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E.D.I. Mean (Malcolm Greenidge)

Malcolm Greenidge was born in New York on July 7, 1974. He became friends with Katari “Kastro” Cox. They met through their mothers who were close friends. He and Kastro’s cousin, Tupac Amaru Shakur, attended to the same private elementary school for a half year. Greenidge was in the third grade and Tupac in the sixth. They only went there for a half year because their parents couldn’t afford it. Greenridge, Kastro and their families later moved to New Jersey where they became friends with Tupac’s Godbrother, Yafeu “Kadafi” Fula.

In 1992, Greenidge, Kadafi and Kastro formed a trio. Greenidge went under the alias Big Malcolm and the trio went under names like the Thoro Headz and the Young Thugs. By now, Tupac had became a rap star and he let them guest appear on “Flex” on his “Holler If Ya Hear Me” single which was released on February 4, 1993. In 1994, Mutah “Napoleon” Beale joined the group now known as Dramacydal. On April 5, 1995, Tupac’s LP, Me Against The World, was released. They guest appeared on “Me Against The World” and “Outlaw.” On June 27, Tupac’s “So Many Tears” single was released. It features “Hard To Imagine,” a song by Malcolm, Kastro and Napoleon.

In 1995, Malcolm, Tupac, Bruce “Fatal” Washington, Kadafi, Kastro and Napoleon formed the group the Outlaw Immortalz, later changed to the Outlawz. Tupac gave each member of the group an alias from an enemy of America, he gave Malcolm the alias E.D.I. after Ugandian president Idi Amin. On February 13, 1996, Tupac’s double LP, All Eyez On Me, was released. E.D.I. guest appeared on “Tradin’ War Stories,” “When We Ride” and “Thug Passion.”

On June 14, Tupac’s “How Do U Want It” single was released. It featured “Hit ‘Em Up” featuring E.D.I., Fatal and Kadafi. It’s the most notorious dis song in history and they’re dissing Bad Boy Entertainment, Chino XL, Junior M.A.F.I.A. and Mobb Deep on it. Tupac claimed he had sex with Bad Boy Entertainment recording artist The Notorious B.I.G.’s wife, Faith Evans, for betraying him. The video which was made for the song is the Outlawz’s first video.

On September 7, 1996, Tupac was shot four times in a drive-by-shooting in Las Vegas, Nevada. He was taken to University Medical Center where he died a week later. E.D.I. was in the car behind the one Tupac was riding in, but he said he couldn’t identify the murderer. E.D.I. and the rest of the Outlawz moved back to New Jersey. On November 5, Tupac’s LP, The Don Killuminati: The 7 Day Theory, was released. E.D.I. guest appeared on three songs, “Bomb First (My Second Reply),” “Life Of An Outlaw” and “Just Like Daddy.” On November 10, after visiting his girlfriend, Kadafi was shot. He was taken to University Hospital where he died on the afternoon.

In March, 1997, E.D.I. and the rest of the Outlawz besides Fatal moved back to California and signed with Death Row Records although Tupac had several times told them not to. On November 25, 1997, Tupac’s double LP, R U Still Down? (Remember Me) was released. E.D.I. produced six songs on it, “Redemption,” “Thug Style,” “Fuck All Y’all,” “Let Them Thangs Go,” “When I Get Free” and “Enemies With Me.” On December 21, 1999, the Outlawz’s debut album, Still I Rise, was finally released.

In 1999, E.D.I. and the rest of the Outlawz besides Fatal who by now had beef with them started Outlaw Recordz and released their second and third LPs, Ride Wit Us Or Collide Wit Us and Novakane, on November 7, 2000 and November 6, 2001. E.D.I.’s married and has three children, Malik, Milan and Nzingha. He’s working on Blood Brothers, a collaboration album with Kastro, due out this year and is also working on a screenplay.

The Life & Death of Yaki Kadafi (Yafeu A. Fula)

Once known as Young Hollywood, Killer Kadafi, Tha Prince (real name: Yafeu Akiyele Fula aka Yaki Kadafi), Yafeu Fula was born in New Jersey on October 9th 1977. Born proud, he stood strong and defiant in his brief life to forces less honorable. His parents, Yaasmyn Fula and Sekou Odinga were already active in the community and committed to social justice, truth and peace in America at a time of great world upheaval.

Tupac And Yaki Kadafi
Tupac And Yaki Kadafi

Named after African proverbs – Yafeu – “bold” and the middle name Akiyele – “valor enters the house” were chosen because we knew he was destined to greatness. During his brief lifetime he was indeed a very bold and courageous young man exhibiting strong leadership qualities and bravery at an early age.

Young Pac

Many factors contributed to Yafeus’ great destiny. In order to understand this young man and honor him properly it is imperative that his lineage is understood. For these were the loins from whence he sprung, these were the bearers of the torch that he inherited.

A direct descendant of a very well respected family in New Jersey on his mothers side – the Harrison-Martin clan. His great grandmother, Delia Harrison Martin was well known in New Jersey for her relentless pursuit and representation of human rights for all people. She began her legacy in 1920 working with the Newark Urban League under Bill Ashby. From there she allied herself to all political issues of the day that affected the lives and dignity of black people from the Womens’ Suffrage Movement, voter registration during the civil rights movement, community affairs, consumer rights, NAACP secretary, health advocate, and education for all. During her 100 years of living she received many awards and was responsible for drafting local government proclamations that directly benefited the black community.

The role Yafeus’ parents were playing in shaping the destiny of America vicariously shaped his life. His father, Sekou Odinga, a proud revolutionary activist was Section Leader of the Black Panther Party in the Bronx as well as other politically strong groups of the time such as Malcolm X’s Organization of African American Unity (OAAU). The goal was at that time and still remains self-determination, independence and freedom for the descendants of African slaves presently residing in the Americas. During the FBI’s attack of the Panthers under the leadership of J. Edgar Hoover and President Nixon, COINTELPRO targeted and devised plots to destroy the Black Panther Party and their supporters. Many Panthers and activists were forced to flee for their lives to avoid being set up, many went underground. Some, like Sekou fled the country to Algeria and became part of the International Section of the Black Panther Party in collaboration with then exiled leader Eldridge Cleaver.

At that time the East Coast and West Coast Panther Party were being manipulated by the powers that be to engage in destructive attacks upon each other. Today as in those days the media has exacerbated and contrived the East Coast – West Coast hip hop rivalry. The deaths and antagonisms are darkly familiar to those of us who survived the destruction and neutralization of the revolutionary movement by the FBI COINTELPRO program. Some, like Fred Hampton, Zayd Shakur, Bunchy Carter, Malcolm X, George and Jonathan Jackson, Lumumba Shakur, did not survive the conspiracy to eliminate the leadership of the Black Movement. Those who are not dead are either incarcerated or live to tell the story of their deceased sons and daughters – victims of this modern day holocaust.

Lumumba Abdul Shakur (right) and his wife Afeni (center), are escorted from the Elizabeth Street Police Station in New York on April 3, 1969 after their arrest in connection with a plot to bomb five Manhattan department stores. Shakur and his wife were among a group of more than a dozen members of the Black Panther group arrested in the alleged bomb plot (Photo Credit: AP Photo).

Sekou Odinga is incarcerated in the Marion Federal Correctional Institution, Marion, Illinois for the past 23 years. After being convicted in 1985 at the Brinks trial held in New York, Sekou claimed political prisoner status and was promptly convicted of being a member of the Black Liberation Army and freeing Assata Shakur from jail. He is doing 60 years to life. Recognized the world over as a progressive revolutionary brother, Sekou claims that the United States has no jurisdiction over him during his trials and that he was persecuted and convicted because of his political views and positions.

The Shakur and Fula families forged a strong bond during the Panther 21 trial in 1969 and ensuing community organizing that has sustained us throughout many dark days. At that time, Afeni, Tupacs’ mom along with Yafeus’ father, Sekou, section leader for the Bronx Black Panther Party had been charged as Black Panthers with all kinds of ridiculous crimes. Afeni, pregnant with Tupac represented herself in court. Sekou, hoped on a plane and fled to Algiers and was tried in absentia. In April 1971 all were found not guilty. It was the longest trial in the history of New York and a pivotal period in all our lives. The friendship and comradeship extended beyond our political commitments. Our children, Tupac, Sekyiwa, and her sister Glorias’ son, Katari (Kastro) have been in each others lives since they were babies.

Tupac Shakur and Yaki Kadafi image
Young Tupac and Yaki Kadafi

In October 1981, Yaasmyn, Yafeus’ mom was subpoened to a Grand Jury that was convened after the Brinks Bank Robbery in Nyack New York in which many activists from the communities, the Weather Underground and the Black Liberation Army were arrested. Anyone involved in community work, health, education, were rounded up and subpoened to give testimony about their co-workers. The RICCO statute which was formerly used against organized crime was now being used for the first time against politically activists and community organizers. The Grand Jury was convened in secret using its powers to subpoena and harass all activists. Yaasmyn refused to testify against her co-workers and was sent to jail for 18 months. Yafeu was 4 years old at the time. During part of the 18 months he spent with Tupac and his family, but for the most part he was taken care of by his grandmother, Vivian Smith. His father was also arrested in October 1981. Yafeu never saw his father again, only speaking to him briefly over the years from jail.

Yafeu attended elementary school at Washington Elementary School in East Orange, New Jersey and then entered the school system in Montclair, New Jersey. Montclair, a well known progressive community known for its upscale neighborhoods and proximity to New York was a segregated town. The upper class resided in Upper Montclair and the middle and lower classes resided in just plain Montclair. The institutions of Montclair – both culturally and educationally were designed to maintain the status quo and quick to identify all who questioned/threatened the sanctimonious myths of prosperity. Yafeu was the consummate ‘Rebel with a Cause’. Even as a youngster he would always take up for the kid being mistreated in the playground. His strong spirit and sense of right and wrong got him into trouble with the local authorities and school who were in many cases derelict in their professional duties and out to identify “troublemakers”.

Yafeus’ forumulative years were spent growing up in New York and New Jersey, Tupac his beloved brother by his side. Tupac always the teacher, the mentor, the instructor, the organizer, the soldier with the game plan – Yafeu the loyal comrade. Tupac always had his lil brother and his cousins by his side, especially when his career started zooming. They were there with him during the early days of Digital Underground, being groomed at very early ages to write lyrics, always growing and planning for future projects.

When Tupac was incarcerated in 1995 on the sexual assault charge, I remember driving Fatal (Hussein) to Clinton Prison in Dannemora to visit him. Fatal, a local rapper in Montclair, was talented and needed a break. I knew he possessed the skills, street edge needed to give the Outlawz the boost they needed in Pacs absence.

Tupac Shakur and Yaki Kadafi image
Tupac and Yaki Kadafi

In the visiting room, I introduced Fatal, Pac said – “let me hear what you can do” – Fatal did an impromptu freestyle. Pac, though impressed, asked for more. Fatal happily obliged. Pac soon came up with Fatal and Felony (Yaki). This was Pacs fatherly way of allowing Yaki back into a group and still making good on his kicking Yaki out of the Outlawz. Pac in true Makavelian style ran the show. He was the breadwinner for his family. The decree of “the Prince” was that nobody left the “kingdom” while he was incarcerated. The infraction? Yaki dared to leave the compound in Atlanta (Tupacs home) and travel to NJ for a friends funeral. Yaki always had a mind of his own and encouraged to do so by me.

Despite Tupacs admonitions from jail not to leave, went anyway. Pac was more disappointed that his “son” had disobeyed him and vowed he would never be allowed back into the group. That all changed in September 1995, when Pac was released on bail and they together worked on and released All Eyez on Me. Their bond of love was an extraordinary one, throughout their entire lives. Tupac, besides myself, was the only constant Yaki had in his life. Tupac always teaching, Yaki always rebelling. I loved them both so dearly.

On March 14, 1995, Tupac’s LP, Me Against The World, was released. They guest appeared on “Me Against The World” and “Outlaw”.

In 1995, Young Hollywood, Tupac, Bruce “Fatal” Washington, E.D.I., Kastro and Napoleon formed the group the Outlaw Immortalz, later changed to the Outlawz. Tupac gave each member of the group an alias from an enemy of America, he gave Young Hollywood the alias Kadafi after Lybian colonel Mu’ammar al-Qadhafi.

On February 13, 1996, Tupac’s double LP, ”All Eyez On Me”, was released. Kadafi guest appeared on “All About U” and “When We Ride”.

On June 14, Tupac’s “How Do U Want It” single was released. It featured “Hit ‘Em Up” featuring Kadafi, E.D.I. and Fatal. It’s the most notorious dis song in history and they’re dissing Bad Boy Entertainment, Chino XL, Junior M.A.F.I.A. and Mobb Deep on it. Tupac claimed he had sex with Bad Boy Entertainment recording artist The Notorious B.I.G.’s wife, Faith Evans, for betraying him. The video which was made for the song is the Outlawz’s first video.

Yaki Kadafi from set of ”Made Niggaz” Music Video

On November 5, Tupac’s LP, The Don Killuminati: The 7 Day Theory, was released. Kadafi guest appeared on two songs, “Hail Mary” and “Just Like Daddy”.

Tupac planned to produce records for the group under his newly formed company, Euphanasia. Tupac hired Fula’s mother Yaasmyn to manage the L.A.-based company. Fula,just 19 years old, was a passenger in the Lexus along with fellow group member EDI (Malcolm Greenridge) driven by (Frank Alexander) that was directly behind Suge’s BMW when the shooting of Tupac occurred. Only Fula told police he might be able to pick out Tupac’s shooter from a photo lineup. He was the only witness that night who exhibited a willingness to help the police.

On the 10th November 1996 was shot once in the head and was found slumped in the third-floor hallway of an apartment building at 325 Mechanic St. early Sunday where he had been visiting a friend, Orange police said. Officers found Fula at 3:48 a.m. after receiving a report of a shooting.

Within two days of the murder, Orange police arrested & charged two teenagers. Yaasmyn Fula, one of Afeni Shakurs best friends, lost her only son in that shooting. Metro police lost their only willing witness to Tupac’s murder. Who killed Kadafi remained unknown to the public until September, 2000 when Napoleon revealed in an interview with The Source that it was his cousin, Roddy, who killed him. Roddy claimed it was an accident. Apparently they were both drunk and high and was playing with a gun, Roddy accidentally pulled the trigger and a bullet hit Kadafi in the head.

History Of The Outlawz

Katari Cox and Malcolm Greenidge grew up together in New York. They knew each other through Cox’s mother and Greenidge’s father who were close friends. They and their families later moved to New Jersey where they became friends with Yafeu Fula. Cox’s cousin and Fula’s Godbrother, Tupac Amaru Shakur, used to look out for them and when he became famous he moved them out of the ghetto and bought them homes in Atlanta, Georgia.

In 1992, Cox, Greenridge and Fula formed a trio. Cox’s alias was K-Dog, Greenridge’s was Big Malcolm and Fula’s was Young Hollywood. The trio went under several names including the Thoro Headz and the Young Thugs. Big Malcolm and K-Dog made their debut on “Flex” on Tupac’s “Holler If Ya Hear Me” single which was released on February 4, 1993. In 1994, Young Hollywood’s mother and Tupac’s aunt, Yassmyn Fula, told Tupac about Mutah Wasin Shabazz Beale, a 16-year-old who witnessed his parents being murdered when he was three or four-years-old. The story made Tupac cry. He decided he wanted to met Beale. They met and soon Beale joined the group. He didn’t go under an alias, just his first name, Mutah.

On November 30, Tupac was robbed and shot four times at Quad Recording Studios in New York. The next day he was arrested for sexual abuse. He was found guilty and on February 14, 1995, he was sent to prison to serve up to four and a half years. On April 5, his LP, Me Against The World, was released. The group now known as Dramacydal appeared on two songs, “Me Against The World” and “Outlaw.” On June 27, Tupac’s “So Many Tears” single was released. It featured “Hard To Imagine,” a song by Big Malcolm, K-Dog and Mutah.

Dramacydal almost signed with Interscope Records, but on October 12, Death Row Records, Interscope Records and Time Warner paid a $1.4 million bail to have Tupac released. In return he had to sign a three album deal with Death Row Records. When he was released, he and Dramacydal flew to Death Row Records in Los Angeles, California and started working on his double LP, All Eyez On Me.

When Tupac was serving time he planned to form a new group. He asked Young Hollywood to start searching for members. Of course him, Big Malcolm, K-Dog and Mutah would be members of it, but more were needed. Young Hollywood told Tupac about his friend, Bruce Washington. He said that once when Big Malcolm and K-Dog visited him in Montclair, New Jersey they were robbed of their hats so he went to Washington and asked him to get their hats back. Washington confronted the thieves and they returned their hats. Young Hollywood asked if he could bring Washington with him, Tupac agreed.

Young Hollywood told Washington that he’s helping Tupac to search for members for a group they were forming and asked him to be a part of it. Washington didn’t believe him and it wasn’t brought up again until Yaasmyn Fula mentioned it. At that point he realized that Young Hollywood had been serious. The next day, they visited Tupac. Before he had any chance to introduce himself Tupac asked Washington to drop a few verses. Soon he joined the group. Tupac’s brother Mopreme Shakur and Tyruss “Big Syke” Himes of Thug Life joined the group as well.

Tupac gave each member of the group an alias taken from an enemy of America. Big Malcolm’s alias was E.D.I. after Ugandian president Idi Amin, Big Syke’s was Moozaliny after Italian president Benito Mussolini, K-Dog’s was Kastro after Cuban president Fidel Castro, Mopreme’s was Komani after Iranian Ayatollah Ruholla Khomeini, Mutah’s was Napoleon after French emperor Napoleon Bonaparte, Washington’s was Hussein Fatal which was later changed to Fatal Hussein after Iraq president Saddam Hussein and Young Hollywood’s was Kadafi after Lybian colonel Muammar Al-Qadaafi. Tupac named himself Makaveli The Don after Italian philosopher Niccolo Machiavelli.

Now all that was left was to come up with a name for the group. Tupac liked Lil’ Homies, but Fatal who was almost as old as Tupac didn’t want people to refer to him as a lil’ homie, instead he suggested Outlaw Immortalz which Tupac agreed with.. On February 13, 1996, All Eyez On Me was released. The group guest appeared on “When We Ride” and they made solo guest appearances on “All About U”,  “Tradin’ War Stories,” “Thug Passion,” “Picture Me Rollin’,” “Check Out Time,” “All Eyez On Me” and “Run Tha Streetz.” After the release Komani and Moozaliny left the group for unknown reasons and female rapper Donna “Storm” Hunter joined the group who changed its name from the Outlaw Immortalz to the Outlawz.

Outlawz stands for Operating Under Thug Laws As WarriorZ.

On June 14, Tupac’s “How Do U Want It” single was released. It featured “Hit ‘Em Up” featuring the Outlawz. It’s the most notorious dis song in history. Bad Boy Entertainment, Chino XL, Junior M.A.F.I.A. and Mobb Deep is dissed on it. Tupac claimed he had sex with Bad Boy Entertainment recording artist The Notorious B.I.G.’s wife, Faith Evans. The video which was made for the song was the first Tupac video the Outlawz appeared in. Kadafi and Fatal had their friend, Rufus “Young Noble” Cooper, to join the Outlawz.

On September 7, 1996, Tupac was shot four times in a drive-by-shooting in Las Vegas, Nevada. He was taken to University Medical Center where he died a week later. E.D.I. and Kadafi were in the car behind the one Tupac was riding in. E.D.I. said he couldn’t identify the murderer, but Kadafi said he might be able to. The police lead was never followed and Kadafi moved with the rest of the Outlawz back to New Jersey before the police could question him.

On November 5, Tupac’s LP, The Don Killuminati: The 7 Day Theory, was released. The Outlawz guest appeared on four songs, “Bomb First (My Second Reply),” “Hail Mary,” “Life Of An Outlaw” and “Just Like Daddy.” “Hail Mary” was the third single and video. Death Row Records didn’t credit the Outlawz for being on it and they cut them out of the video.

On November 10, after visiting his girlfriend, Kadafi was shot and killed.. He was found by the police in a third floor hallway of an apartment building in Irvington, New Jersey. He was taken to University Hospital where he died on the afternoon. Who killed him remained unknown to the public until September, 2000, when Napoleon revealed in The Source that it was his cousin, Roddy, who killed him. Roddy claimed it was an accident, Napoleon believed him, but not everyone did; Fatal was one of them.

All of the Outlawz with the exception of Fatal moved back to Los Angeles, California. Although Tupac told them serveral times not to sign with Death Row, the Outlawz signed a contract with Death Row Records. Between 1997 and 1999, you didn’t hear much from the Outlawz who were obviously wondering where to go from there. They appeared on other artists’ albums, compilations and soundtracks. They guest appeared on “Still Ballin’ (remix),” the first single and video of Yukmouth’s double LP, Thugged Out: The Albulation. In late 1997, Fatal signed a solo contract with Relativity Records who released his debut single, “Everyday,” on March 17, 1998 and his debut LP, In The Line Of Fire, on March 31. Former Kausion member Gonzoe joined the group, but left after three months due to beef with the rest of the members.

Death Row Records and Rap-A-Lot Records almost worked out a deal which would let the Outlawz sign with Rap-A-Lot. They even advertised their upcoming Rap-A-Lot album, Neva Surrenda, in The Source. But the Outlawz changed their minds at the last minute and never signed with Rap-A-Lot. Fatal however signed with them as a solo artist.

On December 21, 1999, their debut album, Still I Rise, was finally released. Tupac appeared on 14 out of 15 songs and Fatal was removed from the songs he originally was on due to beef with the rest of the group. The first single and video of the LP was “Baby Don’t Cry (Keep Ya Head Up II).” The LP suffered sales because Death Row Records’ CEO Marion “Suge” Knight ordered Interscope Records not to promote it because the Outlawz refused to sign with Suge Publishing. It still went double platinum.

On April 1, the Outlawz filed a $4.5 million lawsuit against Suge, Death Row Records, Interscope Records, Suge Knight Films and Suge Publishing claiming breach of contract, unfair business practices, intentional interference with prospective economic advantages, racketeering and others. They won the lawsuit. With Death Row Records behind them, they felt it was time for them to pursue a deal with another major label. But with each offer they got something would go wrong. So they came to the solution where there’s nothing else to do, besides starting their own label.

In February, 2000, the Outlawz were on Live From L.A. and stated they were starting their own label, Outlaw Recordz. They signed Noble’s step-daughter, Baby Girle, Dirty Bert, Napoleon’s little brother, Hellraza, and Lil’ D. Then they looked for distribution. Bay area rapper Spice 1 told his distributor, Bayside Entertainment Distribution, about this. They contacted the Outlawz and signed a distribution deal. On November 7, 2000, the Outlawz’s second LP and Outlaw Recordz’s first release, Ride Wit Us Or Collide Wit Us, was released. It debuted at the ninth position on the Billboard independent album charts and became the best selling independent rap album of 2000. The first and second single and video were “Black Rain” and “Thug With Me.”

In 2001, Napoleon made his film debut in Thug Life which also starred The Lady Of Rage and Willie D. New Child from Harlem, New York joined the group. Tupac always wanted someone from New York to be a member of the Outlawz and Fatal felt New Child was exactly what Pac was looking for before his death. On October 23, Big Syke’s label, RideOnUm Record Group, released Thug Law Chapter 1, a collaboration album between the Outlawz and Thug Life.

The Outlawz felt Bayside Entertainment Distribution was too small for them. They left and signed a distribution deal with Koch Entertainment (now Entertainment One) instead. On November 6, their third LP, Novakane, was released. It debuted at the 100th position on the Billboard 200 and third on the Billboard independent album charts. The first single and video was “World Wide” featuring Tupac and T-Low. The LP also featured “Loyalty,” a dis directed at Fatal. There had been beef between Fatal and the rest of the Outlawz for a long time, but it wasn’t known for the public until we interviewed Fatal in 2001. Fatal said he was angry at them for not being there for Tupac when he was shot and for “forgiving” Roddy for Kadafi’s killing, which Fatal may or may not believe was an accident but felt there was no reason to point a gun at Kadafi’s head, period. As Fatal said, accident or not, the outcome is the same. Fatal also questioned their judgement because they signed with Death Row Records although Tupac told them not to.

The future looks bright for the Outlawz. Next year, Fatal’s second album, Death Before Dishonor, and New Child’s debut album, S.O.G. (Son Of A Gangster) are coming out. Outlaw Recordz is releasing Napoleon’s solo debut album, Bonapartes, Noble’s solo debut album, Noble Justice, E.D.I. and Kastro’s collaboration album, Blood Brothers, and the fourth group album. Fortress Entertainment is releasing their homevideo, World Wide, and E.D.I. is writing a screen play. They’ve got Outlaw Films and O.G. (Outlaw Gear) coming soon. Let’s just hope they can squash their beef, like Tupac said, “Let no man separate what we create!”

There were 10 original members of the Outlawz, including Makaveli:

Makaveli (Tupac Shakur) was the leader of the group, and gave himself the name of Makaveli after the Italian political philosopher Niccolò Machiavelli, whose writings inspired Shakur in prison.

Yaki Kadafi (Yafeu Fula), also known as Young Hollywood, Killer Kadafi and The Prince, was given the name Yaki Kadafi after Libyan leader Muammar Gaddafi. He was also Shakur’s godbrother and an original member of Dramacydal.

Kastro (Katari Cox), also known as K-Dog, was given the alias Kastro after Cuban leader Fidel Castro. He is also a blood cousin of Shakur and an original member of Dramacydal.

E.D.I. Mean (Malcolm Greenridge), also known as Big Malcolm, was given the alias E.D.I. (aka EDIDON) after Ugandan president Idi Amin and was also an original member of Dramacydal.

Hussein Fatal (Bruce Washington), introduced to Yildirum by childhood friend Yaki Kadafi, was given the alias after former leader of Iraq Saddam Hussein. Hussein left the group after the killings of Pac and Yaki. He felt that the remaining group members were going against Tupac’s wishes by signing contracts with Death Row. He more recently rejoined the Outlawz, which then comprised him, Young Noble and Edi.

Napoleon (Mutah Beale), childhood friend of Kadafi, was given the name Napoleon after French military leader Napoleon Bonaparte and was also an original member of Dramacydal. Napoleon left the group to be a Muslim motivational speaker.

Moozaliny (Tyruss Himes), also known as Big Syke who was in 2Pac’s previous group Thug Life, joined the Outlawz and Makaveli gave him the name Moozaliny after Italian dictator Benito Mussolini.

Komani (Mopreme Shakur), 2Pac’s stepbrother, who was in 2Pac’s previous group Thug Life, joined the Outlawz under the alias Komani after the Iranian political figure Ruhollah Khomeini.

Storm (Donna Harkness), The only female member of the group, met Tupac during the shooting of a film. After he found out how well she could rap, he immediately signed her on the spot and added her to the group, which later became known as The Outlaw Immortalz. Storm was to be a solo artist for Tupac’s record label. She was introduced on the multiplatinum selling album All Eyez on Me.

Young Noble (Rufus Cooper III), the last official Outlaw member by Tupac himself. He was introduced to Tupac by Kadafi and Hussein Fatal in Los Angeles, a few months before his death. He appeared in many of 2Pac’s last recordings, and featured heavily on 2Pac’s last album and the now legendary The Don Killuminati: The 7 Day Theory. He was always known as Young Noble and was never given an alias from Tupac.


In 1992 at the ‘Truc Picnic’ in Cali, Tupac was instrumental in getting rival members of the Crips and Bloods to sign the Code Of THUG LIFE.

What do you think when you hear the word thug? A violent person maybe, or a criminal or a gangster? Well, Tupac Shakur came up with his own definition of Thug and sparked a whole movement from this vision.

Tupac was always for the underdog, the oppressed and the disadvantaged youth. In 1992, America was making out that most of the crime being committed was by the black community and calling them thugs and criminals.

In light of this and sick of his people getting blamed, Tupac came up with an an acronym for the word thug. “The Hate U Gave Little Infants F—s Everyone“. It was not just a catchphrase to Tupac, it was a movement. A way of life. In the same year, Tupac formed a group called Thug Life. The Group consisting of himself, Randy ‘Stretch‘ Walker, Big Syke, Mopreme, Macadoshis and Rated R. They would go on to release one album together, Thug Life: Volume 1.

Tupac would take it one step further and got the words ‘Thug Life’ tattooed across his stomach. Replacing the “I” with a bullet.

Tupac would come up with the ‘Code of Thug Life’. Pac grew up around revolutionaries and gangsters who would give up their lives fighting for what they believed in. He used this as inspiration to draw up a code of ethics for gangbangers, promoting unity and peace. He visited his stepfather, Mutulu Shakur, in prison for guidance and direction with the Thug Life code. He put in place 26 rules and ethics for a more peaceful community.

He and Mutulu Shakur had helped write up the ‘code’ , with help from other ‘og’s’.

The Code of THUG LIFE is listed here. It details do’s and don”ts for being a righteous thug and banger.


1. All new Jacks to the game must know: a) He’s going to get rich. b) He’s going to jail. c) He’s going to die.

2. Crew Leaders: You are responsible for legal/financial payment commitments to crew members; your word must be your bond.

3. One crew’s rat is every crew’s rat. Rats are now like a disease; sooner or later we all get it; and they should too.

4. Crew leader and posse should select a diplomat, and should work ways to settle disputes. In unity, there is strength!

5. Car jacking in our Hood is against the Code.

6. Slinging to children is against the Code.

7. Having children slinging is against the Code.

8. No slinging in schools.

9. Since the rat Nicky Barnes opened his mouth; ratting has become accepted by some. We’re not having it.

10. Snitches is outta here.

11. The Boys in Blue don’t run nothing; we do. Control the Hood, and make it safe for squares.

12. No slinging to pregnant Sisters. That’s baby killing; that’s genocide!

13. Know your target, who’s the real enemy.

14. Civilians are not a target and should be spared.

15. Harm to children will not be forgiven.

16. Attacking someone’s home where their family is known to reside, must be altered or checked.

17. Senseless brutality and rape must stop.

18. Our old folks must not be abused.

19. Respect our Sisters. Respect our Brothers.

20. Sisters in the Life must be respected if they respect themselves.

21. Military disputes concerning business areas within the community must be handled professionally and not on the block.

22. No shooting at parties.

23. Concerts and parties are neutral territories; no shooting!

24. Know the Code; it’s for everyone.

25. Be a real ruff neck. Be down with the code of the Thug Life.

26. Protect yourself at all times..

“If the enemy is not doing anything against you, you are not doing anything”
-Ahmed Sékou Touré

“speak truth, do justice, be kind and do not do evil.”
-Baba Orunmila

“Cowardice asks the question: is it safe? Expediency asks the question: is it political? Vanity asks the question: is it popular? But conscience asks the question: is it right? And there comes a time when one must take a position that is neither safe, nor political, nor popular – but one must take it simply because it is right.”
–Dr. Martin L. King

Some other Interpretations:

Thug Life means – The Hate U Gave Lil” Infants Fucks Everyone.

NIGGA means – Never Ignorant Getting Goals Accomplished.

OUTLAW stands for ”Operating Under Thug Laws As Warriors”

MOB stands for Member Of Bloods and /or Money Over Bitches

Using this code, Tupac was able to get members of the Crips and Bloods to agree to it in California and was used in the 1992 gang truce. On the other side of the country, in Brooklyn, a meeting of big time gangsters and thugs firmly agreed to adhere to the code. “I got people in the penitentiary, big‑time OG criminals, calling me, telling me they want me to lead their movement,” Tupac explained.

By looking at the code he came up with, you can tell he was always thinking and strategizing, coming up with plans to help better himself and his people. At the young age of 22, Tupac had the vision of having the OG’s who were living the street life and getting money to be more productive. Sponsor sports teams. Putting not only money but community spirit back into the ghetto. He had a vision of putting a community center in every ghetto in the country. A center which included pool tables and a library, so the people living in the community could have better access to knowledge.

“When I say thug I mean not a criminal. Not someone who beats you over the head. I mean the underdog. You could have two people. One person has everything he needs to succeed and one person has nothing. If the person has nothing succeeds, he’s a thug. Because he overcame all the obstacles. Don’t ask me why, but it doesn’t have anything to do with the dictionary’s version of thug. Sorry. I have a whole energy that represents not just black youth but white youth, Mexican youth. Youth,” said Tupac Shakur.

Tupac’s thought process was way ahead of his time, given that he was only 22 at this time. There are many stories of Tupac thinking differently to others. Take Molly Monjauze, a friend and assistant of Pac’s. Molly helped put together the book ‘Tupac Remembered’ with Tupac’s aunt Gloria Cox. In the book she tells a short story of how her and Tupac saw a story on TV about a teenage girl who had been gang-raped and left in abandoned house and set on fire by a group of teenage boys.

Molly, horrified with what she had just heard, says “What kind of animals would do such a thing?” Tupac then looked at her with tears in his eyes and said, “Imagine what kind of animal hurt a child so badly, it caused them to do something like that.” Tupac saw past what the rest of the world were so quick to pass judgement.

History Of Digital Underground

Digital Underground helped usher in a new style of rap music during the late eighties, a style heavily influenced by the sound and attitude of seventies funk bands like George Clinton’s groups, Parliament and Funkadelic. Sampling from recordings by Clinton’s various “P-Funk” bands, the Underground also emulated the wild stage shows featuring bizarre and funny characters that were the other side of the P-Funk legacy. From its independent debut single, through hits like “The Humpty Dance” and “Doowutchyalike,” Digital Underground has broadened its appeal, continuing to live up to its self-description as an “all-Atlantic, all-Pacific, all-city, grand-imperial dance music and hip hop dynasty.” As Newsday commented in 1990, “Digital Underground looks like the new face of hip hop, as the music tries to make sense of its expanded range of possibilities.”

Shock-G Found Dead in a Hotel Room in Tampa

Before becoming a “dynasty,” Digital Underground was the brainchild of musician and rapper Shock G. whom Eric Weisbard of the San Francisco Weekly described as “a hip hop jack-of-all-trades: He plays drums, piano and other instruments; is a capable MC and disc jockey; produces his records; makes his own videos; [and] designs and choreographs his stage show.” Born Greg Jacobs in Far Rockaway, Queens, New York, c. 1963, Shock G played drums in a band that only knew one song—the Commodores’ funk hit “Brick House.” Hip hop was a fledgling form, but the excitement of early rappers like Grandmaster Flash left an indelible impression on the young musician. Soon, Shock was asking his parents for turntables and a mixer, the main instruments of a rap DJ. In an interview with Weisbard, Shock G recounted, “We’d constantly spend time at 42nd Street Records, Downstairs Records, getting all the break beats.”

Founded by Shock G and Chopmaster J
Shock G’s family moved to Tampa, Florida, in 1980. He landed a job there disc jockeying on radio station WTMP and participated in a rap group known alternately as Spice or Chill Factor. He also picked up work recording demos for other rappers. His outlook changed, however, when his parents divorced; Shock dropped out of high school and became involved in various illegal activities, including pimping and selling drugs. He served a number of jail terms but after a few years went straight, got his high school diploma, and began pursuing music. While monitoring rap’s development, he took music theory classes at a neighborhood college.

Shock moved to Oakland, California, in the mid-1980s and began working in the keyboard and drum machine department of a music store in neighboring San Leandro. One day a customer named Jimmy Dright—an experienced drummer trained in jazz but determined to jump on the hip hop bandwagon—spent several thousand dollars on equipment. Sensing an opportunity, Shock struck a deal with Dright: he would teach him to use the new equipment if Dright would let him make a demo with it. That night, according to Weisbard’s article, the Dright and Shock recorded four-track versions of the two songs that would grace Digital Underground’s first single: “Underwater Rimes” and “Your Life’s a Cartoon.” Dright sent the tape to a producer friend in Los Angeles, who offered to oversee the re-recording of the tracks. A partnership had been created. Though Shock was leery of allying himself with an acoustic drummer who considered himself a hippie, he knew his new friend had business savvy. Shock was right; soon Dright became “Chopmaster J” and Digital Underground had a 12-inch single.

Unfortunately the song’s release was held up by a number of complications. Consequently the duo spent a couple of lean years without a record contract. At one point they were even living off of a $10,000 loan they received from a bail bondsman, but the money ran out before anything spectacular happened. Meanwhile hip hop was maturing into a multifaceted art form, and emerging artists like De La Soul were reaping praise and profit from a style that Shock G and Chopmaster J felt they had helped invent. Turnabout came in the fall of 1988 when Digital Underground’s new manager, Atron Gregory, finally got the record released on TNT/Macola Records. Daria Kelly of Leopold’s Records—described by Weisbard as “one of the guardian angels of Bay Area rap”—sent the 12-inch to the hip hop label Tommy Boy. Interested, the company signed Digital Underground in 1989.

By this time Shock G and Chopmaster J had recruited two new members—DJ Fuse, also known as David Elliot, and his friend and roommate Money B., also known as Ronald Brooks. Shock G particularly admired the new recruits because, as he told Weisbard, “Money B and DJ Fuse eat, sleep, and drink hip hop.” The revamped Digital Underground fell halfway between the hardcore Oakland rapping style that was Money B’s preferred mode and the extravagant strangeness of Shock’s P-Funk model. Trouble hadn’t strayed far, though; the ensuing album, Sex Packets, was not released until early in 1990 due to legal problems related to samples the group had selected.

Tall Tales and Sex Packets
Thematically Sex Packets juxtaposes sex, fun, and silliness with a few more serious subjects, most notably street life as in “The Danger Zone.” The album also spawned the infectious hit “Doowutchyalike,” a tune Billboard branded “a hilarious party record espousing personal freedom,” in addition to “The Humpty Dance” and “Underwater Rimes.” The latter songs showcased the rapping talents of two mysterious figures, Humpty Hump and MC Blowfish. Though Shock G never admitted to providing the voices for these two characters, his talent for different voices is legendary in the rap community. Stories circulated in press releases and interviews about Humpty’s former career as a soul singer and the tragic accident that deformed his face and ruined his voice—hence the necessity of his wearing a rubber nose in videos and other appearances. MC Blowfish, according to the band, pursued the group by swimming back and forth between the two coasts.

The yarns escalated; Shock even claimed in his interview with Musicmakers that the group formed when “we were all out eating pizza. The ground rumbled and opened up and this voice said ‘You are the chosen ones.’ We were sucked down into this underground recording lab and the equipment in that place was so fabulous that we didn’t even worry about what was happening.” The story continued: “This light blinded us, we lost consciousness, and two days later we had these master tapes in our hands and our name was Digital Underground.”

Perhaps the most controversial element of Sex Packets was the legendary—and, many claim, fictional—substance that gave the album its name. Shock told interviewers around the world that sex packets were a special drug originally designed for astronauts; “All they have to do is put a capsule on their tongue in order to have an orgasm,” he explained to Musicmakers. Given Shock’s flair for tall tales, the sex packets story was taken with a grain of salt by most reviewers. Though critics were skeptical about the existence of the drug, they were believers when it came to the record. Detour proclaimed, “This is one hyped up album.” Rolling Stone called it an “inventive debut,” and Sounds declared that “Sex Packets is consistently engaging in a way that many rap albums aren’t. It also shows there are no rules in hip-hop.” Billy Kiernan of the San Francisco Independent dubbed the effort “a concept album that will be considered a landmark in rap music for years to come.” Kiernan’s praise was modified only by his distaste for some of the album’s “sexist imagery.”

“The Humpty Dance” made its way into Billboard’s Top 100 with a bullet, dominating both radio and dance clubs, and helping propel the album to gold status. Another sales-pushing factor was the innovative sampling featured on Sex Packets. For example, “Underwater Rimes,” the self-described “Underwater Hip Hop Extravaganza” and sequel to Parliament’s deep-sea funk epic “Aqua Boogie,” sampled that Parliament tune as well as “Chameleon” by jazz-rock pioneer Herbie Hancock; the latter was a sly choice, given Shock’s chameleonlike character changes. “The Humpty Dance” nicked its large-nosed character’s groove from Parliament’s nasally fixated LP Trombipulation; “The Way We Swing” lifted a riff from “Who Knows” by guitar legend Jimi Hendrix, looping it to emphasize the swing in its rhythm. “Doowutchyalike” and two other tracks sampled different parts of Parliament’s hit “Flash Light.”

Digital Underground toured the planet, discovering a worldwide audience that was mad for P-Funk-inspired hip hop. In Vienna, when a computer program lost all the group’s samples, a DJ loaned them all the records they needed to redo the program.

A World Tour, an EP, and New Personnel
1990 saw the advent of This Is An EP Release. The seven-track recording featured the single “Same Song” and marked the debut of rapper 2Pac, who would later release a hit solo album entitled 2Pacalypse Now. The Underground had also recruited rapper-drummer Big Money Odis and singer-musician-producer Ramone PeeWee Gooden. Digital Underground continued touring and reaching ever-larger audiences in the United States, Europe, and Japan.

Tupac performing with Digital Underground, January 1, 1990
Tupac performing with Digital Underground, January 1, 1990

By 1991, as noted in The Source, the band had “sold more product, domestically, than any other Tommy Boy artist, including De La Soul.” That year Chopmaster J left the group to start his own project, Force One Network.

Backstage with 2Pac & Shock G at KMEL Summer Jam, 1991
Backstage with 2Pac & Shock G at KMEL Summer Jam, 1991

In 1992 Digital Underground released Sons of the P. The new album sported a more ambitious batch of Funkadelic samples than either of its predecessors, and none other than George Clinton himself appeared on the record to hand the mantle of P-Funk over to the Underground. “Digital Underground is where Parliament left off,” Shock insisted to James Bernard in the New York Times. “Funk can be rock, funk can be jazz, and funk can be soul. Most people have a checklist of what makes a good pop song: it has to be three minutes long, it must have a repeatable chorus, and it must have a catchy hook. That’s what makes music stale. We say, ‘Do what feels good.’ If you like it for three minutes, then you’ll love it for thirty.” The joy-in-repetition argument certainly applies to the record’s first single, “Kiss You Back,” which Bernard described as “an irresistible, playful ode to cuddling and snuggling.” He further observed that the album “focuses attention on the ground-shaking bass, which seems injected with adrenaline.”

Yet Sons of the Palso takes up more sober topics. Even the relatively comical “No Nose Job”—narrated by Humpty, of course—makes some tough arguments about cosmetic surgery as a retreat from ethnicity. “Heartbeat Props” insists that too many people don’t get “proper respect” until they die; to remedy this, the song lists dozens of prominent African Americans, from Muslim minister Louis Farrakhan to rapper Queen Latifah.

Most of all, though, Sons of the Ptakes the legacy of P-Funk as its major focus; the recurring theme here is the legendary “DFLO Shuttle”—the mythical train that transports Clinton’s successors from the underground to the outside world. This concept, like the cover photo of the group members sleeping in glass pods, makes reference to Parliament’s 1976 album The Clones of Dr. Funkenstein. And yet Digital Underground didn’t merely pay homage to those funkmasters in efforts like “Tales of the Funky,” a song detailing the highlights of P-Funk tours over a sample of Funkadelic’s “One Nation Under a Groove.” “We’ve come out and declared that this isn’t a tribute to P-Funk, it is P-Funk,” Shock told The Source. “Instead of harping on how live everything that George [Clinton] did was, he’s on the album, doing it. It’s like the next step in funk.” New personnel included singer Schmoovy Schmoove and young rapper MC Clever. Shock emphasized that Digital Underground “is a liquid band,” and that the rotating personnel—and multiple MCs—reflect a desire “to bring fresh new perspectives into Black music. If we just sealed ourselves off and said ‘these are the members, ’ where would the opportunity be for other brothers? Plus, it keeps it fun.”

Fun, of course, has been the name of the game all along for Digital Underground—a band that, in New York Times contributor Bernard’s words, “make the kind of music that would make Scrooge laugh, if he were not too busy dancing.” As Shock G was quoted as saying in Spin, “We’re trying to break out of the normal modes of music. There’s no one out there like us.” Like Clinton, Shock expanded a band into a small musical industry, and the fluctuating musical talents of Digital Underground serve to get more solo projects onto the market while infusing Underground records and tours with fresh blood. Of course, into every hip hop dynasty a little rain must fall; “Humpty’s been on an attitude trip and doesn’t show up unless he has to,” Shock reported to Bernard. “He doesn’t do any interviews until ‘No Nose Job’ comes out.”

Selected discography
“Underwater Rimes”/ “Your Life’s a Cartoon” (single), TNT/Macola, 1988.
Sex Packets (includes “Doowutchyalike,” “The Humpty Dance,” “Underwater Rimes,” “The Way We Swing,” and “The Danger Zone”), Tommy Boy, 1989.
This Is an EP Release (includes “Same Song”), Tommy Boy, 1990.
Digital Underground, Tommy Boy, 1991.
Sons of the P (includes “Kiss You Back,” “No Nose Job,” “Heartbeat Props,” “Good Thing We’re Rappin’,” “The DFLO Shuttle,” and “Tales of the Funky”),

History Of Live Squad

Live Squad’s career started as far back as 1988 when they had two of their first tracks featured on a very limited Percee P release called ‘BQ In Full Effect’. However Live Squad will always be more popularly known for their association and collaborations with 2Pac rather than their own work but even then, most 2Pac fans do not know the extent of their involvement and influence they had on 2Pac and his work so I’ve put this together with the hope of giving them the recognition they deserve and to give them their rightful place in hip-hop history.

Live Squad were Stretch (Randy Walker), his brother Majesty aka Maj (Christopher Walker) and their DJ K-Low.

Shock G first met Stretch and Maj in 1990 and, through Shock, Stretch was introduced to 2Pac in the summer of 1991 where the two instantly became best friends barely spending even a few minutes apart from that moment on. Stretch was a producer as well as a rapper and he became involved in a lot of 2Pac’s pre-Death Row work, and most of the tracks he produced he would have a verse on. Stretch makes his first guest appearance on the Digital Underground track “Family of the Underground” from the 1991 album “Sons of the P”.

Stretch was close friends with Ed Lover from ‘Yo! MTV Raps’ who got Live Squad signed to the record label “Tommy Boy” where in 1992 they released their first double A side single “Murderahh/Heartless” (from where Pac’s “Heartless” tattoo takes it homage).

Grand Imperial Thug Music
Grand Imperial Thug Music

Stretch started performing in shows with 2Pac, appearing in his music videos and he produced songs on the albums “2Pacalypse Now”, “Strictly 4 My Niggaz”, “Thug Life Volume 1” and the scrapped album “Troublesome 21” (from which most of the tracks were later used for “Me Against the World” and “R U Still Down?”).

In some of Pac’s early work a company called “Grand Imperial Thug Music” is credited whenever Live Squad appear on or produce a 2Pac record, although Stretch or Majesty are not named for any of the production in the “Thug Life” booklet this same company is credited for production for a lot tracks on the album and it is my understanding that “Grand Imperial Thug Music” is 2Pac plus Live Squad meaning Stretch and Majesty helped produce “Thug Life Volume 1“; “Grand Imperial Records” went on to become a record company co-owned by Majesty and Queens rapper E-Moneybags who recorded a few songs with Live Squad and 2Pac, most notably the track “Big Time” which was released in 2001.

Live Squad ‎– Game Of Survival
Live Squad ‎– Game Of Survival

In 1993 Live Squad released the ultra-violent mini-movie called “Game Of Survival” which was a showcase for 6 songs from the forthcoming soundtrack, the members of Live Squad only briefly appear in the movie in a music video at the start and in one skit, the rest of the movie is played by actors. Due to the movie’s graphic nature and Live Squad’s hardcore style, Tommy Boy were forced to drop them from their radio friendly roster and the soundtrack was never released.

In 1993 2Pac, Stretch and the Notorious B.I.G. starting hanging and performing shows together, during this period the three made several songs together which remain unreleased.
Stretch was with 2Pac when he was shot in New York on November 30th, 1994.

2Pac and Stretch were still friends until Pac was sent to jail on 14th February 1995 but their friendship quickly deteriorated after 2Pac learned that Stretch was still doing shows with the Notorious B.I.G. after he had accused him of being involved with the New York shooting, Pac felt like Stretch had sided with Bad Boy while he was locked up, In a Vibe interview 2Pac went on to insinuate that Stretch never tried to help him during the shooting which Stretch responded to in another Vibe interview. 2Pac sent a letter from jail and in the footer are the names of all people he considered his enemies struck out, Stretch’s name is last.

Stretch and Tupac
Stretch and Tupac

Stretch originally had a verse on 2Pac’s “So Many Tears” from “Me Against the World” but it was removed on the official release in 1995 while Pac was still in jail, he can still be heard (and is creditted in the booklets) for doing the backing vocals during the chorus.

During 1995 Stretch produced two tracks for Nas’s album “It was written“; “Take It In Blood” was on the regular release, “Silent Murder” was only released as the bonus track on the European version.

There is no evidence to show that Pac and Stretch ever met again when Pac was released from jail onto Death Row Records in October 1995, and on 30th November 1995 after dropping Maj off at his house, Stretch was shot twice in the back by three men who pulled up alongside his green minivan at 112th Ave. and 209th St. in Queens Village while he was driving. His minivan smashed into a tree and hit a parked car before flipping over. The murder happened nearly one year to the minute after Pac was shot in New York however the 2 shootings were not linked in any way and the timing is a total coincidence. It is believed that Pac visited Stretch’s grave to pay his respects.

The only time Stretch is ever mentioned by Pac again is on the song ‘Against All Odds’ from Makaveli when he says “and that nigga that was down for me, rest his head, switched sides, guess his new friends wanted him dead”.

Stretch features again on a 2Pac track called “God Bless the Dead” which was released on “Greatest Hits” in 1998, this appearance apparently slipped through Amaru’s radar as they have obviously been erasing Stretch from all of Pac’s work that is posthumously released for whatever reasons. This song is dedicated to “Biggy Smallz” which is mistakenly thought to be about the Notorious B.I.G or the producer Big D The Impossible aka Deon Evans, it was in fact a friend of Stretch’s named Drik who was killed.


The co-owner of Grand Imperial Records E-Moneybags was shot and killed in 2001, Majesty appears on a remake of the song “Regulate” which also has a music video in which he features.

A “Game of Survival” DVD and CD box set was released in 2001, the DVD contains the promo movie from 1993 plus a music video of the remake of E-Moneybag’s “Regulate” featuring Majesty and Prodigy.

Live Squad ‎– Game Of Survival

The CD contains various Live Squad unleaked material that is not available on any other releases including the phenomenal track “Daddy Bigtimers” as a bonus.

Majesty continues to drop the occasional verse on a mixtape, he also produced the track “The Reason” on Smif-n-Wessun’s album “Still Shinin’” in 2004.

The 2Pac album “Loyal To The Game” which was released in 2004 is further proof that Amaru have no intention of publicising Live Squad’s material; the booklet for the album shows that Stretch and Majesty have writing credit for a majority of the original songs however their verses, choruses, backing vocals, ad-libs and production were not used once.


RIP : 2Pac, E-Money-Bags, Big Stretch
RIP : 2Pac, E-Money-Bags, Big Stretch
Kim Walker, Sister from Majesty and Big Stretch
Tupac & Kim Walker (Sister from Majesty and Big Stretch)

12. 2Pac – Rebel of the Underground – 2Pacalypse Now


12. Rebel of the Underground

Producer : Shock G

Lyric :

Rebel.. rebel.. REBEL
Rebel.. rebel..

They just can’t stand the reign, or the occasional pain
from a man like me, who goes against the grain
Sometimes I do it in vain, so with a little bass and treble
Hey Mister! It’s time for me to explain that I’m the rebel
Cold as the devil
Straight from the underground, the rebel, a lower level
They came to see the maniac psychopath
The critics heard of me, and the aftermath
I don’t give a damn and it shows
And when I do a stage show I wear street clothes
So they all know me
The lyrical lunatic, the maniac emcee
I give a shout out to your homies
And maybe then, the critics’ll leave your boy alone, G
On the streets or on TV
It just don’t pay to be, a truth tellin MC
They won’t be happy till I’m banned
The most dangerous weapon: an educated black man
So point blank in your face, pump up the bass
and join the human race
I throw peace to the Bay
Cause from the Jungle to Oaktown, they backin me up all the way
You know you gotta love the sound
It’s from the rebel — the rebel of the underground

Rebel he’s a rebel, rebel of the underground [4X]

Now I’m face to face with the devils
Cause they breedin more rebels than the whole damn ghetto
And police brutality
shit it put you in the nip and call it technicality
So you reap what you sow
So reap the wrath of the rebel, jackin em up once mo’
Now the fox is in the henhouse, creepin up on your daughter
While you sleep I got her sneakin out
Tupac ain’t nuttin nice
I’ll be nuttin how I wanna, and doin what I’m gonna
Now I’m up to no good
The mastermind of mischief movin more than most could
So sit and slip into the sound
Peep the rebel — the rebel of the underground

Rebel he’s a rebel, rebel of the underground [4X]

They say they hate me, they wanna hold me down
I guess they scared of the rebel — the rebel of the underground
But I never let it get me
I just make another record bout the punks tryin to sweat me
In fact, they tryin to keep me out
Try to censor what I say
cause they don’t like what I’m talkin bout
So what’s wrong with the media today?
Got brothers sellin out cause they greedy to get paid
But me, I’m comin from the soul
And if it don’t go gold, my story still gettin told
And that way they can’t stop me
And if it sells a couple of copies, the punks’ll try to copy
It’s sloppy, don’t even try to
I’m a slave to the rhythm, and I’m about to fly through
So yo to the people in the ghetto
When ya hear the bass flow, go ahead and let go
Now everybody wanna gangbang
They talkin street slang, but the punks still can’t hang
They makin records bout violence
But when it comes to the real, some brothers go silent
It kinda make you wanna think about
that ya gotta do some sellin out, just to get your record out
But 2Pacalpyse is straight down
So feel the wrath of the rebel — the rebel of the underground

Tupac is a rebel, rebel of the underground [8X]

Samples :

“Impeach the President” by The Honey Drippers
“The Pinocchio Theory” by Bootsy Collins

11. 2Pac – Tha’ Lunatic – 2Pacalypse Now

11. Tha’ Lunatic

Producer : Shock G

Lyric :

Ohh shit! Jumped on my man’s dick
Heard he had a twelve inch, now the bitch is lovesick
Who’s to blame, the guy or the groupie?
Heard I was down with D.U., now she wants to do me
Oooh-wee! This is the life
New bitch every night, never tripped off a wife
It ain’t right, but it’s cool how they come quick
Don’t try to flip with the lip cause I run shit
Hip hip, hooray for the AK
Spray when I lay competition, what a great day
Make pay, next is the wet sex
Hexed with the vex now they wreck with the complex
I’m set, wonder what I tote, check
Bloody as a coat-check, snappin motherfuckers necks
Revenge so sweet when it comes from
niggaz get done with the drum, watch my foes run
Nigga keeps comin when they can’t slip
Full of that shit, another hit from Tha’ Lunatic

Yeah, fuck that God! Word up
Blowin niggaz out the motherfuckin frame yaknahmsayin?
Constantly.. fuck that trick, we ain’t havin it

Leave me the fuck alone, you gets none of this
It’s suicidal, you lose your title like Doug-las
Cause I’m nothin nice and, I’m icin like Tyson
I’m grippin the mic and, my DJ is slicin
I’m tired of motherfuckers steppin to me with the SAME OLD
Tryin to do me like Nintendo
How the fuck you think I ever got this far?
By bootin motherfuckers like a shootin star
Cause I’m out to show, that I’m a dope MC
Think crack had you fiendin, wait’ll they get a load of me
Bitches on my dick, like a motherfuckin ‘conda
Niggaz wanna flip, let em step, and I’ll bomb em
See somethin you want, why don’t you come and get it
And then get waxed and taxed, like the government
Then I leave you sittin there, wonder where your money went
While your bitch is callin me, tellin me to come again
Nigga I’m loc’ed, when I smoke, from the indo
But we can be friends though, after you get broke like a window
That’s what you provoked, and now you’re smoked out
Lookin like a bitch, cause your whole fuckin posse, broke out
Punk motherfucker couldn’t roll on
He couldn’t hold on, game is too strong, nigga
Leave me the fuck alone, you gets none of this
Feel the wrath.. and revenge of Tha’ Lunatic

Yeah Tu’, tell them motherfuckers, word up
We ain’t havin it, NONE of that shit!!
Bitch ass niggaz, niggaz can’t fuck with us Tu’, word up
Ninety-one, we takin this WHOLE motherfucker over
Niggaz got PROBLEMS in ninety-one
Ninety-two, and ninety-three
and all that other shit, word up!

Recognize game when it smacks your bitch I’m back to rip
Puttin this on the map with this mackin shit
Time will tell if it’s made well
Well I raise hell and excel cause it pays well
Jordan couldn’t dunk it any harder, pump it any farther
I’m funky, that’s word to the father
Act like you know ‘fore I thump, the bolo
Thought you was a pimp, now you’re simpin for my solo
Oh no, not another new jack, swearin that he’s ruthless
Ducked, and now he’s fucked and left toothless
I can hear the fear in your flow, you ain’t prepared
You’re scared and you’re bound to go
It’s somethin, I guess I let the beat keep bumpin
Stop trippin off these niggaz cause they ain’t about nuttin
Or should I say NAYthin
Punk put my tape in, fuck all the fake-in
I’m sick of the bullshit
Come equipped and get ready to rip
or get the dick of Tha’ Lunatic

Ahhhh yeah! FUCK THAT! (the motherfuckin lunatic)
YouknowhatI’msayin? Yes Tu’!
Tell them niggaz what time it is knahmsayin?
(punk motherfuckers, get the dick of the lunatic)
Niggaz can’t fuck with us, word up
Bitch ass niggaz, FUCK EM!

Fuck all them niggaz
I’m tellin these niggaz that they ain’t got..
NAYthin on a nigga like me
We squashin these punk motherfuckers in ninety-one
ninety-two ninety-three.. and SO on
So let the beat FLOAT on
While I spray these PUNK BITCHES
with these dope ass lyrics
Thanks to Poppa for supplyin the DANK
Now it’s money in the BANK
And all y’all niggaz shit STANK
compared to this shit..

Fuck y’all punk bitches!
Tha’ Lunatic [ echoes to fade ]

Samples :

“One of Those Funky Thangs” by Parliament

2Pac – 2Pacalypse Now – 10. Brenda’s Got a Baby


10. Brenda’s Got a Baby

Producer :The Underground Railroad

Lyric :

Brenda’s got a Baby
Brenda’s got a Baby

I hear Brenda’s got a baby
But, Brenda’s barely got a brain
A damn shame
The girl can hardly spell her name
(That’s not our problem, that’s up to Brenda’s family)
Well let me show ya how it affects the whole community
Now Brenda really never knew her moms and her dad was a
Went in death to his arms, it’s sad
Cause I bet Brenda doesn’t even know
Just cause your in the ghetto doesn’t mean ya can’t grow
But oh, that’s a thought, my own revelation
Do whatever it takes to resist the temptation
Brenda got herself a boyfriend
Her boyfriend was her cousin, now lets watch the joy end
She tried to hide her pregnancy, from her family
Who didn’t really care to see, or give a damn if she
Went out and had a church of kids
As long as when the check came they got first dibs
Now Brenda’s belly is gettin bigger
But no one seems to notice any change in her figure
She’s 12 years old and she’s having a baby
In love with the molester, who’s sexing her crazy
And yet she thinks that he’ll be with her forever
And dreams of a world with the two of them are together,
He left her and she had the baby solo, she had it on the
bathroom floor
And didn’t know so, she didn’t know, what to throw away and
what to keep
She wrapped the baby up and threw him in the trash heep
I guess she thought she’d get away
Wouldn’t hear the cries
She didn’t realize
How much the the little baby had her eyes
Now the baby’s in the trash heep balling
Momma can’t help her, but it hurts to hear her calling
Brenda wants to run away
Momma say, you makin’ me lose pay, the social workers here
Now Brenda’s gotta make her own way
Can’t go to her family, they won’t let her stay
No money no babysitter, she couldn’t keep a job
She tried to sell crack, but end up getting robbed
So now what’s next, there ain’t nothing left to sell
So she sees sex as a way of leaving hell
It’s paying the rent, so she really can’t complain
Prostitute, found slain, and Brenda’s her name, she’s got a baby


(don’t you know she’s got a baby)
(don’t you know she’s got a baby)
(don’t you know she’s got a baby)
(don’t you know she’s got a baby)
(don’t you know she’s got a baby)
(don’t you know she’s got a baby)

09. 2Pac – If My Homie Calls – 2Pacalypse Now


09.  If My Homie Calls

Producer : Big D The Impossible

Lyric :

[Verse One:]

Ever since you was a pee-wee, down by my knee with a wee-wee
We been coochie-coo all through school, you and me G
Back in the days we played practical jokes on
everybody smoked with they locs and the yolks on
All through high school, girls by the dozens
Saying we cousins, knowing that we wasn’t
But like the old saying goes
Times goes on, and everybody grows
Grew apart, had to part, went our own ways
You chose the dope gaaaane, my microphone pays
In many ways we were paid in the old days
So far away from the crazies with AK’s
And though I been around clowning with the Underground
I’m still down with my homies from the hometown
And if you need, need anything at all
I drop it all for y’all, if my homies call

[Verse Two:]

It’s a shame, you chose the dope game
Now you slang cane on the streets with no name
It was plain that your aim was mo’ cane
You got game now you run with no shame
I chose rappin tracks to make stacks
In fact I travel the map with raps that spray cats
But now I don’t wanna down my homie
No matter how low you go you’re not lowly
And I, hear that you made a few enemies
But when you need a friend you can depend on me, call
If you need my assistance there’ll be no resistance
I’ll be there in an instant
Who am I to judge another brother, only on his cover
I’d be no different than the other
I’m down to the E-N-D
Cause it’s a fall in no time at all
I’m down for y’all, when my homies call
Word, if my homies call

[Verse Three:]

Well it’s ninety-one and I’m living kinda swell now
But I hear that you’re going through some hell pal
But life making records ain’t easy
It ain’t what I expected it’s hectic it’s sleazy
But I guess that the streets is harder
Trying to survive in the life of a young godfather
My homies is making it elsewhere
Striving, working nine to five with no health care
We both had dreams of being great
But his deferred, and blurred and changed in shaped
It’s fate, it wasn’t my choice to make
To be great, I’m giving it all it takes
Trying to shake, the crates and fakes and snakes
I gotta take, my place or fall from grace
The foolish way, the pace is quick and great
Smiling face, to hide the trace of hate
But my homie would never do me wrong
That’s why I wrote this song, if you ever need me it’s on
No matter who the foe they must fall
Us against them all I’m down to brawl if my homies call

Samples : 

“Let a Woman Be a Woman – Let a Man Be a Man” by Dyke & the Blazers
“Fat Mama” by Herbie Hancock
“I Don’t Know What This World Is Coming To” by The Soul Children
“Around the Way Girl” by LL Cool J
“Prelude” by N.W.A

08. 2Pac – Crooked Ass Nigga – 2Pacalypse Now

08. Crooked Ass Nigga

Producer : Stretch

Lyric :

“Suddenly I see, some niggaz that I don’t like” – [Ice Cube]
[machine gun fires] “Got him!” – [Dr. Dre]

A smokin ass nigga robbed me blind
I got a tech nine now his smokin ass is mine
I guess I felt sorry for the bastard, he was broke
I didn’t know he smoked so I didn’t watch him close
He caught me on the sneak tip, now the punk’s in deep shit
Catch him on the streets, I’ma bring him to his feet, quick
Pass the clip, I think I see him comin now
Fuck the bullshit, posse deep and let’s run him down
Gots to be the first one to hit ya when we meet
Comin quickly up the streets, is the punk ass police
The first one jumped out and said, “Freeze!”
I popped him in his knees and shot him, punk.. please..
Cause cops should mind they business, when we rush
Now you’re pleadin like a bitch, cause you don’t know how to.. hush..
Now back to the smoker that robbed me
I tell you like Latifah, motherfucker give me.. body..
One to the chest, another to his fuckin dome
Now the shit can rest, yo tell him to leave me the fuck alone
Two very bloody bodies on the streets
A nosey ass cop and a nigga that robbed from me
Run from your backup punk, how you figure?
My finger’s on the trigger for you crooked ass niggaz

Crooked ass niggaz
Criminal behaviour.. criminal.. criminal behaviour
Suddenly I see..

Now listen to the mack of the crooked nigga trade
With the fine criminal mind, cold rips like a blade
It’s already quick steppin to the niggaz with the props
and any motherfucker with the flim-flam drops to the knot
Ten o’clock, is a motherfuckin gank move
Stretch is Uptown, clockin weight the shit is real smooth
A nigga’s tryin to play me like he know me but he don’t
Sittin on ten keys, I’ma get him, think I won’t?
My nigga 2Pac, got the fuckin Glock cocked, and he’s ready
When the kid, didn’t even bring the weight bag, instead he
welcomed us, into his apartment
Oh this even better, two to the head, he’s dead a clean get-a-WAY!
Niggaz got PAID!
And yet another sleepin ass nigga got slayed, word up
By a crooked motherfucker named Stretch
And the T-U-P-A-C, the police can’t catch..

The crooked ass niggaz
Criminal behaviour..
Yeah.. ya don’t stop!

Crooked ass niggaz
Criminal.. criminal behaviour
Suddenly I see, some niggaz that I don’t like

Now I could be a crooked nigga too
When I’m rollin with my crew, watch what crooked niggaz, do!
I got a nine millimeter Glock pistol
I’m ready to get witcha at the drop, of a whistle
So make your move, and act like you wanna flip
I fire thirteen shots, and pop another clip
I bring luck, my Glock’s like a fuckin mop
The more I shot, the more motherfuckers dropped
And even cops got shot when they rolled up
Best to bring a knot, or get popped, I’m a soldier
I ain’t the type to fetch ya, ask Stretch, he’s my witness
Smoke til I’m blitzed, fuck a motherfuckin piss test
I’m trigger happy, try to ‘tack me and I’ll drop you quick
Long as I got a clip I got some shit to hit em with
The nigga killer I get iller when the shit gets thick
My brain flips, I start thinkin like a lunatic
I rip shit, came equipped with a bigger crew
I thought these niggaz knew, I’m a crooked nigga too

Criminal behaviour.. criminal.. criminal behaviour

Crooked ass niggaz come in all shapes and sizes
They wear disguises, backstabbin’s what they specialize in
They’ll try to getcha, they’ll sweatcha to get in the picture
And then they hitcha, son of a bitch! Now he’s richer
Crooked ass nigga..

Criminal behaviour.. criminal.. criminal behaviour
Suddenly I see, some niggaz that I don’t like
Criminal behaviour
Criminal, criminal, crim
Crim-criminal behaviour
Criminal behaviour, criminal behaviour..

[machine gun fires]
“Suddenly I see, some niggaz that I don’t like” – [Ice Cube]
[machine gun fires]
“Suddenly I see, some niggaz that I don’t like” – [Ice Cube]
[machine gun fires]
“Suddenly I see, some niggaz that I don’t like” – [Ice Cube]
Criminal behaviour
Criminal, criminal, crim
Crim-criminal behaviour
Criminal beha.. crima-crima-crima
Crim-crim, criminal behaviour
Criminal behaviour..

“Suddenly I see, some niggaz that I don’t like” – [Ice Cube]
[machine gun fires] “Got him!” – [Dr. Dre]

“Suddenly I see, some niggaz that I don’t like” – [Ice Cube]
[machine gun fires] “Got him!” – [Dr. Dre]

“Suddenly I see, some niggaz that I don’t like” – [Ice Cube]
[machine gun fires] “Got him!” – [Dr. Dre]

Samples : 

“Crab Apple” by Idris Muhammad
“Gangsta Gangsta” by N.W.A
“Fuck tha Police” by N.W.A

07. 2Pac – Something Wicked – 2Pacalypse Now


07. Something Wicked

Producer – Jeremy

Lyric :

Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come

More than an adversary I’m very quick
I’m ready to hit ’em with this gift
I’m equipped to kick
Grab you coat and you hat, cause I’m prepared to clamp
Scared the [???], and caught them mutha-fuckas damp
Oh shit, 2pacalypse is back and strapped
Attacking the pacs, I’m kicking the facts for stacks to rap
And those that max, relax and let the blacks get jacks
I’m getting taxed, my pacs is packed with angry blacks
I’m ready to go
I’m ripping the shows, hitting the dough
Getting the hoes [???]
Pumping the flow, gangster ho
cause the nose knows
Check the pose, froze, when you see me close
Punks you gonna roast, host, in a cloud of smoke
Broke, choked on a rope, and then smoked
wrote, crimes that’ll bring me bank notes
nope, I ain’t the type of fella that you use though
Kkkkkkicking the funky flava
Pumping [???] producers
Run for cover when you hear the bass drop
One verse is all it takes
Something wicked this way come

Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come
Something wicked this way come

Something wicked this way come
Something wicked this way come
Something wicked this way come
wicked wicked this way comes
wicked wicked this way comes
wicked wicked this way comes
Something wicked this way come

Samples : 

“Welcome to the Terrordome” by Public Enemy


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