she IS a genius.
however, genius is not synonymous to ASSHOLE.
being 4 hours late to y our concert ALL THE TIME is being an asshole.
It’s Finally Time to Stop Caring About Lauryn Hill
- Thread starter Drayonis
- Start date
however, genius is not synonymous to ASSHOLE.
being 4 hours late to y our concert ALL THE TIME is being an asshole.
Fuck Lauren Hill. Man ain't nobody paying money like that NOT to see her deranged and damaged smoked out ass chill out backstage. She need to get her shit together or just rerelease her old shit. Or stop taking her true fans hard earned money cause they the only suckers falling for her bullshit
Her "genius" is a myth based on the fact that people believed that she wrote and produced that album. The REAL producer of that album is the genius and he'll never even say anything about it publicly.
I disagree. She needs help/support/love now more than ever.
Money or concert tickets have nothing to do with that.
Money or concert tickets have nothing to do with that.
im not basing her genius on her production skills alone.
her singing = genius. i felt every bit of pain she expressed in the timbre of her voice. felt every tinge of hope with every key change. i was dizzy with shock/fear/ confusion with each every psychological defect she exposed ( sometimes i watch you sleep...really bitch?)
the Miseducation cd is amazing.
collaborative genius is still genius.
Hold up....WTF?!
I never knew this before
http://www.rollingstone.com/music/news/inside-the-miseducation-of-lauryn-hill-20080826
The Lawsuit
Jackson: After all that beauty, she hurt a lot of people that loved her because she got hurt.
Che Vicious: She gave me co-production [on "To Zion"], but I did the track on my own. There was label pressure to do the Prince thing — written and produced by. I still love you like a sister, but you didn't do it on your own.
Commissioner Gordon: Sometimes when you have a really big blessing, you have a really big weight that comes along with that and some people can get weak along the way. The highs were super, super high and the lows were super, super low. She was like, "I'm releasing myself of the burdens of this worldly business and I'm going into my sabbatical."
Nobles: Everything changed. It went from we to I. Everything started out genuine but somewhere down the line, something switched. Once it became clear that I wouldn't be credited or compensated according to what's fair, I had to voice how I felt. I had a wife and family. She barely credited me. She gave Che my credits. As God as my witness, that was in spite. I tried my best to resolve it without lawyers but it became impossible. The suit dragged on for about three years. They tried to discredit us that we were musicians trying to take advantage of her.
Jackson: Our mistake was Lauryn never wanted to do paperwork or formalize the relationship with them. She was like, "I don't want them to feel like they work for me" and that came back to bite us. She looked at Vada as a drum programmer, like I want you to make a beat — take that out, do this. Kilo claimed to be an MC but early on it became clear that he wasn't no MC. She was trying to decide between a line about Polos or Girbauds. I was like, Polo is more classic. So I could've claimed I wrote a fucking verse for her! Ain't nobody write no Lauryn Hill song, them shits was way too personal. They sued Lauryn, Sony, Ruffhouse Records, me, Suzette — everybody. The case was dragging on and it just got really ugly.
Marley: A team of them ganged up against her. Of course she sits there like, Ro, give me a word that rhymes with rat. I say cat just to trigger something, Nobody writes anything for her. Because she's a woman of the Almighty, she doesn't wanna fight. It's like someone telling a lie on me and I'm standing there defending a lie.
Che Vicious: I'm glad I was a part of it, the only thing that taints it for me is I wish it was properly credited. Maybe in retrospect I should have sued her. But it doesn't taint the body of work because at the end of the day people loved the record. I felt like we could have made more than just one. I'm sad about that.
Nobles: Eventually Lauryn decided she didn't wanna go on with it no more. The lawyers were mad that she wanted to quit. Kilo and I went to her house and made peace right after the depositions. I haven't seen or heard from her since.
James Poyser (songwriter/producer): The business end of it got extremely, extremely messy. You chalk it up to experience. When you throw your heart out there, you gotta be prepared for it to not land somewhere soft.
http://articles.latimes.com/1998/dec/19/entertainment/ca-55439
The Legal Tangle of 'Miseducation'
Pop Beat: Group wants a share of the songwriting credit and profits from Lauryn Hill's hit album.
December 19, 1998|GEOFF BOUCHER | TIMES STAFF WRITER
The critics who have made Lauryn Hill's solo debut the most acclaimed release of 1998 have consistently praised the album for its vision and honesty in presenting one woman's view on life and love.
But now, on the eve of the Grammy season in which it is a sure contender, "The Miseducation of Lauryn Hill" is being portrayed in a lawsuit filed by a group of musicians as something far different--a group project and a lesson in the unfairness of the music business.
The musicians, known collectively as New Ark, are suing Hill and her label in U.S. District Court in Newark, N.J., claiming they deserve a share of songwriting or production credit on 13 of the album's 14 songs--and, of course, a sizable chunk of the profits generated by the album, which has sold 2.4 million copies to date.
The 23-year-old Hill, who gained fame as a member of the Grammy-winning Fugees trio, said in a statement that the suit is "without any merit whatsoever." A spokesman for the singer added this week that Hill feels "deeply betrayed" by the New Ark group, who toiled on the Ruffhouse/Columbia Records release for months at a studio in Hill's South Orange, N.J., home.
The album credits say the album is "produced, written and arranged" by Hill, and she is also listed as executive producer on all the tracks. The New Ark members--Vada Nobles, Rasheem "Kilo" Pugh and twin brothers Johari and Tejumold Newton--are acknowledged several times for "additional production," "additional musical contribution" and "additional lyrical contribution" on some songs.
They claim, however, to be the primary songwriters on two tracks, "Nothing Really Matters" and "Everything Is Everything," and major contributors on six others. Full or partial production credit is also due to the team on five tracks, the suit claims. The musicians also claim to have made sizable, uncredited production contributions to "A Rose Is Still a Rose," a song Hill produced for Aretha Franklin's last album.
The dispute has been discussed by attorneys on both sides for months, but an impasse led to the federal lawsuit filing earlier this month.
Lawsuits are hardly a rarity in the realm of song credits--as one music publishing veteran remarked this week, "Where there's a hit, there's a writ"--but the suit against Hill is especially intriguing because she was viewed primarily as a vocalist before "Miseducation" won raves for her songwriting and production craft.
Sources close to Hill dismiss the lawsuit as an attempt to cash in by some overreaching studio musicians. But Peter C. Harvey, the attorney for the New Ark group, says it is Hill who is exaggerating her artistic heft. He says the hip-hop diva put her name on New Ark's work to establish herself as more than "just the singer" in the Fugees.
"She is not a musician, she is not a producer," Harvey said. "[New Ark] will make another album and everyone will see that they were the ones responsible for this album. I dare say if you put Lauryn Hill in a studio alone, she couldn't do it again. Album No. 2 for her is not going to sound like this."
That view is contradicted by numerous sources who say Hill is blossoming into a major creative force in pop music.
"Lauryn is a very gifted arranger, producer and writer, as well as a vocalist; she's the whole package," said Gordon "The Commissioner" Williams, the engineer at the sound board during most of the "Miseducation" sessions. Williams declined to discuss the lawsuit or New Ark's claims, but he described the album as a powerfully personal effort by Hill. "It's definitely her vision."
In their suit, the New Ark members say it was Pugh's four-year friendship with Hill that led the singer to invite the musicians to join her as she began planning her pivotal first solo effort in June 1997. The suit claims the singer and her would-be collaborators hit it off in their first meeting, making grand plans and sitting in a circle as Hill led them in prayer. Pugh and the others were giddy afterward. They had some credits to their career, but the chance to work with Hill was their "big break."
The suit also claims Hill made verbal assurances to New Ark that they would be credited and paid for major contributions to the album, but they never pinned down their role in writing--which Harvey concedes was an error.
The suit says the relationship between Hill and the New Ark musicians cooled as the album neared completion and the singer began backing off her earlier promises of credit.
Harvey says Hill's handlers tried to placate Pugh and the others in November 1997 by arranging a publishing deal with Sony/ATV, the same publisher that handled the "Miseducation" songs for Hill. The deal paid the New Ark musicians a $100,000 advance for rights to their future work. Harvey said the size of the deal supports the group's claim that they are far more than mere studio musicians.
The Legal Tangle of 'Miseducation'
Pop Beat: Group wants a share of the songwriting credit and profits from Lauryn Hill's hit album.
December 19, 1998|GEOFF BOUCHER | TIMES STAFF WRITER
The critics who have made Lauryn Hill's solo debut the most acclaimed release of 1998 have consistently praised the album for its vision and honesty in presenting one woman's view on life and love.
But now, on the eve of the Grammy season in which it is a sure contender, "The Miseducation of Lauryn Hill" is being portrayed in a lawsuit filed by a group of musicians as something far different--a group project and a lesson in the unfairness of the music business.
The musicians, known collectively as New Ark, are suing Hill and her label in U.S. District Court in Newark, N.J., claiming they deserve a share of songwriting or production credit on 13 of the album's 14 songs--and, of course, a sizable chunk of the profits generated by the album, which has sold 2.4 million copies to date.
The 23-year-old Hill, who gained fame as a member of the Grammy-winning Fugees trio, said in a statement that the suit is "without any merit whatsoever." A spokesman for the singer added this week that Hill feels "deeply betrayed" by the New Ark group, who toiled on the Ruffhouse/Columbia Records release for months at a studio in Hill's South Orange, N.J., home.
The album credits say the album is "produced, written and arranged" by Hill, and she is also listed as executive producer on all the tracks. The New Ark members--Vada Nobles, Rasheem "Kilo" Pugh and twin brothers Johari and Tejumold Newton--are acknowledged several times for "additional production," "additional musical contribution" and "additional lyrical contribution" on some songs.
They claim, however, to be the primary songwriters on two tracks, "Nothing Really Matters" and "Everything Is Everything," and major contributors on six others. Full or partial production credit is also due to the team on five tracks, the suit claims. The musicians also claim to have made sizable, uncredited production contributions to "A Rose Is Still a Rose," a song Hill produced for Aretha Franklin's last album.
The dispute has been discussed by attorneys on both sides for months, but an impasse led to the federal lawsuit filing earlier this month.
Lawsuits are hardly a rarity in the realm of song credits--as one music publishing veteran remarked this week, "Where there's a hit, there's a writ"--but the suit against Hill is especially intriguing because she was viewed primarily as a vocalist before "Miseducation" won raves for her songwriting and production craft.
Sources close to Hill dismiss the lawsuit as an attempt to cash in by some overreaching studio musicians. But Peter C. Harvey, the attorney for the New Ark group, says it is Hill who is exaggerating her artistic heft. He says the hip-hop diva put her name on New Ark's work to establish herself as more than "just the singer" in the Fugees.
"She is not a musician, she is not a producer," Harvey said. "[New Ark] will make another album and everyone will see that they were the ones responsible for this album. I dare say if you put Lauryn Hill in a studio alone, she couldn't do it again. Album No. 2 for her is not going to sound like this."
That view is contradicted by numerous sources who say Hill is blossoming into a major creative force in pop music.
"Lauryn is a very gifted arranger, producer and writer, as well as a vocalist; she's the whole package," said Gordon "The Commissioner" Williams, the engineer at the sound board during most of the "Miseducation" sessions. Williams declined to discuss the lawsuit or New Ark's claims, but he described the album as a powerfully personal effort by Hill. "It's definitely her vision."
In their suit, the New Ark members say it was Pugh's four-year friendship with Hill that led the singer to invite the musicians to join her as she began planning her pivotal first solo effort in June 1997. The suit claims the singer and her would-be collaborators hit it off in their first meeting, making grand plans and sitting in a circle as Hill led them in prayer. Pugh and the others were giddy afterward. They had some credits to their career, but the chance to work with Hill was their "big break."
The suit also claims Hill made verbal assurances to New Ark that they would be credited and paid for major contributions to the album, but they never pinned down their role in writing--which Harvey concedes was an error.
The suit says the relationship between Hill and the New Ark musicians cooled as the album neared completion and the singer began backing off her earlier promises of credit.
Harvey says Hill's handlers tried to placate Pugh and the others in November 1997 by arranging a publishing deal with Sony/ATV, the same publisher that handled the "Miseducation" songs for Hill. The deal paid the New Ark musicians a $100,000 advance for rights to their future work. Harvey said the size of the deal supports the group's claim that they are far more than mere studio musicians.
James Poyser was the real producer for that whole album and the bitch credited him as a musician. And James is one of the nicest, most humble cats you can ever come across. I hate when good people get fucked overHold up....WTF?!
I never knew this before
Knowing the full background of how everything went down, I will never consider her a genius man...
she may be a lying deceitful queen bitch...but she can still sing in a way that captures my soul.
Finally??? It's a very unpopular opinion I have. But she WAS a talented part of a hip hop group that dropped 2 albums in the mid-90s, and had 1 classic album......... Damn near 2 decades ago. I think it's safe to say whatever genius that was there is long gone and maybe her recent brand of crazy is here to stay.
Genius is used entirely too much.
Genius is very, very rare.
Lauryn had talent, but while a vey good singer, she was not an A-1 singer and was not a top shelf musician by any stretch of the imagination.
Its a little annoying to me how the people who prop up many so-called great music ACTS in a way that they are regarded so highly, they seem to never get their just due.
I love Michael Jackson for instance, but does 'Thriller' become what it is without Q, Bruce Sweden, etc.? That was a team effort, but only one really person is propped up as some sort of demi-god.
Frankly, I'm more impressed by Q's body of work than Michael Jackson when you consider what they contributed to the projects they're known for.
Check the record before you call me crazy.
I'm not blinded by hype machine and irrational, subjective, "fangasming".
Genius is very, very rare.
Lauryn had talent, but while a vey good singer, she was not an A-1 singer and was not a top shelf musician by any stretch of the imagination.
Its a little annoying to me how the people who prop up many so-called great music ACTS in a way that they are regarded so highly, they seem to never get their just due.
I love Michael Jackson for instance, but does 'Thriller' become what it is without Q, Bruce Sweden, etc.? That was a team effort, but only one really person is propped up as some sort of demi-god.
Frankly, I'm more impressed by Q's body of work than Michael Jackson when you consider what they contributed to the projects they're known for.
Check the record before you call me crazy.
I'm not blinded by hype machine and irrational, subjective, "fangasming".
It was a great album, possibly no definitely sullied by her trying to take credit for everything. If she didn't fuck over so many people she might have been able to duplicate it. There was likely no sophomore album because there was no one left to screw over, or no one was willing to work for her or with her for a second CD. That said, the miseducation of Lauryn Hill is probably one of the best solo albums of all time
THIS!! Remy should have called out this broad. Forreal, forreal.
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