WEBVTT - EP 92 Sharks and Demons

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<v Speaker 1>When I right, y'all all across the USC Compton Watts

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<v Speaker 1>Day to l A, come on the California the Valley.

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<v Speaker 1>We represent that kind of county. So if you're keeping

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<v Speaker 1>it real on your side of your town, you tune

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<v Speaker 1>into Gangster Chronicles. Gangster Chronic Goals are gonna tell you

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<v Speaker 1>how we go. If I like my nose a girl

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<v Speaker 1>like Pinocchio, We're gonna tell you the truth and nothing

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<v Speaker 1>but the truth. Gangster Chronicals. This is not your average show.

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<v Speaker 1>You're now tuned into the Reil m c a Day

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<v Speaker 1>James and Big Still from the Streets. Hello, where you act?

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<v Speaker 1>This is o G Gangster Granny and Against the Chronicles

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<v Speaker 1>podcast is back in effect. Thank you for tuning into

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<v Speaker 1>another episode of Against the Chronicles podcast. Make sure you

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<v Speaker 1>download I Heard That and subscribe to the gainst the

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<v Speaker 1>Chronicles for my Apple users, hit that Purple Mike when

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<v Speaker 1>your front screens described to Against the Chronicles and leave

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<v Speaker 1>a five star rateing in comment. And we have a

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<v Speaker 1>very very special guest in the house and night. We

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<v Speaker 1>have a man with thirty plus years in the music

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<v Speaker 1>and management business and he's touched on something everybody on

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<v Speaker 1>the West Coast He's a pivotal figure on the West Coast.

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<v Speaker 1>Um the former co owner of Shepherd Lane Records, UM

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<v Speaker 1>that brought us such people as DJ Quick, Sugar Free,

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<v Speaker 1>the late Great Marsburg managed Battle Kat. Let's introduce some

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<v Speaker 1>stand Shepard. How you doing. That's a blest, It's a

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<v Speaker 1>pleasure to be here, young brother. Thank you for having me.

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<v Speaker 1>We don't have to have you because this is your

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<v Speaker 1>first interview ever. This is the first interview I've done

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<v Speaker 1>in forty years. I have never done an interview before

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<v Speaker 1>before a variety of reasons, and one of the main

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<v Speaker 1>the main reason was because when I was working with

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<v Speaker 1>Shepherd Lane and we had all the success that we had,

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<v Speaker 1>I was threatened by kidnappings every every week. Not only

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<v Speaker 1>was I threatened by kidnappings, we had eighteen murders, including

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<v Speaker 1>my closest friend, events who traveled with me for many

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<v Speaker 1>years from Compton, and I love that man, and so

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<v Speaker 1>many people that I knew over a death row and

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<v Speaker 1>the Shepherd Lane are now dead. And when I look back,

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<v Speaker 1>I think of the violence that occurred all across Compton

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<v Speaker 1>and it's sickening. And right now it's still the same

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<v Speaker 1>thing I was told by my contacts, and Compton don't

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<v Speaker 1>even come there now, don't even tell people to come

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<v Speaker 1>there because there's a violent conflict going on across the city. Yes,

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<v Speaker 1>and so I'm tapped in from Kelly Park on down

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<v Speaker 1>the looters part. So there's nobody I don't know them.

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<v Speaker 1>And if I don't know you as a shop caller,

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<v Speaker 1>the people next to me know you, and I can

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<v Speaker 1>at least talk to you. So in Los Angeles people

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<v Speaker 1>must understand. Across the world, there's something different about Compton. Compton,

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<v Speaker 1>as explained to me, is an entity into itself, and

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<v Speaker 1>either even in the prison system, Compton both Blood excuse me,

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<v Speaker 1>both powerus and crypts bond together to protect one another.

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<v Speaker 1>And they're not gonna let outsiders get anybody from Compton.

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<v Speaker 1>They'll go when it's in prison, they'll go back and

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<v Speaker 1>deal with it later. But people from Compton have a

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<v Speaker 1>way of sticking together even in the prison system. That's

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<v Speaker 1>different from anywhere iness world. And believe me, I've been

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<v Speaker 1>involved in a lot of situations where I can compare

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<v Speaker 1>it to things. Stand when you say, when you said business,

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<v Speaker 1>you mean visits with Kenny. Yes, oh man, that was

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<v Speaker 1>my rider. Die right there now, I know. That's what

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<v Speaker 1>I'm saying. Vince was the first. Vincent was the first

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<v Speaker 1>person who came to me in a sit down meeting

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<v Speaker 1>and says, stand, we need you, we want you to

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<v Speaker 1>help with DJ Quick. Quick was in a difficult situation

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<v Speaker 1>your Profile records at the time, and I intervened and

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<v Speaker 1>I got Profiled to back off some of the demands

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<v Speaker 1>that they were making for Quick because one of my

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<v Speaker 1>strong points is I am attorney based. And when I

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<v Speaker 1>say attorney based, yeah, there's nothing that goes on in

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<v Speaker 1>the music industry without the attorneys doing it. So I

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<v Speaker 1>don't care if you're a president, I don't care what

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<v Speaker 1>you do of your company. Unless the attorneys say it's

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<v Speaker 1>a done deal, it's not. So therefore, I'm saying that

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<v Speaker 1>to say I know just about everything that's going on

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<v Speaker 1>with everybody's business because I'm that connected. And when I

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<v Speaker 1>went to work with Shephard Lane and doing what I

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<v Speaker 1>was doing, Vincent was a person with with tone that

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<v Speaker 1>traveled me all the time. And all of the people

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<v Speaker 1>that death Row from rock Chisholm down to um Um

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<v Speaker 1>which is the name of heron all these guys. I

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<v Speaker 1>used to go there, all of the time because you

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<v Speaker 1>know why, James, You know why because at that time

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<v Speaker 1>Capitol Records was trying to buy death Row. Nobody knew it.

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<v Speaker 1>So Capitol Records gave me a deal financed my label.

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<v Speaker 1>Nor did I find out what they were doing until

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<v Speaker 1>after the deal was over. They gave me a label

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<v Speaker 1>deal because they knew of my connection to leave Forward

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<v Speaker 1>and to Chill Nate. That's with me where and not

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<v Speaker 1>when I was dealing with him. Now I was dealing

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<v Speaker 1>directly with the chairman and the president. His name was

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<v Speaker 1>Gary Gersh and they called me behind the scenes to

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<v Speaker 1>take the president of Capital Records back and forth to

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<v Speaker 1>meet Chill to negotiate the deal. That went on for

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<v Speaker 1>about two months. We thought we had the deal done,

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<v Speaker 1>but then Mr Bronfman from m c A, the owner

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<v Speaker 1>of Seagram's, flew in on a late night flight and

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<v Speaker 1>closed the deal. So I was able to see everything

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<v Speaker 1>up close and everybody up close, and so everybody at

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<v Speaker 1>death Row I knew very well. And because lee Ford

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<v Speaker 1>has so much cloud, it was kind of easy to me.

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<v Speaker 1>He introduced me Norman and eight Lee Ford introduced me

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<v Speaker 1>to James. Mhmm. Now I managed James, so it's a

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<v Speaker 1>situation where I just want to do whatever I can

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<v Speaker 1>do to help, as I said before, but I also

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<v Speaker 1>know how thirty this businesses, and I know how to

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<v Speaker 1>clean stuff up, right because I'm attorney based exactly. And

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<v Speaker 1>with that being said, Stan, you're the clean up man, right,

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<v Speaker 1>which is initially why you were bought into this situation

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<v Speaker 1>to help broken that deal between Capital and There for

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<v Speaker 1>a record, right, Yes, they the president of Capital and

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<v Speaker 1>the chairman of Capital could get Jimmy Ivan to the table,

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<v Speaker 1>who was the owner of Interscope who was distributing death

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<v Speaker 1>row at the time, but they couldn't get shipped to

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<v Speaker 1>the table. So it was a deal that was going nowhere.

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<v Speaker 1>So they offered us a percentage of whatever if the

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<v Speaker 1>deal went down. They paid us some money to go

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<v Speaker 1>back and forth. But it didn't work out. And the

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<v Speaker 1>cold blood thing about it, let me tell you how

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<v Speaker 1>evil it is is that now. Remember they hired me,

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<v Speaker 1>told me all this good stuff, oh standard this, and

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<v Speaker 1>you're that. When the deal did not go through for Capital,

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<v Speaker 1>I went up to talk to them to say, hey,

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<v Speaker 1>you know, I'm sorry it didn't work out. They banned

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<v Speaker 1>me from the building. They used to do that a

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<v Speaker 1>lot back in the days, did you hear me? They

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<v Speaker 1>and me from the building because I had quote unquote

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<v Speaker 1>gang connections, but the same gang connections that I had

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<v Speaker 1>brought me to you to give me a multi whatever

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<v Speaker 1>deal for my first label. And understand something. My label

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<v Speaker 1>was called g Vine Entertainment and it was the first

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<v Speaker 1>hardcore rap music label and the history of Capitol Records

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<v Speaker 1>and it's and I did the deal with DJ Battlecat,

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<v Speaker 1>and as soon as the deal with SUG fell through,

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<v Speaker 1>they banned me from the building and said I was

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<v Speaker 1>a threat because I had access to SUG. My friend

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<v Speaker 1>was Harry Oh. For twenty seven years, I was involved

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<v Speaker 1>with people from the streets that had clout and they said, oh,

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<v Speaker 1>he's too dangerous to be up in here, because if

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<v Speaker 1>anything goes wrong, there's a problem. No, the reason they

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<v Speaker 1>didn't want me up in their James eight and norm

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<v Speaker 1>is because I know how they run their games. I

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<v Speaker 1>know what they do, I know how they cheat and steal.

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<v Speaker 1>So when Stan comes in the room, uh uh, we

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<v Speaker 1>can't run these games on this fool right now. And

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<v Speaker 1>they don't want to see me. But guess what, I'm quiet.

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<v Speaker 1>I'm quiet in the background, and people call me. Even

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<v Speaker 1>from the major labels, they stand, we're dealing with so

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<v Speaker 1>and so. We're dealing with so and so. Are they cool?

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<v Speaker 1>This is a dirty business. It's a dirty business. And

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<v Speaker 1>I don't trust anyone in this business because they will change.

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<v Speaker 1>They will change on you. And in Los Angeles, if

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<v Speaker 1>you're not connected to some pie rows or some crips

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<v Speaker 1>or some or some bloods, you ain't got no cloud.

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<v Speaker 1>You got nothing. And the A and R directors don't

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<v Speaker 1>want to deal with you. First thing they asked you,

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<v Speaker 1>who are you connected with? Who can you hook me

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<v Speaker 1>up with? Norm? You know what I'm talking about. They

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<v Speaker 1>do it to you all the time. Yeah, I know

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<v Speaker 1>exactly what you're talking about. Because when I was A

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<v Speaker 1>and R over at Mind of music, you know, when

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<v Speaker 1>I'm signing an artist, that's when I realized. I thought

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<v Speaker 1>I had some power, but I had a pin with

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<v Speaker 1>no incumit. You had some situations to where you saved

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<v Speaker 1>the well known singer's life. What happened was that I

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<v Speaker 1>was coming from a studio recording session and I was

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<v Speaker 1>coming down the street in Los Angeles. It's called Beverly Boulevard.

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<v Speaker 1>There was a recording studio over there called Lions Share

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<v Speaker 1>at that time, and it was a very popular place

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<v Speaker 1>for recording artists. Well, I'm coming from a meeting and

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<v Speaker 1>it was the past twelve midnight and in the middle

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<v Speaker 1>of the road I see this man laying out and

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<v Speaker 1>he's waving his arm. So, being paranoid like I always am,

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<v Speaker 1>I thought it was a set up. So I stopped

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<v Speaker 1>and I looked, and I said, man, let me go

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<v Speaker 1>help this man. And when I got closer, I saw

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<v Speaker 1>blood spurting out of different locations on his body, and

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<v Speaker 1>I was actually dropped, uh dodging blood spurts. And when

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<v Speaker 1>I got to him, I saw it was Melvin Franklin

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<v Speaker 1>with The Temptations of Bass singer, and he had been

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<v Speaker 1>shot multiple times. He had been robbed coming out the

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<v Speaker 1>studio and the guy shot him twice and then the

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<v Speaker 1>third time he shot him. The only reason he let

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<v Speaker 1>him live is because Melvin yelled out, I'm Melvin Franklin

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<v Speaker 1>from the Temptations, Please don't kill me. Well, the guy relented,

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<v Speaker 1>got in Melvin's car, drove off around the corner. There

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<v Speaker 1>was very little gas in the car, and he pulled

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<v Speaker 1>up to the gas tank, filled the gas tank up

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<v Speaker 1>and killed the attendant and drove off. This was a

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<v Speaker 1>pardon me, This wasn't in the movement. No, there was

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<v Speaker 1>something they you know, it was something nobody wanted to

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<v Speaker 1>go into. Was very violent. And what happened at that

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<v Speaker 1>point I took off I had. I was twenty six

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<v Speaker 1>at the time. I was just out the military, and

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<v Speaker 1>I knew how to stop bleeding. So I took off

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<v Speaker 1>my shoes and tied my socks around the wounds to

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<v Speaker 1>stop the flow of the blood, and I loaded him

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<v Speaker 1>into my car and I took him to the hospital.

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<v Speaker 1>And they said if he didn't get there ten minutes early,

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<v Speaker 1>he would have bled to death. Now here's the here's

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<v Speaker 1>the clincher to this. One and a half years later,

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<v Speaker 1>I was hired by Motown Records to produce the Temptations.

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<v Speaker 1>I walked into the studio. I hadn't seen Melvin since

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<v Speaker 1>he was shot and Motown filmed it, and he turned

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<v Speaker 1>around and he saw me, says, wait a minute, you're

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<v Speaker 1>the person to save my life and now producing a record.

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<v Speaker 1>And the record I produced on them was called Special

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<v Speaker 1>and it turned out to be their album title, and

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<v Speaker 1>it turned out to be a massive hit single for them.

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<v Speaker 1>So I'm very proud about that. You stand you. You're

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<v Speaker 1>a little smoothie rousing up. Well, you know what. I

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<v Speaker 1>had a great career, James. I had a great career

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<v Speaker 1>at Motown. I produced six top ten records and one

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<v Speaker 1>number one record. I produced the Temptations. I produced a

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<v Speaker 1>Need to Point and Point of Sisters. I produced Gerald Dalston,

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<v Speaker 1>who was the lead singer to Manhattan's you Know, Kissing

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<v Speaker 1>Kiss and Say Goodbye and Shining Star. I did all

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<v Speaker 1>those and I worked in the A and R and

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<v Speaker 1>music production for many years. And a side note, I

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<v Speaker 1>had an R and B group called By All Means

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<v Speaker 1>and I signed them. It was my first deal ever.

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<v Speaker 1>It was in eighties seven, and I signed him to

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<v Speaker 1>Island Records and we did a remake of the Marvin

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<v Speaker 1>Gay song called Let's Get It On and went to

0:16:14.760 --> 0:16:17.880
<v Speaker 1>number three in the country, and it solidified my career.

0:16:17.880 --> 0:16:21.480
<v Speaker 1>And that's when I went to Motown. Mr Gordy and

0:16:21.560 --> 0:16:24.960
<v Speaker 1>Gerald Busby offered me a beautiful deal to come there,

0:16:25.960 --> 0:16:29.160
<v Speaker 1>and I stayed at Motown for five years until I

0:16:29.240 --> 0:16:32.480
<v Speaker 1>joined Jermaine Jackson because the Jackson family asked me to

0:16:32.520 --> 0:16:34.920
<v Speaker 1>come on and work with them, and I did that.

0:16:34.960 --> 0:16:39.160
<v Speaker 1>For two years. After that, I was introduced to a

0:16:39.160 --> 0:16:45.000
<v Speaker 1>young man named harry O and DJ Battlecat. Now, how

0:16:45.040 --> 0:16:48.560
<v Speaker 1>do you feel about harry O? Me at home? I talked.

0:16:48.640 --> 0:16:53.320
<v Speaker 1>I communicated with harry O last night via text. I'm

0:16:53.360 --> 0:16:57.440
<v Speaker 1>not bothering him because he's adjusting to everything in his life.

0:16:58.400 --> 0:17:02.560
<v Speaker 1>And Uh, I have talked to I called it Michael.

0:17:02.640 --> 0:17:06.240
<v Speaker 1>I have talked to Michael every year for twenty seven years.

0:17:07.240 --> 0:17:10.840
<v Speaker 1>I'm very emotional when I talk about that man. Okay, So,

0:17:12.000 --> 0:17:15.320
<v Speaker 1>I mean he's he's my partner man. So he started

0:17:15.880 --> 0:17:20.000
<v Speaker 1>he started with me with battle Cat. Understand something when

0:17:20.000 --> 0:17:25.320
<v Speaker 1>I tell you this. We've never met in person, me

0:17:25.400 --> 0:17:29.920
<v Speaker 1>and Harriet. It's all been since he's been incarcerated. He

0:17:30.000 --> 0:17:35.760
<v Speaker 1>trusts me. I trust him, and that's where we are today.

0:17:36.119 --> 0:17:40.840
<v Speaker 1>It's a bond and anything he asks of me is

0:17:40.880 --> 0:17:44.080
<v Speaker 1>going to be done to the best of my ability.

0:17:45.080 --> 0:17:48.880
<v Speaker 1>It's as simple as that. I love that man. They don't.

0:17:50.119 --> 0:17:53.600
<v Speaker 1>They don't find too many people in this world that

0:17:53.720 --> 0:17:57.960
<v Speaker 1>you can call a friend. Since I've known you, That's

0:17:57.960 --> 0:18:00.400
<v Speaker 1>how I've been feeling since they won and I met

0:18:00.400 --> 0:18:04.639
<v Speaker 1>you over there at the house in Beverly Hills. Uh.

0:18:04.920 --> 0:18:08.879
<v Speaker 1>Just good people. Staying. Thank you, James, you go, thank you.

0:18:09.600 --> 0:18:14.120
<v Speaker 1>I really appreciate that I misunderstood just because I work

0:18:14.200 --> 0:18:17.320
<v Speaker 1>with gang members and just because I work with people

0:18:17.359 --> 0:18:21.200
<v Speaker 1>from the streets. Don't don't tell me I can't come

0:18:21.280 --> 0:18:26.000
<v Speaker 1>into your offices. Don't tell me you don't want to

0:18:26.040 --> 0:18:29.720
<v Speaker 1>call me back because you man if something go wrong.

0:18:29.880 --> 0:18:33.000
<v Speaker 1>Let me tell you something, all of you, all of you,

0:18:34.280 --> 0:18:41.640
<v Speaker 1>and that is the most evil backstabbing people in business

0:18:41.680 --> 0:18:45.640
<v Speaker 1>work at the major labels, and if you don't check them,

0:18:46.520 --> 0:18:50.879
<v Speaker 1>they'll check you. I am not a person that turns

0:18:50.960 --> 0:18:54.280
<v Speaker 1>to the other cheek. You slap me, I'm gonna try

0:18:54.280 --> 0:18:57.840
<v Speaker 1>to slap you back, James. Let me tell you something,

0:18:57.880 --> 0:19:00.280
<v Speaker 1>all of you guys, I come from seven in nine

0:19:00.320 --> 0:19:04.119
<v Speaker 1>Street on the South side of Chicago, gang banging up

0:19:04.160 --> 0:19:08.760
<v Speaker 1>until I was twenty six. I had twenty two fights

0:19:08.920 --> 0:19:18.000
<v Speaker 1>and lost all twenty two. I became a virtual psychotic person,

0:19:18.080 --> 0:19:20.240
<v Speaker 1>and any time you even look like you were going

0:19:20.320 --> 0:19:24.400
<v Speaker 1>to threaten me, it brought back memories. And I'm quite

0:19:24.440 --> 0:19:27.840
<v Speaker 1>sure if anybody has been gang banging for any amount

0:19:27.840 --> 0:19:31.359
<v Speaker 1>of time, if anybody looks like they're gonna do something,

0:19:31.440 --> 0:19:35.560
<v Speaker 1>if you've been harmed before, it's a defensive mechanism, right,

0:19:36.240 --> 0:19:39.639
<v Speaker 1>and that's what it is for me. And sometimes even

0:19:39.640 --> 0:19:43.880
<v Speaker 1>at my old age, right now, I still never left

0:19:43.920 --> 0:19:49.560
<v Speaker 1>seventy nine Street. It's still in my soul because whatever

0:19:49.680 --> 0:19:55.760
<v Speaker 1>you experience growing up, it stays with you. I was

0:19:55.840 --> 0:19:58.360
<v Speaker 1>one of the first, and I want you to hear this.

0:19:59.680 --> 0:20:04.159
<v Speaker 1>I one of four of the first gangster disciples on

0:20:04.200 --> 0:20:10.720
<v Speaker 1>Sunday Night Street. And my history is there was I tough. No,

0:20:12.160 --> 0:20:17.000
<v Speaker 1>I was a scared fifteen year old that wanted to

0:20:17.040 --> 0:20:20.760
<v Speaker 1>be accepted and I was beating up daily and I

0:20:20.840 --> 0:20:23.439
<v Speaker 1>got tired of getting beaten up, so I said, let

0:20:23.480 --> 0:20:27.800
<v Speaker 1>me join the g DS. You get some protection. It

0:20:27.880 --> 0:20:32.639
<v Speaker 1>wasn't because I was a maniact wanted to do some wrong. No,

0:20:32.840 --> 0:20:36.520
<v Speaker 1>I was scared. And if anybody has been beaten up

0:20:37.119 --> 0:20:39.720
<v Speaker 1>real bad, you don't want to see that again. You

0:20:39.720 --> 0:20:41.720
<v Speaker 1>don't want to experience that again. And it made me

0:20:41.760 --> 0:20:44.240
<v Speaker 1>a different type of person, getting my butt whip twenty

0:20:44.280 --> 0:20:49.240
<v Speaker 1>two times and never winning. So when I came to

0:20:49.320 --> 0:20:53.879
<v Speaker 1>Compton and I started working with Shuk, I started working

0:20:53.880 --> 0:20:59.240
<v Speaker 1>with everybody involved with my label, with Shepherd Lane Man.

0:20:59.280 --> 0:21:02.480
<v Speaker 1>By the time people got to me, I was looking

0:21:02.520 --> 0:21:05.879
<v Speaker 1>at them with horns in their head. I said, if

0:21:05.920 --> 0:21:11.240
<v Speaker 1>anybody came towards me with anything, they got trouble because

0:21:11.320 --> 0:21:14.720
<v Speaker 1>I'm panic stricken. I've seen too much death in Compting,

0:21:15.920 --> 0:21:25.240
<v Speaker 1>eight of my friends dead. So what you said, how

0:21:25.320 --> 0:21:28.160
<v Speaker 1>would you say, you know, the transition of coming from

0:21:28.160 --> 0:21:30.960
<v Speaker 1>the time when you first started in business, and you're

0:21:31.000 --> 0:21:34.159
<v Speaker 1>like you said, we've all seen our our scales of

0:21:34.320 --> 0:21:37.560
<v Speaker 1>violence or perhaps, but you don't venture into the rapt

0:21:37.600 --> 0:21:40.000
<v Speaker 1>game and come into Compton, which you say that was

0:21:40.040 --> 0:21:46.480
<v Speaker 1>a whole different story altogether. Let me say this. I've

0:21:46.480 --> 0:21:51.720
<v Speaker 1>been to the Marsha projects in New York. I've been

0:21:51.720 --> 0:21:55.679
<v Speaker 1>on Sevenday Night Street, I've been I drive past Old

0:21:55.680 --> 0:22:01.359
<v Speaker 1>Block every day here in Chicago. I've dealt with every aspect.

0:22:01.840 --> 0:22:06.960
<v Speaker 1>My son is with the role of sixties. So we

0:22:07.119 --> 0:22:11.840
<v Speaker 1>got a situation where I can look back and I

0:22:11.920 --> 0:22:20.280
<v Speaker 1>can see how vicious it became. Compton is totally different

0:22:20.680 --> 0:22:25.960
<v Speaker 1>from Watts, Compton is totally different from South Central, and

0:22:26.080 --> 0:22:32.080
<v Speaker 1>Compton doesn't usually like to associate with outsiders. It just

0:22:32.200 --> 0:22:39.159
<v Speaker 1>doesn't happen. And I know if there's twenty seven hoods

0:22:39.720 --> 0:22:43.560
<v Speaker 1>from through town, all down, all the way down, I

0:22:43.720 --> 0:22:49.359
<v Speaker 1>know these guys. I know the South Side people, and

0:22:49.520 --> 0:22:54.200
<v Speaker 1>it's totally different. These people are Compton is more meticulous.

0:22:55.040 --> 0:22:57.800
<v Speaker 1>If Compton wants to hit you, there's already been a

0:22:57.880 --> 0:23:06.000
<v Speaker 1>plan laid out. It ain't and these people know, they

0:23:06.119 --> 0:23:12.360
<v Speaker 1>know what they're doing. I saved another man's life from

0:23:12.400 --> 0:23:16.080
<v Speaker 1>New York. You know what his name is. He's never

0:23:16.119 --> 0:23:19.680
<v Speaker 1>heard what I'm getting ready to say. It's gonna shock

0:23:19.760 --> 0:23:25.760
<v Speaker 1>him for you. Well, no producer for Public Enemy, for

0:23:25.800 --> 0:23:32.920
<v Speaker 1>the group Public Enemy, Yes, yes you are. His name

0:23:33.080 --> 0:23:38.880
<v Speaker 1>is Hank Shockley. He let me tell you what happened,

0:23:39.760 --> 0:23:43.200
<v Speaker 1>and I'll be bullet point you. There was a young

0:23:43.240 --> 0:23:45.879
<v Speaker 1>group from Watts, young man from Watts that I was

0:23:45.960 --> 0:23:51.439
<v Speaker 1>represented name Filthy Frank. I had a deal at the

0:23:51.520 --> 0:23:55.320
<v Speaker 1>time for Filthy Frank with a record company who was

0:23:55.400 --> 0:23:57.560
<v Speaker 1>run by a man by the name of Al Bell.

0:23:58.240 --> 0:24:00.520
<v Speaker 1>He used to have this big hit record called Whooped

0:24:00.560 --> 0:24:05.199
<v Speaker 1>There it is okay, it's called Bellmark Records. Well, he

0:24:05.280 --> 0:24:09.080
<v Speaker 1>wanted to get into the rap game, and I took

0:24:09.160 --> 0:24:13.160
<v Speaker 1>him the Filthy Frank project. Oh I love it. Stand

0:24:13.920 --> 0:24:16.880
<v Speaker 1>Here's a hundred and seventy five dollar deal at that time.

0:24:16.920 --> 0:24:20.639
<v Speaker 1>That's a lot of money for an unproven artist. So

0:24:22.000 --> 0:24:27.160
<v Speaker 1>he says, here's uh, prepare the paperwork. I called my artists,

0:24:27.720 --> 0:24:29.760
<v Speaker 1>so this is what we got. He said, oh man,

0:24:29.880 --> 0:24:34.320
<v Speaker 1>that's great. So then the following day, I have a

0:24:34.400 --> 0:24:38.200
<v Speaker 1>meeting at m c A with the head of A

0:24:38.400 --> 0:24:43.520
<v Speaker 1>and R. Her name was Madeleine and at that time

0:24:43.880 --> 0:24:50.680
<v Speaker 1>Madeleine's boss was Hank Shockly, okay, well, Madeleine heard what

0:24:50.840 --> 0:24:53.960
<v Speaker 1>she said, Stan, what are you working on? And I said,

0:24:54.000 --> 0:24:57.000
<v Speaker 1>I'm working on this project for from an act out

0:24:57.000 --> 0:25:00.840
<v Speaker 1>of what can I hear it? I said, yeah, you

0:25:00.840 --> 0:25:03.960
<v Speaker 1>can hear it? I played it for She went crazy.

0:25:04.080 --> 0:25:06.640
<v Speaker 1>She said, Stan, what what deal have you signed? I said,

0:25:06.680 --> 0:25:09.040
<v Speaker 1>I haven't signed anything yet. I said, I have an offer,

0:25:09.240 --> 0:25:11.040
<v Speaker 1>but I haven't signed a deal. She says, I'll beat

0:25:11.040 --> 0:25:14.760
<v Speaker 1>it by a hundred thousands. Whatever you've got. I said,

0:25:14.760 --> 0:25:16.719
<v Speaker 1>you give me two seventy five because that's what I got.

0:25:16.760 --> 0:25:20.600
<v Speaker 1>I got one seventy five. She said yes. I said, okay,

0:25:20.840 --> 0:25:25.720
<v Speaker 1>I called my artist. Let's roll. He went from one

0:25:25.800 --> 0:25:29.520
<v Speaker 1>seventy five to seventy five and twenty four hours, So

0:25:29.600 --> 0:25:34.480
<v Speaker 1>everybody's happy, right, Okay. So now fast forward. She says

0:25:34.480 --> 0:25:38.480
<v Speaker 1>she's going to get the paperwork together for two weeks

0:25:38.520 --> 0:25:46.080
<v Speaker 1>past three weeks past, no paperwork. I called up. I said,

0:25:46.080 --> 0:25:52.080
<v Speaker 1>what what's going on? Where's the paperwork? I don't know,

0:25:52.640 --> 0:25:55.240
<v Speaker 1>I don't know what's happening. I'm checking with my boss

0:25:55.280 --> 0:25:59.080
<v Speaker 1>in New York and I'm not getting a response on this.

0:26:00.840 --> 0:26:07.760
<v Speaker 1>I said, whoa. Now, remember this is this is this

0:26:07.880 --> 0:26:13.960
<v Speaker 1>is at the height of the East Coast West Coast drama. Okay, Well,

0:26:14.040 --> 0:26:19.120
<v Speaker 1>at that time, DJ Quick, who I was managing, did

0:26:19.160 --> 0:26:22.640
<v Speaker 1>a drop, and the drop for Power one O six

0:26:22.760 --> 0:26:28.320
<v Speaker 1>radio station said quote, I am no longer a supporter

0:26:29.040 --> 0:26:35.120
<v Speaker 1>of East Coast rap. That was the drop. Well, New

0:26:35.240 --> 0:26:39.639
<v Speaker 1>York heard of that. The executives in New York said,

0:26:40.320 --> 0:26:46.760
<v Speaker 1>do not deal withstand he represents gangs on the West Coast,

0:26:46.800 --> 0:26:51.200
<v Speaker 1>and DJ quit Mossburg Sugar Free. He's too involved with

0:26:52.359 --> 0:26:56.320
<v Speaker 1>So they never called me back. After two months, I

0:26:56.359 --> 0:26:58.600
<v Speaker 1>had to tell the artist, guess what your two seventy

0:26:58.640 --> 0:27:04.320
<v Speaker 1>five went down to drive? All right, fast forward, we're

0:27:04.359 --> 0:27:08.040
<v Speaker 1>having and you I don't know if you guys remember

0:27:08.080 --> 0:27:12.119
<v Speaker 1>this place it was. It was on nor It was

0:27:12.200 --> 0:27:15.919
<v Speaker 1>norm Nixon's place with his wife. It was called George's

0:27:16.920 --> 0:27:21.120
<v Speaker 1>and it was on uh it was in Hollywood. Well,

0:27:21.160 --> 0:27:25.359
<v Speaker 1>at that particular night, that we went. There was nine

0:27:25.400 --> 0:27:30.399
<v Speaker 1>of us and I had four saman bodyguards. None of

0:27:30.440 --> 0:27:35.200
<v Speaker 1>them were under I think three and fifty pounds. And

0:27:35.560 --> 0:27:41.879
<v Speaker 1>as we went into this restaurant for this joyous occasion,

0:27:43.160 --> 0:27:48.359
<v Speaker 1>Hanks Shockley walks in. I said, oh, this is great.

0:27:48.400 --> 0:27:50.320
<v Speaker 1>I get to talk to him in person, because I

0:27:50.359 --> 0:27:52.640
<v Speaker 1>haven't caught haven't called him in two months to talk

0:27:52.680 --> 0:27:55.840
<v Speaker 1>about what happened with the deal. Well, he was with

0:27:55.880 --> 0:27:59.359
<v Speaker 1>two people and I walked up to him at the

0:27:59.400 --> 0:28:03.200
<v Speaker 1>bar and I said, oh, Hank man, I'm so glad

0:28:03.240 --> 0:28:06.639
<v Speaker 1>to see you. And as soon as I started to

0:28:06.680 --> 0:28:11.040
<v Speaker 1>talk to him, he had two young men with him

0:28:11.119 --> 0:28:14.719
<v Speaker 1>who came in front of him and pointed at me

0:28:15.640 --> 0:28:19.119
<v Speaker 1>and said, get away. We don't want to talk to

0:28:19.160 --> 0:28:24.160
<v Speaker 1>you about this s H I t tonight. Well, unfortunately

0:28:24.840 --> 0:28:29.400
<v Speaker 1>they didn't know that all of our people were there,

0:28:29.400 --> 0:28:35.200
<v Speaker 1>and they saw him point and get aggressive. Lo and behold,

0:28:35.320 --> 0:28:39.760
<v Speaker 1>now I have eight people coming to do damage to

0:28:39.840 --> 0:28:43.680
<v Speaker 1>these three people from New York. I asked them to stop,

0:28:44.840 --> 0:28:50.000
<v Speaker 1>and I escorted Hank Shockly and his two men to

0:28:50.160 --> 0:28:53.160
<v Speaker 1>their car and I got him out of there. What

0:28:53.280 --> 0:28:59.280
<v Speaker 1>I didn't know was that they were followed when they

0:28:59.360 --> 0:29:04.440
<v Speaker 1>left and I get a call about thirty minutes later,

0:29:05.880 --> 0:29:11.720
<v Speaker 1>and they said, Stan, when we got to Homie pulling

0:29:11.800 --> 0:29:16.560
<v Speaker 1>in to the hotel, we can get him for you

0:29:16.720 --> 0:29:21.320
<v Speaker 1>right now and we'll get the other two. I panned,

0:29:23.480 --> 0:29:27.600
<v Speaker 1>I said, please, I begged, and James knows the hitters

0:29:27.640 --> 0:29:31.400
<v Speaker 1>that I was with in these James knows these are

0:29:31.440 --> 0:29:36.800
<v Speaker 1>people that do not play. They were from Fruittown. They

0:29:36.800 --> 0:29:41.960
<v Speaker 1>were from Looters and Crypts organization. I think it's called

0:29:42.040 --> 0:29:48.080
<v Speaker 1>Cross Atlantic or Atlantic Drive or something. Okay, well, these

0:29:48.120 --> 0:29:51.840
<v Speaker 1>were the people. These were huge men. And I begged

0:29:51.960 --> 0:29:56.920
<v Speaker 1>them to let him go, and they did. And I'm

0:29:56.960 --> 0:30:00.959
<v Speaker 1>gonna tell Hank Shocking right here, right now, a direct

0:30:01.000 --> 0:30:07.080
<v Speaker 1>statement to you. You're very lucky man. You're very lucky man.

0:30:07.160 --> 0:30:12.040
<v Speaker 1>And that's all I'll say. And I said that to say,

0:30:12.480 --> 0:30:20.760
<v Speaker 1>treat everyone in this music business with respect. You don't

0:30:20.880 --> 0:30:25.560
<v Speaker 1>know who they're connected to, you don't know what favors

0:30:25.600 --> 0:30:32.440
<v Speaker 1>are owed. So stop thinking you're tough. The most untoughed

0:30:32.640 --> 0:30:39.760
<v Speaker 1>people can have you clipped immediately. That's why I don't

0:30:40.200 --> 0:30:44.680
<v Speaker 1>disrespect anyone. And I'm telling you something again. This is

0:30:44.720 --> 0:30:51.960
<v Speaker 1>directed to you and and our directors. Stop lying. Two

0:30:52.040 --> 0:30:55.760
<v Speaker 1>people from the streets telling them you can do this,

0:30:55.840 --> 0:30:59.760
<v Speaker 1>and you'll do that when you know you're lying. And

0:30:59.800 --> 0:31:02.720
<v Speaker 1>then and you want to know why people are running

0:31:02.760 --> 0:31:05.080
<v Speaker 1>up in your offices and catching you and beating the

0:31:05.160 --> 0:31:07.120
<v Speaker 1>dog crap out of you when they do see you,

0:31:07.360 --> 0:31:13.800
<v Speaker 1>because your liars, your liars. Everyone up here has been

0:31:13.840 --> 0:31:17.600
<v Speaker 1>that's on this call has been lied to in this business.

0:31:18.600 --> 0:31:23.560
<v Speaker 1>I know eights men lied to. Definitely. I don't even

0:31:23.680 --> 0:31:26.479
<v Speaker 1>I don't even know the interestinges of your career, and

0:31:26.560 --> 0:31:31.080
<v Speaker 1>I know you've been lied to. It's just when you

0:31:31.200 --> 0:31:37.800
<v Speaker 1>get successful, the sharks come out and they're hungry. But

0:31:37.920 --> 0:31:41.400
<v Speaker 1>see I'm a barracuda and I know how to fight

0:31:41.440 --> 0:31:48.200
<v Speaker 1>a shark and they know that. So just to understand something,

0:31:48.560 --> 0:31:54.840
<v Speaker 1>I'm speaking to the independent artist. Know what you're doing now,

0:31:54.920 --> 0:31:58.320
<v Speaker 1>how are you doing it? And who are you missing with?

0:31:58.680 --> 0:32:01.800
<v Speaker 1>Because your money will go out there window promoting whatever

0:32:01.840 --> 0:32:04.080
<v Speaker 1>you're doing. We call it having a hit and going broke.

0:32:07.400 --> 0:32:11.080
<v Speaker 1>It's just it's just a different world. And when I

0:32:11.160 --> 0:32:17.960
<v Speaker 1>say we, I'm talking about music executives. We don't care

0:32:18.440 --> 0:32:25.520
<v Speaker 1>about you. Did you hear me? You? As rap artists

0:32:26.360 --> 0:32:34.360
<v Speaker 1>are interchangeable parts. You're gonna come You're gonna go. And

0:32:34.440 --> 0:32:41.280
<v Speaker 1>these executives hate you, and you know why because you

0:32:41.520 --> 0:32:46.760
<v Speaker 1>make more money than them and they have to promote you.

0:32:49.080 --> 0:32:54.760
<v Speaker 1>I'm telling you, I work on the inside, you see

0:32:54.800 --> 0:33:00.280
<v Speaker 1>the outside. I know when your record is being laid.

0:33:00.480 --> 0:33:04.240
<v Speaker 1>I know when you're being ripped off. I know when

0:33:04.240 --> 0:33:11.160
<v Speaker 1>it's legitimate what they're doing for you. So please understand something.

0:33:12.560 --> 0:33:17.760
<v Speaker 1>Don't ever think as an artist you have any clout.

0:33:19.120 --> 0:33:26.680
<v Speaker 1>You have none. They will do something wrong and they'll

0:33:26.680 --> 0:33:28.560
<v Speaker 1>do what they did did g J. Quick? You know

0:33:28.600 --> 0:33:31.680
<v Speaker 1>what they did to quit? You know what suspension is?

0:33:31.840 --> 0:33:39.480
<v Speaker 1>A you know what suspension is. I'll tell you. I'll

0:33:39.520 --> 0:33:42.520
<v Speaker 1>tell you what suspension is. What they did did J. Quick?

0:33:43.560 --> 0:33:47.720
<v Speaker 1>They said, we're not gonna pay you, We're not gonna

0:33:47.760 --> 0:33:52.880
<v Speaker 1>promote you until you give us what we want. And

0:33:52.920 --> 0:33:56.080
<v Speaker 1>guess what suspension does when they put you on suspension.

0:33:56.960 --> 0:34:01.040
<v Speaker 1>If they put you on suspension on January and they

0:34:01.040 --> 0:34:05.040
<v Speaker 1>put and they keep you in suspension, you don't get

0:34:05.040 --> 0:34:07.600
<v Speaker 1>out of that suspension until you give them what they want,

0:34:07.640 --> 0:34:12.719
<v Speaker 1>and then your contract starts. Over the time that we're

0:34:12.760 --> 0:34:17.759
<v Speaker 1>on suspension is not lifted. Now you go back to

0:34:17.800 --> 0:34:26.719
<v Speaker 1>the start when I came into Quick's life, he was unsuspension.

0:34:28.440 --> 0:34:33.520
<v Speaker 1>I had to work for six months convincing people I

0:34:33.719 --> 0:34:38.080
<v Speaker 1>wasn't Shug Night's cousin because when I called up there

0:34:38.920 --> 0:34:40.400
<v Speaker 1>and we ain't talking to you, stay and we know

0:34:40.480 --> 0:34:45.279
<v Speaker 1>you should Knights cousin. I went through six months of

0:34:45.320 --> 0:34:51.200
<v Speaker 1>this and this is when he was on a Profiles right. Yes,

0:34:51.640 --> 0:34:55.680
<v Speaker 1>I had to. I had to negotiate a deal for

0:34:55.800 --> 0:35:02.319
<v Speaker 1>DJ Quick where he would do ten songs and give

0:35:02.400 --> 0:35:08.080
<v Speaker 1>Profile ten songs and then they would let him out

0:35:08.120 --> 0:35:11.759
<v Speaker 1>the contract when he did the ten songs. The first

0:35:11.760 --> 0:35:13.919
<v Speaker 1>of thee was for Shock I was thinking was called

0:35:13.920 --> 0:35:21.280
<v Speaker 1>straight Plan. Then Profile was able to sell their company,

0:35:21.320 --> 0:35:25.120
<v Speaker 1>but they couldn't sell their company until DJ Quick gave

0:35:25.239 --> 0:35:29.920
<v Speaker 1>them the album. So when Quick gave him the album,

0:35:30.040 --> 0:35:33.319
<v Speaker 1>they stole their company to Arista, Arista, Arista, whatever you

0:35:33.320 --> 0:35:39.919
<v Speaker 1>want to Davis. Clive Davis calls me, stand, I need

0:35:39.920 --> 0:35:42.400
<v Speaker 1>to have a sit down. He flew out with his

0:35:42.440 --> 0:35:47.279
<v Speaker 1>head of an R. He said, we're gonna buy Profile.

0:35:48.760 --> 0:35:51.560
<v Speaker 1>Is DJ Quick or easy person to work with because

0:35:51.600 --> 0:35:54.680
<v Speaker 1>we want to do a documentary blah blah blah. I said,

0:35:54.719 --> 0:35:57.759
<v Speaker 1>he's a genius and he's a great person. I said,

0:35:57.800 --> 0:36:01.279
<v Speaker 1>so forget what you think you heard they did the

0:36:01.320 --> 0:36:06.080
<v Speaker 1>deal with us and I brought second to none over

0:36:06.120 --> 0:36:14.840
<v Speaker 1>to Aristom. That worked perfectly until the war started between

0:36:14.840 --> 0:36:18.840
<v Speaker 1>Puffy and everybody. And it got even deeper because the

0:36:18.960 --> 0:36:22.880
<v Speaker 1>night Biggie was killed coming we were coming from the

0:36:23.000 --> 0:36:28.840
<v Speaker 1>Vibe party in Los Angeles, and guess who was standing

0:36:28.880 --> 0:36:31.920
<v Speaker 1>next to Biggie when we were waiting for our cars

0:36:32.160 --> 0:36:36.400
<v Speaker 1>coming out the event, DJ Quick and I Biggie standing

0:36:36.480 --> 0:36:40.680
<v Speaker 1>next to Quick. I'm next to Quick on the other side,

0:36:41.880 --> 0:36:47.080
<v Speaker 1>Biggie and Quick not at each other, respectfully. He pulled

0:36:47.120 --> 0:36:54.279
<v Speaker 1>off and then the rest happened. After that, myself and

0:36:54.400 --> 0:36:58.600
<v Speaker 1>DJ Quick we're called into the l A. Sheriff's Department

0:36:59.480 --> 0:37:03.680
<v Speaker 1>and they old me point blank, stand, I know you

0:37:04.880 --> 0:37:10.000
<v Speaker 1>and your Shepherd land Crew and DJ Quick we're involved

0:37:10.040 --> 0:37:14.600
<v Speaker 1>in this murder some way, shape or form, and we're

0:37:14.600 --> 0:37:20.600
<v Speaker 1>gonna hound you until we get the facts. Obviously, DJ

0:37:20.800 --> 0:37:26.400
<v Speaker 1>Quick didn't do anything. It's just a whole mess. So

0:37:26.560 --> 0:37:30.839
<v Speaker 1>understand when I'm talking to you about issues back then,

0:37:30.960 --> 0:37:35.280
<v Speaker 1>it's a whole different situation that it is now. Everybody

0:37:35.320 --> 0:37:40.080
<v Speaker 1>on this panel knows that it was total violence. Crips

0:37:40.080 --> 0:37:42.719
<v Speaker 1>weren't taking it for par Rouse and pirous weren't taking

0:37:42.719 --> 0:37:48.320
<v Speaker 1>it for crips. Yeah, and and that was a very

0:37:48.400 --> 0:37:52.360
<v Speaker 1>volatile time right there, like you said, and um, everybody

0:37:52.360 --> 0:37:54.000
<v Speaker 1>in the streets knew what was going on, so we

0:37:54.040 --> 0:37:56.520
<v Speaker 1>don't have to even you know, go into that. But

0:37:57.440 --> 0:37:59.880
<v Speaker 1>they were looking to blame anyone if they can't except

0:38:00.040 --> 0:38:01.560
<v Speaker 1>the person that did it, because there was a lot

0:38:01.600 --> 0:38:05.560
<v Speaker 1>of stuff going on during that time. Well, if you remember,

0:38:05.920 --> 0:38:09.600
<v Speaker 1>Quick had a beef with eight, then he had beefs

0:38:09.600 --> 0:38:14.239
<v Speaker 1>with other people. Eight people weren't playing, the people on

0:38:14.360 --> 0:38:18.919
<v Speaker 1>Quickside weren't playing, So you got a volatile situation, man,

0:38:20.080 --> 0:38:24.640
<v Speaker 1>that anything could have happened. And I remember there was

0:38:24.680 --> 0:38:29.480
<v Speaker 1>another large faction out of l A that was after Quick,

0:38:31.840 --> 0:38:37.400
<v Speaker 1>So there was nothing but drama. I would get a

0:38:37.440 --> 0:38:42.120
<v Speaker 1>call every night, man, somebody has arrested, somebody got beat,

0:38:42.200 --> 0:38:44.680
<v Speaker 1>somebody got killed. I got to the point where I

0:38:44.719 --> 0:38:51.880
<v Speaker 1>didn't want to look at my phone because it's that bad, exactly.

0:38:52.000 --> 0:38:54.120
<v Speaker 1>And you understanding, I want to ask you about that

0:38:54.160 --> 0:38:56.960
<v Speaker 1>now that we're don Quick all on quicken those guys,

0:38:57.000 --> 0:38:59.160
<v Speaker 1>that ship of Lane crew, I want to ask you

0:38:59.239 --> 0:39:01.759
<v Speaker 1>what a few stre at first, we're going to one

0:39:01.880 --> 0:39:07.680
<v Speaker 1>sugar Free. How did you in Tone find him. Tone

0:39:08.400 --> 0:39:12.879
<v Speaker 1>Tone had his relationship with sugar Free, and he said, man,

0:39:13.239 --> 0:39:18.360
<v Speaker 1>we got something especial. So now remember you must follow

0:39:18.400 --> 0:39:21.200
<v Speaker 1>me when I say this. When I came into the

0:39:21.280 --> 0:39:27.959
<v Speaker 1>rap game, I knew nothing about rap. I just knew

0:39:27.960 --> 0:39:32.320
<v Speaker 1>what I liked, but I didn't know what was good, bad,

0:39:32.400 --> 0:39:38.239
<v Speaker 1>whatever the case may be. Okay, so now here comes

0:39:38.239 --> 0:39:44.640
<v Speaker 1>sugar Free. Tone played me sugar Free. I said, Wow,

0:39:45.239 --> 0:39:50.040
<v Speaker 1>he's going against the flow of the pocket of the song.

0:39:50.600 --> 0:39:54.279
<v Speaker 1>I said, it's and it's comical, it's it's funny. He said,

0:39:54.320 --> 0:39:58.680
<v Speaker 1>that's what's gonna be different. I said, okay, Well, it's

0:39:58.800 --> 0:40:04.200
<v Speaker 1>my job at that point to convince the industry that

0:40:05.200 --> 0:40:07.520
<v Speaker 1>this is something different than what you're used to hearing

0:40:07.520 --> 0:40:11.160
<v Speaker 1>on West Coast rap. Well, guess what. This is a

0:40:11.239 --> 0:40:16.839
<v Speaker 1>more behind the scenes information. I was managing a young

0:40:16.880 --> 0:40:20.400
<v Speaker 1>man by the name of Damian Young. He was the

0:40:20.400 --> 0:40:24.239
<v Speaker 1>program director of Power one oh six and guess what,

0:40:24.880 --> 0:40:29.360
<v Speaker 1>he was also the program directive High Nineties in New York.

0:40:30.000 --> 0:40:32.000
<v Speaker 1>But I didn't want anybody to know that we were

0:40:32.040 --> 0:40:39.040
<v Speaker 1>working together because it's a situation where hold off for

0:40:39.120 --> 0:40:48.879
<v Speaker 1>one second. It's a situation where, um, it's just when

0:40:48.880 --> 0:40:53.240
<v Speaker 1>you go to a radio station and you play something different.

0:40:54.480 --> 0:40:57.240
<v Speaker 1>I was like wow. I went to Power and Damien.

0:40:57.280 --> 0:41:00.239
<v Speaker 1>I took the Damien. He said, Stan, I can't play this. Man,

0:41:01.280 --> 0:41:03.840
<v Speaker 1>you're asking me to play some stuff that's going against

0:41:03.840 --> 0:41:07.160
<v Speaker 1>the grain. I said, man, this is some new stuff.

0:41:07.280 --> 0:41:12.640
<v Speaker 1>Damn you no, bro, I can't play it. I said,

0:41:12.680 --> 0:41:17.560
<v Speaker 1>all right, you're gonna be mistaken. I'm gonna break this record.

0:41:18.320 --> 0:41:22.040
<v Speaker 1>So there was another station at the time called three

0:41:22.080 --> 0:41:27.000
<v Speaker 1>to Be. I went over there, and the program directed

0:41:27.000 --> 0:41:32.239
<v Speaker 1>at the time his name was Ta Walla Sharp and

0:41:32.360 --> 0:41:37.160
<v Speaker 1>sugar Free should always think to Walla Sharp, because when

0:41:37.200 --> 0:41:40.319
<v Speaker 1>I played to Walla Sharp the sugar Free record, it

0:41:40.400 --> 0:41:42.840
<v Speaker 1>was called if you stay ready, you don't have to

0:41:42.840 --> 0:41:47.560
<v Speaker 1>get ready. He heard it up to the first hook

0:41:48.239 --> 0:41:52.320
<v Speaker 1>and he said, stand you gotta smash, and you gotta

0:41:52.440 --> 0:41:56.959
<v Speaker 1>smash artist. Let me break it for you. I said,

0:41:57.000 --> 0:41:59.799
<v Speaker 1>be my guests, my young brother, do what you gotta do.

0:42:00.440 --> 0:42:03.680
<v Speaker 1>He broke it in l A and then I broke

0:42:03.680 --> 0:42:05.799
<v Speaker 1>it all over the West Coast with my connections with

0:42:05.880 --> 0:42:11.359
<v Speaker 1>my people. The rest was history. That's how we broke

0:42:11.400 --> 0:42:16.840
<v Speaker 1>sugar Free, and everybody wanted to sugar Free on their project,

0:42:18.160 --> 0:42:20.439
<v Speaker 1>and then nobody want to embrace him. When he first

0:42:20.480 --> 0:42:25.800
<v Speaker 1>started saying that to say, you don't know what's gonna happen.

0:42:25.840 --> 0:42:30.319
<v Speaker 1>In music, you have no idea, and what we say

0:42:30.400 --> 0:42:33.920
<v Speaker 1>until it crosses the counter. In sales, you're just guessing,

0:42:35.280 --> 0:42:40.600
<v Speaker 1>simple as that exactly. I want to go back to

0:42:40.680 --> 0:42:43.360
<v Speaker 1>one of my personal friends. Man, he always gonna be

0:42:43.440 --> 0:42:47.959
<v Speaker 1>Big John to me. Mass Burg lit Great mars Burg.

0:42:50.200 --> 0:42:56.640
<v Speaker 1>Who um that young man was brought to me by

0:42:56.680 --> 0:43:03.080
<v Speaker 1>Lee Forward. He says, stay in kind of emotion about

0:43:03.080 --> 0:43:06.839
<v Speaker 1>this too. He said, stand as a young man named

0:43:06.880 --> 0:43:13.400
<v Speaker 1>Big John, and he said you gotta hear him. I

0:43:13.480 --> 0:43:17.920
<v Speaker 1>took it to tone. He said, oh man, this is

0:43:17.960 --> 0:43:25.000
<v Speaker 1>he Okay fast Forward. I called quit. I said, quick,

0:43:26.160 --> 0:43:29.680
<v Speaker 1>my bring something to you. And I think it's gonna

0:43:29.719 --> 0:43:31.960
<v Speaker 1>be complete fire. And I think he's gonna want to

0:43:32.040 --> 0:43:37.160
<v Speaker 1>be involved with this long story short. I went over

0:43:37.160 --> 0:43:40.879
<v Speaker 1>there quick, hurt. He says, oh my god, let's go.

0:43:41.560 --> 0:43:46.879
<v Speaker 1>He started working with Marsburg. Immediately. This continued, and then

0:43:47.040 --> 0:43:50.920
<v Speaker 1>Massburg was so was blowing up so well. R Kelly called,

0:43:51.000 --> 0:43:52.960
<v Speaker 1>he wanted to do something at that time. We let

0:43:53.000 --> 0:43:56.279
<v Speaker 1>him do a cut with him, snoop, and the list

0:43:56.320 --> 0:44:01.000
<v Speaker 1>goes on. I was in the student with him and Quick.

0:44:01.680 --> 0:44:05.719
<v Speaker 1>Uh we worked on something at one point. So yeah,

0:44:05.760 --> 0:44:10.600
<v Speaker 1>Mark was around. He definitely was getting around. Uh, he was.

0:44:10.719 --> 0:44:15.640
<v Speaker 1>He was plussed. He was a huge individual and you

0:44:15.680 --> 0:44:19.200
<v Speaker 1>know he was parrou and just one of the just

0:44:19.280 --> 0:44:23.120
<v Speaker 1>one of the greatest guys I've ever met. And you

0:44:23.160 --> 0:44:25.480
<v Speaker 1>gotta understand some Let let's explain something. Tell me if

0:44:25.520 --> 0:44:28.960
<v Speaker 1>this is wrong, because I need some input on this.

0:44:29.760 --> 0:44:34.120
<v Speaker 1>When I first started working with artists, the two producers,

0:44:34.160 --> 0:44:36.799
<v Speaker 1>there was only three producers who were super producers as

0:44:36.800 --> 0:44:40.879
<v Speaker 1>a dre Quick and battle Cat. Well, I managed Quick

0:44:40.920 --> 0:44:47.120
<v Speaker 1>and battle Cat. So therefore when I came on, I

0:44:47.320 --> 0:44:51.560
<v Speaker 1>demand because Quick and battle Cat take weeks to do

0:44:51.640 --> 0:44:55.120
<v Speaker 1>a particular record. It could be one single, it could

0:44:55.160 --> 0:45:01.880
<v Speaker 1>be one single, and Quick and battle Cat we're not

0:45:02.960 --> 0:45:10.640
<v Speaker 1>charging their friends who were trying to get music from

0:45:10.680 --> 0:45:13.240
<v Speaker 1>And when I came on board, I said, oh my god,

0:45:13.320 --> 0:45:18.280
<v Speaker 1>you guys are wasting three of your year round income

0:45:18.800 --> 0:45:21.960
<v Speaker 1>doing stuff for people who are never going to return

0:45:22.000 --> 0:45:25.560
<v Speaker 1>you any money. They're only promise to Quick and Battlecat.

0:45:25.760 --> 0:45:29.359
<v Speaker 1>Was that quote, When we get a major label deal,

0:45:29.440 --> 0:45:34.279
<v Speaker 1>we'll hook you up. That's great too, But at the

0:45:34.320 --> 0:45:38.120
<v Speaker 1>same time, my focus is making sure that they're straight.

0:45:38.239 --> 0:45:43.120
<v Speaker 1>So what I did, I said, anybody, I set a standard.

0:45:44.080 --> 0:45:49.920
<v Speaker 1>Anybody who wanted production from DJ Quick on my label,

0:45:51.120 --> 0:45:56.160
<v Speaker 1>they had to share publishing for the first record. After

0:45:56.320 --> 0:46:00.480
<v Speaker 1>that they got all their publishing because now I gotta

0:46:00.560 --> 0:46:03.279
<v Speaker 1>take both of my platinum producers off the market for

0:46:03.320 --> 0:46:06.719
<v Speaker 1>three months and they can't make no money. So what

0:46:06.920 --> 0:46:11.799
<v Speaker 1>we did we offered any artist that was signed to us,

0:46:13.000 --> 0:46:17.320
<v Speaker 1>you gotta split on the first We're gonna establish your career,

0:46:17.840 --> 0:46:20.640
<v Speaker 1>not even charge you for that. And as you will know,

0:46:20.880 --> 0:46:23.640
<v Speaker 1>a anybody that is to recording artists norm you notice

0:46:23.719 --> 0:46:27.600
<v Speaker 1>everybody knows this. They'll charge you for anything and everything.

0:46:28.280 --> 0:46:32.600
<v Speaker 1>Definitely anything and everything I got charged for. I got

0:46:32.680 --> 0:46:37.120
<v Speaker 1>charged for conversations. Did you get let me ask you something.

0:46:37.120 --> 0:46:39.520
<v Speaker 1>Did you get thirty seven dollars and fifty cents bills

0:46:39.680 --> 0:46:42.600
<v Speaker 1>from your attorney? Because I got three pages of thirty

0:46:42.600 --> 0:46:45.440
<v Speaker 1>seven dollars and fifty cent bills? And guess what those are?

0:46:45.480 --> 0:46:50.120
<v Speaker 1>Four calls that were made on your behalf that weren't answered. Yeah,

0:46:50.440 --> 0:46:53.880
<v Speaker 1>it's still thirty seven fifty. I had a fifteen thousand

0:46:53.920 --> 0:46:58.200
<v Speaker 1>dollar phone bill thirty seven fifties. I said, well, what

0:46:58.239 --> 0:47:05.480
<v Speaker 1>did you do? No? Well we try, Oh the stamps.

0:47:05.480 --> 0:47:08.799
<v Speaker 1>They charge you for meiling. They charge you for everything. Man,

0:47:09.040 --> 0:47:11.759
<v Speaker 1>I got charged back for everything and being a young

0:47:11.920 --> 0:47:15.000
<v Speaker 1>artist not really knowing this ship. Because not to say

0:47:15.040 --> 0:47:18.359
<v Speaker 1>all attorneys are bad, but you know, you have them

0:47:18.400 --> 0:47:21.560
<v Speaker 1>opportunities where if you don't know too much, then record

0:47:21.640 --> 0:47:25.440
<v Speaker 1>labels ain't gonna give you a lot. So they know ship.

0:47:25.520 --> 0:47:27.600
<v Speaker 1>I didn't know. They were charging me back for every

0:47:27.680 --> 0:47:31.920
<v Speaker 1>fucking thing, like they fucking sat on the phone with

0:47:32.080 --> 0:47:35.960
<v Speaker 1>my attorney for an hour and discussed paperwork. I got

0:47:36.080 --> 0:47:38.839
<v Speaker 1>charged a thousand dollars for that ship. I didn't even

0:47:38.920 --> 0:47:43.680
<v Speaker 1>know that ship. You got right, everything, any and every

0:47:43.719 --> 0:47:47.600
<v Speaker 1>and any little thing they fly, you feed, you, give

0:47:47.680 --> 0:47:51.040
<v Speaker 1>you some lunch at the fucking record label. They're charging

0:47:51.120 --> 0:47:54.680
<v Speaker 1>you for that ship. Like everything they go, you go

0:47:54.800 --> 0:47:58.359
<v Speaker 1>out for. You go out to dinner and you're thinking, like, yah,

0:47:58.440 --> 0:48:03.600
<v Speaker 1>they're treating your ass. Oh dinner and motherfuckers was eating

0:48:03.640 --> 0:48:07.160
<v Speaker 1>that Mr Childs And it's a man. They ste you

0:48:07.239 --> 0:48:10.120
<v Speaker 1>got a three thousand dollar bill they're charging you for

0:48:10.600 --> 0:48:14.280
<v Speaker 1>they take they it all back to you. Let alone.

0:48:14.320 --> 0:48:17.080
<v Speaker 1>You ain't getting no motherfucking royalties to begin with, because

0:48:17.120 --> 0:48:19.719
<v Speaker 1>record labels weren't giving up Ship. And that's what I

0:48:19.719 --> 0:48:24.319
<v Speaker 1>always always confused me, is like, goddamn, I'm producing the song,

0:48:25.040 --> 0:48:29.960
<v Speaker 1>I'm writing the song, I'm fucking the artist, but y'all

0:48:30.000 --> 0:48:33.160
<v Speaker 1>only giving me fucking a couple of cents and y'all

0:48:33.200 --> 0:48:36.239
<v Speaker 1>taking your money just for putting my ship in the

0:48:36.320 --> 0:48:41.080
<v Speaker 1>record stores. And Ship is crazy, it's an amazing thing.

0:48:41.719 --> 0:48:45.560
<v Speaker 1>And I'll just share another story with you. Norman and James.

0:48:46.400 --> 0:48:51.000
<v Speaker 1>You gotta hear this one. Their battle Cat to the

0:48:51.080 --> 0:48:59.720
<v Speaker 1>platinum album on the east Side. Mm hmm. Nobody got

0:49:00.200 --> 0:49:05.279
<v Speaker 1>their money properly. Guess why a TV T man they

0:49:05.320 --> 0:49:10.560
<v Speaker 1>weren't fucking wouldn't know. I said, now, wait a minute,

0:49:10.680 --> 0:49:15.120
<v Speaker 1>check this out. James, check this out, you guys. Battle

0:49:15.160 --> 0:49:19.320
<v Speaker 1>Cat calls me. He said, stand man, we got to

0:49:20.960 --> 0:49:26.319
<v Speaker 1>uh the East Side has blown up everywhere. Man ain't

0:49:26.320 --> 0:49:29.680
<v Speaker 1>sent and it's our money. I said, okay, man, He said,

0:49:29.719 --> 0:49:31.719
<v Speaker 1>can you help me with this situation? I said, let

0:49:31.760 --> 0:49:34.680
<v Speaker 1>me look into it. It. Just remember I tell you

0:49:34.719 --> 0:49:39.840
<v Speaker 1>I'm attorney based. So I called. I called the attorney.

0:49:40.520 --> 0:49:51.160
<v Speaker 1>I called the attorney and that represented t VT and

0:49:51.160 --> 0:49:56.239
<v Speaker 1>he said, stand you're my buddy. I know there's a

0:49:56.280 --> 0:49:59.760
<v Speaker 1>lot of money. Old you guys, you're not getting a penny,

0:50:00.400 --> 0:50:06.320
<v Speaker 1>so stop calling me. I'm doing you a favor. Ain't

0:50:06.320 --> 0:50:10.640
<v Speaker 1>nothing going down, bro. We're filing for bankruptcy. So if

0:50:10.640 --> 0:50:13.960
<v Speaker 1>you want to make some money from your clients, now

0:50:14.000 --> 0:50:16.680
<v Speaker 1>listen to this. If you want to make some money

0:50:16.680 --> 0:50:22.600
<v Speaker 1>from your clients, I work with you. I'll say. You

0:50:22.719 --> 0:50:24.759
<v Speaker 1>trying to get the money, but ain't nothing coming. So

0:50:24.800 --> 0:50:26.399
<v Speaker 1>if you want to make a couple of thousand doing

0:50:26.440 --> 0:50:30.400
<v Speaker 1>what you're doing, this, that's cool. I looked at the phone.

0:50:31.840 --> 0:50:37.520
<v Speaker 1>I said, Oh, the evilness is your spreading everywhere. Nobody

0:50:37.560 --> 0:50:42.160
<v Speaker 1>you can trust anywhere, I said. I called Battlecat. I said, man,

0:50:42.239 --> 0:50:46.600
<v Speaker 1>you know what that hundred thousand whatever you think you're getting,

0:50:47.239 --> 0:50:52.319
<v Speaker 1>it ain't coming, bro, It ain't coming, so don't look

0:50:52.360 --> 0:50:55.120
<v Speaker 1>for it. You know how many calls I've had to

0:50:55.160 --> 0:50:56.920
<v Speaker 1>make like that, the artists to think they have a

0:50:57.000 --> 0:50:59.640
<v Speaker 1>royalty check coming, and then when they get the paperwork,

0:50:59.680 --> 0:51:04.240
<v Speaker 1>like you said, they say ship, excuse me, oh stop,

0:51:05.239 --> 0:51:11.240
<v Speaker 1>what is this? And they never recovered. Then what happens

0:51:11.320 --> 0:51:15.600
<v Speaker 1>is the label knows you're in debt, they offer you

0:51:15.680 --> 0:51:20.520
<v Speaker 1>another contract exactly. That's it right there. You become what's

0:51:20.600 --> 0:51:24.080
<v Speaker 1>known as an advanced baby, Um, I'll tell you. And

0:51:24.120 --> 0:51:27.400
<v Speaker 1>the publishing side of the business is the most valuable side.

0:51:27.800 --> 0:51:30.839
<v Speaker 1>And I've seen guys turn over the stuff in perpetuity

0:51:30.880 --> 0:51:34.879
<v Speaker 1>for twenty five dollars for thirty thousand dollars because it's

0:51:34.920 --> 0:51:37.160
<v Speaker 1>usually all in cash. And another trick that they do

0:51:37.320 --> 0:51:40.279
<v Speaker 1>too is I saw my publishing company do this. They

0:51:40.280 --> 0:51:42.200
<v Speaker 1>have put the check on the third or fourth page

0:51:42.239 --> 0:51:44.879
<v Speaker 1>of the contract, you know, with a paper clip in there,

0:51:45.360 --> 0:51:46.759
<v Speaker 1>so you know. You get a young dude and in

0:51:46.880 --> 0:51:49.520
<v Speaker 1>his nineteen twenty years so he's looking at it. He

0:51:49.640 --> 0:51:53.200
<v Speaker 1>see that check for twenty five thousand dollars. Oh, man,

0:51:53.239 --> 0:51:55.279
<v Speaker 1>we ain't gotta go through all this, I trust y'all.

0:51:55.360 --> 0:51:58.080
<v Speaker 1>He signed the ship because he wants that check now,

0:51:58.360 --> 0:52:02.120
<v Speaker 1>John round six months later, after you don't want to

0:52:02.160 --> 0:52:05.400
<v Speaker 1>bought a car, you don't bought some clothes and change,

0:52:05.480 --> 0:52:08.280
<v Speaker 1>that money is gone. How about the motherfucker just steal

0:52:08.360 --> 0:52:13.360
<v Speaker 1>your publishers straight up. My first contract when I first started,

0:52:14.800 --> 0:52:20.840
<v Speaker 1>I signed a contract with unknown with Techno Hop Records, okay,

0:52:20.920 --> 0:52:27.240
<v Speaker 1>and our first deal was stu Orpheus Capital Okay. Charles

0:52:27.280 --> 0:52:32.680
<v Speaker 1>Huggins had a label called Orpheis. They had a distribution

0:52:32.760 --> 0:52:36.840
<v Speaker 1>deal with capital. Okay, me as a young motherfucker coming

0:52:36.880 --> 0:52:40.440
<v Speaker 1>from the hoods and content, I just wanted to wrap

0:52:40.920 --> 0:52:43.759
<v Speaker 1>I ain't no ship about contracts and publishing another that

0:52:44.480 --> 0:52:50.600
<v Speaker 1>so unknown knowing signed the motherfucker to you, then you

0:52:50.680 --> 0:52:53.120
<v Speaker 1>go get the deal with the label. So that's what

0:52:53.239 --> 0:52:56.840
<v Speaker 1>we basically did. I signed a deal with a knowns

0:52:57.000 --> 0:53:01.080
<v Speaker 1>company called Big Beat Records. Okay, we'll be be Productions.

0:53:01.200 --> 0:53:06.080
<v Speaker 1>That's what happened. That's where Mike Karen came from. Okay,

0:53:06.280 --> 0:53:12.120
<v Speaker 1>And what he did is after I signed the recording contract,

0:53:12.600 --> 0:53:17.040
<v Speaker 1>he stapled a publishing contract on the back of it

0:53:17.400 --> 0:53:23.120
<v Speaker 1>and added it as an exhibit. Oh look, he just

0:53:23.480 --> 0:53:26.560
<v Speaker 1>us who we talked about up, took my PI. Yeah

0:53:26.600 --> 0:53:31.520
<v Speaker 1>I know, No, I ain't no ship. So all the records,

0:53:31.600 --> 0:53:35.720
<v Speaker 1>my first CMW records, all that ship, it never had

0:53:35.760 --> 0:53:39.160
<v Speaker 1>my names on it because it was his publishing company,

0:53:39.400 --> 0:53:42.920
<v Speaker 1>because he just and not until I met John Smith,

0:53:44.080 --> 0:53:46.839
<v Speaker 1>which was I able to go back because he had

0:53:46.880 --> 0:53:50.320
<v Speaker 1>got an eighty thousand dollar publican deal through m c

0:53:50.560 --> 0:53:53.560
<v Speaker 1>A and the Nigga gave me twenty five hundred dollars.

0:53:56.160 --> 0:54:01.560
<v Speaker 1>I wrote everything, I've written, every fucking song I've ever done.

0:54:01.680 --> 0:54:04.720
<v Speaker 1>I've never had a ghost writer or never. I've always

0:54:04.760 --> 0:54:08.680
<v Speaker 1>written all my music, but for the first three albums

0:54:08.719 --> 0:54:13.000
<v Speaker 1>of my career, I received no publishing because he took

0:54:13.000 --> 0:54:19.719
<v Speaker 1>it off, just just took it. My goodness. I went

0:54:19.800 --> 0:54:26.080
<v Speaker 1>through Dude Something from gang Banging and thought that rap

0:54:26.280 --> 0:54:28.799
<v Speaker 1>was my way out of the hood. You get me,

0:54:29.080 --> 0:54:32.880
<v Speaker 1>so don't. I didn't know ship. I just wanted to rap.

0:54:33.080 --> 0:54:36.279
<v Speaker 1>You get me, fucking rapp is gonna take me from here.

0:54:36.520 --> 0:54:39.279
<v Speaker 1>I was seventeen years old, and the motherfucker knew that.

0:54:39.480 --> 0:54:42.520
<v Speaker 1>So he just took my ship like fuck it. So

0:54:42.920 --> 0:54:45.439
<v Speaker 1>that's the nature of the beasts of motherfucker's like that

0:54:45.440 --> 0:54:47.520
<v Speaker 1>that you had to deal with. And I didn't learn

0:54:47.560 --> 0:54:50.120
<v Speaker 1>to three albums later that I was supposed to be

0:54:50.160 --> 0:54:52.440
<v Speaker 1>getting paid for all the songs that I had broken.

0:54:53.880 --> 0:54:57.160
<v Speaker 1>It's it's it's amazing. James, you've never been on the

0:54:57.280 --> 0:54:59.560
<v Speaker 1>artist side of things, but I know you've been around

0:54:59.680 --> 0:55:04.120
<v Speaker 1>because every everything that you've been around, the Norm, your history.

0:55:04.320 --> 0:55:08.280
<v Speaker 1>Norm has a deep history in everything. But I shared

0:55:08.360 --> 0:55:11.960
<v Speaker 1>something with Norm the other day that I have to

0:55:11.960 --> 0:55:16.320
<v Speaker 1>share with you eight and James about what eight just said.

0:55:16.960 --> 0:55:21.600
<v Speaker 1>Let me tell you how they get you. Just say, James,

0:55:21.640 --> 0:55:28.360
<v Speaker 1>signs of contract for three hundred thousand as an artist, right, Okay,

0:55:28.560 --> 0:55:32.520
<v Speaker 1>they generate they being let's just say it's universe. They

0:55:32.640 --> 0:55:37.359
<v Speaker 1>generate the contract to the management of the artist. Right.

0:55:38.680 --> 0:55:43.160
<v Speaker 1>The artist usually has only had one meeting, if anything,

0:55:43.480 --> 0:55:46.400
<v Speaker 1>with the label to say hello, how you doing? And

0:55:46.400 --> 0:55:50.719
<v Speaker 1>then they're ushered out because the manager and the attorneys

0:55:50.920 --> 0:55:55.439
<v Speaker 1>don't want you involved as the artist. Okay, So now

0:55:55.680 --> 0:55:59.080
<v Speaker 1>here we go. Here comes the contract, which is about

0:55:59.120 --> 0:56:04.560
<v Speaker 1>fifty to six pages, all right, usually okay, so now

0:56:04.600 --> 0:56:10.200
<v Speaker 1>they give you three contracts. Now you've got designed multiple

0:56:10.280 --> 0:56:15.360
<v Speaker 1>signatures right a beginning artists, and they they just signed it.

0:56:15.560 --> 0:56:19.279
<v Speaker 1>They signed it. So what what the record company does?

0:56:19.440 --> 0:56:24.239
<v Speaker 1>They send you a legitimate contract, right, But when it

0:56:24.280 --> 0:56:29.840
<v Speaker 1>gets to the manager and the attorney, if those two

0:56:29.880 --> 0:56:35.520
<v Speaker 1>are in cahoots what I've seen done numerous times. Please listen,

0:56:36.960 --> 0:56:42.600
<v Speaker 1>they take the contract from the major label, they photo

0:56:42.680 --> 0:56:48.880
<v Speaker 1>copy the top, and they put carbon copies of papers

0:56:49.400 --> 0:56:54.880
<v Speaker 1>to blank out the details of the original contract. So

0:56:55.000 --> 0:56:58.960
<v Speaker 1>now you only have a heading of a contract. And

0:56:59.040 --> 0:57:05.720
<v Speaker 1>now they feel lend what they want? Do you feel me? Okay?

0:57:06.400 --> 0:57:11.600
<v Speaker 1>So now your manager and the attorney that's working with

0:57:11.680 --> 0:57:16.480
<v Speaker 1>the manager tells you, the artist, you've got two hundred

0:57:16.520 --> 0:57:20.640
<v Speaker 1>thousand coming, when in essence you had three hundred. So

0:57:21.080 --> 0:57:25.320
<v Speaker 1>what happens now you're signing? They got the original contract,

0:57:25.440 --> 0:57:31.160
<v Speaker 1>that's the good contract from Universal, but it's buried in

0:57:31.200 --> 0:57:37.240
<v Speaker 1>the signing. So now the artist signs everything. They turned

0:57:37.280 --> 0:57:40.680
<v Speaker 1>in the original contract to the record company, they send

0:57:40.680 --> 0:57:44.000
<v Speaker 1>out the three hundred thousand, but the management and the

0:57:44.080 --> 0:57:49.040
<v Speaker 1>lawyer only send you two hundred. So everybody made a

0:57:49.120 --> 0:57:52.400
<v Speaker 1>hundred thousand off of you, and you didn't even know

0:57:52.480 --> 0:57:54.800
<v Speaker 1>what you had. And tell me an artist that knows

0:57:54.800 --> 0:58:01.400
<v Speaker 1>who's in his contract, I'll wait and up until um,

0:58:01.440 --> 0:58:05.800
<v Speaker 1>I think it was five years ago. That's why I

0:58:05.880 --> 0:58:10.160
<v Speaker 1>started becoming commonplace for the law that the artists had

0:58:10.280 --> 0:58:13.080
<v Speaker 1>and the artist everybody's contract had to be the same.

0:58:14.320 --> 0:58:16.120
<v Speaker 1>If you went back and there the audit and if

0:58:16.160 --> 0:58:19.520
<v Speaker 1>it was anything else, if it was anything like weird

0:58:19.520 --> 0:58:21.520
<v Speaker 1>in that contract, that wasn't the same thing. As the

0:58:21.600 --> 0:58:25.560
<v Speaker 1>artists said, the contract is automatically avoided, and he was

0:58:25.600 --> 0:58:28.040
<v Speaker 1>free to go. And you're pretty much gonna open yourself

0:58:28.120 --> 0:58:31.040
<v Speaker 1>up to a lawsuit. Um. And you know, going back

0:58:31.080 --> 0:58:33.919
<v Speaker 1>to the music business stand, you know you were into

0:58:33.920 --> 0:58:37.080
<v Speaker 1>the time with black it's a lot better right now

0:58:37.960 --> 0:58:40.280
<v Speaker 1>because a lot of more information is out there. But

0:58:40.400 --> 0:58:42.000
<v Speaker 1>you were in a time man, and where a lot

0:58:42.040 --> 0:58:48.920
<v Speaker 1>of black artists was really getting screwed over lord have hey, hey,

0:58:49.000 --> 0:58:52.720
<v Speaker 1>let me ask this why as nobody got hurt behind

0:58:52.840 --> 0:58:57.160
<v Speaker 1>this ship, you're working with my money? Uh? They know

0:58:57.240 --> 0:59:00.920
<v Speaker 1>they crooks? Man. That That's when I glad I ain't.

0:59:01.760 --> 0:59:04.520
<v Speaker 1>That's that's when they started. That's when they started banning

0:59:04.600 --> 0:59:07.240
<v Speaker 1>us from the labels. That's when they started putting security

0:59:07.280 --> 0:59:10.080
<v Speaker 1>in the in the lobbies and telling you, like staying,

0:59:10.320 --> 0:59:12.919
<v Speaker 1>you can't come up here no more. And because they

0:59:12.960 --> 0:59:16.120
<v Speaker 1>started knowing when motherfuckers started coming up in their breaking

0:59:16.120 --> 0:59:19.200
<v Speaker 1>their motherfuck's ship, kicking indoors and threatening the A and

0:59:19.400 --> 0:59:22.960
<v Speaker 1>rs and people like that, that's when they started banning

0:59:23.000 --> 0:59:26.080
<v Speaker 1>people like us from getting into the lobbies and ship

0:59:26.400 --> 0:59:30.720
<v Speaker 1>because they started fearing. Because we started wising up, we

0:59:30.760 --> 0:59:34.120
<v Speaker 1>started being able to understand what contracts and splits and

0:59:34.200 --> 0:59:38.200
<v Speaker 1>publishing was and how much royalties we were getting, and

0:59:38.280 --> 0:59:41.080
<v Speaker 1>basically it was getting fucked. We're giving you all this

0:59:41.240 --> 0:59:44.080
<v Speaker 1>material and all this money, you're taking it out selling

0:59:44.120 --> 0:59:46.840
<v Speaker 1>it for ten dollars and fifty nine cents, making ten

0:59:46.960 --> 0:59:49.640
<v Speaker 1>twent thirty million, and then you're telling me I'm still

0:59:49.680 --> 0:59:53.760
<v Speaker 1>in the fucking red. The ship was unbelievable. So that's

0:59:53.800 --> 0:59:56.360
<v Speaker 1>when they started going, Okay, I need to hire off

0:59:56.440 --> 0:59:58.640
<v Speaker 1>duty cops and put them in my life because I

0:59:58.680 --> 1:00:01.320
<v Speaker 1>know when eating them walk up in here, it's gonna

1:00:01.320 --> 1:00:03.919
<v Speaker 1>be a gang of mess because he just sold two

1:00:03.960 --> 1:00:08.080
<v Speaker 1>million records. Million just hit the table. But we've been

1:00:08.160 --> 1:00:10.240
<v Speaker 1>to tell him he's still in the red for fucking

1:00:10.280 --> 1:00:13.640
<v Speaker 1>a hundred and something thousand or three hundred thousand, so

1:00:13.880 --> 1:00:17.080
<v Speaker 1>you ain't getting a roarty check. But I'll tell you

1:00:17.080 --> 1:00:20.440
<v Speaker 1>another thing too, this funked up about that, James, Like,

1:00:20.480 --> 1:00:22.560
<v Speaker 1>I'm gonna tell you how the record business go right.

1:00:23.280 --> 1:00:25.440
<v Speaker 1>Usually when you break it down the laymish terms and

1:00:25.600 --> 1:00:28.000
<v Speaker 1>artists only getting a dollar a record, right, what is

1:00:28.040 --> 1:00:30.200
<v Speaker 1>it stands sixty five cents to a dollar record or

1:00:30.200 --> 1:00:32.640
<v Speaker 1>some ship like that? Right that I was getting a

1:00:33.000 --> 1:00:36.160
<v Speaker 1>sixties something cent. I probably was giving about fifty some

1:00:36.520 --> 1:00:41.080
<v Speaker 1>sense a record. Let me try to get this off

1:00:41.080 --> 1:00:45.040
<v Speaker 1>real quick. Go ahead, they are taking all when you

1:00:45.120 --> 1:00:47.240
<v Speaker 1>recoup your money, James, Let's say they gave eight a

1:00:47.320 --> 1:00:50.480
<v Speaker 1>hundred seventy five thousand, and you figured they're getting anywhere

1:00:50.480 --> 1:00:52.720
<v Speaker 1>from six fifty to eight dollars a recording in at

1:00:52.720 --> 1:00:55.040
<v Speaker 1>that time, right, because we've got fiftical releases, you got

1:00:55.040 --> 1:00:57.480
<v Speaker 1>the final thet tapes and the CDs and ship right.

1:00:58.480 --> 1:01:01.400
<v Speaker 1>What it happened is, hey, it is getting recouped off

1:01:01.480 --> 1:01:04.960
<v Speaker 1>this little fifty cents. They're making that extra six dollars,

1:01:04.960 --> 1:01:07.560
<v Speaker 1>six fifty cents that don't come for eight. No, you

1:01:07.600 --> 1:01:11.480
<v Speaker 1>ain't accumulated enough money yet because he's recouping off the

1:01:11.520 --> 1:01:14.760
<v Speaker 1>fifty cents that he's getting the record. I'm not recouping

1:01:14.800 --> 1:01:17.800
<v Speaker 1>off the whole record. I'm only recouping off of those

1:01:17.800 --> 1:01:22.560
<v Speaker 1>fucking eight nine points they're giving me point worth seven cents.

1:01:22.800 --> 1:01:25.960
<v Speaker 1>So if I'm only getting seven seven points a record,

1:01:26.200 --> 1:01:29.240
<v Speaker 1>I'm only making forty nine fucking cents a record. Because

1:01:29.280 --> 1:01:32.480
<v Speaker 1>you gotta remember again, one point was seven cents, So

1:01:32.600 --> 1:01:35.960
<v Speaker 1>fucking if they're giving me eight nine points a record,

1:01:36.240 --> 1:01:40.040
<v Speaker 1>that's my sins. Okay. So I'm getting fifty cents a record,

1:01:40.400 --> 1:01:43.040
<v Speaker 1>so they charging me that. So when they fucking give

1:01:43.080 --> 1:01:46.120
<v Speaker 1>me that budget of one seventy five, I gotta pay

1:01:46.160 --> 1:01:49.520
<v Speaker 1>that back out of that fifty cents I'm getting. Okay,

1:01:49.560 --> 1:01:53.440
<v Speaker 1>when they don't spend three hundred thousand on my two videos.

1:01:53.920 --> 1:01:57.120
<v Speaker 1>I gotta pay that back out of my fifty cents,

1:01:57.880 --> 1:02:01.480
<v Speaker 1>not out of the ten dollars that record them sold for.

1:02:02.320 --> 1:02:05.320
<v Speaker 1>I gotta pay all that back out of my fucking

1:02:05.480 --> 1:02:10.840
<v Speaker 1>fifty cents. Okay. I wrote the record, I produced the record,

1:02:11.280 --> 1:02:18.200
<v Speaker 1>I wrapped the record. But because there label, they get

1:02:18.240 --> 1:02:22.680
<v Speaker 1>their own almost nine of my record, they get the

1:02:22.760 --> 1:02:26.440
<v Speaker 1>owner unless you com me in like smart motherfucker's and

1:02:26.640 --> 1:02:30.320
<v Speaker 1>was like funk that I'm oning my masters. You get

1:02:30.360 --> 1:02:34.040
<v Speaker 1>me keep your bread up front or give me fifty

1:02:34.120 --> 1:02:37.160
<v Speaker 1>thousand and I'll make sure whatever, whatever. But the key

1:02:37.320 --> 1:02:40.040
<v Speaker 1>was the on your masters. But if you if you

1:02:40.160 --> 1:02:42.320
<v Speaker 1>was just the starving nigga, like I said, James, we

1:02:42.440 --> 1:02:46.480
<v Speaker 1>come from content seventies and eighties babies, you get me.

1:02:46.720 --> 1:02:51.840
<v Speaker 1>So life in the hood wasn't that lucrative for motherfucker's

1:02:51.880 --> 1:02:55.200
<v Speaker 1>for a nigga like me who wasn't good in the

1:02:55.280 --> 1:02:58.240
<v Speaker 1>dope game, a little nigga selling crack or whatever. When

1:02:58.280 --> 1:03:01.480
<v Speaker 1>I wasn't the nigga, you get me. I don't five

1:03:01.560 --> 1:03:03.880
<v Speaker 1>six niggas on the block trying to hustle to the

1:03:03.960 --> 1:03:10.560
<v Speaker 1>same car. My way of Okay, rat was cracking Todd

1:03:10.680 --> 1:03:14.720
<v Speaker 1>t and then was cracking one DMC easy. Everybody was cracking.

1:03:14.760 --> 1:03:16.800
<v Speaker 1>So that's my way. I got tales of the Hood,

1:03:17.040 --> 1:03:20.160
<v Speaker 1>you give me, But I'm an uneducated nigga. When they

1:03:20.200 --> 1:03:22.840
<v Speaker 1>come to motherfucking music, you get me. I know, an

1:03:22.920 --> 1:03:26.520
<v Speaker 1>uneducated motherfucker. When it comes to the business of contracts

1:03:26.520 --> 1:03:28.920
<v Speaker 1>and all that I've been banging for the last four

1:03:29.000 --> 1:03:31.640
<v Speaker 1>or five years, I don't know nothing about it. All

1:03:31.720 --> 1:03:34.400
<v Speaker 1>I know is I could talk about the streets of Compton,

1:03:34.720 --> 1:03:37.439
<v Speaker 1>and these motherfucker's want to sell it because from here

1:03:37.480 --> 1:03:39.480
<v Speaker 1>to Tim Buck, two niggas want to hear about the

1:03:39.560 --> 1:03:42.760
<v Speaker 1>niggas in the khaki suits and the fucking raiders hats

1:03:42.800 --> 1:03:46.520
<v Speaker 1>and rags and ship. So that's when the executive come

1:03:46.560 --> 1:03:49.840
<v Speaker 1>in and go, it's motherfucker, don't know nothing here, motherfucking

1:03:49.840 --> 1:03:53.439
<v Speaker 1>here going he goes studio time, Here go a chain,

1:03:53.880 --> 1:03:56.040
<v Speaker 1>he go, A little money for your pocket, and I

1:03:56.120 --> 1:03:58.960
<v Speaker 1>spit all in tales about the Hood. We're gonna go

1:03:59.080 --> 1:04:03.680
<v Speaker 1>sell that ship for in dollars, okay, but you're not

1:04:03.880 --> 1:04:06.520
<v Speaker 1>knowing only giving you fifty cent a record. All that

1:04:06.640 --> 1:04:10.880
<v Speaker 1>work you just put in, we're only giving you fifty cents. Okay,

1:04:10.880 --> 1:04:15.800
<v Speaker 1>so motherfucker self two million records, made million, but they're

1:04:15.800 --> 1:04:18.560
<v Speaker 1>gonna go. Motherfucker. We sent you on tour, We sent

1:04:18.640 --> 1:04:22.240
<v Speaker 1>you on promo tour, We bought you lunch, we shot

1:04:22.280 --> 1:04:26.840
<v Speaker 1>two videos, we put posters up and down Hollywood Boulevard.

1:04:27.200 --> 1:04:30.560
<v Speaker 1>Motherfucker you was on Yo NTV wraps or this or that,

1:04:30.720 --> 1:04:34.000
<v Speaker 1>blah blah blah. We're charging you back for all that

1:04:34.040 --> 1:04:38.400
<v Speaker 1>ship out of your fifties dads, who ain't you just

1:04:39.480 --> 1:04:44.160
<v Speaker 1>he just laid it out what goes on every day.

1:04:44.160 --> 1:04:48.160
<v Speaker 1>And I hope every young artist just listened to every

1:04:48.240 --> 1:04:53.760
<v Speaker 1>word that you just said, because it is absolutely the

1:04:53.920 --> 1:04:59.440
<v Speaker 1>gospel in this music business. You are charged if you

1:04:59.600 --> 1:05:03.720
<v Speaker 1>pass gas in their office, they will get you on

1:05:03.840 --> 1:05:09.280
<v Speaker 1>anything and everything and then you will clean and if

1:05:09.280 --> 1:05:12.880
<v Speaker 1>you pass gas, thank you, thank you. So it's a

1:05:13.000 --> 1:05:17.840
<v Speaker 1>situation where please you young artists, please understanding. And James,

1:05:17.920 --> 1:05:22.920
<v Speaker 1>like you said, how come nobody has been hurt. Oh

1:05:23.080 --> 1:05:30.520
<v Speaker 1>there's been kidnappings, there's been ass whoopings, it just ain't

1:05:30.640 --> 1:05:34.640
<v Speaker 1>them publicized to the normal people. That's why A and

1:05:34.680 --> 1:05:38.480
<v Speaker 1>our directors who were getting whipped up on the West coast,

1:05:38.520 --> 1:05:41.520
<v Speaker 1>they were doing that in New York. But they were

1:05:41.560 --> 1:05:50.760
<v Speaker 1>tapping your ass on that West coast, and so he part, me, know,

1:05:52.280 --> 1:06:00.960
<v Speaker 1>it's amazing, that's great. I didn't start kidding. They need

1:06:01.360 --> 1:06:04.840
<v Speaker 1>they need some rooms, some shorts out there, make them

1:06:04.840 --> 1:06:09.080
<v Speaker 1>stop the ship, because that's that's yeah, that's what they did.

1:06:09.120 --> 1:06:13.160
<v Speaker 1>So what happened was the A and R directors got

1:06:13.200 --> 1:06:15.840
<v Speaker 1>panicked because you must understand, most of the A and

1:06:15.960 --> 1:06:19.960
<v Speaker 1>R directors that make the decisions are white guys, so

1:06:20.280 --> 1:06:23.560
<v Speaker 1>they don't they don't they don't know how to move

1:06:23.720 --> 1:06:27.440
<v Speaker 1>like that. So they do one or two things. Norm

1:06:27.600 --> 1:06:33.080
<v Speaker 1>they hire somebody from the street that's got connections, and

1:06:33.120 --> 1:06:37.480
<v Speaker 1>then they lay up under them and feel that they're protected,

1:06:38.280 --> 1:06:41.000
<v Speaker 1>but they don't know. They don't know that these dudes

1:06:41.040 --> 1:06:44.080
<v Speaker 1>ain't gonna protect them from other people. They're gonna step

1:06:44.080 --> 1:06:46.280
<v Speaker 1>back when some other people come and let that dog

1:06:46.880 --> 1:06:51.840
<v Speaker 1>crap be beat out of them. And staying you've been

1:06:51.920 --> 1:06:55.520
<v Speaker 1>you've been dealing with the music business from back in

1:06:55.560 --> 1:06:58.760
<v Speaker 1>the Motown days, from back in the early There is

1:06:58.800 --> 1:07:03.520
<v Speaker 1>no really difference or difference in what labels have always

1:07:03.560 --> 1:07:07.200
<v Speaker 1>done them or especially after this black artist. They have

1:07:07.280 --> 1:07:09.480
<v Speaker 1>been doing this since the beginning time. As far as

1:07:09.600 --> 1:07:12.520
<v Speaker 1>music and taking control of people's music and paying them

1:07:12.600 --> 1:07:15.720
<v Speaker 1>pennies on the dollar they hard earned work. So it's

1:07:15.800 --> 1:07:19.000
<v Speaker 1>basically it hasn't changed one bit. I mean, it's just

1:07:19.120 --> 1:07:22.720
<v Speaker 1>like we say with politics sometimes, you know, we get

1:07:22.800 --> 1:07:25.320
<v Speaker 1>the change of the president's every four years or every

1:07:25.400 --> 1:07:28.200
<v Speaker 1>eight years or whatever, and people hoping, hope and hope.

1:07:28.400 --> 1:07:31.080
<v Speaker 1>But just like with the music business, nothing has really changed,

1:07:31.120 --> 1:07:33.320
<v Speaker 1>and nothing has really changed for us artists. That's why

1:07:33.320 --> 1:07:34.960
<v Speaker 1>you got to learn how to take control of your

1:07:35.000 --> 1:07:37.880
<v Speaker 1>own destiny with the music business, to feel me, that's

1:07:37.920 --> 1:07:40.960
<v Speaker 1>why you got you got a lot of independency going

1:07:41.040 --> 1:07:43.520
<v Speaker 1>on now, and dudes, just hey, I'm just I'm I'm

1:07:43.520 --> 1:07:46.040
<v Speaker 1>gonna put my own record out and I'm just roll

1:07:46.120 --> 1:07:49.240
<v Speaker 1>of dice there because if I'm gonna get fucked but

1:07:49.520 --> 1:07:52.760
<v Speaker 1>for millions that I might as well roll a dice

1:07:52.880 --> 1:07:56.520
<v Speaker 1>myself and and and take the chance on myself. And

1:07:56.640 --> 1:08:00.280
<v Speaker 1>that's the truth I would at this particular point in music, Yeah,

1:08:01.440 --> 1:08:04.840
<v Speaker 1>the only way that majors are gonna make money is

1:08:04.880 --> 1:08:10.600
<v Speaker 1>through black music. Now. Saying that to say, could you

1:08:10.800 --> 1:08:14.480
<v Speaker 1>imagine I talked about this with Norm the other day.

1:08:14.960 --> 1:08:22.200
<v Speaker 1>Could you imagine if Puffy jay Z all the multi

1:08:22.400 --> 1:08:27.479
<v Speaker 1>millionaire rappers that own these companies. If they said, guess what,

1:08:28.320 --> 1:08:32.799
<v Speaker 1>We're gonna start our own distribution system. We're gonna promote

1:08:32.840 --> 1:08:37.600
<v Speaker 1>our own stuff and we don't need the majors. What

1:08:37.720 --> 1:08:39.760
<v Speaker 1>do you think the majors would do? I'll tell you

1:08:39.840 --> 1:08:42.559
<v Speaker 1>what they do. They cry and they've moaned, and they said,

1:08:42.600 --> 1:08:49.760
<v Speaker 1>what do y'all want? Don't leave? Don't leave. But these

1:08:49.880 --> 1:08:55.320
<v Speaker 1>executives like that shoe of money. They like that show

1:08:55.360 --> 1:09:00.280
<v Speaker 1>of money that's coming in. But they don't understand some things.

1:09:01.600 --> 1:09:05.639
<v Speaker 1>They have no power. Tell me something. They tell me something,

1:09:05.760 --> 1:09:08.080
<v Speaker 1>James Norm tell me a black man that you know

1:09:08.240 --> 1:09:14.679
<v Speaker 1>at a major company can sign the check. There is none.

1:09:15.240 --> 1:09:22.360
<v Speaker 1>They send out requests for checks and it has to

1:09:22.439 --> 1:09:26.360
<v Speaker 1>be signed by the upper alan. And who does it

1:09:26.520 --> 1:09:34.720
<v Speaker 1>go to first? My friends? The attorneys mm hmm. So

1:09:34.920 --> 1:09:38.320
<v Speaker 1>now you gotta kiss their asses. Now you've gotta kiss

1:09:38.360 --> 1:09:43.040
<v Speaker 1>the secretary's asses, because guess what. The attorneys don't type

1:09:43.120 --> 1:09:48.080
<v Speaker 1>up the documents those secretaries do. Now you're waiting for

1:09:48.200 --> 1:09:51.360
<v Speaker 1>your money. I've been in the office as Grace said,

1:09:51.800 --> 1:09:54.840
<v Speaker 1>fuck that mother, blah blah blah, he making all this money.

1:09:54.920 --> 1:09:57.680
<v Speaker 1>Hold up the check for three weeks. You calling as

1:09:57.720 --> 1:10:00.519
<v Speaker 1>an artist, where is my money? Where's my And they're

1:10:00.560 --> 1:10:03.519
<v Speaker 1>back there, we're working on it. We're working on it,

1:10:03.680 --> 1:10:06.080
<v Speaker 1>and they're throwing you the finger. We'll get back with you.

1:10:06.439 --> 1:10:09.120
<v Speaker 1>We're working on it. And then they hang up the phone. Bad.

1:10:09.439 --> 1:10:13.280
<v Speaker 1>Put that ship on the bottom of the pie. That's

1:10:13.320 --> 1:10:16.800
<v Speaker 1>how it works. And if you think a lot of

1:10:16.840 --> 1:10:21.280
<v Speaker 1>these rappers are getting signed because they're good, they ain't

1:10:21.280 --> 1:10:24.000
<v Speaker 1>getting signed because they're good. They're getting signed because he's

1:10:24.000 --> 1:10:28.000
<v Speaker 1>here and our directors needs to protection and they don't

1:10:28.000 --> 1:10:32.559
<v Speaker 1>want to ask whoop. And all they do is huddle

1:10:32.640 --> 1:10:34.800
<v Speaker 1>with these people from the street. Tell me what I

1:10:34.840 --> 1:10:39.200
<v Speaker 1>should do, Tell me what I should do? Where where

1:10:39.360 --> 1:10:42.679
<v Speaker 1>is the power of Atlantic Records? Aren't they the biggest

1:10:42.720 --> 1:10:46.280
<v Speaker 1>in wrap? Tell me who black over there is calling shots?

1:10:46.439 --> 1:10:50.760
<v Speaker 1>Oh wait, there's nothing And you would think that, um,

1:10:53.880 --> 1:11:00.439
<v Speaker 1>how about how about Universal? How about Sony? Tell me

1:11:00.640 --> 1:11:05.519
<v Speaker 1>who's stigning and checks this black? No? Wait, nobody. In

1:11:05.600 --> 1:11:07.679
<v Speaker 1>the sad part of Buttery was a lot of those

1:11:07.800 --> 1:11:11.320
<v Speaker 1>ass whoopers. That's usually giving out is given to the

1:11:11.439 --> 1:11:15.600
<v Speaker 1>person that don't have no control over nothing, thank you.

1:11:16.320 --> 1:11:18.880
<v Speaker 1>They just person at the time, the guy that is

1:11:18.920 --> 1:11:21.320
<v Speaker 1>actually doing all the stealing if the guy that you've

1:11:21.400 --> 1:11:24.120
<v Speaker 1>never met, you know, when you went Platinum, the one

1:11:24.200 --> 1:11:26.000
<v Speaker 1>motherfucker to the show up just to take a picture

1:11:26.040 --> 1:11:27.760
<v Speaker 1>with your ass and didn't get on, you've never seen

1:11:27.800 --> 1:11:33.360
<v Speaker 1>him again? Yeah, I probably met him probably in my

1:11:33.479 --> 1:11:36.040
<v Speaker 1>whole time being over at thrown me in the epic,

1:11:36.160 --> 1:11:40.120
<v Speaker 1>I probably met him once. That's what I'm saying. And

1:11:40.240 --> 1:11:42.880
<v Speaker 1>I'll tell you another thing. I'm sorry, man, it's just

1:11:43.280 --> 1:11:45.719
<v Speaker 1>I don't mean to laugh. But it's just like AH said,

1:11:45.840 --> 1:11:49.760
<v Speaker 1>jan Hey, ship ain't changed since when I got into

1:11:49.840 --> 1:11:53.759
<v Speaker 1>the business. On the on the work side, the executive side,

1:11:54.240 --> 1:11:58.280
<v Speaker 1>I represented the Jackson's, I represented Jermaine. Me and Jermaine

1:11:58.439 --> 1:12:04.040
<v Speaker 1>were co presidents of Jackson Communications. So I sit in

1:12:04.120 --> 1:12:07.320
<v Speaker 1>the room. Who's bigger than Michael Jackson at that time?

1:12:07.400 --> 1:12:10.519
<v Speaker 1>Who is bigger than the Jackson's? Nobody? And I'm just

1:12:10.640 --> 1:12:12.920
<v Speaker 1>saying that. It's not a pad on it. It's like

1:12:14.360 --> 1:12:17.280
<v Speaker 1>I've been I've been through it all, and I know

1:12:17.520 --> 1:12:20.519
<v Speaker 1>when you're lying to me. I know when you're bullshit.

1:12:21.200 --> 1:12:23.719
<v Speaker 1>And if I don't know, I'm gonna pick up the fall.

1:12:24.120 --> 1:12:26.160
<v Speaker 1>I'm gonna call people who do know, and I'm gonna

1:12:26.160 --> 1:12:27.840
<v Speaker 1>get back to you and say please miss me because

1:12:27.840 --> 1:12:31.280
<v Speaker 1>I don't want to deal with you. You know, it's

1:12:31.280 --> 1:12:33.439
<v Speaker 1>crazy though staying a lot of people don't believe me

1:12:33.520 --> 1:12:36.480
<v Speaker 1>when I tell him this. But I've seen stuff firsthand,

1:12:36.880 --> 1:12:38.840
<v Speaker 1>because you know, I should go over to London like

1:12:39.040 --> 1:12:41.080
<v Speaker 1>maybe two or three times a month because the company

1:12:41.120 --> 1:12:43.759
<v Speaker 1>of working floor was over there. And you will wonder

1:12:43.880 --> 1:12:46.599
<v Speaker 1>how these people are conditioned to be so evil. I've

1:12:46.680 --> 1:12:50.920
<v Speaker 1>seen the people always working for hold the guy's check up,

1:12:51.200 --> 1:12:54.120
<v Speaker 1>knowing and check the money was physically there. The guys

1:12:54.160 --> 1:12:56.920
<v Speaker 1>about to lose his house because when you sign a

1:12:56.960 --> 1:13:00.280
<v Speaker 1>publishing deal, they don't matter when asked calf be in

1:13:00.360 --> 1:13:02.600
<v Speaker 1>my releases the money to them. They're gonna sending it

1:13:02.640 --> 1:13:03.920
<v Speaker 1>to you when they want me. They gonna make some

1:13:04.080 --> 1:13:06.479
<v Speaker 1>entries off of it. The guy was about to lose

1:13:06.560 --> 1:13:08.479
<v Speaker 1>his house and either he had to check coming from

1:13:08.520 --> 1:13:12.360
<v Speaker 1>maybe forty dollars and he was behind Tim Graham in

1:13:12.400 --> 1:13:15.360
<v Speaker 1>his house so he needed the money. They wouldn't send

1:13:15.400 --> 1:13:18.160
<v Speaker 1>the guy's money, or he wind up killing himself, and

1:13:18.240 --> 1:13:21.840
<v Speaker 1>the people just said, oh, that's too bad. You know,

1:13:21.960 --> 1:13:23.720
<v Speaker 1>that's too bad. His family's on the streets of the

1:13:23.800 --> 1:13:27.160
<v Speaker 1>man can taken them, you know. Murder itself. But a

1:13:27.240 --> 1:13:29.640
<v Speaker 1>lot of these people are involved very much in the

1:13:29.800 --> 1:13:34.560
<v Speaker 1>dark arts, you know, wonder for you to become that

1:13:34.800 --> 1:13:37.400
<v Speaker 1>evil and because I know I couldn't do it, I

1:13:37.439 --> 1:13:39.560
<v Speaker 1>couldn't sit up and knowing the eight is about to

1:13:39.640 --> 1:13:41.360
<v Speaker 1>lose his house and I got some money of his,

1:13:41.560 --> 1:13:44.240
<v Speaker 1>they can help him. No, you get money and you

1:13:44.320 --> 1:13:47.320
<v Speaker 1>give people, You give everybody, they they they piece and

1:13:47.400 --> 1:13:50.200
<v Speaker 1>you move home, you know what I mean. But these

1:13:50.280 --> 1:13:53.599
<v Speaker 1>people are very much involved in the mysticism, the coke

1:13:53.800 --> 1:13:57.200
<v Speaker 1>and all kind of stuff, and they've been mentally conditioned

1:13:57.360 --> 1:13:59.600
<v Speaker 1>not to give a funk about you. You or you.

1:14:00.800 --> 1:14:02.519
<v Speaker 1>That's just the way it eels. And that's the part

1:14:02.600 --> 1:14:06.960
<v Speaker 1>people don't talk about. But you've incommendations. Then it's you

1:14:07.080 --> 1:14:10.080
<v Speaker 1>know what. Let me say that you guys, And I'm

1:14:10.120 --> 1:14:15.120
<v Speaker 1>gonna withhold names obviously, But there are some very powerful

1:14:15.200 --> 1:14:19.360
<v Speaker 1>Italian people in this business that I know very close,

1:14:20.240 --> 1:14:23.960
<v Speaker 1>very closely. And I had a conversation with these people

1:14:25.280 --> 1:14:28.000
<v Speaker 1>and I just wanted to ask some basic questions because

1:14:28.439 --> 1:14:31.639
<v Speaker 1>they've known me for thirty years. They're out of New York,

1:14:32.640 --> 1:14:35.360
<v Speaker 1>and I said, man, I gotta ask you guys some questions.

1:14:37.120 --> 1:14:41.200
<v Speaker 1>I said, do you respect black artists. It took a

1:14:41.360 --> 1:14:45.880
<v Speaker 1>nano second and he said fuck no. I said, why not?

1:14:46.960 --> 1:14:49.760
<v Speaker 1>He said, because y'all don't respect yourself, so why should we.

1:14:50.160 --> 1:14:53.759
<v Speaker 1>We'll fuck you at every chance we can get. I said, manness.

1:14:54.240 --> 1:14:56.120
<v Speaker 1>And my cousin was with me at the time, right,

1:14:56.920 --> 1:15:00.120
<v Speaker 1>and so we looked at each other. He said, you

1:15:00.200 --> 1:15:03.240
<v Speaker 1>know what's wrong with black people? I said, what's done?

1:15:04.840 --> 1:15:08.599
<v Speaker 1>He said, y'all don't listen to your elders. He says,

1:15:09.360 --> 1:15:12.479
<v Speaker 1>and now remember he's saying this, and two other gangsters

1:15:13.600 --> 1:15:18.479
<v Speaker 1>sitting next to they're nodding, and he says, you black

1:15:18.560 --> 1:15:24.000
<v Speaker 1>folks don't listen to your elders, But every other group

1:15:24.360 --> 1:15:28.160
<v Speaker 1>of people on this earth do. From the American Indians

1:15:28.320 --> 1:15:31.840
<v Speaker 1>when they used to sit around and have meetings around

1:15:31.880 --> 1:15:34.839
<v Speaker 1>the campfire, they listened to the chief with the most feathers,

1:15:35.040 --> 1:15:39.360
<v Speaker 1>who have the most experience. Then you go to the

1:15:39.520 --> 1:15:48.640
<v Speaker 1>Asian population, they pay attention and respect. They're elders, the Hispanics, everybody,

1:15:49.439 --> 1:15:54.040
<v Speaker 1>everybody but one group, and it's us. We are so

1:15:54.360 --> 1:15:58.759
<v Speaker 1>weak as far as unity is concerned. I'm talking about,

1:15:59.360 --> 1:16:03.080
<v Speaker 1>why are we always under somebody's umbrella? Why aren't we

1:16:03.320 --> 1:16:08.120
<v Speaker 1>the umbrella? Why are we always the ones that got

1:16:08.240 --> 1:16:10.200
<v Speaker 1>to go ask somebody for some Could you put my

1:16:10.320 --> 1:16:14.519
<v Speaker 1>record out? Can you give me an advance? Why don't

1:16:14.600 --> 1:16:18.160
<v Speaker 1>these black men get together and say, you know what,

1:16:19.320 --> 1:16:25.160
<v Speaker 1>we're gonna finance new acts. We're not gonna treat them wrong.

1:16:26.520 --> 1:16:30.640
<v Speaker 1>We're gonna be here to help and do something like that.

1:16:30.760 --> 1:16:34.120
<v Speaker 1>Instead of always giving your content to people who don't

1:16:34.200 --> 1:16:42.080
<v Speaker 1>like you as a race. Understand something, No major record

1:16:42.280 --> 1:16:46.880
<v Speaker 1>company in the United States wanted anything to do with

1:16:47.000 --> 1:16:51.479
<v Speaker 1>a rap They want to keep you out of your office,

1:16:51.560 --> 1:16:55.320
<v Speaker 1>out of their officers. Understand something. I'm talking to you

1:16:55.560 --> 1:16:59.559
<v Speaker 1>from the nineteen eighty nine time on up to right

1:16:59.680 --> 1:17:03.640
<v Speaker 1>now because I'm in those offices and every time you

1:17:03.720 --> 1:17:06.719
<v Speaker 1>try to bring a wrapper up in there's like, oh ship.

1:17:07.320 --> 1:17:09.600
<v Speaker 1>When I worked at Motown, the only rap artists we

1:17:09.680 --> 1:17:14.519
<v Speaker 1>had was Queen Lachief and that was too hard for him. Yeah,

1:17:15.560 --> 1:17:18.960
<v Speaker 1>that was too hard. I brought a rap group, the

1:17:19.000 --> 1:17:21.360
<v Speaker 1>rap group I told you about called Watch Car. I

1:17:21.439 --> 1:17:24.320
<v Speaker 1>brought them to Motown to Gerald Buzzby says Stan I love,

1:17:24.560 --> 1:17:27.679
<v Speaker 1>I love this group, but man, we're owned by Boston

1:17:27.840 --> 1:17:32.080
<v Speaker 1>Ventures and all our money comes from there. We they

1:17:32.120 --> 1:17:34.920
<v Speaker 1>will not tolerate this type of language, or at I

1:17:35.040 --> 1:17:38.880
<v Speaker 1>love you, but you got to go elsewhere. Well, nobody

1:17:39.040 --> 1:17:43.559
<v Speaker 1>was signing. Then you go to the phase of they

1:17:43.600 --> 1:17:48.240
<v Speaker 1>didn't want to sign you. Now it got regional. The

1:17:48.360 --> 1:17:52.040
<v Speaker 1>A and R directors didn't want to sign anybody from

1:17:52.120 --> 1:17:59.960
<v Speaker 1>the West coast. Nobody, James, you could you can get

1:18:00.000 --> 1:18:04.040
<v Speaker 1>of me a hundred thousand dollars. Back then as they stand,

1:18:04.520 --> 1:18:07.360
<v Speaker 1>can you shop this West coast? At can you shop

1:18:07.640 --> 1:18:11.400
<v Speaker 1>MC eight for me? Man I couldn't get m to

1:18:11.479 --> 1:18:13.600
<v Speaker 1>deal if he was just starting out, and at that

1:18:13.760 --> 1:18:17.320
<v Speaker 1>time New York was giving out the money. M hmm.

1:18:18.280 --> 1:18:21.960
<v Speaker 1>Nobody was signing anything from the West coast. Norman nobody.

1:18:22.000 --> 1:18:24.280
<v Speaker 1>You know that Norm was dealing with the same thing.

1:18:26.120 --> 1:18:28.360
<v Speaker 1>I would say, why aren't you signing something from the

1:18:28.439 --> 1:18:31.040
<v Speaker 1>West coast? You know what they told me? This was

1:18:31.200 --> 1:18:35.760
<v Speaker 1>even the radio programmers. They said, stand, you know what's

1:18:35.800 --> 1:18:39.840
<v Speaker 1>wrong with West Coast artists? I said, what's that? He said,

1:18:39.880 --> 1:18:43.840
<v Speaker 1>It's like Christmas time when everybody all we all know

1:18:44.000 --> 1:18:48.760
<v Speaker 1>what's in the package. It's just wrapped up. It ain't

1:18:48.800 --> 1:18:52.839
<v Speaker 1>nothing different. It's not that we disliked the West Coast.

1:18:53.479 --> 1:18:57.280
<v Speaker 1>It's like we don't want to hear about what's going

1:18:57.360 --> 1:18:59.800
<v Speaker 1>on in south central Compton and Watts at that time,

1:19:00.000 --> 1:19:04.040
<v Speaker 1>they didn't. They just didn't. It was all centralized in

1:19:04.120 --> 1:19:08.840
<v Speaker 1>Los Angeles. So to get your record played anywhere east

1:19:08.920 --> 1:19:12.960
<v Speaker 1>of the Mississippi, I forget it. You know what Clyde

1:19:13.040 --> 1:19:17.639
<v Speaker 1>Davis told me about Quick? I asked for some more

1:19:17.720 --> 1:19:24.040
<v Speaker 1>money to promote Quit. He called me directly and he said,

1:19:24.160 --> 1:19:27.240
<v Speaker 1>Mr Shepherd, I want you to talk to my promotion director.

1:19:28.120 --> 1:19:30.679
<v Speaker 1>I talked to his promotion director, and the promotion director

1:19:30.760 --> 1:19:34.400
<v Speaker 1>told me point blank, we are not giving you one

1:19:34.520 --> 1:19:37.679
<v Speaker 1>penny more then what we gave you when we first

1:19:38.160 --> 1:19:41.960
<v Speaker 1>did the deal. Now, if you want to market DJ

1:19:42.200 --> 1:19:46.840
<v Speaker 1>Quick east of the Mississippi, then you do that with

1:19:47.120 --> 1:19:51.120
<v Speaker 1>your money, but you're not gonna get it for from aristom.

1:19:51.520 --> 1:19:56.559
<v Speaker 1>We promote you on the West coast. Now what does

1:19:56.600 --> 1:19:58.519
<v Speaker 1>that do to you as an artist? What the death

1:19:58.560 --> 1:20:01.040
<v Speaker 1>do with Qrick? What does that do to Quick? Point

1:20:01.160 --> 1:20:07.439
<v Speaker 1>or limits the amount of money you're gonna make? And

1:20:07.640 --> 1:20:11.160
<v Speaker 1>remember this norm you work in publishing, right, you have

1:20:11.240 --> 1:20:15.200
<v Speaker 1>a history doing that. You must understand when you're trying

1:20:15.280 --> 1:20:19.920
<v Speaker 1>to get a record released, then you have to have

1:20:20.600 --> 1:20:26.519
<v Speaker 1>everything working properly at that time or you're going to fail.

1:20:27.640 --> 1:20:31.840
<v Speaker 1>Everything has to work with every aspect of what you're doing.

1:20:33.120 --> 1:20:37.280
<v Speaker 1>So now I'm trying to find out, well, how are

1:20:37.320 --> 1:20:40.880
<v Speaker 1>we gonna break some West Coast artists east of the Mississippi.

1:20:41.840 --> 1:20:46.599
<v Speaker 1>And my people call back and sistan, it's never going

1:20:46.920 --> 1:20:53.680
<v Speaker 1>to happen. There are no West Coast artists played in

1:20:53.920 --> 1:20:58.080
<v Speaker 1>Chicago except Kendrick Lamar. You may hear him once a

1:20:58.160 --> 1:21:06.439
<v Speaker 1>month on a record, but any other artists other than

1:21:06.600 --> 1:21:09.280
<v Speaker 1>Kendrick and you may get a feature like with a

1:21:09.479 --> 1:21:12.400
<v Speaker 1>y G on a record and they played in Chicago

1:21:12.560 --> 1:21:15.000
<v Speaker 1>or somewhere, but nobody played in the West coast east

1:21:15.040 --> 1:21:19.400
<v Speaker 1>in Mississippi. So your money is your money is cut

1:21:19.520 --> 1:21:24.479
<v Speaker 1>in half. So I would always tell the West Coast artists, man,

1:21:24.520 --> 1:21:27.640
<v Speaker 1>don't talk about your hoods. It's a turn off to

1:21:27.720 --> 1:21:33.439
<v Speaker 1>these programmers. They don't want to play it. But things changed,

1:21:34.720 --> 1:21:37.920
<v Speaker 1>as they do in American record business, and then now

1:21:38.000 --> 1:21:40.719
<v Speaker 1>we's switched back over to the West coast because why

1:21:41.280 --> 1:21:43.519
<v Speaker 1>because you've got a whole lot of new young people

1:21:44.400 --> 1:21:49.520
<v Speaker 1>that are coming into this game, not black folks, Hispanic

1:21:49.800 --> 1:21:57.360
<v Speaker 1>white and Asian black by hardcore hip hop, not black folks,

1:21:59.200 --> 1:22:04.519
<v Speaker 1>very very few. What are you going to tell somebody

1:22:04.560 --> 1:22:06.320
<v Speaker 1>from the hood about the hood when they're living it

1:22:06.439 --> 1:22:10.240
<v Speaker 1>every day. But the white kids across the world want

1:22:10.280 --> 1:22:14.800
<v Speaker 1>to hear everybody else wants to hear it. So that's

1:22:14.840 --> 1:22:18.160
<v Speaker 1>where your sales come from. So that's why these record

1:22:18.200 --> 1:22:23.120
<v Speaker 1>companies and our directors say, hey, you gotta I'm fast forward.

1:22:23.880 --> 1:22:27.760
<v Speaker 1>You got any your crimes on your sheet? You with

1:22:27.840 --> 1:22:30.599
<v Speaker 1>a game, because that's the only way you're getting signed

1:22:30.680 --> 1:22:35.519
<v Speaker 1>right now. You ain't getting signed. If you've got uplifting lyrics,

1:22:36.439 --> 1:22:38.719
<v Speaker 1>you ain't getting signed. If you're doing that, you're getting

1:22:38.760 --> 1:22:42.960
<v Speaker 1>signed if you as they asked me, oh Stan, you

1:22:43.080 --> 1:22:46.479
<v Speaker 1>got a new artist that you're launching. What side is

1:22:46.560 --> 1:22:50.280
<v Speaker 1>he from? What side is he from us? He g

1:22:50.479 --> 1:22:53.800
<v Speaker 1>ds he Black Disciples, Blood crypt Pararu? What is it?

1:22:55.439 --> 1:22:58.120
<v Speaker 1>I said? That makes the big difference? Now, okay, no problem,

1:22:58.600 --> 1:23:00.439
<v Speaker 1>no problem. I see where you're going, what you're doing.

1:23:01.600 --> 1:23:06.760
<v Speaker 1>It's a pattern of ignorance. You can't turn on the

1:23:06.880 --> 1:23:10.360
<v Speaker 1>radio right now and hear anything but gang involved in

1:23:10.400 --> 1:23:14.280
<v Speaker 1>the drug dealer, that's all. And you know, standing me

1:23:14.360 --> 1:23:17.680
<v Speaker 1>and you talk about this all the time. This is

1:23:17.760 --> 1:23:22.600
<v Speaker 1>that's going back to the um prison industrial complex, the

1:23:22.680 --> 1:23:28.000
<v Speaker 1>privatization of prison. Um. You know, some of the biggest

1:23:28.040 --> 1:23:32.519
<v Speaker 1>stockholders in these companies are Universe over VINDI and these

1:23:32.640 --> 1:23:36.800
<v Speaker 1>major corporations. So it gets really deep. It gets really deep.

1:23:37.520 --> 1:23:39.759
<v Speaker 1>You know, even if you go back to the stuff

1:23:39.840 --> 1:23:45.080
<v Speaker 1>that you know Benny Medina was doing. You know, I'm

1:23:45.080 --> 1:23:46.800
<v Speaker 1>gonna go too far into it, you know, but they

1:23:46.920 --> 1:23:49.200
<v Speaker 1>finally starting up. You know, it's a little lot of

1:23:49.240 --> 1:23:53.720
<v Speaker 1>stuff going on, man, And it's I'll just say this,

1:23:54.360 --> 1:23:57.280
<v Speaker 1>as my Italian friends friends told me, as I was

1:23:57.360 --> 1:24:03.080
<v Speaker 1>talking about to you, stand put about put about forty

1:24:05.040 --> 1:24:08.800
<v Speaker 1>into black acts. And I'm looking to remember, I'm listening

1:24:08.840 --> 1:24:11.880
<v Speaker 1>to everything these people say because they're the outsiders. They're

1:24:11.880 --> 1:24:15.519
<v Speaker 1>gonna tell you the truth. They don't need nothing from it, okay.

1:24:16.000 --> 1:24:21.080
<v Speaker 1>And they said every black act, listen to me, every

1:24:21.320 --> 1:24:33.080
<v Speaker 1>black act will eventually turn on their management everyone. So

1:24:33.280 --> 1:24:40.920
<v Speaker 1>now you've got a situation where say all three of

1:24:41.000 --> 1:24:46.600
<v Speaker 1>you guys form a label. You got this artist we promoted.

1:24:49.640 --> 1:24:54.200
<v Speaker 1>How much do you know that you're supposed to get paid?

1:24:56.160 --> 1:25:00.040
<v Speaker 1>You don't know, you don't know anything. You don't know

1:25:00.120 --> 1:25:03.320
<v Speaker 1>anything other than what you're told, and you were just

1:25:04.000 --> 1:25:09.200
<v Speaker 1>from that. The second thing is this, when I hear

1:25:09.479 --> 1:25:12.160
<v Speaker 1>no disrespect to anybody when I say this, this is

1:25:12.240 --> 1:25:15.800
<v Speaker 1>two artists. When I hear artists say that they own

1:25:15.960 --> 1:25:19.200
<v Speaker 1>their masters and they own this and they owned that.

1:25:19.760 --> 1:25:21.880
<v Speaker 1>Take it home with you if you own it. When

1:25:21.920 --> 1:25:25.679
<v Speaker 1>Shefford Lane was around, that was the most cracking label

1:25:26.120 --> 1:25:28.640
<v Speaker 1>in the West Coast that time. You know, before the

1:25:28.720 --> 1:25:32.200
<v Speaker 1>death row are pop, y'all Haven point three that you know,

1:25:32.560 --> 1:25:34.559
<v Speaker 1>y'all it was the hot crew in the streets right

1:25:34.640 --> 1:25:39.400
<v Speaker 1>here right Yes? What made you decide to just say

1:25:39.439 --> 1:25:41.519
<v Speaker 1>it was enough? Did you get tired of the urban scene?

1:25:43.000 --> 1:25:46.040
<v Speaker 1>You know? What it was is that it was the

1:25:46.160 --> 1:25:51.439
<v Speaker 1>deaths every time that was and James and eight can

1:25:51.479 --> 1:25:54.160
<v Speaker 1>detested this and nor might know you were hearing it,

1:25:54.439 --> 1:25:58.639
<v Speaker 1>but we were living it. It was like when Vincent

1:25:58.760 --> 1:26:03.559
<v Speaker 1>got killed, when James's brother got killed, All of these

1:26:03.680 --> 1:26:08.320
<v Speaker 1>people got killed. They were dropping on both sides. I

1:26:08.560 --> 1:26:11.640
<v Speaker 1>was on this. I was in the area when in

1:26:11.800 --> 1:26:16.040
<v Speaker 1>Compton at south Side when Venus and serena sister was killed,

1:26:16.600 --> 1:26:20.679
<v Speaker 1>we heard the shots. Okay, so it's a situation where

1:26:23.240 --> 1:26:33.960
<v Speaker 1>how could I say this, Um, it's I just felt

1:26:35.439 --> 1:26:40.519
<v Speaker 1>it was gonna be me next because I was getting

1:26:40.560 --> 1:26:48.559
<v Speaker 1>death threats. I remember the crips even came to kill

1:26:49.600 --> 1:26:55.719
<v Speaker 1>me and DJ Quick at a funeral MHM in Inglewood.

1:26:56.840 --> 1:26:58.840
<v Speaker 1>I remember when that happened because Crawford was with you

1:26:58.920 --> 1:27:02.479
<v Speaker 1>guys too, whitn't He high Sea was walking with me

1:27:03.840 --> 1:27:09.479
<v Speaker 1>into the church where the young lady was killed. That

1:27:09.680 --> 1:27:15.360
<v Speaker 1>was dating quick and they pulled up to me and

1:27:15.439 --> 1:27:21.600
<v Speaker 1>Crawford and they thought Crawford high See was quick and

1:27:23.360 --> 1:27:28.840
<v Speaker 1>when they saw it wasn't, they moved a little bit

1:27:29.360 --> 1:27:31.800
<v Speaker 1>to the side, and then other cars were coming through,

1:27:34.160 --> 1:27:37.000
<v Speaker 1>and so everybody in the church was running out. There

1:27:37.080 --> 1:27:44.600
<v Speaker 1>was gunfire everywhere, and it got so close to me

1:27:46.200 --> 1:27:49.360
<v Speaker 1>that I had to I had to redirect my life.

1:27:50.680 --> 1:27:59.800
<v Speaker 1>And after eighteen murders, I got paranoid. I was completely paranoid.

1:28:00.320 --> 1:28:03.880
<v Speaker 1>Every time I would leave anywhere. It destroyed everything in

1:28:04.000 --> 1:28:07.439
<v Speaker 1>my life because I couldn't be the same person that

1:28:07.560 --> 1:28:11.680
<v Speaker 1>I was because the level that we were playing with

1:28:12.640 --> 1:28:17.240
<v Speaker 1>the Compton Cripts and the Compton part rules were not playing.

1:28:18.600 --> 1:28:24.040
<v Speaker 1>These people will kill you and it doesn't take much

1:28:25.120 --> 1:28:29.240
<v Speaker 1>to get you clipped. Not in this world, as I

1:28:29.400 --> 1:28:35.000
<v Speaker 1>told you norm yesterday, I have people that have come

1:28:35.040 --> 1:28:37.200
<v Speaker 1>to me with five hundred dollars to ask me for

1:28:37.280 --> 1:28:40.080
<v Speaker 1>five d dollars to kill somebody that I was having

1:28:40.120 --> 1:28:43.519
<v Speaker 1>a problem with. And when I found out that five

1:28:43.600 --> 1:28:48.920
<v Speaker 1>hundred dollars could get your ass killed, I became so worried.

1:28:49.000 --> 1:28:52.120
<v Speaker 1>I said, who did I make mad? Because understand something.

1:28:52.680 --> 1:28:55.439
<v Speaker 1>I wouldn't let people get to DJ quick. I wouldn't

1:28:55.520 --> 1:28:58.560
<v Speaker 1>let people get the battle cap. And people hated that

1:28:59.560 --> 1:29:03.519
<v Speaker 1>they felt of his halting their career. So yes, I

1:29:03.720 --> 1:29:08.080
<v Speaker 1>left because I was panic stricken and I they want

1:29:08.120 --> 1:29:11.280
<v Speaker 1>to die. That may sound whatever way you want to say,

1:29:12.280 --> 1:29:19.400
<v Speaker 1>but when the heavy gangsters being mowed down around me, no, no,

1:29:19.880 --> 1:29:22.880
<v Speaker 1>I wasn't ready. I wasn't here, And like you said,

1:29:22.920 --> 1:29:25.120
<v Speaker 1>there was some heavy weights. And that's what people don't understand.

1:29:25.200 --> 1:29:28.519
<v Speaker 1>It don't matter who you are any man, any man

1:29:28.680 --> 1:29:31.200
<v Speaker 1>can be tuxed, and they don't have respect for motherfucker

1:29:31.240 --> 1:29:35.160
<v Speaker 1>out here. They really don't. And you East Coast and

1:29:35.280 --> 1:29:39.920
<v Speaker 1>down South artists and Midwest artists when you come out here,

1:29:41.080 --> 1:29:43.200
<v Speaker 1>when you come, excuse me, when you come to l A,

1:29:44.560 --> 1:29:48.040
<v Speaker 1>please understand two things have happened before you got there.

1:29:48.960 --> 1:29:53.000
<v Speaker 1>At all the hotels they have they been the gang

1:29:53.080 --> 1:29:55.720
<v Speaker 1>members that have already put their women in there as

1:29:55.800 --> 1:30:00.760
<v Speaker 1>the maids they know where you're staying. They know when

1:30:00.840 --> 1:30:05.200
<v Speaker 1>you give a false name. These women have been working

1:30:05.360 --> 1:30:08.479
<v Speaker 1>there for a while. And some of the door people

1:30:09.120 --> 1:30:12.479
<v Speaker 1>who you think are dressed properly and just there for

1:30:12.560 --> 1:30:17.200
<v Speaker 1>a job, they're connected and they will call, Hey, you

1:30:17.280 --> 1:30:21.720
<v Speaker 1>know who just came in here? Who l A is

1:30:21.840 --> 1:30:26.240
<v Speaker 1>the I'll say this l A and believe me, I'm

1:30:26.280 --> 1:30:28.439
<v Speaker 1>in Chicago. Ain't nothing you can tell me about game

1:30:28.479 --> 1:30:31.240
<v Speaker 1>bang And I'm dealing with this every day. But there's

1:30:31.560 --> 1:30:39.320
<v Speaker 1>there's something different about Compton. There's something different about Compton

1:30:39.400 --> 1:30:45.920
<v Speaker 1>watching l A. It's more planned, it's more evil. In Chicago,

1:30:46.800 --> 1:30:53.960
<v Speaker 1>it's random. Most of the time, it's random. But when

1:30:54.479 --> 1:30:58.080
<v Speaker 1>when Compton puts a mark on you, bro youth, you've

1:30:58.120 --> 1:31:02.479
<v Speaker 1>got problems. Yeah, so staying I wanna I want to.

1:31:02.760 --> 1:31:04.760
<v Speaker 1>I want to end up the day with a question? Right?

1:31:05.560 --> 1:31:09.640
<v Speaker 1>Uh huh? Where do we go from here? In the

1:31:09.760 --> 1:31:16.160
<v Speaker 1>music industry is all independence now? Nope? Because you know why,

1:31:17.640 --> 1:31:23.479
<v Speaker 1>because independent artists will sell out all from the right money.

1:31:24.040 --> 1:31:28.400
<v Speaker 1>Most will sell out. Who's gonna turn down a couple

1:31:28.400 --> 1:31:30.479
<v Speaker 1>of million dollars If you've got fifty thousand in the

1:31:30.560 --> 1:31:32.840
<v Speaker 1>bank and now you got paid notes and everything who's

1:31:32.880 --> 1:31:37.040
<v Speaker 1>gonna turn that down? Not many people, mm hmm, not

1:31:37.560 --> 1:31:40.920
<v Speaker 1>not many people. It's like even my own labor. I said,

1:31:40.960 --> 1:31:43.400
<v Speaker 1>you come here, you split publishing on the first album,

1:31:43.880 --> 1:31:46.960
<v Speaker 1>and what we will do for you what we did

1:31:47.040 --> 1:31:50.080
<v Speaker 1>for Sugar Free and everybody. We give you three thousand

1:31:51.520 --> 1:31:53.840
<v Speaker 1>to pay your monthly bills and give a thousand to

1:31:53.960 --> 1:32:02.479
<v Speaker 1>you for food. Now take this hundred and twenty five

1:32:02.560 --> 1:32:08.519
<v Speaker 1>thousand and do your help. Who's gonna turn that down?

1:32:09.920 --> 1:32:13.360
<v Speaker 1>I would do it if you're gonna tell me right now. Hey, Stan,

1:32:13.479 --> 1:32:16.560
<v Speaker 1>if I'm an artist, uh dr Dre and Quick and

1:32:16.600 --> 1:32:18.599
<v Speaker 1>battle Cat are gonna produce your help. But you've gotta

1:32:18.600 --> 1:32:21.360
<v Speaker 1>split some publish. But you can have your publishing for

1:32:21.400 --> 1:32:23.280
<v Speaker 1>the rest of your life. Just on this first album.

1:32:23.320 --> 1:32:25.640
<v Speaker 1>You're gonna be established, a start, and now you can

1:32:25.680 --> 1:32:27.479
<v Speaker 1>do whatever you want to do. I signed that deal

1:32:27.560 --> 1:32:32.840
<v Speaker 1>in a minute. Not a bad deal. It's what are

1:32:32.840 --> 1:32:35.560
<v Speaker 1>you going to get from a major, just like what

1:32:35.720 --> 1:32:41.439
<v Speaker 1>eight was doing. Eight may have got maybe thirteen fourteen

1:32:41.520 --> 1:32:46.400
<v Speaker 1>points for his deal. Maybe if they liked his attorney,

1:32:46.439 --> 1:32:50.439
<v Speaker 1>maybe fifteen or sixteen. But just like he said, you're

1:32:50.479 --> 1:32:55.160
<v Speaker 1>gonna get forty five to fifty cents per album, and

1:32:55.240 --> 1:32:58.840
<v Speaker 1>you're gonna be broke. That's why the artists I work

1:32:58.920 --> 1:33:03.080
<v Speaker 1>with right now, let me tell you something. I gotta

1:33:03.320 --> 1:33:08.360
<v Speaker 1>and I'm educating these young men. My artist daut of Chicago,

1:33:09.439 --> 1:33:13.519
<v Speaker 1>E S C D S and the Cartel. I educate

1:33:13.640 --> 1:33:17.920
<v Speaker 1>these young men. They're gonna be huge. My guy from

1:33:18.080 --> 1:33:24.080
<v Speaker 1>Kelly Park, Yellow Boy the Duke, he's gonna be huge.

1:33:25.000 --> 1:33:31.439
<v Speaker 1>I got two other artists, Almighty Wand and Dolf Rosa.

1:33:32.600 --> 1:33:37.040
<v Speaker 1>We're gonna break these people and we're going to help

1:33:37.160 --> 1:33:43.400
<v Speaker 1>them establish themselves and go from there. And we're gonna

1:33:43.479 --> 1:33:49.719
<v Speaker 1>help people. I'm helping people like like the Hood doctor

1:33:50.560 --> 1:33:54.599
<v Speaker 1>Melli Mel he's doing his the Hood professor. I help

1:33:54.640 --> 1:33:58.720
<v Speaker 1>all these people. Anybody that wants some assistance that are

1:33:58.800 --> 1:34:02.840
<v Speaker 1>not ignorant, come hilder this man. We we we don't

1:34:02.880 --> 1:34:06.760
<v Speaker 1>want ignorance around us. We really don't. Man. And and

1:34:06.880 --> 1:34:09.000
<v Speaker 1>the people I'm working with right now, man, I'm I'm

1:34:09.040 --> 1:34:12.600
<v Speaker 1>I'm I'm good man, I'm good, And I ask you

1:34:12.680 --> 1:34:14.519
<v Speaker 1>one more. Hopefully I'm not putting you in the spot

1:34:14.640 --> 1:34:17.280
<v Speaker 1>stancause you know, I can't talk about everything that we

1:34:17.360 --> 1:34:19.760
<v Speaker 1>talked about. It ain't for everybody else. It's ears, but

1:34:19.920 --> 1:34:21.840
<v Speaker 1>you had an incident one day. You know, we were

1:34:21.880 --> 1:34:24.120
<v Speaker 1>talking about the code a little bit earlier, and you

1:34:24.240 --> 1:34:26.559
<v Speaker 1>said that you have an experience that freaked you out.

1:34:26.680 --> 1:34:30.800
<v Speaker 1>One time. You actually walked in on the things they

1:34:30.920 --> 1:34:37.360
<v Speaker 1>here going on one time. Yeah. Well, first of all,

1:34:37.960 --> 1:34:46.080
<v Speaker 1>I'll be very short their satanism in this business. And

1:34:46.360 --> 1:34:49.280
<v Speaker 1>we happened to be one time coming from the location

1:34:50.720 --> 1:34:54.800
<v Speaker 1>and we went to a just a smoke, a few

1:34:54.960 --> 1:34:58.599
<v Speaker 1>joints whatever. We went to Malibu Beach and some partners.

1:34:59.640 --> 1:35:04.519
<v Speaker 1>When we got there, I heard some music that I

1:35:04.680 --> 1:35:09.000
<v Speaker 1>was familiar with, but it was coming from under what

1:35:09.120 --> 1:35:11.240
<v Speaker 1>do you call that, uh, the where you walk out

1:35:11.280 --> 1:35:13.920
<v Speaker 1>to the water where you do fishing at the at

1:35:13.960 --> 1:35:17.960
<v Speaker 1>the pier or whatever. They walk in and I heard

1:35:18.040 --> 1:35:21.599
<v Speaker 1>this music that had been played in my office before.

1:35:22.920 --> 1:35:25.920
<v Speaker 1>And then when I looked up, it was about twenty

1:35:26.000 --> 1:35:31.800
<v Speaker 1>five people under this appeared and they were all button naked,

1:35:33.320 --> 1:35:38.559
<v Speaker 1>and they saw men and women weightlifters, and they saw

1:35:38.800 --> 1:35:43.880
<v Speaker 1>me and my people, and they rushed us. Twenty to

1:35:44.040 --> 1:35:52.679
<v Speaker 1>twive butt naked people doing satanism. And the people were

1:35:52.760 --> 1:35:57.479
<v Speaker 1>involved in the record industry. I said, oh my god,

1:35:58.479 --> 1:36:02.280
<v Speaker 1>this is what is going on. Then I was representing

1:36:02.320 --> 1:36:06.639
<v Speaker 1>another guy from over in South Central and he's riding

1:36:06.680 --> 1:36:08.719
<v Speaker 1>with me, and I said, hey, man, I gotta stop

1:36:08.760 --> 1:36:12.800
<v Speaker 1>by the church. But he said, what said about the

1:36:12.920 --> 1:36:17.040
<v Speaker 1>church for what? And I said, well, he was a

1:36:17.160 --> 1:36:20.960
<v Speaker 1>person who I want to do my thing over there

1:36:21.000 --> 1:36:22.880
<v Speaker 1>for a second, you're just waiting the card. He said, Man,

1:36:22.960 --> 1:36:29.120
<v Speaker 1>funk God. I said what he said? You heard me?

1:36:30.040 --> 1:36:38.840
<v Speaker 1>Fuck God? I said, okay, no problem. And I knew

1:36:38.920 --> 1:36:43.439
<v Speaker 1>from that point on that Satanism and anti God was

1:36:43.640 --> 1:36:47.320
<v Speaker 1>rampant on that West Coast music scene. These people will

1:36:47.439 --> 1:36:50.200
<v Speaker 1>kill you. It's like a brotherhood. I don't care about

1:36:50.280 --> 1:36:52.640
<v Speaker 1>nothing else for Satanism. I'll just leave it at that.

1:36:53.840 --> 1:36:55.200
<v Speaker 1>That podcast word