posted on Dec, 3 2012 @ 12:14 PM
Originally posted by ModernAcademia
For nearly two decades, drug lord James Rosemond, a/k/a "Jimmy Henchman," denied accusations of his involvement in the near-fatal 1994 ambush of rap
star Tupac Shakur at New York's Quad Recording Studios that marked a pivotal moment in American pop history.
Prosecutors proved that couriers working for Rosemond delivered massive volumes of drugs, cash and machine guns in music crates to recording studios
and record labels owned by or affiliated with Vivendi's Universal Music Group, the largest music corporation in the world.
Think of what this implies
Music Labels now with rap music promoting the same things they are receiving in those "music crates".
And using an industry with an incredible amount of transportation back and forth, possibly with alot of carte blanche luxuries due to volume for arms
dealing and drug trafficking.
I'm trying to do more reasearch on this but finding very little
Thought maybe the good people at ATS could help out.
I got some juicy tid bits for ya.
Check out Rebecca Scotts excerpts from XXL magazine which, were omitted in the issue.
Rebecca was a prominent manager of hip hop artists back in the 90's. This has been going on for years.
XXL: When did you become aware of the Illuminati's involvement in hip-hop? Were there any key signs?
RS: Back the Nineties when I was representing Mad Lion and KRS-1, Lion and I worked out of a recording studio on West 42nd Street. At some point in
the game, without my artist’s knowledge; I was approached by Patricia Durst (of the billionaire Durst Organization, Inc.) to open a recording studio
directly across the street at her family-owned 4 Times Square property. To this day, I do not know how Patricia found me. Seeing the money potential
in having my “own” studio, I accepted the offer and was given a LARGE cash incentive. I now had two operations bringing in money. However, it was
not long after I did the Durst deal that I was again approached; this time by a man who said he “represented” Durst. He said that they would
“need” to use my studio for the packing and distribution of illegal imports. (For obvious reasons, I cannot elaborate further on this.) Since I
was already in bed with these people, I agreed and became wealthy overnight. I moved from Jefferson Houses on 112th Street in Harlem to the La Premier
on West 55th. My secret arrangement with Durst went on for two years without Mad Lion or KRS-1 ever knowing about it. Eventually, Patricia started
bugging out. She put crazy “art” displays in the big picture windows on the main floor facing 42nd Street and this brought unwanted media
attention to the building. It didn’t help that we were conducting illegal activities upstairs. My unwanted dealings with her kept me paranoid,
delusional, miserable and rich. I was clocking more money from this secret deal than the music. The end of the road came when Durst’ representative
reappeared and asked me to facilitate having my artists transport said contraband on tours. (Note: this was around the time John Forte of the Fugees
got busted). I knew it was time to bail out. When I told Patricia she threatened to take down my empire. By now, I was doing side deals with Flavor
Flav, Sir Benni Miles and I had just wrapped my movie on Tupac, “Thug Immortal,” with director, George Tan. Pat Durst got sidetracked with her own
problems when her brother, real estate heir Robert Durst got busted for murder in PA. But like all dealings with Satan, I did take a fall. I was
busted and did 10 years on Federal drug charges as a result of trafficking coke concealed inside of art work. When I was released from prison I went
back to the hood and stayed underground for years. I knew it was better to be a poor, alive woman than a rich dead one. The fact that people of this
stature even took an interest in a small, independent, hip-hop manager like me was my first key sign that the game was about to change.