Speaker 1: When I right, y'all all across the USC Compton Watts
Speaker 1: Day to l A, come on the California the Valley.
Speaker 1: We represent that kind of county. So if you're keeping
Speaker 1: it real on your side of your town, you tune
Speaker 1: into Gangster Chronicles. Gangster Chronic Goals are gonna tell you
Speaker 1: how we go. If I like my nose a girl
Speaker 1: like Pinocchio, We're gonna tell you the truth and nothing
Speaker 1: but the truth. Gangster Chronicals. This is not your average show.
Speaker 1: You're now tuned into the Reil m c a Day
Speaker 1: James and Big Still from the Streets. Hello, where you act?
Speaker 1: This is o G Gangster Granny and Against the Chronicles
Speaker 1: podcast is back in effect. Thank you for tuning into
Speaker 1: another episode of Against the Chronicles podcast. Make sure you
Speaker 1: download I Heard That and subscribe to the gainst the
Speaker 1: Chronicles for my Apple users, hit that Purple Mike when
Speaker 1: your front screens described to Against the Chronicles and leave
Speaker 1: a five star rateing in comment. And we have a
Speaker 1: very very special guest in the house and night. We
Speaker 1: have a man with thirty plus years in the music
Speaker 1: and management business and he's touched on something everybody on
Speaker 1: the West Coast He's a pivotal figure on the West Coast.
Speaker 1: Um the former co owner of Shepherd Lane Records, UM
Speaker 1: that brought us such people as DJ Quick, Sugar Free,
Speaker 1: the late Great Marsburg managed Battle Kat. Let's introduce some
Speaker 1: stand Shepard. How you doing. That's a blest, It's a
Speaker 1: pleasure to be here, young brother. Thank you for having me.
Speaker 1: We don't have to have you because this is your
Speaker 1: first interview ever. This is the first interview I've done
Speaker 1: in forty years. I have never done an interview before
Speaker 1: before a variety of reasons, and one of the main
Speaker 1: the main reason was because when I was working with
Speaker 1: Shepherd Lane and we had all the success that we had,
Speaker 1: I was threatened by kidnappings every every week. Not only
Speaker 1: was I threatened by kidnappings, we had eighteen murders, including
Speaker 1: my closest friend, events who traveled with me for many
Speaker 1: years from Compton, and I love that man, and so
Speaker 1: many people that I knew over a death row and
Speaker 1: the Shepherd Lane are now dead. And when I look back,
Speaker 1: I think of the violence that occurred all across Compton
Speaker 1: and it's sickening. And right now it's still the same
Speaker 1: thing I was told by my contacts, and Compton don't
Speaker 1: even come there now, don't even tell people to come
Speaker 1: there because there's a violent conflict going on across the city. Yes,
Speaker 1: and so I'm tapped in from Kelly Park on down
Speaker 1: the looters part. So there's nobody I don't know them.
Speaker 1: And if I don't know you as a shop caller,
Speaker 1: the people next to me know you, and I can
Speaker 1: at least talk to you. So in Los Angeles people
Speaker 1: must understand. Across the world, there's something different about Compton. Compton,
Speaker 1: as explained to me, is an entity into itself, and
Speaker 1: either even in the prison system, Compton both Blood excuse me,
Speaker 1: both powerus and crypts bond together to protect one another.
Speaker 1: And they're not gonna let outsiders get anybody from Compton.
Speaker 1: They'll go when it's in prison, they'll go back and
Speaker 1: deal with it later. But people from Compton have a
Speaker 1: way of sticking together even in the prison system. That's
Speaker 1: different from anywhere iness world. And believe me, I've been
Speaker 1: involved in a lot of situations where I can compare
Speaker 1: it to things. Stand when you say, when you said business,
Speaker 1: you mean visits with Kenny. Yes, oh man, that was
Speaker 1: my rider. Die right there now, I know. That's what
Speaker 1: I'm saying. Vince was the first. Vincent was the first
Speaker 1: person who came to me in a sit down meeting
Speaker 1: and says, stand, we need you, we want you to
Speaker 1: help with DJ Quick. Quick was in a difficult situation
Speaker 1: your Profile records at the time, and I intervened and
Speaker 1: I got Profiled to back off some of the demands
Speaker 1: that they were making for Quick because one of my
Speaker 1: strong points is I am attorney based. And when I
Speaker 1: say attorney based, yeah, there's nothing that goes on in
Speaker 1: the music industry without the attorneys doing it. So I
Speaker 1: don't care if you're a president, I don't care what
Speaker 1: you do of your company. Unless the attorneys say it's
Speaker 1: a done deal, it's not. So therefore, I'm saying that
Speaker 1: to say I know just about everything that's going on
Speaker 1: with everybody's business because I'm that connected. And when I
Speaker 1: went to work with Shephard Lane and doing what I
Speaker 1: was doing, Vincent was a person with with tone that
Speaker 1: traveled me all the time. And all of the people
Speaker 1: that death Row from rock Chisholm down to um Um
Speaker 1: which is the name of heron all these guys. I
Speaker 1: used to go there, all of the time because you
Speaker 1: know why, James, You know why because at that time
Speaker 1: Capitol Records was trying to buy death Row. Nobody knew it.
Speaker 1: So Capitol Records gave me a deal financed my label.
Speaker 1: Nor did I find out what they were doing until
Speaker 1: after the deal was over. They gave me a label
Speaker 1: deal because they knew of my connection to leave Forward
Speaker 1: and to Chill Nate. That's with me where and not
Speaker 1: when I was dealing with him. Now I was dealing
Speaker 1: directly with the chairman and the president. His name was
Speaker 1: Gary Gersh and they called me behind the scenes to
Speaker 1: take the president of Capital Records back and forth to
Speaker 1: meet Chill to negotiate the deal. That went on for
Speaker 1: about two months. We thought we had the deal done,
Speaker 1: but then Mr Bronfman from m c A, the owner
Speaker 1: of Seagram's, flew in on a late night flight and
Speaker 1: closed the deal. So I was able to see everything
Speaker 1: up close and everybody up close, and so everybody at
Speaker 1: death Row I knew very well. And because lee Ford
Speaker 1: has so much cloud, it was kind of easy to me.
Speaker 1: He introduced me Norman and eight Lee Ford introduced me
Speaker 1: to James. Mhmm. Now I managed James, so it's a
Speaker 1: situation where I just want to do whatever I can
Speaker 1: do to help, as I said before, but I also
Speaker 1: know how thirty this businesses, and I know how to
Speaker 1: clean stuff up, right because I'm attorney based exactly. And
Speaker 1: with that being said, Stan, you're the clean up man, right,
Speaker 1: which is initially why you were bought into this situation
Speaker 1: to help broken that deal between Capital and There for
Speaker 1: a record, right, Yes, they the president of Capital and
Speaker 1: the chairman of Capital could get Jimmy Ivan to the table,
Speaker 1: who was the owner of Interscope who was distributing death
Speaker 1: row at the time, but they couldn't get shipped to
Speaker 1: the table. So it was a deal that was going nowhere.
Speaker 1: So they offered us a percentage of whatever if the
Speaker 1: deal went down. They paid us some money to go
Speaker 1: back and forth. But it didn't work out. And the
Speaker 1: cold blood thing about it, let me tell you how
Speaker 1: evil it is is that now. Remember they hired me,
Speaker 1: told me all this good stuff, oh standard this, and
Speaker 1: you're that. When the deal did not go through for Capital,
Speaker 1: I went up to talk to them to say, hey,
Speaker 1: you know, I'm sorry it didn't work out. They banned
Speaker 1: me from the building. They used to do that a
Speaker 1: lot back in the days, did you hear me? They
Speaker 1: and me from the building because I had quote unquote
Speaker 1: gang connections, but the same gang connections that I had
Speaker 1: brought me to you to give me a multi whatever
Speaker 1: deal for my first label. And understand something. My label
Speaker 1: was called g Vine Entertainment and it was the first
Speaker 1: hardcore rap music label and the history of Capitol Records
Speaker 1: and it's and I did the deal with DJ Battlecat,
Speaker 1: and as soon as the deal with SUG fell through,
Speaker 1: they banned me from the building and said I was
Speaker 1: a threat because I had access to SUG. My friend
Speaker 1: was Harry Oh. For twenty seven years, I was involved
Speaker 1: with people from the streets that had clout and they said, oh,
Speaker 1: he's too dangerous to be up in here, because if
Speaker 1: anything goes wrong, there's a problem. No, the reason they
Speaker 1: didn't want me up in their James eight and norm
Speaker 1: is because I know how they run their games. I
Speaker 1: know what they do, I know how they cheat and steal.
Speaker 1: So when Stan comes in the room, uh uh, we
Speaker 1: can't run these games on this fool right now. And
Speaker 1: they don't want to see me. But guess what, I'm quiet.
Speaker 1: I'm quiet in the background, and people call me. Even
Speaker 1: from the major labels, they stand, we're dealing with so
Speaker 1: and so. We're dealing with so and so. Are they cool?
Speaker 1: This is a dirty business. It's a dirty business. And
Speaker 1: I don't trust anyone in this business because they will change.
Speaker 1: They will change on you. And in Los Angeles, if
Speaker 1: you're not connected to some pie rows or some crips
Speaker 1: or some or some bloods, you ain't got no cloud.
Speaker 1: You got nothing. And the A and R directors don't
Speaker 1: want to deal with you. First thing they asked you,
Speaker 1: who are you connected with? Who can you hook me
Speaker 1: up with? Norm? You know what I'm talking about. They
Speaker 1: do it to you all the time. Yeah, I know
Speaker 1: exactly what you're talking about. Because when I was A
Speaker 1: and R over at Mind of music, you know, when
Speaker 1: I'm signing an artist, that's when I realized. I thought
Speaker 1: I had some power, but I had a pin with
Speaker 1: no incumit. You had some situations to where you saved
Speaker 1: the well known singer's life. What happened was that I
Speaker 1: was coming from a studio recording session and I was
Speaker 1: coming down the street in Los Angeles. It's called Beverly Boulevard.
Speaker 1: There was a recording studio over there called Lions Share
Speaker 1: at that time, and it was a very popular place
Speaker 1: for recording artists. Well, I'm coming from a meeting and
Speaker 1: it was the past twelve midnight and in the middle
Speaker 1: of the road I see this man laying out and
Speaker 1: he's waving his arm. So, being paranoid like I always am,
Speaker 1: I thought it was a set up. So I stopped
Speaker 1: and I looked, and I said, man, let me go
Speaker 1: help this man. And when I got closer, I saw
Speaker 1: blood spurting out of different locations on his body, and
Speaker 1: I was actually dropped, uh dodging blood spurts. And when
Speaker 1: I got to him, I saw it was Melvin Franklin
Speaker 1: with The Temptations of Bass singer, and he had been
Speaker 1: shot multiple times. He had been robbed coming out the
Speaker 1: studio and the guy shot him twice and then the
Speaker 1: third time he shot him. The only reason he let
Speaker 1: him live is because Melvin yelled out, I'm Melvin Franklin
Speaker 1: from the Temptations, Please don't kill me. Well, the guy relented,
Speaker 1: got in Melvin's car, drove off around the corner. There
Speaker 1: was very little gas in the car, and he pulled
Speaker 1: up to the gas tank, filled the gas tank up
Speaker 1: and killed the attendant and drove off. This was a
Speaker 1: pardon me, This wasn't in the movement. No, there was
Speaker 1: something they you know, it was something nobody wanted to
Speaker 1: go into. Was very violent. And what happened at that
Speaker 1: point I took off I had. I was twenty six
Speaker 1: at the time. I was just out the military, and
Speaker 1: I knew how to stop bleeding. So I took off
Speaker 1: my shoes and tied my socks around the wounds to
Speaker 1: stop the flow of the blood, and I loaded him
Speaker 1: into my car and I took him to the hospital.
Speaker 1: And they said if he didn't get there ten minutes early,
Speaker 1: he would have bled to death. Now here's the here's
Speaker 1: the clincher to this. One and a half years later,
Speaker 1: I was hired by Motown Records to produce the Temptations.
Speaker 1: I walked into the studio. I hadn't seen Melvin since
Speaker 1: he was shot and Motown filmed it, and he turned
Speaker 1: around and he saw me, says, wait a minute, you're
Speaker 1: the person to save my life and now producing a record.
Speaker 1: And the record I produced on them was called Special
Speaker 1: and it turned out to be their album title, and
Speaker 1: it turned out to be a massive hit single for them.
Speaker 1: So I'm very proud about that. You stand you. You're
Speaker 1: a little smoothie rousing up. Well, you know what. I
Speaker 1: had a great career, James. I had a great career
Speaker 1: at Motown. I produced six top ten records and one
Speaker 1: number one record. I produced the Temptations. I produced a
Speaker 1: Need to Point and Point of Sisters. I produced Gerald Dalston,
Speaker 1: who was the lead singer to Manhattan's you Know, Kissing
Speaker 1: Kiss and Say Goodbye and Shining Star. I did all
Speaker 1: those and I worked in the A and R and
Speaker 1: music production for many years. And a side note, I
Speaker 1: had an R and B group called By All Means
Speaker 1: and I signed them. It was my first deal ever.
Speaker 1: It was in eighties seven, and I signed him to
Speaker 1: Island Records and we did a remake of the Marvin
Speaker 1: Gay song called Let's Get It On and went to
Speaker 1: number three in the country, and it solidified my career.
Speaker 1: And that's when I went to Motown. Mr Gordy and
Speaker 1: Gerald Busby offered me a beautiful deal to come there,
Speaker 1: and I stayed at Motown for five years until I
Speaker 1: joined Jermaine Jackson because the Jackson family asked me to
Speaker 1: come on and work with them, and I did that.
Speaker 1: For two years. After that, I was introduced to a
Speaker 1: young man named harry O and DJ Battlecat. Now, how
Speaker 1: do you feel about harry O? Me at home? I talked.
Speaker 1: I communicated with harry O last night via text. I'm
Speaker 1: not bothering him because he's adjusting to everything in his life.
Speaker 1: And Uh, I have talked to I called it Michael.
Speaker 1: I have talked to Michael every year for twenty seven years.
Speaker 1: I'm very emotional when I talk about that man. Okay, So,
Speaker 1: I mean he's he's my partner man. So he started
Speaker 1: he started with me with battle Cat. Understand something when
Speaker 1: I tell you this. We've never met in person, me
Speaker 1: and Harriet. It's all been since he's been incarcerated. He
Speaker 1: trusts me. I trust him, and that's where we are today.
Speaker 1: It's a bond and anything he asks of me is
Speaker 1: going to be done to the best of my ability.
Speaker 1: It's as simple as that. I love that man. They don't.
Speaker 1: They don't find too many people in this world that
Speaker 1: you can call a friend. Since I've known you, That's
Speaker 1: how I've been feeling since they won and I met
Speaker 1: you over there at the house in Beverly Hills. Uh.
Speaker 1: Just good people. Staying. Thank you, James, you go, thank you.
Speaker 1: I really appreciate that I misunderstood just because I work
Speaker 1: with gang members and just because I work with people
Speaker 1: from the streets. Don't don't tell me I can't come
Speaker 1: into your offices. Don't tell me you don't want to
Speaker 1: call me back because you man if something go wrong.
Speaker 1: Let me tell you something, all of you, all of you,
Speaker 1: and that is the most evil backstabbing people in business
Speaker 1: work at the major labels, and if you don't check them,
Speaker 1: they'll check you. I am not a person that turns
Speaker 1: to the other cheek. You slap me, I'm gonna try
Speaker 1: to slap you back, James. Let me tell you something,
Speaker 1: all of you guys, I come from seven in nine
Speaker 1: Street on the South side of Chicago, gang banging up
Speaker 1: until I was twenty six. I had twenty two fights
Speaker 1: and lost all twenty two. I became a virtual psychotic person,
Speaker 1: and any time you even look like you were going
Speaker 1: to threaten me, it brought back memories. And I'm quite
Speaker 1: sure if anybody has been gang banging for any amount
Speaker 1: of time, if anybody looks like they're gonna do something,
Speaker 1: if you've been harmed before, it's a defensive mechanism, right,
Speaker 1: and that's what it is for me. And sometimes even
Speaker 1: at my old age, right now, I still never left
Speaker 1: seventy nine Street. It's still in my soul because whatever
Speaker 1: you experience growing up, it stays with you. I was
Speaker 1: one of the first, and I want you to hear this.
Speaker 1: I one of four of the first gangster disciples on
Speaker 1: Sunday Night Street. And my history is there was I tough. No,
Speaker 1: I was a scared fifteen year old that wanted to
Speaker 1: be accepted and I was beating up daily and I
Speaker 1: got tired of getting beaten up, so I said, let
Speaker 1: me join the g DS. You get some protection. It
Speaker 1: wasn't because I was a maniact wanted to do some wrong. No,
Speaker 1: I was scared. And if anybody has been beaten up
Speaker 1: real bad, you don't want to see that again. You
Speaker 1: don't want to experience that again. And it made me
Speaker 1: a different type of person, getting my butt whip twenty
Speaker 1: two times and never winning. So when I came to
Speaker 1: Compton and I started working with Shuk, I started working
Speaker 1: with everybody involved with my label, with Shepherd Lane Man.
Speaker 1: By the time people got to me, I was looking
Speaker 1: at them with horns in their head. I said, if
Speaker 1: anybody came towards me with anything, they got trouble because
Speaker 1: I'm panic stricken. I've seen too much death in Compting,
Speaker 1: eight of my friends dead. So what you said, how
Speaker 1: would you say, you know, the transition of coming from
Speaker 1: the time when you first started in business, and you're
Speaker 1: like you said, we've all seen our our scales of
Speaker 1: violence or perhaps, but you don't venture into the rapt
Speaker 1: game and come into Compton, which you say that was
Speaker 1: a whole different story altogether. Let me say this. I've
Speaker 1: been to the Marsha projects in New York. I've been
Speaker 1: on Sevenday Night Street, I've been I drive past Old
Speaker 1: Block every day here in Chicago. I've dealt with every aspect.
Speaker 1: My son is with the role of sixties. So we
Speaker 1: got a situation where I can look back and I
Speaker 1: can see how vicious it became. Compton is totally different
Speaker 1: from Watts, Compton is totally different from South Central, and
Speaker 1: Compton doesn't usually like to associate with outsiders. It just
Speaker 1: doesn't happen. And I know if there's twenty seven hoods
Speaker 1: from through town, all down, all the way down, I
Speaker 1: know these guys. I know the South Side people, and
Speaker 1: it's totally different. These people are Compton is more meticulous.
Speaker 1: If Compton wants to hit you, there's already been a
Speaker 1: plan laid out. It ain't and these people know, they
Speaker 1: know what they're doing. I saved another man's life from
Speaker 1: New York. You know what his name is. He's never
Speaker 1: heard what I'm getting ready to say. It's gonna shock
Speaker 1: him for you. Well, no producer for Public Enemy, for
Speaker 1: the group Public Enemy, Yes, yes you are. His name
Speaker 1: is Hank Shockley. He let me tell you what happened,
Speaker 1: and I'll be bullet point you. There was a young
Speaker 1: group from Watts, young man from Watts that I was
Speaker 1: represented name Filthy Frank. I had a deal at the
Speaker 1: time for Filthy Frank with a record company who was
Speaker 1: run by a man by the name of Al Bell.
Speaker 1: He used to have this big hit record called Whooped
Speaker 1: There it is okay, it's called Bellmark Records. Well, he
Speaker 1: wanted to get into the rap game, and I took
Speaker 1: him the Filthy Frank project. Oh I love it. Stand
Speaker 1: Here's a hundred and seventy five dollar deal at that time.
Speaker 1: That's a lot of money for an unproven artist. So
Speaker 1: he says, here's uh, prepare the paperwork. I called my artists,
Speaker 1: so this is what we got. He said, oh man,
Speaker 1: that's great. So then the following day, I have a
Speaker 1: meeting at m c A with the head of A
Speaker 1: and R. Her name was Madeleine and at that time
Speaker 1: Madeleine's boss was Hank Shockly, okay, well, Madeleine heard what
Speaker 1: she said, Stan, what are you working on? And I said,
Speaker 1: I'm working on this project for from an act out
Speaker 1: of what can I hear it? I said, yeah, you
Speaker 1: can hear it? I played it for She went crazy.
Speaker 1: She said, Stan, what what deal have you signed? I said,
Speaker 1: I haven't signed anything yet. I said, I have an offer,
Speaker 1: but I haven't signed a deal. She says, I'll beat
Speaker 1: it by a hundred thousands. Whatever you've got. I said,
Speaker 1: you give me two seventy five because that's what I got.
Speaker 1: I got one seventy five. She said yes. I said, okay,
Speaker 1: I called my artist. Let's roll. He went from one
Speaker 1: seventy five to seventy five and twenty four hours, So
Speaker 1: everybody's happy, right, Okay. So now fast forward. She says
Speaker 1: she's going to get the paperwork together for two weeks
Speaker 1: past three weeks past, no paperwork. I called up. I said,
Speaker 1: what what's going on? Where's the paperwork? I don't know,
Speaker 1: I don't know what's happening. I'm checking with my boss
Speaker 1: in New York and I'm not getting a response on this.
Speaker 1: I said, whoa. Now, remember this is this is this
Speaker 1: is at the height of the East Coast West Coast drama. Okay, Well,
Speaker 1: at that time, DJ Quick, who I was managing, did
Speaker 1: a drop, and the drop for Power one O six
Speaker 1: radio station said quote, I am no longer a supporter
Speaker 1: of East Coast rap. That was the drop. Well, New
Speaker 1: York heard of that. The executives in New York said,
Speaker 1: do not deal withstand he represents gangs on the West Coast,
Speaker 1: and DJ quit Mossburg Sugar Free. He's too involved with
Speaker 1: So they never called me back. After two months, I
Speaker 1: had to tell the artist, guess what your two seventy
Speaker 1: five went down to drive? All right, fast forward, we're
Speaker 1: having and you I don't know if you guys remember
Speaker 1: this place it was. It was on nor It was
Speaker 1: norm Nixon's place with his wife. It was called George's
Speaker 1: and it was on uh it was in Hollywood. Well,
Speaker 1: at that particular night, that we went. There was nine
Speaker 1: of us and I had four saman bodyguards. None of
Speaker 1: them were under I think three and fifty pounds. And
Speaker 1: as we went into this restaurant for this joyous occasion,
Speaker 1: Hanks Shockley walks in. I said, oh, this is great.
Speaker 1: I get to talk to him in person, because I
Speaker 1: haven't caught haven't called him in two months to talk
Speaker 1: about what happened with the deal. Well, he was with
Speaker 1: two people and I walked up to him at the
Speaker 1: bar and I said, oh, Hank man, I'm so glad
Speaker 1: to see you. And as soon as I started to
Speaker 1: talk to him, he had two young men with him
Speaker 1: who came in front of him and pointed at me
Speaker 1: and said, get away. We don't want to talk to
Speaker 1: you about this s H I t tonight. Well, unfortunately
Speaker 1: they didn't know that all of our people were there,
Speaker 1: and they saw him point and get aggressive. Lo and behold,
Speaker 1: now I have eight people coming to do damage to
Speaker 1: these three people from New York. I asked them to stop,
Speaker 1: and I escorted Hank Shockly and his two men to
Speaker 1: their car and I got him out of there. What
Speaker 1: I didn't know was that they were followed when they
Speaker 1: left and I get a call about thirty minutes later,
Speaker 1: and they said, Stan, when we got to Homie pulling
Speaker 1: in to the hotel, we can get him for you
Speaker 1: right now and we'll get the other two. I panned,
Speaker 1: I said, please, I begged, and James knows the hitters
Speaker 1: that I was with in these James knows these are
Speaker 1: people that do not play. They were from Fruittown. They
Speaker 1: were from Looters and Crypts organization. I think it's called
Speaker 1: Cross Atlantic or Atlantic Drive or something. Okay, well, these
Speaker 1: were the people. These were huge men. And I begged
Speaker 1: them to let him go, and they did. And I'm
Speaker 1: gonna tell Hank Shocking right here, right now, a direct
Speaker 1: statement to you. You're very lucky man. You're very lucky man.
Speaker 1: And that's all I'll say. And I said that to say,
Speaker 1: treat everyone in this music business with respect. You don't
Speaker 1: know who they're connected to, you don't know what favors
Speaker 1: are owed. So stop thinking you're tough. The most untoughed
Speaker 1: people can have you clipped immediately. That's why I don't
Speaker 1: disrespect anyone. And I'm telling you something again. This is
Speaker 1: directed to you and and our directors. Stop lying. Two
Speaker 1: people from the streets telling them you can do this,
Speaker 1: and you'll do that when you know you're lying. And
Speaker 1: then and you want to know why people are running
Speaker 1: up in your offices and catching you and beating the
Speaker 1: dog crap out of you when they do see you,
Speaker 1: because your liars, your liars. Everyone up here has been
Speaker 1: that's on this call has been lied to in this business.
Speaker 1: I know eights men lied to. Definitely. I don't even
Speaker 1: I don't even know the interestinges of your career, and
Speaker 1: I know you've been lied to. It's just when you
Speaker 1: get successful, the sharks come out and they're hungry. But
Speaker 1: see I'm a barracuda and I know how to fight
Speaker 1: a shark and they know that. So just to understand something,
Speaker 1: I'm speaking to the independent artist. Know what you're doing now,
Speaker 1: how are you doing it? And who are you missing with?
Speaker 1: Because your money will go out there window promoting whatever
Speaker 1: you're doing. We call it having a hit and going broke.
Speaker 1: It's just it's just a different world. And when I
Speaker 1: say we, I'm talking about music executives. We don't care
Speaker 1: about you. Did you hear me? You? As rap artists
Speaker 1: are interchangeable parts. You're gonna come You're gonna go. And
Speaker 1: these executives hate you, and you know why because you
Speaker 1: make more money than them and they have to promote you.
Speaker 1: I'm telling you, I work on the inside, you see
Speaker 1: the outside. I know when your record is being laid.
Speaker 1: I know when you're being ripped off. I know when
Speaker 1: it's legitimate what they're doing for you. So please understand something.
Speaker 1: Don't ever think as an artist you have any clout.
Speaker 1: You have none. They will do something wrong and they'll
Speaker 1: do what they did did g J. Quick? You know
Speaker 1: what they did to quit? You know what suspension is?
Speaker 1: A you know what suspension is. I'll tell you. I'll
Speaker 1: tell you what suspension is. What they did did J. Quick?
Speaker 1: They said, we're not gonna pay you, We're not gonna
Speaker 1: promote you until you give us what we want. And
Speaker 1: guess what suspension does when they put you on suspension.
Speaker 1: If they put you on suspension on January and they
Speaker 1: put and they keep you in suspension, you don't get
Speaker 1: out of that suspension until you give them what they want,
Speaker 1: and then your contract starts. Over the time that we're
Speaker 1: on suspension is not lifted. Now you go back to
Speaker 1: the start when I came into Quick's life, he was unsuspension.
Speaker 1: I had to work for six months convincing people I
Speaker 1: wasn't Shug Night's cousin because when I called up there
Speaker 1: and we ain't talking to you, stay and we know
Speaker 1: you should Knights cousin. I went through six months of
Speaker 1: this and this is when he was on a Profiles right. Yes,
Speaker 1: I had to. I had to negotiate a deal for
Speaker 1: DJ Quick where he would do ten songs and give
Speaker 1: Profile ten songs and then they would let him out
Speaker 1: the contract when he did the ten songs. The first
Speaker 1: of thee was for Shock I was thinking was called
Speaker 1: straight Plan. Then Profile was able to sell their company,
Speaker 1: but they couldn't sell their company until DJ Quick gave
Speaker 1: them the album. So when Quick gave him the album,
Speaker 1: they stole their company to Arista, Arista, Arista, whatever you
Speaker 1: want to Davis. Clive Davis calls me, stand, I need
Speaker 1: to have a sit down. He flew out with his
Speaker 1: head of an R. He said, we're gonna buy Profile.
Speaker 1: Is DJ Quick or easy person to work with because
Speaker 1: we want to do a documentary blah blah blah. I said,
Speaker 1: he's a genius and he's a great person. I said,
Speaker 1: so forget what you think you heard they did the
Speaker 1: deal with us and I brought second to none over
Speaker 1: to Aristom. That worked perfectly until the war started between
Speaker 1: Puffy and everybody. And it got even deeper because the
Speaker 1: night Biggie was killed coming we were coming from the
Speaker 1: Vibe party in Los Angeles, and guess who was standing
Speaker 1: next to Biggie when we were waiting for our cars
Speaker 1: coming out the event, DJ Quick and I Biggie standing
Speaker 1: next to Quick. I'm next to Quick on the other side,
Speaker 1: Biggie and Quick not at each other, respectfully. He pulled
Speaker 1: off and then the rest happened. After that, myself and
Speaker 1: DJ Quick we're called into the l A. Sheriff's Department
Speaker 1: and they old me point blank, stand, I know you
Speaker 1: and your Shepherd land Crew and DJ Quick we're involved
Speaker 1: in this murder some way, shape or form, and we're
Speaker 1: gonna hound you until we get the facts. Obviously, DJ
Speaker 1: Quick didn't do anything. It's just a whole mess. So
Speaker 1: understand when I'm talking to you about issues back then,
Speaker 1: it's a whole different situation that it is now. Everybody
Speaker 1: on this panel knows that it was total violence. Crips
Speaker 1: weren't taking it for par Rouse and pirous weren't taking
Speaker 1: it for crips. Yeah, and and that was a very
Speaker 1: volatile time right there, like you said, and um, everybody
Speaker 1: in the streets knew what was going on, so we
Speaker 1: don't have to even you know, go into that. But
Speaker 1: they were looking to blame anyone if they can't except
Speaker 1: the person that did it, because there was a lot
Speaker 1: of stuff going on during that time. Well, if you remember,
Speaker 1: Quick had a beef with eight, then he had beefs
Speaker 1: with other people. Eight people weren't playing, the people on
Speaker 1: Quickside weren't playing, So you got a volatile situation, man,
Speaker 1: that anything could have happened. And I remember there was
Speaker 1: another large faction out of l A that was after Quick,
Speaker 1: So there was nothing but drama. I would get a
Speaker 1: call every night, man, somebody has arrested, somebody got beat,
Speaker 1: somebody got killed. I got to the point where I
Speaker 1: didn't want to look at my phone because it's that bad, exactly.
Speaker 1: And you understanding, I want to ask you about that
Speaker 1: now that we're don Quick all on quicken those guys,
Speaker 1: that ship of Lane crew, I want to ask you
Speaker 1: what a few stre at first, we're going to one
Speaker 1: sugar Free. How did you in Tone find him. Tone
Speaker 1: Tone had his relationship with sugar Free, and he said, man,
Speaker 1: we got something especial. So now remember you must follow
Speaker 1: me when I say this. When I came into the
Speaker 1: rap game, I knew nothing about rap. I just knew
Speaker 1: what I liked, but I didn't know what was good, bad,
Speaker 1: whatever the case may be. Okay, so now here comes
Speaker 1: sugar Free. Tone played me sugar Free. I said, Wow,
Speaker 1: he's going against the flow of the pocket of the song.
Speaker 1: I said, it's and it's comical, it's it's funny. He said,
Speaker 1: that's what's gonna be different. I said, okay, Well, it's
Speaker 1: my job at that point to convince the industry that
Speaker 1: this is something different than what you're used to hearing
Speaker 1: on West Coast rap. Well, guess what. This is a
Speaker 1: more behind the scenes information. I was managing a young
Speaker 1: man by the name of Damian Young. He was the
Speaker 1: program director of Power one oh six and guess what,
Speaker 1: he was also the program directive High Nineties in New York.
Speaker 1: But I didn't want anybody to know that we were
Speaker 1: working together because it's a situation where hold off for
Speaker 1: one second. It's a situation where, um, it's just when
Speaker 1: you go to a radio station and you play something different.
Speaker 1: I was like wow. I went to Power and Damien.
Speaker 1: I took the Damien. He said, Stan, I can't play this. Man,
Speaker 1: you're asking me to play some stuff that's going against
Speaker 1: the grain. I said, man, this is some new stuff.
Speaker 1: Damn you no, bro, I can't play it. I said,
Speaker 1: all right, you're gonna be mistaken. I'm gonna break this record.
Speaker 1: So there was another station at the time called three
Speaker 1: to Be. I went over there, and the program directed
Speaker 1: at the time his name was Ta Walla Sharp and
Speaker 1: sugar Free should always think to Walla Sharp, because when
Speaker 1: I played to Walla Sharp the sugar Free record, it
Speaker 1: was called if you stay ready, you don't have to
Speaker 1: get ready. He heard it up to the first hook
Speaker 1: and he said, stand you gotta smash, and you gotta
Speaker 1: smash artist. Let me break it for you. I said,
Speaker 1: be my guests, my young brother, do what you gotta do.
Speaker 1: He broke it in l A and then I broke
Speaker 1: it all over the West Coast with my connections with
Speaker 1: my people. The rest was history. That's how we broke
Speaker 1: sugar Free, and everybody wanted to sugar Free on their project,
Speaker 1: and then nobody want to embrace him. When he first
Speaker 1: started saying that to say, you don't know what's gonna happen.
Speaker 1: In music, you have no idea, and what we say
Speaker 1: until it crosses the counter. In sales, you're just guessing,
Speaker 1: simple as that exactly. I want to go back to
Speaker 1: one of my personal friends. Man, he always gonna be
Speaker 1: Big John to me. Mass Burg lit Great mars Burg.
Speaker 1: Who um that young man was brought to me by
Speaker 1: Lee Forward. He says, stay in kind of emotion about
Speaker 1: this too. He said, stand as a young man named
Speaker 1: Big John, and he said you gotta hear him. I
Speaker 1: took it to tone. He said, oh man, this is
Speaker 1: he Okay fast Forward. I called quit. I said, quick,
Speaker 1: my bring something to you. And I think it's gonna
Speaker 1: be complete fire. And I think he's gonna want to
Speaker 1: be involved with this long story short. I went over
Speaker 1: there quick, hurt. He says, oh my god, let's go.
Speaker 1: He started working with Marsburg. Immediately. This continued, and then
Speaker 1: Massburg was so was blowing up so well. R Kelly called,
Speaker 1: he wanted to do something at that time. We let
Speaker 1: him do a cut with him, snoop, and the list
Speaker 1: goes on. I was in the student with him and Quick.
Speaker 1: Uh we worked on something at one point. So yeah,
Speaker 1: Mark was around. He definitely was getting around. Uh, he was.
Speaker 1: He was plussed. He was a huge individual and you
Speaker 1: know he was parrou and just one of the just
Speaker 1: one of the greatest guys I've ever met. And you
Speaker 1: gotta understand some Let let's explain something. Tell me if
Speaker 1: this is wrong, because I need some input on this.
Speaker 1: When I first started working with artists, the two producers,
Speaker 1: there was only three producers who were super producers as
Speaker 1: a dre Quick and battle Cat. Well, I managed Quick
Speaker 1: and battle Cat. So therefore when I came on, I
Speaker 1: demand because Quick and battle Cat take weeks to do
Speaker 1: a particular record. It could be one single, it could
Speaker 1: be one single, and Quick and battle Cat we're not
Speaker 1: charging their friends who were trying to get music from
Speaker 1: And when I came on board, I said, oh my god,
Speaker 1: you guys are wasting three of your year round income
Speaker 1: doing stuff for people who are never going to return
Speaker 1: you any money. They're only promise to Quick and Battlecat.
Speaker 1: Was that quote, When we get a major label deal,
Speaker 1: we'll hook you up. That's great too, But at the
Speaker 1: same time, my focus is making sure that they're straight.
Speaker 1: So what I did, I said, anybody, I set a standard.
Speaker 1: Anybody who wanted production from DJ Quick on my label,
Speaker 1: they had to share publishing for the first record. After
Speaker 1: that they got all their publishing because now I gotta
Speaker 1: take both of my platinum producers off the market for
Speaker 1: three months and they can't make no money. So what
Speaker 1: we did we offered any artist that was signed to us,
Speaker 1: you gotta split on the first We're gonna establish your career,
Speaker 1: not even charge you for that. And as you will know,
Speaker 1: a anybody that is to recording artists norm you notice
Speaker 1: everybody knows this. They'll charge you for anything and everything.
Speaker 1: Definitely anything and everything I got charged for. I got
Speaker 1: charged for conversations. Did you get let me ask you something.
Speaker 1: Did you get thirty seven dollars and fifty cents bills
Speaker 1: from your attorney? Because I got three pages of thirty
Speaker 1: seven dollars and fifty cent bills? And guess what those are?
Speaker 1: Four calls that were made on your behalf that weren't answered. Yeah,
Speaker 1: it's still thirty seven fifty. I had a fifteen thousand
Speaker 1: dollar phone bill thirty seven fifties. I said, well, what
Speaker 1: did you do? No? Well we try, Oh the stamps.
Speaker 1: They charge you for meiling. They charge you for everything. Man,
Speaker 1: I got charged back for everything and being a young
Speaker 1: artist not really knowing this ship. Because not to say
Speaker 1: all attorneys are bad, but you know, you have them
Speaker 1: opportunities where if you don't know too much, then record
Speaker 1: labels ain't gonna give you a lot. So they know ship.
Speaker 1: I didn't know. They were charging me back for every
Speaker 1: fucking thing, like they fucking sat on the phone with
Speaker 1: my attorney for an hour and discussed paperwork. I got
Speaker 1: charged a thousand dollars for that ship. I didn't even
Speaker 1: know that ship. You got right, everything, any and every
Speaker 1: and any little thing they fly, you feed, you, give
Speaker 1: you some lunch at the fucking record label. They're charging
Speaker 1: you for that ship. Like everything they go, you go
Speaker 1: out for. You go out to dinner and you're thinking, like, yah,
Speaker 1: they're treating your ass. Oh dinner and motherfuckers was eating
Speaker 1: that Mr Childs And it's a man. They ste you
Speaker 1: got a three thousand dollar bill they're charging you for
Speaker 1: they take they it all back to you. Let alone.
Speaker 1: You ain't getting no motherfucking royalties to begin with, because
Speaker 1: record labels weren't giving up Ship. And that's what I
Speaker 1: always always confused me, is like, goddamn, I'm producing the song,
Speaker 1: I'm writing the song, I'm fucking the artist, but y'all
Speaker 1: only giving me fucking a couple of cents and y'all
Speaker 1: taking your money just for putting my ship in the
Speaker 1: record stores. And Ship is crazy, it's an amazing thing.
Speaker 1: And I'll just share another story with you. Norman and James.
Speaker 1: You gotta hear this one. Their battle Cat to the
Speaker 1: platinum album on the east Side. Mm hmm. Nobody got
Speaker 1: their money properly. Guess why a TV T man they
Speaker 1: weren't fucking wouldn't know. I said, now, wait a minute,
Speaker 1: check this out. James, check this out, you guys. Battle
Speaker 1: Cat calls me. He said, stand man, we got to
Speaker 1: uh the East Side has blown up everywhere. Man ain't
Speaker 1: sent and it's our money. I said, okay, man, He said,
Speaker 1: can you help me with this situation? I said, let
Speaker 1: me look into it. It. Just remember I tell you
Speaker 1: I'm attorney based. So I called. I called the attorney.
Speaker 1: I called the attorney and that represented t VT and
Speaker 1: he said, stand you're my buddy. I know there's a
Speaker 1: lot of money. Old you guys, you're not getting a penny,
Speaker 1: so stop calling me. I'm doing you a favor. Ain't
Speaker 1: nothing going down, bro. We're filing for bankruptcy. So if
Speaker 1: you want to make some money from your clients, now
Speaker 1: listen to this. If you want to make some money
Speaker 1: from your clients, I work with you. I'll say. You
Speaker 1: trying to get the money, but ain't nothing coming. So
Speaker 1: if you want to make a couple of thousand doing
Speaker 1: what you're doing, this, that's cool. I looked at the phone.
Speaker 1: I said, Oh, the evilness is your spreading everywhere. Nobody
Speaker 1: you can trust anywhere, I said. I called Battlecat. I said, man,
Speaker 1: you know what that hundred thousand whatever you think you're getting,
Speaker 1: it ain't coming, bro, It ain't coming, so don't look
Speaker 1: for it. You know how many calls I've had to
Speaker 1: make like that, the artists to think they have a
Speaker 1: royalty check coming, and then when they get the paperwork,
Speaker 1: like you said, they say ship, excuse me, oh stop,
Speaker 1: what is this? And they never recovered. Then what happens
Speaker 1: is the label knows you're in debt, they offer you
Speaker 1: another contract exactly. That's it right there. You become what's
Speaker 1: known as an advanced baby, Um, I'll tell you. And
Speaker 1: the publishing side of the business is the most valuable side.
Speaker 1: And I've seen guys turn over the stuff in perpetuity
Speaker 1: for twenty five dollars for thirty thousand dollars because it's
Speaker 1: usually all in cash. And another trick that they do
Speaker 1: too is I saw my publishing company do this. They
Speaker 1: have put the check on the third or fourth page
Speaker 1: of the contract, you know, with a paper clip in there,
Speaker 1: so you know. You get a young dude and in
Speaker 1: his nineteen twenty years so he's looking at it. He
Speaker 1: see that check for twenty five thousand dollars. Oh, man,
Speaker 1: we ain't gotta go through all this, I trust y'all.
Speaker 1: He signed the ship because he wants that check now,
Speaker 1: John round six months later, after you don't want to
Speaker 1: bought a car, you don't bought some clothes and change,
Speaker 1: that money is gone. How about the motherfucker just steal
Speaker 1: your publishers straight up. My first contract when I first started,
Speaker 1: I signed a contract with unknown with Techno Hop Records, okay,
Speaker 1: and our first deal was stu Orpheus Capital Okay. Charles
Speaker 1: Huggins had a label called Orpheis. They had a distribution
Speaker 1: deal with capital. Okay, me as a young motherfucker coming
Speaker 1: from the hoods and content, I just wanted to wrap
Speaker 1: I ain't no ship about contracts and publishing another that
Speaker 1: so unknown knowing signed the motherfucker to you, then you
Speaker 1: go get the deal with the label. So that's what
Speaker 1: we basically did. I signed a deal with a knowns
Speaker 1: company called Big Beat Records. Okay, we'll be be Productions.
Speaker 1: That's what happened. That's where Mike Karen came from. Okay,
Speaker 1: And what he did is after I signed the recording contract,
Speaker 1: he stapled a publishing contract on the back of it
Speaker 1: and added it as an exhibit. Oh look, he just
Speaker 1: us who we talked about up, took my PI. Yeah
Speaker 1: I know, No, I ain't no ship. So all the records,
Speaker 1: my first CMW records, all that ship, it never had
Speaker 1: my names on it because it was his publishing company,
Speaker 1: because he just and not until I met John Smith,
Speaker 1: which was I able to go back because he had
Speaker 1: got an eighty thousand dollar publican deal through m c
Speaker 1: A and the Nigga gave me twenty five hundred dollars.
Speaker 1: I wrote everything, I've written, every fucking song I've ever done.
Speaker 1: I've never had a ghost writer or never. I've always
Speaker 1: written all my music, but for the first three albums
Speaker 1: of my career, I received no publishing because he took
Speaker 1: it off, just just took it. My goodness. I went
Speaker 1: through Dude Something from gang Banging and thought that rap
Speaker 1: was my way out of the hood. You get me,
Speaker 1: so don't. I didn't know ship. I just wanted to rap.
Speaker 1: You get me, fucking rapp is gonna take me from here.
Speaker 1: I was seventeen years old, and the motherfucker knew that.
Speaker 1: So he just took my ship like fuck it. So
Speaker 1: that's the nature of the beasts of motherfucker's like that
Speaker 1: that you had to deal with. And I didn't learn
Speaker 1: to three albums later that I was supposed to be
Speaker 1: getting paid for all the songs that I had broken.
Speaker 1: It's it's it's amazing. James, you've never been on the
Speaker 1: artist side of things, but I know you've been around
Speaker 1: because every everything that you've been around, the Norm, your history.
Speaker 1: Norm has a deep history in everything. But I shared
Speaker 1: something with Norm the other day that I have to
Speaker 1: share with you eight and James about what eight just said.
Speaker 1: Let me tell you how they get you. Just say, James,
Speaker 1: signs of contract for three hundred thousand as an artist, right, Okay,
Speaker 1: they generate they being let's just say it's universe. They
Speaker 1: generate the contract to the management of the artist. Right.
Speaker 1: The artist usually has only had one meeting, if anything,
Speaker 1: with the label to say hello, how you doing? And
Speaker 1: then they're ushered out because the manager and the attorneys
Speaker 1: don't want you involved as the artist. Okay, So now
Speaker 1: here we go. Here comes the contract, which is about
Speaker 1: fifty to six pages, all right, usually okay, so now
Speaker 1: they give you three contracts. Now you've got designed multiple
Speaker 1: signatures right a beginning artists, and they they just signed it.
Speaker 1: They signed it. So what what the record company does?
Speaker 1: They send you a legitimate contract, right, But when it
Speaker 1: gets to the manager and the attorney, if those two
Speaker 1: are in cahoots what I've seen done numerous times. Please listen,
Speaker 1: they take the contract from the major label, they photo
Speaker 1: copy the top, and they put carbon copies of papers
Speaker 1: to blank out the details of the original contract. So
Speaker 1: now you only have a heading of a contract. And
Speaker 1: now they feel lend what they want? Do you feel me? Okay?
Speaker 1: So now your manager and the attorney that's working with
Speaker 1: the manager tells you, the artist, you've got two hundred
Speaker 1: thousand coming, when in essence you had three hundred. So
Speaker 1: what happens now you're signing? They got the original contract,
Speaker 1: that's the good contract from Universal, but it's buried in
Speaker 1: the signing. So now the artist signs everything. They turned
Speaker 1: in the original contract to the record company, they send
Speaker 1: out the three hundred thousand, but the management and the
Speaker 1: lawyer only send you two hundred. So everybody made a
Speaker 1: hundred thousand off of you, and you didn't even know
Speaker 1: what you had. And tell me an artist that knows
Speaker 1: who's in his contract, I'll wait and up until um,
Speaker 1: I think it was five years ago. That's why I
Speaker 1: started becoming commonplace for the law that the artists had
Speaker 1: and the artist everybody's contract had to be the same.
Speaker 1: If you went back and there the audit and if
Speaker 1: it was anything else, if it was anything like weird
Speaker 1: in that contract, that wasn't the same thing. As the
Speaker 1: artists said, the contract is automatically avoided, and he was
Speaker 1: free to go. And you're pretty much gonna open yourself
Speaker 1: up to a lawsuit. Um. And you know, going back
Speaker 1: to the music business stand, you know you were into
Speaker 1: the time with black it's a lot better right now
Speaker 1: because a lot of more information is out there. But
Speaker 1: you were in a time man, and where a lot
Speaker 1: of black artists was really getting screwed over lord have hey, hey,
Speaker 1: let me ask this why as nobody got hurt behind
Speaker 1: this ship, you're working with my money? Uh? They know
Speaker 1: they crooks? Man. That That's when I glad I ain't.
Speaker 1: That's that's when they started. That's when they started banning
Speaker 1: us from the labels. That's when they started putting security
Speaker 1: in the in the lobbies and telling you, like staying,
Speaker 1: you can't come up here no more. And because they
Speaker 1: started knowing when motherfuckers started coming up in their breaking
Speaker 1: their motherfuck's ship, kicking indoors and threatening the A and
Speaker 1: rs and people like that, that's when they started banning
Speaker 1: people like us from getting into the lobbies and ship
Speaker 1: because they started fearing. Because we started wising up, we
Speaker 1: started being able to understand what contracts and splits and
Speaker 1: publishing was and how much royalties we were getting, and
Speaker 1: basically it was getting fucked. We're giving you all this
Speaker 1: material and all this money, you're taking it out selling
Speaker 1: it for ten dollars and fifty nine cents, making ten
Speaker 1: twent thirty million, and then you're telling me I'm still
Speaker 1: in the fucking red. The ship was unbelievable. So that's
Speaker 1: when they started going, Okay, I need to hire off
Speaker 1: duty cops and put them in my life because I
Speaker 1: know when eating them walk up in here, it's gonna
Speaker 1: be a gang of mess because he just sold two
Speaker 1: million records. Million just hit the table. But we've been
Speaker 1: to tell him he's still in the red for fucking
Speaker 1: a hundred and something thousand or three hundred thousand, so
Speaker 1: you ain't getting a roarty check. But I'll tell you
Speaker 1: another thing too, this funked up about that, James, Like,
Speaker 1: I'm gonna tell you how the record business go right.
Speaker 1: Usually when you break it down the laymish terms and
Speaker 1: artists only getting a dollar a record, right, what is
Speaker 1: it stands sixty five cents to a dollar record or
Speaker 1: some ship like that? Right that I was getting a
Speaker 1: sixties something cent. I probably was giving about fifty some
Speaker 1: sense a record. Let me try to get this off
Speaker 1: real quick. Go ahead, they are taking all when you
Speaker 1: recoup your money, James, Let's say they gave eight a
Speaker 1: hundred seventy five thousand, and you figured they're getting anywhere
Speaker 1: from six fifty to eight dollars a recording in at
Speaker 1: that time, right, because we've got fiftical releases, you got
Speaker 1: the final thet tapes and the CDs and ship right.
Speaker 1: What it happened is, hey, it is getting recouped off
Speaker 1: this little fifty cents. They're making that extra six dollars,
Speaker 1: six fifty cents that don't come for eight. No, you
Speaker 1: ain't accumulated enough money yet because he's recouping off the
Speaker 1: fifty cents that he's getting the record. I'm not recouping
Speaker 1: off the whole record. I'm only recouping off of those
Speaker 1: fucking eight nine points they're giving me point worth seven cents.
Speaker 1: So if I'm only getting seven seven points a record,
Speaker 1: I'm only making forty nine fucking cents a record. Because
Speaker 1: you gotta remember again, one point was seven cents, So
Speaker 1: fucking if they're giving me eight nine points a record,
Speaker 1: that's my sins. Okay. So I'm getting fifty cents a record,
Speaker 1: so they charging me that. So when they fucking give
Speaker 1: me that budget of one seventy five, I gotta pay
Speaker 1: that back out of that fifty cents I'm getting. Okay,
Speaker 1: when they don't spend three hundred thousand on my two videos.
Speaker 1: I gotta pay that back out of my fifty cents,
Speaker 1: not out of the ten dollars that record them sold for.
Speaker 1: I gotta pay all that back out of my fucking
Speaker 1: fifty cents. Okay. I wrote the record, I produced the record,
Speaker 1: I wrapped the record. But because there label, they get
Speaker 1: their own almost nine of my record, they get the
Speaker 1: owner unless you com me in like smart motherfucker's and
Speaker 1: was like funk that I'm oning my masters. You get
Speaker 1: me keep your bread up front or give me fifty
Speaker 1: thousand and I'll make sure whatever, whatever. But the key
Speaker 1: was the on your masters. But if you if you
Speaker 1: was just the starving nigga, like I said, James, we
Speaker 1: come from content seventies and eighties babies, you get me.
Speaker 1: So life in the hood wasn't that lucrative for motherfucker's
Speaker 1: for a nigga like me who wasn't good in the
Speaker 1: dope game, a little nigga selling crack or whatever. When
Speaker 1: I wasn't the nigga, you get me. I don't five
Speaker 1: six niggas on the block trying to hustle to the
Speaker 1: same car. My way of Okay, rat was cracking Todd
Speaker 1: t and then was cracking one DMC easy. Everybody was cracking.
Speaker 1: So that's my way. I got tales of the Hood,
Speaker 1: you give me, But I'm an uneducated nigga. When they
Speaker 1: come to motherfucking music, you get me. I know, an
Speaker 1: uneducated motherfucker. When it comes to the business of contracts
Speaker 1: and all that I've been banging for the last four
Speaker 1: or five years, I don't know nothing about it. All
Speaker 1: I know is I could talk about the streets of Compton,
Speaker 1: and these motherfucker's want to sell it because from here
Speaker 1: to Tim Buck, two niggas want to hear about the
Speaker 1: niggas in the khaki suits and the fucking raiders hats
Speaker 1: and rags and ship. So that's when the executive come
Speaker 1: in and go, it's motherfucker, don't know nothing here, motherfucking
Speaker 1: here going he goes studio time, Here go a chain,
Speaker 1: he go, A little money for your pocket, and I
Speaker 1: spit all in tales about the Hood. We're gonna go
Speaker 1: sell that ship for in dollars, okay, but you're not
Speaker 1: knowing only giving you fifty cent a record. All that
Speaker 1: work you just put in, we're only giving you fifty cents. Okay,
Speaker 1: so motherfucker self two million records, made million, but they're
Speaker 1: gonna go. Motherfucker. We sent you on tour, We sent
Speaker 1: you on promo tour, We bought you lunch, we shot
Speaker 1: two videos, we put posters up and down Hollywood Boulevard.
Speaker 1: Motherfucker you was on Yo NTV wraps or this or that,
Speaker 1: blah blah blah. We're charging you back for all that
Speaker 1: ship out of your fifties dads, who ain't you just
Speaker 1: he just laid it out what goes on every day.
Speaker 1: And I hope every young artist just listened to every
Speaker 1: word that you just said, because it is absolutely the
Speaker 1: gospel in this music business. You are charged if you
Speaker 1: pass gas in their office, they will get you on
Speaker 1: anything and everything and then you will clean and if
Speaker 1: you pass gas, thank you, thank you. So it's a
Speaker 1: situation where please you young artists, please understanding. And James,
Speaker 1: like you said, how come nobody has been hurt. Oh
Speaker 1: there's been kidnappings, there's been ass whoopings, it just ain't
Speaker 1: them publicized to the normal people. That's why A and
Speaker 1: our directors who were getting whipped up on the West coast,
Speaker 1: they were doing that in New York. But they were
Speaker 1: tapping your ass on that West coast, and so he part, me, know,
Speaker 1: it's amazing, that's great. I didn't start kidding. They need
Speaker 1: they need some rooms, some shorts out there, make them
Speaker 1: stop the ship, because that's that's yeah, that's what they did.
Speaker 1: So what happened was the A and R directors got
Speaker 1: panicked because you must understand, most of the A and
Speaker 1: R directors that make the decisions are white guys, so
Speaker 1: they don't they don't they don't know how to move
Speaker 1: like that. So they do one or two things. Norm
Speaker 1: they hire somebody from the street that's got connections, and
Speaker 1: then they lay up under them and feel that they're protected,
Speaker 1: but they don't know. They don't know that these dudes
Speaker 1: ain't gonna protect them from other people. They're gonna step
Speaker 1: back when some other people come and let that dog
Speaker 1: crap be beat out of them. And staying you've been
Speaker 1: you've been dealing with the music business from back in
Speaker 1: the Motown days, from back in the early There is
Speaker 1: no really difference or difference in what labels have always
Speaker 1: done them or especially after this black artist. They have
Speaker 1: been doing this since the beginning time. As far as
Speaker 1: music and taking control of people's music and paying them
Speaker 1: pennies on the dollar they hard earned work. So it's
Speaker 1: basically it hasn't changed one bit. I mean, it's just
Speaker 1: like we say with politics sometimes, you know, we get
Speaker 1: the change of the president's every four years or every
Speaker 1: eight years or whatever, and people hoping, hope and hope.
Speaker 1: But just like with the music business, nothing has really changed,
Speaker 1: and nothing has really changed for us artists. That's why
Speaker 1: you got to learn how to take control of your
Speaker 1: own destiny with the music business, to feel me, that's
Speaker 1: why you got you got a lot of independency going
Speaker 1: on now, and dudes, just hey, I'm just I'm I'm
Speaker 1: gonna put my own record out and I'm just roll
Speaker 1: of dice there because if I'm gonna get fucked but
Speaker 1: for millions that I might as well roll a dice
Speaker 1: myself and and and take the chance on myself. And
Speaker 1: that's the truth I would at this particular point in music, Yeah,
Speaker 1: the only way that majors are gonna make money is
Speaker 1: through black music. Now. Saying that to say, could you
Speaker 1: imagine I talked about this with Norm the other day.
Speaker 1: Could you imagine if Puffy jay Z all the multi
Speaker 1: millionaire rappers that own these companies. If they said, guess what,
Speaker 1: We're gonna start our own distribution system. We're gonna promote
Speaker 1: our own stuff and we don't need the majors. What
Speaker 1: do you think the majors would do? I'll tell you
Speaker 1: what they do. They cry and they've moaned, and they said,
Speaker 1: what do y'all want? Don't leave? Don't leave. But these
Speaker 1: executives like that shoe of money. They like that show
Speaker 1: of money that's coming in. But they don't understand some things.
Speaker 1: They have no power. Tell me something. They tell me something,
Speaker 1: James Norm tell me a black man that you know
Speaker 1: at a major company can sign the check. There is none.
Speaker 1: They send out requests for checks and it has to
Speaker 1: be signed by the upper alan. And who does it
Speaker 1: go to first? My friends? The attorneys mm hmm. So
Speaker 1: now you gotta kiss their asses. Now you've gotta kiss
Speaker 1: the secretary's asses, because guess what. The attorneys don't type
Speaker 1: up the documents those secretaries do. Now you're waiting for
Speaker 1: your money. I've been in the office as Grace said,
Speaker 1: fuck that mother, blah blah blah, he making all this money.
Speaker 1: Hold up the check for three weeks. You calling as
Speaker 1: an artist, where is my money? Where's my And they're
Speaker 1: back there, we're working on it. We're working on it,
Speaker 1: and they're throwing you the finger. We'll get back with you.
Speaker 1: We're working on it. And then they hang up the phone. Bad.
Speaker 1: Put that ship on the bottom of the pie. That's
Speaker 1: how it works. And if you think a lot of
Speaker 1: these rappers are getting signed because they're good, they ain't
Speaker 1: getting signed because they're good. They're getting signed because he's
Speaker 1: here and our directors needs to protection and they don't
Speaker 1: want to ask whoop. And all they do is huddle
Speaker 1: with these people from the street. Tell me what I
Speaker 1: should do, Tell me what I should do? Where where
Speaker 1: is the power of Atlantic Records? Aren't they the biggest
Speaker 1: in wrap? Tell me who black over there is calling shots?
Speaker 1: Oh wait, there's nothing And you would think that, um,
Speaker 1: how about how about Universal? How about Sony? Tell me
Speaker 1: who's stigning and checks this black? No? Wait, nobody. In
Speaker 1: the sad part of Buttery was a lot of those
Speaker 1: ass whoopers. That's usually giving out is given to the
Speaker 1: person that don't have no control over nothing, thank you.
Speaker 1: They just person at the time, the guy that is
Speaker 1: actually doing all the stealing if the guy that you've
Speaker 1: never met, you know, when you went Platinum, the one
Speaker 1: motherfucker to the show up just to take a picture
Speaker 1: with your ass and didn't get on, you've never seen
Speaker 1: him again? Yeah, I probably met him probably in my
Speaker 1: whole time being over at thrown me in the epic,
Speaker 1: I probably met him once. That's what I'm saying. And
Speaker 1: I'll tell you another thing. I'm sorry, man, it's just
Speaker 1: I don't mean to laugh. But it's just like AH said,
Speaker 1: jan Hey, ship ain't changed since when I got into
Speaker 1: the business. On the on the work side, the executive side,
Speaker 1: I represented the Jackson's, I represented Jermaine. Me and Jermaine
Speaker 1: were co presidents of Jackson Communications. So I sit in
Speaker 1: the room. Who's bigger than Michael Jackson at that time?
Speaker 1: Who is bigger than the Jackson's? Nobody? And I'm just
Speaker 1: saying that. It's not a pad on it. It's like
Speaker 1: I've been I've been through it all, and I know
Speaker 1: when you're lying to me. I know when you're bullshit.
Speaker 1: And if I don't know, I'm gonna pick up the fall.
Speaker 1: I'm gonna call people who do know, and I'm gonna
Speaker 1: get back to you and say please miss me because
Speaker 1: I don't want to deal with you. You know, it's
Speaker 1: crazy though staying a lot of people don't believe me
Speaker 1: when I tell him this. But I've seen stuff firsthand,
Speaker 1: because you know, I should go over to London like
Speaker 1: maybe two or three times a month because the company
Speaker 1: of working floor was over there. And you will wonder
Speaker 1: how these people are conditioned to be so evil. I've
Speaker 1: seen the people always working for hold the guy's check up,
Speaker 1: knowing and check the money was physically there. The guys
Speaker 1: about to lose his house because when you sign a
Speaker 1: publishing deal, they don't matter when asked calf be in
Speaker 1: my releases the money to them. They're gonna sending it
Speaker 1: to you when they want me. They gonna make some
Speaker 1: entries off of it. The guy was about to lose
Speaker 1: his house and either he had to check coming from
Speaker 1: maybe forty dollars and he was behind Tim Graham in
Speaker 1: his house so he needed the money. They wouldn't send
Speaker 1: the guy's money, or he wind up killing himself, and
Speaker 1: the people just said, oh, that's too bad. You know,
Speaker 1: that's too bad. His family's on the streets of the
Speaker 1: man can taken them, you know. Murder itself. But a
Speaker 1: lot of these people are involved very much in the
Speaker 1: dark arts, you know, wonder for you to become that
Speaker 1: evil and because I know I couldn't do it, I
Speaker 1: couldn't sit up and knowing the eight is about to
Speaker 1: lose his house and I got some money of his,
Speaker 1: they can help him. No, you get money and you
Speaker 1: give people, You give everybody, they they they piece and
Speaker 1: you move home, you know what I mean. But these
Speaker 1: people are very much involved in the mysticism, the coke
Speaker 1: and all kind of stuff, and they've been mentally conditioned
Speaker 1: not to give a funk about you. You or you.
Speaker 1: That's just the way it eels. And that's the part
Speaker 1: people don't talk about. But you've incommendations. Then it's you
Speaker 1: know what. Let me say that you guys, And I'm
Speaker 1: gonna withhold names obviously, But there are some very powerful
Speaker 1: Italian people in this business that I know very close,
Speaker 1: very closely. And I had a conversation with these people
Speaker 1: and I just wanted to ask some basic questions because
Speaker 1: they've known me for thirty years. They're out of New York,
Speaker 1: and I said, man, I gotta ask you guys some questions.
Speaker 1: I said, do you respect black artists. It took a
Speaker 1: nano second and he said fuck no. I said, why not?
Speaker 1: He said, because y'all don't respect yourself, so why should we.
Speaker 1: We'll fuck you at every chance we can get. I said, manness.
Speaker 1: And my cousin was with me at the time, right,
Speaker 1: and so we looked at each other. He said, you
Speaker 1: know what's wrong with black people? I said, what's done?
Speaker 1: He said, y'all don't listen to your elders. He says,
Speaker 1: and now remember he's saying this, and two other gangsters
Speaker 1: sitting next to they're nodding, and he says, you black
Speaker 1: folks don't listen to your elders, But every other group
Speaker 1: of people on this earth do. From the American Indians
Speaker 1: when they used to sit around and have meetings around
Speaker 1: the campfire, they listened to the chief with the most feathers,
Speaker 1: who have the most experience. Then you go to the
Speaker 1: Asian population, they pay attention and respect. They're elders, the Hispanics, everybody,
Speaker 1: everybody but one group, and it's us. We are so
Speaker 1: weak as far as unity is concerned. I'm talking about,
Speaker 1: why are we always under somebody's umbrella? Why aren't we
Speaker 1: the umbrella? Why are we always the ones that got
Speaker 1: to go ask somebody for some Could you put my
Speaker 1: record out? Can you give me an advance? Why don't
Speaker 1: these black men get together and say, you know what,
Speaker 1: we're gonna finance new acts. We're not gonna treat them wrong.
Speaker 1: We're gonna be here to help and do something like that.
Speaker 1: Instead of always giving your content to people who don't
Speaker 1: like you as a race. Understand something, No major record
Speaker 1: company in the United States wanted anything to do with
Speaker 1: a rap They want to keep you out of your office,
Speaker 1: out of their officers. Understand something. I'm talking to you
Speaker 1: from the nineteen eighty nine time on up to right
Speaker 1: now because I'm in those offices and every time you
Speaker 1: try to bring a wrapper up in there's like, oh ship.
Speaker 1: When I worked at Motown, the only rap artists we
Speaker 1: had was Queen Lachief and that was too hard for him. Yeah,
Speaker 1: that was too hard. I brought a rap group, the
Speaker 1: rap group I told you about called Watch Car. I
Speaker 1: brought them to Motown to Gerald Buzzby says Stan I love,
Speaker 1: I love this group, but man, we're owned by Boston
Speaker 1: Ventures and all our money comes from there. We they
Speaker 1: will not tolerate this type of language, or at I
Speaker 1: love you, but you got to go elsewhere. Well, nobody
Speaker 1: was signing. Then you go to the phase of they
Speaker 1: didn't want to sign you. Now it got regional. The
Speaker 1: A and R directors didn't want to sign anybody from
Speaker 1: the West coast. Nobody, James, you could you can get
Speaker 1: of me a hundred thousand dollars. Back then as they stand,
Speaker 1: can you shop this West coast? At can you shop
Speaker 1: MC eight for me? Man I couldn't get m to
Speaker 1: deal if he was just starting out, and at that
Speaker 1: time New York was giving out the money. M hmm.
Speaker 1: Nobody was signing anything from the West coast. Norman nobody.
Speaker 1: You know that Norm was dealing with the same thing.
Speaker 1: I would say, why aren't you signing something from the
Speaker 1: West coast? You know what they told me? This was
Speaker 1: even the radio programmers. They said, stand, you know what's
Speaker 1: wrong with West Coast artists? I said, what's that? He said,
Speaker 1: It's like Christmas time when everybody all we all know
Speaker 1: what's in the package. It's just wrapped up. It ain't
Speaker 1: nothing different. It's not that we disliked the West Coast.
Speaker 1: It's like we don't want to hear about what's going
Speaker 1: on in south central Compton and Watts at that time,
Speaker 1: they didn't. They just didn't. It was all centralized in
Speaker 1: Los Angeles. So to get your record played anywhere east
Speaker 1: of the Mississippi, I forget it. You know what Clyde
Speaker 1: Davis told me about Quick? I asked for some more
Speaker 1: money to promote Quit. He called me directly and he said,
Speaker 1: Mr Shepherd, I want you to talk to my promotion director.
Speaker 1: I talked to his promotion director, and the promotion director
Speaker 1: told me point blank, we are not giving you one
Speaker 1: penny more then what we gave you when we first
Speaker 1: did the deal. Now, if you want to market DJ
Speaker 1: Quick east of the Mississippi, then you do that with
Speaker 1: your money, but you're not gonna get it for from aristom.
Speaker 1: We promote you on the West coast. Now what does
Speaker 1: that do to you as an artist? What the death
Speaker 1: do with Qrick? What does that do to Quick? Point
Speaker 1: or limits the amount of money you're gonna make? And
Speaker 1: remember this norm you work in publishing, right, you have
Speaker 1: a history doing that. You must understand when you're trying
Speaker 1: to get a record released, then you have to have
Speaker 1: everything working properly at that time or you're going to fail.
Speaker 1: Everything has to work with every aspect of what you're doing.
Speaker 1: So now I'm trying to find out, well, how are
Speaker 1: we gonna break some West Coast artists east of the Mississippi.
Speaker 1: And my people call back and sistan, it's never going
Speaker 1: to happen. There are no West Coast artists played in
Speaker 1: Chicago except Kendrick Lamar. You may hear him once a
Speaker 1: month on a record, but any other artists other than
Speaker 1: Kendrick and you may get a feature like with a
Speaker 1: y G on a record and they played in Chicago
Speaker 1: or somewhere, but nobody played in the West coast east
Speaker 1: in Mississippi. So your money is your money is cut
Speaker 1: in half. So I would always tell the West Coast artists, man,
Speaker 1: don't talk about your hoods. It's a turn off to
Speaker 1: these programmers. They don't want to play it. But things changed,
Speaker 1: as they do in American record business, and then now
Speaker 1: we's switched back over to the West coast because why
Speaker 1: because you've got a whole lot of new young people
Speaker 1: that are coming into this game, not black folks, Hispanic
Speaker 1: white and Asian black by hardcore hip hop, not black folks,
Speaker 1: very very few. What are you going to tell somebody
Speaker 1: from the hood about the hood when they're living it
Speaker 1: every day. But the white kids across the world want
Speaker 1: to hear everybody else wants to hear it. So that's
Speaker 1: where your sales come from. So that's why these record
Speaker 1: companies and our directors say, hey, you gotta I'm fast forward.
Speaker 1: You got any your crimes on your sheet? You with
Speaker 1: a game, because that's the only way you're getting signed
Speaker 1: right now. You ain't getting signed. If you've got uplifting lyrics,
Speaker 1: you ain't getting signed. If you're doing that, you're getting
Speaker 1: signed if you as they asked me, oh Stan, you
Speaker 1: got a new artist that you're launching. What side is
Speaker 1: he from? What side is he from us? He g
Speaker 1: ds he Black Disciples, Blood crypt Pararu? What is it?
Speaker 1: I said? That makes the big difference? Now, okay, no problem,
Speaker 1: no problem. I see where you're going, what you're doing.
Speaker 1: It's a pattern of ignorance. You can't turn on the
Speaker 1: radio right now and hear anything but gang involved in
Speaker 1: the drug dealer, that's all. And you know, standing me
Speaker 1: and you talk about this all the time. This is
Speaker 1: that's going back to the um prison industrial complex, the
Speaker 1: privatization of prison. Um. You know, some of the biggest
Speaker 1: stockholders in these companies are Universe over VINDI and these
Speaker 1: major corporations. So it gets really deep. It gets really deep.
Speaker 1: You know, even if you go back to the stuff
Speaker 1: that you know Benny Medina was doing. You know, I'm
Speaker 1: gonna go too far into it, you know, but they
Speaker 1: finally starting up. You know, it's a little lot of
Speaker 1: stuff going on, man, And it's I'll just say this,
Speaker 1: as my Italian friends friends told me, as I was
Speaker 1: talking about to you, stand put about put about forty
Speaker 1: into black acts. And I'm looking to remember, I'm listening
Speaker 1: to everything these people say because they're the outsiders. They're
Speaker 1: gonna tell you the truth. They don't need nothing from it, okay.
Speaker 1: And they said every black act, listen to me, every
Speaker 1: black act will eventually turn on their management everyone. So
Speaker 1: now you've got a situation where say all three of
Speaker 1: you guys form a label. You got this artist we promoted.
Speaker 1: How much do you know that you're supposed to get paid?
Speaker 1: You don't know, you don't know anything. You don't know
Speaker 1: anything other than what you're told, and you were just
Speaker 1: from that. The second thing is this, when I hear
Speaker 1: no disrespect to anybody when I say this, this is
Speaker 1: two artists. When I hear artists say that they own
Speaker 1: their masters and they own this and they owned that.
Speaker 1: Take it home with you if you own it. When
Speaker 1: Shefford Lane was around, that was the most cracking label
Speaker 1: in the West Coast that time. You know, before the
Speaker 1: death row are pop, y'all Haven point three that you know,
Speaker 1: y'all it was the hot crew in the streets right
Speaker 1: here right Yes? What made you decide to just say
Speaker 1: it was enough? Did you get tired of the urban scene?
Speaker 1: You know? What it was is that it was the
Speaker 1: deaths every time that was and James and eight can
Speaker 1: detested this and nor might know you were hearing it,
Speaker 1: but we were living it. It was like when Vincent
Speaker 1: got killed, when James's brother got killed, All of these
Speaker 1: people got killed. They were dropping on both sides. I
Speaker 1: was on this. I was in the area when in
Speaker 1: Compton at south Side when Venus and serena sister was killed,
Speaker 1: we heard the shots. Okay, so it's a situation where
Speaker 1: how could I say this, Um, it's I just felt
Speaker 1: it was gonna be me next because I was getting
Speaker 1: death threats. I remember the crips even came to kill
Speaker 1: me and DJ Quick at a funeral MHM in Inglewood.
Speaker 1: I remember when that happened because Crawford was with you
Speaker 1: guys too, whitn't He high Sea was walking with me
Speaker 1: into the church where the young lady was killed. That
Speaker 1: was dating quick and they pulled up to me and
Speaker 1: Crawford and they thought Crawford high See was quick and
Speaker 1: when they saw it wasn't, they moved a little bit
Speaker 1: to the side, and then other cars were coming through,
Speaker 1: and so everybody in the church was running out. There
Speaker 1: was gunfire everywhere, and it got so close to me
Speaker 1: that I had to I had to redirect my life.
Speaker 1: And after eighteen murders, I got paranoid. I was completely paranoid.
Speaker 1: Every time I would leave anywhere. It destroyed everything in
Speaker 1: my life because I couldn't be the same person that
Speaker 1: I was because the level that we were playing with
Speaker 1: the Compton Cripts and the Compton part rules were not playing.
Speaker 1: These people will kill you and it doesn't take much
Speaker 1: to get you clipped. Not in this world, as I
Speaker 1: told you norm yesterday, I have people that have come
Speaker 1: to me with five hundred dollars to ask me for
Speaker 1: five d dollars to kill somebody that I was having
Speaker 1: a problem with. And when I found out that five
Speaker 1: hundred dollars could get your ass killed, I became so worried.
Speaker 1: I said, who did I make mad? Because understand something.
Speaker 1: I wouldn't let people get to DJ quick. I wouldn't
Speaker 1: let people get the battle cap. And people hated that
Speaker 1: they felt of his halting their career. So yes, I
Speaker 1: left because I was panic stricken and I they want
Speaker 1: to die. That may sound whatever way you want to say,
Speaker 1: but when the heavy gangsters being mowed down around me, no, no,
Speaker 1: I wasn't ready. I wasn't here, And like you said,
Speaker 1: there was some heavy weights. And that's what people don't understand.
Speaker 1: It don't matter who you are any man, any man
Speaker 1: can be tuxed, and they don't have respect for motherfucker
Speaker 1: out here. They really don't. And you East Coast and
Speaker 1: down South artists and Midwest artists when you come out here,
Speaker 1: when you come, excuse me, when you come to l A,
Speaker 1: please understand two things have happened before you got there.
Speaker 1: At all the hotels they have they been the gang
Speaker 1: members that have already put their women in there as
Speaker 1: the maids they know where you're staying. They know when
Speaker 1: you give a false name. These women have been working
Speaker 1: there for a while. And some of the door people
Speaker 1: who you think are dressed properly and just there for
Speaker 1: a job, they're connected and they will call, Hey, you
Speaker 1: know who just came in here? Who l A is
Speaker 1: the I'll say this l A and believe me, I'm
Speaker 1: in Chicago. Ain't nothing you can tell me about game
Speaker 1: bang And I'm dealing with this every day. But there's
Speaker 1: there's something different about Compton. There's something different about Compton
Speaker 1: watching l A. It's more planned, it's more evil. In Chicago,
Speaker 1: it's random. Most of the time, it's random. But when
Speaker 1: when Compton puts a mark on you, bro youth, you've
Speaker 1: got problems. Yeah, so staying I wanna I want to.
Speaker 1: I want to end up the day with a question? Right?
Speaker 1: Uh huh? Where do we go from here? In the
Speaker 1: music industry is all independence now? Nope? Because you know why,
Speaker 1: because independent artists will sell out all from the right money.
Speaker 1: Most will sell out. Who's gonna turn down a couple
Speaker 1: of million dollars If you've got fifty thousand in the
Speaker 1: bank and now you got paid notes and everything who's
Speaker 1: gonna turn that down? Not many people, mm hmm, not
Speaker 1: not many people. It's like even my own labor. I said,
Speaker 1: you come here, you split publishing on the first album,
Speaker 1: and what we will do for you what we did
Speaker 1: for Sugar Free and everybody. We give you three thousand
Speaker 1: to pay your monthly bills and give a thousand to
Speaker 1: you for food. Now take this hundred and twenty five
Speaker 1: thousand and do your help. Who's gonna turn that down?
Speaker 1: I would do it if you're gonna tell me right now. Hey, Stan,
Speaker 1: if I'm an artist, uh dr Dre and Quick and
Speaker 1: battle Cat are gonna produce your help. But you've gotta
Speaker 1: split some publish. But you can have your publishing for
Speaker 1: the rest of your life. Just on this first album.
Speaker 1: You're gonna be established, a start, and now you can
Speaker 1: do whatever you want to do. I signed that deal
Speaker 1: in a minute. Not a bad deal. It's what are
Speaker 1: you going to get from a major, just like what
Speaker 1: eight was doing. Eight may have got maybe thirteen fourteen
Speaker 1: points for his deal. Maybe if they liked his attorney,
Speaker 1: maybe fifteen or sixteen. But just like he said, you're
Speaker 1: gonna get forty five to fifty cents per album, and
Speaker 1: you're gonna be broke. That's why the artists I work
Speaker 1: with right now, let me tell you something. I gotta
Speaker 1: and I'm educating these young men. My artist daut of Chicago,
Speaker 1: E S C D S and the Cartel. I educate
Speaker 1: these young men. They're gonna be huge. My guy from
Speaker 1: Kelly Park, Yellow Boy the Duke, he's gonna be huge.
Speaker 1: I got two other artists, Almighty Wand and Dolf Rosa.
Speaker 1: We're gonna break these people and we're going to help
Speaker 1: them establish themselves and go from there. And we're gonna
Speaker 1: help people. I'm helping people like like the Hood doctor
Speaker 1: Melli Mel he's doing his the Hood professor. I help
Speaker 1: all these people. Anybody that wants some assistance that are
Speaker 1: not ignorant, come hilder this man. We we we don't
Speaker 1: want ignorance around us. We really don't. Man. And and
Speaker 1: the people I'm working with right now, man, I'm I'm
Speaker 1: I'm I'm good man, I'm good, And I ask you
Speaker 1: one more. Hopefully I'm not putting you in the spot
Speaker 1: stancause you know, I can't talk about everything that we
Speaker 1: talked about. It ain't for everybody else. It's ears, but
Speaker 1: you had an incident one day. You know, we were
Speaker 1: talking about the code a little bit earlier, and you
Speaker 1: said that you have an experience that freaked you out.
Speaker 1: One time. You actually walked in on the things they
Speaker 1: here going on one time. Yeah. Well, first of all,
Speaker 1: I'll be very short their satanism in this business. And
Speaker 1: we happened to be one time coming from the location
Speaker 1: and we went to a just a smoke, a few
Speaker 1: joints whatever. We went to Malibu Beach and some partners.
Speaker 1: When we got there, I heard some music that I
Speaker 1: was familiar with, but it was coming from under what
Speaker 1: do you call that, uh, the where you walk out
Speaker 1: to the water where you do fishing at the at
Speaker 1: the pier or whatever. They walk in and I heard
Speaker 1: this music that had been played in my office before.
Speaker 1: And then when I looked up, it was about twenty
Speaker 1: five people under this appeared and they were all button naked,
Speaker 1: and they saw men and women weightlifters, and they saw
Speaker 1: me and my people, and they rushed us. Twenty to
Speaker 1: twive butt naked people doing satanism. And the people were
Speaker 1: involved in the record industry. I said, oh my god,
Speaker 1: this is what is going on. Then I was representing
Speaker 1: another guy from over in South Central and he's riding
Speaker 1: with me, and I said, hey, man, I gotta stop
Speaker 1: by the church. But he said, what said about the
Speaker 1: church for what? And I said, well, he was a
Speaker 1: person who I want to do my thing over there
Speaker 1: for a second, you're just waiting the card. He said, Man,
Speaker 1: funk God. I said what he said? You heard me?
Speaker 1: Fuck God? I said, okay, no problem. And I knew
Speaker 1: from that point on that Satanism and anti God was
Speaker 1: rampant on that West Coast music scene. These people will
Speaker 1: kill you. It's like a brotherhood. I don't care about
Speaker 1: nothing else for Satanism. I'll just leave it at that.
Speaker 1: That podcast word