Birdman vs. Jay Z … Cash Money Suing Tidal Over Lil Wayne | News Entertainment

Birdman vs. Jay Z … Cash Money Suing Tidal Over Lil Wayne

16 Jul 2015 | Author: | No comments yet »

Birdman, Young Thug Named in Lil Wayne Shooting Indictment.

A man charged with shooting into Lil Wayne’s tour buses on a Georgia highway called cellphones linked to rappers Young Thug and Birdman before and after the gunfire, according to an indictment in the case. Lil Wayne’s feud with his former label boss and adoptive father, Bryan “Birdman” Williams, is so serious that, rather than waiting to fight it out in court, Birdman and his new protege Young Thug tried to have Weezy killed in a Blood gang assassination, an indictment filed in a Georgia court implies. Although Birdman and Thugga aren’t facing charges, the case against the alleged shooter—Young Thug’s tour manager Jimmy “PeeWee Roscoe” Winfrey—suggests he was trying to take Lil Wayne out on their behalf.… Jimmy Carlton Winfrey, who is known by the names Pee Wee and Roscoe and has worked as Young Thug’s tour manager, raced up alongside Lil Wayne’s tour buses, opened fire and subsequently attempted to hide the Camaro he was driving, according to the indictment obtained by Rolling Stone. He finished Tha Carter V, the most recent edition to the New Orleans rapper’s Carter series in December, but his label, Cash Money Records, won’t release it.

In the week prior to the April 26 shooting, Birdman and Young Thug had intentionally antagonized Lil Wayne by dropping a Thugga mixtape called Tha Barter VI—a play on Lil Wayne’s Tha Carter albums that implied Young Thug was taking Wayne’s spot in both the Cash Money hierarchy and the rap game writ large. The indictment spans 30 counts, including aggravated assault, criminal damage to property, possession of a firearm and violation of both the RICO Act and Street Gang Terrorism Prevention Act. It was origjnally called Tha Carter VI, but they had to change it for legal reasons, so they followed the Blood gang tradition of changing “C” (for crip) to “B.” On Instagram, Thugga boasted his first show for the new mixtape would be in Wayne’s neighborhood of Hollygrove, New Orleans, and panned over to some of his dudes—including alleged shooter PeeWee Roscoe—holding guns. The indictment opens by identifying Winfrey, Young Thug, Birdman and Lil Wayne as Blood gang members, claiming that the defendant is a high-ranking member in the Young Slime Life subset of the Bloods.

The indictment says Winfrey called ”cellphones connected to Jeffrey Williams” – also known as Young Thug – before the shooting occurred and then afterward called a cellphone ”owned by Bryan Williams.” Jeffrey and Bryan Williams were not charged in relation to the bus shootings. Because Winfrey is the only defendant, it also places emphasis on his appearance in Young Thug’s “Halftime” video, in which Winfrey is seen holding an assault rifle that looks like the one used in April. Several earlier Lil Wayne albums were also postponed—The Carter IV was stalled so long (partially because of Lil Wayne’s stint in prison) that he put out a mixtape. Sensing violence was about to break out between the YSL crew and Weezy’s entourage after the show, “Atlanta police immediately began to escort Dwayne Carter and his group away from the Compound.” As Lil Wayne’s two tour buses traveled toward I-285, a lieutenant saw the white Camaro speeding to catch up with them. The indictment alleges PeeWee was on the phone with Young Thug—or at least someone who had a cell phone registered to Young Thug—before he left the Vault that night, and then again while he was chasing down the tour buses.

That’s when a white sports car, allegedly containing PeeWee and other YSL members, pulled up alongside the buses, and someone inside opened fire on both vehicles with two handguns, a .40 caliber and a 9mm. The paperwork also greatly details Lil Wayne’s attempt to leave Birdman’s Cash Money label, the delays on his Carter V album and Young Thug’s decision to rename his album Carter 6 to Barter 6 (“Blood gang members often change words that start with ‘C’ into words that start with the letter ‘B,'” it says). Whenever you hear that Beyoncé dropped a surprise album online or Taylor Swift yanked her music off iTunes, it sounds as if the artists are the ones with the power.

But they pull these moves only if their business overlords let them. “When you’re signed to an exclusive recording contract, you make music for the label and no one else,” says Jeffrey Rabhan, chair of New York University’s Clive Davis Institute of Recorded Music. It says police ”fearing gang violence” escorted Lil Wayne from the club and patrol cars stayed with his buses until they left the Atlanta city limits. But the rappers appeared to fall out with one another last year when Lil Wayne tried to sever his ties with Cash Money; subsequently, Birdman made appearances on Barter 6. Artists who release free mixtapes or tweet out singles before they’re for sale are technically in breach, but labels often look the other way, because it’s free publicity.

The executives still hold the rights to a finished album and decide its release date. “I don’t think that’s ever going to change,” Rabhan says. Marshals claiming the rapper threatened to shoot an Atlanta mall security officer in the face. 2015 may not bring everything that Back to the Future II promised it would: flying cars, self-lacing shoes, we don’t see ’em happening over the next 12 months. (Then again, don’t bet against Nike.) But this year will definitely pack plenty of punch when it comes to cultural happenings. Jeffrey Williams’ attorney, Brian Steel, declined to comment Thursday on his arrest in DeKalb County as well as the allegations in the bus shooting indictment.

Mad Max will roar back out of the apocalypse while Mad Men rides off into the sunset, rock’s Antichrist Superstar and hip-hop’s Yeezus will rise again. Then he popped the completed songs onto Tidal, which has been scrambling to keep its estimated 900,000 users from bailing when their free memberships run out and they start owing about $20 monthly.

The practice of entering rap lyrics as evidence in criminal cases has a long and sketchy history, and the ACLU has condemned it for unfairly biasing jurors against defendants. In this case, it apparently wasn’t enough to charge Young Thug with a crime, especially considering that the “Halftime” video was released more than a month after the shooting. Several blocks from where the filmmaker lived in West Hollywood, at the intersection of Highland Ave and Santa Monica Blvd, there’s a corner that is, in his words, “known for its drama and its chaos.” That’s where the neighborhood’s transgender sex workers hung out, and for weeks, he and his cowriter Chris Bergoch had been trying to ingratiate themselves. And, despite the indictment’s implication that either Young Thug or Birdman (or maybe both?) ordered the shooting, prosecutors didn’t offer any conclusive proof, and they didn’t file conspiracy charges against either man.

Her name was Mya Taylor. “She had that it-factor thing,” he says. “It wasn’t just her physicality, she was just. . .you could tell this person was running the show.” Mya would become the key to making Tangerine, a raucous, raw, day-in-the-life transgender revenge comedy that became the left-of-center hit of this year’s Sundance Film Festival. Her best friend, Alexandra (played by Taylor), accidentally lets it slip that Sin-Dee’s boyfriend/pimp, Chester (The Wire’s James Ransone), has hooked up with a new girl. Take I Feel Good, on which he raps, “I feel good / I knew that I would / and I’m still hood” as James Brown’s saxophone loops in the background. Given that hell hath no fury like a woman scorned, our heroine takes off in search of her romantic competition and her two-timing beau; Alexandra, meanwhile, is preparing for a singing slot at a local cabaret that might be her big break. Along with an Armenian cab driver who’s smitten by the ladies, everyone spends their day running around the city, finally converging at a late-night doughnut shop for one blowout confrontation.

It’s the opposite of his 2005 Hurricane Katrina anthem, Georgia Bush, where he rapped, “The white people smiling like everything cool / But I know people that died in that pool,” then used Ray Charles’s cries for Georgia to heighten the message. And most importantly, Mya was the one who set down the ground rules. “She said, ‘There are two things you have to promise me, Sean,'” he recalls. ” ‘You have to show what it’s really like out there — how hard it is, especially for trans-women of color who are forced to resort to prostitution for a living, because there’s nothing else for us.

If we wouldn’t laugh at this, then what’s the point?'” For Baker, the chance to simply follow these two women around as they interacted with each other and any passerbys who happened to wander into their sphere was like a DIY director’s dream come true. “Mya and Kiki have been friends for years, so they have a rapport,” he says. “But it’s beyond that: They finish each others’ sentences. There’s this yin-yang energy between them that when, you heard them talk to each other — we knew that was going to be the movie more than anything else. I kept telling Sean, ‘Until you make this whole thing and get it into Sundance and get this movie in theaters, I do not believe you!'” “Honestly, I just thought it would be a regular project,” Taylor adds. “I had no idea it would sort of turn into something a lot bigger than what I figured. You’d be sitting there muttering ‘Can you just hurry the fuck up so we can shoot?'” Rodriguez remembers being impressed by one situation where things started to get volatile with someone who’d wandered in to the shop and Baker just kept his cool, trying to nail the take. “The man deserved some sort of award for filming in there at 3 a.m. — a gold-plated bulletproof vest or something!” “Let’s just say there were a few times when we maybe didn’t inform the general public that we were shooting a scene, and leave it at that,” Baker says, recalling a filmed-on-the-sly fight sequence on a bus that inadvertently attracted way more outside attention than planned.

But in the end, he says was whatever risk they ran was more than worth it; the idea was to give people an idea of who these women are and what their daily reality is like. And considering the rapturous reception the film received at its Sundance premiere last January and the interest its actresses have attracted — both were singled out in The New York Times’ recent breakthrough performances feature; Taylor has already finished shooting a role in another film — Baker feels like he accomplished exactly what he set out to do. “I hadn’t even heard of Laverne Cox when we started filming this,” he says, “and now we’re at this moment where transgender rights are finally being discussed in a meaningful way.

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