Video: Bangladesh Creates 6 Foot 7 Foot

Bangladesh Talks Lil Wayne’s “6 Foot 7 Foot”

Bangladesh spoke with Complex about making the “6 Foot 7 Foot” beat and finally getting paid for his work on “A Milli“:

Bangladesh on the making of “6 Foot 7 Foot”…
“It was a simple transaction man. I actually made the beat back in like the summer time and I had it for a minute, but I didn’t know who was worthy of the beat. My publisher, Juan Madrid, told me T.I was looking for something. But I’m kinda used to giving T.I music and not getting anything done out of it, so I wasn’t really feeling the idea but I sent it to [Atlantic Records executive] Gee Roberson anyway. He immediately hit me and said, ‘Wayne’ll kill this beat. This is Wayne.’ So I just let him navigate the situation and here we are. I think [Wayne] is at the top of his game. There could be a lot of other rappers on that beat that might not do it justice.

“I wasn’t in the mind state to [one-up ‘A Milli’]. Its just the sample made me do it. The song’s sample comes from Harry Belafonte’s [“Day-O (Banana Boat Song)”], you know, “Daylight come and me wanna go home.” It’s in there but it’s flipped a certain way. The, ‘Six foot, seven foot’ is the main part in that song. It took me a while just to get that right. Everything gotta be in pocket so even though it sounds simple, it takes a while to get the genius to marinate.

“I wouldn’t say ["6 Foot 7 Foot"] is better than ‘A Milli’ because ‘A Milli’ did so much to hip-hop. When he first did ‘A Milli,’ I didn’t see the vision. So, off the rip it gave my opinion about it not being what I thought it should be because of his approach. And I’m correct because he said in an interview, he didn’t even feel like it was a single. He just felt like it was like something to go in and rip, some mixtape shit. But it ended up being much more than I expected and much better because it didn’t have the typical elements of a song that you usually need to make a hit. I did my part, he did his. It all came together and it worked. I think because he seen what ‘A Milli’ did, it prepared him more for this so I could tell his writing was different.”

On getting paid for his work on “A Milli”…
“It’s like 75%-85% there but the good thing is it’s being handled. It’s happening through my appointed person. So nah, no direct [conversations with Wayne or Baby]. I got an appointed person that’s speaking with [Wayne and Baby] and my attorney. I’ve spoken [to them through him], but we ain’t really got on the phone. I mean, we can get on the phone but I think everything has to really lighten up and clear out all the way. Everything is being taken care of so we can move on to other business. Sometimes you have to go extra routes to get what you need. That’s why you have attorneys.
“I think the respect is there to know who you’re dealing with. I always knew Wayne was a different kinda dude. I knew he was not a political thinker. I think he’s a rap guy, he’s a rapper so he’ll eat beats. It doesn’t really matter who’s making the beats, if it intrigues him he’s gonna go in. Not, ‘Oh man I don’t fuck with this dude. I ain’t doing this and I ain’t doing that.’ I think he’s just a rapper, so he knows the value of getting on shit that he feels. With other rappers, there are a lot of political decisions that make them not do certain things and not the music and the feeling of it. I think that Wayne is definitely a feeler of the music.”

Video: Bangladesh Speaks On Cash Money Not Paying Royalties For “A Milli”

Bangladesh vents to Rap-Up about Cash Money’s shiesty nature

BANGLADESH TALKS ABOUT SUEING WAYNE

When VIBE asked him if he’d be reuniting with Lil Wayne on Carter 4, Bangladesh revealed that he had yet to be paid for his work on Carter 3:

“It’s [Wayne and Baby's] responsibility to pay [me] because all the money from album sales goes to Cash Money. I get checks from Sony for Beyoncé, checks from different labels for different artists, it just comes to you. You don’t have to call them, sue them and all that junk. This is what you’re owed.”

He continues, “I don’t really give a fuck about [Wayne]. I can’t give a fuck about somebody that don’t give a fuck about my situation, I have kids. In the hood, people get killed for ten dollars. I couldn’t imagine owing someone hundreds of thousands of dollars and just walking around in front of them. I’m so confident in myself, that I don’t need Lil Wayne. There’s gonna be so many opportunities. I can create a Lil Wayne.”

He went on to say what’s on everyone’s minds.

“This is why Mannie Fresh don’t fuck with [Cash Money] because he never got any royalty money. That’s why Baby can go around flaunting this cash, because that’s everyone else’s money… It’s not even Wayne’s fault. Wayne is not getting money. He is given money, he’s not getting money. If Baby gets a million dollars he’ll buy Wayne a Phantom, but that’s in Cash Money’s name. That 14-bedroom mansion isn’t Wayne shit,” he says. “That’s why he have his own company, because he was trying to leave Cash Money and the only thing that would keep him there was [if they] gave him his own thing. But Baby still controls that. All those Young Money artists don’t even know that they not getting royalty money.”

This isn’t the first time this month we’ve heard about producers seeking out their royalties for Carter 3:

And the beat goes on. According to the New York Post, fellow Carter III producer, Jim Jonsin—responsible for Wayne’s infectious lead single, “Lollipop”—filed a $500,000 lawsuit against Wayne on April 20 for missing royalty payments. In May 2009, Dallas production duo Play-n-Skillz also mentioned to a local radio station that they were yet to reap any monetary benefits from their work on Wayne’s third single featuring, T-Pain, “Got Money.”

So Jim Jonsin asked for 500K and Bangladesh wants another half a mil, and these two guys basically made Carter 3 what it was with “Lollipop” and “A Millie.” Baby doesn’t seem to be paying the people that helped him get all that money, yet he found the time to make corny internet videos like this and this over the weekend.