Story Of How Sam Sneed Got Beat Up By Tupac And Others For Putting Too Many EastCoast Doods In His Video!!!!

Anyways this is from the book "rollin with Dre" by Bruce Williams. He was dres right hand man.


Rollin’ With Dre
Chapter 12: Beyond Beef At Benihana
By Bruce Williams
(Pages 102 – 103)


Bruce Williams: Sam Sneed had a single in the chamber called “Recognize,” his solo debut—a real hot one, too. But Dre had been to the video shoot—had seen who did cameos—and knew Suge wasn’t calling a meeting with Sam just to confirm congratulations. Something just didn’t feel right.

“Serious, don’t go to that meeting,” I urged Sneed.
“You know we left Death Row,” Dre chimed in. “You know them niggas know you wanna be with us. I just don’t think it’s a good idea.”

Well, the kid wasn’t trying to hear this. He was trying to be a standup guy. So he went out to Can-Am to screen that video.

It surprised Sneed that so many members of the family came out for this. Tupac was in the building, as were the usual complement of Suge’s lackeys and even Hammer. The “Pumps and a Bump” gangsta makeover hadn’t worked for the former multiplatinum rapper, but he was still hanging out. That seemed weird to Sneed. But nice, possibly. He wanted to believe it was recognition for the effort he had put into the product. Within weeks there was to be a Sam Sneed Death Row album in stores.

The stylized black-and-white footage rolled, and there was Dre rapping in close-up, just as expected. Negativity sucked the conference room empty, just as to be expected. Sam Sneed felt cause for concern, but he also thought they knew. Or maybe he thought they wouldn’t care. It was, after all, a hella hecka tight video.

But the music sounded like a Death Row track, by which I mean it was a Dr. Dre track. And Dre was doing the hook. That was bad enough. Then the East Coast niggas started showing up in cameos. First some East Coast basketball cats, big and impressive names if you’re from Brooklyn. This was the San Fernando Valley, though. And there was a war goin’ on.

Tupac said, “If I see one more East Coast nigga in this mother fucker…”

Sam had been flirting with a girl in the most dominant image of the video’s second half. The two stood posted at a bar. It played pretty well. The rumbling ceased, mostly.

Then Kool G. Rap entered the video frame.

“What the fuck!” shouted Tupac.

And everybody began to beat the shit out of Sam Sneed. Fists, legs, whatever. Everybody at that meeting got a lick or a kick all up in his ass. I can almost see where they were coming from. Like, how are you gonna be on the Death Row team when you’re hangin’ out with Dre and a lot of niggas from the East?

Suge mad Sneed put in an appearance at a party for Snoop that night. He even gave a toast. Then he flew home to Pittsburgh. Sam was never the same. Death Row never relased the album. Not too long ago the nigga had brain surgery, just to get his ass back to some semblance of normality. The crazy shit is that Sam Sneed is my dog, but he’s never owned up to exactly what happened that day at Can-Am, even though I know the deal from folks that was there. My guess is that it’s hard to talk to me about it, considering I told his dumb ass not to go.

SOURCE: Rollin’ With Dre – Chapter 12: Beyond Beef At Benihana (Pages 102 – 103)

2pac in North Hollywood (PART 1)

Simone Green (about Tupac): Well, you know, we kinda hit it off. When I first met him it was because a friend of mine, [singer] Val Young, was having a potluck at her house. She had an apartment, but she could pack that joint like it was a concert 'cause everybody in that apartment was famous: from Darryl Strawberry to the Mary Jane Girls to Tupac Shakur, Yo-Yo, Bell Biv Devoe, everybody was there. They came for the food. And, I moved in that building and she asked me to make some buffalo wings. And I made the buffalo wings, and I tell you Tupac snatched them wings up and snuck into a corner and ate 'em all. He loved the wings to the point where that's what made us become friends. He [would say], "Oh, yo, can you make some more of those wings." [Says slyly] I moved right around the corner. And he literally had moved on our same street but on the other side, in North Hollywood. So he invited me and Val and her daughter over. And, I went over and I took my wings over there as [needed]. He was addicted to the wings. I think he liked the wings as much as he liked other stuff.  

Tupac on the 101 Freeway calling a radio station.

I remember my dad brought me to some lady's house on Lankershim that used to fux wit pac. All i seen was the inside of her house and a picture of her and pac. looked like one of those mall pics with the tacky background and plastic flowers. obviously she had that pic front and center lol.

PART 2 COMING SOON!

UNHEARD AUDIO 2pac & JIM BELUSHI!!! (on the set of Gang Related) 8-23-96

props to jesse surratt and tupacnation.net for the leak!!!

                   

YOUNG EP'S NEW CONTRACT LOL (good luck)

I told this eskimo to relax off those contracts...so quick to "sign" a paper for what you think is a boost of power. but in actuality, imma break it down for you and everybody.

its nothin but a distribution deal which is all bullshyt

all he did was give up his rights to anything he makes in a year..still gotta pay for everything hisself

and has to give up 30 percent of all his profits which wont be shyt!!!!!

THIS IS THE GUY THEY CASTED FOR THE NEW 2PAC MOVIE????? (LMAOOO SMH WTF BRO)

  lol. Even the interviewer is like "ok n**ga, go somewhere"

Who tf is this nigga? I swear man, y'all always gotta fuck everything up (Hollywood/Wack ass Mainstream foos thinking they are god). So you got Eddie Griffin's 3rd nephew to play Tupac? LT HUTTON, I CAN'T STAND YO PANDERING, BORING, CARDBOARD CUT-OUT AZZ! You might as well have stuck with Papa Doc to play Tupac, sure he's not close to looking like

 lol. Even the interviewer is like "ok n**ga, go somewhere"

pac. and sounds like Denzel Washington doing a Tracy Morgan impression of a Tupac Impression lol, but at least he doesnt look like a skinny Eddie Griffin. Gotdayum....all you have to do is audition and kiss enough ass and they will hire your unknown ass to save money from hiring a big name. anyway check this bird ass N**GA.

So they can steal the story of Tupac's Death and throw it on SHOTIME'S Ray Donovan (making up characters for the story) down to the TEE, but for an official Tupac movie, you end up throwing to the shits? y'all dudes suck each other's balls at secret meetings, the least you can do is admit you've been studying what keeps Tupac getting views....and are looking to mimic the magic.


Phuck U Muthasuckas. (not sure if google lets me cuss on here lol)

The Rape Case: Both Sides Of The Story!!!! (Ayanna Jackson & Tupac)

2pac and Ayanna Jackson, 2pac's accuser.

Pac's story

Okay. Nigel and Trevor took me to Nell's. When we got there, I was immediately impressed, because it was different than any club I'd been in. It wasn't crowded, there was lots of space, there were beautiful women there. I was meeting Ronnie Lott from the New York Jets and Derrick Coleman from the Nets. They were coming up to me, like, "Pac, we're proud of you." I felt so tall that night, because they were people's heroes and they saying I was their hero. I felt above and beyond, like I was glowing.

Somebody introduced me to this girl. And the only thing I noticed about her: She had a big chest. But she was not attractive; she looked dumpy, like. Money came to me and said, "This girl wants to do more than meet you." I already knew what that meant: She wanted to fuck. I just left them and went to the dance floor by myself. They were playing some Jamaican music, and I'm just grooving.

Then this girl came out and started dancing-and the shit that was weird, she didn't even come to me face-first, she came ass-first. So I'm dancing to this reggae music; you know how sensuous that is. She's touching my dick, she's touching my balls, she opened my zipper, she put her hands on me. There's a little dark part in Nell's, and I see people over there making out already, so she starts pushing me this way. I know what time it is.

We go over in the corner. She's touching me. I lift up my shirt while I'm dancing, showing off my tattoos and everything. She starts kissing my stomach, kissing my chest, licking me and shit. She's going down, and I'm, like, Oh shit. She pulled my dick out; she started sucking my dick on the dance floor. That shit turned me on. I wasn't thinking, like, This is going to be a rape case. I'm thinking, like, This is going to be a good night. You know what I'm saying?

Soon as she finished that-just enough to get me solid, rock-hard-we got off the dance floor. I told Nigel, "I've got to get out of here. I'm about to take her to the hotel. I'll see you all later." Nigel was, like, "No, no, no. I'm going to take you back." We drive to the hotel. We go upstairs and have sex, real quick. As soon as I came, that was it. I was tired, I was drunk, I knew I had to get up early in the morning, so I was, like, "What are you going to do? You can spend the night or you can leave." She left me her number, and everything was cool. Nigel was spending the night in my room all these nights. When he found out she sucked my dick on the floor and we had sex, he and Trevor were livid! Trevor is a big freak; he was going crazy. All he kept asking me was, "D-d-did you fuck in the ass?" He was listening to every single detail. I thought, This is just some guy shit, it's all good.

We had a show to do in New Jersey at Club 88. This dude said, "I'll be there with a limo to pick you up at midnight." We went shopping, we got dressed up, we were all ready. Nigel was saying, "Why don't you give her a call?" So we were all sitting in the hotel, drinking. I'm waiting for the show, and Nigel's, like, "I called her. I mean, she called me, and she's on her way." But I wasn't thinking about her no second time. We were watching TV when the phone rings, and she's downstairs. Nigel gave Man-man, my manager, some money to pay for the cab, and I was, like, "Let that b*tch pay for her own cab." She came upstairs looking all nice, dressed all provocative and shit, like she was ready for a prom date.

So we're all sitting there talking, and she's making me uncomfortable, because instead of sitting with Nigel and them, she's sitting on the arm of my chair. And Nigel and Trevor are looking at her like a chicken, like she's, like, food. It's a real uncomfortable situation. So I'm thinking, Okay, I'm going to take her to the room and get a massage. I'm thinking about being with her that night at Nell's. So we get in the room, I'm laying on my stomach, she's massaging my back. I turn around. She starts massaging my front. This lasted for about a half an hour. In between, we would stop and kiss each other. I'm thinking she's about to give me another blow job. But before she could do that, some niggas came in, and I froze up more than she froze up. If she would have said anything, I would have said, "Hold on, let me finish." But I can't say nothing, because she's not saying nothing. How do I look saying, "Hold on"? That would be like I'm making her my girl.

So they came and they started touching her a**. They going, "Oooh, she's got a nice ass." Nigel isn't touching her, but I can hear his voice leading it, like, "Put her panties down, put her pantyhose down." I just got up and walked out the room.

When I went to the other suite, Man-man told me that Talibah, my publicist at the time, had been there for a while and was waiting in the bedroom of that suite. I went to see Talibah and we talked about what she had been doing during the day, then I went and laid down on the couch and went to sleep. When I woke up, Nigel was standing over me going, "Pac, Pac," and all the lights was on in both rooms. The whole mood had changed, you know what I'm saying? I felt like I was drugged. I didn't know how much time had passed. So when I woke up, it was, like, "You're going to the police, you're going to the police." Nigel walks out the room, comes back with the girl. Her clothes is on; ain't nothing tore. She just upset, crying hysterically. "Why you let them do this to me?" She's not making sense. "I came to see you. You let them do this to me." I'm, like, "I don't got time for this shit right here. You got to chill out with that shit. Stop yelling at me and looking at me all crazy." She said, "This not the last time you're going to hear from me," and slammed the door. And Nigel goes, "Don't worry about it, Pac, don't worry. I'll handle it. She just tripping." I asked him what happened, and he was, like, "Too many niggas." You know, I ain't even tripping no more, you know? niggas start going downstairs, but nobody was coming back upstairs. I'm sitting upstairs smoking weed, like, Where the fuck is everybody at? Then I get a call from Talibah from the lobby saying, "The police is down here."


Never did nothing. Only thing I saw was all three of them in there and that nigga talking about how fat her ass was. I got up, because the nigga sounded sick. I don't know if she's with these niggas, or if she's mad at me for not protecting her. But I know I feel ashamed-because I wanted to be accepted and because I didn't want no harm done to me-I didn't say nothing.




  

Ayanna Jackson' Story

I am the young woman that was sexually assaulted by Tupac Shakur and his thugs. I've read Kevin Powell's interview with Tupac ["Ready to Live," April], in which I was misrepresented. Up until this point I have only told my story under oath in court; nobody has heard my story, only his side, which is much different than what Tupac stated is the true story.

A friend of mine took me to Nell's, where he introduced me to [the men VIBE identified as] Nigel and Trevor, who later introduced me to their friend Tupac. When I first met Tupac, he kissed me on my cheek and made small talk with me. After a while, I excused myself and started to walk to the dance floor. When I felt someone slide their hands into the back pocket of my jeans, I turned around, assuming it was my friend, but was shocked when I discovered it was Tupac. We danced for a while, and he touched my face and his body brushed mine. Due to the small dance floor and the large number of people, we were shoved into a dark corner. Tupac pulled up his shirt, took my hand, traced it down his chest, and sat it on top of his erect penis. He then kissed me and pushed my head down on his penis, and in a brief three-second encounter, my lips touched the head of his penis. This happened so suddenly that once I realized what he was trying to do, I swiftly brought my head up. I must reiterate that I did not suck his penis on the dance floor. He pulled his shirt back down and asked me what I was doing later. I told him that I was going home because I had to go to work that day. Then, as people started surrounding him again, he grabbed my arm and said, "Let's get out of here, I'm tired of people stressing me." We exited Nell's, got into a white BMW, pulled up at the Parker Meridien, and went to his suite. We conversed, and he rolled up some blunts. We started kissing, and then we had oral and vaginal sexual intercourse several times.

He called my house a couple nights later and gave me his SkyPager number and told me he wanted to see me tomorrow. That evening after work, I paged him, and his road manager called me back and informed me that Pac really wanted to see me but he had a show to do in Jersey, so I should call a car service and take it to the Meridien and he would pay for the cab. Once I got to the hotel, I met Charles Fuller for the first time; he paid for the cab and led me upstairs. Inside the suite, Tupac, Nigel, and Trevor were seated in the living room, smoking weed and drinking Absolut. Tupac told me to come in and pointed to the arm of the sofa near him, and I sat down. After about 20 minutes, Tupac took my hand and led me into a bedroom in the suite. He fell onto the bed and asked me to give him a massage. So I massaged his back, he turned around, and I started massaging his chest.

Just as we began kissing, the door opened and I heard people entering. As I started to turn to see who it was, Tupac grabbed my head and told me, "Don't move." I looked down at him and he said, "Don't worry, baby, these are my brothers and they ain't going to hurt you. We do everything together." I started to shake my head, "No, no, Pac, I came here to be with you. I came here to see you. I don't want to do this." I started to rise up off the bed but he brutally slammed my head down. My lips and face came crashing down hard onto his penis, he squeezed the back of my neck, and I started to gag. Tupac and Nigel held me down while Trevor forced his penis into my mouth. I felt hands tearing my shoes off, ripping my stockings and panties off. I couldn't move; I felt paralyzed, trapped, and I started to black out. They leered at my body. "This bitch got a fat ass, she's fine." While they laughed and joked to one another, Nigel, Trevor, and Fuller held me in the room, trying to calm me down. They would not allow me to leave.

Finally, I got to the elevators, which had a panel of mirrors. Once I caught sight of myself, I sank down on the floor and started to cry. They came out, picked me up, and brought me back into the suite. Tupac was lying on the couch. In my mind I'm thinking, "This motherfucker just raped me, and he's lying up here like a king acting as if nothing happened." So I began crying hysterically and shouting, "How could you do this to me? I came here to see you. I can't believe you did this to me." Tupac replied, "I don't have time for this shit. Get this bitch out of here."

The aforementioned is the true story. It was not a setup, and I never knew any of the thugs he was hanging with. Tupac knows exactly what he did to me. I admit I did not make the wisest decisions, but I did not deserve to be gang-raped.

2pac Takes Biggie Vinyl From DJ @CLUB 662, Destroys it, and Declares War On EAST!!!

Las Vegas, March 16, 1996


The dance floor was filling up at Suge Knight’s Club 662, a semi-legal, stand-alone nightclub on Flamingo Road. A local DJ named Warren Peace was manning the turntables, finally getting the party started. The fight was over — Mike Tyson had knocked out Frank Bruno in the third round to win the WBC heavyweight title — and the city was ready to celebrate.
Fight nights in Vegas always draw huge crowds, so the modestly-sized venue was quickly packed. As the opening bars of Total’s hit song “Can’t You See” played from Warren’s 12-inch vinyl over the club’s speakers, enthusiastic cheers from the dance floor signaled appreciation for the hottest song of the moment.

“Give me all the chicken heads from Pasadena to Medina…►” rapped Notorious B.I.G. on the track’s first verse, instantly ear-catching to all, thanks to Bad Boy’s polishing of James Brown’s classic “The Payback” sample. Buoyed by the energy of the crowd, DJ Warren Peace felt a sense of ease. It would be smooth sailing from that point forward… or so he thought.
Sensing a presence next to him, Warren turned to his right to see a shirtless Tupac Shakur. Pac politely asked Warren to move over, and Warren obliged. As Pac picked up the microphone, Warren mentally prepared for what he thought was an impromptu rap performance. But Pac had something else in mind.

Slowly Pac lifted the tonearm from the first turntable and carefully removed the vinyl. Warren’s heart rose into his throat as he watched Pac reach towards the second platter — the one currently playing “Can’t You See” — and do the same.
The needle lifted. The music stopped. The dancing stopped. Time stopped. Everyone in the building stopped and looked at the DJ booth.
With two swift motions, Pac broke one piece of vinyl in half and tossed the other into the crowd like a frisbee.
“Fuck that, this is westside, nigga!” 2Pac shouted on the microphone. “This is a Death Row party. Fuck all that East Coast bullshit!”
Shocked and confused, Warren frantically began searching for another record to play…

Long before DJ Warren Peace was sharing the stage with deadmau5 or headlining himself at upscale nightclubs like Drai’s rooftop mega-venue, he was a local Las Vegas hip-hop DJ. A man of many hats, in 1996 Warren was balancing two radio shows, co-creating HipHopSite.Com (with me), and doing hip-hop parties at popular spots like Club RA at The Luxor.
Warren was also a member of the Death Row Records street team. The job description was simply to visit all of the local record stores and make sure Death Row products were visible and in stock, as well as to pass out snippet tapes, posters and stickers at various local events. He wasn’t exclusive to Death Row, as he handled accounts for other labels such as Interscope, Loud, Priority and even EA Sports.
Warren treated Death Row as he would any other label, this being a time when Suge Knight and his label’s infamous reputation were not widely known. The beef between Bad Boy and Death Row was just beginning to bear fruit, as only a few months earlier Suge had made the following declaration at The Source Awards in New York City, on August 3rd, 1995:
“Anyone out there who wanna be a recording artist and wanna stay a star, but don’t have to worry about the executive producer trying to be all in the videos, all on the records, dancing, come to Death Row.”

It was a thinly veiled diss at Sean “Puffy” Combs that a few picked up on. The internet was a new, evolving concept at that time. There were no trending Twitter topics and few rap websites for news like this to spread, so the beef between Death Row and Bad Boy was still generally a private matter. Some people knew, but they didn’t speak too openly about it.
Warren recalls an early roundtable meeting with some other street team members at 662 during its early planning stages, inserting his opinion about Suge’s plans, a man he knew of from Suge’s football days at UNLV.

“We’re just sitting there waiting and hanging out, and Suge comes walking in with this hot Asian chick, and everyone got really quiet,” said Warren. “He started to lay down plans for the club, saying ‘I’m redoing this, I’m redoing that. I’m going to bring down Snoop, Tupac, etc., etc.’ And then he asked, ‘What do you think?’

“Everyone was like ‘Oh, sounds good! Yes suh! Sounds awesome! Hooah! Hooah!’ Warren continues. “And I said, ‘Suge, I don’t think it’s going to work with just hip-hop. You can’t do just hip-hop in this town. We need to do soul nights, reggae nights. We need to do different types of things here for it to be successful.’
“I remember he looked over at me – not in disgust – but sort of like ‘Who the fuck are you?’ Nobody else said anything. Everyone else looked at me like, ‘What the fuck are you doing, talking?’ And I remember thinking, ‘If someone asks me what I think, I’m going to tell them.’”

Prior to Suge’s overtaking the spot located at 1700 E. Flamingo Rd,
the building that would eventually house Club 662 was a series of failed bars with names like Babe’s and Botany’s.
It was literally “Grand Opening / Grand Closing” every three months. Larry Larr (aka “Dantana”), another member of the Las Vegas Death Row street team, recalls Suge’s commandeering of the space.
“I met the (previous) owner of the club and he started leaking on the bills. So Suge gave me a suitcase full of hundreds,
and we gave him like $30,000 just to lease out the space,” says Larry.
“And we used his bar paperwork to run it, and then basically Suge took it over.”
But Suge’s handshake deal (or hang-you-out-of-a-window deal, in some cases) didn’t hold much weight as far as the city was concerned, so they did their best to skirt around potential legal issues.
“To my knowledge, 662 was open 2 nights, total,” Warren remembers.
“I don’t think they ever got the required licenses they needed to open.
One of the nights I played there, when I walked in, lawyers pulled me aside and said ‘Hey. This is a charitable benefit.
You are not employed by Suge Knight or Death Row Records for this event, and Suge Knight does not own this club.’”
Essentially, most of the time Club 662 was like Marcellus Wallace’s bar in Pulp Fiction:
a quiet place with no customers where backdoor business deals took place, save for a few very high-profile, private parties.
On the night of March 16th, 1996, Warren was asked, alongside host/radio jock Mr. Bob, to spin the Tyson/Bruno after party at 662,
blissfully unaware of the bubbling East Coast/West Coast rap rivalry.
“I was kind of just setting the room up. Nobody had showed up yet. And then all of the sudden people started coming in.
It was like, when Suge showed up, that meant the party was ready to start,” says Warren.
“Before that, I wasn’t really DJing, I was just kind of playing songs.”
“So then I played Total’s ‘Can’t You See.’ I remember the place blew up. Girls started screaming, the crowd is yelling, hands are in the air, people are dancing, the whole nine.
And then I turn around and see Tupac,” Warren recalls.
Larry Larr was acting as Tupac’s liaison that evening, tasked with the job of keeping the bottles coming and the ladies in quantity. It’s a living.
Says Larry, “So Pac is on one, drinking out of the bottle with his shirt off. We’re sitting in the VIP area, sipping Cristal.
The club is cracking. Dr. Dre is there with the whole Death Row staff, and at least 800 to 1000 people outside, trying to get in.
Next thing I know, Warren plays a Biggie song (Total’s “Can’t You See”).
And I’m like ‘What the fuck?’ and Pac looks at me and says, ‘Let’s go to the booth!’”

Mr. Bob, tasked with mic duties for the evening, first saw Pac approach the DJ booth, remembering the incident fondly.
“Out of nowhere, Tupac shows up to the DJ booth. I’m standing in the doorway of the booth, and he sees me, and says, very politely,
‘Excuse me, brother’,” And I’m like ‘Oh sure, absolutely’ and I move to the side,” says Bob.
“He was so… collected. He didn’t come up shoving or pushing or anything. And then, it was like a switch just hit, and he just goes 0 to 100.”
As Tupac appeared, Warren remembers being both shocked and star-struck.
“I was like ‘Oh shit, it’s Tupac’. So a piece of me thought he was going to get on the mic and rap, or something. So I am juggling the beat of ‘Can’t You See’,
thinking he’s going to start rapping, because that kind of thing has happened before. And that was the song. That was the “Turn Down For What” of its time. That was it,” said Warren.
“He kind of touched me with his elbow like ‘scoot over’. So I scooted over, and I thought he was going to DJ,” Warren continues.
“He gently took the needle off of the record — the one that wasn’t playing — and then he takes off the other one.
And then he breaks one, and throws the other into the audience.”
“The crowd was fucking mad. ‘Booooooooo! What the fuck! Nigga turn that shit on!’
And then they look over and see Tupac, like ‘What’s going on?’
Tupac finds the mic and shouts, “Fuck that, this is westside, nigga! This is a Death Row party. Fuck all that East Coast bullshit!”
“I remember thinking ‘This is the biggest song right now? What are you talking about?’
I have to reiterate, nobody knew there was a beef at this point.”
However the crowd realized what was happening, and quickly took Tupac’s side. “Uhhhh, yeeeaaah…? This IS a West Coast party!
Yeah! That’s right!” people in the audience shouted. “Within a matter of five seconds, everyone jumped on his bandwagon.”
“I’m thinking ‘What the fuck? You were just dancing a minute ago? How are you agreeing with this guy?“
Warren laughs. “I turn around, the first record I saw when I looked back at my crate was E-40 ‘Sprinkle Me.’ So I put it on.”
From that point forward, the sound of the party took a regional turn, as west coast rap hits like MC Breed’s “Ain’t No Future In Yo Frontin’”, Volume 10’s “Pistol Grip Pump,”
and the Above The Rim soundtrack dominated Warren’s playlist for the rest of the evening.
“A couple of minutes later, Larry Larr walks up to me and says ‘Here are your records back,’ and hands me my vinyl in broken pieces.”
The second time Warren was asked to do an after fight party at 662 for Death Row — err, “charity benefit” — the East Coast / West Coast battle was well known and in full swing.
In fact, prior to the party starting, Death Row employee B-Man presented Warren with a list of songs that should not be played.
Perhaps incongruously, hip-hop legends Run-DMC were scheduled to perform that evening.
“B-Man, who was my rep at Death Row, pulled me aside, and was like ‘Yo nigga, don’t play this, don’t play this, don’t play this,’ and I was like ‘What about Nas ‘If I Ruled The World?’’
I remember specifically asking, because it was on the fence and it was a big song. It wasn’t a Bad Boy record, there was no beef with Nas, and it featured Lauryn Hill,” says Warren.
“And he was like, ‘If Suge breaks your legs, that’s on you. I wouldn’t play it.’
I remember there was like 30 records put to the side, that I couldn’t play. I took them out of the crate. I didn’t even want the temptation.”
“Run-DMC performed, and then the party ended early. I left the gig, and I was pissed, because Tupac and Suge didn’t even show up.
‘What the fuck? I can’t even play half my crate and these motherfuckers don’t even show up to their own party? What kind of bullshit is this?’”
“And why didn’t they show up?” I asked.
“Because that was the night Tupac was shot.”
It was September 7th, 1996.


SOURCE: https://medium.com/cuepoint/tupacs-record-breaking-move-d5e2fb8c935f

Amazing Breakdown of "Against All Oddz" (NEW INFO)

Found it on Reddit by someone

I find this really interesting....

The excerpt for All Eyez On Me from my upcoming Tupac listener's guide that I posted in last week's essential thread was relatively successful. I therefore thought it might be a good idea to share an entry for a specific song on Throwback Thursday. I have a strong feeling that few of you are interested in this or will see this, but I hope that those of you who do will learn something from it. Feel free to ask me any questions relating to the song or its content in this thread. Here's the draft of my entry for "AGAINST ALL ODDS:

"The realest shit [Tupac] ever wrote," "Against All Odds" is one of the most infamous diss tracks Tupac recorded in the midst of his war against Bad Boy Records and East Coast artists like NaS and Mobb Deep. It is also the most revealing - Tupac pulls no punches as he expounds on his beefs and identifies the people he believed were responsible for his sexual assault charge in 1993 and the armed robbery he survived at New York's Quad Recording Studios in 1994.
"Against All Odds" was recorded at Can-Am Studios one night in the late summer of 1996. At the beginning of the session, Tupac spoke briefly with producer Hurt-M-Badd regarding the type of beat he wanted. "I need a war song. I wanna go to war," he instructed before leaving the room. About an hour later he returned to listen to what Hurt had come up with. "It's aight. You know what it needs? This bassline," he said before playing Cameo's "The Skin I'm In." Hurt quickly replaced the bassline and Tupac smiled, "This is it!" He went in the booth and energetically recorded his vocals, kicking over the music stand and hitting the microphone. "Uh-oh, here we go again," Hurt recalled thinking upon hearing Tupac's reckless verses.

Tupac opens "Against All Odds" like a general at war - "21 gun salute - dressed in fatigues, black jeans, and boots / I disappeared in the crowd, all you seen was troops." He wastes no time in dropping rhetorical bombs on his rap industry enemies, taking shots at NaS for biting, alluding to Dr. Dre's alleged homosexuality, and dismissing Mobb Deep, all within his first few bars:
"This little nigga named NaS think he live like me / Talk about he left the hospital, took five like me / You livin' fantasies, nigga, I reject your deposit / We shook Dre's punk ass, now we out of the closet / Mobb Deep wonder why a nigga blowed them out / Next time grown folks talkin', nigga, close your mouth."
Tupac then sets his sights on Bad Boy's CEO, Sean "Puff Daddy" Combs, for failing to respond to Death Row CEO Suge Knight's offer to stage a pay-per-view boxing event featuring bouts between Bad Boy and Death Row artists ("Let's be honest, you a punk or you would see me with gloves"). He refers to an August 1995 Vibe magazine interview Combs gave in response to Tupac's jailhouse proclamation that "Thug Life to me is dead" ("Remember that shit you said in Vibe about me being a thug?"). In that interview, Combs taunted Tupac, exhorting, "if you gonna be a motherfuckin' thug, you gots to live and die a thug . . . There ain't no jumpin' in and out of thugism." Tupac also reveals that he is not being entirely candid in his first verse, suggesting there are skeletons in Puffy's closet he would later reveal ("You can tell the people you roll with whatever you want / But you and I know what's going on"), which he does toward the end of the song ("Puffy gettin' robbed like a bitch"). He saves the first verse's cheapest shot for last, comparing old school rappers who criticized him (like De La Soul) to washed-up boxer Larry Holmes ("All you old rappers tryin' to advance / It's all over now, take it like a man / Niggas lookin' like Larry Holmes, flabby and sick / Tryin' to player hate on my shit, you eat a fat dick").
In his second verse, Tupac moves his crosshairs from industry enemies to the people he believed were responsible for his sexual assault charge and the Quad Studios ambush. He accuses "Haitian Jack" (Jacques Agnant), his co-defendant in the sexual assault case, of being a government informant and promises revenge against "Jimmy Henchman" (James Rosemond), the drug dealer / music manager who ordered the Quad Studios robbery. Tupac vows to "destroy everything [his enemies] touch," suggesting that his beef with Bad Boy may have been a proxy war directed at New York gangsters who were backing Puffy's label. He closes his bold second verse by emphasizing the seriousness of his threats via an allusion to the Mob Pirus, the Blood gang Suge Knight was affiliated with ("Fuck the rap game / Nigga, this M-O-B! / So believe me, we enemies").

Tupac shifts his focus back to rap adversaries on his third verse, hurling insults at Puffy and his former friend, Randy "Stretch" Walker, a producer/rapper who was with Tupac in the Quad Studios elevator when he was attacked. By the time "Against All Odds" was recorded, Stretch was already dead, gunned down in Queens on the one year anniversary of the Quad Studios robbery. While Tupac denied any involvement in Stretch's murder ("Switched sides / Guess his new friends wanted him dead"), Greg Kading, the former LAPD lead investigator of The Notorious B.I.G.'s murder, has related reports that Stretch's killer was a hit man flown into New York from Los Angeles, suggesting that the timing of Stretch's death may not have been a coincidence. Like Tupac's, Stretch's killer has never been apprehended.
Tupac ends his third and final verse with a venomous tirade against New York rapper NaS, who he accuses of various hip hop crimes. According to Tupac, NaS is an impostor who stole rap legend Rakim's lyrical style ("you heard 'My Melody' . . . tryin' to sound like Rakim") and plagiarized Tupac's life story ("read about my life in the papers . . . now you want to live my life"). Behind this public hatred was a private admiration. Tupac was a huge fan of NaS' debut album, Illmatic, and was inspired to write "Me and My Girlfriend" after hearing NaS' "I Gave You Power," an anthropomorphic first-person narrative told through the "eyes" of a handgun. He made peace with NaS in New York's Bryant Park on September 4, 1996 and even listened to NaS' sophomore album, It Was Written, as he made his fateful trip to Las Vegas for the Tyson-Seldon fight three days later. According to Suge Knight, Tupac intended to remove the NaS disses from the Makaveli album but died before he could do so. In a magazine interview after Tupac's death, NaS admitted crying when he first heard "Against All Odds."

"Against All Odds" is one of the most unsettling songs in Tupac's catalogue. Few songs in hip hop history so recklessly blur the lines between rap music and the street. What repercussions Tupac would have suffered for recording it will never be known (he rhymes in the third verse that he'll "probably be murdered for that shit that [he] said") - he was killed before it was released in November 1996. Nevertheless, "Against All Odds" remains the greatest narrative of the East Coast - West Coast war on wax and is strong evidence of Tupac's obsession with revenge in the last year of his life.

Rare 2pac Interview! (Responds to Biggie's "Who Shot Ya", Alludes to Smashing Faith, EAST VS WEST, AND MORE!!!)

This is a rare classic from the The VIBE Q: Raw And Uncut book, just wondering if anyone has seen this before. My first time hearing about it was the other day. Has some pretty good info for those who have not read it before.

http://www.vibe.com/article/v-vintag...terviews-tupac

Excerpts:

And you have a single with Faith, I understand.

[laughter] Yeah, sure do.

What’s that called?

“Wonder Why They Call You Bitch?”

How did you hook up with Biggie’s wife, given all this stuff that’s going on?

We met in the club and bumped it. Me and Faith don’t have no problems.

What about the rumors about you and Faith spending time outside the studio?

You mean the rumor that I fucked her? Heh heh heh

Is there anything you wanna add? Cause this is getting real deep.

I wanna add that, man… I want niggas in New York to not feed into this shit.

What about niggas on the West Coast?

They not feedin’ in, they about their money and shit. I’m talking about the east coast. Cause I love a lot of niggas out there. I love a lot of people out there. I got a lot of support from New York when I was in jail. That’s really important to me that New York don’t think I’m trippin’ on you. This is just something that’s been in me for a long time. They just dissing us. I can’t take it no more. But I love all my fans, all the people that supported me and everybody that’s down for me. People like Freddie Foxx stayed down for me. And people like Latifah and Treach. And I heard that Smif-N-Wessun gave me some love on they album. I got nothing but love for them. But see people like Mobb Deep? Stupid “Thug Life we still living it.” That’s what gonna start this whole new… When you see this Outlaw Immortalz shit, that’s what started it. Biggie and them being in VIBE talking all that shit. Stretch… All them people. That’s what started all this.

This Outlaw Immortalz is off the hook, kid. Off the hook. There’s a song on there called “Hit em Up” that’s gonna be one of the most talked about… You remember like Ice Cube’s “No Vaseline”? “Hit em Up”’s gonna be like that. It’s coming out a couple months after my album. On my record label and Death Row.

What’s your label called?

Euthanasia Records.

Why that title?

I fell in love with that word. I feel like that’s me. I’m gonna die, I just wanna die without pain. I don’t wanna die, but if I gotta go I wanna go without pain.

Want me to tell you my verse to that? It go. Awww maaaaan…

[rapping a capella]

(LYRICS TO WHAT BECAME THE 1ST VERSION OF "HIT EM UP")



Niggas talk plenty shit

So many tricks

I fucked your bitch

Cause I’m true to this



Witness the heat

You talk bad about a nigga

When I get blasted

Hope you made a little money

While the fun lasted.



Heard they call you Big Poppa

Nigga, how you figure?

Cause to me you’ll always be

A phony fat nigga



I can’t be copied

You can wear the Versace

Nigga you runnin’ or what?

Scared as fuck

For the gun to bust



Now niggas duck

I got a list of player haters to fade

You bitch niggas getting blowed away…



You cross-eyed down syndrome crack baby

Now you and Puffy is toughies?

Now that’s crazy

I got your ass in my sights

Niggas dying tonight

We screaming “West side for life”



I can’t wait to see you niggas in traffic

Cause we gonna hit em up

When you see me you better bust

Nigga I hit em up



[to the melody of Junior M.A.F.I.A. “Players’ Anthem”]

Grab your Glocks when you see Tupac

Call the cops when you call Tupac

Who shot me but you punks didn’t finish

Now you about to feel the wrath of a menace

Nigga I hit em up

Don’t you think that’s gonna make it worse?

 LL and Pac both dated Kidada Jones. Rumors were they beefed it because of her. With LL making subliminal (in true new york fashion) disses such as "Who Shot Ya?", "Who Do U Love?" and "Phenomenon" 2pac was instructed by Quincy Jones himself to leave LL out of any diss songs. Pac still dissed LL on "Lil Homiez", "4 My Niggaz (He v.s. She), and "If They Love Their Kidz"

That’s hip hop. Niggas been talking shit all while I was in jail. “Who Shot Ya?” L.L. got a song “I Shot Ya.” Even if it ain’t about me, nigga, you should be like, I’m not putting it out cause he might think it’s about him.

So you think Biggie’s song “Who Shot Ya” was about you?

It came out too quick. It was just tasteless. So if he think “Hit Em Up” is about him, hey, whatever.

You mention their names in there. They didn’t mention your name in “Who Shot Ya?”

I ain’t no punk. I ain’t gonna hide behind the facts.

Who do you think shot you a year ago?

I know, but it ain’t nothing to speak on.

But you know who did it?

They know who did it.

They who?

The people who shot me. The people who had me shot. Everybody that know, know. But I ain’t worried about that. Peace on earth. I got a whole new clique, those niggas in Jersey. So I’m not gangbanging against the east side. I got niggas from the east side in my clique dissin’ Biggie just as hard as me. It’s niggas out there that he done wrong. As far as Da Brat, she’s opening her mouth getting into some shit she don’t want to be involved with. I wanna be the peacemaker, Kev. I wanna tell everybody to just stop.

When I talked to you before, you said “It’s gonna get deep.” What did you mean by that?

It’s gonna get deep, man, because… um, what the east is doing. They think it’s… I understand it. I’m from there. It’s really like unifying the east coast. Because it was really like, in a slump. But they’re doing it wrong. Cause they’re using the west coast as a rallying cry. And they making it look like we are the perpetrators of this big east coast / west coast thing. They never had no problems. They could come out here and perform and we clap. We go out there and niggas is booing. That Source Awards, that’s what start it. Not start it, but that Source Awards is what put it to a new level. They was booing. Me personally being from both coasts, but I represent the west coast, I think that’s disrespectful.

What about Suge making that comment about Puffy at the Source Awards. Wasn’t that kinda disrespectful?

No that’s not disrespectful. That’s his opinion and that’s real. All he was doing was saying if they tired of having a manager shake his ass in their video. We don’t do like that on the Row. That’s real.

But can’t that contribute to the whole east / west thing?

Not as much as it does when y’all niggas goin’ on the radio: It ain’t about west coat, it’s all about N.Y. Boo hoo hoo. Fuck the west, we the best. We started it. All them other niggas… I be listening! Suge has got the heart to say it in front of you. All these other muthafuckas been saying it behind our backs.

2pac Sings??? LOL (MORE NEW MUSIC)

In the midst of recent mass murders of blacks in America, the timing of this is impeccable!
In a newly leaked interlude, 2pac seems to be speaking to a 2015 America (truly, nothing has changed) IMO, this is the kind of music message blacks need right now. There is too much pandering to a culture outside of our own...to the point of identity loss. America has got us all questioning their "care" for black life. Mike Brown, Eric Garner, Ezell Ford, Johnathan Ferrell (who crashed his car and went door to door for help, only to be shot and killed for looking like a robber) the list goes on....are these sacrifices in vain? anyway....back to business.

check it.

2pac - Ain't Nuthin' Wrong (Interlude)

ILL-V - LIVE @ 2ND ANNUAL SAMHAIN SPLURGE

Originally recorded on Oct 25, 2014.

Here are some vids from the 2nd Annual Samhain Splurge, an H.I. Arizona event in which Ill-V, Immortal Assassins, and others performed..
There is still some footage out there, though I got everything i was able to.

SONG LIST

1.Burn The World (Produced By Z-$trike)
2.She's A Serial Killa (Produced By Z-$trike)
3.Laura Palmer (Produced By Wicked Sick)
4.Dead To Me (Produced By Wicked Sick) [only have a few seconds of this..full vid soon]
5.My Own Devil (Produced By Z-$trike)

All of which are featured on her new self-titled album, with HighlyInTalkSickHated/The Thoro Organization as the executive producers

(NOTE) There are a few more songs which Ill-V performed that night. they will go in a separate post, as i could not upload them to youtube because of copyright issues.


Burn The World

She's A Serial Killa

Laura Palmer

My Own Devil

2pac - Rearview II

Here's a reversal of everyone's idea. The newly leaked Studio Acapella (albeit some layers) of "Starin At The World Thru My Rearview" has got everyone in a mix frenzy. Let it be known that the old CG pella is gonna be needed in hopes of making a full mix.

This seems to be only the "high" layers of EDI MEAN and 2pac. kadafi's verse seems intact (might have to listen again) but instead of mixing the "Grab The Mic (rearview II) " vocals to the regular version, i decided to do the opposite!!

check it.

in order to finish this, imma need a CG/CPU pella of the original "Starin At The World Thru My Rearview" so i can have pac sounding a lil better lol.

E-MoneyBags - The Gospel (UNTAGGED)

A lil somethin from a tape I'm putting together! I've always heard about this album called "The Gospel" from E, even DJ KAY SLAY shouted it out in his E-MoneyBags tribute tape....but i guess it never materialized.


So fuck it lol. I started putting together my own version of The Gospel with confirmed tracks and some guesswork. I'm also putting together a 2pac & E-MoneyBags tape, but The Gospel has a little more dedication because all the research it took to find and acquire songs.


I tried to hit up Majesty from Live Squad, but he's a busy dude. Anyway, check the first single..which was the final song he recorded (supposedly).


alotta edit work here to remove DJ Kay Slay's constant screaming lol
no hate but damn....niggas tryna bump a song tho. (don't trip slay, im thankful lol)

2pac - This Ain't Livin (Finally Uncensored)

As of recent we've ALL probably heard the OG version of "This Ain't Livin'"... but back in 2001, we heard the retail version first and were like WTFbro. Johnny J swore up and down (until his death) that he had nothing to do with the editing of lyrics on the UTEOT album. In any case, the album was shipped in an edited state and even with one of 2pac's verses OFF-BAR!!! (Everything They Owe -Explicit Version).

Pretty much, the album was hindered by the removal of references to Death Row Records and its artists. "This Ain't Livin" has 1 edit for each verse, and there was a great deal of time before we were finally able to hear what Pac actually said. Some people claimed he said "Devil" or "Biggie Smalls" both of which sounded out of place. Some edits are still on youtube inserted with words many fans speculated to be the missing vocals.

So finally, i went to youtube and took the CPU PELLA of the OG version and made my own edit.
its a close to the retail as possible through the magic of EQing lol. (Thanks Evil Pimp for teaching me this shit)

check it.

With songs like "Everything They Owe" and "LastOnesLeft" already being re-edited to their original form, the only song left to fix is the elusive "My Closest Roaddogz"

NEW 2PAC!!!! Lil Homies (Extended Version) ft. Tha Outlawz

Here's a 7-plus minute version of Lil Homies featuring the whole outro (which was already leaked) BUT THIS ONE HAS MORE VERSES!

Shouts out to the dj who put the outlawz version with the real version...but that makes me only want to hear the real outlawz version lol.

During kastro's verse it becomes apparent that they were just rapping over pac's muted vocals, similar to Secretz Of War (Rules Version) and the retail version of This Life I Lead (pac's adlibs were kept intact mentioning Kurupt & Kausion(gonzoe) who were both removed from the retail version)

Im probably gonna reverse-engineer this shit and make the real outlawz version.

Stay tuned...