Music: U-God Criticizes RZA's Leadership Of Wu-Tang Clan In New Book

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U-God Criticizes RZA's Leadership Of Wu-Tang Clan In New Book
March 20, 2018 | 5:00 PM
by Justin Ivey
180320-wu-tang-clan-getty-800x600.jpg

Getty Images/Kevin Winter

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U-God has opened up about the problems within Wu-Tang Clan in his new book RAW: My Journey Into The Wu-Tang. Rolling Stone has published an excerpt from the autobiography in which U-God blames many of the issues on RZA’s decision-making and leadership.

In the excerpt, U-God describes how the group’s united mentality splintered over the years. He explains that revenue distribution became a major point of contention and criticizes the management of RZA’s brother, Mitchell “Divine” Diggs.

“Right now, it just looks like the Wu brothers are not on the same page, going at each other’s throats, missing shows, and all that,” U-God writes. “But, to me, it’s really years of BS catching up to RZA. See, he put his family in charge of shit, and for years, we would go on the road but the money came up short. Whether it was because [RZA’s brother and Wu-Tang Production CEO] Divine overpromised or cut a deal he couldn’t deliver, or he made bad management decisions, I don’t know.”





U-God paints a picture of RZA getting top-flight representation for solo endeavors while the Wu-Tang was stuck with “B- or C-list” management. He also expresses frustration with operations like Wu-Wear, which he says the original members invested in but never received any return on investment despite the clothing line’s popularity, and the handling of Wu-Tang’s iconic logo.

“Many people don’t know this, but DJ Mathematics drew that logo on the back of a napkin back in the day,” he writes. “RZA quickly trademarked it, and to this very day his brother beefs when any of the original members attempt to use it. That to me is crazy — I mean, I understand if someone was using it without the group’s permission, but the members of the group itself? Wow, that’s just crazy … Divine always told us, ‘Y’all can’t use that W without paying a brand fee, and if a promoter calls your manager direct to book a Wu-Tang show, best believe they’re paying that brand fee!’ Ain’t that a motherfucker!”





According to U-God, RZA became a control freak. RZA allegedly wanted to be in charge of everything from the budget to writing hooks. U-God cites the creation of Wu-Tang’s 2000 single “Gravel Pit” as a major example of RZA’s dictatorial leadership. Instead of allowing Method Man and U-God to write the hook as planned, RZA did it himself. In U-God’s eyes, RZA lost his way as a leader.

“Trying to exert too much control over grown-ass men leads to problems,” he writes. “RZA doesn’t know how to let go and let motherfuckers be grown men anymore, like he used to back in the day, when it was four or five motherfuckers touring the country in an old Mitsubishi Scorpion. Somewhere along the way, he forgot to let his soldier do what he initially recruited us to do and coached us to do. He forgot that you don’t tear down your soldiers, you build your soldiers up. Because when they rise up, they bring you with them.”

Despite all these issues, U-God says Wu-Tang members are able to put aside their differences and come together when necessary. He also acknowledges that leadership is necessary but the leader should be open to ideas.

Read the entire excerpt on Rolling Stone or in U-God’s autobiography, which is in stores now.

https://hiphopdx.com/news/id.46275/...s-rzas-leadership-of-wu-tang-clan-in-new-book
 
Wu-Tang rapper U-God reflects on the business decisions that fractured the Clan in this exclusive excerpt from RAW: My Journey Into the Wu-Tang, the rapper's new memoir.

In the excerpt, U-God breaks down how the group's "all for one" mentality disintegrated when "the days of gold and platinum plaques had dried up" and how he thinks RZA, the "mastermind" behind the Wu-Tang Clan and its branding, eventually turned Wu-Tang into a dictatorship.

"Right now, it just looks like the Wu brothers are not on the same page, going at each other’s throats, missing shows, and all that," U-God writes. "But, to me, it’s really years of BS catching up to RZA. See, he put his family in charge of shit, and for years, we would go on the road but the money came up short."

Elsewhere in the revealing excerpt, U-God laments about the lack of support Wu-Tang provided for certain members' solo albums, how bickering over money and royalties further divided the group and how even Wu-Tang's trademarked "W" is allegedly off-limits to Clan members.

"Just talking about this shit frustrates me. I mean, here we are, the Rolling Stones of hip-hop, and we ain’t even got proper representation," U-God writes. "Meanwhile, RZA’s always had A-list agents repping him personally. What the fuck is that all about?" Raw: My Journey Into the Wu-Tang is out now.

Despite the growing troubles, [Inspectah] Deck, Masta Killa, and me were just getting started, though, and our solo albums contained some of our best work. Masta finally got his solo album No Said Date released in 2004, Deck dropped the Movement in 2006, and I released Dopium in 2009. All of these were critically acclaimed, but didn’t have the big budgets our brothers received via their major labels. I think one thing that hurt those releases is that we could never perform any new material at our Wu-Tang shows. That’s something I never understood.

"Now that the days of gold and platinum plaques had dried up, dudes started fighting over the W."
It’s been a long time since we rocked new songs onstage. Shit, we didn’t even support the last few albums with proper tours; I mean we went on tour, but stuck to performing the classics. That’s backward to me. For us to ask the fans to support us, we had to support ourselves by performing new material — all for one and one for all — first.

Back in the day, when RZA put the Bat Signal up, the rest of us understood that we needed to stop what we were doing individually and come together, period. For there to be fruit hanging on the tree, the roots needed watering, so we would come together as Wu-Tang first; that was the priority. We were an unstoppable unit at that time, one for all and all for one — at least, that’s what we told ourselves. We’d hit the road, and if one of us was in the middle of promoting a project, the rest would support that project, too. Like when [Raekwon's 1995 album Only Built 4] Cuban Linx came out, no one knew that the record was supposed to be the next Wu album, but when Raekwon signed the deal, we all agreed to let him have it for his solo joint, no problem.

So years later, when revenue streams started drying up, members who were used to living crazy lifestyles started complaining about everyone’s fees being equal. This led to some of the guys missing shows, holding the entire group for ransom before agreeing to go on tour. Bottom line, no solo member has ever played in front of sold-out arenas; the whole group is the foundation. There is no Earth without Wind and Fire!

Things started changing little by little, guys got fed up, and eventually, we all got individual managers to negotiate and serve as a buffer from all the bullshit. It was no longer one for all and all for one. But now you had people in our brothers’ ears, saying why you getting the same thing he getting? Now that the days of gold and platinum plaques had dried up, dudes started fighting over the W. The whole foundation that we were built on and that made us powerful fell apart. We weren’t building anymore; we were destroying ourselves.

Right now, it just looks like the Wu brothers are not on the same page, going at each other’s throats, missing shows, and all that. But, to me, it’s really years of BS catching up to RZA. See, he put his family in charge of shit, and for years, we would go on the road but the money came up short. Whether it was because [RZA's brother and Wu-Tang Production CEO] Divine overpromised or cut a deal he couldn’t deliver, or he made bad management decisions, I don’t know.

RZA’s version didn’t win the Grammy — Puffy’s remix with Mary J. Blige did.
A classic example of how he operates is “Gravel Pit” on The W. It was one of our biggest hits he wrote the hook for, but I hate that fuckin’ hook. Me and Meth were supposed to write that one, but RZA came in and wouldn’t let us do what we do best. He had to jump in the middle of the process to stop what we were building. It was like, “Yeah, you made the beat, now can we work on it?”

And RZA was like, “Nah, let’s publish it.” He just had to get his name on it however he could. It’s like, just give the dudes the fuckin’ music, let them go off by themselves and do their thing, come back with their idea — you know, how we used to do it. Collaboration, not domination.

Trying to exert too much control over grown-ass men leads to problems. RZA doesn’t know how to let go and let motherfuckers be grown men anymore, like he used to back in the day, when it was four or five motherfuckers touring the country in an old Mitsubishi Scorpion. Somewhere along the way, he forgot to let his soldier do what he initially recruited us to do and coached us to do. He forgot that you don’t tear down your soldiers, you build your soldiers up. Because when they rise up, they bring you with them.

On the flip side, you need somebody calling the shots, or it becomes every man for himself. We still needed order, and he was the mastermind who had brought us up to this point. But it can’t become a dictatorship, with everything coming from the top down. It takes a certain kind of personality to be able to run the ship but still be open to ideas and collaboration.​
 
I just got this book. Wanted to support the brother. His Breakfast club interview was good. I didnt read the excerpt but cant wait to read it.

PS I hope he not tripping because they had enough success to go on and promote their own brand after 2 HUGE albums. i.e. Meth, RZA to some degree Rae & Ghost.
 
Quick, someone name U-God's top 5 verses...

Yo the wild shit is when I went to their show in Orlando like maybe 10 years ago. The crowd was going nuts for UGOD and knew all his verses. It bugged me out. That being said was lot of Asians there lol.

Also gotta give him tiny break since seems like he was locked for a min and got on when he came out missed some time to really make his mark. Don't quote me but I believe so.
 
Typical shit. Greed issues. Also trust betrayed and/or incompetence. Bad communication can also do a group in.

Shit is real when members are encouraged to protect their best interests while also building the group. Otherwise, you get shit like this.
 
in other Wu news, U-God has a memoir out, reviews are positive, who has the ebook or pdf?



https://www.newyorker.com/books/pag...od-the-least-loved-member-of-the-wu-tang-clan

The Unexpectedly Moving Story of
U-God, the Least-Loved Member of the Wu-Tang Clan




By Hua Hsu

March 28, 2018


Hsu-U-God.jpg

In “Raw: My Journey Into the Wu-Tang,” U-God, born Lamont Hawkins, has found the right language and perspective with which to come to terms with his past.

David Corio

Most fans of the Wu-Tang Clan have a favorite member. You can make a strong case for at least two-thirds of the nonet: GZA has the old-fashioned flow and the foreboding intellect; Method Man oozes cunning and charisma; the late Ol’ Dirty Bastard was pure funk, like the human embodiment of a James Brown grunt; RZA conceptualized the group’s entire sound and ethos; and Ghostface Killah and Raekwon crafted their own, colorfully absurdist, tag-team spin on traditional crime-talk; a credible argument could even be made for the spry and menacing Inspectah Deck.

The rapper U-God, though, who was born Lamont Hawkins, is an acquired taste: gruff, workmanlike, more of a bully than a poet. He’s not the overlooked member of the group—that would be the inscrutable and underrated Masta Killa. Rather, he is actively dismissed. Even his nickname, “the four-bar killer,” speaks to his scant role in one of hip-hop’s most acclaimed ensembles. (In 2016, Hawkins launched a lawsuit against the group for unpaid royalties.) But it’s precisely the strangeness, and even fragility, of Hawkins’s proximity to the group that makes his memoir, “Raw: My Journey Into the Wu-Tang,” unexpectedly moving.

Hawkins, who was born in 1970, spent his earliest years in Brooklyn before moving to Staten Island, where he would meet his future Wu-Tang compatriots. He was the only child of a hopeful and hard-working mother, who moved to Staten Island, then in the throes of “urban renewal,” because she was drawn to the idea of raising her son in an aspirational, working-class community. Hawkins never knew his father—eventually, he would learn that his mother had become pregnant with him after she was raped. One of his earliest memories, Hawkins writes, is of hearing Minnie Riperton’s “Loving You” playing on a radio when he was five years old; he followed the music outside, where he saw a woman standing on the roof of a neighboring building, threatening to jump. “I remember staring up at her till my neck was stiff,” he writes. “The sound of her hitting the concrete steps would resonate with me forever.” It was the first of many times that he would see death up close. Nonchalance, even in the face of such horror, would become a hallmark of Hawkins’s style. Elsewhere in the book, he recalls seeing his uncle bashing someone over the head with a brick; another time, a heroin-addicted babysitter nods off in the corner. Later on, in his teens, when he was still contemplating a more traditional career path, he studied to become an embalmer, since “certain things that’ll quease a motherfucker out just don’t bother me.”

Staten Island was not immune to the drug trade and its attendant turf wars, and, for the young Hawkins, the intimacy of the place made it impossible to run away from his problems. On Staten Island, he explains, you had to stand your ground and “make your claim,” whereas, in the teeming streets of Brooklyn or Manhattan, you “could pop someone and disappear like a fart in the wind.” Hawkins was still young when he met Method Man—who would become his most loyal and compassionate friend in the music business—and other future members of the Wu-Tang Clan; in middle school, he began hanging out with RZA, whom he saw as a bit of a nerd. (“To me nerds are cool,” he writes. “Nerds are non-threatening.”) In Hawkins’s telling, the group emerged slowly and organically, as friends, cousins, and friends-of-friends began rapping and dreaming together. They all became devoted to the Five-Percent Nation, a movement for historical, spiritual, and almost mystical self-determination, which splintered off from the Nation of Islam. The friends were united, too, by their love of martial-arts films—in the mythology they crafted for themselves, Staten Island became “the slums of Shaolin.”

Hawkins dealt drugs throughout his late teens; his polite and unassuming air served him well with the local cops, he writes. “They knew I was jingling—just not the level I was jingling on.” Then, in 1992, a careless confrontation with a rival dealer landed him in prison, just as the Wu-Tang Clan was working on its début album, “Enter the Wu-Tang (36 Chambers),” which was released the following year. Hawkins got out in time to contribute a few verses, but he lacked sharpness and focus. “The first time I grabbed the mic at a show after coming home, I got booed,” he remembers. “I wasn’t really ready. I had the heart to try, though.” He quickly accepted his role as the versatile, hard-working utility player that every championship team needs. He also repeatedly violated his parole and ended up back behind bars during key moments of the Clan’s initial rise. He kept working on his rhyme skills, appearing on solo albums by other members of the Wu, and waiting for the time it would be his turn. Behind the scenes, he dealt with tantrums and mediated other people’s beefs, and he did all the radio promotions and random magazine interviews that nobody else wanted to do. (One of these interviews was with me, for a skateboarding magazine that no longer exists.)

When the Wu-Tang Clan was ready to record its sophomore album, 1997’s “Wu-Tang Forever,” the group rented a home in the Hollywood Hills. Fun was had, and events occasionally turned raucous. Hawkins recounts a potential encounter with a teen-age Kim Kardashian that was spoiled by Inspectah Deck (“He had no game”), and the time he almost punched out a smug Leonardo DiCaprio. But he mostly kept things mellow. One of my favorite moments from the bygone TV series “MTV Cribs” (lately revived on Snapchat) was filmed during this period: in a tour of Hawkins’s modest quarters—he got stuck with the smallest room in the Wu-Tang house—he showed off his collection of colorful, oversized “blowy shirts” and autographs, seeming very happy to be there. “Almost every morning on the patio before going into the studio,” he recalls in “Raw,” “I would remind myself to really be present and be in the moment so I can really appreciate everything.”

Hawkins was still coping, at the time, with a horrific incident that had happened back home. While the Wu-Tang Clan was on tour, someone he knew used his son, who was just two years old, as a human shield during a shoot-out. Miraculously, the child survived, though he suffered permanent damage to his kidneys and hands. Hawkins says that, other than Method Man, the members of the group weren’t particularly supportive. “They rubbed their fame and their wealth in my face even more,” he writes. Years before therapy seemed a viable option, he poured his emotions into one of the best tracks on “Wu-Tang Forever,” “A Better Tomorrow.” “The strong must feed, someone die, someone bleed,” he raps on the track. “One flew astray, and it caught my little seed.”

Hawkins’s career has never reached the same heights as the rest of the Clan’s—a reflection of his relative level of talent, mostly, but also of circumstances of timing and personality. In “Raw,” he displays an unusual degree of self-awareness about this fact. He describes how difficult it can be to maintain his craft and his confidence, a rare sort of candor in an art form typically premised on effortless cool. But the memoir’s most endearing moments involve the small victories that come with surviving into middle age and the momentary plateaus where Hawkins feels satisfied: the time in 1994, for instance, that he got to experience the novelty, for a black man from Staten Island, of “wearing a silk robe and tasting sake” in Japan.

“Raw” feels cathartic, as Hawkins finds the language and perspective to reckon with his past. His moment in the spotlight may be over, but he now has something that few of his Wu-Tang brothers, still so admired by a younger generation, have: the distance to tell his own story. He has often been forgotten, and has sometimes been ridiculed, but he was part of one of the great hip-hop groups of all-time—perhaps the only member who is more man than myth.

who remembers Lady Wu-Tang?
 
I understand both sides

Rza wanted to keep the brand alive forever because without it where would they be,it's their backbone to everything they are today.

The members,wanted a equal cut of the pie because they felt they were just as equal as Rza when in reality they weren't and never way,they needed his guidence because the further they got away from him the more they started to look,sound,feel like everyone else or their sound became just another such and such record....

Give Rza his own 25%,his brother for keeping shit somewhat organized25% and the rest of the members split the rest but they all had to be apart of whatever meetings that needed to get handled,with the option to opt out all together but the Wu stands even if they aren't touring.

That doc at the end when they were leaving looked like a bunch of old niggas going back home,they started something but like all good things they never finished it
 
Man I want a book with them REAL wutang road stories....


Bruh them muthafuckas is legendary on the road..

The many tales from movin "businezz" across the country to literally getting in shootouts even with kkkops..

I'm waiting for that uncensored wutang shit..

Especially the odb takes

Lol
 
Since no one else named it, U God also flexed on...


In 2020, U-God my favorite member of the Clan. His audiobook was fire and his interviews are by far the best.
 
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