**Suge Knight Reveals Shocking Details About Tupac’s Makaveli Album and Personal Dynamics**

In a recent interview, Suge Knight, former CEO of Death Row Records, shared intriguing insights into Tupac Shakur’s iconic albums, particularly focusing on *Makaveli* (officially titled *The Don Killuminati: The 7 Day Theory*), and addressed misconceptions surrounding the track “Me and My Girlfriend.”

Knight’s revelations also touched on Tupac’s trust issues with Eric B and the inner workings of Death Row during its peak.

Knight began by comparing Tupac’s two seminal works, *All Eyez on Me* and *Makaveli*. He described *All Eyez on Me* as a collaborative project that showcased Tupac’s leadership by involving the entire De@th Row roster, turning it into a double CD due to the quality of tracks.

Tupac initially wanted to name it *Euthanasia: Life After De@th*, but Knight suggested *All Eyez on Me*, reflecting Tupac’s prominence post-prison.

In contrast, *Makaveli* held personal significance for Knight, as Tupac envisioned himself as a “Black Jesus,” symbolized by the album’s cover art of him on a cross.

Knight clarified that Tupac himself conceptualized this imagery, debunking claims of others’ involvement, and emphasized the raw energy of tracks like “Hail Mary,” which incited intense reactions even before release.

Delving into studio dynamics, Knight recounted setting up Can-Am Studios during his house arrest to work on Tupac’s projects. He transformed it into a living space with offices, showers, and a gym, ensuring constant security with off-duty police officers.

Studio B was exclusively Tupac’s domain, equipped with top-tier gear, reflecting his priority at Death Row. Knight also highlighted his commitment to providing jobs for the community, a core value of the label.

A significant revelation centered on “Me and My Girlfriend,” where Knight addressed claims by Queenie, a woman who contributed vocals. Contrary to her assertions of being cheated out of publishing rights or having a personal connection with Tupac via Eric B, Knight insisted Tupac wrote all lyrics himself.

Queenie was instructed to recite lines exactly as directed, with no creative input, thus receiving no publishing share. Knight dismissed her story of Tupac hanging out with her and Eric B as a lie, noting Tupac’s initial distrust of Eric B due to his New York roots, despite Knight’s close bond with him. Knight expressed disappointment in Queenie’s fabrications, especially given his familial ties to her sister Gail, a talented unreleased artist.

Knight’s narrative also touched on broader issues, including his loyalty to Tupac amidst pressures and threats related to legal battles involving Keefe D and alleged offers from Puffy’s camp.

He staunchly refused to compromise his integrity for money, emphasizing his respect for Tupac’s legacy. Additionally, Knight announced plans to revive “The Row” for a new generation, distancing himself from unauthorized associations, and urged fans not to believe fabricated stories exploiting Tupac’s name.

These revelations paint a vivid picture of Tupac’s creative process, personal relationships, and the complex legacy of Death Row, as seen through Knight’s unfiltered perspective.