(AllHipHop News) A lawsuit has broken out over the unreleased memoirs of Death Row Records R&B singer J’ewell Caples, titled My Blood, My Sweat and My Tears.
The book was supposed to be released in October of 2010, but was originally delayed due to “legal precautions,” that were not explained when the announcement came that the book would be delayed.
In an interview with AllHipHop.com in October of 2011, J’ewell said the delay of the book was the result of controversial content about her peers at Death Row, which she called home from 1992-1996.
On June 25, Best Hand Entertainment filed a lawsuit in the Eastern District of Michigan, Southern Division.
The lawsuit claims that Best Hand Entertainment had artists like Picasso, Bobby Sealz, and J’ewell as artists on a label.
Best Hand Entertainment claims they entered into a distribution agreement with RBC Records to release and distribute the CD, as well as the book.
The lawsuit claims that John Payne and the new owners of WideAwake-Death Row Entertainment, did not want the tell-all autobiography to be released.
The lawsuit claims that the owners of WideAwake-Death Row encouraged Best Hand’s owners to form a new company, D-Sound Syndicate, that would be funded by WideAwake-Death Row with $300,000 in capital.
Without permission, despite the fact that none of the original Best Hand masters were transferred to the new company, an agreement was executed on behalf of D-Sound with WideAwake-Death Row.
The lawsuit also claims that WideAwake-Death Row attempted to sign J’ewell directly, but she never accepted the offer.
As a result, the legal entanglement between the company’s, J’ewell’s memoirs never saw the light of day.
“Payne and WideAwake-Death Row Entertainment own the old Death Row catalog and did not want Best Hand to profit from the J’ewell account of the history of Death Row Records,” the lawsuit reads.
Best Hand Entertainment is suing for federal copyright infringement, the car is an infringement, contribution rate infringement, false attribution, and false representation.
Best Hand Entertainment is suing John Payne, WideAwake-Death Row Entertainment and eOne for millions.
Remember when we championed that Hip-Hop was the voice of the people? Our personal CNN, or more aptly titled, UNN (urban news network). Through Hip-Hop music and culture, we conveyed realistic tales relatable to all who either endured or fell victim to societal ills inflicted upon urban communities throughout this country. During that time, it was apparent that Hip-Hop was anti-establishment. Counter-intuitive, non-conformist, mandating change. No blurred lines.
Well, now, it appears that Hip-Hop is just an extended audio and visual commercial for capitalism. It’s the haves and the have nots – not just the have nots talking about what they have not. Which is a far cry from the truly “telling it like it is” approach that the culture was established upon. Whether you agree or disagree, arguably in Hip-Hop, we’ve seen the same effects on the culture that integration had on the ideas and ideals of the Black community. I need not say that it hasn’t all been beneficial.
My debt far exceeds my assets. Even the money that I borrowed to attend college, years ago, I still owe. I have not had money to freely throw around in years! As a matter of fact, I’m lying. I ain’t never had money to freely throw around.
I just asked a good friend of mine, “What do you do if you’re in a club and someone is making it rain and money lands on your head?” Do you (a) leave it there like you don’t feel it (b) get upset with whoever threw it, or (c) put it in your pocket and hope they throw some more?
‘Naw,’ he said, ‘You have two options: start throwing your own money, or get the hell out of the way.’
In today’s Hip-Hop culture, it just seems like everybody (and I do mean everybody) has money to throw. Even during these difficult economic times for the majority of Americans, if you let some tell it, they have more money than they can count.
I just recently heard in a song that Wiz Khalifa got so much money he could “open his own bank.” Damn, that sounds like Rothschild wealth!
In Baby’s new song “Born Stunna”, for the hook, Rozay continuously say in his infectious tone, “money, money, money bags.” Now I’ve been going to the bank for years, but I have yet to leave with my money in a bag. Unless it’s the same as them little envelopes that I usually receive my paper currency and change in, and they’re just calling it something different? Envelopes, money bags. Money bags, envelopes. Probably not the same, huh?
Several months ago, Bill Maher compared Mitt Romney to rappers who, in many cases, flaunt their club/tour date proceeds as wealth to us. Though not surprisingly with Mitt Romney, who is worth a reported quarter of a billion dollars from being a venture capitalist and is the Republican nominee for the 2012 Presidential election, we cry outrage and lambast him for not being able to relate to the common American citizen.
Surprisingly though, we literally love and defend the rap artist who reportedly makes millions of dollars from our personal consumption of their music, merchandise, concert tickets, liquor, and
lifestyle. All while reminding us just how financial distraught we are. In the majority of cases, a paycheck from complete poverty – literally.
We thank God for a many things, don’t we? Including, caller ID.
Not to digress, but I just read in my local newspaper that Baltimore City is intent on closing Korean-American-owned liquor stores in desolate urban neighborhoods because the product that they offer is helping lead to the demise of the community and its residents. Would you believe that it has been reported that some of the residents actually intend to defend the liquor stores? And in all actuality, all that the city requested was for the owners of the stores to offer a
healthier product.
Many of the liquor stores masquerade themselves as pseudo-grocery stores as well. Providing for the residents either unhealthy or subpar food and beverage options. And, not having a viable
option in clean, board-inspected and approved markets providing a multitude of healthier items in close proximity, we succumb. There’s a correlation there somewhere.
Now, as I continue. We’ve succumbed. Maybe it’s foolish of me to think, but personally I don’t believe that everything was meant to be profited from in a monetary fashion. Not everything. What dollar amount can honestly be placed on the sincere upliftment and betterment of people? And, what better vehicle do we have at our disposal than Hip-Hop?
Someone just recently told me that chasing the American Dream is what actually leads to poverty…because many people find themselves living well above their means. I won’t attempt to blame Hip-Hop for that. However, can we agree that Hip-Hop in itself has become the greatest marketing tool to employ the idea of capital gain? Which isn’t a bad idea in its totality, I guess.
How many ratched reality shows can one take!? There’s one more coming down the pipeline, and from the looks of the trailer, this show is going to be another hot diggity mess.
Drake’s ex and popular stripper, Maliah, leads the cast, which consist of ‘hood rat looking chicks that are obviously behind the scenes jump offs , because I’ve never heard of them. The show centers around Maliah, Rosee, Mary Jane, Sarah, and Branden. Yes, I said Branden! They have a male jump off, who according to him, claims to creep with some of your favorite “straight” rappers and athletes.
The show doesn’t have a network home yet, but expect VH1 or Oxygen to step up to the plate soon – you know they love showing train wrecks on their channels. Check out the trailer here:
Shows like this are really giving Atlanta a bad name! Is this the type of stuff you want to see on TV?
Philadelphia has been cranking out great rap since some of the genre’s earliest days. People like Lady B, Cool C and Steady B, and Jazzy Jeff and The Fresh Prince a.k.a. megastar Will Smith, helped usher the music along in its fledgling era of gaining mainstream acceptance.
Then came a new crop that would take the city’s reputation to a national and global level – the legendary Roots Crew, with Black Thought and ?uestlove at the helm, and showcasing MCs and songwriters such as Malik B, Dice Raw, and Jill Scott.
Then don’t forget the DJs/make-the-music-with-your-mouth-makers like Rahzel and Scratch, and other crews like State Property – with Beanie Sigel, Freeway, Young Chris, and Peedi Crakk – and the list goes on with Cassidy and more and more and more.
Then, there are the newer, bolder faces – at least newer to the people outside of Philly – like Meek Mill and Tone Trump and Ryshon Jones and OCD: Moosh & Twist and Rone and the following trio, who get to create and record their music in a place where icons have created and recorded.
Inside the legendary Larry Gold Studios in Philadelphia is an MC, singer, songwriter, producer, engineer, and visuals factory of sorts. They are cranking out the next generation of Philly rap – learning the ropes as offshoots of The Roots and Dice Raw, longtime Roots collaborator and head of Raw Life Records.
The trio at hand is rappers/singers Young Gliss [BGA] from Philly and De’Ko from the DMV area by way of Africa – along with producer/engineer/EP mastermind Geez Seven, also from Philly, whose young face hides the fact that he has already worked with Jill Scott, Jazmine Sullivan, The Four Tops, and other major talents. (And yes, that’s the actual Four Tops.)
Their The Dream Sequence EP – created in just one day and released two weeks ago – is a great representation of the work ethic being passed on at Larry Gold Studios. And with Geez’s tight production, it’s good, too. Check out AllHipHop.com’s interview with Young Gliss, De’Ko, and Geez, shot in ?uestlove’s personal “Amir Room” recording studio:
Download The Dream Sequence EP [or support and purchase on iTunes!]Follow them on Twitter: @YoungGliss, @DeKoKu, and @GeezSeven.
BONUS FOOTAGE: Watch the time-lapse trailer of their one-day creation of The Dream Sequence EP below:
Legendary producer Quincy Jones wants Diddy to learn his craft. During the launching of Spotify’s new app yesterday, Jones told Bruno Mars that, “P. Diddy wouldn’t know a B-flat if it hit him.“ Coming from one of the most respected producers in history, that’s got to hurt!
Jones, who has worked with everyone from Michael Jackson to Ray Charles, went on to say, “P. Diddy has a doctorate in marketing…. He’s got clothes companies and Ciroc vodka.”
It’s obvious Jones has no love for Combs.
Although Quincy Jones was just speaking the truth, Diddy can’t read music like him, but he makes hits – point blank, period.