Sample Copy: INVISIBLE: Judicial Misconduct Exposed!

Created & Written By Tiwanda ‘Ne Ne’ Lovelace  Bio Email Website | Twitter | YouTube | Online Store  Weekly News: May 27, 2016

INVISIBLE: Judicial Misconduct Exposed!

While each post and publication exposes the many civil and criminal violations, the main groups and entities continue to pass the ‘buck’ back and forth. Using each post and publication to blame the other in an effort to avoid accepting responsibility. In essence, these blatant violations are never addressed directly by those that are empowered to resolve because; each, places blame on the other or worse, they blame the subject of the violation.

It is through ‘redirection and misdirection’ that contributes to decades of continued abuse against one individual. I expose the deliberate, willful harmful tactics used which has kept me impoverished and subjected for the sole purpose of obtaining proper resolution and to be acknowledges as a human being with rights. Clearly, this has been a combined effort through deliberate action and inaction of opposing entities continue to attempt to evade their responsibility. All equally determined to cement this oppression and deprivation of rights!

Everything on these website and publications are true and they provide supporting documentation for all allegations. There is no disputing the information found on any of the websites used to expose the atrocities that have continued for decades. I also provide videos that support an unnatural amount of coincidental incidents of abuse, see:

See a sample of blatant deprivation of rights and obstruction of justice!

Below the letters and initials referenced are defined as: 
COM – Complaint of Misconduct & COA – Court of Appeals
SAMPLE BONUS Included with purchase of Part I:
INVISIBLE: Judicial Misconduct Exposed!

Chapter 6: Justice – Not a Popularity Contest 
This book demonstrates how some individuals are deliberately oppressed and denied rights by those that are in positions to manipulate the courts to ensure injustice continues. This title discusses judicial misconduct and ‘obstruction of justice’ and deprivation of rights at the hands of the courts and its clerks. Tile includes actual physical evidence and proof of deliberate deprivation through courts and its clerks tampering, editing, withholding, modifying filings and disregarding its own court’s rules and procedures.
Review actual proof of Courts and its Clerks these allegations and more!

Review: Complaint of Judicial Misconduct

Immediately below is a copy of the Complaint of Judicial Misconduct recently filed in 2015 (which includes background summary. I appreciate your discretion in protecting confidential information. I am seeking legal representation with regards to my allegations involving DeKalb County, the courts in the Northern District of GA and the COA-Court of Appeals.

I have reached out to many legal aid organizations but in spite of ‘obstruction’ and many other unethical behaviors…some have attempted to use the statutes of limitations to dissuade even though the laws clearly state ‘statutes of limitations are not applicable. I may not be an attorney but like many others, I love reading and studying case
laws and the constitutional laws, etc.

I am constantly misrepresented by those who are in a position to thwart justice and I do not have to tell you how people rally against you when suing governmental agencies; such as, the police. The first response commonly used is, “It’s YOUR tax dollars…”
No one realizes that this only supports and condone continued civil rights violations. Again, I recognize that this is an extremely difficult task but I have faith that this can be remedied. The following pages are actual copies of a Complaint of Judicial Misconduct which clearly demonstrates how the courts own rules and procedures are misused,
ignored and/or are completely disregarded for the purposes of deliberately denying equal justice and done in an effort to support the deprivation of rights. There will be no question as to how the entire process is clearly
Link for: Form for Judicial Conduct Complaint GA-SF 1-82-SIGNED

As we begin to review the many supporting documentation provided in this publication, the first thing that should be addressed is the Rules and Procedures that are supposed to govern the judicial process.

In the previous publication, INVISIBLE: Living in America Without Rights we reviewed the basics regarding the filing of the lawsuit or Complaint.

The following page provides information regarding the Courts Clerks duties when accepting Complaints of Judicial Misconduct in accordance the Rules for judicial 
Conduct with Eleventh Circuit Judicial Conduct and Disability Rules.
Keep in mind that the reason for the filing of the COMPLAINT OF MISCONDUCT was due to this same kind of questionable behavior involving manipulating motions and filings; such as, a ‘switch-a-roo’ tactics. Courts/Clerks editing filings, withholding and ignoring laws, rules and procedures facilitates the deprivation of rights
through obstruction of justice.
8. Action by Clerk
(a) Receipt of Complaint. Upon receiving a complaint against a judge filed under Rule 5 or 6, the circuit clerk must open a file, assign a docket number according to a uniform numbering scheme promulgated by the
Judicial Conference Committee on Judicial Conduct and Disability, and acknowledge the complaint’s receipt.
(b) Distribution of Copies. The clerk must promptly send copies of a complaint filed under Rule 6 to the chief judge or the judge authorized to act as chief judge under Rule 25(1), and copies of complaints filed under Rule
5 or 6 to each subject judge. The clerk must retain the original complaint. Any further distribution should be as provided by local rule.(c) Complaints Against Non-covered Persons. If the clerk receives a complaint about a person not holding an office described in Rule 4, the clerk must not accept the complaint for filing under these Rules.(d) Receipt of Complaint about a Judge and Another Non-covered Person. If a complaint is received about a judge described in Rule 4 and a person not holding an office described in Rule 4, the clerk must accept the complaint for filing under these Rules only with regard to the judge and must inform the complainant of the limitation.
See image below duplicates above, in large text:
Note: This is a copy of the first page of the Complaint of Judicial Misconduct that was submitted on August 11, 2015. The red arrows and text highlighted is used to identify specific information.


Note: This is a copy of the first page of the Complaint of Judicial Misconduct that was EDITED by Courts/Clerks to reflect a receipt date of August 12, 2015. The red/orange arrows and text highlighted are used to identify specific information.

This Document should have been stamped and assigned a docket # at time of submission, per Court Rules…Instead, the date was changed from August 11, 2015 to August 12, 2015.The notation at the bottom of this filing which alerted Courts of attachments, was edited out and/or removed.This filing had 69+ pages of supporting documentation. Each labeled as COM, numbered and listed as attachments.

clear copy of page that was mysteriously blurred

copy of 1st page showing generic stamp and other detailed info clerks later edited -smaller

These filing were bound; however, Courts clerk requested unbound copy (as shown in email request). (Suddenly the copy of certain files are blurred but they were not blurred when I posted them…)


I provided courts with proper number of copies that are required by courts rules and procedures!

because there was no docket number
assigned and the stamp used was not initialed. In fact, when I question him about the Docket #…he gave me the copy of the first page that was stamped with different stamp and it was initialed.

When I met with Kennerly to give him the requested unbound copy, he provided me with a copy of stamped C.O.M. with a Docket # (finally). it was nothing like the copy that the courts initially returned.

YouTube Video –

I have a video of incident which clearly shows clerk’s misconduct when receiving Judicial Complaint of Misconduct. Afterward, the executive clerk requested unbound copies although video shows that I submitted (4) bound copies. I provided 82 pages which included clear, undeniable proof of misconduct but the ruling stated that I did not provide supporting documentation.

When I requested a cover sheet because the initial clerk only provided a generic date stamp, the executive clerk gave me a copy which was completely different from the generic stamp and it included the case docket number but it did not reflect that it came from my bound copies. The ruling still never addresses that the courts ignored clerks were supposed to serve Defendants.

Keep in mind that the reason for the filing of the COMPLAINT OF MISCONDUCT was due to this same kind of behavior involving manipulating motions and filings; such as, a ‘switch-a-roo,’ Clerks editing filings, withholding and obstruction.

The judge neglected to reference further:

However, Rule (3) (A) does include: …If the decision or ruling is alleged to be the result of an
improper motive, e.g., a bribe, ex parte contact, racial or ethnic bias, or improper conduct in
rendering a decision or ruling, such as personally derogatory remarks irrelevant to the issues, the
complaint is not cognizable to the extent that it attacks the merits. 


(B) an allegation about delay in rendering a decision or ruling, unless the allegation concerns an improper motive in delaying a particular decision. With regard to Rule 3(h)(3)(B), a complaint of delay in a single case is excluded as merits-related…But, by the same token, …or an allegation of deliberate delay in a single case arising out of an illicit motive, is not merits-related.

In addition, this complaint also addresses the conduct of the Courts and not only the rulings but
the following of its own Rules and Procedures. 

The Bound COM/ Judicial Complaint included 70+ pages of documents supporting alleged misconduct; 

1. Litigant…was treated in a demonstrably egregious and hostile manner; AND 

2. The Court(s) delay of this Complaint arose out of an illicit motive and in order to
assist the Def. who are a governmental entity, evade accountability; AND 

3. The judge’s used their office to offer special treatment when minority Pltf. files suit
against governmental agencies; AND

Discrimination against minority female litigant on account of race, ethnicity, sex…through manipulation of filings/docket entries; thus, obstructing justice.’ 

See Bound COM pgs. 8-77. 

Each act alleged, leads to a substantial and widespread lowering the public’s confidence in the
courts. Each instance listed would never have happened so blatantly if Pltf. were not a minority
female filing in Forma Pauperis. 

In my cover letter for Petition for Review, I humbly requested to meet with the Committee directly so that I may explain each allegation to show misconduct and compare the submitted Complaint with the one that the Chief Judge was provided. 

Each page of attachments was referenced within the Complaint and highlighted with explanation
demonstrating the alleged misconduct.

I was never contacted and I never received a copy of this 01-20-2016 decision. Plaintiff decided to check online and only then discovered the Ruling.

The final Petition for Review of Complaint of Judicial Misconduct is available at:! This PDF summarizes the entire process, from allegations to highlighting how courts own officers ignored courts rules.
INVISIBLE: Living in America without Rights!

Chapter 6: Justice – Not a Popularity Contest 

Being ostracized from society has been very difficult but it allows insight to what others find easy to overlook. Because of my current treatment, it is clear that I am not the one living in the past and that my ‘so-called’ past is alive and is currently kicking me in the head! After all these attempts to resolve my predicament, I was brokenhearted. I would have never thought that this would be possible. Not in America, I refused to believe my eyes. 

What could one person have done to justify this kind of exile? All I did was request those rights that I was told that I had and I stood up for myself. There had to be some type of mass deception or serious manipulation at work. I have never given permission for any filming or video surveillance’s but my privacy is constantly violated. 

It is implied that this is some type of protection but it appears that the only protection that I need is from those that are keeping me held down and persecuted. These are the same people that have orchestrated all events to ensure that there trap holds. There is always reference made to someone being a ‘pet.’ There is always the use of the words stay or sit. I am no one’s pet. These derogatory comments and references are made too many times to be coincidences. 

All of the cities that I have lived in have been supportive of my oppression. No one wants to address the gross misconducts, cover-ups and blatant criminal activity. 

SAMPLE BONUS Included with purchase of Part I:
INVISIBLE: Judicial Misconduct Exposed! (shown below Part I)

Well I have no intentions of allowing this to continue without a fight. I spent many years in pure pain and anguish, hoping that with time things would get better. All the while, I was trying to raise two young boys alone without any real support knowing that they would suffer a similar fate just because they were mine. I put all I had into them, keeping them from everything harmful, giving them the little knowledge I had and hopefully the ability to make good decisions. 

I have spent many pain-staking hours writing, editing and revising my first book and I have made some changes in my life to allow for a short period of time to promote the book as well. Of course, I expected some opposition in my efforts to express my side of events. 

I wanted to have an outlet to express to those who would give me a chance to stand up for myself against all the lies and painted pictures of my being this self-centered villain going around destroying lives. At least that is how I felt that I was being treated. It is hard to accept mistreatment when you don’t feel that it is warranted. 

I traced every footstep and every move that I made for as far back as I could to try to figure out why I was chosen to carry this burden of guilt that people would thrust upon me, daily. I made some harsh discoveries about my families past and about the world that I am forced to live in. 

Unaware of the depths that some will go to in an attempt to inflict harm on others; I went through life oblivious to some of the traps and snares. Although some would call this life that I lead – a blessed one, I don’t always feel that way. 

If you don’t like a person for whatever the reasons are, it doesn’t give you the right to take their life from them. There should never be an opportunity for others to have the ability to gang up on one person simply because they can. 

When a system enables or creates an environment where citizens are encouraged to publicly violate, harass, and abuse any one person at will, the system itself willfully promotes slavery. 

Using the misinformed public to administer some kind of mob justice or simply allowing the angry masses to ensure injustice continues is cruel and inhumane.

If these same people who choose to either ignore or actively participate in this wicked game of harming and hindering were alive in the days when blatant slavery was running rampant…’we’ would all still be slaves in physical chains. 

I used the words ‘we’ because it is not just a black thing, it is the poor people who have always suffered. It is clear that I have expressed my viewpoint on reaching a point of resolution. It is unacceptable for me to be disregarded and cut off from justice when I know that many are able to enjoy the luxury of having rights. Regardless of what lies and manipulations are being promoted, I have not hurt anyone.

Justice should not be based on popularity!

Available for Download and in Print!

Invisible: Living in America without Rights! – This book demonstrates how some individuals are deliberately oppressed and denied rights by those that are in positions to manipulate the courts to ensure injustice continues. This title discusses how some high profile case where some have been made invisible when the legal system falls short of providing justice. 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.

Invisible: Judicial Misconduct Exposed! –This book demonstrates how some individuals are deliberately oppressed and denied rights by those that are in positions to manipulate the courts to ensure injustice continues. This title discusses judicial misconduct and ‘obstruction of justice’ and deprivation of rights at the hands of the courts and its clerks. Tile includes actual physical evidence and proof of deliberate deprivation through courts and its clerks tampering, editing, withholding, modifying filings and disregarding its own court’s rules and procedures.
Review actual proof of these allegations and more!


$9.99 – PURCHASEExcluding 7.1501% tax

Intellectual Property Rights Licensing Available! (click below)

Music Business: It’s a Dirty Game! – Although many have protected themselves in every way, many artist, writers and producers have been denied the opportunity to even pursue their claims and are forced to fight for their rights. This book uses personal experience from direct association with major music industry personnel, contracts with major music publisher. This book is not just for the aspiring artists but it is also for those who are interested in learning how the world actually operates. This book calls attention to the events that lead to major entities being exposed, corruption, greed, lies, hypocrisy and even murder – past to present! Read more
$9.99 – PURCHASEExcluding 7.1501% tax
Music, Murder and Mayhem – A True Story! – This is an un-cut non-fiction description of how the music entertainment business murders its artist and writers quietly behind the scenes. It is important that people understand the ‘game’ and how it ultimately affects others. The documentation provided along with my personal experiences shared in this book should demonstrate the lengths that those who have abused their positions to strip individuals of their life publicly by using illegal tactics, mass deception and intimidation.
$6.99 – PURCHASEExcluding 7.1501% tax
Little Girls Beware: A Guide to Surviving – This title focuses on the upbringing and the differences between how we raise our daughters and our sons. This title exposes a centuries old ploy that is passed down through generations to exploit our daughters.  It addresses the stigma placed upon the females; especially, when in conflict with male counterparts. Compares both points of views when dissecting views on interracial relationships; both, past and present. Everything that a young woman should be aware of in order to survive in a desensitized world where her value is measured by her appearance and/or others ability to profit.
Everything on these website and publications are true and they provide supporting documentation for all allegations. There is no disputing the information found on any of the websites used to expose the atrocities that have continued for decades. I also provide videos that support an unnatural amount of coincidental incidents of abuse, see:

For more, visit:


P.O. BOX 400001, LAS VEGAS, NV 89140 (877) 885- 2944

Official Websites – &

Bullies: The Problem with Justice…

Bullies: The Problem with Justice…

Created & Written By Tiwanda ‘Ne Ne’ Lovelace 
E.O.A.A. Weekly News Article: May 1, 2015 Updated and Re-Posted March 13, 2016

Help support my Booster Campaign to obtain legal representation @

Most behave as if there is nothing that we can do to stop this Roller-Coaster filled with strife called, Life. There are those who believe that we allow whatever nightmares to continue as if some actually deserve to be bullied.
Some insinuate that the answer is to sue, fight, go to this person or this group….but the fact is because of obstruction, mail tampering, officials ignoring violations and the courts refusing to acknowledge actual supportive evidence, etc…most are stuck in a twisted, ‘free-for-all’. (See proof of how courts ignore its own rules and disregard actual evidence at Misconduct)

Like many others, I have filed lawsuits, complaints. Upon learning that in addition to having to address both civil and criminal abuse, I also had to deal with ‘obstruction of justice’ from the courts and its clerks. I was forced to file complaints of judicial misconduct that contained clear and blatant proof where the clerks edited, withheld filings, ignored courts own rules, demonstrated blatant bias and much more. For your review, please visit:

Sometimes I am truly in disbelief that some of the things are really happening but of course someone will always remind me just how cruel a place the world can be (as if it is a normal part of life).

INSERT FROM MUSIC BUSINESS: IT’S A DIRTY GAME! NONFICTION – This title calls attention to the events that lead to major entities being exposed, corruption, greed, lies, hypocrisy and even murder.
“According to Michigan Department of Corrections, my father – Robert Heard, was convicted of murdering a Detroit Police Officer, Stanley Rapaski and the bar owner, Cass Czerwinski. I was told that my father was with someone else who was attempting to rob a local bar while Rapaski was there off duty on January 10, 1969. There are many different versions available online.
The officer and the bar owner, Cass Czerwinski, was shot and killed in the process. I wonder if Cass Czerwinski, the bar owner’s family were influential, powerful people that could keep their names out of the press. 
I am still researching both parties; however, with the level
of disregard for civil and human rights, judicial misconduct, violence…I
can’t help but wonder if Czerwinski is related to Democratic Representative
Joseph C. Czerwinski because there are entities utilizing great and powerful
influence; going to extremes and great lengths to prevent resolution and to
deter any real assistance.”
In this book you will learn about actual individuals who are connected to the major music publishing companies that profit and who yields power; such as, Paul Katz. Katz alleges to have interest in civil and human rights; however, it was under his reign at Zomba, that all kinds of allegations of copyrights infringement were happening to their writers, IN HOUSE….
It was Zomba’s own contracted writer(s) who was being subjected to alleged copyrights infringement (after musical works were submitted and discussed with their reps.). These infringements were followed by intimidation tactics, violence, and much more…. what hypocrisy!
Everyone at Zomba was in on it, supposedly trying to show support for the other major players that were manipulating for their own benefit and for their own financial goals.
Learn about how every resource and outlet is used in an effort to initiate hardship on those who insist on exercising their rights while discouraging their desire to seek resolution as if to say, ‘Let it go!’ ‘We do this to everyone so there is no hope…’ ‘We buy your friends and family support…’
Learn the entire process which demonstrates egregious intent to influence a sense of hopelessness.


When the smell of violence was fresh and ‘street justice’ was being used inflict further damage, the initial response from professionals (both, legal and official) was, “(We) can’t help you…” or the return of packages requesting assistance with a brief response declining any interest.

After decades of deprivation, harassment, intimidation, obstruction and threats of violence… suddenly it becomes the time for the so-called ‘statutes of limitations’ justification to be used to deter proper resolution. Any legal professional is clearly aware that there are no ‘statutes of limitations’ on civil rights violations.
It has become customary for the Artist/Writers to be disregarded when it is time to share in the profits…Doesn’t that sounds like slavery!
Everyone has a story but the atrocities that have been allowed to continue blatantly will shock even the most weathered individual…
This book is not just for the aspiring artists and songwriters but is also beneficial for those who are interested in learning how the world that we live in actually operates.

I stumbled upon a website while researching Katz and I found an article who mentions a Katz:

“…In addition to building on its success, BMG will “continue to fight for our writers’ rights,” Katz says. “[Writers] are not fully acknowledged for [their] contribution in the streaming market.”

When I read comments like this one, I know from personal experience that this is bull-crap. Keep in mind that I clearly understand that all people are familiar and have publicly witnessed many artist suffer similar tragedies without intervening. 

It’s almost as if the individuals or entities who claim and/or which are positioned to support civil and human rights are not only least likely to assist but they are actually directly associated with or most likely guilty of being the violators themselves. 

It’s like when you search online for Civil Rights Lawyer’s…the first one that displays in the results are the least likely to assist. It’s almost like a ‘deliberate, defeatist’ attitude that is meant to dissuade.

Unfortunately due to my situation, I find that it is best to video or record most interactions because of previous encounters where I experienced ‘abuse of power or position.’ In most cases, I do not resort to using these recordings UNLESS the interaction is deemed extremely and unnecessarily offensive or demonstrates egregious intent to influence a sense of hopelessness.

See March 3, 2016 video of response from a Civil Rights Organizations representative’s ‘defeatist’ attitude and who clearly has no interest in actually providing assistance. Visit:

I have been running around the entire U.S., requesting assistance with my civil and human rights violations that are associated with my major co-publishing agreement, copyright infringements, breach of contract, obstruction of justice and much more but NO ONE will even address these matters. Officials have disregarded multiple civil and criminal activity. 

See mail receipts of List of Governmental, Local Agencies and Groups contacted Requesting Assistance: 

DOJ Recent Response – 2015:

Page 1:
Page 2:

Page 3:

Everyone who is in a position of addressing the many atrocities that have been forced on individuals, seek to present themselves as upstanding, decent, law-abiding citizens who actually care about civil rights and human rights; yet, they turn a blind eye and continue to profit from the violence like it’s a sport. 

While the Artists/Songwriter’s name is sullied and drug through the figurative ‘mud,’ those who profit hide and pretend to separate themselves from the inhumane treatment and dehumanization of many writers and artist who fall a victim to a ‘system’ that vilifies ANY who would call attention to the truth. 

Although I have compiled numerous supporting documentation, I have found it difficult to obtain a lawyer that will acknowledge any aspect of these legal issues. I have had a few attorneys who have (in an effort to dissuade) quoted some outrageous amount that they know that I do not have. 

In preparation for an attorney, I have compiled a list of questions but I have not even had long enough contact to even ask…

Which aspect of the case would you be interested in?

Is it best to divide these legal issues under multiple legal representation?

Are you in a position to get entities to the table?

What strategy would be taken to address civil and/or criminal violations? 

How to address governmental inaction and obstruction?

With C.O.M/JUDICIAL COMPLAINT, which Jurisdiction or would you implement a change of venue?

Have you ever sued or been involved with similar cases (on either defense or prosecutor)? If so, what was the outcome?

How long does a case like this usually take before resolution is obtained?

Do you prefer litigation or settlement?

Which strategy would be best to decrease time frame? 

Would continuing to publish aid or cause harm to process?

Is Criminal and/or Civil litigation necessary with these blatant violations?

How would you began?

I guess that the first step would be to find someone without ties to the music industry or politicians, who actually believes in individuals having civil and human rights!

Who would you choose after 20-30 years of unnatural, deliberate abuse without no real
intervention from anyone? 
Not unlike most people who are in bad situations or stuck between multiple major opponents, I picked what any normal, logical person would – my side.
Seriously, the real problem really starts when some believe that they are all powerful and that they can pick and choose who it is that are allowed to have rights and those who can be victimized or not. 
I heard a comment today regarding Justice and how it is perceived by those in positions and I was surprised.
There was reference to Justice being awarded only or solely based on how many other
individuals deem that a matter is important enough to address. Immediately I’m thinking, ‘Here we are again, back on the ‘power in number’ scenario….
Let me say that there has been decades of those uniting for many plights but there
have been few real, lasting victories. 

I certainly hope that this is not an excuse for inaction because if this is the case then I would have to disagree. 

Of course, the logic behind the whole ‘power in numbers’ idea is commendable; however, as usual and in most case the idea is perverted, manipulated and misused by those in positions and for personal gains.

Again, it seems like an excuse and it does not justify ignoring (any) atrocities. 
To say that an individual or small group would have no recourse  unless supported by many, would be openly accepting a form of slavery or enslavement. 
This would mean that as long as ANY group, individual or party could initiate intimidation, violence, etc… in an effort to defer or dissuade interest in the support of resolution. That is all that would be needed to deny justice.
There is a huge problem with Justice, if it solely relies on the support of the many
instead of what is right and wrong. Are we that far gone to simply except words
and reasons that justify evil? It is the same when referring to ‘statute of limitations’…as long as individuals/entities/officials refuse to even acknowledge that civil rights violations have no statutes of limitations. 

The whole purpose of not having ‘statutes of limitations’ on civil rights violations is because of the ‘system’ which abuses its powers, positions, connection, etc…in order to run the standard ‘time frame’ for criminal activity and in an effort to evade being held accountable. So it’s business as usual while all assistance is blocked, hindered and rendered useless because of simple phrases; such as, ‘no good deed goes unpunished.’ 
Under this interpretation or this philosophy, this creates and substantiates the need
for gang memberships and other groups. It is human nature for some to misuse power and clearly there will always be some who seek power out for misuse. There are those decent, moral people but they steer clear of the responsibility of leadership usually because they know that ‘power corrupts’ and that ‘absolute power corrupts absolutely.’
Yet; those in position will be the first
to vilify but the individual does not matter unless they can be the first to
sway major interest form large numbers. 

What happens to those who do not belong (whether by choice or not)? Do they not merit Justice or do they not matter?

Again, this book is not just for the aspiring artists and songwriters but is also beneficial for those who are interested in learning how the world that you live in actually operates.
In addition to downloading your copy, you should have a
printed copy for your bookshelf!







This letter shows that they were 
considering my civil rights!




 As you can tell by the time frame, I didn’t just run and write these tell-all books.
I waited, hoped, tried and begged for help prior to making this decision. I still hope that this book will reach the right person that is in a position to assist in resolving this matter. I am still going to look these officials in the eyes and find out why it is that people can bully others out of their rights using civil rights violations, intimidation, mail tampering, violence and more?

Questions: I have a list of groups, agencies, and attorneys that I contacted via mail or emails but either, no one could find a way for me or my attempts were hindered. In the past I had a co-worker reference me saying, ‘she is waiting for someone to save her’ but what he didn’t know is that I have always been able to save myself. I didn’t want to do this alone but I have no choice.
Many are definitely cooperating with my civil rights violations, probably under the
guise of protection or due to the Patriot Act. 
I am not a terrorist nor do I wish anything bad on America. 
I live in America and I have no rights! 

I have to admit that there are a lot of lawsuits filed that are based on real civil rights violations that actually happened but without legal representation combined with hard, physical evidence…some of these lawsuits are only filled with accusations, pain and despair. See the blatant disregard by the courts and officials @ 

Complaint of Judicial Misconduct

It has been quite an experience and hopefully this will be the beginning of my
healing. There is no real justification for the things we experience sometimes
but to get past the pain we have to really examine our situations to ensure
that it doesn’t continue. I waited twenty years for some kind of decency but
decency was refused. I grew tired of the roller-coaster ride, the games and
lies so I bear it all openly in these titles.

These publications, websites and comic book are derived from the
following titles:
‘I think I see why they keep justifying why I am left to die, subjected to continued inhumane treatment, thrown to the wolves so to speak.’
‘Every time I focus on fighting for my freedom and due to my life being so public; there is always some sick twisted jerk that goes out and commits some heinous act or crime that would inflict pain on an unsuspected party.’
Then, instead of blame being placed on whomever great  idea this was, I have to face the backlash. I am deeply saddened by the use of violence and for the families of those affected. I do not intend to be bullied out of my civil rights, privacy and peace of mind.
I didn’t ask for this nor was I asked or told anything regarding the reason for public
display or deliberate mistreatment.
Of the many legal battles to be fought, I launched this  campaign to shine the light on one of the major entities who are in a position to inform, assist and uphold justice but have ignored atrocities and request for intervention.  

What if you were posted up, displayed and misrepresented without your knowledge or consent? No one has ever said anything to me regarding why I have to be subjected to having no rights to Life, Liberty and Justice!



Bonuses, Updated, Full Versions…ONLY Available Direct from Publisher, SWP @ Approved Outlets shown below:,,





Copyright © 1993
P.O. BOX 400001, Las Vegas, NV 89140

Your Rights CAN Be Deprived!

Created & Written By Tiwanda ‘Ne Ne’ Lovelace 

E.O.A.A. Weekly News Article: December 14, 2015, Updated February 7, 2016

Help support my Booster Campaign to obtain legal representation @

Your Rights CAN Be deprived!

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BREAKING NEWS: Officials acting ‘Under Color of Law!’ 

For supporting documentation for allegations, Visit:
In my situation, one of the first things that I did was to seek counsel. I sought legal counsel in Michigan, Las Vegas, NV and Atlanta, GA. I contacted a number of groups, agencies and organizations across the world for assistance but even with copyrights, 50/50 major music publishing contract, public records, search warrants, etc no one would help. Instead, I was blamed for atrocities and kept in the dark. 

While behind the scenes, the hurting of others continue so that they will hate you too…this is not a game!
It’s very important to explain that I have made every effort to try to correct this injustice. Understanding the complexity of this world and its court system, I reached out to many for
assistance by providing supporting documentation and requested intervention
from the beginning.


After being targeted for one or both reasons, I have had multiple musical works that I have created –
stolen, gutted, and used to inflict harm against me while the system profits. Take a moment to look up the words Keptocracy!
These same works generated hundreds of millions of dollars for others; yet, I received nothing but
threats. Instinctively knowing that there is a definite connection between the use of my works and my inability to receive any type of assistance in bringing the culprits to justice. This is difficult to accept especially after presenting supporting documents to substantiate my claims.
These continued incidents are instigated in the hopes that this will ensure that no one will support your fight for justice.
Those in or associated with the music industry have engaged in, encouraged and have allowed violent acts to incur solely due to their pride, greed and hate. 

In addition, for over two decades…Officials – while acting ‘under color of law,’ circumvented justice, hindered and enslaved daughter of man accused of murdering a Police Officer!
My father, Robert Heard allegedly killed a Detroit Police Office, Stanley Rapaski and Cass Czerwinski. I can’t help but wonder if Czerwinski is related to Democratic Representative Joseph C. Czerwinski because whoever is behind this is in position to hide the truth.Officials under collaboration with a billion dollar industry has used courts, judges, power, positions and connections with Music Business to exact revenge and for the purposes of making a profit from enslaved individuals. Who would you choose?

How would you react if you lived in a world where ANYONE could do ANYTHING to you for decades and no one would interfere or stop them because the ‘system’ is profiting from stealing your life? 

It’s not like no one knows about this blatant corruption but it is sad that people can stand by idly and do nothing when it is clear that this is so wrong. 


For supporting documentation for allegations, Visit:

Everything in these Articles and Books are based on fact and can be substantiated with documentation from public record. I only wish that I had someone take the time to share even a tiny bit of the information with me prior to my decision to pursue a career in the music industry.

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.





Help support my Booster Campaign to obtain legal representation @

These book use a contract with major music publisher, copyrights, court records, personal experience and more to demonstrate tactics used to steal, oppress and destroy lives.

Find the answers to the many questions regarding how the music industry and this ‘system’ continues to operate with impunity in E.O.A.A. Educating Our Aspiring Artist  Weekly Articles Sponsored by SWP, LLCSubscribe!


For supporting documentation for allegations, Visit:

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BREAKING NEWS: Officials acting ‘Under Color of Law,’


Help support my Booster Campaign to obtain legal representation @

When you seek help, your efforts are blocked, hindered by mail tampering, use of technology to block emails, etc…




Created & Written By Tiwanda ‘Ne Ne’ Lovelace 

E.O.A.A. Weekly News Article: Friday, May 18, 2015

Many aspiring artist  are still sending in their demos and running to give their musical works away  hoping to make their dreams come true.
Although this may not happen to all who enter but let me be clear…this is what happens the majority of the time.
Basically, if you go near anyone associated with or in the music business…you should know that (without discussing anything with you and without any agreements) these men can tell the other reps that they own you and that they are supposed to get all of your royalties.
All of the fighting and violence that will and does occur behind the scenes is considered your fault; however, you are kept in the dark while others line up to do you harm. Incentives are offered for contributing to your hardships so that the truth ill die with you and the profiting can continue! 
If you are female and (especially, if you’re African American…no one will help you NO ONE).

Not the courts, not the system because all of those major entities control the millions of dollars derived from all works AND ‘THEY’ ensure that the violence touches many groups and cultures to prevent assistance and to induce public hatred toward you. 

There is no logical explanation as to how in 2015 men can simply take from women without consent or communication and this be acceptable…

Just like the cavemen, there does not have to be a relationship or communication.

You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you are kept in the dark. 

The men associated with or in the business (from the bottom to the top) know this so they enjoy robbing, raping and pillaging with impunity so therefore the last thing that they care about you or your well being in any way. The violence is then used to initiate some kind of process that is presented as some kind of protection (without your knowledge or consent). 
This alleged protection is only an another means for these entities to further victimize you and for them to profit from your ideas. It’s similar to some kind of Kleptocracy; which means, ‘under the rule of thieves!’
They treat the men like women too if they don’t fall in line or go along…


When the warring becomes excessive, you won’t be able to earn a living unless it it’s something illegal, disgusting and degrading (which further jeopardizes your well-being). 

You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you are kept in the dark.


The public works together out of hate or for revenge to justify the inhumanity because of  their losses even though you were the initial, intended victim. 
Most will run scared because of those in positions are corruptible or afraid because there are always monsters guarding the hundreds of millions of dollars involved.
Your college degree means nothing because they own the judicial system, the streets, your family, etc…Why attempt to blindly conduct business with this business without considering the tactics or methods used and reviewing actual proof? 


Most will let you learn on your own but you need to Learn what they don’t want you to know! 
Anything that you give to those producers or industry reps is just that…a gift because all of them are desperate and will do anything to get that money – YOUR MONEY! 
In the end you will be presented as simply a disgruntled artist when the truth is that nothing was ever discussed with you because the ‘system’ does not recognize the individual (especially, the female).




It doesn’t matter what group it is that you think that you belong to!

You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you will be kept in the dark.


Of course, in addition to being an unaligned African American female and conveniently the daughter of a man accused of killing a Detroit police officer, the system definitely refused to enforce any laws or stop any of the robbing, raping and pillaging on my behalf. 
Although many have protected themselves in every way (contracts, copyrights, legal representation, etc…), many
artist, writers and producers have been denied the opportunity to even pursue
their claims and are forced to fight everyone AND for their rights. 
I am not sharing my experience for sympathy but to let those aspiring artist, writers and producers that those rights that you are counting on having enforced are simply nonexistent when dealing with any multi-billion dollar industry known for not paying it’s people and a ‘system’ that allows it to operate with impunity.  
I want the rights guaranteed under the Constitution of the United State of America…that is to seek proper resolution without the mail-tampering, intimidation, violence and homelessness forced upon me. 



You can mess with them if you want to without studying the tactics and methods in any of the titles provided by SEVEN WEST PRODUCTIONS, LLC
That’s more help then I ever received from anyone…

You are blamed for all of the fighting and violence that will and does occur behind the scenes is considered your fault but you are kept in the dark while everything bad that can happen, does happen!


These titles are also in an eBook form available at:  

Invisible: Living in America without Rights!
That’s more help then I ever received from anyone…
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With all of the Puppet Masters – WHO WOULD YOU TO TURN TO?

E.O.A.A WEEKLY: Friday, November 28, 2014, Written by Tiwanda ‘Ne Ne’ Lovelace

RE-POSTED MAY 01, 2015  Bio | Email Website | Twitter | YouTube | Online Store 

Help support my Booster Campaign to obtain legal representation @



The only game being played in 

MUSIC BUSINESS: ‘Puppet Masters’ and ‘Musical Chairs’ 

Let’s explain how the music industry plays Musical Chairs. I had to see who was running the label back when I was under contract. I had to know who profited from this mess.
Of course, these individuals listed below were definitely involved and/or aware of publishing contracts,  song submissions, ‘gutted’ musical works and actions which led to multiple Copyright Infringements:
Richard Blackstone    
Richard Blackstone
Dave Renzer

These were some of the same people who shortly after profiting, began transferring me back and forth over the phone (keeping me on speakerphone) while rejoicing, mocking and laughing about Zomba being Number 1.

Follow The Money!!!


        Paul Katz 
Paul Katz was C.C.’d on my Co-Publishing contract advance:



Moving On Up The Line
The owner’s of the company were  –
 Clive Ian Calder
After an unspecified “ethical disagreement,” Calder bought 
Simon’s stake in Zomba and became the sole owner in 1990.


I was signed to Zomba in 1993 and I think I have an idea of what was 
meant by ‘ethical disagreement.


In the late nineties, Jive expanded its success to include teen pop 
phenomenons such as Backstreet Boys, ‘N Sync and Britney 
Spears, all of which topped the charts. In 2002 he sold Zomba for 
US$2.74 billion to the German-based media group Bertelsmann.
Though he was offered a position with BMG, he instead chose to 
stay on temporarily as an advisor during the integration period, 
but left the business in 2003. The Jive Records brand was 
discontinued in October 2011, with their artists being moved 
to RCA Records.
Ralph Simon
Simon co-founded the independent Zomba Group of music 
companies (now a subsidiary of Sony Music Entertainment) 
with Clive Calder in the 1970s. In the mid-90s, he was 
Executive Vice President of Capitol Records and Blue Note 
Records in Hollywood and started EMI Music’s global New 
Media division.
On May 20, 1996, I filed a lawsuit against BMI, Zomba and Jive because of their lack of 
response to my request as to how BMG, MCA, EMI, WEA, Polygram and Jive have released 
songs which blatantly infringe upon my copyrights. I submitted these lyrics and melodies to Zomba. Although people are moved like musical chairs, it is easy to see how moving employees back and forth from BMG, MCA, EMI, WEA, Polygram and Jive may have gained access to  songs which blatantly infringe upon my copyrights. I sent these lyrics to Zomba; which they deny receiving. 
Conveniently their denials were received in envelopes marked ‘Comics’.


I assure you that this is no game. Here I am twenty plus years later…still fighting for scraps and being stripped of everything from housing to basic necessities for decades.

This is not a matter of not having Copyrights!!!
This is not a matter of not seeking or having Legal Representation!!!
This is not an issue of signing away percentages because it was only
a Single 50/50 Co-Publishing Agreement with Zomba, a Major Music Publishing!
Not only did this Major Music publisher Neglect to Protect their own 
Writer but Failed to Pursue Interest in Copyright Infringements
associated to hundreds of millions of dollars…
Why do you think that a company that has a (50) Fifty Percent Interest in Musical Works would actually refuse to pursue claims which were supported by factual documentation, split-sheets,
certified mail receipts and certified, sealed copyrights?
Why is it while you attempt to pursue your claims and allegations, you are met with Violence, Harassment, Accusations and Coincidental Hardships? 

I may not have the money to advertise, promote and market like I need to but this is unacceptable! I don’t want to hear no words. There is no excuse for this mess to continue. I never plotted to hurt anyone and this should have been resolved decades ago. I am an unaligned female without connections but nobody should be able to deprive anyone of the rights and ability to receive or pursue proper resolution.


Nobody asked or explained  anything to me Before or After I began to be victimized;

privately or publicly! I never plotted to hurt anyone and this should have been resolved decades ago.

I, Tiwanda ‘Ne Ne’ Lovelace am an unaligned female without connections but nobody should be able to deprive anyone of the rights and ability to receive or pursue proper resolution REGARDLESS OF SEX, RACE OR FAMILY BACKGROUND.


There are always tragic incidents that are seemingly close to times where I have felt pressure to ‘stop,’  ‘let go’ or received strong messages to just stop pursuing my plight for justice. It is if others are being hurt in an effort to persuade others to help harm me and my family. Of course bad things happen but there are an increasing amount of coincidences.
There is another instance where it was as if there may have been some interest in finally resolving this nightmare or people were doing the same things that have been done for decades; wherein, numbers are referenced but they are soon followed by violence or jokes and mocking.
In order for you to see it for what it actually is, you must consider the facts presented.
Considering all of the important and well connected individuals involved in assisting with these atrocities for financial gain, am I supposed to run to any one of these people listed for help. If they are in a position to assist, maybe they should have acted BEFORE the raping of women and children, pillaging, cover-ups, corruption, robbing and murders.


My father, Robert Heard allegedly killed a Detroit Police Office, Stanley Rapaski and Cass Czerwinski. I can’t help but wonder if Czerwinski is related to Democratic Representative Joseph C. Czerwinski.
Although my in-laws were directly related to the chief of police of Detroit, I never put it together that maybe this was questionable being that my estranged father was serving a life sentence.
I was raised as one of Jehovah’s Witnesses (Kingdom Hall out of Brooklyn, NY) so I was already raised isolated and separate from others. I wrote to music track initially provide by Jake Salazar and Lee Marcus. Lee Marcus brother was a MI police officer. My in-laws relocated for a period in GA.
The police departments spanning from GA were acting under color of law when they willfully executed a false report to secure a warrant. This illegally obtained warrant has been used to take housing and was used as means to hinder employment and take jobs.
MI – Judge Bernard Friedman, ignored severity of obstruction of justice, murders, rapes, corruption. This judge literally blamed actual violent events as if it was just a side effect from a cystectomy and as if it was not even happening. The search warrant says different.
GA – Judge William Duffey, (judges switched after Request for summary judgement entered by plaintiff. Judge ignored clerk’s misconduct.
F.B.I. Local Offices contacted but ignored severity of obstruction of justice, murders, rapes, intimidation, civil rights violated, corruption that has been allowed to continue for decades.
D.O.J. contacted multiple times throughout the entire 2-3 decades of major violations but ignored.
Officials across state lines are supporting this modern day enslavement by willfully and deliberately ignoring multiple severe criminal acts and have committed acts themselves.
My mother raised us as Jehovah’s Witnesses (located out of Brooklyn, NY).
My father, Robert Heard was sentence to a Life sentence for allegedly killing a police officer.
My best friend’s father was a police officer by the name.
My then husband was related to then Chief of Police, Benny Napoleon.
I’m sure that these officials have presented all kinds of reasons to justify violations but never once has anyone even approached me or said anything and when I approached any of these agencies (including, the DOJ who represents the government) or any police agencies (FBI, etc.)…no one acknowledges valid claims.
Due to major officials (judges, police entities, etc…) and other parties involvement…civil rights violations, use of violence and repeated instances where obstruction of justice, the statute of limitations are not applicable are being ignored and implemented in an attempt to cover atrocities for decades.
I am not sure if you can help because my allegations are against major entities. I am going to the F.B.I. tomorrow but I thought that I would reach out once more for some kind of legal advice.
Due to major officials (judges, police entities, etc…) and other parties involvement…civil rights violations, use of violence and repeated instances where obstruction of justice, the statute of limitations are not applicable are being ignored and implemented in an attempt to cover atrocities for decades.
This case involves multiple major entities and some ‘acting under color of law.’
For decades and repeatedly, I have been placed in situations where it is implied that this heinous situation will be addressed but it never comes. Only continued mail tampering, email interruption, misrepresentation and blocks that are keeping me subjected, alienated and uninformed, these crimes and violations of my privacy continues.
I still have not heard from the human rights committee… not even a confirmation email.
a teenager, I began a telephone relationship with Jay Sloane, a DJ at a local
radio station.
signed a recording deal with a Sanchez as a part of a female group (never
developed into anything).
a young adult (prior to marriage), I also had unpleasant, embarrassing sexual
contact with the guys who were with the female rapper, Roxanne/Roxanne or was
it The Real Roxanne out of NY.
these were the only times where I had any contact with music industry personnel
prior to meeting with Jake Salazar and Lee Marcus.
wrote my first lyrics to tracks provided by them of which one was placed on
major television sitcom. Lee Marcus family was definitely associated with the
Detroit Police through his brother per him. Neither; Lee Marcus or Jake Salazar
offered any contract but just wanted lyrics written to music tracks.
Jake Salazar and Lee Marcus never offered contract and disappeared for some time.
This event was followed by the droves of local production teams coming under the
pretense of good will while working together to deceive – as mentioned in Music
Business: It’s a Dirty Game!
Out of the many groups that I worked with, the Larry Hatcher, Larry ‘Roc’ Campbell
issue developed being that I was not signed to either. Larry Hatcher was
introduced through my husband’s family. I would have to assume that he was
initially associated with them but why would he want me to leave Detroit and
move to California unless he was trying to switch teams for whatever reasons.
That was a desperate move to lift my legs up and do me that way but combined
with my family’s response… it worked because I was tore up and almost went.
Local entities began to speak negative about Larry Hatcher being no good and dangerous.
On January 31, 1995, I was home in my kitchen cooking dinner and there was a knock
at the door. The officer held up a search warrant in connection to a double
There was a double homicide at 15721 Telegraph on January 21, 1995. Left at the Scene
was a white canvas bag containing one full metal jacketed 9mm round. This round
watched 4 shell casings found by the bodies of the deceased. Attached to the
canvas bag was a TWA baggage tag for flight 355 Nov.11, 1994 and a Computer
read out for passenger T. Lovelace.
Per search, warrant served on January 31, 1995 – Affiant contacted Trans World
Airlines and learned that a Tiwanda Lovelace and a Curtis Lovelace had departed
Kennedy Airport in New York on flight 355 and arrived At Metro Airport Detroit
on November 11, 1994. Apparently, some jackass took my luggage tag from my trip
to NY and left it at the crime scene.
While in New York in November 1994, my home was shot up with my children inside.
Notice of Betrayal Letter sent to Zomba/Jive regarding dated February 23, 1995 Letter I sent to Zomba regarding blatant betrayal from their staff after Kymberlee Thornton expressed sudden disapproval of works which was in
opposition to previous expressed satisfaction.
The Search Warrant advised that I had been under surveillance. I was released immediately.
I’ve had files removed and received threats since 03/95.
Shortly afterward, I kept hearing about a story of someone hurting people by burning their toes, so I don’t know if they are threatening me again or what. I was being blamed again for some actions of others. If I am kept in the dark, how am I supposed to know what is going on. Unfortunately, I have to wait till the public lashes out at me in secret and then try to determine if they are just painting a picture to intimidate. 
‘I heard the people on the radio talking about the toes and I lashed out in anger
at them threatening me or trying to instill me with fear. All I know is that I
hated listening to the radio – assholes.’ ‘They use their powers for bad.
August 1995 Journal entry:
‘Leap of faith, leap on these with that bullshit! So I guess this means that I am
still wounded pretty badly.’
While situations are presented to some of the public one way, while at every turn behind the scenes is the constant harassment, intimidations and threats. It is true that one must be able to overcome and handle duress in order to become successful but when your stress becomes supernatural and your hardships are deliberately unbearable.
Then they were still playing that game where they would pretend to be getting ready to
fix this mess and give me my rights to privacy along with the Dangling Carrot –
The Deal. Followed by releasing the public on me to mock and attack. In
addition to everything that was going on…
October 24,
1995 Envelope from Zomba:
The envelopes with the words ‘comics’ began…
Another example of how haters can misrepresent situations…
Amidst all the drama, on August 15, 1996 my oldest child was outside playing outside
in front of the house when one of my hate-filled neighbor’s children chased him
into the street.
Conveniently, he was struck by a vehicle and thrown into the air to land on the concrete.
What made this different from any accidental automobile collision was the
drivers’ response. Sharon Deasfernandez, the driver got out of her car with
this cold, angry expression on her face.
I’m not a racist but Detroit is predominantly African American city so I thought it was odd that she was of Hispanic decent being that I never really knew that I had crossed paths with anyone except Jake Salazar.
Was there an issue behind the scenes between Jake Salazar and Lee Marcus that was escalating?
Had my signing with Zomba interfered with others plans? Why pretend not to have my
lyrics and melodies after we discussed each work?
Was the double homicide supposed to be used to send me away while the others profited?
I had heard that their intentions were to avenge or retaliate against me for allegedly lying on Powell and others, (one of their big figures in their community in Detroit).
I assure you that I kept written records, time stamped journals and signed paperwork regarding what happened to me. Simply having more family, friends and supporters does not make your or your people’s actions justifiable.
[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.
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.


Each of these individuals assisted directly or indirectly in the deprivation of rights,through or by either inaction or actions (up to and including acts listed; intimidation, violation of civil rights, corruption, encouraged public persecution, the raping of women and children. Because of their acts, inaction or misrepresentation of events or refusal to follow or uphold the law!


  1. Richard Blackstone
  2. Dave Renzer
  3. Kymberlee Thornton
  4. Michigan Attorney Grievance Commission
  5. Whichever officials that keep interfering with mail & email delivery
  6. Michael Powell and his associates who assisted
  7. Jake Salazar
  8. Lee Marcus
  9. Art & Rhythm’s – Larry Roc Campbell, Zomba’s AnR
  10. Paul D. Allen 
  11. Larry Hatcher
  12. David McPhearson
  13. Howard Hertz, Attorney
  14. Alexander Kuhne, Attorney
  15. Jerome Barney, Attorney
  16. Judge Bernard Friedman
  17. Judge William Duffey

Governmental, Local Agencies and Groups ALSO contacted

It is not important to me the ‘who’ however, it is very important to explain that I have made every effort to try to correct this injustice. Understanding the complexity of this world and its court system, I reached out to many for assistance by providing supporting documentation and requested intervention from the beginning.

See list below:

Lovelace vs. Zomba

List of Attorneys, Organizations, and Agencies

DHL airway                Recipient Info. / Delivery date and signature of agent Bill no.

772707017012            Karen Bragg/ Ticket Master /c/o Goldstein,

                                    3701 Wilshire, 7th Fl., Los Angeles CA 90010

                                    Delivered – 03/06/1996, at 11:37 am, signed by Decker

77277017001              Attorney General, Dept. of Law, Consumer Fraud

                                    120 Broadway, 3rd Fl., New York, NY 10271

                                    Delivered – 03/08/1996, at 10:55 am, signed by Williams

7930401651                Volunteer Lawyers of the Arts/ Robert Libcke,

                                    1212 Griswold, Detroit MI 48226

                                    Delivery – 03/11/1996, 11:23 am, signed by Matthews

77277017701              Freeman Hawkins / Roger Goode, 4000 Sun Trust Plaza,

                                    303 Peachtree St., Atlanta GA 30308

                                    Delivered – 03/13/1996, at 10:59 am, signed by Johnson

8142801144                The Honorable Judge Linda Warren-Hunter,

                                  565 N. McDonna St., Decatur, GA. 30032

                                  Delivery- 03/18/1996, at 12:57pm, signed by Vortice

8184537104                Attorney Grievance Commission / Philip Thomas / A. Kuhne

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259

                                    Delivery-03/26/1996, at 10:57am, signed by Buchanan

8184537093                Attorney Grievance Commission / W. Neeley / J. Barney

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259

                                    Delivered-03/26/1996, at 10:57am, signed by Buchanan

8184969726                Attorney Grievance Commission / W. Neeley / J. Barney

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226-3259

                                    Delivered-03/29/1996, at 10:22am, signed by Buchanan


Lovelace vs. Zomba

List of Attorneys, Organizations, and Agencies (cont.)

DHL airway                Recipient Info. / Delivery date and signature of agent Bill no.

8184969962                Business Volunteers of the Arts, Robert Libcke

                                    1212 Griswold, Detroit MI 48226

                                    Delivered – 03/29/1996, at 9:47am, signed by Matthews

8184969951                Better Business Bureau, 257 Park Ave., South New York NY 10010

                                 Delivered-04/02/1996, at 10:15am, signed by Ojeda

8184969741                Attorney Grievance Commission / Howard Hertz

                                    Suite 256, Marquette Bldg., 243 West Congress Detroit MI 48226

                                    Delivered-04/04/1996, at 10:47am, signed by Buchanan

9271866590                Ken Burrows, 425 Park Ave., 26 Floor New York NY 10022

                                    Delivered-02/19/1996, at 8:56am, signed by E. Addy

9271866586                Don Wilson, 4929 Wilshire Blvd., #1010 Los Angeles, CA 90010

                                    Delivery-02/20/1996, at 9:26am, signed by S. Girad

                        5219002596 – Don Wilson returned package 03/11/1996

8865881905                Karen Bragg c/o Goldstein, 3701 Wilshire Blvd., 7th Fl.

                                 Los Angeles, CA 90010

                                 Delivered – 02/22/1996, at 10:09am, signed by K. Eubanks

8865881883                Zomba / Deborah Keegan, 137-139 West 25th St. New York NY 10001

                                    Delivered- 02/22/1996, at 11:08am, signed by W. Corian

8865881894                Attorney Grievance Commission, Suite 256, Marquette Bldg.,

                                 243 West Congress, Detroit MI 48226

                                 Delivery-02/26/1996, at 9:56, signed by D. Smith

8681158172                Federal Trade Commission, Division of Marketing, Rm. 238

                                    6th St & Pennsylvania Ave., NW. Washington D.C. 20580

                                    Delivery-03/04/1996, at 2:39pm, signed by I. Hudgins

                 9736039725 – Federal Trade Commission / Delores Johnson,

                                      Package returned 03/13/1996

9649642623                The Honorable Janet Reno, Department of Justice,

                                    Tenth & Constitution Ave., N.W., Rm. 4400 Washington D.C. 20530

                                    Delivered-03/13/1996, at 12:46pm, signed by B. Breitspr

9291390780                Prosecutors Office, 1441 St. Antoine Ste. 1200, Detroit MI 48228

                                    Delivery-03/26/1996, at 11:46am, signed by S. Johnson

814280                                                            Attorney Grievance Commission / J. Barney, Suite 256, Marquette 243 West Congress, Detroit MI 48226

                                    Delivered-04/09/1996, at 10:19am, signed by Buchanan

8142801166                Department of Justice, Anti-Trust Division, Jacob K. Javitts Federal Bldg.,

                                    26 Federal Plaza, Rm. 3630, New York NY 10278

                                    Delivered-04/09/1996, at 10:03am, signed by O’Donnell

8142801155                Better Business Bureau-New York / Mediation Division,

                                    257 Park Ave., S., New York NY 10010

                                    Delivered-04/09/1996, at 9:01am, signed by Ojeda

8184537082                Freeman, Hawkins / Roger Goode, 4000 Sun Trust Plaza

                                    303 Peachtree St., Atlanta GA. 30308

                                    Delivered-04/15/1996, at 10:36am, signed by Johnson

8184969796                Butzel Long / Michael Poterala,

                         150 West Jefferson, Suite 900, Detroit MI 48226

                         Delivered-04/23/1996, at 10:46am, signed by Burks


**This is one long list that consist of very prominent attorney’s, groups and organizations. **

I can understand why it is so important for this information to remain hidden. If this was to be released, it would reflect poorly on each entity. It is probably because these are the same entities that are supposed to uphold and protect the rights of the people; yet, they were unwilling to enforce the laws.

Possibly Jay Sloane has some involvement due to past association.

Las Vegas F.B.I., D.O.J., U.S. Postmaster, and more were contacted with supporting documents but ignored the blatant violations of rights.

Some of these individuals were associated with or represented other groups who attempted to use these atrocities  for their own purposes and/or monetary gain. These groups are known for supporting the degradation of women.



Don’t hide behind your money, positions and friends! Be the men that you were when you made the decisions to place blame, steal, ignore, etc…

Why hide? Go ahead and let everyone see you help hold down individuals while you and the public screws them out of their dignity, rob them of their rights, etc… I would like to hear what reasons it is that you provide your family to explain your actions.

But I have to tell my loved ones to be careful and don’t send that child to public school because ‘my public’ harasses me with homeless jokes, rape jokes, etc…




Help support my Booster Campaign to obtain legal representation

These publications provide step by step description with supporting documentation:


Zomba Group of Companies

Zomba Label Group
Zomba Group of Companies logo.jpg
Parent company Sony Music Entertainment
Founded 1975[1][2]
Founder Clive CalderRalph Simon
Status Defunct
Distributor(s) Sony Music Entertainment
Genre Various
Country of origin United Kingdom
Location London, EnglandNew York, NYNashville, TN
Official website Zomba Label
The Zomba Group of Companies (sometimes referred to as Zomba Music Group or just Zomba Group)[3] was a music group and division which was owned by and operated under Sony Music Entertainment. The division was renamed to Jive Label Group in 2009[4] and was placed under the RCA/Jive Label Group umbrella. In 2011, the RCA/Jive Label Group was split in half. Multiple Jive Label Group artists were moved to Epic Records while others stayed with Jive as it moved under the RCA Music Group. In October 2011 Jive Records was shut down and their artists were moved to RCA Records.[5]
Founded independently in the mid-seventies by Clive Calder and Ralph Simon, the group has had interests in music release, distribution, production, publishing, equipment rental, recording studios, and artist management. Though the financial structure and annual revenue of Zomba during the company’s independent period was probably only known to CEO Clive Calder (the company was registered privately offshore in the Dutch Antilles[1]), Zomba was widely regarded as the most successful of the independent music companies.
The group is probably best known for its role in developing some of the most popular forms of music, such as hip-hop in the 1980s, and the teen pop/boy band phenomenon in the late 1990s through their first record label Jive, though they have also had substantial activities in both the Christian and gospel music field. Calder and Simon both served as CEOs until 1990 when Calder bought out Simon’s share and ran the company himself until 2002. In 2002, BMG purchased the company and subsequently restructured the labels under the umbrella company Zomba Label Group, which was the most public face of the company. The label group served as a parent for many different labels including Jive, SilvertoneVolcano and LaFace.


South African Roots: Calder, Simon and Lange[edit]

In late 1971, Clive Calder and Ralph Simon began their two-decade partnership in forming businesses in record production and promotion, music publishing, artist management and concert promotion in South Africa.[1] Because of the market in South Africa, there was a need to branch out into various aspects of the business, instead of just focusing on one aspect of the industry. “You couldn’t do just one thing. It was too small,” explained David Gresham, CEO of David Gresham Record Company. “This is not a country where you have a million-seller. A No. 1 record is a 10,000 unit seller. That only pays the rent for a month or two.”[6] While almost mandatory in South Africa, this early style of music company would be adapted to other markets throughout the companies history, and would become a staple of Calder’s managing legacy.

Early companies formed by Calder and Simon were Sagittarius Management and Clive Calder Productions (CCP).[1] CCP was distributed by EMI Records South Africa who purchased the company in 1972. Although Calder has no stake in it now, it still exists as a wholly owned subsidiary of EMI, specializing in the recording, development and marketing of domestic artists. Calder’s relationship with EMI began when he had been an A&R Manager at EMI South Africa for eighteen months. There he had signed some big groups for the time such as Freedom’s Children and the Otis Waygood Blues Band.[6] During this time, Calder was also a bassist in a few bands. He formed the Four Dukes and the In Crowd with EMI artist Peter Vee, whom he also produced. Calder eventually paired Lee with a young producer named Mutt Lange, who began producing songs for Calder at CCP, including the local hit “Sunday Monday Tuesday” by Jessica Jones.[1]

Zomba in London[edit]

The trio of Calder, Simon and Lange decided in 1974 that they had to get out of South Africa. “We were politically very much opposed to the old apartheid regime” says Simon. They pooled together what little money they had and moved to London.[7] Having landed right in the middle of the British punk rock movement, they felt their experience would not be best utilized in marketing and promotion in such a different context. Instead, they opted to create a publishing company and Zomba Corporation was officially registered in Switzerland in 1975, operating out of Calder’s bedroom space in London.[1][2] The name “Zomba” referred to the capital of African country Malawi (Lilongwe superseded Zomba as Malawi’s capital in 1974).[8]

Next, Calder and Simon began looking for songwriters. The first was Henri Belolo, the French producer who helped create the Village People. Zomba became the disco group’s British publisher. Though the band had been turned down by a few UK labels, Calder and Simon thought they could retain the most control of Zomba if they stayed in the publishing and management business, allowing other labels to release their artists’ music.[7] Meanwhile, Lange was building a name for himself as a producer, with albums by theBoomtown Rats, Graham Parker and eventually AC/DC’s 1979 Highway to Hell, his breakthrough album.[9] This led to Lange becoming one of the world’s leading hard-rock producers, later adding Def Leppard, Foreigner and Bryan Adams to his resume. For Zomba, this meant increased exposure and credibility leading to many new producer and songwriter management deals. Additionally, artists would sign publishing deals, giving their publishing company a constantly burgeoning collection.[7]

In early 1978, Zomba opened offices in New York City and began looking for more artists and songwriters.[10] Clive Davis was one of the first to contact the group, who used his recently formed Arista Records to distribute Zomba artists. The first major signing was Billy Ocean.[7] Over the next few years, Zomba’s songwriters hit it big and the publishing profits kicked in, marking the beginning of the company’s first major expansion into record labels. Though Davis wanted Calder to head his West Coast A&R operations, Calder had a different plans altogether, and instead presented Jive Records to Davis.

Jive: taking a chance with rap[edit]

Arista had been having trouble pushing rock acts in the US, and Clive Davis had hoped that with Zomba’s Mutt Lange connection, Jive would fill that role. However, Calder had other ideas. In 1981, Jive began operations by releasing British dance and pop music such as Q-Feel, A Flock of Seagulls and Tight Fit. By 1982, Calder was introduced to a young fresh college graduate named Barry Weiss who, for his job interview with Zomba, took Calder out to hip-hop and black clubs all over New York City. Calder was immediately impressed with the man and had him scanning sales data all over the country searching for unknown acts on small labels selling large numbers. Calder got one of his songwriters Thomas Dolby to create a catchy hook for a local DJ Mr. Magic to rap over. Mr. Magic had to cancel at the last minute, but fortunately he knew another rapper, Jalil Hutchins. Weiss’s stress level shot up when Hutchins came to the session with another unknown rapper named Ecstasy and no rhymes. After two days, the group created and recorded “Magic’s Wand” which turned into a hit single. Weiss named the group Houdini, but Calder changed it to Whodini. Calder flew the group to London to record an album, then to Germany to record with producer Konrad “Conny” Plank of Devo and Ultravox fame. While the group would eventually leave Jive after a few albums, the early success resulted in Jive becoming a label with a focus on hip-hop artists throughout eighties. At a time when the record establishment wouldn’t touch “ghetto” music like rap, a white South African successfully marketed some of the edgiest black music.[9]

After Whodini, Jive began signing other rap artists into the later half of the decade. Boogie Down Productions was signed on the strength of their first record Criminal Minded, and their Jive debut By All Means Necessary was released in 1988.[11] Young West Coast rapper Too Short was picked up by Jive after his independently released Born to Mack sold over 50,000 copies. Jive gave the album national distribution which led to gold status, and then quickly issued his follow up Life Is…Too Short which achieved platinum status.[12]Meanwhile, Jive signed DJ Jazzy Jeff & The Fresh Prince in 1986 and released their debut Rock the House. The duo was a great success for Jive, helping make rap more accessible.

Jive continued supporting rap artists into the nineties. Most of the aforementioned groups continued on Jive into the next decade. KRS-One, the primary force behind Boogie Down Productions, released a string solo albums with Jive beginning with Return of the Boom Bap in 1993.[13] In 1991, Jive signed R&B artist R. Kelly who, along with his backing band Public Announcement, released their debut Born into the 90’s in early 1992. R. Kelly’s began his solo career with 12 Play in 1993 and continues to release with Jive today.[14] A Tribe Called Quest was signed by Jive in 1989 following a successful independently released single “Description of a Fool.” Their debut album People’s Instinctive Travels and the Paths of Rhythm was released by Jive in 1990 and framed the group as one of the most intelligent rap groups.[15] Many other rap and R&B artists were signed throughout the eighties and nineties before the teen-pop explosion in the later half of the decade.


By 1990, Zomba was worth $225 million with over fifty companies. Contrary to most other record businesses at the time, Zomba spared no time with frills. “The Jive offices were crummy, cardboard desks. They just really did everything on the cheap”, says attorney Gary Stiffelman. The company began to attract more major label attention when EMI attempted to buy the company, but was ultimately turned down.[7][8] This period also saw Ralph Simon leaving Zomba at the start of the decade. Through an unspecified “ethical disagreement”, Calder and Simon ended their relationship of over two decades.[7] Calder bought out Simon’s half of the company and subsequently gained full control of the company.[1] In late 1991, BMG furthered its relationship with Zomba buy purchasing a 25% stake in their music publishing business, allowing them to sub-publish Zomba compositions in foreign markets.[1] BMG continued with a 20% purchase of Zomba’s records division in 1996.[16]

Building on the successes of the Jive label, Zomba began expanding its reach by purchasing and creating new labels, and by creating new divisions that helped expose more people to Zomba artists and services. In 1988, Andrew Lauder formed the UK-based Silvertone Records under the Zomba Group. While Jive focused on hip hop, Silvertone focused on more rock-oriented music. The label’s roster was initially bolstered by The Stone Roses, but quickly expanded to include blues, acoustic, and roots music.

[1] Other artists featured early on Silvertone include John Lee Hooker, J.J. Cale and The Men They Couldn’t Hang. This period also saw one of the few times that Zomba attempted cracking the classical music market. In 1992, Zomba purchased UK classical music group Conifer Classics with the aide of the group’s head Alison Wenham. Though the deal seemed to be solid, Zomba sold the company to BMG in 1995.[1] Classical music activities have remained minimal[clarification needed] within the company since then. Building on existing publishing deals, Zomba briefly co-owned the UK label Sanctuary Records. While the co-ownership only lasted between 1989 and 1991, the two companies continued dealing together in other avenues, including a publishing deal with Sanctuary artists Iron Maiden.[1] In 1998, Zomba purchased a 50% stake in the troubled label Volcano Entertainment (called Freeworld at the time). The label had been under financial pressure due to various reasons, including a lawsuit from flagship artist Tool. The purchase was shared with management firm Q-Prime, though shortly after they sold their half to Zomba, making Volcano a wholly owned subsidiary. The first action was to settle the lawsuit with Tool, who would go on to become another Zomba success throughout the 2000s, representing the broad stylistic reach of artists under the Zomba Group.In 1993, Zomba created Zomba! Music Services in order to facilitate publishing rights for those in the film and television industry.[8] The division would act as a channel through which clients could acquire products and services from any company within Zomba. Songs published by Zomba Music Publishers Ltd., or released on any of the Zomba labels, or specialty recordings owned by the division itself, could be sourced for inclusion on film soundtracks, television shows or commercials.[1][17] This move gave Zomba profits by providing an accessible method of accessing the company’s vast publishing catalogue.The year 1994 saw the first of many of Zomba’s successful forays into the Christian music scene with the purchase of the Brentwood Music Group.[1][18] Brentwood was an established company consisting of an extensive Christian distribution network, several labels, and one of the largest music publishing divisions in printed choral music in the U.S.[19] Expanding on the Brentwood purchase, Zomba purchased the Christian label group Reunion Records from BMG in October 1996.[1][20] In 1997, Zomba purchased yet another Christian music affiliated company, the Benson Music Group, from Music Entertainment Group.[21][22] Benson became Zomba’s third label to focus on Christian music following Brentwood Music and Reunion Records. An important asset of the Brentwood acquisition was the publishing arm, originally founded in 1902, that included 46,000 copyrights from artists such as Elvis Presley, Dolly Parton, Linda Ronstadt, and Willie Nelson.

In reaction to the surge in Christian-oriented labels gathered over so few years, Zomba created the Provident Music Group in June 1997.


The Nashville-based group was led by Jim Van Hook and was essentially a continuation of the Brentwood group and an amalgamation of the other Christian-oriented labels. The group consisted of the Benson, Brentwood and Reunion groups, as well as the Brentwood/Benson Publishing Group and newly formed Provident Music Distribution arms.[23] This new group allowed the three main sublabels to have unified resources and distribution while still retaining their unique personalities in the market.In 1996, Zomba acquired the Windsong Holdings which gave them control of many new companies including Windsong International, Pinnacle Entertainment and Music For Nations.[24] It also gave them control of the established music company Rough Trade (80% of Rough Trade Records Germany/Switzerland/Austria (GSA) and 100% of Rough Trade Benelux). Rough Trade was primarily known as a distributor, but it also ran many electronic labels based in Germany. In July 1999, Rough Trade GSA was renamedZomba Records GmbH, while the Benelux operation (which only had distribution at the time) was absorbed into Zomba Distribution. The Rough Trade name remained as an imprint of Zomba Records GmbH, but was largely abandoned by Zomba.With the successful integration of Rough Trade into its operations in the GSA region and Benelux and to expand on recent teen pop successes, Zomba created a London-based international label group, Zomba International Records Group.[25] Directed by Stuart Watson, the new organization allowed each new local territory to freely sign and develop acts on its own.[26] If those artists could create a strong regional profile, it would be possible to “export” them to Zomba International for broader exposure.[27][28] Simultaneously, it allowed Zomba artists increased international exposure. The expansion was largely unhampered, save for some legal issues with the Australian branch. Australian record company Festival Mushroom Group lost at least a dozen employees to Zomba in early 1999, and placed an injunction that stopped them from soliciting Mushroom employees, and accused former employee Scott Murphy of trying to bolster Zomba’s presence while still working for Mushroom.[29] However, the issue was resolved fairly amicably and ended with a distribution deal with BFM Distribution (a joint venture of Festival Mushroom Group and BMG).[30]

As the record industry began evolving due to the widespread use of the Internet, and the increasing ease with which artists can record at home, Zomba made moves that illustrated their desire to change with the times. In 2000, they joined the growing list of record companies that made some music available via digital download with online distribution company Amplified Entertainment.[31]

In 2002, Zomba joined majors EMI, Universal and BMG, with approving some of their Jive catalog for release on the new DataPlay media. Though the media was largely unsuccessful, the move illustrated Zomba’s competitiveness with the major labels in the growing digital world.[32] However, a negative outcome of the changing times was the closing of some of Zomba’s Battery Studios and Dreamline equipment rental businesses towards the end of 2001.[33]
Teen Pop explosion[edit]
Around 1993, Clive Calder began his uneasy relationship with Lou Pearlman. Pearlman had put together a new group, Backstreet Boys, which was languishing on Mercurywithout any hits.
He presented the group to Calder along with David McPherson. Though initially uninterested due to the dominance of grunge and alternative rock, Calder thought that the group could help expand his operations overseas.[7] Zomba bought out the boys contract for $35,000 and moved the group over to Zomba imprint Jive

Calder immediately sent the group to Sweden and matched them with a group of producers recently found by Zomba scouts: Dag Volle and Martin Sandberg. In mid-1995, the band recorded their three songs including their first single at Cheiron Studios in Stockholm. Next Calder matched them with an old friend, Stuart Watson, who ran SWAT Enterprises, a company specializing in promotion in Asia. The group went to Asia began touring relentlessly and released their first album which sold one million copies in three weeks. In 1997, when Calder thought the grunge phenomenon had sufficiently passed, he took the group back over to the United States where their North American debut ended up selling upwards of 14 million copies, creating the first in a run of many hits that Zomba and the Backstreet Boys would enjoy together.[7]While Pearlman and Watson were breaking the Backstreet Boys overseas, Jive A&R man Steve Lunt was busy in the US seeking a female star, and was greeted with fifteen-year old Britney Spears. Initially horrified by Spears karaoke demo of a Toni Braxton song sung in the wrong register, Lunt was intrigued by a brief moment at the end where he heard the “kind of soul she had.”[7] As was the virtually the standard at Zomba, Lunt took Spears to in-house songwriter and producer Eric Foster White in the company’s publishing division, and the two recorded “You Got It All.” Like the Backstreet Boys, Spears was hooked up with Cheiron producer Max Martin. Within thirty days of letting a music director atStar 100.7 in San Diego hear “…Baby One More Time,” the song was number one on the charts.In 1999 Zomba was involved in a “boy band controversy” when trying to sign another group that Pearlman had put together himself, *NSYNC.[34] *NSYNC had recently left RCA due to allegations that Pearlman had taken approximately 50% of their profits and not the one-sixth that he had agreed to.[35] Seeing the group as a “free-agent,” Jive quickly signed them and prepared to release their next album. On 12 October, Pearlman’s company Trans Continental, in conjunction with RCA owner BMG Entertainment and BMG Ariola Munich sued Jive Records, Clive Calder, and the members of *NSYNC for $150 million citing, among other things, breach of contract.[36] Pearlman sought an injunction against the release of the band’s new album and that the recordings be given to him, but it was denied in court.[35] As a response to the suit, and in reference to treatment by Trans Continental, *NSYNC released a statement citing the company’s poor conduct as “the most glaring, overt, and callous example of artist exploitation that the music industry has seen in a long time.”[37] The lawsuit was settled on 23 December with undisclosed terms, but left Jive free to release future *NSYNC albums.[38][39]

The lawsuit, which Rolling Stone called “the music industry’s nastiest legal skirmishes in years,” was problematic for Zomba for two main reasons.[39] First, having heard that ‘N Sync was signed to Jive, the Backstreet Boys did not want to be a part of the label anymore. Second, the lawsuit temporarily strained Zomba’s relationship with BMG, whose distribution deal with Zomba was coming to a close. Jive initially announced that they would not renew their deal with BMG, but reconsidered following the lawsuit with BMG and Trans Continental. The distribution deal may have been a determining factor in the outcome of the lawsuit, since distributed Zomba product accounted for 5.5% of BMG’s US market share, and company CEO Strauss Zelnick was under pressure not to lose that.[38] They also signed a new deal with the Backstreet Boys that gave the band a 20% royalty rate.[40]

From BMG to Sony, and recent activities[edit]

BMG had owned 25% of Zomba’s publishing business since 1991 and 20% of its recording business since 1996.[41][42] As part of BMG’s 1996 agreement with Zomba, the music giant was required to follow through on a put option and buy the remaining shares it did not already own before 31 December 2002.[43][44] In June 2002, Clive Calder decided to exercise the put option.[45] Effective 26 November 2002, BMG Entertainment concluded its deal with Zomba for the purchase of the company’s entire assets.[46] While Calder had originally requested $3.2 billion for his shares in Zomba, valuation of the label’s assets varied from $1.6 billion to $2.4 billion.[44] Following the purchase negotiations, a price of $2.74 billion was agreed upon, the biggest purchase of an independent at the time. Zomba’s sale had been the latest in a series of independent label sellouts including Island Records and Geffen Records (both sold to Universal for $300 million and $550 million respectively), and Virgin (sold for $950 million to EMI). The $2.74 billion paid for the Zomba Group was more than was paid for the purchase of many others labels including Island, Geffen, Virgin, A&M, Motown, Chrysalis, and Def Jam, combined.

Initially, BMG took its time in integrating Zomba with the rest of its labels, hoping that the former independent would lift BMGs worldwide rank from fifth to fourth-largest record company.[47] Calder resigned his position as CEO immediately after the purchase, but stayed on in an advisory position for about another year.[41] In mid-2003, BMG began its worldwide integration of Zomba cutting hundreds of jobs through the consolidation of regional operations.[48] While many of the key managers stayed, and the large offices in the US and the UK remained operational, all of the other regional offices were assimilated into BMG. In addition to the regional mergers, the Zomba and BMG publishing companies were integrated. The US and UK offices remained as stand-alone units, but many of the back-office functions were consolidated into BMG. The Provident Music Group, Zomba’s foray into the Christian music market, was reassigned as a RCA sub-label.[48] By 2004, the record labels were reorganized under the Zomba Label Group.[49]

In 2004, BMG and Sony Music Entertainment merged to form Sony BMG Music Entertainment taking Zomba with it. Though the merger was plagued with controversy and eventually ended with Sony buying out BMG’s stake in late 2008, Zomba executives continued to expand the company’s operations in various aspects. In 2007, as part of Sony BMG integration and consolidation, RCA Music Group and Zomba Label Group merged their international, sales and field staffs to form the BMG Label Group under Sony BMG.[50] RCA and Zomba kept separate groups under BMG, but this configuration was short-lived due to the dissolution of the Sony BMG merger. Zomba is currently owned wholly by, and operates under Sony.

On 2 November 2004 the American Federation of Musicians announced that it had entered into an agreement with Zomba. Effective 1 January 2005, the labor union covered all artists on any Zomba subsidiary labels (and any future labels) under the Federation’s Sound Recording Labor Agreement.[51] The deal ensured that all artists under the Zomba aegis would receive, for the first time, a full range of benefits and protections, among which are scale payments, industry standard working conditions and pension contributions.

In 2005, Zomba formed Zomba Gospel under the Zomba Label Group in an effort to collate its recently expanding gospel labels. Zomba’s interest in gospel began in the form of a distribution deal with GospoCentric Records (and sublabel B’Rite Music) in October 2001, which Zomba later purchased in 2004.[52][53] Verity Records president Max Siegel was charged with heading the new entity which included Zomba labels Verity and GospoCentric, as well as four artist owned imprints: Quiet Water Entertainment (Donald Lawrence), Fo Yo Soul Entertainment (Kirk Franklin), New Life Records (John P. Kee) and F. Hammond Music (Fred Hammond). Distribution was handled by Provident-Integrity for the Christian Bookselling Association, and through Sony Distribution (formerly Sony BMG) for the mainstream market.[54]

Zomba’s publishing division also continued its expansion. In 2006, Zomba Music Publishing purchased the catalogue of the UK-based Strongsongs Music Publishing from the Telstar Music Group.[55] This large acquisition gave expanded Zomba’s rights to many international hitmakers to include Metallica, Craig David and Dannii Minogue among others. Beginning with the appointment of David Mantel in 2005 as the head of Zomba Music Publishing US operations, the company began to take a different signing approach that focused on unknown or unsigned artists. Mantel’s first signing was T-Pain, whose two singles “I’m Sprung” and “I’m N Luv (Wit a Stripper)” hit number 8 and 5 respectively on the Billboard Hot 100.[56] This type of signing was also used in the records division were artists or producers were given their own imprint. In October 2008, Zomba made an all-inclusive multiyear joint-venture deal with Hitz Committee Entertainment, and imprint in the making for almost 5 years by Jive A&R VP Micky “MeMpHiTz” Wright.[57] Beginning in 2008, Hitz Committee consists of a record label under Sony, music production, music publishing, artist and producer management, and TV and film projects.

Company structure[edit]For a list of all companies associated with Zomba see: List of Zomba Group companiesThe structure of the Zomba Group during the independent era (1975 to 2002) is difficult to pinpoint exactly due to the private nature of Clive Calder’s managing style. During that period, Calder’s private investment group Summer Shore NV controlled the Zomba group.[58][59] The company began as Zomba Management and Publishers as early as 1975. They expanded to the US, first with a publishing sector in 1978, then a records division in 1981 while the management and publishing divisions became separate companies. Also sometime during that period, they started a production division initially called Zomba Productions Ltd., which would become Zomba Recording Corporation. From a legal standpoint, Zomba’s holdings are divided into their music publishing business (Zomba Music Holdings BV) and music recording business (Zomba Record Holdings BV).[59]The former holds only music publishing (i.e., written music) rights, while the latter holds all of the recorded music rights, along with some publishing groups acquired over the years. In addition to those two, there is another holding company called Zomba Entertainment Holdings BV.[60] Below is a breakdown of most of the companies and divisions that have been owned by Zomba. Since the BMG integration in mid-2003, and further integration into Sony Music in early 2009, the exact status of some companies is not known. As much detail has been provided to illustrate the current status of these companies.

Records division[edit]Zomba labels were operated under the Zomba Label Group from approximately 2004 until 2009 (now part of the RCA/Jive Label Group. The Provident Label Groupcontained other labels after its purchase in 1997, but is no longer a part of Zomba. The Windsong purchase gave Zomba control of labels through a variety of company structures including Pinnacle and Rough Trade, however, some of these labels are no longer a part of Zomba. These three groups are organized separately below, followed by a list of inactive or formerly owned labels from various periods.
Zomba’s first, and flagship label is Jive, formed in 1981. Since then, Zomba has acquired and created a variety of labels and label groups that either operate independent from, or under Jive. During its independent period, the various record labels under Zomba all reported directly to a records division.

There was no formal public face for the labels until BMG formed Zomba Label Group in 2004. Though the term “Zomba label group” or “Zomba Group records division”[16][61] had been used previously to refer to the various labels owned by the company, it wasn’t until then that an actual company was created to control the labels specifically.[49][62] The Zomba Recording Corporation continues to coordinate production activities on many Zomba subsidiary releases.From 1981 until 1987, Zomba labels were distributed by Arista. Following that, Zomba signed a deal with RCA for distribution that lasted until 1991. The end of the deal coincided with BMG purchasing a large share of RCA and a deal with BMG was signed for distribution. BMG remained the North American distributor for Zomba until after the purchase in 2002, however, other regions had various other distributors over time.[59] EMI became an important distributor for Zomba in Europe via Virgin Records, but distribution details are listed below in the Regional Branches section. Zomba only controls one small vinyl pressing plant, therefore, most of their manufacturing has been outsourced to companies such as Sonopress (BMG affiliated), Sony and Technicolor.[59]In 1996, Zomba acquired 75% of UK distributor and label group Pinnacle, 80% of the Rough Trade label and distribution in the Germany/Switzerland/Austria (GSA) region, and 100% of Rough Trade Benelux. Effective 8 July 1999 Rough Trade Records was renamed Zomba Records GmbH and the Rough Trade sales and distribution arm was renamedZomba Distribution, operating as a division of Zomba Records GmbH.[25][63] As of the BMG purchase, Zomba conducted its own distribution in the UK (with Pinnacle), Germany, Austria and Benelux (all with Zomba Distribution). In those areas, Zomba also distributed for other, smaller independent labels. In France, Italy, Portugal, Spain and Sweden, Zomba had its own marketing and sales, however, distribution was handled by EMI (through Virgin in most cases). In Finland and Greece, Zomba material was exclusively licensed to EMI who controlled marketing, sales and distribution. North American distribution has almost exclusively been with BMG. Following the BMG purchase in December 2002 and subsequent integration in June 2003 and the end of contracts with EMI (also in June), all distribution has been handled by the local BMG companies. When BMG merged with Sony, Sony BMG became Zomba’s distributor from 2004 until early 2009. Since then, Zomba products have been distributed by Sony Music since Sony purchased BMG’s interest in their joint-venture.

Zomba Recording Corporation[edit]

Zomba Recording Corporation (previously Zomba Productions Ltd., and sometimes colloquially referred to as Zomba Records[64]) is a music company and division of the Zomba Group. The US affiliate is Zomba Recordings LLC[51] and the UK affiliate is Zomba Records Ltd. The company also runs an investment and financial services company called Zomba Ventures Inc.[65][66]

Primarily a production company, Zomba Recording Corporation coordinates various activities for the recording process including hiring musicians, managing studios, and organizing production, mixing and mastering personnel. Recordings made under the coordination or supervision of this division are usually marked with the phrase “An Original Sound Recording Made by Zomba Recording Corporation (or Zomba Recordings LLC/Zomba Records Limited/Zomba Productions Limited).” While not strictly a record label, Zomba Recording Corporation appears on most of the various sublabels that Zomba owns. Additionally, the minimal manufacturing as well as some distribution that Zomba does on its own is run through this company.

Battery Studios is the name of Zomba Recording Corporation’s chain of multi-room facilities often used in the production of Zomba artists. The main facility, located in New York City, is constantly associated with high profile clients including R. Kelly, ‘N Sync and Britney Spears. The studio features three recording and mixing studios with SSL 9000, SSL 4064 G+ and Euphonix CS3000 consoles and Pro Tools MIXplus systems.[67] Battery Studios was originally opened in London before the New York branch existed, and at one point consisted of six locations in London, four New York locations, two Nashville locations, and one location in Chicago.[68] However, Zomba closed its London branches towards the end of 2001 and the others followed soon after leaving only an unknown number of New York locations.[33] In addition to Battery studios, Zomba Recording Corporation began a relationship with the established Swedish studio Cheiron Studios and its production personnel. The studio had operated since the mid eighties (as SweMix), and from 1996 until its closure in 2000 it shared a joint production and publishing venture with the Zomba Group.[69][70] Apart from the actual studio, the venture included a production team that helped forge the sounds of Backstreet Boys, Britney Spears, and ‘N Sync.

In addition to recording studios, Zomba Recording Corporation operated Dreamhire Professional audio Rentals. Dreamhire opened in 1984 with operations in London,New York City (1989) and Nashville (1988). The London branch closed in 2001 followed by Nashville in 2003. Dreamhire also included Hilton Sound, a hire operation purchased by Zomba in 1996.[71] Since November 2003 following the BMG purchase, Dreamhire is no longer a part of Zomba and runs independently as Dreamhire LLC from one location in New York City, owned by Chris Dunn, ex-bass guitarist from UK band (City Boy (band)) which recorded 5 albums all produced by Mutt Lange.[72]

Zomba Label Group[edit]

During its existence, the Zomba Label Group featured all of the Zomba-related labels that BMG purchased in 2002. The current Battery Records is unrelated to the previous defunct imprint of the same name. Listed below is the structure of the Zomba Label Group immediately before its rebranding and dissolution in 2009.

Provident Music Group[edit]

Main article: Provident Label Group
The Provident Music Group was created by Zomba in 1997 as an amalgamation of their Christian music activities. Zomba had purchased Brentwood Music Group in February 1994 and founder Jim Van Cook was charged with leading the new music group. The group consisted of three sections: Provident Label GroupProvident-Integrity Distribution and the Brentwood/Benson Publishing Group.
As part of the music group, Zomba amalgamated their Christian labels under the Provident Label Group. The new group initially consisted of Brentwood Records, Benson Records and Reunion Records, though Brentwood was shut down in 2001. Since then, other labels have been added. Under Zomba, the Provident Label Group had this configuration:
After BMG bought Zomba in 2002 and integrated the company in June 2003, the Provident Music Group was moved under the aegis of RCA with the exception of the Publishing division which was moved under BMG Publishing (Provident would later create its own publishing division, Essential Music Publishing, with no connection to Zomba[73]). BMG Publishing was subsequently sold to Universal, along with Brentwood/Benson. In 2008, when Sony bought Bertelsmann’s stake in their joint Sony BMG venture, the rest of Provident became part of Sony Music Nashville.[74][75]

Windsong (Pinnacle, Rough Trade, Music For Nations)[edit]

In 1996, Zomba acquired the holdings of Windsong International. The deal gave the following controlling interests to Zomba:[24]
Rough Trade GSA was renamed Zomba Records GmbH, while the Benelux operation (which only had distribution at the time) was absorbed into Zomba Distribution. The Rough Trade name only remained as an imprint of Zomba Records GmbH. Before being absorbed into BMG’s operations, Zomba Records GmbH consisted of the following regional labels, most of which focused on electronic dance music:[76]
  • Advanced
  • Air
  • Form & Function
  • Our Choice
  • Reihe Ego
  • Rough Trade
  • World Service
Zomba Records GmbH was integrated into BMG’s German operation along with the other regional offices. The Rough Trade name was later reacquired by Geoff Travis andJeanette Lee who eventually continued it independently. When BMG restructured Zomba in 2003, Windsong/Pinnacle was moved under Bertelsmann’s Arvato AG. Through amanagement buyout, Windsong/Pinnacle gained its independence in early 2008, but was forced into administration late in the year due to the economic crisis.

Zomba International Records Group[edit]

Zomba International Records Group managed the various regional branches opened as early as 1997 and as late as 2003. The group served to solidify the operations in these regions, some of which already had small offices with activities from scouting, promoting (such as Sweden), or as much as distribution for smaller labels or operating a few regional record labels (such as Germany). Following the BMG purchase, all of the remaining regional labels (with the exception of the main US and UK offices) and the Zomba International Records Group activities were merged with their respective local BMG offices in mid-2003.
Name Opened Distributor[1] Location[77] Director
Zomba Records Australia Pty. Ltd.[78] 24 May 1999 Sony Australia Sydney, Australia Scott Murphy (March 1999 – Feb. 2001)Paul Paoliello (1 March 2001 – ?)[29]
Zomba Records (Canada) Inc.[79] 1 July 1999 BMG Canada Toronto Laura Bartlett
Zomba Records APRO Pty Ltd.[80][81](also called Zomba Records Singapore) 1 July 1999 BMG Singapore Singapore Julius Ng
Zomba Records GmbH (Germany)[63] 8 July 1999[2] Zomba Distribution Köln, Germany
Zomba Records GesmbH[60] 8 July 1999[2] Zomba Distribution Vienna, Austria
Zomba Records GmbH (Switzerland) 8 July 1999[2] Zomba Distribution Zürich, Switzerland
Zomba Records Benelux[82] 8 July 1999[2] Zomba Distribution Hilversum, Netherlands Bert Meyer (1999–2003)
Zomba Records France SARL 1 October 1999 Virgin Paris, France
Zomba Records Scandinavia AB[3][26][83] 1999 Virgin Stockholm, Sweden Bert Meyer (1999-??)Magnus Bohman (main office, 2000–2001)Kenneth Ruiz-Davila (Norway, 2000–2001; GM of region after 2001-09-03)[83]
Zomba Record Holdings BV[26] 1999 Zomba Distribution Brussels, Belgium Thierry Thielemens
Zomba Records New Zealand Ltd.[84] 1 July 2000 BMG New Zealand Auckland, New Zealand Morrie Smith
Zomba Records Korea Ltd.[85] 1 July 2000 Rock Records Seoul, Korea Chang-Hak Lee
Zomba Records Espana SA[26] 1 July 2000 Virgin Madrid, Spain Andres Ochaita
Zomba Records Italy SRL[26] 1 July 2000 Virgin Milan, Italy Roberto Biglia
Zomba Records Japan KK[81] 1 October 2000 Alfa Records[86](First)Avex (Second) Tokyo, Japan Tak Kitazawa
Zomba Records Portugal[87] 1 July 2001 Valentim de Carvalho Lisbon, Portugal Andres Ochaita
Zomba Records Brasil Ltda.[88] 1 July 2001 Som Livre Rio de Janeiro, Brazil Martin Davis
  • [1]: Distribution information in this chart is from approximately 1999 until the BMG integration.
  • [2]: Zomba Records in Germany, Austria, Switzerland and Benelux had been in operation as Rough Trade since Zomba had acquired the company in 1996. 8 July 1999 marks the date the Rough Trade name was dropped in favour of Zomba.
  • [3]: The Scandinavian operations started with offices in Norway and Denmark. When Kenneth Ruiz-Davila was appointed the head of Zomba Scandinavia in September 2001, the Swedish offices were also moved under the larger company.[83] The Denmark and Norway operations later closed on 1 July 2002, leaving the Swedish office remaining.[89]

Other inactive/former labels[edit]

Aside from those listed above, other labels that have been associated with Zomba over the years are listed below.
  • Associated Production Music (APM) – Production music library and music services company. Was initially a joint venture between Zomba/Jive and EMI. Still Currently operating under unknown ownership.[90]
  • Conifer Records Ltd. – Classical label formed in 1977, purchased by Zomba in 1992 and sold to BMG in 1996.[91]
  • Internal Affairs
  • Trademark Records – Formed under Zomba Records Australia.
  • X-Over Recordings – Formed under Zomba Records Australia.
  • Zed Beat
  • Zomba Production Music – UK-based supplier of Library and Production Music intended for professional use and not released to the general public. They released music through these various sublabels.[92] Not to be confused with Zomba Productions Ltd. which is an earlier name of Zomba Recording Corporation.
    • Chappell Recording Music Library
    • Bruton Music – Label of the Bruton Music Group purchased by Zomba in 1985.
    • Firstcom Music Inc.
    • Galerie
    • Connect 2 Music
  • Zomba Special Projects – Imprint established in 1997 for specific projects like releases sold through McDonald’s restaurants.[93]
  • Zomba Video – Imprint used for music-related video releases.
  • Under Jive
    • Battery Records – Unrelated to the current Battery Records, this was a dance label active in the nineties.
    • Dance Jive – Dance label active in the early 2000s.
    • EBUL – Record label owned by Pete Waterman Entertainment Ltd. and Jive. The label was largely used to release material by Steps.[94]
    • Jive Afrika – Created in 1984 for release of South African material (most prominently, Hugh Masekela).
    • Jive House – Formed in the mid-nineties for house music.
    • Pepper Records – Formed in the late nineties.
    • Violator Records – Purchased by Jive in 2003. New York hip-hop label run by Chris Lighty and Mona Scott.
    • Worx Records – Formed in the mid nineties for electronic music.

Publishing division[edit]

Zomba Music Publishing Ltd. (sometimes colloquially referred to as Zomba Music or Zomba Music Publishing Group) is the publishing division of the Zomba Group of Companies. Initially known as Zomba Enterprises Inc., the division officially changed names in 1994 and became the Zomba umbrella company for publishing. Since then, Zomba Enterprises is the name used for Zomba’s ASCAP affiliate, while Zomba Music Inc. is the name of the BMI affiliate.[95][96] The holding company that controls most Zomba publishing interests is called Zomba Music Holdings BV. David Mantel has been the president of Zomba Music Publishing since 2005, when he took over for Richard Blackstone. Tim Smith is the GM of the UK affiliate Zomba Music Publishing Ltd.[56] There are various other publishing entities under Zomba, some of which are vast libraries acquired over the years, and some of which are small groups, sometimes representing a single artist. Below is a list of Zomba’s publishing subsidiaries:[65][97]
  • Bluey Tunes Productions Ltd. (England)
  • Brentwood Music Inc.
  • Brentwood-Benson Music Publishing Inc.
  • Bruton Music Ltd.
  • Firstcom Music Inc. (USA)
  • Firstcommusic Inc. (USA)
  • Grantsville Publishing Ltd. (England)
  • Grever International S.A. (Texas)[98]
  • Marlowlynn Ltd. (England)
  • M56 Publishing Ltd. (England)
  • Street Music Ltd. (England)
  • Take Out Music Publishing Ltd. (England)
  • Zomba Enterprises Inc.
  • Zomba Golden Sands Enterprises, Inc.[98]
  • Zomba Melodies Inc. (New York)
  • Zomba Music Inc. (New York)
  • Zomba Music Publishers Ltd. (England)
  • Zomba Silver Sands Enterprises Inc. (Texas)
  • Zomba Songs Inc. (New York)
Zomba has limited activity in the classical music publishing sector, however, they are quite active in the pop music publishing and production music. At the time of the BMG purchase, Zomba had pop music publishing operations located in the UK and Benelux, while every other territory was sub-published with BMG. Production music operations were located in the UK and France with smaller operations in Sweden and the Netherlands. In Germany and Austria, Zomba and BMG owned publishing rights through jointly-owned companies. Finally, in Spain and Italy, Zomba compositions were licensed exclusively to BMG.[59]
In mid-2003, BMG integrated Zomba’s publishing to form BMG-Zomba Music Publishers. In 2007, Vivendi purchased the BMG-Zomba publishing company and placed it withinUniversal Music Publishing Group, becoming the worlds largest music publishing business.[99][100]

Management companies[edit]

Zomba’s first enterprise was a management company in London called Zomba Management and Publishers, with Mutt Lange as one of their first clients. His success allowed the company to expand, and eventually the companies split into two entities, creating Zomba Management. Zomba management represents music producers and artists.[62]Zomba Screen Music was formed in 1997 as management company for film composers.[101][102] In May 2001, Zomba created Ingenuity Entertainment a full-service management company for artists, producers, composers and music supervisors in the film and television industries.[8][103] The Los Angeles-based company serviced both new and veteran artists, offering music production and business affairs services. Ingenuity Entertainment combined a recently formed management firm, also called Ingenuity, with Zomba Screen Music.[103]

Film/television services[edit]

Most of Zomba’s activities in the film and television industry are music related. Zomba Screen Music is their full-service management company for film and television composers. In addition to management, Zomba! Music Services was formed in 1989 as a division offering prerecorded music and publishing services for soundtracks, television and commercials.[104] This also had the effect of promoting Zomba music through the television and film industry.[105] In 1995, Zomba purchased the well-established Segue Music Inc., a film and television music editing company providing music supervision, temp tracks, prerecords, playbacks and soundtrack production.[106][107][108] Zomba also had a joint operation with Portman Entertainment called Portman Music, a soundtrack related company Coombe Music International Ltd. as well as a small film production companyZomba Films. In 2005, Zomba began SEE Music, a joint venture with the recently combined BMG/Zomba Publishing and FirstCom Music specifically for motion picture advertising.[109]

See also[edit]

External links[edit]

Official Site


  • Cohen, Jane; Bob Grossweiner (6 July 2007). “Industry Profile: Ralph Simon”. Retrieved 25 September 2009.
  • Knopper, Steve (2009). Appetite for Self-Destruction: The Spectacular Crash of the Record Industry in the Digital Age. New York: Free Press. (primarily Chapter 3)
  • Pederson, Jay (2003). International Directory of Company Histories 52. New York: St. James PressISBN 978-1-55862-482-5. Retrieved 25 September 2009.
  • Scott, Ajax (August 1996). “Clive Calder”. Music Business International 6 (4).
  • White, Timothy (5 May 2001). “Billboard: The International Newsweekly of Music, Video, and Home Entertainment”. Billboard 113 (18). (this issue features a “Special Report” with multiple articles about Zomba)
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Copyright © 2013 Created and Written by
Tiwanda ‘Ne Ne’ Lovelace
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Created & Written By Tiwanda ‘Ne Ne’ Lovelace 

E.O.A.A. Weekly News Article: Friday, April 22, 2015


Most people go about their business and daily grind without any issues, while others are subject to constant questionable violations. Most are able to mail simple packages worry-free and they have faith that their items will reach their destination whole and unhampered.
Well, I have definitely mentioned in previous posting that there have been issues with mail tampering but I guess since some find it easy to challenge the validity of previous claims since they were dated. In my opinion, it has become necessary to once again demonstrate that there are those who are and have been continually abusing their unwarranted access, positions and power to further hinder my efforts to obtain justice and resolution for continued allegations of corruption.
I RECENTLY DECIDED THAT I WILL CONTINUALLY, PERSIST WITH MY EFFORTS TO EXPOSE THE CONTINUED, DELIBERATE VIOLATIONS OF MY CIVIL RIGHTS, COPYRIGHT INFRINGEMENTS, AND MANY OTHER ILLEGAL ACTIVITIES, UNETHICAL BEHAVIOR AND MUCH MORE…I mailed very important a total of (4) four packages. (2) two on April 14, 2015 and another (2) two on April 15, 2015… Please review package and  tracking information below for proof of undeniably questionable mail tampering in 2015.
Although I have previously copyrighted materials in the past, I have never sent them REGISTERED and PRIORITY MAIL. REGISTERED MAIL is a service offered by the United States Post Office that is supposed to guarantee security of your package by keeping your package under lock and key during transit. REGISTERED MAIL service also requires a signature of each postal worker that comes in contact with your package during delivery.


Georgia Northern District Atlanta Division – Civil Action Fie No. 1:03-CV-0925-WSD
Tiwanda Lovelace, Pro Se Plaintiff
Dekalb County Police Department, Defendant
Hon. Judge William Duffey
This complaint alleges judicial misconduct and violations of civil right.



Tiwanda Lovelace, Pro Se Plaintiff
Zomba Music
Publishing, INC. and BMI, Defendant 
Hon. Judge Bernard Friedman
This complaint alleges judicial misconduct, courts ignoring violence, COURTS CLERKS hindering justice by manipulating, editing and mislabeling filings, violations of civil right failure to uphold the law.



PACKAGE 3 U.S.P.S. TRK #RB572662546US  

THIS PACKAGE CONTAINS COPYRIGHTS FOR INVISIBLE: LIVING IN AMERICA WITHOUT RIGHTS! (Perfect bound 290 pages of documented proof). Exposing corruption, civil rights violations, copyright infringements, etc…



(Multiple Comb-bind booklets, Agreements, Comic Strip series which seriously depict the trials and tribulations that victims of this system
allows to transpire.)

This program is meant to encourages educating our future aspiring Artist to learn from my experiences by utilizing my publications which demonstrates tactics and methods used to steal the artist lives. Exposing corruption, civil rights violations, copyright infringements, etc…

I sent these (2) TWO other packages,





I understand that there are no deliveries on Saturday and Sunday, but clearly if it was not rerouted to Jamaica, New York…it would arrived on time FRIDAY, APRIL .17, 2015.
How many other citizens have these mail issues? Convenient delays…but the real question that needs to be asked is, ‘What are the odds of these copyrights and complaints have of being delayed?’ 
Why did it take so many hours before leaving Las Vegas, NV?  You cannot block or hinder mail unless you know when it is being sent…
What are the odds that those 30 hours were used to manipulate submissions? Why else would these violations be allowed to continue, if not due to corruption and abuse.
Again, who do you think would be able to delay mail that is supposed to be under lock and key? 
Is it a coincidence that the MAIL that is being sent and most likely ‘gutted’ would expose the most heinous of acts thrust upon individuals forced to live as outcast by those in positions of making a difference while the public scorns.
With each attempt to obtain assistance or with each effort, I am faced with additional hardship or pressure to succumb due to lack of support and ostracism. 
Each instance of hindering justice, ignoring  and blocking resolution by mail tampering only continues to violate my civil rights. 
No one should be refused the same opportunities and rights guaranteed by the constitution to exercise these rights that are denied when mail that is being sent to proper officials. 

Further supporting documentation is available in the tabs above this blog!


I am well aware of the usual procedures implemented to address these kinds of wrongdoing involving these major entities. However, it has also been my personal experience that those who attempt to pretend to address these concerns usually don’t put the victims best interest first due to monetary gains and social impact on society.  It has been my experience that relying on secret remedies are truly for the benefit of the violators so that they may remain unaffected. My twenty plus years has clearly demonstrated that those in positions of power are he’ll bent on preserving this evil and my public has no interest in allowing proper recourse  (again, due to social impact on society).

All while some misrepresent this situation or those who imply interest in resolution…there are many who are undermining these efforts with indirect actions which encourage further victimization and dehumanization.

To those that would attempt to mislead, judge, rejoice and misdirect….

Why don’t you redirect yourselves to some decency, a conscience and to your humanity!

So while some are using every justification known to mankind…

I am the one that has to listen to the laughter and mocking of my public saying, 10 minutes, $10. So because of this and after decades of being unable to combat lies and manipulations…I can assure you that I am no prostitute and your methods and hesitation only ensures continued unwarranted violations of the worse kind.

So I will not be letting go, nor will I remain silent while empowered and misinformed animals continue to run rampant.

SWP, LLC has compiled a set of books which shed light on the darkest side of the business of music. Copyright © 2013 Created and Written by Tiwanda ‘Ne Ne’ Lovelace All rights reserved. No part of this blog or books may be reproduced in any form or by electronic or mechanical means, including information storage or retrieval system, without permission in writing from the publisher, except by a reviewer who may quote brief passages.

Misogyny in Our Courts?

Created & Written By Tiwanda ‘Ne Ne’ Lovelace 
E.O.A.A. Weekly News Article: Friday, May 1, 2015 Updated and Re-posted March 24, 2016

Misogyny in Our Courts?

The legal system, police and courts refuse to acknowledge any claims in any case spanning years and even recent criminal acts involving police or judicial misconduct…while the public is used to spread rumors to justify modern day enslavement. 

The courts ignored actual violence and facts while attributing ‘violence’ to being a product of plaintiffs ovarian cystectomy (female surgery)… 
There was individuals who were assaulted, shot, double homicides, etc…but no one addressed or acknowledged each incident.
This is not only a Misogynist comment but clearly not a proper attitude for a representative of Justice. 

Eastern District of Michigan, Southern Division

Tiwanda Lovelace, Pro Se Plaintiff,

Vs. Zomba Music Publishing, INC. and BMI Defendant,

 Case No. – 96-72270 – Hon. Bernard A. Friedman


See recent proof of mail tampering when seeking assistance:


My father, Robert Heard allegedly killed a Detroit Police Office, Stanley Rapaski and Cass Czerwinski. I can’t help but wonder if Czerwinski is related to Democratic Representative Joseph C. Czerwinski because whoever is behind this is in position to hide the truth.

If the police and courts blatantly ignore facts regarding corruption, violence, mail-tampering, etc…
After being homeless for more than (2) two  years, I finally found a place but it was short lived because of further abuse.
Recently, I had a neighbor that banged on my walls, blasted music and actually threaten me with
bodily harm to the point where the landlord got involved and took it to court. 
Even with multiple police reports, the courts or officials refused to ticket him, evict him or addressed any complaints. So after being homeless for two years (sleeping in shelters, relatives and cars) I was forced to listen to loud music base and neighbors beating my walls while the police ignored complaints.
Let me do anything to you for decades and then you can say what you want about it!
How do you combat the law when it refuses to work or acknowledge you because of who you are?
How do you gain support from a public that believes that you are the moving force behind
multiple murders?
 How do you win a public that believes that popularity dictates whether you have the ability to have rights?
How do you combat lies that you are responsible for loss of life when others are murdering and
manipulating while blaming you while you are left in the dark?
Yes, you are damn right! I am putting it all out there because I have been denied and have
received unwarranted public persecution for way too long (decades) to satisfy vengeful and
greedy entities.
Persons in positions are harboring grudges continuously work to rob you of your chances. Those who are privy to information and placed in positions to have an effect on the life of selected individuals could utilize events to their own benefit. Imagine some having access and the skill to impede or thwart their progress with manipulations to hinder support.
The human factor cannot be ignored and unfortunately when given an opportunity to rear its ugly
head, treachery is usually not too far behind. Imagine scorned individuals lurking, sneaking to poison others opportunities.
It is not me that is drudging and dwelling on the following events but it is the constant persecution that I am forced to endure because of the impact of events that have and are happening behind the scenes.
It is the will of those in positions that are using every contact, position to induce harm which
can only be attributed to these past events because I have no other associates or family left that can be used to influence harm.
If you don’t feel that any of my allegations are valid then why is it that there is continued
questionable mail tampering decades later when involving exposing these events?
Why are there multiple instances of Courts misconduct; wherein, actual violence and clear
judicial misconduct has been ignored?
Why haven’t any of these officials answered any one of the valid complaints and allegations or
challenged any of these facts?
Why is it so important to control or limit the information provided?
Why hinder contact or interfere with mailed packages?
Who do you know that had an open and shut copyright infringement and breach of contract case but no one would represent?
If there is no truth to these multitude of claims, why not allow recourse or representation so that
these civil rights violations can be addressed?
Yes, you are damn right! I am putting it all out there because I have been denied and have received unwarranted persecution for way too long to satisfy vengeful and greedy entities.
Persons harboring grudges continuously work to rob you of your chances. Those who are privy to information and placed in positions to have an effect on the life of selected individuals could utilize events to their own benefit. Imagine some having access and the skill to impede or thwart their progress with manipulations to hinder support.
This is stats from (1) one of the websites used to expose blatant atrocities – shows over 271,560 views!
The human factor cannot be ignored and unfortunately when given an opportunity to rear its ugly head, treachery is usually not too far behind. Imagine scorned individuals lurking, sneaking to poison others opportunities.
It is not me that is drudging and dwelling on the following events but it is the constant persecution that I am forced to endure because of the impact of events that have and are happening behind the scenes.
It is the will of those in positions that are using every contact, position to induce harm which can only be attributed to these past events because I have no other associates or family left that can be used to influence harm.
If you don’t feel that any of my allegations are valid then why is it that there is continued questionable mail tampering decades later when involving exposing these events?
Why are there multiple instances of Courts misconduct; wherein, actual violence and clear judicial misconduct has been ignored?
Why haven’t any of these officials answered any one of the valid complaints and allegations or challenged any of these facts?
Why is it so important to control or limit the information provided?
Why hinder contact or interfere with mailed packages?
Who do you know that had an open and shut copyright infringement and breach of contract case but no one would represent?
If there is no truth to these multitude of claims, why not allow recourse or representation so that these civil rights violations can be addressed?








20+ Years is Enough! –

Unfair Competition & Trade Practices –

Who is it that I am I supposed to run to after decades of everyone accepting and allowing the blatant violations of individuals rights? If anyone in particular could have intervened, they should have done so but it is easier to continue to ignore.

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‘Don’t Let Them Steal your Dream’

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E.O.A.A. Weekly News Article: Friday, January 21, 2015
‘Don’t Let Them Steal your Dream’

In general, most people feel obligated to provide some kind of response when we hear that someone that we know has had a bad experience.

Even in passing, without giving it second thought we utter, ‘Bless you!’ when someone sneezes or we will automatically reply to another’s greeting by saying, ‘Good morning…’

This week’s article addresses these phrases and comments, such as:

‘Don’t Let Them Steal your Dream,’ 

‘It’s not about the money, Do it for the Love of Music!’ and 

‘You just happened to Work With a Bad Group, Try Again!  

First, let me say that when someone uses these words to reach you, it doesn’t automatically mean that they have bad intentions. Sometimes it can be an automatic response just like that greeting or salutation.


There is always the possibility that any negative dealings can be perceived as a learning experience that will provide a valuable lesson later on in life.


However, these common phases are often used when referencing individuals who most likely have already endured severe disappointment and/or suffered a traumatic experience involving the music business.


I plan to explore the mentality behind those responses and to discern why it would not only be illogical to consider but to the artist’s own detriment.


At a glance, anyone would be able to surmise that maybe there is more to the story with all of the artist that have come and have gone throughout the decades, never to be heard from again. Especially, when some of these artists were associated with hit song(s); yet, they choose to remove themselves from the business.


Clearly, they must have their reasons because no one is going to just walk away from a profitable venture without cause.


I get the whole ‘if at first you don’t succeed, try, try again’ mentality that our loved ones used to condition our minds as children so that we would continue to strive for success. However; as reasoning adults, we must consider the facts and look objectively at the whole venture from all angles to ascertain whether our actions would truly be beneficial.

Trust, I am all too familiar with those who would encourage other individuals to try again with a new group or entity. They may truly mean well for you and/or maybe they are unable understand the sheer wickedness and the brutality involved in stripping individuals of their dignity.


It is possible that they are unaware or oblivious to the many ‘cross-label placements of the aspiring artist submitted and ‘gutted’ works.


They may have no idea of the serious ongoing ‘conflict of interest’ issues involved in seeking and obtaining representation in legal matters (which has been publicly acknowledged by legal professionals but has never been properly addressed in the industry).


Those individuals’ have no idea regarding the many unethical practices used by many industry personnel. They are unaware of the deliberately imposed inability to pursue copyright infringements or of the deliberate theft of music royalties and writer’s credit. They cannot conceive the loss of support and deliberate betrayal of family members and friends.


Basically, some of those who resort to attempting to get you back into the business may want you to continue to provide your services for their own personal financial gain.


In Music, Murder and Mayhem – A True Story, I touched on the topic of betrayal and how those closest to you can manipulate:


“Depending on whether or not you are just beginning your descent into the industry or if you have found yourself stuck in the middle of a chaotic situation. This will determine what steps that you will have to take. Who you decide to allow to influence you, can affect your outcome.


Don’t forget about the storm’ of backstabbing friends, oppressing family members, snaking strangers and money grubbing manipulators intent on keeping you subjected, suppressed and thrown to the wolves if they are unable to make a profit.


I am not saying that everyone will prove to be disloyal but it is important to remember that the possibility of betrayal does exist and it is more likely that these individuals who are close to you can be put in situations where they will be forced to choose themselves over you.”



Local producers and engineers are affected directly by decisions made behind the scenes and even if they want to pay you or even if they have every intention on conducting business properly, most won’t because the decision is not up to them. There will always be those time when they must choose between their own personal needs and honoring an arrangement with you.

I’m sorry but no matter how strong you believe your bonds are you will lose!


Most likely, they will keep you in the dark, cut off and isolated while they run off with your work to misrepresent your work. Their justification is the mentality is that, ‘Big Pimpin,’ ‘Dog-Eat-Dog’ and ‘Only the Strong Survive!’

Local Producers (Runners), IC’s-Independent contractors &Reps

In previous weekly articles, we addressed the independent contractors, local producers (runners) and other representatives who ‘work’ your city – the front line. There are hundreds of thousands of aspiring artist, writers and producers who are pursuing a career in the music business.


Every producer, engineer, or anyone who is in your city with studio equipment, other artist or popular individuals in the music business.


Each are usually connected or knows someone who is connected to one major label or another.


The following italicized information was previously posted but deserves even more attention to be placed on their connection and contribution to the detriment of those aspiring artist.


In my opinion it’s comparable to using independent contracts and vendors. Those behind the scenes are not monitoring the local executives, producers and attorneys.


Many companies hire independent contractors in an attempt to avoid having to cover the cost of health coverage, benefits, etc…




IC’s provides a sort of autonomy and encourages denial of prior knowledge or involvement of events which can raise questions regarding possible unethical or illegal activities.


Seriously, when is the last time you heard of a NEW Artist being discovered and meeting up with a major record company executive? Never!


On the other hand, you have heard or read details of a new artist being ‘discovered’ by someone associated with major record labels.


Our publications demonstrate and expand more on this subject.


These titles clearly describes how some of these individuals work together to conspire against their own artist and others.





Remember, every producer, engineer, or anyone who is in your city with studio equipment, other artist or they are popular…each are usually connected or knows someone who is connected to one major label or another.


Although you may be introduced to each individual separately, it is more likely that they are associated and connected behind the scenes in an effort to ‘work’ you in some form of quiet competition. I know that you are thinking that I am referencing some conspiracy theory but it is a proven fact (see – Music Business: It’s a Dirty Game!).


The real problem is not that there isn’t enough money to be made but it is greed that entices those to hoard the profits. It is desperation that causes some to conspire against the aspiring artist.


Many of these individuals referred to as IC’s, runners, etc…) have dedicated countless years to their careers and have nothing to show for their sacrifices, this can lead to desperation.


I personally ran around for years working with other local production company’s trying to make that hit song that would change my life. I found out many years later that most of these individuals in groups had formed labels and production companies which confirmed that they knew each other and were working together.


Record labels and production companies receive hundreds of thousands of demo tapes but no one has ever received a letter requesting you to immediately sign a major contract so we can make you a star.


They do not respect you or your efforts because they have more experience so why would they run to get you millions of dollars in contracts when they feel that they deserve it more.


Whatever you do, please do not send them all of your work because you will hear bits and pieces of your work elsewhere. It doesn’t take (10) ten songs to prove that you can write, it only gives them (9) nine reasons as to why they don’t have to pay you.


If it is good work, they may arrange for you to meet someone and conveniently you may find yourself surrounded by industry personnel. Don’t get too excited his is not necessarily in your favor.


Eventually, the tension between the ‘haves’ and the ‘have-nots’ erupts and then violence ensues.


To put it plainly, a lot of the individuals associated with developing and bringing in these billions of dollars from sales are not compensated properly or in some cases not compensated at all.


I’m sure that at one point in your life you have heard the phrase, ‘There’s no such thing as half-way crooks.’


You can rest assured that if and when you find yourself in bad company, it won’t be long before they will try to cut you out completely in any way possible immediately after you have served their purpose. If there is any way possible to avoid having to compensate most, they will.


Although predominantly it is minorities and women who are subjected to this form of treatment, it is not limited to these individuals. The truth is, money has but one color!



‘It’s not about the money, Do it for the Love of Music!’
A lot of local producers will definitely use this line to encourage you to continue to conduct business as if nothing happened.


If it’s not about the money, then why is the music industry worth hundreds of millions – even billions of dollars? They are not working for free so why should you?


So when others attempt to use this logic with you, ask them to give you some free use of equipment, free materials and their connects…since it’s about the ‘love of music.’ This is a business, period!


‘Don’t Let Them Steal your Dream’



Personally, music was not my first love. It was just a hobby that I attempted turned into a business venture; thus, the birth of Seven West Productions.


Even if it wasn’t my ultimate dream, I loved and considered my work to be a part of me. It didn’t matter that I was originally signed to be in a girl group at (18) eighteen years old. It didn’t matter that I had worked throughout the city with local production companies for years prior to Zomba’s Co-Publishing Agreement.


It seems that it’s their game or purpose is to ‘lyrically’ pass you around amongst their team. What was done to me and what continues to be done to aspiring artist is completely unnecessary!


When addressing the – ‘Don’t Let Them Steal your Dream’ suggestion, I have to say that we are all capable of achieving greatness in many different ways.


While in pursuit of your dreams and goals, talent is not the only factor. Creative and inspired individuals are not limited to any single aspiration.


If you have a voice, your options can be increased by using your gift to open many opportunities; such as, voice overs, speaker, spoken word, podcast, etc…


I know that these options may not be as glamorous but they can still be profitable. Once you have resources, you may revisit your decisions after making a name for yourself.


If you worked for a company for over 20 years and got screwed, while everyone took turns jumping on you, would you go back and start in the mail room?


That sounds good but the truth of the matter is that by posting you up and manipulating events and rivalry, they give you so many enemies. There are so many people who are hurt to the point where you have deal with too many snakes and haters, lying and gunning for you.


By labeling some individuals as simply being disgruntled, they hope that their filth doesn’t come to light or they hope to keep you from prospering just because they couldn’t!


‘Be careful who you f#% with and who you don’t…’ 


I’m going to let you guess which artist said this but this is the truest advice that anyone can give you about the business.


‘You just happened to Work With a Bad Group, Try Again!
That’s the key right there, those who are making decisions behind the scenes are listening to those IC’s, runners, local producers. They also have access to whatever they want and if you believe that people don’t use their positions and money to flex, you are in denial. People can do what they want to any person who is without money or connects.


The word that best describes this method is, Blackballing!




‘Blackballing’ is when conspire to ruin someone’s reputation until they become unemployable and people refuse to associate with them. This includes obtaining legal representation or assistance. Lives are destroyed on a daily with lies and trickery using this method.


My plight is not just about a broken heart and I’m not just sitting back being angry and disgruntled. Like many others, I used to believe that the artist just signed bad deals or didn’t handle their copyrights, etc…THIS IS SO FAR FROM THE TRUTH!


This is not just about a bunch of local producers stealing songs. Even though it is low down how the local producers and labels sell out their own artist and writers for chump change.


It’s about others getting rich off your labor while you are treated like you are not a human being with rights. It’s about, how you can be deprived of your basic necessities because of blackballed with lies and deceit.


I am very passionate about sharing my experiences through articles and publications because it is a form of freedom. It’s about obtaining true freedom from oppressors who have deliberately used money, power and positions to steal, lie, and prevent assistance by blackballing individuals.


Blackballing entails hindering any advancement; which includes, employment and financial support.


Unfortunately, I am unable to schedule the major tours, seminars, worldwide promotional and marketing campaigns in an effort to demonstrate and to blast the unethical practices and extremely illegal methods used by industry personnel and the ‘system’ that allows and encourages these acts by willfully refusing to address.


I was not paid for many of my multiple works that were submitted to my so-called music publisher.


Regarding my state of mind, I am truly disappointed and disheartened but I am not bitter or embittered. I do not and will not just except my inability to even pursue or to seek justice.


I can honestly say that my musical lyrics and melodies successfully made the top of the charts for decades! My work being used was confirmation that I was successful in what I was producing musically. Talent was never an issue and true ‘Success’ is not always determined by name recognition or popularity!


I can assure you that my inability to obtain all of my royalties for the many stolen musical work was not because of me not working hard or not because of an inability to build and maintain relationships.


I don’t have a problem helping others learn about the right way to protect yourself by avoiding pitfalls.


So it’s not always a matter of not knowing how to play the ‘game’ or about having an understanding, the ‘game’ is simply not meant for everyone.


For example: If the only way that certain females can play the game is by being on her knees and if she doesn’t want to conform…then that game is not for her!


Maybe you should change the rules, find a new game or create another way to get to your dreams!


I always use the comparison that ‘a woman cannot drop to her knees for every man in her path or she will never get off the ground.’


So if you are in the position of having to choose between finishing college and signing an entertainment contract, unless they are committing to a very large advance (enough to cover your legal fees for decades)…STAY IN SCHOOL!


‘Just be Discreet and Keep Working on Projects, they won’t know…’


That sounds good but the truth of the matter is that they give you so many enemies and hurt too many people to the point where you have to deal with an over-whelming amount of opposition.
Imagine snakes and haters, lying and ‘gunning’ for you – all while hoping that their filth doesn’t come to light or they hope to keep you from prospering just because they couldn’t!


I know the game, I lived it and I am not impressed…but you can go right ahead, send off your copyrights…Lol.


Those in the industry know ‘the game’ and how to manipulate situations so when you refuse to do what they tell you or 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 and snaking strangers. – Music, Murder and Mayhem – A True Story! Available @


Most IC’s are not reaching their potential because those behind the scene are putting too much emphasis on trying to use the music for dual purposes or to send negative subliminal messages and ‘double dealing.’


Dual purpose use (in my opinion) is when after signing, the artist works are utilized against the aspiring artist in an effort to induce harm and even suicidal responses from the helplessness of being unable to secure representation or assistance.


Double-Dealing is when the aspiring artist’s compositions, lyrical works and compilations are spread across multiple labels for use and to be ‘gutted’ after falling victim to the ‘twisted’ contract presented by local production company or some want to be ‘slick’ producer.


After enduring any of the following, it should be clear that it is not as simple for some to just accept your whimsical response or advice because of the underlying factors.


‘Don’t Let Them Steal your Dream’

I personally have written many articles on the business of music that details some of the many reasons why some songwriters are not successful. I would like to encourage you to read up on what’s really going on before you minimize others plight.


In my articles, I provide actual steps that can be taken in order to avoid pitfalls and I provide information to assist in preventing victims.


CONFLICT OF INTEREST – How does it affect your Music Career?


Is Age a Factor in the Music Business?


Is College a Cure-All for a Career in Music?


What’s In Your Contract?


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.


These books utilizes contracts with major music publisher, copyrights, court records and more to demonstrate tactics used to steal, oppress and destroy lives.


Unfortunately, it’s the people that hide that truth about the music industry who are the reasons why there are so many victims because you assist in maintaining the lies.


Comic Strips


If my products were not in conflict with a billion  dollar industry would their be this much  

opposition? Click Here 


Does this seem like just some disgruntled artist that’s mad about some songs….

This so-called Blackballing from the music industry is preventing fair trade and interfering with fair trade practices…

The lies of industry personnel is affecting life outside of being in the music business!

Created and written by Tiwanda ‘Ne Ne’ Lovelace, 

Author & Founder of SWP, LLC – (click here ->): BIO

“Who is Sara Baartman?”

Posted: June 15, 2014 3:16 PM PST
Written by Tiwanda Ne Ne Lovelace – Bio | Email  | Website  | Twitter  | Facebook | Linkedin

Who is Sara Baartman?


One day while at work, I received an email from one of the supervisors that was entitled, Who is Sara Baartman?

This email introduced me to an actual event in history that would have never been made available to me otherwise. This email was with regards to the calculated and inhumane treatment that was allowed to continue publicly against a woman of color many years ago.

This is a story that will never be taught in any public or private school because it would reveal a painful truth that most would like to pretend as if it has no relevance in today’s society.

Although there are different versions of events regarding Sara (Saartjie) Baartman…some say that there was a British ship’s doctor named William Dunlop who persuaded her to travel with him to England. Others say that when she was 21 years old, she was smuggled from Cape Town to London. Her employer, allegedly a free black man named Hendrik Cezar, was manservant to a British Army medical officer named Alexander Dunlop.

Dunlop allegedly persuaded Cezar that Saartjie had lucrative potential as entertainment and a scientific curiosity in England, which had a thriving stage trade in human and scientific curiosities. This type of entertainment could easily have been compared to freak shows; such as, the bearded lady, etc…where individuals were put on display, jeered at, mocked or mad fun of for entertainment purposes.

At twenty years of age, Baartman allegedly ‘signed’ a contract with an English ship surgeon named William Dunlop (who was also a friend of Cezar and his brother Hendrik.

This ‘contract’ was supposed to be an agreement for them to take her to England in order to work as a domestic servant and be exhibited for entertainment purposes. Like many others in that day, Baartman was unable to read and write.

What is definitely true is that Baartman had an unusually large buttocks and genitals but this was common among Khoisan women. This was around the time in history when some Europeans had set out to try to prove themselves superior and that among others especially blacks were inferior.

Whatever she was told, it was clear as to exactly what Dunlop intended, he displayed her as a freak of nature, a scientific curiosity, and in any way which would make the most money from these shows.

She was supposed to receive a ‘portion of earnings’ from the shows and then she was to be allowed to return to South Africa after five years.
She was then continuously poked, prodded and exhibited as a ‘freak’ across Britain.

While traveling with Dunlop and Cezar, Sara’s treatment was called into question by anti-slavery laws but they faced no real consequences. They produced a document that had allegedly been signed by Sara Baartman but the fact was that she (Baartman) was illiterate and was from a culture that did not write or keep records, I cannot imagine this contract to be credible.


Although abolitionist attempted to use the courts to free her, they failed. However, her contract was amended in the hopes of providing better conditions, greater profit share and warm clothes.

If he did pay her, it wasn’t sufficient to buy herself out of the life that she was living. She would not have been forced to turn to prostitution once discarded thousands of miles from her home; that is, if she was even compensated at all. They were definitely profiting or the show would not have lasted four years.

Once the courts were involved, they ruled that Dunlop and Cezar was supposed to provide ‘better conditions and more profits,’ but instead, suddenly Baartman was sold into worse conditions.

Baartman was then sold to a French animal trainer named, S Reaux and exhibited as an animal in cages to be poked and prodded.

People find it easy to say that they didn’t care but I believe that they cared way too much about making it a point to not recognize her humanity. Their intent was to ensure that they gave her next to nothing; that is, if they gave anything at all.

I’m pretty sure that just like today, contracts are intended to benefit big business and not the individual.


 According to, “she continued her on those degrading shows and exhibitions; that is, once the Parisians got tired of the Baartman show. She was forced into prostitution.  She didn’t last the ravages of a foreign culture and climate, or the further abuse of her body.  She died in 1815 at the age of 25 or 26.”

Even after all of above mentioned abuse, indignity followed her in death because within 48 hours, her body had been dissected, her bones boiled, and her brain and genitals bottled. This is a true story that is a part of history that still haunts us to this day.

[i]Cuvier, the so-called father of both comparative anatomy and paleontology, conducted the post-mortem examination. Plaster casts were taken of her body. Once the whole figure was integrated, “sculptors and artists finished the lines to the mold, polished the model surface with oil of turpentine, and then skin, vessels were painted on; the whole covered in a coat of clear varnish.”

In the name of Science, her (actual) sexual organs and brain were displayed in the Musee de l’Homme in Paris. After 160 years, her remains were removed from public view but not laid to rest.

In 1994, President Nelson Mandela requested that her remains be brought home but it took another eight years before her remains were returned.

Sara Baartman waited over a hundred and eighty years for her freedom. Her bones were not removed from display even after death until after 187 years. Her remains were buried on Women’s Day, 9 August 2002 in Eastern Cape, South Africa.

After reading about this event, don’t you find it rather strange that it took exactly 187 years?

History Repeating Itself – Time for Change!

I wonder what happened when she asked for help back then. If I recall correctly, the courts failed her too. After she served her usefulness to those inhumane, greedy and cruel business men, she was discarded. Her ordeal is so familiar because not much has truly changed in recognizing and correcting corruption in the courts and other civil right violations.

Although Sara Baartman story is almost two hundred years old, there are still those who do not recognize women as having any value; especially, African Americans. There are still those that will use the legal system in the service of their own needs to oppress. 

The Sara Baartman’s of today are still put in positions to be killed, never compensated, put on display, lied on and manipulated against, left to die, to be raped and dehumanized.

I, too, signed a contract wherein I was promised compensation for lyrics and melodies. I signed a fifty percent co-publishing but I never received any monies for the numerous submittals which were over forty compilations of lyrics and melodies that miraculously found their way on the radio and up the charts. There were no management or producer contracts to justify refusing payments but this co-publishing contract was not honored but used to take and avoid paying royalties.

People should never be penalized for addressing instances of racism and ignoring racism or racial acts only implies that this type of behavior is acceptable. This is why some are unable to understand or accept their punishment for their acts because they feel that it is acceptable or the norm. They become shocked that it is not okay to chase down and shoot members of certain nationalities.
This is a sample of Chapter 2: Who is Sara Baartman?

For more, visit:

Breaking News: The Business of Music: Operating with Impunity?

Posted: April 10, 2014 7:21 AM PST Updated: April 16, 2014 4:00 PM PST
Written by Tiwanda Lovelace of Seven West Productions – Bio | Email |Website | Online Book Store
Click Below!
The Business of Music: Operating with Impunity?

Click to access Antitrust+Brief+The+Business+of+Music+with+Supporting+Docs+Zomba-Dekalb+FINAL+Final++COVER+-+04-16-2014.pdf

View never seen before documents which demonstrate how the Business of Music Operates with Impunity for decades!

These multiple legal situations also involves: Officials, Major Music Labels, Michigan Courts, Dekalb County Police and Georgia Court’s – violation of Due Process, officials ‘acting under color of law’ to deprive rights and alleges judicial misconduct.
There were hundreds of millions of dollars in music royalties involved with the multiple allegations of copyright infringements, breach of contract, song placements prior to Zomba contract and deprivation of civil rights that all stemmed from conflict between major entities and opponents.

Lawsuits were filed in Both – Detroit, Michigan AND Dekalb County, Georgia.

The first lawsuit was filed in Michigan after two lawyers advised me that the Co-Publishing Agreement with Zomba was standard.


After failed attempts at having me sign management contracts with their Producers, I was provided with music tracks and encouraged to build my own team.



After submitting and discussing 40+ songs, it became clear that there was no intention of honoring that Agreement. I began to realize that Zomba had both – initiated and/or allowed the materials that I had submitted and discussed with their representatives to be used and ‘gutted’ by others.



Zomba is a music publishing company who works with ALL of the Major Music Labels.

I began to hear musical works on the radio that were derived from songs that I submitted.


After submitting these songs, someone associated with the business brought it 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.


Zomba is a music publishing company who works with ALL of the Major Music Labels.


I reached out to many for assistance by providing supporting documentation and I requested

intervention from the beginning. I have a long list that consist of very prominent attorney’s,

governmental groups and organizations that were contacted. Some showed interest but declined

assistance, while others pretended that the violent acts did not exist.



I filed a lawsuit against BMI, Zomba and Jive because of their lack of response to my request as to how

BMG, MCA, EMI, WEA, Polygram and Jive have released songs which blatantly infringe upon my




I filed a lawsuit claiming Antitrust Violations, Breach of Contract and

Copyright Infringements. I also requested counsel be assigned due to multiple,

coincidental acts of violence surrounding my family.


Although the Amended Complaint was ‘set forth in short, plain statements’ as required by law. Clearly explained Each document listed as Exhibits and filed in accordance with Federal Civil Procedures, the courts ignored the Complaint and the supporting documents.



The Michigan courts dismissed my case as frivolous preventing me an opportunity to

have my case heard. Judge Bernard A. Friedman cited that my complaint was bizarre,

irrational and indeed delusional. Judge Friedman continues to state that the

complaint is fanciful and delusional.



I didn’t know that copyrights, phone records and certified mail receipts were

miscellaneous papers.

‘It is easier to ignore facts and allow corruption to continue by claiming that my
complaint was bizarre, irrational and indeed delusional but I didn’t imagine bullet
holes, family members assaulted, friend and house shot up, my songs ‘gutted’
and played on the radio…

Both lawsuits demonstrates questionable, unethical and

egregious behavior by some of the courts representatives. This is

no coincidence that two courts in different states would ignore

actual factual claims against the same person who initially filed

complaint against music industry reps.



Multiple criminal activities and misconduct are used to prevent

and hinder justice for decades…from the simple auto accidents to

the major lawsuits.



Court Records can be found by using!


SEE FOR YOURSELF – PACER Printout and Key-Points:


Lovelace vs. Zomba


1. Plaintiff filed Lawsuit representing herself In Forma Pauperis.

2. Plaintiff’s Lawsuit survived a Frivolity Review.

3. The Court Ordered that the Clerks Office process the necessary paperwork; INCLUDING, USM-285 SUMMONSbecause plaintiff was unable to afford processing fees.

The Summons advised the Defendants-Dekalb County Police Dept. to answer the Complaint filed against them within 20 days.

4. Clerks Ignored and Excluded 1st DefendantsDekalb County Police Dept. from Docket even though they were listed 1st on the Original Complaint.

5. Pacer No. 9 – shows that the SUMMONS WAS ISSUED ON 03/16/2004 to the Defendants-Dekalb County Police Dept. BUT after (4) Four Months past the allotted (20) twenty days…they DENIED receiving the Summons processed by the Clerk’s Office.6. Per Courts Order and Summons, the Defendants-Dekalb County Police Dept. had (20) days to file an Answer with the Courts; yet, they did not.


7. Plaintiff filed Motion for Entry of Default and Motion for Summary Judgment because the Defendants did not Answer the Complaint.


8. Defendants-Dekalb County Police DENIED receiving the Summons and blamed Plaintiff. Defendants did not file their response to Motion until 07/09/2004, AFTER THE JUDGE WAS SWITCHED


Again, that was (4) Four months later after Judge was switched without cause.

Courts switched Judges on 07/12/2004 – two months after receiving Motion for Summary Judgment.
Clerks never submitted Amended Motion for Summary Judgment w/ Supporting Documentation
to Support Genuine Issue for Trial to then Judge Jack T Camp.
Instead the clerks mislabeled the Motion as Miscellaneous on the Court’sDocket.

Plaintiff filed Motion for Entry of Default and Motion for Summary Judgment

BUT Courts and Clerk’s Office Conspired, ignored and waited allowing Defendants- DEKALB COUNTY POLICE an additional (4) Four Months – 07/09/2004,

Courts switched Judges on 07/12/2004 (two months after receiving Motion for Summary Judgment) but Clerks never submitted Amended Motion for Summary Judgment to then Judge Jack T Camp.
Judge Jack T Camp was fair and impartial in recognizing that if certain criteria was met…Dekalb County Police can be a suable entity! Printout:Lovelace vs. Dekalb County Police
Pacer Court records No. 7 – Order instructs Clerk’s Office to list Dekalb county Police to complaint and to forward Plaintiff USM285 forms for completion. This was in response to Plaintiff’s Motion for Correction and Notice of Error regarding Clerk’s Office excluding defendants, Dekalb County Police Department from the Complaint

On 02-17-2004, Pacer Court records No. 8 – Plaintiff’s USM285 forms and Summons were completed and returned. Lovelace returned ALL completed forms as directed.

NOTE: Amended Motion (12) was not submitted to Judge. AND the Amended Motion for Entry of Default / Motion for Summary Judgment from 05/06/2004 to July even though Defendants had only 20 days to respond.



On 03-16-2004, Pacer Court records No. 9 – Summons was issued for Defendants Dekalb County Police. Clear as day, pacer showed that the Clerk’s Office processed Summons for Defendants.

Summons Issued – Date Stamped

9 – SUMMONS WAS ISSUED 03/16/2004
12 – Clerks should have listed as Amended Motion for Summary Judgment instead of Motion forMiscellaneousRelief- Clerks delayed submitting to Judge
– Amended Motion for Summary Judgment was entered into court system on
05/06/2004 but listed as Motion for Miscellaneous Relief
Courts switched Judges on 07/12/2004
(two months after receiving Motion for Summary Judgment) but Clerks never
submitted Amended Motion for Summary Judgment to then Judge Jack T Camp.

Plaintiff provided courts with 3 copies (as confirmed by date-stamps and as confirmed received and mailed below!

(12) – Amended Motion for Summary Judgment was entered into court system on

05/06/2004 but listed as Motion for Miscellaneous Relief.

Amended Motion for Entry of Default w/ Docs Supporting Genuine Issue for Trial

Courts switched Judges on 07/12/2004 (two months after receiving Motion for Summary Judgment)

but Clerks never submitted Amended Motion for Summary Judgment to then Judge Jack T Camp.

U.S. DOJ Marshal USM-285 Initial Process Paperwork

NOTE ABOVE: This was a part of the initial paperwork that was used by Clerks Office to process Service upon the Defendants
Clerks Secondary U.S. DOJ Marshal’s USM-285 Process of Service Form
decided to process another
Summons – (4) Four Months Later – 07/09/2004,
NOTE: Plaintiff’s signature not listedALSO…These forms are processed by U.S. DOJ. This Entity was previously contacted regarding Zomba case in Michigan. I find it hard to believe that anyone could sue the Police Dept and it not raise an eyebrow within this governmental agency. See below:Clerk ignored Request for Summary Motion for Judgment after allotted 20 days for response and after switching Judges. I was never addressed but the Clerks processed this without a Court Order. The initial Courts Order advising Clerks to process was back in
February not July. Clerks was supposed to Enter Default and Motion for Summary
Judgments after 20 days.

On 01-30-2004, Pacer Court records No. 7 – Order instructs Clerk’s Office to list Dekalb county Police to complaint and to forward Plaintiff USM285 forms for completion. This was in response to Plaintiff’s Motion for Correction and Notice of Error regarding Clerk’s Office excluding defendants, Dekalb County Police Department
from the Complaint.
On 02-17-2004, Pacer Court records No. 8 – Plaintiff’s USM285 forms and Summons were completed and
returned. Lovelace returned ALL completed forms as directed.
On 03-16-2004, Pacer Court records No. 9 – Summons was issued for Defendants Dekalb County Police.
Clear as day, pacer showed that the Clerk’s Office processed Summons for
Plaintiff filed Motion for Entry BUT Courts and Clerk’s Office conspired and waited allowing Defendants- DEKALB COUNTY POLICE an additional
(4) Four Months Later – 07/09/2004,

after switching judges and ignoring courts own system- Service of Summons was ignored.

Lovelace vs. Zomba Lawsuit

I filed a lawsuit against BMI, Zomba and Jive because of their lack of response to my request as to how BMG, MCA, EMI, WEA, Polygram and Jive have released songs which blatantly infringe upon my copyrights.

Initial Request for D.O.J. Assistance -Zomba

DOJ Ignored Coincidental Violent Acts, Docs and

DOJ – Chose to take No Action
Clearly, this is NOT just an issue of Breach of Contract!
DOJ – Chose to take No Action

DOJ Antitrust Division Letter Returning Exhibits

See Below:
This letter is implying that I requested closure but
previous letter ignored everything; including multiple violent acts…

DOJ Advised Materials Were Lost

There should have been a record from previous
correspondents especially since U.S. Department of Justice – Marshal Division was used to serve Defendants years later.

A Monopoly Exist: Not the Game!

When reviewing and comparing the allegations of copyright infringements, civil rights violations, etc… listed in Lovelace vs. Zomba AND Lovelace vs. Dekalb County Police it is apparent that they work together in a combined effort to monopolize.
I say this because when attempting to seek resolution you are faced with the following:
1.Being denied representation because of either a ‘conflict of interest’ issue due to the industry being controlled.
2.The fact that no entertainment attorney wants to slug it out on your behalf for fear of preventing further or future business.
3.Most attorneys require a very large retainer that the artist usually doesn’t have. The lack of funds is usually because the initial attorney had advised this artist that the contract with low figures were standard in the business encouraging acceptance.
4.Under false pretense, promises and manipulation, the publishing or record take your materials/works.  The publishing or record company contract will then state that your contract says that we can choose not to pursue your claims.
5.You are faced with major opposition from multiple sources. I have had multiple major companies
violate the Federal Trade Commission Fair Trade Act and Competition Laws. They assisted with hindering my efforts in promoting and marketing my Titles by creating fake sellers, re-routed links to other products, listed titles in the wrong categories and listed incorrect prices. These other companies circumventing justice when I was promoting my books that were exposing the blatant tactics and methods subjected.
I no longer wonder why people would easily associate the word ‘slave’ with the music business and the prison system. The courts only seem to recognize the goals of the major corporations.
I filed a lawsuit against BMI, Zomba and Jive because of their lack of response to my request as to how BMG, MCA, EMI, WEA, Polygram and Jive have released songs which blatantly infringe upon my copyrights. I sent these lyrics to Zomba and discussed these works in detail.
Clearly, I have been denied my rights and this definitely confirms a Monopoly situation.
I was very emotional at this time and although I lacked the skill of a licensed attorney, my revised complaint complied completely with Fed. Rules of Civil Procedure but the courts responded as if they did not receive this revised copy.
I provided copies of copyrights. I provided proof of certified mailings and other documents to support that I required courts assistance. Although I requested assistance from the DOJ and the courts due to violence. These acts of violence were ignored and these supporting documents were referred to as miscellaneous papers.
On July 22, 1996 the courts dismissed my case as frivolous preventing me an opportunity to have my case heard. Judge Bernard A. Friedman cited that my complaint 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.
The definition of a Monopoly is complete control of the entire supply of goods or of a service in a certain area or market, a large company that has a monopoly, complete ownership or control of something. This sums everything up in a single sentence.
How else is this allowed to continue with impunity?
It was acceptable to those in positions when the decision was made to try to induce a suicidal response until I chose to fight back. Suddenly, I became the one responsible for the aftermath.
When I began to describe the entire event from my experience and background as being victimized, suddenly I am supposed to be a snitch but it is supposed to be okay for everyone to try to quietly murder me and I am not supposed to fight back?
It is impossible and let’s not forget that I was there at the initial onset, watching ALL assist in obtaining my materials for the grand finale which was to be – my demise. Some would like for you to believe that this is the work of one person but none of the possible scapegoats had the power to orchestrate all of these coordinated events.
Although I can only guess that some individual representing a specific group may have devised a scheme to use this situation for profit.
Even if this was the case, the only reason why this would be possible is if both parties involved didn’t recognize
me as a person because it is a predominantly male dominated industry.
There was no acknowledgment or contact with me at all other than abuse.
It is possible that others may have negatively been affected and they may have required representation but instead of addressing me so that I could clarify that there are compounded situations, assisting in clearing up the entire ‘cluster muck.’
I say this because after being violated, I had hospital employee’s whisper to each other within earshot, ‘that’s what he’s supposed to do…’ as they looked at me smiling and smirking. They had to be implying that they were representing another party.
There are too many coincidences where some horrible act is attributed to a single individual for this to be random. This is why I really want nothing to do with any one of those producers from my past.
If my material helps alleviate persecution for anyone by clarifying some information, that is fine but I have received a large amount of retaliation so just knowing that someone allowed my family and I to become subjected as a scapegoat is unacceptable.
Instead of communicating, these individuals decided to launch this campaign to possibly cover for the geniuses who actually may have used their positions to manipulate a payoff. I say this because this may be contributing to the immense pressure
for me to ‘let it go,’ or the reasons why it was so important for me to ‘just die’ or the pressure to force an acceptance of a minuscule offer.
I conducted business forthright and with good intentions. I completed split sheets on shared works and I required signed agreements for those who chose to work on projects with me.
In addition, I was able to secure four or five exclusive writers under my Production Company, Seven West. After providing Zomba with copies of my writer’s contracts, I never heard from these writers again.
I discussed and submitted over 40 forty plus musical lyrics and melodies. I didn’t give permission and I did not sign my works away. I signed one co-publishing agreement for fifty percent – ONLY.
Still, I was forced to listen to my musical lyrics and melodies on the radio for decades as they reached the top the charts but I received no royalties, only threats.
With the information provided here and in all three of my titles, there should not be any doubt as to this clearly exposing corruption, conspiracies and the monopolization of an industry.
What I find to be really deplorable is that in addition to having to fight those is power and positions, there are individuals who will combined their efforts to also apply social pressure to invoke a form of social exile. These people take pleasure in exacting revenge in the name of others that have pointed blame at you for messing up their deal and standing up for your work.
I write my books so that I can reach both those who are in need of this information and those who are in a position to address the blatant atrocities properly. I also write in order to reach any sensible human beings not taken in by the lies, greed and payoffs, etc… that allow this to continue in the hopes that they will help.
Somewhere there is a Jehovah’s Witness or some other group who will become subjected to the same tactics and methods.
I want them to be able to make an informed decision to protect themselves against the traps or at least recognize the need to tailor their contract and request a sufficient amount of advance to protect themselves after the games begin because most entertainment attorneys will not risk future business by educating you once you have been selected or branded as ‘the Mark.’
I plan to continue to write my books and blogs until it is clear that this has been a deliberate attempt to induce suicidal actions, to violate my civil and human rights, to subject me to continued persecution in order to cause my surrender or demise.
With the information provided here and in all three of my titles, there should not be any doubt as to this clearly exposing corruption, conspiracies and the monopolization of an industry.
Caught in crossfire between major entities; the system and those who have been negatively impacted – I am forced to live as a homeless outcast. In this case, I have lived in many cities, moving from town to town looking for a home and a support base but the people in positions have ensured that too many people have been negatively affected.
There have been women and children assaulted and violated; yet, NO ONE has made an effort to bring an end to this entire ordeal because each are fighting to justify their own actions. Again, these continued incidents are instigated in the hopes that this will ensure that no one will support your fight for justice.
Those in or associated with the music industry have engaged in, encouraged and have allowed violent acts to incur solely due to their pride, greed and hate.  While behind the scenes, the hurting of others continue so that they will hate you too…this is not a game!
I know too many who have been raised as one of Jehovah’s Witnesses and they are now labeled and receiving SSI-Social Security Benefits or suffering from some sort of depression related to these practices.
This is their answer after brutalizing human beings…split up their royalties between big-wigs, make promises to their minions, lock the victims up, label them, induce suicide and/or murder.
I disagree with raising children as victims and not preparing them for the world outside of the Kingdom Hall of Jehovah’s Witnesses.
There is no reason why the police departments should be able to use their positions to deliberately profit and cause harm to a relative of someone accused of killing a police officer. There are too many coincidences and events surrounding one individual for EVERYONE to ignore FACTS!

Proof of a Conspiracy

There are too many coincidences and events surrounding one individual for EVERYONE to ignore FACTS! There are too many coincidences where some horrible act is attributed to a single individual for this to be random. The following points clearly demonstrates a combined effort:
1.In order for BMG, MCA, PolyGram, EMI, the Sony Group or the WEA Group to have multiple blatant similarities to songs listed in copyright infringements this has to be a combined effort and these label reps working together. This was a combined effort to circumvent justice to monopolize.
2.Mail tampering amongst different carriers was definitely involved and proven with documentation. Two separate carriers admitted in writing referencing being unable to explain mail delivery delays. This was a combined effort to circumvent justice to monopolize.
3.   Not one of these individuals would be able to track and coordinate persecution and harassment.
This was a combined effort to circumvent justice to monopolize.
4.Not one of these individuals would be able to manipulate the violations of my Civil Rights AND
orchestrate the questionable behavior from both the States of Georgia and Michigan Court’s. This was a combined effort to circumvent justice to monopolize.
5.No single person is able to orchestrate the unprovoked modification of criminal background records.
Suddenly officials were ready to enforce their duties when choosing to violate the Due Process Clause but unavailable to honor the duties involved in upholding a citizens rights. This was a combined effort to circumvent justice.
There are a lot of artist that befall convenient legal issues prior to releasing projects –
(Example: Tupac never had a criminal record prior to his release).
6.The illegally obtained warrant was issued conveniently during the days when I was suffering through retaliation and my torturous days of being forced to listen to all my ‘gutted’ works on the radio, etc… This required combined effort to induce hopelessness and suicide.
7.The timing of the execution of this illegally obtained warrant was in sync with everything that was going on around my trials with seeking assistance from attorneys and all of the many groups. I had filed the copyrights listed below and they were processed just months prior to the illegally obtained warrant being issued.
8.   More importantly, for decades I have been contacting governmental agencies, groups, organizations
and attorneys off and on since the beginning. I was providing supporting documents which substantiate my claims and CLEARLY raise questions regarding these compounded coincidences but I am
9. The fact that these agency and groups that are neglecting to acknowledge blatant wrongs; they’re inaction whether direct or indirect, inadvertently supports this injustice. Promoting deprivation of
  rights when an obvious injustice is ignored.
10.When any other corporation is found to be in violation of someone’s rights or involved in any unethical behavior, they are held liable. How is it that an industry can deprive rights and deny compensation from their employees (artist/producers) without being held accountable for decades?

What’s Love Got to Do with It?

During this ordeal there have been multiple references to Love or an attempt to play some sort of ‘heartbreak hotel’ game. I know that it is not uncommon for music to remind you of a person; especially, if you wrote lyrics for or with that person. Miraculously, I was supposed to listen to some music and fall in love, allowing some man with whom I have no connection to or any communication with for decades… to take control of my situation?
If someone cared, they should have made it clear but after being violated, harassed and ostracized for decades…it is too late!
Every time that I think of either of them, I am reminded of how many people have used their names when inflicting harm, mocking and violating. True or not, it is clear that I now associate the violation of women and children with both major entities.
Playing a song to induce feelings and emotions without an individual having had a previous relationship and expecting results is foolish. That kind of thinking is not realistic and if you believe otherwise than you may want to seek professional help. This was not done out of love and it’s not about one man’s actions, this was a joint effort!
I thought Copyright Laws were supposed to protect writers! I have been copyrighting my lyrics and melodies since 1991.
Even with Copyrights, proof of submission, phone records proving works were discussed and blatant similarities to works released on major labels – I was denied representation.
Even with Lawsuit filed in accordance with Federal Rules on Civil procedures, I was not given an opportunity to address my claims in court!
With all that was mentioned, courts ignored actual events of violence, denied that stress can attribute to and cause physical ailments.
So, let me get this right…I imagined my house gettingshot up, double homicide, children assaulted and sister gettingrapedanddropped off at the Kingdom Hall of Jehovah’s Witnesses. The Michigan Judgecouldhaveassigned counsel or made another decision. Talk about getting assaulted, I feltviolated all over again.
Zomba is a music publishing company who works with ALL of the Major Music Labels.
There are no statutes of limitations on civil rights violations; especially, with all of the
tactics and methods used to circumvent justice. I intend to continue to seek counsel and findsomeone whowants to put an end to blatant violations of civil rights and make those who cando what they are supposed to do.
This is really a Dirty Game!
Each instance listed above and in the Extra Clippings can easily be categorized as violating the Federal Fair Trade Act and Unfair Competition Laws.
In Order for the Music Business and the Court System to continue blatant wrongdoing for decades, It would appear that this ‘System’ profits and Encourages these violations to continue.
People want you to believe that Money, Payoffs, Popularity Contests and Racism Supersedes Having
Rights Guaranteed by The Constitution of the United States…But I AM NOT LETTING GO!
The definition of a Monopoly is complete control of the entire supply of goods or of a service in a certain area or market, a large company that has a monopoly, complete ownership or control of something. This sums everything up in a single sentence. How else is this allowed to continue with impunity?
Attorney’s knowingly conspire to have you  sign a standard contract for small amount when they know that you will need a large retainer when the deal goes sour.

Under false pretense, promises and manipulation, the publishing or record take your materials/works.

Music Publisher manipulates to obtain fresh ideas and woks with the intention of using works said works without honoring the Agreement. They flash a list of Major Labels that they will place your works with but then deny you royalties.
The Courts work against the Artist repeatedly by refusing to even acknowledge your complaints across State lines; which prevents relief that would allow you to secure an appropriate retainer.
The Artist/writer/small publishing and production companies are unable to operate or conduct business because the industry conspires against them.
In addition, there is coincidental acts of violence, isolation and oppression used to intimidate…preventing proper resolution.The publishing or record company contract will then state that your contract says that we can choose not to pursue your claims. You are faced with major opposition from multiple sources. I have had multiple major companies violate the Federal Trade Commission Fair Trade Act and Competition Laws. They assisted with hindering my efforts in promoting and marketing my Titles by creating fake sellers, re-routed links to other products, listed titles in the wrong categories and listed incorrect prices. These other companies circumventing justice when I was promoting my books that were exposing the
blatant tactics and methods subjected.

15 U.S. Code § 2 – Monopolizing trade a felony; penalty

Every person who shall monopolize, or attempt to monopolize, or combine or conspire with any other person or persons, to monopolize any part of the trade or commerce among the several States, or with foreign nations, shall be deemed guilty of a felony, and, on conviction thereof, shall be punished by fine not exceeding $100,000,000 if a corporation, or, if any other person, $1,000,000, or by imprisonment not exceeding 10 years, or by both said punishments, in the discretion of the court.

Written by Tiwanda LovelaceBio | Email | Website | Online Store

P.O. Box 400001, Las Vegas, NV 89140 (877) 885-2944