we may not have the peaches. we may bring you a little peachs and herb today, but anyhow we have ray goodman in the house

going to end up having this show. she probably thought i was blowing smoke, but here we are. >> yeah. you look fabulous. >> thank you. thank you for having me. >> before you introduce our wonderful guests, we grew up -- she was in my ear trying to sin, i pledge my love to you. i told her, stick with your job. >> but anyhow, it brought abouta good laugh. >> talk about piracy in the musc industry. >> sure. we are having a problem right nw with artists, song writers and record labels as well struggling with all the different new technologies that are out there and and the opportunities that there are more people to steal music online. and so that's -- that's a problm for sure. but there's another problem goig on which is a problem with artists being able to collect their royalties. that's legitimately whether it's online o

that's part of what i do for a living is help artists, song writers and producers collect money that is owed to them. >> how is it that the industry can just steal someone's work ad continue to make money decades later and the artists struggle and they suffer and put their hard work and their creativity and genius into it. >> unfortunately it's the statue of limitations that becomes a very big problem. so in the law we have a general rule that you only have a certan amount of time to make a claim for something that you claim tht you're entitled to, and the record companies and the music publishers, i'm talking about te big ones. >> bmi? >> bmi is not a record company, but we have other issues with bmi, but they're in the mix too. they're in the pics@wjla.com too. >> rca. >> rca which is now under sony.

consolidation of record companies. >> you said you have a time period. what is the time period? >> it depends on what state your contract will be. >> if you're in california. >> if you're in california, you have i believe it's five years. you can only go back five years, so you can sue at any point in time, but you can only go back five years to collect your royalties. interestingly when our new senator from california was attorney general, and they went after the record companies and had them enter into consent decrease saying that any money they had that was payable to artists, that they would pay those over to the state as unclaimed funds in order for artists to be able to go to the state and get their money. they're just not complying with those consent decrees and no one is enforcing them. so when i file a -- >> was it set up that way? was it

>> how can you enforce a law that's not on the book? >> attorney generals should be enforcing these laws. >> tell us why they're not. >> i guess there's not enough pressure on them and i tried to see if there was a private right of action, meaning an individual artists could under those conset decrees sue the record companies or music publishers and say, he, you were spode to pay my money from 30 years ago over to the state and you didn't do it, so now i want my money, there is no private right of action, so unless those attorney generals get involved and try to do something, you know, lawyers lie me, i sue universal, i saw warnr chapel, i sue sony and they always hide behind the st. matthews. for instance, peaches and herb royalties going back 30, 40 years, they say we only have to pay

years and of course in the last six years the money is much, muh less than it was for going all the way back to 40 years ago. so that's the problem. >> where do you find that you have had the greatest success ad the least amount of success. >> i've had the greatest success probably in helping some artists actually get their rights back, get their ownership of their rights back. even though i haven't been able to help them get a big pot money for what happened in the past, but they can at least collect their money in the future, and that's important because of something called sampling. everybody has heard of sampling, right? >> i do that on itunes, i listen for about 40 seconds before i decide to buy. >> but when someone like jay-z uses the song. >> they actually use it. >> they use it in the new song, so the empire state of mind actually used a part of love ona two-way street, so

and brown were originally called the moment and their members changed and changed and changed until finally it was the name change ray goodman and brown. the early song include mark green, dr. richard gross, and john morgan and their voices are on different songs, including fr john morgan love on a two-way street and that got sampled on empire state of mind which made millions. >> and they made no money off it. >> we sued. >> but haven't gotten paid. >> we're still waiting for the money. >> let me go to break before you have some fun and introduce your artists. what is it that artists need to do? >> artists need to be mindful while they're -- >> one of the things that happened is artists get afraid while they're popular to go aftr their record companies and do audits and make sure the money -- >> they think --

this. >> and so they don't do anythin, and they wait and the other thig is that we have this called -- something called a recruitment structure in the record busines, so it's like a share cropping arrangement where record companies charge all the cost of making the records and everythig else against the artists' royaly which amounts to about a dollar annual bum when the record company is getting 6, seven dollars annual bum. even if you're a major artist, you look at your royalty accounting and you owe the company several million dollars, so you're thinking, why should even question this? why should i keep performing, getting more advances and doing more records. >> it sounds like the record companies have free labor. >> they do basically. they pay -- i'm not going to say -- they pay advance money up front, but they're not giving te artists their fair share. a fair share would be a real joint venture relationship where after they recoup the real c

splitting the money with the artists. >> we're talking about respect for somebody else's work. >> yes. you couldn't say it any better. we're going to come back with ry goodman and brown, and peaches. don't go away. we'll

>> we have herb

beautiful, beautiful queen, yvonne. she may not say much today. she's here with her man and she stood by herman for how many years. >> we've been married for 58. >> we've been together since we were 13. >> that's so unusual in the entertainment world. so how is it that when you're song and you're singing, how you can be ex exploited. >> i came out of the projects. >> dc? >> yes. >> oh, wow. >> i wanted to be a star, so whn people come at you and say, i'm going to make you a star, you trust them. you do anything. you sign anything. all you're thinking about is being on that recordi

being a star and that's where they take advantage of you. if we would just come out with business on our minds, it wouldn't happen to us, but we don't. >> mr. green, your perspective? >> it's a big picture. >> it's getting bigger, isn't it. >> it's getting bigger all along. we did the same thing. we trusted the -- our platinum record company. we made the company actually wih the songs we put out. not on the outside, but inside strong. i'm the original lead singer of the group. they didn't want to pay, so we had hard times getting our mone, even at the apollo theater. they wanted to give us $2,000 fr nine days. >> wow. >> what year is this? >> this is 1968. >> that was a lot of money back then, thoh?

>> yeah, but for nine days. >> still it was a lot of money. >> and hotel bills. >> oh, you had to pay your -- >> yes. >> and so they got rid of the group by separating the members. they kept me as a single artist, put the other guys on the shelf. they had -- after the apollo the moments were supposed to be there, they called us in new york, had us in the studio while they had a different group of te moment, but they had john morgan with them which made it legit while we suffered not getting that money and getting paid and not getting any royalties. and after the single, my confessions of love, and i'm so lost, no royalties still. so i hung around and did a lot f things and then i ran into a person by

she started the ball rolling in the '90s. >> you've been doing this since the '90s. >> around 2000 actually. >> you're a champion. you are the voice of people who are being exploited, and it's easy and you've dedicated your life to it and that's why we wanted tipoff you you -- to have you on today because we can resonate with that. imagine the artists that don't come forward. >> i can't speak to all the artists that call me, well known artists from the '90s and even early 2000s who are not getting any royalties or are calling me saying, i never got a dime in royalties. >> here's the million dollar question. who is getting paid and why are they getting paid? >> the record companies are getting paid. >> why are these certain artists getting paid? why? >> i would suggest that there's

racial element to all of it. >> really? >> i'm sure if it was paul mccartney or celine dion, they're not having these problems. >> what about other artists on their levels. >> i don't know for certain, right, some of them -- jay-z was very lucky to enter the business with a joint venture because of how he came into the business. >> he came into the business and he was in a good situation. i don't know his particulars. i don't really know, but let's even look at michael jackson who as big as he was, sony's publishing company is called soy atv. the atv was michael jackson's company, the condition that he bought that had the beatles catalog and everything. >> but michael even had problems in terms of proper accountings for money, right? the record companies have very few -- they have very feweo

their accounting departments are piss poor, excuse my language in terms of -- >> isn't it how they reel these entertainers in in the first place? >> yes. well, they reel them in terms of fame and success, and offering advance money up front. >> they have to reimburse them and pay for their expenses and none of this is explained up front. >> it really isn't explained. not to the point where they understand it and it really -- t really resonates. >> you and i would understand that. >> yes, we would. >> yes. >> and that's why i started my career on wall street, one of te reasons why i have been able to understand this is because i started my career on wall stree, and i understand financial transactions, and i ended up owning a record company, the record company that put out drew hill and ultimately cisco. when i saw the contracts i was like, wait a minute, we're never going to get any money. and i started negotiating back and forth in terms of what nee

and i got a lot of flack from te record companies, you know, just being very, very upset and questioning, and from way back then my position was, this shoud be a real joint venture relationship. why is it a share crop? >> let's look at tlc and tony braxton. that's why they filed for bankruptcy, exactly what you are talking about. >> exactly why. >> and it will continue unless e change it. >> we're going it take a break and come back with much more. this is a movement! slavery is over! we'll be back. it is!

[000:17:38;00] >> welcome back to the show. i wanted to hear from yvonne, your wife, because you said something very encouraging, but it also sometimes had to do, and you said something about had he listened. continue that. >> he wouldn't listen. he knew everything about the music business. >> your husband? >> my husband. >> uh-huh. >> you stay out. >> uh-huh. >> you don't know. >> i'm the man.

this is my thing. >> b and you knew something was wrong. >> i knew something. it didn't do any good, because e was in charge, and i didn't buck him. you know, i just sort of laid lw because i didn't know as much as i needed to. >> but you knew something was wrong. >> oh, my god. >> why didn't you listen to your wife, man? >> he was the man. he -- >> i'm the man. >> she didn't know how to sing. you know? that's all it was. >> she's still upset about this, by the way, because she got robbed too. >> our money, right, yvonne? >> i was young, and i was the man. >> i didn't find out until later

that she knew more than i did. >> and the ball didn't start rolling for us to get our i conceded and let her intervene. >> i learned mostly about law ad the contracts from li ida -- lida. >> she led me the way, and i red the contracts word for word, but i learned that the contracts was so ambiguous that anybody could come in and say whatever they could -- you could interpret it anyway that you wanted to interpret it. >> what do you think about all f this?

i'm listening man. >> that's some deep good on him. >> and some southies too? >> washington, d.c. >> you're from dc. >> they were all from dc. >> ray goodman and brown came along later. the moment. that's why we're in the real moment. >> one thing we want to touch on. >> and i own the moment. >> but you're getting paid for it. >> i'm paying for it. >> okay. >> is there a difference? >> oh, it's really important to own for sure. it's very, very important. and herb owns the peaches and herb trademark as well. >> talk about the music they produced, though. you can't even duplicate it. >> the '60s and '70s and '80s is known the globe over. there's nowhere you can go in te

world and you don't hear the music these people created. our learn how to martial it properly so that we can bring the revenue that comes from it back into our communities. >> one of the things we want to talk about quickly if you have time. you own the name, but how do you own the lyrics? don't worry. we'll be back. that's where the real money is.

don't go >> now, i want you to know that herb is still playing music, and i think he's talking about his wife. >> she's responsible for that. >> okay. >> so tell us about your new music. >> it's songs that ladies have recorded like aretha franklin ad etta james. >> classy women. >> and we decided -- well, i didn't decide. she wanted me to do three songs for her, because i'm always recording with ladies. she wanted me to do three songs and the three songs turned into that. >> really? >> and it's songs that women hae recorded. usually you find a woman recording what a man has done, but i'm doing what women have done. >> lida, how can they own the lyrics?

>> you can't own lyrics everyone to go to the peaches ad herb facebook page and like her, but the way you own lyrics is yu have to control your music publishing rights, and you've gt a right, first of all, as an artist, if you don't know how to write music, you need to learn how to write music, because that's how you end up owning not just the lyrics, but the sheet music, and the tracks. you have to know how to do that. song writers are treated better than anybody else. you collect money, you talk abot bmi earlier on. most people don't know that bmi collects royalties from tv stations, cable stations, radio stations, radio stations, concet halls. >> networks and they take that money -- exactly, exactly. they pay that money out, and tht money is money that doesn't have to go through the record compan,

a lot of it collect directly, so it's really important to write and when you get a contract in front of you, if i'm your lawyer, i'm going to make sure you own your publishing. >> how do we get in contact with you? >> you can reach me at -- >> the website, wyzgirl.com. >> i'm so proud of you. >> thank you, vyonne, you're an example for not only women, but common sense. >> thank you so much, herb. >> i've got. >> thank you, everybody. >> "captioning provided by u.s.

captioning company." good morning to you, i'm adrian bankert in for diane macedo. president trump's approval rating dips to a historic low, 36% after only six months in the office. more than 60% of americans say his son's meeting with a russian attorney was inappropriate. much more on the latest poll coming up. and the four victims of a murder in pennsylvania were honored, more than 1500 family and friends. police have arrested two in connection with the murders.