E.O.A.A WEEKLY: Re-posted Friday, August 5, 2016, Written by Tiwanda ‘Ne Ne’ Lovelace
Bio | Email | Website | Twitter | YouTube | Online Store
SAMPLE CHAPTER - Music Business: It's a Dirty Game!
Chapter 7: In the Beginning – Music
The DEAL was at one point the biggest Dangling carrot of all. I wanted to write for others and have at least one project released where I was The Artist. I had plans but what I didn’t realize is that my plans interfered with someone else’s plans.
Along the way I manage to piss off all the wrong people. I tend to do that when I sense that my best interests are not being looked after.
If I felt the slightest bit of deceit, I was in the wind. I was moving too fast and I didn’t want to settle for someone that would shelf me or just steal my lyrics. While at the same time, I had to get my name out there and let people see that I had talent. I soon found out that it wasn’t about talent. What I found was a lot of unhappy musicians who were trying for much longer to get there. The industry is definitely worse than the dope game.
All of the production companies were starving. Everyone had a dream but only so many had the ability to get their work heard by those who could make it happen. The egos were ridiculous the higher up you went. I met a lot of producers and I intend to address each of them in the order I met them to share my experience.
My first recording artist deal was when I was twenty years old. I signed a contract for a female group with Sanchez (different from the other Sanchez mentioned later). It never went anywhere and with time I just moved on.
Although at first I wrote stories, children’s poems and melodies, I eventually met Lee Marcus. He was about six feet tall or a little less than. He was brown-skinned and almost always wore African styled attire. He seemed like he was a genuine person who didn’t make me feel uncomfortable but I could tell he had pimp-like ways. He encouraged me to use my feminine wilds to get close to older men but this wasn’t my style.
I wanted to get into the business but I was young and thought I would be different. I found out much later that the song was used on a popular sitcom. The lyrics for the hook was, ‘Keep standing tall, Keep standing tall…’
I had never watched that type of show at the time so I didn’t realize it was used. I had poor man’s copyright at the time. I found out late that his family/brother was connected to or a police officer.
I ran into Lee Marcus some time later, (after my Zomba ordeal) we were going out and my mother ran out to the car to take a picture of him as we were leaving. I was so embarrassed. I think that’s when she gave a damn about my safety.
Lee Marcus wasn’t a bad guy, but he thought very highly of himself. Lee Marcus and Jake Salazar were in the music business together. I never found out what happened with them.
Even though no one seems to tell me anything lately; it is amazing how much information that people would brazenly tell when they thought that they had the upper hand. He was having big fun telling me how much that I reminded him of his ex-wife and that he didn’t like her. He also told me of his family being associated with the police. I don’t think that that was the only group that he was affiliated with.
I just assumed that his cocky attitude was because he felt connected or untouchable. I laughed it off because it didn’t matter to me. During our conversations about the music business, I trusted him due to his experience as a drummer in a band and dealings in the music industry. He definitely had more experience than I had. The information he was providing me with and the music tracks for me to write to seemed invaluable.
Lee educated me about the importance of copyrights but advised poor man’s was same. I discovered much later that poor man’s copyright is not the same. He had described the structure of the music business as a unit which consisted of five major labels at that time. He went on to mention that the Jews ran the music business. I never thought anything about it because I saw all people pretty much the same.
Being raised separate and isolated, I only had an ideal of the world – Brainwashed from youth. It was my view that most people wanted positive results for others. I was going to change the world. All my messages, poems and song titles reflected positive or nurturing ideas but that soon changed. After the initial placements of works that I had given; I can only assume that word got out about lyrics being free game.
Keep in mind that I was a fugitive from the law living in Detroit when I was working with him and I was not on any radar because I never used my name or social security for anything. I don’t recall him ever offering me a contract but wanted lyrics for music tracks. Five works given to Lee/Jake: 'Keep Standing Tall', 'It's Love/I'm what you need', 'where are you now?', 'I need you here', and 'Just for you.'
Once I signed the publishing contract with Zomba, I spoke with Lee again and I was trying to build a team. I had four to five writers under contract with my company and asked him would he like to help. I remember that he became indignant and began to mock and he laughed at me saying that ‘him sign with me’ as if it was the funniest thing he had ever heard. He was by himself this time without Jake Salazar.
At this time I had no knowledge of other works being placed. So I believe that when Zomba referred to having songs that I had written ‘before and after’ covered in contract, it was very likely that they had knowledge of these works. I, personally, looked at it as if I were paying my dues and was willing to charge that to the game at that time.
Meanwhile, I was unaware that a Georgia warrant was issued on May 19, 1993 for probation violation after I started working with other local music producers. I think that my decisions definitely interfered with someone's plans. I can wholeheartedly say that their intentions were bad from start. Then I received the blame for not signing or letting them lock me down when it was apparent that I had no value in their eyes. Well after initial Georgia warrant and case was resolved, I really started to work with others in the music industry.
After many years, I was able to obtain information on each of the music producer and I discovered that they were not competitors as I was lead to believe but that they worked together.
[5] At the same time, Jake kept in touch with his musical roots frequently helping his uncle and various other groups playing ethnic music around Michigan and Ohio. The recording studio opened up another world for Jake Salazar and he started to analyze the recordings with curiosity and ambition dissecting each note like a surgeon and precisely orchestrating the production not only as a session studio musician but also as a record producer.
[5] http://ftpmirror.your.org/pub/wikimedia/images/wikipedia/commons/d/de/JS_Biography.pdf
Jake took direction from Richard Becker who was the chief engineer for Motown Records and owner of Pac 3 Recording Studio in Detroit that produced all of the hits for Westbound Record (Parliament/Funkadelic, The Ohio Players, and Patti LaBell.) Jake later hooked up with DJ (Ben Mercado) who played Latin music at a Detroit local black station, WJLB late at night. He worked for the DJ who asked Jake to go through the records from the mail room addressed to the show and separate the playable records from the non-playable records. Jake got to take the non-playable records home. The playable records, of course, were the records that contained money in the album jackets.
The music industry was deeply embedded heart, mind and soul and it surrounded Jake day and night with its creative influences. His devotion was unparalleled to no other desire. Jake did a sting promoting records for several independent record promotions companies with clients such as CBS Records, Warner Bros. Records, RCA Records, MCA Records and Capitol Records and traveled around the country visiting stations and their PDs to get them to play the records.
During the late seventies and eighties he started working for labels, production companies and music publishers while occasionally performing live and recording in the studio. Jake Salazar has led a successful career as a music record executive a long side his many accomplishment as a record producer.
Jake has achieved three Grammy Nominations for his record productions. Being in the company of legends, heighten Jake's capabilities with extreme confidence. Jake Salazar became affiliated with Manuel Montoya of MEG (Montoya Entertainment Group) a company that provided international services to clients such as Herb Alpert, Janet Jackson, Marie Osmond, Quite Riot, Julio Iglesias, Kenny Rogers, Placido Domingo and Sylvester Stallone to name a few and established a production company.
[6] Jake Salazar was a co-founder of the Tempo Music Group. A coalition of independent record companies owned by veteran industry professionals and celebrities such as Anita Baker/Michael Powell, Sylvia Moy, Martha Reeves, Isaiah Thomas, Thomas Hearns, John Salley, Lee Marcus, and Leonard Jones among other prominent business colleagues.
[6] http://ftpmirror.your.org/pub/wikimedia/images/wikipedia/commons/d/de/JS_Biography.pdf
Jake has been a consultant to over forty record labels and for many of the industries' major artists and manages the careers of a chosen few. Jake has been a consultant to over forty record labels and for many of the industries' major artists and manages the careers of a chosen few.
Hip-Hop/Rap artist Baby Blue, A.K.A. Big Nic on Big Money Records produced by Jake's son, Jake "Chacho” Salazar, III. All distributed through an arrangement with Universal. Prior administrative obligations were for Grammy Winner Little Joe/Polygram Records, Grammy Winner Cesar Rosas/Los Lobos/Warner Bros. Records, Platinum artist Tierra/MCA Records and DeLeon Music Publishing/Peer Publishing.
There they were, Jake Salazar and Lee Marcus, in my living room, personally providing me with music tracks for me to write my lyrics and melodies, I guess I should have felt honored. Jake Salazar, Lee Marcus, Leonard Jones and Michael Powell were all prominent business colleagues and they say that I am the one who is guilty of betrayal.
Obviously, I didn’t just pull names out of a hat, this was no accident, and I can see why these people want me to just die. I guess this is where the harassment from Hispanics could be originating from; they must have had a falling out. What did these maniacs do? Not one of them tried to offer anything, no decency, just treachery and you expected what to happen exactly? I was unaware that they were close prominent business colleagues.
Shortly after meeting Lee, I met Leonard Jones of All Purpose Disc. He was an older man in his late 50’s or older. I accepted a job as his secretary part-time. I actually liked getting dressed and going to work being that I had never worked before. My ex-husband provided for us for the most part, this enabled me to have more time focused on the children and my music. I believe he felt that keeping me close to home would prevent contact with other men.
While working for Jones, I met a lot of people that would come to the office to meet with him. He never came on to me or used his position to try to get some ass like I expected. Instead he seemed to be testing me and checking to see what my deal was. I was also watching, checking to see if he actually had good intentions. Of course, I felt that he might be in a position to help get me to where I wanted to be - Major. As I worked there, I would hear the different artist express their concerns and issues. Mostly, I would try to read all the people that came to his office; including his wife.
His wife hated the sight of me. Jones and I would laugh because we both knew that we weren’t doing anything. If he was cheating, it wasn’t with me. He’d joke and say that she called me ‘that Thang’ and I would reply with “that’s Ms. Thang to her.” Although I liked Jones, I didn’t have faith that once I signed he would follow through.
Eventually, some guys came in the office and they were not happy about something to do with money or a project and it was not pretty. That was my queue… I'm talking about Detroit men, pissed about money; I quit that day but before I left I called myself getting some numbers for distributors and possibly producers. Not unlike anyone else who felt they worked for it. I never saw him again but he wasn’t a bad man but just like others who couldn’t have their way – He probably wasn’t happy with me.
I worked with another talented local music producer named, Darrold Campbell. He was a light skinned African American. He was quiet for the most part but he spoke when he had something to say. I genuinely wished him well and I liked his music tracks. He was very professional and he should have gotten a deal on his talent alone. He would tell me that I didn’t need help with writing song lyrics. His tracks were highly praised by those in the industry with years of experience. I never hesitated to give his business info to others.
In addition, Darrell Strickland was lyricist/producer (slightly crazy in my opinion from bumping his head for years with that damn dangling carrot). He was between light and medium brown skinned African American. He was ‘cool people’ but because I felt that he wanted more than music relationship, I left. We had a great time hanging out though. We went to Nova Scotia, Canada and just kicked it with some other musicians. We all just sat around playing music and showing off our talents – Freestyle. I will always remember that trip. Canadians were very friendly to me and it was nice to get away for a while. I know that he had some crazy ass thuggish brothers.
I worked with Hershel Tinsley and Tim Lempke, they were music producers but I didn’t like the way they wanted me to sing. I tried and it didn’t work out. There was no soul or feeling in the song that I was given and I wasn’t allowed input.
I also met with some lady who had studio out of home said, ‘writing songs like a relationship’ Ah; no I don’t think so. I don’t remember her name but I didn’t like the vibe I felt. It was if people were saying that I tried to cut others and was completely self-serving.
I was working on exposure and decided to agree to a radio commercial for ‘Mind your business campaign’ on radio. This was a campaign designed to encourage support for local businesses. It was really good experience and it felt good to hear my voice on the radio.
I was so excited about music tracks and wanted to write, I began to seek out different production companies to offer my vocals to help sell their songs for studio time and/or tracks to write my songs.
Curtis, my husband, at the time supported my endeavors. He purchased a little 4 track player so that I could put my melodies down with the music. I would spend my nights smoking weed and writing. I became obsessed with music and the more lyrics I wrote, the more I learned about copyrights, legal process, etc…but what I didn’t know is that even if you have copyrights – you are not protected if you cannot get a lawyer to represent you.
My husband and family introduced me to Larry Hatcher (If that was his real name) was involved in music industry and was a writer/lyricist who lived in both cities, Detroit and Los Angeles. He was a friend of the family and I was told that he could possibly help me with my music. He was over 6 feet in height, medium build with medium brown skin African American and seemed upbeat, energetic and interested. He was fun and very likable but never open. At this time in my life, my husband and I had just come clean about our issues and concerns with our relationship. I thought that we had decided to work things out and stay together.
So I went into my dealings with Larry with strictly business mentality. Curtis would drop me off at his house to work on music tracks. I liked him but I was chilling and I made it clear that I wasn’t down for extracurricular activity. Once, Larry and Val were sitting on the couch and he just whipped it out and she started playing with him while they looked at me. I kept writing my lyrics and ignored them.
He was the type of man that knew his way around women and how to get what he wanted. One eventful night he decided to take me to a party at his friend’s house, I went and I was running from him the whole night. He finally brought me a drink, VSOP and I drank it. Right after the party, instead of him taking me home he went to his house. I was out of it and the next thing I knew he had me up on the table on my back and lifted my dress up and he was inside me. I couldn’t move and I was in shock.
Immediately, I started crying and demanded to go home. I was throwing up all the way home. I can’t remember if he took me or if Curtis came to get me. I continued throwing up and crying all night. I told Curtis, my husband what happened to me and he didn’t even respond. It was like he didn’t care or believe me. I told my mother and I received the same response. I was so hurt that neither of them gave a damn that I said forget them.
Do you know that I hardened myself at that moment and made excuses to justify me going back to who I felt was the only person really in a position to further my career? The sooner the better, than I can get away from them for not caring. I know that he was a friend of their family but I didn’t think that they would just give me away. So, yes; against my better judgment I went back to him knowing that I had hateful feelings towards him for what he did. I addressed it with him and expressed my anger towards what he did. He apologized and I said I accepted but I still held a grudge at that time.
I was furious but I just told myself that he didn’t hurt me. So keeping this in mind, I just couldn’t hold it anymore and when we had that meeting with Renzer - Zomba, rep at Art & Rhythm’s studio with Larry Roc Campbell, I just snapped because I couldn’t bear the thoughts of them cheating me out of my songs and that he did me like that. I went off on him verbally but no one else knew why, just Larry Hatcher and me.
I think back to when I told my girlfriends/sister-in-laws that one of my fantasies was to have my man just take it but we were just talking. Whatever, that was a tragic experience for me. Prior to this happening, I had met his friend Larry Roc Campbell and I was checking him out and I know he didn’t like it but he never said anything.
What possessed him to do that to me? – To this day I think this was a tactic used to cause imbalance, confusion and dismay. In addition, there were implications that she may have known Larry by her response to our incident. Looking back I truly believe he feels like I hurt his feelings because he said sorry. I am still negatively affected and way messed up by that move. If he hadn’t he may have had a chance but this drove me to what’s his face…and definitely far away from my ex-husband emotionally. - Hurt, angry, mad at myself for responding the way I did – My husband and mother failed me, so my dumb ass made matters worse with that one.
Larry had introduced me to Larry Roc Campbell, who at that time was a music producer (self-proclaimed master manipulator). Roc was already contracted with Zomba under Ara - Art & Rhythm and worked out of a small studio in Southfield, Michigan. Roc was slightly less than six feet tall, with medium build and medium brown-skinned African American. He would have probably been taller if he not been bow-legged. He also had a cleft or dimple in his chin. He was very sexy in his strong but silent kind of way. Art & Rhythm; which consisted of Ara and Roc, offered a contract but didn’t want to offer any monies. Of course, just like anyone else would have done – I declined due to no money. I tried to talk to him but he just sent me to Ara.
Since I had a husband and mother willing to give me away, I had someone that I thought that I could trust hurt my soul. Roc didn’t think enough to come up with any money for contract, I wasn’t asking for millions; this why I signed that BS contract in my weakened state.
I guess I needed to believe that there was something good for me somewhere. I guess I was delusional about wanting to be cared for or looked out for…maybe I saw something that wasn’t there (you think, duh). That won’t happen again. I know that he was encouraging me with his complaining about home, treating me extra nice. Maybe, I wanted to believe I saw something that wasn’t there. Again, my dumb-ass came on to him and he rejected (which was the right thing to do).
I really thought that he was a nice person but as I look back, he gave me a ‘shh!’ gesture right before the meeting with Renzer - Zomba, rep. Looking back that is probably why Zomba rep. told me after the issue with works to stay away from Larry Roc Campbell. Almost twenty years later, I discovered that he later became Jive Records A & R.
I worked on a few projects with Paul D. Allen. He was a music producer/engineer for Michael Powell’s Vanguards Studio. He is approximately 5’ 10, brown-skinned African American, well dressed quiet but definitely skilled music engineer. I didn’t trust him completely because his ties to Michael Powell and the fact that he scheduled a meeting with me then stood me up but called weeks later ready to work.
Paul was a music producer/engineer for Michael Powell’s Vanguards Studio. I had met Michael Powell but he had his artist that he was promoting and he came across very haughty. Mr. Egomaniacal…..I didn’t trust him and was afraid of his intentions and I had been shelved before. Paul was quiet and reserved when I worked with him. Honestly, he supplied one of my favorite music tracks, “Why can’t I” - that was a really good song. I wrote and sung my heart out for that one. He looked up to Roc with respect when I made reference to him. It was almost like he wanted to stand up for him when I began to mock.
Shortly after my battle with Zomba began, I met CC or at least that’s how he introduced himself, I was not expecting that and my instincts said ‘run bitch.' This was some new stuff and I probably shouldn’t have…but my instincts are rarely wrong. I don’t think he knew that I knew who he was.
I had just seen his picture in a magazine associating him to Jive label. He was gorgeous and so I started to pretend as if I didn’t recognize him. Suddenly, I got really nervous and I decided to make my famous get-away. I ran away because I couldn’t understand why he was in Detroit, at the same club that I was in. I don’t believe in coincidence. His demeanor and timing instilled concern and I was not ready but tried to play big girl but my fear took over.
David McPhearson - Zomba, rep - CC/Jive… I never worked with him but I was infatuated with briefly. He was light-skinned African American, possibly six feet tall and very attractive. I still have no idea of what his role was in this sudden appearance.
Shortly afterward I started to hear stories about something happened bad to someone and people started treating me awful. Implying that he or someone was beat up or hurt. Now how was supposed to feel. I didn’t know what was going on. I didn’t know who was just caught in crossfire and who was responsible. I didn’t know it was a joint effort at the time. Each of them had their own motives and intentions.
First encounter which lead to Zomba It felt like someone had my house wired because that would have been the only way. I didn’t go around telling everyone that he was there.
It wasn’t long after the incident with Larry that I met with David Renzer, Zomba, rep but he made me feel uncomfortable. I couldn’t read into his intentions probably because I was tore up from what I was going thru on the home front and with my music. I felt that it didn’t matter/I didn’t matter – Just get your paper boo boo or so I thought but my heart and mind betrayed me.
I was a mess and it was my first meeting with David Renzer and the other Jive label representative along with Larry, Roc and Ara, this is when I snapped. I had not seen or talked to Larry in a while so seeing him and being in that situation was upsetting at the time. It felt like I was in a pressure cooker and all I could think about was what I was told about him taking credit for my lyrics, combined with my emotional state regarding our incident and life on the home front was not good.
It was too much so I took it all out on him but he definitely deserved a lot of that verbal lashing (I had not forgiven him). I am sure that each of them had their reasons and motives for their actions but there is one thing that I am sure of is that their intentions were definitely self-serving.
Unfortunately, human nature doesn’t always allow for most to wish others well. Instead, it does give many reasons to intervene, attempt to prevent any positive results, and spread a complacent attitude towards doing the right thing.
Per Renzer's request, I was supposed to submit in writing my claim to my work.
Read more...
Yeah, they were trying to 'help' alright...themselves. Now they got people gunning for me because of all of their versions of events. I had no idea of all of the violence and 'warring' that ensued. I did not even know that they were spreading their lies through the streets or that I needed to defend myself.
How dare me want anything from their industry besides 'they' were popular...
But I am the bad guy and it's all my fault, really?
All I wanted to do was write but instead events were
manipulated to deprive rights while others profited.
The major music publisher's are able to skirt justice
even when copyrights are secured, initial legal
representation and even when a complaint is file
that complies with Federal Rules of Civil procedures
(clearly written in short plain numbered statements,
with demand for judgment).
It's Funny Until It Hits Home!
No one ever asked me and I was never addressed.
I was just put through the ringer unnecessarily without ANY compensation or decency...
treated like a Slave!
I worked for many years without any compensation while the big-wigs
made hundreds of millions.
Check out the songs titles listed on my Copyrights listed in Music Business: It's a Dirty Game!
For Only $4.99 -
Learn What They Don't Want You To Know!
Unfortunately, I do not have the resources at this time required to track any previous sales by others and I cannot afford tracking software (i.e: like Neilson).
This is clearly unnatural; especially, being that this is a very popular subject and no other titles provide actual documentation and step-by-step illustration!
The numbers confirm interest: yet, the lack of sales demonstrate an unnatural response. I can firmly state that the numbers don't lie and the odds of any single company having so many incidents of untimely, unexplained issues with services or products and no Sales are rare.
There is no earthly reason why only sold (5) five copies of any of my Books in over (4) four years! Obviously, there is Interest in this topic and this type of product is Rare and unlike most products available!
Google Plus - 88 followers|407,353 views
BLOGGER – Page views last month | 599 |
Page views all time history | 17,803 |
I will focus on what I can prove right now. In other words, I will focus on the copyright infringements (statutes of limitations do not apply due to civil rights violations - intimidation, bullying and misconduct).
I will focus on the unfair competition/unfair trade, judicial misconduct, civil rights violations.
I will also be contacting domestic and foreign publishers regarding possibly re-branding publications/program to offer licensing rights.
Clearly, someone has been having fun at my companies expense:
One seller has it listed for $0.78...
Another seller has it listed for $33,418.88...(really?)
All Time Sales Amazon...
Google search shows my $19.99 dollar book for 0.99 cents
If you are interested in assisting in any part of any of these project and would consider working contingency basis, please let me know.
Thank you for your time,
Tiwanda Lovelace
If you would like to review any of the documentation in support of my allegations, please visit:
On a personal note: I was told that I would not receive a dime from my books exposing the tactics and methods. These bullies should not be able to operate with impunity and that is why I started writing more publications, comic strips and other tools to expose the inhumanity of it all.
In Response to My Copyright Infringement Allegations
My Major Music Publishing Company's
Envelopes that I received Reflected the words 'Comics'...
It's Funny that this Major Music Publisher resent the same letter repeatedly, each time the Envelopes were stamped 'COMICS'!
It's Funny that they claim that they don't have the recordings but each song is listed in the Co-Publishing Agreement!
This page is taken directly from the Co-Publishing Agreement with Major Music Publisher!
This page is taken directly from the Co-Publishing Agreement with Major Music Publisher!
NOTE: Different Dates but still marked 'COMICS'...
It's Comical that this Major Music Publisher would offer only $1000.00 after being sent over 40+ song lyrics and melodies!
Slave Labor...
Of course, I refused to sign
that ridiculous document!
How is any of this my fault because I wish to exercise my rights as a U.S. Citizen?
These books provide documented proof, uncut and direct...telling the truth about the politics behind the business of music !
I feel that these Articles and books differ because it doesn’t just give you words from one person’s viewpoint, it provides step by step documentation proving how the artist works are stolen and how they are able to continue stealing lives with this modern day form of enslavement. This book uses contracts with major music publisher, copyrights, court records and more to demonstrate tactics used to steal, oppress and destroy lives.
My plight is not just about a broken heart, it's not about greed, and it’s not about revenge.
I don't have time to be running around blaming and trying to hurt people.
I am too busy struggling and trying to live.
It’s about obtaining true freedom from oppressors who have deliberately used lies, money, power and positions to create a form of modern day enslavement.
Although I had obtained and secured my ownership of Copyrights , I was denied representation. Although my Lawsuit was filed in accordance with Federal Rules on Civil procedures, I was not given an opportunity to address my claims in court! Note: I filed a lawsuit which provided these companies names (to the courts and other entertainment attorney’s) for using my works; which, included lyrics and melodies. All the while they were one in the same, working together.
I don't have time to be running around blaming and trying to hurt people.
I am too busy struggling and trying to live.
It’s about obtaining true freedom from oppressors who have deliberately used lies, money, power and positions to create a form of modern day enslavement.
Bio | Email | Website | Twitter | YouTube | Online Store
Copyrights was NOT the Issue!
I thought Copyright Laws were supposed to protect writers! I have been copyrighting my lyrics and melodies since 1991.
These songs were listed in the publishing contract, listed in notice of copyright infringements, court docs, and were played on the radio by major artist signed to BMG, EMI; throughout the years starting after Zomba music publishing contract.
Copyrighted Registration Information
I have always secured my copyrights even while I was under a publishing agreement with Zomba and it was their responsibility.
Copyrights Listed below: Lovelace, Tiwanda, 1967-
PAu001607112/ 1991-07-22 - Forever. PAu001529149 / 1991-07-22 - It’s sinful. PAu001529148 / 1991-07-22 - Once again. PAu001720136 / 1993-01-07 Collection I--Tiwanda. PAu001721382 / 1993-03-04 Collection II--Tiwanda. PAu002025249 / 1995-04-14 Seven West Productions Collection IV--better safe than sorry. PA0000789883 / 1996-01-16 What can I say to you (to justify my love)? Hi-Five greatest hits. Jive 01241-41544-2, c1994. Compact disc
Now my dangling carrot is the promise of my rights to privacy, justice and financial freedom. These are the things that I value and long for to help soften my heart again. The hope of having a real life without public ridicule, judgment and the threat of being set up for some horrific murder or the fear of being set up for some crime that would take away my freedom. These are tactics that are normally used to hide the truth. I wonder who or what stopped them from performing the usual tactics and tricks. Oh, that’s right they tried.
While signed to Zomba, I always obtained copyrights on my materials, signed split sheets and even required contractual agreements with writers that worked with me. They never filed my copyrights as they were contracted to.
Warner Chapel Deal Letter sent to Zomba/Jive re: Infringements
Less than a month later, on March 23, 1995
Handwritten Letter sent to Zomba – Re-typed:
Zomba 137-139 W. 25th Street New York, NY 10001Attn: R. B - Zomba, rep,
It has been brought to my attention that an artist by the name of Desire (real name Monique), with the help of Michael Powell, Art & Rhythm’s – Larry Roc Campbell, Paul D. Allen, and Larry Hatcher has received a 6 album deal with Warner Chapel label releasing single in May 1995.
{Now how would I have a clue if someone didn’t tell me and give me specific’s. This is the same public that runs around breaking their necks to hurt. I was definitely out of the loop but the source seemed reliable and I did supply a lot of material to all parties included.}
I bring this to your attention because I heard personally and have others confirm blatant similarities to my work and have been derived in full and/or in part from my copies submitted to Paul D. Allen of M. Powell’s – Vanguard Studio, Larry Hatcher of Hatcher Hits, Larry Roc Campbell of Art & Rhythm and David Renzer - Zomba, rep .I worked consistent with all parties listed for a period of time. I have split sheet for “Baby Stay With Me” and I heard this finished by her.
I would like for this situation to be taken seriously. In addition, I would like a copy of detailed Royalty
statement for Hi Five’s song, “What can I say to you to justify my love” and a copy of (signed) split sheet for my records.
As a whole, they have collected 30 or more songs from me and they are all on this same project.
Larry Roc Campbell laughed and told me that he received money when I signed with Zomba. How is this possible?
I certainly hope that you will handle my administration of copies of materials that were sent to David Renzer - Zomba, rep; Cherry,
Drew D - Zomba, rep, and Kymberlee Thornton - Zomba, rep. Paul D. Allen received a copy and signed split sheets with me.
I also have copyrights for the materials:
1. Why can’t I?
2. Baby stay with me
3. Is the sex still good
4. Casual Love
5. With your love
(Copies of split sheets shown below...)
Larry Hatcher received more than 14 songs. Larry Roc Campbell received more than 20 songs. Zomba was sent a mailed copy of 5 contracts of writers under my company, all signed split sheets and copies of all works from Lovelace.
In addition to Zomba reps constantly reminding me that Larry Roc Campbell of Art & Rhythm was No. 2, Zomba reps. attempted to have me sign under one of their writer’s or producer’s but I declined. My name was supposed to be on this list but it wasn’t.
Zomba/Jive’s Denies having Songs involved in copyright infringements... July 20, 1995 Letter from Zomba regarding investigation of my allegations:
Zomba’s Answer to Allegations:
This was their response to my allegations and complaints regarding stolen works.
Of course, I didn’t sign this mess…$1000.00???
Note: I filed a lawsuit which provided these companies names (to the courts and other entertainment attorney’s) for using my works; which, included lyrics and melodies.
All the while they were one in the same, working together.
The Fix Was In-
Case dismissed prior to Zomba Response dated August 7, 1996 On July 22, 1996, Courts dismissed my case I never had an opportunity to go before the judge and be heard. I never had my day in court.
Retyped for easy translation – A Copy of 1st page is shown below:
MI’s Order of Dismissal Ignoring Violence Page 1 - Retyped
UNITED STATES DISTRICT COURT EASTERN DISTRICT OF MICHIGAN SOUTHERN DIVISION
TIWANDA LOVELACE, Plaintiff,
vs.
BMI-ZOMBA-JIVE, Defendant.
Civil Action No. 96-CV-12270-DT KON. BERNARD A. FRIEDMAN
OPINION AND ORDER OF DISMISSAL
This matter is presently before the court on Plaintiff's response to the court's show cause order of June 21, 1996.
Plaintiff's original complaint consists of (1) a 2-page, handwritten document, (2) an 18- page typewritten document, and (1) a hefty stack of miscellaneous papers, ranging from assorted correspondence, to grievances with the postal service, to contracts.
The gist of the complaint appears to be that defendant allegedly has deprived Plaintiff of royalties due her for various musical compositions.
The court's show cause order noted that the complaint does not comply with Federal Rules of Civil Procedure 3(a) (1), 8(a)(2). 3(a) (3), and 10(b), and required Plaintiff to show cause why the complaint should not be dismissed for its failure to comply with these pleading requirements.
– (end of page 1 of Courts Order).
NOTE: My revised complaint complied completely with Fed. Rules of Civil Procedure but the courts ignored..
Zomba Response dated August 7, 1996
The revised complaint complied completely with Fed. Rules of Civil Procedure but the
courts ignored…
MI’s Order of Dismissal – Ignoring Violence Page 2 - Retyped
Plaintiff has responded to the court's order by filing the following documents: a cover sheet, an amended complaint. a "retaliation report" and a personal letter.
Although it is now in paragraph form, the amended complaint continues to be unorganized and incomprehensible.
It is not a short and plain statement of the basis for plaintiff's claims and for the court's jurisdiction as Fed. R. civ. P. sia) (1) and 8(.3) (2) require.
Because Plaintiff's complaint still does not abide by the Federal Rules of Civil Procedure for pleading, it must be dismissed.
Plaintiff's complaint must also be dismissed pursuant to 28 U.S.C. S. 1915(d). The Sixth Circuit has held that an in Forma Pauperis complaint may be dismissed as frivolous if the Plaintiff cannot make out any claim that is rational in law or in fact.
Lawler V. Marshall, 898 F.2d 1196 (6th Cir. 1950).
The Lawler court noted that "the facts must be delusional to be frivolous." Id, at 1199.
Applying this standard to the present case, Plaintiff's response to the court's show cause order is bizarre, irrational and, indeed, delusional.
In paragraph 6 of her amended complaint, Plaintiff states that "Zomba was notified by phone and mail, repeatedly, of
infringements, threats, and other coincidental acts of violence . . ."
In her personal letter Plaintiff asserts: while on my way to file this with the Federal Courts, was sent on a wild goose chase . . . and I had people related to the music industry accept responsibility for my… (End of page 2 of Order of Dismissal)
This is what I refer to as the Jedi-mind-trick…just wave your hands and say the words and it never happened.
I didn’t imagine bullet holes, family friend shot up, family member assaulted, etc..
On July 22, 1996 the courts dismissed my case as frivolous. Judge Bernard A. Friedman cited that my show cause order was bizarre, irrational and indeed delusional. Judge Friedman continues to state that the complaint is fanciful and delusional. I didn’t know that copyrights and certified mail receipts were miscellaneous papers.
So, let me get this right…I imagined my house getting shot up, double homicide and Family members assaulted.
The judge could have assigned counsel or made
another decision. Talk about getting assaulted,
another decision. Talk about getting assaulted,
I felt violated all over again.
I agree my initial letter to the court was emotional but it didn’t negate my request in accordance Federal Rules of Civil procedure, Rule 16 (a)(b)(c); Also under U.S.C., Title 15 28,19,49; Under 28 U.S.C, 1915(d) – Plaintiff request counsel be assigned…preventing protraction due to lack of management.
I know that this was a bold move but considering the situation there was no other recourse.
Follow this link to URL which provides a copy of Search Warrant for a Double Homicide that the courts deemed delusional and frivolous!
Case Summary of Events
This is my 1st letter sent with Complaint which summarized events:
[pdf-embedder url="https://requestforlegalhelp.com/wp-content/uploads/2015/12/LETTER-OF-EXPLANATION-and-list-of-exhibits-submitted-to-courts-PDF.pdf"] [embed]https://requestforlegalhelp.com/wp-content/uploads/2015/12/LETTER-OF-EXPLANATION-and-list-of-exhibits-submitted-to-courts-PDF.pdf[/embed]
Retyped for easy translation- A Copy is Shown Below:
Explanation of Exhibits
Enclosed documents will substantiate claims that Zomba and Associates set out to defraud my company, Seven West Productions, LLC and I, Tiwanda "Ne Ne" Lovelace, out of millions of dollars in royalties. In the process, Zomba/Jive has allowed and are responsible for my loss.
The materials in question have been discussed in detail with Zomba's representatives- (refer to exhibits 4-A, 4-B, 5-A and 5-B. Zomba not only listed songs on page 23 of co-publishing contract dated 10/16/93, but they introduced me to other writers in their publishing house to obtain my lyrics and melodies, in order to rework materials without giving proper credit (refer to Exhibit 2).
In one instance, works submitted to Zomba and Zomba's writers was one of the first songs mentioned that was reworked and in addition to this, another part of a completely different song was used. Song number 10, Lies/ It U Loved Me performed by MJJ's Brownstone (Exhibit's 1-A, 5-A, 5-B, 7-A and 7-B) was on MTV, during their live show, singer closed song with more recent materials submitted to Zomba and their (other) writer. While under contract with Zomba, I submitted over forty (40) songs, of which I have retained receipts for and telephone bills to sustain the fact that I held up my end of contract. These songs we discussed each time I submitted materials (refer to Exhibit 4-A and 4-B).
This conflicts with Zomba's letter in response to notices sent from me to them on March 14, 1995, wherein, Zomba denies having songs on file (refer to Exhibit 12. If there are no songs on file, then how could they copyright the songs I submitted with proper splits and writers credits, this in addition to other facts prove Zomba never intended to follow agreement to administrate my publishing as agreed. The only explanation for the initial song placement could have been was to have me enter into agreement or contract with Zomba, giving them administration over royalties derived from the placement thru their record company, Jive Records. Once I signed agreement I was immediately introduced to other Zomba representatives in order to place my works on more artist, only to be given run around, I was assigned to three different people since October, 1993. Meanwhile, I was submitting works and waiting patiently for my royalties from first placement, all the time I was informed that they liked my materials. They even supplied music tracks for me to write lyrics to, only to rework songs, stall and lie to me. Zomba official introduced me to an associate of Zomba, who offered and attempted to have me sign under his management contract, therefore, giving them full legal power over me and my works. Of course, I refused to sign with anyone in affiliation with a company that had already neglected to handle business properly (refer to Exhibit 2). Zomba did not include me as a writer on the list of Zomba writers, showing real intent. Refer to Exhibit 5-A & 5-B, page 23, Eleven (11) songs are listed in (the actual) contract dated October 18, 1993, between Lovelace and Zomba. One by one they have been used in pieces- some used compilation of more than one song. Zomba has not attempted to handle this matter efficiently or professionally, you would think that a company that is supposed to collect all royalties for its writers in order to get paid or receive their share would be pleased to step in and administer publishing... However, Zomba was notified in March of 1995 but responded approximately four (4) months after being notified of infringements. Notice was also sent in regards to my standing with company and other concerns on March 4, 1995, this notice went completely unanswered (refer to Exhibit 7-A and 7-B). Zomba representatives have gone so far as to commit mail-tampering offenses- (refer to Exhibits 7-A d 7-B), Returned signature cards were signed by same agent at Zomba 137-139 west 25th St. New York NY 10001 and at Grubman, Indursky, Schindler, and Goldstein, P.C., 152 West 57th St., 30th fl. New York, NY 10019.
I mailed two sets, one to Grubman, Indursky, etc., and one each to Zomba representatives involved, in each instance, Zomba received their packages first. One set of packages were sent on the 4th day of March, Zomba's agent signed and received package within two (2) days, when Grubman, indursky's agent signed within three days or one day after Zomba. One set of packages was sent on the 14 day of March, the previous Zomba agent signed this time for Grubman, Indursky at 10019, when Zomba's Zip code is 10001- (Note copies in Exhibit 7-A & 7-B). Packages were sent on the 14th day of march, Zomba's agent signed 03/17/95 - three days later, however, Grubman, Indursky's agent signature-(signed by same signature as 03/4/95's-Zomba)- was signed and dated six (6) days from original date sent.
The first time I called the New York Barr. Assoc., I was informed, after obtaining my information, that I could not be referred to any attorneys, without explanation. Zomba/Jive shared my works with other major companies. Therefore, creating a situation; whereas, most attorneys in the music industry would be in conflict of interest, due to the fact that my works were scattered and used by more than one major label. Keeping in mind that the major's contract with each other and has a 'monopoly' situation (refer to Exhibits 2, 8-A, & 8-B - shows accessibility and Zomba's contacts, thus; proving that the major's work together to control and dominate the music industry. It turns out that one of the attorneys I dealt with was very familiar with this company and its tactics but neglected to inform me, due to the fact that he has/had or still has dealings with a major music person here in Detroit who has participated in copyright infringements and has benefited by Zomba's actions (refer to exhibit's 7-A, 7-8, 11-A, 11-B, 8-A, and 8-B).
I have filed complaints with Attorney Grievance Commission regarding the attorneys listed in Exhibit's 1-B, C, & D. In accordance with contract Zomba, my administrative publisher, neglected to file copyrights for works submitted (refer to Exhibit 11-A and 11-B). I was copyrighting all my works prior to signing with Zomba. The song entitled "What Can I Say To You To (Justify My Love?) performed by Hi Five and Nuttin NYCE, placed on Jive's Label, was released on four (4) projects; Hi Five's Album, Hi Five's Greatest Hits album, released as a single, and on Nuttin NYCE's album. I never received ownership papers or proper documentation for a song that I was given writers credit for - (refer to Exhibit 3-A & 3-B. It has also been brought to my attention that works in question has been released overseas with my vocals used without my consent. Zomba, as of March 15, 1996, made an offer of $1,000.00 and a release agreement, which, of course, releases them from any lawsuits that I may file in the future. I refused this offer simply because I know it was an attempt to minimize my situation and make light of damages incurred. Since dealing with Zomba and associates, I have had to have surgery in order to remove a (4) four inch cyst that the doctor says more likely derived from stress.
I have been threatened and told that I have been blackballed from the music industry. I have had my family members assaulted and I have had an associate who assist me with this business) shot. Most incidents occurred during the waiting period after notices were sent to Zomba, those four months were the longest months of the year, especially since I hadn't figured out why they were denying my rights and why they didn’t respond to materials that their representatives had stated were acceptable and then turned around and contradicted what was discussed. Zomba has neglected to honor any of their few responsibility to me after receiving my signature on contracts. Zomba failed to correct dispute caused by Zomba between Hatcher and myself, then deliberately caused conflict between myself and Art & Rhythm, let's not forget the conflict started between writers on their staff of writers.
Anyone can glance at songs listed in contract on page 23 and copyright copy in exhibit's 5-A, 5-B, 11-A,11-B, 11-C, in addition to this, compare them to songs done by artist mentioned in casting list and songs on the charts. The copyright copies of songs listed in collection I and the songs from Collection' II and Collection IV have repeated similarities in titles and lyrics, one after the other. As you compare song titles and lines, it will be easy to identify the Who? What? and When?, even the Why?, Sure people have the same ideas at some point and time; however, contract dated 10/18/93 list songs and from this list, anyone can conclude that these songs, recognized in contract, has been used one by one, compare to works released over summer of 94,95, and 96. The coincidence of this happening by mistake or simply by chance is impossible considering how many songs were used and who had access.
I signed with Zomba due to the fact that I had worked with other local production companies and the contract referred to all works before and after, this was to protect me from having my works stolen or misrepresented. It turns out that they were responsible for infringements or aware of copyright infringements prior to presenting contracts to me (refer to casting list in exhibit's 8-A & B, shows names of contacts I made earlier in my career).
As I back trace my steps with the music industry, I have found out that people that I had previously worked with were always in connection to one label or another. I learned that demos and works that were done in order to advance my career were reworked and placed on major artist, proving this is easy with copyrights and other documentation in my possession.
For years I have been a victim of this music industry, while I struggled to fit in, it was never either parties’ intent to assist but to retrieve fresh ideas in order to rework and not have to share monies or credit. They can have their industry; however, I must insist on a proper settlement to make amends for the damages I've encountered while pursuing my goals. I am too multi-talented to waste my skills on unappreciative, greedy companies who do not recognize me as a vary-intelligent human being.
Defamation of character and current tactics used to discredit...Why does the police search shows misleading and false information? Find out why?
It wasn't enough to rob me of all my music royalties but they had to take housing for decades and every meaningful employment with illegally obtained warrants and misleading background records!
CHECK OUT WHAT YOU'VE MISSED!
Review some of the documentation and background documents here!
Share this:
For more detailed information regarding the many groups and what it means to be properly aligned, I encourage you to read Music Business: It’s a Dirty Game!
This title is also in an eBook form available at: http://shop7westpublishing.com/.
You can't make this stuff up, Proof - It really happened....
Envelopes received from Zomba after initial allegations of copyright infringements!
Zomba's Initial Response to allegations
Zomba's contract included songs that were used, yet, they denied having. They should have copyrighted them when they executed contract...I DID!
Note: Brownstone is listed as looking for work on Zomba's casting sheet. Their song, "If You Love Me" was the first song using my lyrics and melodies mentioned in Lawsuit.
Zomba's contract included songs that were used; yet,they denied having.
Envelopes received from Zomba before initial allegations of copyright infringements!
Read more...
Being that Music is affecting so many lives, a part of
everyone's life and that it is in everything from
politics to religion...denying individuals their rights is
bad business and we should all make music our
business to prevent this from continuing to destroy
lives!
The fact that those in positions do not want anyone
to read my books and have gone to so much trouble
to dissuade interest and hinder my efforts should
really cause you to wonder why?
In this title, the court system has been placed under the microscope from the view of the everyday citizen to reveal how it really works for the less fortunate. This book demonstrate how some individuals are deliberately oppressed by those that are in positions to manipulate the courts to ensure injustice continues.
Therefore, by limiting assistance and preventing Due Process they enslave individuals by using their money, power and positions to deny rights that should be guaranteed by the Constitution of the United States of America.
Imagine people exacting revenge and enslaving you due to your race.
Imagine being told that you have no value because you are a woman.
Imagine wanting freedom from a modern day slavery; yet, being denied!
Imagine passerby’s telling you to commit suicide.
Imagine experiencing all of this simply because you wanted to exercise your rights!
Imagine being Invisible Living in America without Rights!
Not Everyone Buckles Under Pressure, Not Everyone Goes Insane Some Just Write a Book About It! Take a walk through one person's journey to freedom from a system that doesn't recognize her humanity.
This innovative product demonstrates the inner workings of the music industry and explores the depths that ruthless corrupted individuals will sink for revenge!
This book exposes corruption in the music industry, proving it by using supporting docs; copyrights, public records, contracts with Zomba-BMG; Now - Universal Music Group.
This title exposes corruption in the music industry. She proves it using supporting documents, copyrights, public records, court documents, journal entries, and contracts.
Publisher: Seven West Productions P.O. Box 400001, Las Vegas, NV 89140
- Learn about the tactics and methods used by music industry personnel to steal lives.
An un-cut non-fiction description of how the music entertainment business murders its artist and writers quietly behind the scenes. People always assume that artist just sign bad deals that allow producers/managers to take everything but this is not always the case.
It is important that people understand the ‘game’ and how it ultimately affects others. Those in the industry know ‘the game’ and how to manipulate situations so when you refuse to dehumanize yourself, they label you as trouble.
This book describes how those with money, power, and position use mass manipulation to discredit, its use of technology to spy, use of threats and intimidation to isolate.
Like animals circling its prey, victims are surrounded, stalked, studied and set-up. Like lambs led to slaughter, you won’t realize the severity of your situation until you are knee deep in a ‘storm’ of backstabbing friends, oppressing family members, snaking strangers.
CHECK OUT WHAT YOU'VE MISSED!
BLOG ARCHIVE- (CLICK EACH LINK BELOW)
Review some of the documentation and background documents here!
Share this:
For more detailed information regarding the many groups and what it means to be properly aligned, I encourage you to read Music Business: It’s a Dirty Game!
For More info:
Interested in Investing? Here's your chance to get involved! For your promotional copies for review and a copy of SWP, LLC's Business Plan. Contact us! |
Icons by DryIcons
