The Important History of Tupac Shakur’s Great Albums. The Exception (2017) Watch Free Online here. In September of 1.

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Vice- President Dan Quayle called on Interscope to pull a record called 2. Pacalypse Now off of retail shelves. There had been a murder in Texas; a teenager was accused of fatally shooting a state trooper during a traffic stop. The accused was said to have had 2. Pacalypse Now in the tape deck of the stolen truck he was driving at the time of the shooting.

The trooper’s family sued Interscope and its parent company, Time Warner, along with the 2. Tupac Shakur, whose work had supposedly animated the killing. Quayle decried the “irresponsible corporate act” that Warner and Interscope committed by pressing 2. Pacalypse Now. Then he doubled down: “There is absolutely no reason for a record like this to be published . He was awarded $4. A New Yorker by birth, Pac had moved with his family to Marin City when he was still a teenager. Bay Area hip- hop’s aesthetics at the time suited him well — loose and propulsive, political but never humorless.

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Through a series of managerial connections, he landed a gig as a roadie and backup dancer for Digital Underground, with the understanding that if he kept his head down and his legs in Lycra, he’d get the shot he was looking for. This has all been documented to exhausting degrees in books, documentaries, You. Tube playlists, magazines, and now a feature film.

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But beyond all the mythmaking, there are important stylistic threads that began when he was waiting in the wings while Sex Packetsplayed out on a stage in front of him. The first single from 2. Pacalypse Now was called “Trapped.” On it, Pac raps about racist policing techniques, the corrosive nature of prisons, and phone taps. He makes threats like, “Did it before, ain’t scared to use my gat again,” and he does it in a bouncy cadence over danceable bass line and an organ that could have been ripped straight from an Oakland A’s game. It’s also where things got complicated.

Though he was only 2. Pac already had a fully formed set of political beliefs, and a preternatural ability to see how power changed people — over the course of centuries or the course of a traffic stop. That knowledge helped him paint a depressingly vivid picture of how America treats its black citizens. Where “Trapped” was formatted for radio, “Soulja’s Story” was a plodding meditation on the police as an occupying force. There’s no doubt that 2.

Pacalypse frequently returns to the idea of violent revolt against the cops: it’s there on “I Don’t Give a Fuck,” it’s there on “Violent” and “Crooked Ass Nigga” and boiling under the surface just about everywhere else on the album. But while it’s one thing to rap about the anger and indignation that would make one want to kill a police officer, it’s entirely another to advocate for someone to actually go and do it. It’s impossible to hear “Soulja Story” or “Violent” and draw the conclusion that Tupac was endorsing the murder of policemen. He makes the gunmen human and well- rounded.

It was one of his favorite tricks: “Brenda’s Got a Baby” is not unique for its plot points, it’s unique because Pac puts you in the head of someone who at the time existed in the press, the public consciousness, and presidential debates as a caricature, whose health and safety and life had been reduced to a sterile point of political disagreement. What’s often overlooked in accounts of Pac’s early period were the different phases he was working through as a stylist. The album opener, “Young Black Male,” hears him working rapid- fire — not as off the grid as some of his peers at the time, like Saafir or E- 4. Ultimately, 2. Pacalypse is a formative record.

Pac darts between points of view (the playfulness of “Rebel of the Underground,” the melodrama of “Part Time Mutha”) without much connective tissue. The inward gaze that would make his later work so compelling had yet to come into focus. Maybe Dan Quayle really thought he could get Interscope to bend to his wishes, but the company had no plans to pull the record.

By February 1. 99. George Bush and Quayle had lost a bizarre election to Bill Clinton and Al Gore, another 2. Pac album was being shipped to retailers all across the country. Strictly 4 My N. I. G. G. A. Z. 4 on the rap charts. It was also a confounding, supremely off- kilter record, the kind that only works if you’re one of music’s most irrepressible talents and your main foil happens to be the vice- president of the United States.

The second song on Strictly is “Pac’s Theme,” a frenetic interlude where Quayle’s words (“It has no place in our society”) and explanations from the artist himself loop and encroach on the other, interacting in strange, alchemic ways. Two tracks later, another interlude, “Something 2 Die 4,” is a dirge for those who have left this earth. It memorializes a 1. Latasha Harlins, who was murdered by a convenience- store owner in Los Angeles in 1. L. A. The song is also dedicated to Qa’id Walker Teal, a 6- year- old boy who was killed by a bullet from a gun that Tupac owned, that was likely fired accidentally by one of his associates. Sometimes Strictly feels like Pac’s Fear of a Black Planet. The thematic and topical connections are obvious, but in terms of structure and musical cues, he was borrowing from not only Chuck D, but Public Enemy’s frenetic production team the Bomb Squad as well.

The tempos are up, the beats stack sample after sample beside, on top of, or underneath the others: Parliament, George Clinton, Sly & the Family Stone, James Brown, “Planet Rock,” Zapp. The thought of the paperwork, if Strictly were released today, is probably enough to give copyright lawyers everywhere hives. At the time, though, it made for a dizzying set of sounds that tied the coasts together, however briefly.

The album often feels like a collection of fragments, but when the pieces do cohere, Strictly is Pac’s best work. The opening song, “Holler If Ya Hear Me,” holds up next to anything he would make in the final two years of his life. He has an epiphany about how stressful his actions must have been for his mother, and he touchingly remembers his departed friends.

By the time the verse is over, Pac’s arrived at a hopeless place: “Say there ain’t no hope for the youth / And the truth is, there ain’t no hope for the future.” And so instead of Tupac preaching from a place of calm, the hook becomes a reminder for him to keep his own head up. The first couple 2. Pac albums are littered with chopped- up Ice Cube vocals. The former N. W. A. This is the first time since Pac’s coming- out party, on Digital Underground’s “Same Song,” where you can hear him measuring himself against his peers and predecessors. It’s also one of the five songs — out of the first seven — that either samples Dan Quayle’s voice or references him by name.

There are times Strictly feels unfinished or underdeveloped. But it captures Tupac at a point in his maturation when he’s starting to understand how his internal life is inextricable from how he experiences and interacts with the power structures he’s been throwing bricks at since his youth. By the fall of 1. Tupac was a bona fide star.

While Interscope stood behind Tupac during the Quayle fiasco, they blanched at many of the songs recorded for Thug Life and, giving in to the moral panic over “gangster rap,” refused to clear certain songs, severely handicapping the final cut. Still, some canonical 2. Pac songs made it through, and the LP serves as an important bridge between his Oakland period and what would come later. Tupac’s professional success was perpetually offset by personal and legal disaster, but a pivotal series of events were sparked in November of ’9. Pac was charged, along with several associates, with sexually assaulting a woman. He denied the claims and was eventually cleared of sodomy and related weapons charges, but was convicted of sexual abuse and sentenced to 1. After being rushed to the hospital and undergoing emergency surgery, he evaded the doctors and checked himself out.