![]() ![]() The next day I got the painting for the 7 Day Theory started and met up with Tupac at Can-Am Studios in Tarzana, California to show him. That would also be the night that Suge explained to me he wanted me to work with Joe Cool on Snoops ‘Dogg Father’ album artwork. Suge liked my idea and told me to get started. I think he was on set for the movie Gang Related or Gridlock’d I’m not sure. I had less than 2 hours to create a mock up of what the painting was gonna look like for a meeting in Malibu, California later that night. ![]() He was explaining to me the idea Suge and Tupac had come up with for his next album. I was in my office and got a call from Norris Anderson who was president of Death Row then. You were assigned to paint the cover for the album. We are of course talking about ‘The Don Killuminati: The 7 Day Theory’. In August of 1996, you were told about an idea that would put your artwork center stage, going out to millions of people. ![]() If ‘Pac liked you, he loved you, he’d do anything for you. I’m just grateful he believed in my talent working with him was a dream. ‘Pac always looked out for me on any art he needed. After ‘Pac approved the painting I was hired and started working at the label on the same day Snoop was acquitted of murder. At that time I wasn’t hired on Death Row yet. It took me about three days to complete, that’s it. I started creating the painting from scratch. He came through with the concept we talked with ‘Pac. Although that never happened, I ended up working on the insert for ‘All Eyez On Me’ with my homie “Hen Dogg” Rest In Peace. Tupac looked and my portfolio and immediately told Suge, “I need him to work on America’s most wanted painting tees for the video”. If it wasn’t for Suge introducing me to him I don’t know if I would’ve made it to Death Row. What was your experience like of working with Tupac? The painting depicts Tupac talking to a female and showing his ‘Thug Life’ tattoo, while his comrades watch on. Your first project on Death Row was the insert to Tupac’s classic album ‘All Eyez On Me’. My feelings today are blessed I got the growth and experience. Being at Death Row also gave me the opportunity to work with and meet some iconic entertainers. My paintings have been a big representation of a lot of very major and historic album covers that will live on past my years. The next minute I’m walking through it’s office doors as a paid employee. One minute I’m at home watching Death Row Records videos on BET Network. Can you describe how you felt doing what you love for one of the biggest record companies on the planet? You started working for Death Row Records in early 1996. Suge, hiring me to work in the art department at Death Row was proof enough to let everyone know he was pleased with my creativity. There were a few rappers but not that many of us that could draw and paint. I think Suge, was surprised at how artistically inclined I was because there weren’t that many visual artists to come from our neighborhood. What was his reaction to seeing your artwork? Your portfolio ended up grabbing the attention of Marion ‘Suge’ Knight, CEO of Death Row Records. To that I would say “You may never know who or what could be an inspiration for you to wanna be great or a turning point in your life. It’s always a shock to some when I explain to them how a fictional character became to be such a big inspiration in who I turned out to be as an artist heavily influenced by hip hop. The pivotal point for art that really pushed me into it further was the first time I saw the movie “Beat Street” I admired the character Ramo, and I wanted to be as dope as him. ![]()
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