01:22:27,760
Speaker 1: You got any your crimes on your sheet? You with

1158
01:22:27,840 --> 01:22:30,599
Speaker 1: a game, because that's the only way you're getting signed

1159
01:22:30,680 --> 01:22:35,519
Speaker 1: right now. You ain't getting signed. If you've got uplifting lyrics,

1160
01:22:36,439 --> 01:22:38,719
Speaker 1: you ain't getting signed. If you're doing that, you're getting

1161
01:22:38,760 --> 01:22:42,960
Speaker 1: signed if you as they asked me, oh Stan, you

1162
01:22:43,080 --> 01:22:46,479
Speaker 1: got a new artist that you're launching. What side is

1163
01:22:46,560 --> 01:22:50,280
Speaker 1: he from? What side is he from us? He g

1164
01:22:50,479 --> 01:22:53,800
Speaker 1: ds he Black Disciples, Blood crypt Pararu? What is it?

1165
01:22:55,439 --> 01:22:58,120
Speaker 1: I said? That makes the big difference? Now, okay, no problem,

1166
01:22:58,600 --> 01:23:00,439
Speaker 1: no problem. I see where you're going, what you're doing.

1167
01:23:01,600 --> 01:23:06,760
Speaker 1: It's a pattern of ignorance. You can't turn on the

1168
01:23:06,880 --> 01:23:10,360
Speaker 1: radio right now and hear anything but gang involved in

1169
01:23:10,400 --> 01:23:14,280
Speaker 1: the drug dealer, that's all. And you know, standing me

1170
01:23:14,360 --> 01:23:17,680
Speaker 1: and you talk about this all the time. This is

1171
01:23:17,760 --> 01:23:22,600
Speaker 1: that's going back to the um prison industrial complex, the

1172
01:23:22,680 --> 01:23:28,000
Speaker 1: privatization of prison. Um. You know, some of the biggest

1173
01:23:28,040 --> 01:23:32,519
Speaker 1: stockholders in these companies are Universe over VINDI and these

1174
01:23:32,640 --> 01:23:36,800
Speaker 1: major corporations. So it gets really deep. It gets really deep.

1175
01:23:37,520 --> 01:23:39,759
Speaker 1: You know, even if you go back to the stuff

1176
01:23:39,840 --> 01:23:45,080
Speaker 1: that you know Benny Medina was doing. You know, I'm

1177
01:23:45,080 --> 01:23:46,800
Speaker 1: gonna go too far into it, you know, but they

1178
01:23:46,920 --> 01:23:49,200
Speaker 1: finally starting up. You know, it's a little lot of

1179
01:23:49,240 --> 01:23:53,720
Speaker 1: stuff going on, man, And it's I'll just say this,

1180
01:23:54,360 --> 01:23:57,280
Speaker 1: as my Italian friends friends told me, as I was

1181
01:23:57,360 --> 01:24:03,080
Speaker 1: talking about to you, stand put about put about forty

1182
01:24:05,040 --> 01:24:08,800
Speaker 1: into black acts. And I'm looking to remember, I'm listening

1183
01:24:08,840 --> 01:24:11,880
Speaker 1: to everything these people say because they're the outsiders. They're

1184
01:24:11,880 --> 01:24:15,519
Speaker 1: gonna tell you the truth. They don't need nothing from it, okay.

1185
01:24:16,000 --> 01:24:21,080
Speaker 1: And they said every black act, listen to me, every

1186
01:24:21,320 --> 01:24:33,080
Speaker 1: black act will eventually turn on their management everyone. So

1187
01:24:33,280 --> 01:24:40,920
Speaker 1: now you've got a situation where say all three of

1188
01:24:41,000 --> 01:24:46,600
Speaker 1: you guys form a label. You got this artist we promoted.

1189
01:24:49,640 --> 01:24:54,200
Speaker 1: How much do you know that you're supposed to get paid?

1190
01:24:56,160 --> 01:25:00,040
Speaker 1: You don't know, you don't know anything. You don't know

1191
01:25:00,120 --> 01:25:03,320
Speaker 1: anything other than what you're told, and you were just

1192
01:25:04,000 --> 01:25:09,200
Speaker 1: from that. The second thing is this, when I hear

1193
01:25:09,479 --> 01:25:12,160
Speaker 1: no disrespect to anybody when I say this, this is

1194
01:25:12,240 --> 01:25:15,800
Speaker 1: two artists. When I hear artists say that they own

1195
01:25:15,960 --> 01:25:19,200
Speaker 1: their masters and they own this and they owned that.

1196
01:25:19,760 --> 01:25:21,880
Speaker 1: Take it home with you if you own it. When

1197
01:25:21,920 --> 01:25:25,679
Speaker 1: Shefford Lane was around, that was the most cracking label

1198
01:25:26,120 --> 01:25:28,640
Speaker 1: in the West Coast that time. You know, before the

1199
01:25:28,720 --> 01:25:32,200
Speaker 1: death row are pop, y'all Haven point three that you know,

1200
01:25:32,560 --> 01:25:34,559
Speaker 1: y'all it was the hot crew in the streets right

1201
01:25:34,640 --> 01:25:39,400
Speaker 1: here right Yes? What made you decide to just say

1202
01:25:39,439 --> 01:25:41,519
Speaker 1: it was enough? Did you get tired of the urban scene?

1203
01:25:43,000 --> 01:25:46,040
Speaker 1: You know? What it was is that it was the

1204
01:25:46,160 --> 01:25:51,439
Speaker 1: deaths every time that was and James and eight can

1205
01:25:51,479 --> 01:25:54,160
Speaker 1: detested this and nor might know you were hearing it,

1206
01:25:54,439 --> 01:25:58,639
Speaker 1: but we were living it. It was like when Vincent

1207
01:25:58,760 --> 01:26:03,559
Speaker 1: got killed, when James's brother got killed, All of these

1208
01:26:03,680 --> 01:26:08,320
Speaker 1: people got killed. They were dropping on both sides. I

1209
01:26:08,560 --> 01:26:11,640
Speaker 1: was on this. I was in the area when in

1210
01:26:11,800 --> 01:26:16,040
Speaker 1: Compton at south Side when Venus and serena sister was killed,

1211
01:26:16,600 --> 01:26:20,679
Speaker 1: we heard the shots. Okay, so it's a situation where

1212
01:26:23,240 --> 01:26:33,960
Speaker 1: how could I say this, Um, it's I just felt

1213
01:26:35,439 --> 01:26:40,519
Speaker 1: it was gonna be me next because I was getting

1214
01:26:40,560 --> 01:26:48,559
Speaker 1: death threats. I remember the crips even came to kill

1215
01:26:49,600 --> 01:26:55,719
Speaker 1: me and DJ Quick at a funeral MHM in Inglewood.

1216
01:26:56,840 --> 01:26:58,840
Speaker 1: I remember when that happened because Crawford was with you

1217
01:26:58,920 --> 01:27:02,479
Speaker 1: guys too, whitn't He high Sea was walking with me

1218
01:27:03,840 --> 01:27:09,479
Speaker 1: into the church where the young lady was killed. That

1219
01:27:09,680 --> 01:27:15,360
Speaker 1: was dating quick and they pulled up to me and

1220
01:27:15,439 --> 01:27:21,600
Speaker 1: Crawford and they thought Crawford high See was quick and

1221
01:27:23,360 --> 01:27:28,840
Speaker 1: when they saw it wasn't, they moved a little bit

1222
01:27:29,360 --> 01:27:31,800
Speaker 1: to the side, and then other cars were coming through,

1223
01:27:34,160 --> 01:27:37,000
Speaker 1: and so everybody in the church was running out. There

1224
01:27:37,080 --> 01:27:44,600
Speaker 1: was gunfire everywhere, and it got so close to me

1225
01:27:46,200 --> 01:27:49,360
Speaker 1: that I had to I had to redirect my life.

1226
01:27:50,680 --> 01:27:59,800
Speaker 1: And after eighteen murders, I got paranoid. I was completely paranoid.

1227
01:28:00,320 --> 01:28:03,880
Speaker 1: Every time I would leave anywhere. It destroyed everything in

1228
01:28:04,000 --> 01:28:07,439
Speaker 1: my life because I couldn't be the same person that

1229
01:28:07,560 --> 01:28:11,680
Speaker 1: I was because the level that we were playing with

1230
01:28:12,640 --> 01:28:17,240
Speaker 1: the Compton Cripts and the Compton part rules were not playing.

1231
01:28:18,600 --> 01:28:24,040
Speaker 1: These people will kill you and it doesn't take much

1232
01:28:25,120 --> 01:28:29,240
Speaker 1: to get you clipped. Not in this world, as I

1233
01:28:29,400 --> 01:28:35,000
Speaker 1: told you norm yesterday, I have people that have come

1234
01:28:35,040 --> 01:28:37,200
Speaker 1: to me with five hundred dollars to ask me for

1235
01:28:37,280 --> 01:28:40,080
Speaker 1: five d dollars to kill somebody that I was having

1236
01:28:40,120 --> 01:28:43,519
Speaker 1: a problem with. And when I found out that five

1237
01:28:43,600 --> 01:28:48,920
Speaker 1: hundred dollars could get your ass killed, I became so worried.

1238
01:28:49,000 --> 01:28:52,120
Speaker 1: I said, who did I make mad? Because understand something.

1239
01:28:52,680 --> 01:28:55,439
Speaker 1: I wouldn't let people get to DJ quick. I wouldn't

1240
01:28:55,520 --> 01:28:58,560
Speaker 1: let people get the battle cap. And people hated that

1241
01:28:59,560 --> 01:29:03,519
Speaker 1: they felt of his halting their career. So yes, I

1242
01:29:03,720 --> 01:29:08,080
Speaker 1: left because I was panic stricken and I they want

1243
01:29:08,120 --> 01:29:11,280
Speaker 1: to die. That may sound whatever way you want to say,

1244
01:29:12,280 --> 01:29:19,400
Speaker 1: but when the heavy gangsters being mowed down around me, no, no,

1245
01:29:19,880 --> 01:29:22,880
Speaker 1: I wasn't ready. I wasn't here, And like you said,

1246
01:29:22,920 --> 01:29:25,120
Speaker 1: there was some heavy weights. And that's what people don't understand.

1247
01:29:25,200 --> 01:29:28,519
Speaker 1: It don't matter who you are any man, any man

1248
01:29:28,680 --> 01:29:31,200
Speaker 1: can be tuxed, and they don't have respect for motherfucker

1249
01:29:31,240 --> 01:29:35,160
Speaker 1: out here. They really don't. And you East Coast and

1250
01:29:35,280 --> 01:29:39,920
Speaker 1: down South artists and Midwest artists when you come out here,

1251
01:29:41,080 --> 01:29:43,200
Speaker 1: when you come, excuse me, when you come to l A,

1252
01:29:44,560 --> 01:29:48,040
Speaker 1: please understand two things have happened before you got there.

1253
01:29:48,960 --> 01:29:53,000
Speaker 1: At all the hotels they have they been the gang

1254
01:29:53,080 --> 01:29:55,720
Speaker 1: members that have already put their women in there as

1255
01:29:55,800 --> 01:30:00,760
Speaker 1: the maids they know where you're staying. They know when

1256
01:30:00,840 --> 01:30:05,200
Speaker 1: you give a false name. These women have been working

1257
01:30:05,360 --> 01:30:08,479
Speaker 1: there for a while. And some of the door people

1258
01:30:09,120 --> 01:30:12,479
Speaker 1: who you think are dressed properly and just there for

1259
01:30:12,560 --> 01:30:17,200
Speaker 1: a job, they're connected and they will call, Hey, you

1260
01:30:17,280 --> 01:30:21,720
Speaker 1: know who just came in here? Who l A is

1261
01:30:21,840 --> 01:30:26,240
Speaker 1: the I'll say this l A and believe me, I'm

1262
01:30:26,280 --> 01:30:28,439
Speaker 1: in Chicago. Ain't nothing you can tell me about game

1263
01:30:28,479 --> 01:30:31,240
Speaker 1: bang And I'm dealing with this every day. But there's

1264
01:30:31,560 --> 01:30:39,320
Speaker 1: there's something different about Compton. There's something different about Compton

1265
01:30:39,400 --> 01:30:45,920
Speaker 1: watching l A. It's more planned, it's more evil. In Chicago,

1266
01:30:46,800 --> 01:30:53,960
Speaker 1: it's random. Most of the time, it's random. But when

1267
01:30:54,479 --> 01:30:58,080
Speaker 1: when Compton puts a mark on you, bro youth, you've

1268
01:30:58,120 --> 01:31:02,479
Speaker 1: got problems. Yeah, so staying I wanna I want to.

1269
01:31:02,760 --> 01:31:04,760
Speaker 1: I want to end up the day with a question? Right?

1270
01:31:05,560 --> 01:31:09,640
Speaker 1: Uh huh? Where do we go from here? In the

1271
01:31:09,760 --> 01:31:16,160
Speaker 1: music industry is all independence now? Nope? Because you know why,

1272
01:31:17,640 --> 01:31:23,479
Speaker 1: because independent artists will sell out all from the right money.

1273
01:31:24,040 --> 01:31:28,400
Speaker 1: Most will sell out. Who's gonna turn down a couple

1274
01:31:28,400 --> 01:31:30,479
Speaker 1: of million dollars If you've got fifty thousand in the

1275
01:31:30,560 --> 01:31:32,840
Speaker 1: bank and now you got paid notes and everything who's

1276
01:31:32,880 --> 01:31:37,040
Speaker 1: gonna turn that down? Not many people, mm hmm, not

1277
01:31:37,560 --> 01:31:40,920
Speaker 1: not many people. It's like even my own labor. I said,

1278
01:31:40,960 --> 01:31:43,400
Speaker 1: you come here, you split publishing on the first album,

1279
01:31:43,880 --> 01:31:46,960
Speaker 1: and what we will do for you what we did

1280
01:31:47,040 --> 01:31:50,080
Speaker 1: for Sugar Free and everybody. We give you three thousand

1281
01:31:51,520 --> 01:31:53,840
Speaker 1: to pay your monthly bills and give a thousand to

1282
01:31:53,960 --> 01:32:02,479
Speaker 1: you for food. Now take this hundred and twenty five

1283
01:32:02,560 --> 01:32:08,519
Speaker 1: thousand and do your help. Who's gonna turn that down?

1284
01:32:09,920 --> 01:32:13,360
Speaker 1: I would do it if you're gonna tell me right now. Hey, Stan,

1285
01:32:13,479 --> 01:32:16,560
Speaker 1: if I'm an artist, uh dr Dre and Quick and

1286
01:32:16,600 --> 01:32:18,599
Speaker 1: battle Cat are gonna produce your help. But you've gotta

1287
01:32:18,600 --> 01:32:21,360
Speaker 1: split some publish. But you can have your publishing for

1288
01:32:21,400 --> 01:32:23,280
Speaker 1: the rest of your life. Just on this first album.

1289
01:32:23,320 --> 01:32:25,640
Speaker 1: You're gonna be established, a start, and now you can

1290
01:32:25,680 --> 01:32:27,479
Speaker 1: do whatever you want to do. I signed that deal

1291
01:32:27,560 --> 01:32:32,840
Speaker 1: in a minute. Not a bad deal. It's what are

1292
01:32:32,840 --> 01:32:35,560
Speaker 1: you going to get from a major, just like what

1293
01:32:35,720 --> 01:32:41,439
Speaker 1: eight was doing. Eight may have got maybe thirteen fourteen

1294
01:32:41,520 --> 01:32:46,400
Speaker 1: points for his deal. Maybe if they liked his attorney,

1295
01:32:46,439 --> 01:32:50,439
Speaker 1: maybe fifteen or sixteen. But just like he said, you're

1296
01:32:50,479 --> 01:32:55,160
Speaker 1: gonna get forty five to fifty cents per album, and

1297
01:32:55,240 --> 01:32:58,840
Speaker 1: you're gonna be broke. That's why the artists I work

1298
01:32:58,920 --> 01:33:03,080
Speaker 1: with right now, let me tell you something. I gotta

1299
01:33:03,320 --> 01:33:08,360
Speaker 1: and I'm educating these young men. My artist daut of Chicago,

1300
01:33:09,439 --> 01:33:13,519
Speaker 1: E S C D S and the Cartel. I educate

1301
01:33:13,640 --> 01:33:17,920
Speaker 1: these young men. They're gonna be huge. My guy from

1302
01:33:18,080 --> 01:33:24,080
Speaker 1: Kelly Park, Yellow Boy the Duke, he's gonna be huge.

1303
01:33:25,000 --> 01:33:31,439
Speaker 1: I got two other artists, Almighty Wand and Dolf Rosa.

1304
01:33:32,600 --> 01:33:37,040
Speaker 1: We're gonna break these people and we're going to help

1305
01:33:37,160 --> 01:33:43,400
Speaker 1: them establish themselves and go from there. And we're gonna

1306
01:33:43,479 --> 01:33:49,719
Speaker 1: help people. I'm helping people like like the Hood doctor

1307
01:33:50,560 --> 01:33:54,599
Speaker 1: Melli Mel he's doing his the Hood professor. I help

1308
01:33:54,640 --> 01:33:58,720
Speaker 1: all these people. Anybody that wants some assistance that are

1309
01:33:58,800 --> 01:34:02,840
Speaker 1: not ignorant, come hilder this man. We we we don't

1310
01:34:02,880 --> 01:34:06,760
Speaker 1: want ignorance around us. We really don't. Man. And and

1311
01:34:06,880 --> 01:34:09,000
Speaker 1: the people I'm working with right now, man, I'm I'm

1312
01:34:09,040 --> 01:34:12,600
Speaker 1: I'm I'm good man, I'm good, And I ask you

1313
01:34:12,680 --> 01:34:14,519
Speaker 1: one more. Hopefully I'm not putting you in the spot

1314
01:34:14,640 --> 01:34:17,280
Speaker 1: stancause you know, I can't talk about everything that we

1315
01:34:17,360 --> 01:34:19,760
Speaker 1: talked about. It ain't for everybody else. It's ears, but

1316
01:34:19,920 --> 01:34:21,840
Speaker 1: you had an incident one day. You know, we were

1317
01:34:21,880 --> 01:34:24,120
Speaker 1: talking about the code a little bit earlier, and you

1318
01:34:24,240 --> 01:34:26,559
Speaker 1: said that you have an experience that freaked you out.

1319
01:34:26,680 --> 01:34:30,800
Speaker 1: One time. You actually walked in on the things they

1320
01:34:30,920 --> 01:34:37,360
Speaker 1: here going on one time. Yeah. Well, first of all,

1321
01:34:37,960 --> 01:34:46,080
Speaker 1: I'll be very short their satanism in this business. And

1322
01:34:46,360 --> 01:34:49,280
Speaker 1: we happened to be one time coming from the location

1323
01:34:50,720 --> 01:34:54,800
Speaker 1: and we went to a just a smoke, a few

1324
01:34:54,960 --> 01:34:58,599
Speaker 1: joints whatever. We went to Malibu Beach and some partners.

1325
01:34:59,640 --> 01:35:04,519
Speaker 1: When we got there, I heard some music that I

1326
01:35:04,680 --> 01:35:09,000
Speaker 1: was familiar with, but it was coming from under what

1327
01:35:09,120 --> 01:35:11,240
Speaker 1: do you call that, uh, the where you walk out

1328
01:35:11,280 --> 01:35:13,920
Speaker 1: to the water where you do fishing at the at

1329
01:35:13,960 --> 01:35:17,960
Speaker 1: the pier or whatever. They walk in and I heard

1330
01:35:18,040 --> 01:35:21,599
Speaker 1: this music that had been played in my office before.

1331
01:35:22,920 --> 01:35:25,920
Speaker 1: And then when I looked up, it was about twenty

1332
01:35:26,000 --> 01:35:31,800
Speaker 1: five people under this appeared and they were all button naked,

1333
01:35:33,320 --> 01:35:38,559
Speaker 1: and they saw men and women weightlifters, and they saw

1334
01:35:38,800 --> 01:35:43,880
Speaker 1: me and my people, and they rushed us. Twenty to

1335
01:35:44,040 --> 01:35:52,679
Speaker 1: twive butt naked people doing satanism. And the people were

1336
01:35:52,760 --> 01:35:57,479
Speaker 1: involved in the record industry. I said, oh my god,

1337
01:35:58,479 --> 01:36:02,280
Speaker 1: this is what is going on. Then I was representing

1338
01:36:02,320 --> 01:36:06,639
Speaker 1: another guy from over in South Central and he's riding

1339
01:36:06,680 --> 01:36:08,719
Speaker 1: with me, and I said, hey, man, I gotta stop

1340
01:36:08,760 --> 01:36:12,800
Speaker 1: by the church. But he said, what said about the

1341
01:36:12,920 --> 01:36:17,040
Speaker 1: church for what? And I said, well, he was a

1342
01:36:17,160 --> 01:36:20,960
Speaker 1: person who I want to do my thing over there

1343
01:36:21,000 --> 01:36:22,880
Speaker 1: for a second, you're just waiting the card. He said, Man,

1344
01:36:22,960 --> 01:36:29,120
Speaker 1: funk God. I said what he said? You heard me?

1345
01:36:30,040 --> 01:36:38,840
Speaker 1: Fuck God? I said, okay, no problem. And I knew

1346
01:36:38,920 --> 01:36:43,439
Speaker 1: from that point on that Satanism and anti God was

1347
01:36:43,640 --> 01:36:47,320
Speaker 1: rampant on that West Coast music scene. These people will

1348
01:36:47,439 --> 01:36:50,200
Speaker 1: kill you. It's like a brotherhood. I don't care about

1349
01:36:50,280 --> 01:36:52,640
Speaker 1: nothing else for Satanism. I'll just leave it at that.

1350
01:36:53,840 --> 01:36:55,200
Speaker 1: That podcast word