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Livin' Like Hustlers is the debut album by American hip hop group Above the Law. [1] [2] It was released on February 20, 1990, via Ruthless Records; an advanced promo cassette version was released two months earlier. The album was produced by Dr. Dre and Above the Law and featured a guest performance from N.W.A on "The Last Song".
However, Owen criticized Above the Law as lyricists, writing, "they present this hardcore life without any of the dandy charm that Big Daddy Kane or Oran 'Juice' Jones bring to it." [ 5 ] Vibe praised the song as "a breathtaking assembly", complimenting the music and Cold 187um 's raps.
In December 2009, Lat announced that he would be returning to full-time writing and editing of Above the Law, after a new CEO and executive editor joined Breaking Media. [ 15 ] In 2012 Lat "broke the news that one of most prestigious law firms in the world, Dewey & LeBoeuf , which employed more than 1,300 attorneys in 12 countries in 2007, was ...
In an unsparing dissent, Justice Sonia Sotomayor said the Supreme Court allowed a president to become a “king above the law” in its ruling that limited the scope of criminal charges against ...
Above the Law member Cold 187um worked closely with Dre on production, and the two greatly influenced each other. The songs "Murder Rap" and "Untouchable" became minor hits from the album. "Murder Rap" appeared in the 2008 film Pineapple Express. The song "Freedom of Speech" was featured in the 1990 movie Pump Up the Volume and its soundtrack ...
“No one should enjoy impunity, no one above the law – and wealth, power, status and privilege should in no way influence, for example, the issuing of warrants… “We cannot have impunity for ...
Trump appointee and X owner Elon Musk bragged as social media users jumped to use the "Community Notes" function to drag President Joe Biden for an old tweet following his decision to pardon his son.
Pete Tosiello of LA Weekly regarded the song to be the "greatest triumph" from Uncle Sam's Curse, "perhaps Above the Law's finest moment on wax and an essential piece of the West Coast rap canon." [3] Complex [4] and The Ringer [5] included the song in their respective lists of the 100 and 101 best L.A. rap songs.