NewsNovember 16, 2023 12:20 AM ET29,728 views

Original Type O Negative drummer slams 'Bloody Kisses' anniversary: "Peter is rolling in his grave"

Sal Abruscato

In a fiery and unfiltered tirade, Sal Abruscato, the former drummer of Type O Negative and Life of Agony, has unleashed a barrage of accusations and frustrations targeting his former bandmates, the music industry, and specific individuals he believes have wronged him. 

The rant, captured in a lengthy video live-streamed to social media, provides a raw and unapologetic insight into Abruscato's current state of mind and his grievances with the industry.

Abruscato, known for his influential drumming during Type O Negative's early years, begins by expressing his anger over being excluded from a project commemorating the 30th anniversary of the band's third album, Bloody Kisses

Abruscato describes this project as a "cash grab," lacking the authenticity and respect he believes the band's legacy deserves. Abruscato feels particularly aggrieved by the absence of his contributions in the press narrative surrounding the release, suggesting an intentional erasure of his role.

One of the central figures in Abruscato's accusations is Alan Robert, bassist of Life of Agony, who worked on art and a graphic novel for the anniversary project. Abruscato alleges that Robert has been working behind the scenes to undermine his career, influencing media outlets and industry figures to ignore or sideline his music projects. This claim adds a layer of conspiracy to the already complex web of relationships and histories at play.

Abruscato doesn't hold back in criticizing the artistic direction of the anniversary project, particularly the artwork. He argues that this direction deviates significantly from the vision of the late Peter Steele, Type O Negative's lead singer. According to Abruscato, the new artwork and graphic novel, produced by Life of Agony's Alan Robert, fails to capture the essence of what the band and its music stood for. 

"Peter is f*ckin' rolling in his f*ckin' grave" he says.

Beyond the band dynamics, Abruscato touches on deeply personal subjects, including his daughter's disability and how it has shaped his life and career choices. He expresses a sense of betrayal and disillusionment with the industry, citing a lack of integrity and respect among his peers.

The video concludes with Abruscato hinting at possible legal action against his former bandmates and others in the industry. While he clarifies that his intention is not to gain financially, he expresses a desire to seek justice and acknowledgment for his contributions.

The rant, as transcribed by Lambgoat reads:

Well, interesting 24 hours. 

Let me explain something. I've got really big fish to fry right now, so the last thing I need is to have people send me messages: "Hey man, I saw this, I read this, I saw this on Blabbermouth." You know? I'm literally here minding my own business, right? I don't live, I really try to post about my endeavors of selling merch, or something artistically, or whatever, right? 

I'm busy here because we're doing stuff and I hear about this f*ckin' stupid cash grab, and my name is left off of it. So, I know a lot of bands after a band member passes away especially, they'll try to continue, right? You know, Static X or -- bands will try to replace a lead frontman and try to continue business, or this and that. But, this thing where like, and I'm reading it, it's like such an obvious cash grab. 

I'll tell you right, now speaking based on personal experience, I don't think this would have ever flown artistically with Peter. Never mind the fact that there was a press release, it wasn't just on Blabbermouth, it was on various music news sites, leaving my name out of this press release in regards to this 30th Anniversary overpriced cash grab effort by a bunch of hacks that didn't write the f*ckin' music, didn't have the visual concept. Peter would have never went for that stupid artwork. That's a f*ckin' joke. 

Now, what's more obvious, is they hire Alan Robert who is relentlessly, relentlessly working behind the scenes silently in the industry to do everything he can to prevent me from gaining any access. Revolver Magazine used to suck my dick with Lay My Soul to Waste and When The World Was Becoming Undone, and even the first record. And then all of a sudden they don't want to know about me. Blabbermouth don't want to know about me. All these f*ckin' people that he knows, and that camp knows. I'm not a conspiracy theorist, I just would like to release music and not be shadowbanned, right? 

So now, what did they do? Type O Negative hired, or somebody hired Alan Robert to do this stupid f*ckin' cartoon graphic novel. Peter is f*ckin' rolling in his f*ckin' grave. All this new artwork that's coming out from Type O would not have flown with Peter, I know that. He's very symmetrical, mechanical. Everything's got to have a place. He don't want motherf*ckers doodling on some scratch pad making cartoons. He made Peter look like a dick on that f*ckin' book. And then what did they do? They redo the artwork. 

Alan got to put his f*ckin' greasy hands even in my career, whatever I did with Type O. Yeah, so what Josh, you told me I quit the band. But guess what? We legally never had a written band agreement amongst all of us anyway, so there is copyright infringement with my physical presence on those f*ckin' records. 

And just cuz I stayed quiet with both of you f*ckin' bands all these years doesn't mean I'm stupid, I just I don't want to bother with it. You know why? Very expensive. And guess what? If I go down that road, it's going to get expensive for you, cuz even though nobody makes any money out of a lawsuit, it's going to cost. I can literally waste your f*ckin' time, every one of you, every one of you in both f*ckin' bands, I can just waste your time and spend money making you show up to a f*ckin' Court. I don't care about winning money but I'd like to see you f*ckin' wiggle and writhe, watch your f*ckin' bank account go to zero because you got to pay for lawyers. It's all a matter of who's going to outlast who right? Financially. 

You're f*ckin' hacks, you really are. You're a bunch of fuckin' hacks. You're disgracing the f*ckin' sh*t, putting sh*t out every three f*ckin' months. You're fans are bitching about it. The audacity to dig up the "Repulsion" demo that Josh Silver's mom helped pay for. I was there, I was on it. You remove the original photos of the reissue 30-year anniversary of Bloody Kisses. I don't give a f*ck about "Oh, he did the tours, he put his time to help the record go Platinum. Guess what? If the drums were laid down like a f*ckin' hack on those records, believe me that groove would have been different and people wouldn't have been bopping to it. All them goth b*tches wouldn't have been dancing, "Black No. 1", "Christian Woman". Who the f*ck came up with the groove? Not Josh, not Peter, neither one of them wrote the drums. But Josh sure as hell f*ckin' wrote the drums after I was out of the fuckin' band, right? Literally copied every quadruplet flam and fill from Bloody Kisses reprogramming it and f*ckin' motherf*cker was made to look like a f*ckin' superstar. 

Fuck you, you're dealing with crazy now. You can't do nothing to me, not one of you can do anything to me. What you have to worry about though, is when I'm going to come back up north, and I'm just gonna show up. It's enough that Life of Agony has made a movie discrediting and discounting my presence. You know what I did for that band? These guys were such f*ckin' musically retarded. When I joined this band. And this is why they feared me, because I'm the only motherf*cker on the planet that can call them out on stuff that only we know inside the four walls of the f*ckin' studio. 

All you people out there, you see this f*ckin' imaginary world, and you think these people are great people. Men of great character and honor. No, they they're f*ckin' f*gs. They're pussies. They're all pussies. And they hid behind the media. I'm just a tiny example of what goes on. 

Now I'll tell you right now, I have officially months ago disassociated myself from any political party. I went back to the National Party of Sal. F*ck you. I'm back to f*cking everybody as much as I can, I don't care about anybody anymore. F*ck you. You're all f*ckin' nuts. You're all going to hell, and that's that. I don't care. 

But this bullsh*t? Again, back to my story, Life of Agony these motherf*ckers couldn't even play in time. They couldn't even f*ckin' play in time. I had to straighten so much out in three weeks for River Runs Red. Sitting there with Josh Silver, I had to f*ckin' break my ass. And then they put out a f*ckin' movie, Sound Of Scars, they do everything to erase me from the history of what I did on River Runs Red, Ugly, Broken Valley, A Place Where There's No More Pain, all the stupid extra records they did?

So great, I always felt that the members of Type O Negative would always take the high road. There is a million f*ckin' graphic artists out there in the world that are better than cartoon boy. Cartoon boy is nothing but a plagiaristic motherf*cker. He finds something cool, he copies it, and then says it's his. That's that's his thing. That's his thing. You know? That really is.

And to then put your greasy hands into this first career that was more monumental Than Life of Agony, let's be honest here. To me my pinnacle accomplishment is Bloody Kisses. Everyone f*ckin' knows that. I worked really hard on that. I stayed two days with Josh tuning drums, reskinning, working on the tones, working on the sounds.

You know how hard it is to work with a 14 and a 15 inch rack time? That 15 inch is so wonky cuz it's like that odd number. You know if you go from 14 to 16, it's more of a good step. But it's a half step. And it's so wonky, we work so hard to get those drums to sound like f*ckin' monsters. I laid the groundwork, I did the homework. 

Motherf*ckers are still getting by still covering motherf*ckin' shit that other people did. Great, good for you. God bless you. You're a good networker and drinker. But f*ckin' originally motherf*ckers I still get my just due credit. You shoulda put my f*ckin' face somewhere in that stupid book. You shoulda put my my f*ckin' face somewhere in a picture. That's not cool. "Oh, but you quit the band." Doesn't matter. Doesn't matter. It really doesn't matter. Were you there in Systems Two [Recording Studio]? Did you work for a month recording your drums? No, you got to push f*ckin' buttons for like the next five albums, right? All you got is pushing buttons.

What the f*ck is that? It's mysterfy f*ckin' shit, that's all it is. It's make believe. It's fake. Made you look better than you really are. Lies. F*ck you. No holds barred. I'm nobody's friend no more. I'll fuckin' tear you apart. I'll tear up all of you. I have the vengeance beyond the devil. You guys cracking up saying "Ah we made him f*ckin' nuts. We f*ckin' destroyed his career. We crushed his band." I get it. I get it. Everyone who jumped in deep down inside was more afraid of my honest mouth saying "Yo, fuck you, that's wrong. I'm not going for that."

Any time someone defends themselves, and then they go, "Oh, you're doing that again. You're such a charmer. Oh, there you go again, there you go. Crazy Sal!" Because I'm defending myself.

I was the motherf*cker, this motherf*cker's crying about working now, I used to work in Manhattan in the meat market for my father. Run home, get out of work at 6:00, and rush to rehearsal, all sweaty and pissed off from BQE traffic and then everybody wants to know what's my problem. Well, I just rushed from work after being up from 5 in the morning to come to rehearsal and that's that. These f*ckin' people now just started working after they were done touring and they going, "Wahhh!". 

1999, Kenny [Hickey] called me to get him a f*ckin' job, so I hook him up in the business, and guess what? In the production business, the very same production business, he turns around and he f*ckin' turns on me anyway, right? Does the same shit. That guy's a user. That guy's a user. And as soon as I stopped giving him sh*t and doing sh*t for him, he wasn't my friend anymore, okay? That guy? you guys are f*ckin', f*ck everybody. Man, that's all bullsh*t, it's all bullsh*t. And I'm calling you, you, you, you, you, you, you all out.

Call my phone, ring my f*ckin' phone. You want to go legal? Let's go legal.

There's an angle here. There's something that's not right in this f*ckin' picture, right? Not right, not right. You let Alan draw your stupid book for this iconic 30-year record. You couldn't get some great gothic artist to do something cool. Or why not just do it Peter's way and just have everything very stark and symmetrical, and and do it the way he would have done it. Peter would have never went for this f*ckin'... My five year old, my six year old could f*ckin' draw that shit. This looks stupid. It's like, "Hey kids! Get ready for Type O! Beepadoopbadeepadoopadee!" They make Peter look like he's f*ckin' from The Adams Family on that. 

Get the--f*ck you, man. F*ck you! Get your hands on everything. You think you're f*cking cool. You can't play bass. Your fingers suck. I hooked you up with Orange Amps, and you turn around and act like you're the shit. Really?! Who kept you in time? 

You guys are just a bunch of fools man. You're just a bunch of f*cking bumbling fools. Your 30-year River Runs Red anniversary's running out of steam. Time to write a good record guys. Let's see, cuz the last one, I don't know. Very contrived. Very contrived.

So, I always thought I had a problem with that situation, but now it's like "Oh, you guys let this motherf*cker that has it out for me do your artwork and totally absolve me. And so now all the new fans, like these 15-year-old kids that are like, just getting into Type O maybe, or people that are young that do not know, or were not around for the real history of the band, they're gonna think, "Man, this guy, this guy, he played f*ckin' great drums on this Bloody Kisses. Man, wow! Wow!" They're going to just think that this other person never was in the band. 

The guy, mind you... The guy that went to Peter's house and rang his bell with an idea, a crazy idea, and said "Pete, do you want to like, jam and get together, are you playing anymore?" That's how it f*ckin' started. Don't let, Kenny wasn't there. Johnny wasn't there. And Josh wasn't there. This thing started between me and Peter. Then he brought Josh in. And then me, like a stupid f*ckin' gagootz thinking Kenny was my good friend said, "Oh, I know a guitarist, Kenny Hickey."

Do you know, here's another thing. Here's another spoiler folks. Go ahead, run to the authorities with this fact check. After Slow, Deep and Hard, Peter Steele wanted to kick Kenny Hickey out of the band because he was so awful. Peter Steele ended up doing quite a few solos on Bloody Kisses. You can hear it. And all that psychedelic sh*t. Peter actually played a couple of guitar solos, cuz Momo couldn't f*ckin' do it the way he wanted. So, in Slow, Deep and Hard, I remember Peter f*ckin' saying "I want to kick him out." And I actually stuck up for him. Stupid me I should have let him threw him out.

I said "No, you can't do that man, he's our friend. You got to give him a chance." Because he was sloppy as f*ck. Sloppy. His solos were like f*ckin' sh*t. And you even hear some of that sh*t on the first record. It just wasn't — Peter was not satisfied, and I saved his ass. I defended him. But then what did he do? You know? I got to get my best friend in the band.

And I overheard — I was on tour, A Pale Horse Named Death. I was in my bunk, we're on tour with Blood Runs Deep and good old drunk boy with his shoe over there said, "From the moment I heard the band I knew I had to be in it, and get in it one way or another," he said to my friend Stefan, in his drunk stupor. Remember f*cko, when you're drunk a lot of sh*t falls out of people's mouths. I heard heard it that night, and I was in my bunk, and I kept it to myself all those years. I didn't want to call you out the next day cuz it would have f*ckin' ruined the tour. And that was in 2012, with Luke on that bus, and we had Blood Runs Deep with us and this guy is admitting to a premeditated plan.

Let me tell you something — you tell me when everyone puts on a show at a f*ckin' diner and says, "We're not going to go on tour," cuz they knew knew I wanted to go on tour. It was just that Peter didn't want to be on tour with me, cuz I was the only one on that first tour with the big enough balls to call him a pussy, cuz he was a mama's boy, and all he did was cry every day in that van about how he wanted to go home. So Brooklyn Sally was making songs up about the guy how he wanted to go home and be a pussy, and that really rubbed him the wrong way, because I was the only only one in a band smaller than him that was nuts enough to f*ckin' always challenge him, right? But that's how it was, right? I wasn't going to take his sh*t, I love the guy. But hey man, we were like, you know, brother's fighting maybe once in a while, but that's it.

He was crying on the Exploited and Biohazard tour, threatening the band every day he was going to f*ckin' fly home. "I f*ckin' hate this, I want to get out of here, I don't want to be with you." When you listen to a motherf*cker in the front seat of a van traveling across Canada talking like that and you're out there in the middle of nowhere, and you're 21 years old, you're like "F*ck you, what are you talking about? We're out here, we got to do this. That's it. You can't go home. Don't ruin this, jackass."

That's what happened. Because I twisted his f*ckin' panties. Because I got the biggest balls in the band.

And who was my drum tech just waiting on the sidelines for me to f*ckin' lose my sh*t and quit? You were never my friend. I don't even know why I had you in APHND, I really don't. it was a good combo, but the baggage is just — never was going to be right, right?

Everybody's "F*ck Sal. F*ck Sal. F*ck Sal. F*ck Sal. F*ck Sal." Yeah, yeah yeah. Shadowbanned. Cancelled.  "He's anti-this, and anti-that." No, I'm just anti-stupid. You wanna f*cking pump yourself up with sh*t and call yourself something that you're not? Good for you, but you aint — if the polkadot is red, it's red. If it's purple, it's purple.

So now they're doing this folks. Now this is beyond the grave. This is beyond Peter Steele. This is 13 years later with these f*ckin' has-beens approaching retirement, doing a cash grab. Okay, I get it. Make as much money as you can, that's cool. But do not discredit the people that had, no matter what, something to do with the art. And I was part of the art. I wasn't part of the show, but I was part of the Inception, creation, and the art part of that record. Beyond the scope of comprehension for most of you.

And you know, Keith Fingers, I mean just write to me, you disappeared. I don't know, you know how to reach me. You want to talk to me I'll tell you all kinds of f*ckin' sh*t and you can report it up in Long Island, cuz Long Island's full of a bunch of f*ckin' scumbags that has a number on their head, okay? I got a list. Cuckoo Clock here has got a list.

I don't know, maybe you'll see me at a show. Maybe I'll come to your show. Why not? Can't we have a beer? Come on, you, me, Joey, Alan, Keith, let's have a beer.  Let's have a drink. Let's talk about this discrepancy. Maybe we need legal representation, right? Because the amount of defamation that's gone on in the last six years behind the scenes. Quiet defamation. This is shadowbanning, this is an inside job. This is not an outside job. You're not going to see a meme saying cancel Sal, no, this is the industry people behind the scene. Booking agents like Dan DeVita from TKO. Media people from various magazines.

See, these magazines, there's a couple people that will still deal with me and talk to me because they see beyond that. But the ones that are all in In cahoots together. Record people, media people, these people, they're all quietly like, "That's it. Crush him. He's against — he's not following our narrative." Why, because I didn't want to be in a band that turned into a circus? Why, because I have a disabled daughter and that worried me every time I was away from home? I mean the kid can't walk, talk, what do you want from me?

You tell me where I'm going to find the roses. Where am I going to pull the roses out of my ass? You know we we we deal with what we deal with. I don't need this extra bullsh*t. This band has taken the bread and butter out of my kids mouths. This is past pandemic, and I would love to put a band together. I would love to go on tour. I am talking to SPV [Entertainment], I told them I'm going to make a record. But then it's like, am I going to make a record just so it can get squashed?

You got people like Jose Mangin from Sirius Metal, whatever f*ckin' Liquid bullsh*t radio he's from. He's buddies with Joey Z. He cancelled When The World Became Undone. He cancelled Infernum in Terra. Guess what? Lay My Soul to Waste was number 12 in the Devil's Dozen for weeks on Sirius the first album was on Sirius for weeks. Total success on Sirius. Those records sold. They did very respectable. It's just that we took a lot of tour support for Danzig, and so you know… It's bullsh*t.

So, now all of a sudden — look, I could write The White Album. I could write Sgt. Pepper's [Loney Hearts Club Band] and it would get crushed. It would get crushed. I could pop out "In The Ghetto" by Elvis. I could write that song, I could have wrote that song I would have been I would have been told I'm f*ckin' racist, right?

It's bullsh*t, but it's going to wear out. And no matter what, you motherf*ckers are going to get old, and you're going to have to find another way to figure it out. And karma's a fuckin' bitch, okay? It really is. I know you guys doing what you got to do. You'll snake your way to stay relative, relevant I mean. You'll snake your way to do whatever you got to do to stay "rockstar" and and be noticed.

But, you just lost. Look at all the fans on your Type O page. Because f*ckin' you're stupid, you're f*cked up, you let go — look, do whatever you want with your October Rust. Do whatever you want after I was out of band. No, I don't give a sh*t. I don't lay claim to any of that sh*t. I would never. We know, right? It's out of respect. 

But when it comes to Bloody, Origin, and f*ckin' Slow, Deep and Hard, it's just — look, listen, merely my physical presence performing on those records creates a physical copyright, do you understand me? And there's going to be an entertainment lawyer that's going to want to take this on just for shits and giggles, okay? And if there's one out there seeing this, or somebody knows an entertainment lawyer that would like to have some fun and track down the corporate entity of both acts and send a little f*ckin' letter, we could start the process. 

Because I'm pretty sure a lot of my royalties from some records that I played on is going to somebody else. I'm pretty sure somebody's collecting royalties for not playing on Bloody Kisses. One time I was in their car and I even said where the f*ck is my royalties and a motherf*cker tapped his dashboard on his Super Bee. "Hehe, your royalties are right here." Tapping his dashboard.

We were going to work in Raritan, New Jersey for Steve Duran, a guy that I hooked you up with to work for and Kenny. F*ck you, you think you're a tough guy you big f*ckin' mameluke? Not cool man, not cool, not cool. So now you all going to get your f*ckin' panties tied into knots and call me call me crazy and say "Heeey!" I don't know, you can try a legal angle with me too if you want, I don't know. I didn't do anything. I ain't threatening nobody. I'm threatening with legal action. That I am. I'm threatening with legal action.

I need to find a froggy attorney that just wants to have fun. I don't want — I'm not looking to make money. I'd just like to cause a little financial disparity, you know? Especially on a musician's income. I'd like to cause a little bit of a f*ckin' ruckus. I got 100 grand I could throw into it right now. I got 200 grand I could throw into it right now. You want to get froggy? I'm serious. I'm f*ckin' serious.

I'm the kind of guy that will wait 50 years to f*ckin' whack you. You understand? I'm like the guy that'll f*ckin' wait a long time to get my revenge. And that's cool, patience is a virtue. This is bullsh*t, and I'm calling everybody out. You all know what you've been doing to me for f*ckin' five six seven years this is bullsh*t.

I'm lucky I get the royalties I get because I had documentation with with Life of Agony. I'm lucky I collect what I collect because these f*ckers, if they could rip me off, they would. They would totally just deny me the credit of ever doing anything in a band, and having an impact.

Do you know these f*ckin' guys were so green? On the first tour I did their merchandise up until the very end. I handled LOA's numbers and ordering the merchandise and creating sales ideas at the merch booth to promote massive amounts of sales. Even in APHND a band that would only draw like a 100 people, or 200, or 50, we would still sell a 100 pieces of merch. If there was 100 people there they would all buy something, and we would make a lot of money because of the wheelin' and dealin' I would do.

And I tour managed, I drove for Life of Agony, I tour managed them, I did their merch back in the day. They f*cked me in 1996. They f*cked me out of six weeks of merch and tour money on the Prong tour. They ran, didn't face me, and hired a drummer behind my back and never told me the truth. I had to find out through a third party.

So here we go, fast forward again and it's like, you guys are f*ckin' just — they're just conniving motherf*ckers. Because even though I was planning to leave the band, they already had someone in the wings because they were feeling mutual, which is great I respect that, there's a mutual feeling, great, you know?

But then to go on this tear and say that I was anti-L, LGB 2 —- whatever the f*ck that sh*t is, anti f*ckin' sucking dick, you know? They went out there and said all that sh*t, and right away everyone was like "Oh, he's a homophobe, he's a bigot, he's this, he's that." It's like f*ck you, I lived on Christopher Street, right by Christopher Street for five years in West Village in the 90s. I don't have a problem with homosexual men. I have a problem with people of that insanity over there forcing the sh*t down everybody's mouth and claiming they're whatever. I don't care. I don't care about any of that.

Just, I want my due right credit. I put in enough to deserve just a mutual respect. I keep my mouth quiet. I post about stupid model trains, cars f*ckin' bullsh*t, buy my f*ckin' hats. That's all I do. I post a picture of my wife once in a while and my kid maybe. I ain't a hater going on there hating on anybody every day. Whatever it is you people hearing bullsh*t from other people. You can look at my sh*t, and I'm just posting about other stuff. I mean really, you know? I got fish tanks, I got trains, I got cars, I got hobbies, I do things, and we're busy with a place, so…

But to deny me, to let that motherf*cker do your artwork. And then of course he had the motive to create a graphic novel that does not have one stitch of me, because why? Alan Robert's been on a mission to erase Sal Abruscato from the industry. Why? Because I could pick up a guitar on a bass and play it better than you. Why? Because I can write riffs and I'm prophetic. I could spin off lyrics like a rapper? I mean what? What's the problem?

You're a f*ckin' sham you you're not a good bassist.  You f*ckin' just jump up and down like you're like a f*ckin' Momo playing one note. I never heard you do a great bass fill once in my life. Now playing with Peter was was like, oof, whole 'nother level, and that I instantly missed once I wasn't working with him anymore. It was like I took f*ckin' 10 steps backwards when I joined a f*ckin' romper room — LORomper Room over there, you know? And I had to bring them up to speed.

And what did Billy Graziadei say at The Stone Pony when he saw one of the first shows of me playing with them live? Billy Graziadei of Biohazard came up and he said, "Holy sh*t man, these guys instantly blew up once you joined the band. They sound f*ckin' great." That's what Billy Graziadei said to me at The Stone Pony in 1994.

And it's true. As soon as I worked with the band it went to the next level. And then all of a sudden these guys think they're f*cking virtuosos. All of a sudden they think — like if you look in the musician's circle, musicians are not reveling in the craftsmanship of these musicians. You don't see people aspiring to become as good as them, you know? People aspire to be way better than that. Really. it's a f*ckin' fact. 

You got some one-note motherf*ckers, one trick ponies out there in the music business that are huge, and just made it on some f*ckin' good little lingo network thing. Knowing the right people, and pulling the right moves, and being in the right band, and scumming the right people. That's all it really boils down to is how much Integrity do you have? How much respect you have and self-resect you have to not be a low life. Low life enough to make it to the top.

As soon as you show a stitch of honesty and integrity people don't like that. As soon as you call someone out for their work ethics they don't like that. As soon as you say something they don't like that.

So on that note folks, I gotta jet, enough's enough. It's been like a half an hour on this f*ckin' thing. This is bullsh*t I don't give a f*ck. Come and get me if you want to. Come and get me, because I'm looking to come and get you one way or another, legally. And sooner or later there's going to be an attorney that's going to find an angle with all this sh*t. Because had we had a band agreement and that we dissolved a band agreement based on what was what that's a different story. But all there was was just the business paperwork that just removed me from the bank account, you know?

So, there's still intellectual physical copyrights that can be exploited and they may even been aware of this for a long time and worried that if I ever f*ckin figure sh*t out and find all my rights out that I could come out at the woodwork and cause hell years later for everybody. So, you know, your little nice house in Jersey over there, and your little nice house in Long Island, and your house in f*ckin' everywhere, Brooklyn, here and there.

I don't want it, but if I can give a little headache just to say, "Retribution." You very well know you f*cked me out of some numbers regardless and just handed them to other people, you very well know that. And you know everyone believes this bubble idea. You know, I feel bad for the fans because they think "Oh, he's so great! Oh, he's such a nice guy! Oh!" This is all acting people it's no different than Robert De Niro acting. When you see a fan you're going to act polite, you're going to act nice, you're going to be cordial, you're going to be sweet, you're going to play the game. So of course I couldn't see him doing that to you, but you don't know the true character of people, you're just seeing some kind of person in the picture.

So any anyway have a nice day folks. Stay safe, let the war continue.

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