(AllHipHop News) Video vixen Sally Ferreiraclaims 50 Cent had her blacklisted from the industry. According to TMZ, Ferreira filed a defamation lawsuit against the rapper for calling her a “thirsty b***h” on Instagram.
“WARNING: Do not attempt to work with this thirsty Video b**** [Her name is Sally Ferreira and she’s a model…] she sent photos Of the video shoot to Mediatakeout Saying I’m in a relationship Withher Cananyone say RESHOOT,” wrote 50 in post that has since been deleted.
Ferreira also alleges 50 spread false rumors that he was dating her. She says she has been in a committed relationship with her fiancée for 9 years which 50 knew.
The model alleges the social media posting led to her not being able to book work, public ridicule, and emotional distress.
“Before the defamatory posting, Ms. Ferreira was working on three separate entertainment industry projects and enjoyed a good reputation in the industry,” stated the suit. “As a direct and proximate result of the defamatory posting and the subsequent media fallout and negative publicity surrounding Ms. Ferreira, as of the date of this filing, all three projects have been put indefinitely on hold.”
(AllHipHop News) MMG rapper Meek Mill is expected to the stand in his case against the city of Philadelphia next week. Meek is suing the city and members of the police department for what he believes was an unnecessary detention in 2012.
The Philly performer was detained by police after his car was stopped on Halloween night that year. Officers said they smelled weed in the vehicle, but Meek refused to allow them to search the car.
“You are gonna have to call the dogs,” Meek told the cops according to the police report.
Drug sniffing dogs were brought to the scene, and the officers stated the animals “alerted to the presence of drugs.” Cops used that as probable cause to detain Meek, despite the fact no illegal substances were found at the scene.
The Dreams and Nightmares creator was held in custody for nine hours causing him to miss scheduled events. He also claims the entire ordeal cost him around $1.3 million in a deal with Puma because of the negative press.
Two officers have been named as defendants in the suit – Andre Boyer and Alvin Outlaw. Boyer was fired in 2013. A Police Board inquiry found he committed several violations surrounding $6,000 seized during a separate 2011 arrest. He also received numerous civilian complaints.
Another officer, Victoria Ayres, is accused of mocking the Meek Mill situation on Instagram. Meek’s lawyers say Ayres posted a picture to the social media site with the caption, “‘Talk about dreams and nightmares, Meek is sitting in cuffs courtesy of the 22nd District! I’m rollin! Maybe he’ll sign our copies.”
Meek is seeking compensation for “damage for the mental anguish, anxiety, embarrassment and humiliation caused by the unlawful stop.”
Jury selection in the case is set for Monday, April 28th. Opening statements are expected to begin on Tuesday.
(AllHipHop News) Diggy Simmons already has rapper and reality television show star on his resume, and now Rev. Run’s son is adding television actor to the list. Simmons is set to star in the scripted series The Start Up on BET.
The creator of the Unexpected Arrival album will play Blake Monroe, founder of the entertainment blog TheJetsetters.com. The show is said to represent what it means to be “young, gifted and digital.”
The series also features Teyana Taylor, Bria Murphy, Allen Maldonado, Chris Brew and Stephanie Charles. It is being executive produced by Mara Brock Akil and Salim Akil.
The Akils’ other program The Game has been picked up for an eighth season. BET is also bringing back Real Husbands of Hollywood and Being Mary Jane.
(AllHipHop News) Two Bronx men are suing Rick Ross for injuries they claim to have sustained at a 2011 party. Radar Online reports Jeison Soto and Edward Soto blame Ross for a fight that broke out during his birthday event at the Umbrella Lounge.
The plaintiffs claim Ross started the brawl that included members of his entourage and Umbrella Lounge employees. The Sotos say the incident led to “multiple bodily injuries.” They also believe the party had inadequate security.
Apparently, Ross was issued a summons that was drafted in 2012. According to the Sotos, the Maybach Music Group boss never responded.
Both men previously sued Umbrella Lounge. The venue then sued Ross on the grounds the locale provided enough security to end the violence, but Ross and his crew continued to fight outside the club leading to the two men getting injured.
(AllHipHop News) Lil Boosie has only been free from prison for a few weeks, but the veteran rapper has already examined the Hip Hop landscape at the moment. According to Boosie, the game is not looking too strong.
When asked by Complex how rap looks now, Boosie responded, “Weak… as far as what I talk about.”
He continued, “I’m in my own lane as far as the real music, as far as music that can touch people. Not just make people dance, but make people think.”
Bad Azz also stated he does not believe the South is on top of the game anymore. “Reality” is what’s missing from southern Hip Hop added the Louisianan.
“If you listen to a lot of artist’s records, you would think everybody in the south is popping bottles and riding in foreign cars,” he said. “It’s not like that. It’s more people struggling than more people ballin’.”
Boosie recently announced his next album will be dropping this summer. He will also appear on 2 Chainz’s upcoming Freebase EP.
(AllHipHop News) Jay Electronica has always been a mysterious figure in Hip Hop. The New Orleans native continues that impression with a vague tweet he recently posted.
The Roc Nation emcee took to Twitter to say, “ps, we are going to try and burst the heavens open on July 12th.” After releasing a few tracks already this year, most noticeably the “We Made It” remix with Jay Z, speculation began once again that a Jay E album may finally be on the way.
Electronica offered another sign that he could be ready to share his long-awaited debut LP in another tweet. He revealed he plans to fill up his YouTube channel with new content in the coming days and weeks.
From his forthcoming album Fallen King releasing May 6th, Thi’sl drops a visual for the 2nd single “Take My Life”.
The song features Thi’sl and two fellow St. Louis rappers – Flame, and Json.
Thi’sl said “Last year when I saw the rise of attacks against Christians in places like Peshawar, Pakistan where 85 believers were murdered at All Saints Church or in Nairobi, Kenya where 70 plus were killed at the shipping center, I wanted to make a rally song that would communicate to believers around the globe,” Thi’sl said. “I wanted to encourage Christians to be courageous in times of persecution, and to send a message to our brothers and sisters far away letting them know that we see what’s happening and we are praying and standing with them.”
Follow Thi’sl on Twitter @thisl. Find more from AllHipHop.com contributor Chad Horton at Rapzilla.com, and follow him on Twitter (@chadhorton).
In the circus that has become American politics, a recurring ploy by the conservative right wing has become evident. Repeatedly, reactionary conservatives latch on to some random citizen, often a White male, as the embodiment of all the virtue of their self proclaimed noble struggle against the abuses of government. During the 2008 election it was the rather vapid figure Joe “The Plumber” who filled that role, and today that character is the gun slinging cattle rancher Cliven Bundy.
Bundy’s dispute stems from the fact that his cows have been grazing on federal land in the state of Nevada for over 20 years without paying the required grazing fees. Bundy accumulated over $1 million dollars in fees and went through several court actions claiming “States Rights,” arguing the land belonged to Nevada and not the Federal Government.
Therefore, Bundy claimed his rights as a citizen of Nevada were being encroached upon. Bundy lost all those court battles. When federal authorities began to seize Bundy’s illegally grazing cattle he alerted his fellow local ranchers for support and staged an “O.K. Corral” type of stand off likened to a scene from the classic TV Western Bonanza. Right wing media, always seeking to score points in the Obama age, caught on to the story and caused a Republican circling of the wagons around Clive Bundy’s cause. Of course Republicans have no problem with the government using tax payer dollars to fund spurious military exploits and savagely brutal drone campaigns, but when a clearly wrongheaded cattle herder who fits their ideological profile offers the ability to make great talking points, why not join the party.
“His cause has won support from Senator Rand Paul, the libertarian
Republican from Kentucky who is likely to run for president. Senator
Dean Heller, a Nevada Republican, referred to Mr. Bundy’s supporters as
“patriots.” Senator Harry Reid, the Nevada Democrat who is the Senate
majority leader and has a long history of pushing for protection of
public lands, denounced the rancher’s supporters as “domestic
terrorists.”
One of the greatest ironies about all this claptrap by Republicans about the Federal Government “abusing its authority” in what they are billing as over-reach is that little attention has been payed to the likely way Bundy acquired his “family land” in the first place. According to reports, Bundy inherited his land from his ancestors who “settled” there in the 1880s. In the wake of racially charged statements Bundy spewed asserting that Blacks would have been better off if still slaves as opposed to doing nothing as he perceives them to be, it’s interesting to note that maybe if those supposed Blacks got hundreds of acres of land in a free government handout like Bundy’s ancestors probably did, he’d think twice about making such ridiculous comments. Between 1862 and 1976 the United States government gave hundreds of thousands of acres of land to the White poor to graze and populate the great western expanse often for FREE. The program was called the Homestead Act.
Over ten percent of all the land in the United States was given to poor whites to economically empower themselves starting under Abraham Lincoln while at the same time Black people were being denied 40 Acres and a mule. For Clive Bundy, a likely beneficiary of this program, to have the nerve to even prattle on about government abuse, and even better, yammer on about lack of Black initiative, in the face of the Federal Government probably bankrolling his whole family’s estate over a century ago is beyond comical, it’s offensive. The United States government has NEVER made a bona fide effort to repair the economic gulf caused by both slavery and Jim Crow–which lasted well into the 60’s in comparison to what was done to lift the White poor into the middle and upper middle class. This includes not only the Homestead act, but also the New Deal which lifted the white poor well into the middle and upper middle class into the 20th Century. Ira Katznelson, in his treatise, “When Affirmative Action was White,” does an excellent job of listing the ways Southern Segregationist Senators denied benefits from the Social Security Act to the GI Bill to the super majority of Blacks who lived in the South in order to maintain the economic exploitation of Black labor under Jim Crow. So next time you hear Jonathan Chait, Paul Ryan, or even Barack Obama prattle on about some “cultural defect” in the Black poor remind them that the only defect is that poor Blacks didn’t get the economic gravy train that has been given to poor Whites since the 1860s.
Though this is a digression, this all plays well into the fallacy of how the Supreme Court, or anyone else, can argue that enough has been done to level the playing field for Blacks, and affirmative action is no longer needed. There is not enough policy on the planet that could properly adjust Black people in America for the economic loss and damage caused to them because of White Supremacy. The fact that Affirmative Action for whites – which is partially listed in this link – has been going on unbounded well into the 20th century should alert anyone to how much the chips have been stacked in one groups favor to the detriment of another group.
Here is an excellent video of Dr. Martin Luther King discussing how ridiculous it is for people to expect Blacks to “lift themselves up by their bootstraps” when compared to the bailout the white poor and working class have been getting for over a century: MLK on Economic Justice
I say f*ck it all. ‘Cause I could be a whole lot of things/Go on and clip my wings/be a p### drunk, b*tch of a w####
Little Gabrielle Varner who appeared on the scene with a bubbly “Give It To U” single is now saying “f*ck it all”. On her latest leak from her upcoming album 4 Letter Words, Elle slurs her melodically melancholy vocals to express herself losing all her f*cks.
Elle Varner’s new album 4 Letter Words comes out later this year.
Check out Elle Varner’s new song “F*ck It All” below:
(AllHipHop Feature) This past Tuesday (April 22nd), Questlove began a six-part essay series with Vulture explaining how “Hip Hop” had been misappropriated and failed Black America. Less than a week before Questlove’s stirring essay, Tommy Hilfiger informed Bloomberg Businessweek of the impact Hip Hop had on his brand in the 1990s:
Look, it fueled a lot of growth, but it took us away from our roots. We came back to our roots 10 years ago; that’s when our business started to really stabilize and grow again. When people ask me advice, I say stick to who you are. Stick to your guns. There is an image and attitude to most brands and that’s really important. I like to stick to my heritage and not chase trends and at that point we were chasing trends. Chasing trends was easy but it was dangerous. It’s more important to me now to be consistent.
In this feature, Questlove’s essay is used to explain the motives and truths of Tommy Hilfiger’s current feelings on his brand’s history with Hip Hop.
“Look, it fueled a lot of growth, but it took us away from our roots.”
“It” and “trend”. Those are the only words Tommy Hilfiger used when speaking of the musical movement of the 90s that helped his clothing brand achieve a valuation of $1.9 billion by the end of that very decade. Hilfiger’s involvement with Hip Hop in the 90’s began with a chance encounter with Grand Puba at John F. Kennedy Airport in the early 90s. Fascinated by the manner in which Puba wore the clothing, he began working with styling Hip Hop artists.
So, why would he refrain from even mentioning one of the most influential aspects in its rise, by name? Hilfiger’s inability to identify Hip Hop by name derives from the oversaturation of the term “Hip Hop” diluting the uniqueness of its identity. This is an idea Questlove proposed in his essay:
The two biggest stars, Beyoncé and Rihanna, are considered pop (or is that pop-soul), but what does that mean anymore? In their case, it means that they’re offering a variation on hip-hop that’s reinforced by their associations with the genre’s biggest stars: Beyoncé with Jay Z, of course, and Rihanna with everyone from Drake to A$AP Rocky to Eminem.
Hilfiger’s introduction to Hip Hop is analogous of his overall attitude towards the genre: an accidental goldmine discovery instead of a partnership predicated on genuine cultural intrigue. He even told The Guardian in a 2011 interview that he initially viewed “the rap community like street kids wanting their own brand”:
I looked at the rap community like street kids wanting their own brand. But now I look at that period with the rappers in the 90s as a trend of the moment. What it taught me was never to follow a trend, because trends move on.
“We came back to our roots 10 years ago; that’s when our business started to really stabilize and grow again.”
By May 2006, the landscape of “Hip Hop clothing” was dramatically changing. Phat Farm was sold to Kellenwood, FUBU had moved their operations to Europe and Tommy Hilfger had sold his company to Apax Partners. In 2010, weeks after Phillips-Van Heusen (owner of Calvin Klein) had purchased Hilfiger’s company, Hilfiger explained to the The New York Times that oversaturation and oversupply caused its decline as “It got to the point where the urban kids didn’t want to wear it and the preppy kids didn’t want to wear it”.
When you factor in Questlove’s view on Hip Hop’s growing popularity, it is safe to assume that while its ascension commercially helped Tommy Hilfiger become an global brand, its ubiquity also contributed to its irrelevance:
Once hip-hop culture is ubiquitous, it is also invisible. Once it’s everywhere, it is nowhere. What once offered resistance to mainstream culture (it was part of the larger tapestry, spooky-action style, but it pulled at the fabric) is now an integral part of the sullen dominant.
Russell Simmons echoed similar thoughts during a 1996 interview with the The New York Times and helps elucidate the connection between Questlove’s quote and Tommy Hilfiger’s love lost with Hip Hop:
When you use the word ‘hip-hop’ in fashion, you’re looking at it as a trendy thing. ‘When you use the word ‘hip-hop’ in music, it’s now a mainstream concept. At the end of the day, what you want to be is American sportswear.
“When people ask me advice, I say stick to who you are. Stick to your guns. There is an image and attitude to most brands and that’s really important.”
For the past decade, Tommy Hilfiger has been making a concerted effort to let it be known that Hip Hop was no more than a very successful clothing line campaign from the thousands his company has produced over the past 30 years.
“Hip-hop fashion” makes a little sense, but even that is confusing: Does it refer to fashions popularized by hip-hop musicians, like my Lego heart pin, or to fashions that participate in the same vague cool that defines hip-hop music
Carl Williams, owner and creator of Karl Kani told The New York Times in September 1996 “just saying you’re hip-hop clothing, you’re cutting yourself off from a whole other area of the business.” In December 1998, Usher Raymond sued Tommy Hilfiger for using his image in an advertisement without compensation:
“I like to stick to my heritage and not chase trends and at that point we were chasing trends. Chasing trends was easy but it was dangerous. It’s more important to me now to be consistent.”
Tommy Hilfiger was born in Elmira, New York on Mach 24, 1951, 28 years before Sugarhill Gang “Rapper’s Delight” became the first rap song to enter the US Top 40. By the time Def Jam released its first rap album, LL Cool J’s Radio on November 18th 1985, Hilfiger had started a company, filed for bankruptcy, sold the company and started Tommy Hilfiger Corporation.
His “heritage” and “roots” are as far from Hip Hop as East New York, Brooklyn is from Superman’s Fortress of Solitude. Tommy Hilfiger’s relationship with Hip Hop was purely a business arrangement predicated on Hip Hop’s continual growth as a counterculture. Once that growth led to Hip Hop becoming mainstream, as Questlove explains, it became stagnant by virtue of its own progression:
There are patterns, of course, boom and bust and ways in which certain resources are exhausted. There are foundational truths that are stitched into the human DNA. But the art forms used to express those truths change without recurring. They go away and don’t come back.
(AllHipHop) Basketball star Skylar Diggins has become one of the leading players in the WNBA. The Notre Dame graduate is also as committed to helping the youth in her hometown as she is helping the Tulsa Shock win a championship.
Diggins returned to South Bend, Indiana to host the “Fuel Up, Play and Learn With Skylar Diggins” event. She partnered with GENYOUth Foundation to provide children at the Martin Luther King Recreation Center a day of dialogue and fun activities.
“Being part of the GENYOUth Foundation Board has given me a platform to continue my personal mission of making sure today’s youth understand the importance of being healthy, and helping to provide easy access to environments that encourage it,” stated Skylar Diggins. “As a board member, it gives me and many others the opportunity to lead the effort of gaining commitments of assets to launch and fund solutions to positively effect change for children’s health.”
“By collaborating with our Board members, like Skylar, we are able to bring together more resources to deliver on our main goal of generating actionable steps to get kids eating better and moving more at school and in their communities,” said Alexis Glick, CEO of GENYOUth Foundation. “Schools cannot succeed alone. The broader community, including business leaders, health professionals, community organizers, parents, and students themselves must work together to make health and wellness a priority. Skylar’s reach is far and wide, and it is a commitment like hers that will make us successful.”
(AllHipHop Interviews) The world has been waiting to see Hip Hop icon Tupac Shakur’s story on the big screen for years, and a film about the charismatic performer is now officially in the works.
The 2Pac biopic will be directed by accomplished filmmaker John Singleton (Boyz n the Hood, Poetic Justice). Singleton also penned the script along with Jeremy Haft and Ed Gonzalez. The movie is being produced by Morgan Creek Productions and Emmett/Furla/Oasis Films in association with Open Road Films and Program Pictures.
Program Picture’s CEO L.T. Hutton is responsible for taking the film to Morgan Creek after obtaining a first-look deal with the company. Hutton, who spent time working at Death Row Records with Pac, placed the project as his number one priority. Two years later the film is in pre-production with an expected release date of 2015.
AllHipHop.com spoke with Hutton to get the scoop about the upcoming 2Pac movie. The music and movie producer gives details about the direction the film is taking and what fans can expect from its soundtrack.
How much time did you spend with Pac before he died?
I actually spent a ton of time with Pac once he came to Death Row. I followed his career and life even before he came to Death Row. Him and Snoop were close, and I’m originally from the Dogg Pound so when he came to Death Row I got to work with him. We had a lot of stuff stacked in the vault. We rocked out real tough.
How far along is the production process of the film at this point?
We’re almost all the way there. People want to know what happened, and why did it take so long. Well, Richard Pryor still isn’t made. Marvin Gaye still isn’t made. Some of the greatest biopics of all time still haven’t been made, so that’s a question for Hollywood on why things take so long. It’s a process. At this point, hopefully we’ll be shooting in a few months. We should have a 2015 release date on the film. We’re pretty much ready to go.
Have you begun casting for the film yet?
We’ve been casting throughout this entire process on the 2Pac role, because that is the main role. It’s so hard to find that type of energy, look, and skills. For the other roles that we have, we’ll begin casting probably within a month.
You mentioned some of the other roles. There are a few famous women that have been attached to 2Pac like Jada Pinkett and Kidada Jones. Will that part of his life be addressed in the film?
I’m not going to disclose exactly who you’re going to see, but you will see a lot of those women that were in his life. We’re covering a lot of deep intimate moments – different sides you won’t see on the Internet.
There’s other women that he talked to after the [1994] shooting. He went to certain people’s houses as soon as he got out of the hospital. You’re going to see a lot of different relationships that he had with various people. Not on a romantic level, just on different types of levels. He had a lot of female friends, so you’ll definitely see some of that stuff.
Pac with Jada & Kidada
How is Pac’s complicated relationship with Biggie going to be covered?
People know bits and pieces. I was fortunate enough to be right in the middle of all of it, so I know exactly what happened. It’s going to be covered like you haven’t seen it before. We’re going to dispel some of the myths about it. I don’t want to give it away, but it’s more realistic than Notorious. It’s not a diss. It’s just the truth.
We play it exactly how it happened which both of them deserve. It was a little bit different than how they portrayed it in that film. This one is going to be organic to show that these two young black men were truly friends before the nonsense.
It’s just a shame what happened, and how something that really could have been resolved, never got resolved. Life is too short for these types of petty beefs. As young black men, we have to be smarter. We give our lives to things that could be worked out. You will get some of those lessons from the story we tell, because it is a tragedy that two young men lost their lives. Not because of the East Coast-West Coast beef, but because of the environment that we lived in at that time.
No one has been prosecuted for Pac’s murder. There’s still a lot of speculation about who was involved in his death. Will the movie explore that topic?
On that topic, I say, “go see the movie.” [laughs] The only thing people know exactly is that Tupac was cut down before his time, and how we deal with that is going to be very exciting.
How involved is Pac’s mother Afeni Shakur in the making of the movie?
She has a huge role. She has approval of a lot of things, and she wants the best portrayal of her son possible. She doesn’t have a problem with any of the truth. She just wants to make sure that everything was told correctly.
Is anyone else from his life directly involved?
Everybody. You put the list out, and there’s really not one person that hasn’t been talked to or involved. It’s a balancing act… one day in 2Pac’s life is a movie. He had so many relationships. Everybody rocked with him. Him, E-40 and Richie Rich’s scenario could be one movie. His relationship with the Outlawz, that’s a movie. His relationship with Kidada, that’s a movie. His relationship with Jada, that’s a movie. All these are individual films have to be cut down to moments to fit into two and a half hours.
What about Dr. Dre and Suge Knight?
I spoke with Dre. We have Dre’s take on it. I talk to Suge every day. This is not a one-sided story. 2Pac had multiple sides, and we would do this movie a disservice if we didn’t have all those sides. You’re going to see the full 360 circumference of Tupac.
We’re going deep. We’re going to what made the man, what fueled the man, what was his passion, what burned inside of him to make him go in the studio like that. He was on a timeframe. One thing I noticed about Pac is that he was on a clock. We want the audience to feel that drive and passion, because that’s what separated him from the pack – his passion, his aggression, his knowledge, his strength.
One of the problems with other biopics is they never show that passion. They never show what even sparked that motivation. You want to know why people do what they do. What makes them tick. In this film, we’re getting into that.
Does that mean we’ll get to see parts of Pac’s early life? It seems like that’s the one part of Tupac that has been documented the least – before the fame.
What I’ve explained to everybody is that this won’t be a long music video. We cut a lot of that type of stuff, and got into exactly what you just asked for, because that’s what people want to see. What made him Tupac? We know the famous Tupac. We know all that. We’re going to give you a splash of that too, but we’re spending our chips on that drama of: Who is this guy? Where did he come from? Everything else is out there. You can find that, but what you can’t find is what made this guy who he is – that earlier part, 16, 17 years old.
One of my favorite interviews of 2Pac was the one where he was about 17, and he was looking right into the camera and talking about what he was going to do in his life.
That interview is one interview that I use. I explained to John Singleton when talking about the vision of the film… the thing in that interview you saw a kid that had a vision and a great mind. After the camera stopped rolling, where did he go? He went home to the Marin projects. We show that, and we set that world. We get into how he had dreams outside of his environment.
That’s what I tried to explain to these executives that I worked with. If you’re not giving people information that they can’t go find themselves on YouTube, then there’s no reason to do the film. It has to give information and answer questions on culture. Nine times out of ten, people like Tupac experienced the same thing at the same time.
That’s why people have that deep connection, because he was speaking to the masses at that time – the downtrodden. He was speaking to me, honestly. Those words cut through. I was producing, but told Pac when we first rocked that I heard “Brenda’s Got A Baby” as a Hip Hop fan. And it moved me. So for the people who are looking into this film and don’t have the Hip Hop knowledge, and are only going to draw from this film, our mission is to educate them so when they come out, they really understand what Hip Hop is and that it’s not just music. It was a driving force in changing America.
He wasn’t just Afeni’s son, he was America’s son. He was a product of America. America made that man. I’m a product of what 2Pac fought for – a young, black executive that came from the music world that went into the film world. Being accepted is part of 2Pac’s vision.
It’s pretty well-known that Pac recorded a lot of music before he passed. Will there be any of his unreleased music used in the film or the soundtrack?
Maybe a few unreleased, but they won’t be remixed on the soundtrack. They’ll be originals. A lot of people loved Pac, had a lot of compassion and respect for him, and never got a chance to really rock with him. So it’s a tribute album based on the film. The soundtrack just won’t be a lot of remixes and old songs. Pac in fact won’t be on there, but songs that other artists get to make will.
I got some submissions the other day. One song is called “All Eyez On Me,” from a kid named A.B., that’s absolutely incredible. I got so many songs, it will be like the double album All Eyez On Me. It will be songs from mainstream, marquee artists along with a few other people. Of course, you’ll have Outlawz songs. There’s a Thug Life song. It’s going to be a huge tribute album. It’s going to be fantastic.
The producers of the Tupac movie are James G. Robinson, David Robinson, L.T. Hutton, Randall Emmett, George Furla, and John Singleton. Executive producers are Afeni Shakur, Tom Ortenberg, and Peter Lawson.
