Outlawz Interview: XXL Magazine
Oct. 2000
E.D.I. and partners Napoleon, Kastro and Young Noble are situated in a lounge
at Burbank, Californias Enterprise Studios. The 2Pac proteges are explaining why
they've got problems with Detroit's most famous rapper. The slightly pudgy
E.D.I. sits between the bald-headed Kastro and the svelte Young Noble on a
U-shaped couch, while the baby-faced Napoleon posts up across the room on a
stiff-backed chair. But the crew might as well be in a boxing ring the way
verbal jabs are being thrown around. "You can talk about Christina Aguilera and
all of them," E.D.I. continues angrily, "but keep Pac's name out of your mouth,
because that's dangerous to your health."
See, the Outlawz didn't appreciate Eminem saying that he likes to, "Pop the
same shit that got 2Pac killed," on "Busa Rhyme," from Missy "Misdemeanor"
Elliott's 1999 album, Da Real World. And they certainly didn't appreciate
"Marshall Mathers," the title cut from Eminem's new LP, where he says he's,
"Leaning out a window with a cocked shotgun/Driving up the block in the car that
they shot 'Pac in."
"He says some shit that makes me think he's gay, because every time I hear
him, he has 'Pac's name in his mouth," Napoleon adds heatedly. "We feel like
he's on some disrespectful shit, because we don't hear him doing that shit about
Biggie."
Below is the rest of the interview
"He's just annoying us right now,"
E.D.I. adds, overstating the obvious. He's getting on our nerves." But the
melanin-deprived rapper isn't the only one who has the Outlawz vexed. In fact,
there's an entire list of "Pac Biters" that the crew has issues with. "Master P,
he could've stole a 'Pac rap book from 1984," Kastro fumes. "He could have
kicked 30 of them raps. His brother C-Murder, he took a song that was not even
released, remade it on his last album and then dedicated it to 'Pac. He was
like, 'I'm going to steal your song, but Im going to dedicate it to you.' I
don't know what they're thinking or what it was called. I dont listen to their
music."
"Ja Rule, he dont know who he wants to be," Kastro continues, sounding
slightly calmer. "Ja Rule will give it up and say ''Pac influenced me', but
Master P, C-Murder, they act like it's their own style. They'll say that
C-Murder dont sound like 'Pac in every magazine, and now they've got Krazy,
another fake 'Pac."
And the drama continues.
"We've got a hit list, people that if they dont
holler at us, there's going to be problems," Napoleon decalres. "Mobb Deep can't
clear that up. Eminem, we want to hear what he's got to say. A lot of people
dont know we're listening. When they get on mix tapes and talk shit, our people
call us."
Like when Nas said, "Thug Life is mine" on Mobb Deep's "It's Mines," from
1999's Murda Muzik. Those words, the Outlawz say, erased all the goodwill Nas
established in 1999 with his shout-out to 'Pac on I Am...'s "We Will Survive."
"If You give it up and say that 'Pac is your favorite rapper, even Eminem,
then it's cool," E.D.I. says. "We understand that. Everybody's got an idol. But
they dont want to say it."
In an age when any friend of a superstar seems to have a record deal, the
Outlawz are contractless, despite having been 2Pac's best friends. And despite
the platinum success of Still I Rise, their 1999 album of tracks they laced with
'Pac. Today, the Outlawz are suing Death Row and still mourning the losses of
2Pac and group member Kadafi, both of them murdered.
For some, the Outlawz are the last link to 2Pac and his legacy. That's why
their debut album is a do-or-die situation. They have to protect 'Pac's memory
with a stellar album. They also need to prove that they're worthy of their
affiliation with 'Pac. Like their mentor, the members of the Outlawz are
associated with West Coast, even though they hail from the East. Kastro, who is
'Pac's cousin, grew up in New York with E.D.I. in the late 1970's. Kadafi was
'Pac's Godbrother. After 2Pac worked with Kastro, E.D.I. and Kadafi in 1992,
developing them as artists in their own right, Kadafi's mother kept telling 'Pac
how a kid she knew could rap well and that when he was there, both of his
parents were murdered in front of him.
"Pac heard the story of how he came up and it brought him to tears," E.D.I
recalls. "He was like, 'I've got to meet this guy. He sounds like he's got to be
with us." 'Pac clicked with the rapper he later named Napoleon and invited him
to join the group in 1994. Kadafi had also grown up with Fatal, whom he
introduced to 'Pac and initiated into the crew in 1995. Young Noble, who had
grown up around the other members in Montclair, New Jersey, joined in 1996.
Other artists, including Mussolini and Kormaini, have also been associated with
the Outlawz, although none of them are in the studio as the group works on it's
new album on this June evening.
Fatal, who released a 1998 album, In The Line of Fire, seems to be the only
non-present member who is still affiliated with them. "Nothing really happened
to Fatal." E.D.I. says. "He's still family. He's doing a little time right now.
He'd definitely be on our album. We're on his album, on Rap-A-Lot. He chose to
do his solo thing. He's a grown man and we're not going to stop him. The core of
the family is still together."
It's a family that has been recording together for more than five years. Back
then, E.D.I., Napoleon and Kastro almost signed with Interscope as Dramacydal,
but the deal got nixed when 2Pac was about to get out of jail in 1995. 2Pac was
super-loyal to Death Row's Marion "Suge" Knight for bailing him out, and he
interacted with Death Row more than Interscope once he was freed. But his
loyalty to the Outlawz never wavered. He featured them on both of his 1996
albums, All Eyez On Me and The Don Killuminati: The 7 Day Theory, his set as
Makaveli.
The Outlawz say that 2Pac intended to sign them to his own future imprint,
MAKAVELI RECORDS before he was shot and killed in September 1996 in Las Vegas.
Kadafi witnessed that murder. A passenger in the car behind Suge's that night,
Kadafi, 19 at the time, was the only witness who told Las Vegas police he could
identify the shooter. Two months later, he himself was shot in the face at point
blank range in Irvington, New Jersey. The Outlawz won't discuss the murders,
except to say how difficult it has been for them to succeed under the
circumstances. "It's been hard without 'Pac and Kadafi," E.D.I says, "but we're
going to do it."
After the tragic death of their leader, the Outlawz found their career in
limbo. "We were in the mix and we were in the process of signing and we thought
we were going to be on Death Row," KASTRO asserts. "But when he passed away,
everything got fucked up. We moved away from California for a minute. As time
passed, everybody was mourning, but there was just something that brought us to
Death Row. We saw 'Pac's situation with them. In our eyes, he was on Death Row,
so we've got to be on Death Row. It wasnt like Death Row was banging on our
door, even though a lot of labels were. We banged down Death Row's door and they
were like, 'Come Fuck wit Us'."
Adds Napoleon: "We were confused. We were like, 'Pac rode for Death Row so we
want to go back to Death Row and ride', because after 'Pac died and Suge got
locked up, they were downing Death Row. We wanted to ride for them and bring
them back, because basiclly that was what 'Pac was doing. But as time went by,
we wanted to do our own thing. It isn't anything personal against Suge and Suge
don't have nothing personal with us. We never disrespected him and he never
disrespected us. But it got to a point where we wanted our own label. How could
we work with someone who's locked up?"
At any rate, Rap-A-Lot Records' Lil J was the only label owner who would
record the Outlawz, placing them on the Geto Boys' 1998 album, Da Good Da Bad
& Da Ugly. Although it was rumored that Rap-A-Lot had signed the Outlawz,
they now say they are not on the label, even though they say Death Row and
Rap-A-Lot almost worked out a deal about a year ago that would have made that
rumor reality.
Yukmouth, who put the Outlawz on at Rap-A-Lot, was a good friend of 'Pac and
wanted to work with the Outlawz on his own music. He included them on "Do Yo
Thug Thang", a street favorite from his 1998 solo album, Thugged Out: The
Albulation. "Those muthafuckas are 'Pac," Yuk, who stopped by the Outlawz's
recording session, says emphatically. "The movement goes on. The Outlawz are the
hardest shit moving. They're continuing with the 'Pac legacy. NOBLE is one of
the rawest ones. NAPOLEON has that street, hard shit. E.D.I, he got that
straight-to-the-point hard shit with style. KASTRO's got that lazy flow. It all
comes together like a pot of gumbo."
It's a pot of gumbo that has proven to be worth millions of dollars.
Interscope's Still I Rise from 2Pac+Outlawz has sold more than 1.3 million
copies, even though it has been almost four years since 2Pac's death. Also, it
marked the first time that the Outlawz shared top billing on an album.
The group members say that Interscope needed to offer fans a new version of
2Pac music, which is why they were featured prominently on the album.
"Interscope was putting out these 'Pac albums, and they were running out of
formats," KASTRO opines. "They were like, 'Fuck it, let's put out this
'Pac/Outlawz album just to change it up and get us some sales.'"
Plus, E.D.I says, the group recorded too many songs with 2Pac for them not to
thrust into the spotlight. In fact, he says, the group has been an integral part
of each of 2Pac's posthumous releases. "We've been involved with every project
that's come out since 'Pac passed, from the beginning to the mixing and
everything," E.D.I says. "[Still I Rise] was another project coming up. Afeni,
'Pac's mother, made it so that nothing would come out without our hearing it and
putting our approval on it because we know how 'Pac would want it to sound."
And, largely on the strength of 'Pac's name, the album has gone platinum. "On
'The Good Die Young', you hear what he's talking about," says E.D.I. "All of the
shit that he's talking about is still happening. 'Babies catching murder
cases/Scared to laugh in the sun'. How many 6-year-olds are shooting other
6-year-olds? He saw that back in '96. Every time I hear that, it sends chills up
my back because Im like, 'Where did that come from?'."
The same could be asked for the May lawsuit the outlawz filed against Death
Row, Suge Knight and Interscope Records, seeking damages in excess of $1 million
for allegedly interfering with their career. According to published reports, the
lawsuit alleges that the group signed with Death Row in March 1997 and delivered
an album that the imprint refused to release unless the group turned over its
publishing to Knight. It also alleges that the group's affiliation with Death
Row ended in May 1999 and that Death Row instructed Interscope Records not to
promote Still I Rise. "All that lawsuit shit, that aint personal," Young Noble
says. "It's just business. That happens everyday in the White offices. But they
dont blow it up like that."
On June 23rd, the Outlawz were granted an injunction that prohibits Death Row
from interfering with the Outlawz's ability to contract for or market their
services, according to Outlawz Recordz CEO, Big G. A Death Row spokesman said
that the Outlawz are still on the company's roster.
Adds E.D.I of the lawsuit: "It's just another thing that we've got to get
over. It's been a long-ass road but aint none of us ready to stop and aint
nothing going to make us stop. Whatever's in the way, it's just going to he
there for the moment."
For the moment, the Outlawz are focusing on their debut album, which they
promise will be released on Outlaw Recordz by the end of October. Although the
group would not say who its label will be affiliated with, they did say that
2Pac will not be featured on the collection.
"Right now, we cant really ride on his shoulders too tough," Kastro says of
2Pac. "Im sure people are going to say, 'We want to hear the Outlawz with 'Pac.'
But We cant put out our album with him on there because we wont be able to
establish our identity. Thats what we really need."
Later at the studio, Kastro excitedly emerges from the vocal booth. He's been
working on an untitled song for the album, and his partners reward him with a
series of pounds after he delivers a particularly punishing verse. Completed
songs such as "Blessing" and "Nobody Cares" ring the type of emotion, promise
and conviction that made 2Pac a hip-hop favorite. The set's tracks, which were
produced by mostly newcomers like 23 Productions, Femi, Mr.Lee, and Quimmy Quim,
vary from placid and smooth to aggressive and driving.
While the Outlawz may have been schooled by 'Pac, their sound owes little to
his more recent, most popular work. Where 2Pac's most famous beats and flows
were smooth, radio-friendly and easily digestible, the Outlawz's album is filled
unbridled intensity, on both the lyrical and production sides. It appears to be
a strong collection, one that will not be confused with anything 2Pac or his
estate has put out in the last five years. By the group's count, this album will
be the sixth that they have recorded, even though it will be their first
release.
That's WHY, after recording and touring extensively with 2Pac and being in
the limelight for several years, the crew remains driven, especially since many
of today's chart-topping rappers bite their mentor's style. "We havnt gotten
ours yet," Young Noble says forcefully. "'Pac has been gone and we've been on
albums that have sold more than 20 million copies and we havn't put out our own
record yet. We're hungry. We've got a definate stop in the game.
"The more people that are against us, the more we want to do it," he
continues. "We havn't put out an album yet, but we're going to take the game
over. Straight up."
What's My Outlawz Name?
E.D.I, named after former Ugandan President Idi
Amin: "He chose that for me because it fit my physical description, him (Idi
Amin) being the size he was and me being the size I am. Also, he just a hog and
if I didnt have that in me, 'Pac wanted it in me. It's not like I have his
picture on the wall. But I like the fact he was a masher. I did study about him,
and a lot of the things they said he did, Im not with-- having sex with little
girls, raping people and cannibalism. There was a lot of wild shit he was into."
Kastro, named after Cuban President Fidel Castro:
"I dont give a damn
about Castro. I never studied him. I've just seen him on TV. He's probably a
good man, probably a bad man. I know America makes him look evil, but Cuba makes
him look good. To me, it makes no difference. A lot of people tell me I look
Cuban."
Napoleon, named after French Emperor Napoleon Bonaparte:
"Pac gave me
that name. Napoleon was a short man, but he's a hard nigga. He dont take no
shit. 'Pac read a lot, so I figured that when he came up with our names when he
was in jail, he was the type that felt you and your personality and gave you a
name that would fit. When I first came to 'Pac, I was a short, wild nigga with
the temper. I read on Napoleon and I like his ways."
Young Noble:
"I've had that name before I got in the group. My alias is
Marbles, though. 'Pac gave me that name because I used to mess up on the
microphone when I was spitting. The whole verse would be good, but when I'd get
to the end, Id start messing up."
Kadafi, named after Libyan Colonel Muammar al-Qadaafi, according to E.D.I:
"Kadafi was another name that 'Pac picked. I think that there were little
physical things in everybody that made 'Pac give them the names. With Kastro, it
was the goatee. Kadafi, it was the head. Kadafi's hair was real wild and curly.
We picked these names because they were all enemies of America."
Outlawz interview to
Sonicnet
Contributing
Editor Richard B. Simon reports:
OAKLAND,
Calif. —
Hip-hop
groups the Outlawz and Digital Underground helped keep Tupac Shakur's musical
torch lit at a concert that was part of a weekend conference
focused on the slain rapper.
Held at McClymonds High
School, with a concert held Friday in neighboring Berkeley, was a loosely
organized party and communal gathering that sought to infuse hip-hop youth
culture with a political agenda, using Shakur as the central figure.
"We can't really do what
'Pac was gonna do, but he told us a lot," Outlawz rapper Napoleon said before
going onstage at the Berkeley Community Theater. "So we gonna let him come,
gonna lead off where we left off on, man. [His most important message was] keep
struggling. Don't never give up."
As the Outlawz danced and
shouted out to recorded music provided by a DJ, a swarm of friends and
volunteers — including members of rapper Ray Luv's posse and Digital Underground
singer Mystic (born Mandolyn Ludlum) — swarmed the stage behind them. The
group's wireless mics cast feedback through the muddy sound system.
Hussein Fatal, Young Noble,
Idi Amin, Castro and Napoleon traded lines while the DJ switched records, then
announced a tune from the upcoming third posthumous Tupac album, And Still I
Rise. The crew belted out the verse "Change my ways/ Show a little mercy on
judgment day" as the DJ laid out a melodic drum & bass groove.
The mics cut out and the
house lights began to rise, then the Outlawz returned while listeners onstage
threw plastic water bottles at the audience members crowding the front. The
music stopped, someone yelled, "Stop throwing stuff!" and security cleared the
stage of extraneous personnel.
"Somebody like Tupac comes
along maybe once in anybody's lifetime," Digital Underground rapper Money B.
said backstage. "His star shines so much ... like Elvis, he's gonna be around
forever. I think his music's gonna last and last and last, because it was so
from the heart. He didn't candy-coat much — he spoke what he felt, and I think
anybody can appreciate that."
At the conference, tables at
the high school offered Tupac T-shirts, poetry CDs, political pamphlets on
issues such as former Black Panther David Hilliard's campaign for Oakland City
Council, efforts to gain a new trial for Mumia Abu-Jamal and California's
controversial juvenile crime initiative, which proposes to treat young gang
members as adults.
While the late rapper's
sister, Skeyiwa Shakur, and his mother, former Black Panther Afeni Shakur, had
been scheduled to address the conference, neither appeared.
Instead, a group of Black
Panther Party veterans — including Elmer "Geronimo ji Jaga" Pratt — blended
several planned workshops ("Set Trippin'," "Transforming Predators Into
Nation-Builders," "The History of the Black Panther Party," "Re-entry Into
Society After Incarceration") into a roundtable discussion.
"This is about trying to
build a new generation of youth, of politicizing youth," Hilliard said Saturday.
"You certainly are
organized, because you have a movement, and that movement is called the hip-hop
movement," Hilliard said, addressing the standing-room-only crowd. "What you
lack is any real politicization. This is an attempt at trying to give you an
expression through politics."
Pratt, Hilliard and others
spoke on the 1960s rise of the Black Panthers from an amalgam of rival street
gangs, the need to squelch gang activity in favor of political activism and the
need to turn the hip-hop movement into a vehicle for social change.
Other workshops explored
"Male and Female Relations," "The Plight of Political Prisoners and Prisoners of
War," and "Tupac 101," led by Leila Steinberg, Shakur's early manager. A Town
Hall meeting addressed the juvenile crime initiative, and, earlier in the day, a
film highlighted Shakur and his music.
Outlawz interview to
Source Magazine
The Source Oct. 2000
Blood is thicker than water. But ink is even more powerful, especially green
ink on legal tender. Money can split a family real quick. When you mix red and
green with Black folk, a lotta people get painted into a corner. Loyalties get
tested. The Outlawz are intimately familiar with this dysfunctional rainbow.
Their familes, friendships and careers have been shaded by it's clashing colors.
With tomorrow far from promised they approach life with an everyday desperation.
Maybe that's why their new album is titled Ride Wit' Us or Collide Wit' Us.
The Outlawz have known eachother since childhood. Their parents were invloved
in the Black Power movement together. This activist mentality was passed down
through genes and dead homiez. It drives their music. "I think that all our
music is political, man," 22-year-old Napoleon says. "We just do it with a
ruggedness, so that the rugged street niggas gonna listen to it. That's the way
Pac gave it to us."
Kastro, 23, is Tupac Shakur's first cousin. Pac's moms, Black Panther alumnus
Afeni Shakur, is his aunt. E.D.I's father was a close friend of Kastro's mother.
The fourth Outlaw, Young Noble, 22, has been a friend of the others since their
days in New Jersey. Napoleon's little brother, Kamillon, 19, is an Outlawz
label-mate. The group's manager, G, is E.D.I's uncle. You get the picture. A
family affair.
Sitting in the lounge of North Hollywood's Enterprise Recording Studio,
sporting a red shirt and caramel baldie, Napoleon reflects on the significance
of being a family full of Outlawz: "It helps the group because we're like
brothers, where we can just be honest," Napoleon says. "If we fuck up, we can go
to one another like, 'Yo, how this verse sound?' Everything we do is honest. We
just got that relationship where we can keep it real with eachother, man. You
can never go wrong when ya got some real brothers around you that's gon' pull ya
coat when ya out of line, gon' tell you when something's corny."
E.D.I. (Malcolm Greenidge), 26, picks up the thought and adds his baritone to
the conversation: "I feel like, us being a family, us being as tight as we are,
has kept us together through a lotta shit that would've broke up another group.
If we weren't this tight, niggas would've been like, 'Fuck it, I'm going solo. I
can get more money without you muthafuckas.' That's how other niggas roll."
The Outlawz have stayed true despite monumental tests of family loyalty. On
September 7, 1996, following a Mike Tyson fight in Las Vegas, they were in the
limousine caravan riding behind Tupac when he was killed. Pac had reached back
and brought along some of his oldest friends. The Outlawz recorded with him on
the Me Against The World, All Eyez On Me, Supercop soundtrack and Makaveli,
among many other projects. It wasn't strictly business.
Napoleon (Mutah Wasin Shabazz Beale), leaning forward on the couch, blurts a
mixture of pride and hurt: "When we rolled with Pac, he didn't look at it like
it was a group, he looked at it as family. He was like a father to us--and a
brother and a mother at the same time. He was putting us on game. Pac would say,
'This is what we gon' do man. We gon' get somebody out the crew to become a
lawyer. When we get kids, we gon' put money away for college.' Our relationship
with him was way bigger than the rap game. He talked to us about investments,
how you keep your family straight."
A month after Tupac's murder, Kadafi, his long-time friend ("godbrother") and
an Outlawz member was accidentally shot--by Napoleon's cousin. "When Kadafi got
murdered, it was by my cousin. They was both fucked up. What I hear is that my
cousin had some words with Kadafi while he was playing with a gun. The gun
clicked off. To me, it's an accident; some people will say it was murder. I'm
going with my cousins's theory. I flew to New Jersey, talked to my cousin and
made him turn himself in. It hurt me because that's my family. I love the shit
out of my cousin. I love the shit out of Kadafi. He brought me into this rap
shit."
Napoleon's emotion-filled voice crackles in the suddenly shrinking lounge,
then fades into silence. E.D.I looks at his friend then steps into the awkward
space. "Napoleon's cousin accidentally murdered my cousin," he says, "He wasn't
my blood cousin, but I grew up with him since the dirty-ass drawers. But he
didnt' have nothing to do with that shit. Napoleon wasn't even there. He was
sleeping next to me when the shit happened. So not even for one second did I
think about, 'Damn, I can't fuck with this nigga'. If it would have been anybody
else, it would have been an automatic beef; it would have been, like, murder,
know what I mean? It was like the worst possible situation, a fuckin'
nightmare... but Napoleon's still my brother."
The Outlawz circled the wagons and pushed forward. They signed with Death Row
Records in March 1997. According to Outlawz attorney Steven Lowe, after the
masters were delivered in January 1998, there was a "discussion" about whether
the group would sign over publishing to Suge Publishing, Death Row CEO Marion
"Suge" Knight's company, or retain the publishing rights themselves.
"When my clients refused to sign over their publishing, they became personas
non gratis," Lowe says via phone from his Los Angeles office. "They were asked
to leave the house Death Row had been renting for them. [In court documents,
Death Row claims that the Outlawz were evicted because of numerous neighbor
complaints and because members of the group were engaged in the selling of
marijuana--calims that the collective vigorously deny.] Death Row initially
refused to release the album, and when Still I Rise finally was released in
December 1999, Death Row engaged in practices designed to undermine the success
of the project, including refusing to promote the album and refusing to allow
the Outlawz to conduct interviews to promote it themselves."
This past April, Lowe filed a $5 million federal lawsuit on behalf of the
Outlawz, claiming unfair business practices and intentional interference with
prospective economic advantage. On June 23, the group was granted a preliminary
injunction prohibiting Death Row from interfering with their professional
advancement.
Despite the legal wranglings, the Outlawz insist they have no problem with
Death Row. "Ain't no beef," E.D.I says emphatically. "No beef with nobody. We
handled our business face-to-face. We went to see them, sat down and talked with
them. Strictly business; nothin' personal. You're not gonna hear no records with
us dissing Death Row, and you're not gonna hear their artists dissing us.
Strictly business."
The mythology of the gangsta rapper upsets reality in the first round every
year. The real human beings never even get off the bench. There are Similac
receipts, child support case numbers and light bills with 5pm deadlines inside
that red or blue rag. The lumpy snot of missing fathers. We unfold its tight
creases and find someone we can feel. Someone pressed by the weight of judgement
in the eyes of those who love him. Someone looking for someone to show him how
to be a man, to be a father. Nearly all the Outlawz, including Tupac, speak
often of this void in their lives.
"I ain't have my pops," begins Noble. "My mom was there, but the first 16
years of my life, she was on drugs, know what I mean? So she wasn't really
there. I loved my mom to death, but I basicly raised myself. That is the
influence on my music."
Maybe it's something about late night that allows young Black men to speak
this way. Self-described real niggas getting some real nigga shit off their
chests. They talk into the early morning, clearing a trail through concrete
childhoods. A path, not to justify ill behavior, but to understand it.
"I had my mother and father in the beginning," Napoleon slowly adds in the
New York accent that surfaces when difficult subject matter comes up. "A tragedy
happened when I was 3 or 4. They got murdered, know what I mean? The thing is, I
didn't really trip. I grew up with my grandmother and she took me through that
shit so raw."
All these Black confessions, ghetto Hail Mary's, are not meant to elicit
pity. They are simply part of the process of creating bonds that can survive
spilled blood and green ink on legal tender. This is how loyalty goes from
slogan to way of life. And this is how one creates real family.
"I didn't look at it like I lost nobody," Napoleon continues. "The only thing
that fucked me up is I got a lot of punk-ass uncles. Never been there for me
like a father. I never had a father figure until I met 'PAC.
