Daz Dillinger Says Snoop Didn’t Like 2Pac — Then Says Open The Books

Daz Dillinger’s 2Pac royalty lawsuit has now turned into something bigger than a legal filing. What started as a dispute over alleged unpaid royalties tied to Tupac Shakur’s catalog has spilled into public Death Row drama involving Snoop Dogg, Glasses Malone, old paperwork, and one phrase that keeps coming back: open the books.

According to reports, Daz Dillinger, born Delmar Arnaud, filed a lawsuit against Amaru Entertainment, the company founded by Tupac’s mother Afeni Shakur and connected to portions of Tupac’s estate and catalog. The complaint reportedly centers on Daz’s alleged contributions as a writer, producer, performer, and creative collaborator on multiple 2Pac records from the Death Row era.

The songs named in reports include classics such as “Ambitionz az a Ridah,” “2 of Amerikaz Most Wanted,” “I Ain’t Mad at Cha,” “Got My Mind Made Up,” and “Skandalouz.” For hip-hop fans, those are not just album cuts. Those are records that helped define Tupac’s Death Row run and the sound of West Coast rap in the mid-1990s.

But the heart of the issue is not just whether Daz was paid something. It is whether he was given a full accounting of what the music generated. The Wrap reported that Daz claims he demanded royalties in October 2024 and later received more than $91,000, but says the payment did not come with detailed accounting explaining what songs, time periods, deductions, reserves, contracts, licenses, or revenue streams were included.

That is why Daz’s public response hit differently. In the viral clip circulating online, Daz goes beyond legal language and turns the situation into a Death Row family issue. He questions how he and Snoop Dogg could once be tied to the same paperwork, while Snoop is now positioned differently in relation to the Death Row brand.

Snoop Dogg officially acquired the Death Row Records brand from MNRK Music Group in 2022, a move he described at the time as meaningful because of his history with the label. That ownership context is part of why Daz’s comments are now hitting a nerve. Even though reports identify Amaru Entertainment as the defendant in the 2Pac royalty lawsuit, Daz’s public remarks have pulled Snoop into the larger conversation about Death Row business, catalog control, and who benefited from the music.

In the clip, Daz also made the situation personal by claiming Snoop “didn’t even like Tupac” and did not want him playing Pac’s music in the house. That is Daz’s allegation, not a proven fact. But as a media moment, it gives the story the kind of emotional charge that travels fast online because it touches one of hip-hop’s most protected legacies: the bond, tension, and mythology surrounding Tupac, Snoop, Death Row, and the people who were actually there.

The stronger story, however, is not just the personal shot. It is the business question underneath it.

For decades, hip-hop has watched artists, producers, writers, estates, labels, and catalog owners battle over music that keeps earning money long after the original sessions ended. In Daz’s case, the lawsuit reportedly seeks a full accounting, damages, restitution, disgorgement of profits, unpaid royalties, interest, attorneys’ fees, and other relief connected to the works named in the complaint.

That is why “open the books” is the headline. Daz is not only saying he wants a check. He is saying he wants transparency.

This also speaks to a larger issue in hip-hop history. Death Row Records created some of the most valuable and culturally important rap music ever released, but its legacy has always been tied to complicated business relationships. The same records that built legends also created decades of unresolved questions about publishing, royalties, ownership, licensing, and who actually controlled the money after the spotlight moved on.

For Snoop, the situation is delicate because he is not just another former Death Row artist anymore. He is now the face of the revived Death Row brand. That gives him cultural authority, but it also means old disputes connected to the label can land at his doorstep publicly, even when the legal paperwork points elsewhere.

For Daz, the argument is about recognition as much as payment. His name is tied to some of the most important records in Tupac’s Death Row catalog. If those songs are still being streamed, licensed, packaged, discussed, and monetized, he is making the case that the people who helped build that sound deserve full transparency.

That is why this story matters beyond a viral rant.

It is about what happens when classic hip-hop becomes catalog business. It is about what happens when the music that once came from studios, crews, and family-style creative circles becomes corporate property, estate property, or brand property decades later. And it is about whether the people who helped create the records can still get clear answers after the music becomes history.

The public may focus on the line about Snoop allegedly not liking 2Pac. But the real question is bigger:

Who owns the legacy, who controls the paperwork, and who gets to see the books?

For now, Daz has made his position clear. He wants the accounting opened. He wants the paperwork examined. And whether people see this as family business, legal business, or Death Row history repeating itself, one thing is obvious: the 2Pac catalog is still powerful enough to shake hip-hop nearly 30 years later.