The tattoo was another reminder, a silent memorial to the trauma hed seen them endure. His lyrics flesh out the picture. Whenever 2Pac talks about his black queens, it is Nefertiti hes describing, it is Afeni, it is any woman who ever offered him physical or emotional harbor. Straight down his spine was a massive block-script crucifix with the biblical marking Exodus,which states: Now I know that the Lord is greater than all Gods because he delivered the people from the hands of the Egyptians when they dealt with them arrogantly.
It encapsulates his attitude and turbulent spirituality as neatly as anything. He is the modern vessel for the rebellious spirit. He believes a higher reward will come for those born to resist.
He identifies with the runaway. This is the legacy of his namesake. On his left lat is the jolly mask of Greek drama, Laugh Now. Its tragic partner, Cry Later, adorns his right side. Not only is it a direct reference to his thespian roots, its a nod toward the separate spheres of his personality. The Tupac who emerged from prison was loose-wired and enraged.
He had seen good times corrode into ambulance trips. He was a man acutely aware of his mortality and the consequences of his actions. Everybody wants to ball. The slang word is versatile enough. It can mean hoop, fuck, or wild out.
It alludes to both living in the moment and riding out on all the suckers. Tupac belonged to a special class of baller. Re-examine that same cover of All Eyez on Me. He is smoking on a boat sipping what appears to be a banana daiquiri maybe Thug Passion, aka champagne and Aliz, Tupacs drink of choice? Money looks limitless. He is young, black, and gifted. Tupac may not have invented ballin, but he perfected it. And he could sell that to you with the raise of a glass and the lift of an eyebrow.
Biceps, forearms, shoulders, neck: a panther head; Jesus head on a burning cross; a skull and crossbones; the words heartless, playaz, Westside, outlaw, notorious, Makaveli, and mob; the phrases trust no one, fuck the world, Only God Can Judge Me, and my only fear of death is coming back reincarnated.
He was a Hells Angel in rap formthe bandit in all black in a Benz balling toward Gehenna. The coup dtat was Thug Life across his abdomen. Like Christ and all his rock star disciples, Tupac had the chiseled physique fit to be plastered on a hundred million stucco walls. Thug Life became the war cry that he and his fans used to inflict revenge on their enemies. He had sublimated and spit back Dr.
Johnsons maxim about becoming a beast to erase the pain of being a man. Thats why Tupac could wear leather. His frame was temple to his invincibility: scars and long eyelashes, hedonism and its hellish rewards immolating in a 5-foot-9, pound fireball.
So every girl still swoons at him the way they still revere James Dean or Kurt Cobain. His early death forever enshrouded him in that pantheon of outlaw sex symbols, the only black man crashing the Rolling Stonethrown wine and weed party.
This is the iconic image of Tupac, not the original impression. How better to introduce new rap royalty than by having him ushered in on a king carrier surrounded by solemn thugs in dashikis? Wearing a crowna pointed banana-shaded kufiand dozens of African chains and clutching a staff, 2Pac looked like the hip-hop incarnation of Coming to Americas Prince Akeem.
Inone year prior to Dres The Chronic, 2Pacs Black Panther bonafides fit snugly into the clenched fists and brimstone rhetoric of the Afrocentric era. But rap fashion and slang move at a runway-world velocity. Several months later, 2Pac blew up with the Brendas Got a Baby video. By now, he had a deal on fledgling Interscope Records, and his ripped-from-the-headlines eulogy to a slain prostitute named Brenda earned heavy rotation on Yo!
MTV Raps. Stark black-and-white visuals replaced the camp of Same Song. A diamond stud glints in his nose. The piercing became one of his most distinctive visual characteristics, a mark of androgyny that softened his coarse aggression.
By album number two, 2Pac was shirtless on the cover. This was no accident. The mainstreaming of the genre started in the early s, with female listeners playing an increasingly important role in its popularization.
You had to dress for them too. In his own way, he might have been the s gangsta rap parallel to Dylan McKay the Beverly Hills teen soap stand-in for James Dean. Same familiar archetype: bad-boy rebels from broken homes, closet intellectuals, unusually sensitive, Album) to fight.
In this scenario, Steve Sanders is played by Snoop Dogg. At the Source Awards, Tupac is at the height of thug life.
Beleaguered by legal and financial stress, hes at his most sartorially modest: a backwards baseball cap, red sweatshirt, and a single silver crucifix. Shortly thereafter, he swapped the blood colors for prison blues, a muting that inevitably led to the flamboyant reaction of his final Death Row years. Flamboyant seems too timid an adjective to describe the California Love video.
Out on bail, fresh out of jail, 2Pac, Dr. Dre, and Hype Williams created a post-apocalyptic Golden State in which Oakland was overrun by fire, steel cages, girls in leather miniskirts, and men dressed like Mad Max by way of the Legion of Doom. And the future had bandannas, tunics, and leather.
There is another California Love video, but no one remembers it. Intended to be the sequel, 2Pac wakes up from his Thunderdome dream and calls up Dre to shop at the Compton Swap Meet. This was probably a more realistic approximation of their real lives, but realism matters less than believability.
I am much more inclined to believe that 2Pac inhabited a bizarro Bay Area than a place where he and Dre went shopping. The flipside was 2Pac as elegant don. Biggie limped, prematurely aged like Marlon Brando as Don Corleone, wearing heavy linen suits that seemed to match the disproportionate weights on his mind and frame. My co-author Evan may claim that Biggie was Michael Corleone, but to me, 2Pac has always been Michael, swaggering and deadly, a primal manifestation of youth.
See him in the video for 2 of Amerikaz Most Wanted, the baby-faced gangster floating in the black Benz, casually smoking, feasting, threatening. Or examine his appearance at the Grammys, clad in an all-black Versace suit, no tie, Death Row chain swinging. He smirks and tells the crowd: How you like this Versace hook-up, the swap meet was closed.
Vowing to enliven the staid Grammys, he then introduces Kiss. You know how this story winds up. When you frame yourself as a mortal deity, martyrdom is the only possible end result.
Tupac may not have been alive to offer input on The Don Killuminati: The 7 Day Theory album cover, but it may be his most haunting image. Pac in the bandanna, shirtless, nailed dead to a cross. Biggie created a stylish gangster flick with an eye for detail that Coppola might envy. But Pac was already a movie star. So he wrote his own leather-bound mythology that became posthumous religion. Dead Poets, by Clay OBrien, Both 2Pac and B.
Both have found a way to live forever. The tragedy of The Notorious B. The pyrotechnic fury of early Biggies voiceeach word drips with desire becomes the guttural, lumbering tremor of his Life Album) Deathera recordings, when he weighed nearly four hundred pounds and relied on a cane to walk after a car accident. The lashing street corner freestyles become his imperial, domineering performance at the Source Awards.
What remained constant was the colossal scope of Biggie, the bottomless pit of sound and hunger. Chocolate milk. Pickle juice.
Mad blunts. Cracked crab. Coogi sweaters. Private Stock. Bacardi Dark. Sex in expensive cars. Whether hes The Notorious B. The ceaseless appetites make the. And Biggies presence devoured the space around him. You can hear the burgeoning baritone in his first single, s Party and Bullshit.
Theres no differentiation between the chatter, the weed, the girls, the drink, and the violence. Its all happening at once. Biggies hunger is universal. Destructive appetitive constructs his identity. Hes hungry for a scene, for an atmosphere. Biggie renders tangible aspects of the scene without any explicit detailbut thats kind of the point. Rare is the nineteen-year-old who particularly cares what exactly he drinks and eats and screws.
As long as those things are all happening, hes good. Biggies voice snaps in Party and Bullshit. The young Biggie doesnt so much warp conventional stresses as he chews them.
He grunts the taut, tiny i sounds in thinkin and stinkin. He cranks his voice up to a roar in the rounded open mouth vowels, ais and ees and os. When he says Heineken later in the song, he turns the natural first syllable stress into a blasting cap and lets the small e sound in ken land with a thud. These are the aesthetic choices of a young artist. Early s Biggie raps with metrical rigor. Its a choice that many a young poet or jazz musician has made. Because all of Biggies songs engage with the theme of craftwhether slinging or rappingthe choice sounds doubly natural.
He pops the first and last syllables of lines, flicking emphasis on and off to give each verse a percussive, deliberate energy. He never abandoned this technique fully, but listening to the later recordings, one hears more moments of conversation, of vivid speech. But on Party and Bullshit and in the furious metrical peaks of Ready to DieMachine Gun Funk, Respect, and Unbelievablethe astonishingly agile flow turns verses into cascades.
The images of early-career Biggie contain key details of this apprentice aura. Even though 2Pacs attitude changed from that of a backup dancer to revolutionary thug poet, his appearance remained relatively constantas Jeff pointed out, he and Jim Morrison are the two preeminent icons for the shirtless, lithe seeker. In contrast, Biggie let his dress craft his identity. The barebones wardrobe of boots, billowing T-shirt, blue denim, and black down jacket match his perturbed baby face. Hes in uniform.
The uniform is a hustlersa hustler with cherubic features hes worked into a baby-faced scowl, but a hustler all the same. Desire stems from absence. The young dealer feels stark in the functionality of boots and jeans and a T-shirt.
The infant on the cover of Ready To Die sits on a white field with nothing on his body but a diaper. Surely this child is not ready to die in the way that old men are ready to die, having made peace with the earth and their families.
The child is ready to die for somethingfor material. For something. Biggies fleshy, tangible sense of life and purpose is rooted in a physical desire. On Juicy, the fusion of deep emotion and tangible proof is transparent: he pledges fatherhood to his daughter by promising to put diamonds in her ears. To himself, he pledges physical transformation. The evolution in Player To Player - C-Bo - The Final Chapter (Cassette visual presence mirrors the transformation we hope for in ourselves.
We want to upgrade from hoodies to suits. We want to move from zealously proving our works worth to receiving praise for nonchalant excellence.
The cover of his first album: a diapered baby with an Afro. The cover of his second: a bowed, colossal kingpin in a three-piece suit, leaning on a cane, peeking out from the side of a hearse. Even in his photos, Biggie embodies the concept of compression.
He runs through the Shakespearean seven stages of man, from infancy to old age and death, in barely a half-decade of photographs, videos, and songs.
He chronicles schoolboy aspirations through clothes like his self-made Lacostes in Skys The Limit. In Youre Nobody Til Somebody Kills You a precociously aged Biggie elegizes himself in the third person and through more luxury: Remember he used to push the champagne Range?
The Bad Boy family was the centerpiece of the show. Junior M. Biggies own Ready To Die was a year old and was already regarded as a canonical East Coast hardcore album. The Bad Boy performance recalled the classic smorgasbord style of Motown shows. Biggie reclined in a literal throne stage right. He rose for Junior M. Everyone Bad Boy wore black. At the end of the performance, when Lil Kim clomped to the stages front in a black cocktail dress, Biggie glided around to stage left.
Like a creative genius around which a corporate body is built, Biggie was flanked by reflections of himself. The scene recalls the end of the first Godfather, when Michael receives his capos in his office, his first act as Don.
It was an odd sight. Christopher Wallace, an only child who quite literally loomed larger than his childhood peers, an MC whose debut made room for only one guest verse, seemed to have spent so much of the first movements of his life, by choice or not, alone.
In his Source Awards performance he had subordinates, a partner, and a crowd hanging onto every syllable. He appeared sated. As the froth of rap sectarianism and Suge Knight vs. Puffy brinkmanship swirled around him, and the friendship between him and 2Pac petrified into venomous mistrust, The Notorious B.
His lines sprayed verve. His right hand tilted the mic toward his mouth, and his left chopped the air in front of his face. His body turned and bent slightly like a tall, mature tree leaning in strong wind. The next two years pressurized the atmosphere around him. The conflict between East Coast and West Coast hip-hop filled the airwaves. The apex of hip-hop was an unenviable place to rest in the s. Truly excellent albums were released at an ungodly clip. A generation of MCs found its voice and best-fit style simultaneously.
The music video was replacing the freestyle and demo tapes as the cultural coin of the realm. A broader read: whiter audience had found a taste for hip-hop. If 2Pacs grace was his ability to generate a homily or rebuke over any social ill that swam through his ken, Bigs was his commitment to the material world.
The last glimpses we have as an audience are of Biggie in the Life After Death days. Close to four hundred pounds by then, he became bigger than big in scope and waistline. A car accident in September left him wheelchair-ridden, then dependent on a cane.
A rumored affair between Biggies wife, Faith Evans, and Tupac galvanized the animosity between Shakur and Wallace, and the sudden death of Tupac shook Biggie to his core.
The Notorious B. A coy government-conspiracy vibe permeates the five-minute video. The unidentified assailants use radar and deploy black helicopters to track Big, Puffy, and their female companions in the first verse. In the second verse a horde of operatives on motorcycles and in military Humvees chase the pair as they drive a cherry-red BMW convertible backwards through city streets.
During the videos conclusion, in the hidden underwater lair of Bad Boy Records, Biggie barely pivots on his cane as Puff leads the dancers in a jerky hora around the kingpin. The video documents a luxurious paranoia, one in which The Notorious B. The seemingly omnipresent sunglasses Biggie wore in his last months, to me, reflect some general refusal of lifes short lease. Hes literally blocked out parts the world and refuses to show us his full range of expression. We cant see what hes focused on.
It could also come down to poses. Biggie resembles the seventeenth-century paintings of Dutch merchants: men obsessed with the physical world and its tangible rewards because the spiritual world was filled with a great, predetermined void.
There was no Gatsby self-betterment through bootlegging. Dismiss any notions of him as the white-hatted hero. Like Clint Eastwood once croaked: every gun makes its own tune.
Biggie wrote fiction. Tupac was fiction. His biography is bumper cars, one altercation after another until the final ascension. Even a smooth limo ride could be time for some action. See his trip to Fox Studios to tape an episode of In Living Colorwhen the driver asked him to stop smoking weed, he pulled out a pistol and had his entourage thrash the grunt senseless.
Watch the video on YouTube. Its wild. The previous year, his hotheadedness helped turn a celebration for Marin Citys fiftieth anniversary into a gunfight, with a six-year-old accidentally shot and killed. Shakurs half-brother was arrested in connection with the murder, but the charges were dropped due to lack of evidence. The incident came after an altercation with Bay Area police, his violence there another vestige of Tupacs Black Panther upbringing.
Obviously, there was the shooting of the two off-duty police officers in Atlanta. The sexual assault charge. The miscellaneous other easily avoidable conflicts. Tupacs problems were his strengths. The ten-thousand-watt personality and passion made him a magnetic entertainer, but he came without a dimmer mode; he was built to ball until he fell.
Ambitionz Az a Ridah. The intensity became electric chair when he played Bishop in s Juice. Biggie famously told Vibe that the last time he spoke to Tupac, he saw only Bishop.
The path of Tupacs breakout character and his own arc neatly paralleled. Both became entranced by power, or juice, the intoxicating idea of getting away with whatever the fuck they wanted. The plot lines in Ernest Dickersons script might well have been ripped from Tupacs journals. Harlem boy gets harassed by the police and rival thugs and inevitably snaps. He decides that he wont take any more shit, gets a Glock, and starts wilding out.
Of course, Tupac never shot a bodega store owner dead or attempted to pick off his friends one by one. But you can see the fearlessness and rage in his eyes as Bishop and link the expression to his last years. Following his prison stint, he looked at Biggie as if Big were Juice character Q, the one-time ally who attempted to engineer his destruction. But Tupac had survived the Quad City attacks and wanted to wreak the revenge that Bishop never could.
The Fat Boys had their own string of movies. So did Kid n Play. But Tupac was the first rapper who people actually took seriously as an actor. You know, hes a real actor. He has all these methods and everything, philosophies about how a role should be played. Pac both rebelled [against] and accepted my attitude towards him as a director [and] advisor. This was our dance in life and work. John Singleton, on the set of Poetic Justice. Long before he ever picked up the microphone, there was the role in A Raisin in the Sun.
Later, there was the teenager at the elite Baltimore art school acting alongside Jada Pinkett. It was Pinketts future husband, Will Smith, who may have been Shakurs Album) foil. Both parlayed Grammynominated rap careers into acting roles. But while Smith softened his hood side with self-deprecating humor, a constant smile, and anodyne lyrics, Shakurs goal was simultaneously to terrify and intrigue White America.
You Player To Player - C-Bo - The Final Chapter (Cassette trace this same accommodationist vs. Washington and W. Du Bois. Ice Cube may have had a monopoly on that phrase, but it was no longer true. ByCube was the star of Friday and was well on his way to starring in Coors commercials with penguins. But Tupac was despised by hundreds of thousands of people until the day that he died.
Tupacs upbringing was practically as far removed from actual gangster life as spaghetti Western director Sergio Leones was from the cowboy era. As convincing as 2Pacs cold-blooded killer persona was, it could be caricatured. The Don Killuminati cover is actually a cartoon. He was method acting his life, freed from societal standards and taboo. His nerd days were incidental detail. And that only makes a more fascinating figure.
Tupac was perennially reinventing himself. Not with the rational market-tested approach of Madonna, but through lunar mood swings, chaos, and free-fall. The actor in me [stemmed] from my fucked up childhood, Tupac said in the same Vibe profile.
The reason why I could get into acting was because it takes nothin to get out of who I am to get into somebody else. The film career offered Tupac access to a different stratosphere of celebrity.
Even though his track got derailed because of his jail sentence and bad rep, its inevitable that he would have evolved into an actor with a tux always ready for award show duty. At the very least, he wouldve been infinitely better than Ludacris in Crash. This otherness from the hip-hop world afforded him more power. Slick Rick wasnt getting Rikers visits from Madonna. Controversy is the cheapest publicity possible, and Shakur attracted attention at levels only known by Oscar Wilde.
Me Against the World was released. It premiered at the top of the Billboard charts. Of course, Me Against the World spawned his biggest single and arguably best song to date in the top Dear Mama. But great songs can buy you positive reviews and occasionally radio play. They cannot buy you front-page headlines. The combination of 2Pacs Quad City shooting, his famous refusal to stay in the hospital, and his subsequent court appearance in a wheelchair molded his indestructible myth.
The pictures were everywherethe possessed grimace, the Rolex on his right wrist, gauze on his left, his head and leg bandaged, the wounds scarcely concealed by a Yankees beanie. Tupacs end was imminent, but inthat was opaque.
He was Bo Jackson conquering baseball and football, but Bo didnt know Diddy. By twenty-three, Tupac had survived one shooting, shot two white police officers in the South and walked, been accused of making music that incited the murder.
He had acted in major motion pictures and written songs that would later be enshrined in the Library of Congress. He was hero and villain, a walking, wounded Rorschach blotsomeone the press and civil rights activist C.
As he pointed out, I loved the Player To Player - C-Bo - The Final Chapter (Cassette that I could go into any ghetto and be noticed and be known. Paranoid, wise, venial, brilliant, filled with recent history [the Borgia familys reign] and biblical reinterpretations [Moses as an emperor who took leadership by force], Machiavellis book concerns itself with the education of would-be leaders and structures of empire.
The book arrived for Tupac at the perfect time. He read it during a period of intense, self-directed education while behind bars. And on his release he joined a fraught, ultimately unsustainable empire: Death Row Records. Shakur even began to use the stage name Makaveli after his prison release. In the interview, Shakur linked the cycle of violence and remorse in Macbeth to the songs of legendary Houston rapper Scarface. He compared Romeo and Juliets star-crossed lovers to the feud between the Crips and Bloods.
In retrospect, the DNA of historic tragedy fills much of Tupacs work: friendships, betrayals, characters unable to see their own flaws, mass-scale violence. On a personal level, its hard not to see Tupacs irreconcilable dichotomy of selfcitizen and thug, lover and fighteras a, well, tragic flaw. Times to name just twoShakur held court. Few topics were beyond his rhetorical reach: his own education in the performing arts, expectations of black masculinity, the sexual and financial politics of hip-hop, his peers, his future, the American prison system, and Gods will.
He could slough off previous claims like a chrysalis and present himself as a new man at the end of each article. Yet he was meticulous to leave a trail of developmenttelling Powell that while the Thug Life movement was foolish, My intentions was always in the right place. They were mortal men like us and every one of us can be like them. Reading the interviews, Im struck by how much they resemble the incandescent movements of tone and subject in The Autobiography of Malcolm X.
The collaboration between Malcolm X and Alex Haley the future author of Roots uses the form of the autobiography in a way that brilliantly reflects the power of the subject matter. The sometimes adversarial, sometimes confessional relationship between Tupac and the press doesnt mirror at all Malcolm Xs working relationship with Alex Haley, but I read both The Autobiography and Tupacs interview style as asymmetrically collaborative.
Haley acts as a kind of invisible rudder for Malcolm, subsuming his own voice to Malcolms and guiding the manuscript structurally. Tupacs interviewers were forced into a similar role, if only to help. Both the interviews and The Autobiography deliver what they promise: a powerful voice telling the story of a complicated life. The love was mutual enough that Tupac attempted to launch an ill-fated urban reform program, T.
E, complete with a twenty-six-bullet-point code of conduct. It included would-be aphorisms: every new jack to the game must know, a hes going to get rich, b hes going to jail, c hes going to die.
One crews rat is every crews rat. Rats are like a diseasesooner or later we all get it, and they should too. The boys in blue dont run nothing; we do. Control the hood, make it safe for squares. No slanging to children or pregnant women. And be a real ruff neck. Never really enforced, the plans pinnacle came at the Truce Picnic in California inwhere the leaders of the Bloods and Crips pledged allegiance to the code.
ByTupac was recording for Death Row, protected by a snarling phalanx of Bloods and former cops who were arguably more gangster than the gangsters.
Plus, he had aligned himself with the biggest gangster of all, Suge Knight, a Blood who applied mafia ethics to the music business. In hindsight, the arrangement between Shakur and Knight could only have been temporary.
Tupac was far too stubborn to submit to a higher terrestrial power for very long. Biggie was malleable enough to let Puffy help tame the street corner spitter into a polished dance-floor-friendly singles machine.
While Shock G of Digital Underground and later Jimmy lovine and Suge Knight helped steer 2Pac toward mass appeal, he ultimately met the mainstream on his own terms. True pop concessions were unthinkable. He died at the solstice of his fame, so there were no embarrassing attempts to stay current or soften his style.
That was what Ja Rule was for. During his turbulent final two years, Machiavellis The Prince prominently underwrote Tupacs philosophy. His idealism had eroded into a barbaric realism. He saw himself as the enlightened tyrant rising to the top out of virtue, commanding respect and forcing others to bow down to his will and Death Row. He nodded his head and strove to go directly to what Machiavelli called the effectual truth of the thing, [rather] than to the imagination of it.
It was the perfect melding of his raps with a ruling strategy. Machiavelli morphed into Makaveli, but both the writer and the warrior shared a few things: the need to plot and scheme, self-sufficiency, and the importance of showing neither mercy nor weakness.
G and 2Pac, we talk about the subject of ascendance. That is, we talk about how adolescence becomes adulthood and how rhyming for friends becomes rapping for millions. We talk about the initial goals of the artist and the realities and ramifications of trying to make those goals real. Making an argument for Biggie and 2Pacs interwoven personal and artistic narratives becomes extremely difficult here.
Not just because 2Pac had released two solo albums and a group album, Thug Life: Volume 1, before Biggies debut in And not just because their first years as artists and men were as dissimilar as their final years were closely intertwined. It is the dissonance between the subject of ascendance in each artists music and the path each man took to the peak of hip-hop celebrity that makes choice here so difficult. What Tupac and Biggie said on record doesnt match up with the realities of their respective rises from young artists to pop culture celebrities.
For The Notorious B. Digital media, Christopher Wallace the man benefited from more than one serendipitous break, whether it was access to the improvised basement and living room recording studios in Brooklyn hed hang out in after hed finish hustling; meeting DJ 50 Grand, who both coaxed Biggie into recording a tape and hectored the legendary DJ Mister Cee to listen to the tape; or benefiting from the young Sean Combs foresight to build a label around Biggie when Combs was fired from Uptown Records in The two moves Wallace made in his lifeonto the street and into the studiogave him the bulk of his material: how a schoolboy hustles and how a hustler raps.
In life, Wallace moved swiftly from hustler to rising star to smash debutant to icon. In many ways, the lyrical avatar of Biggie faces a harder road to underworld success than Christopher Wallace did in the rap game.
The man was far luckier than the character he created. Keep on pushing the boundaries and reaching for higher heights. Sean Combs, with Biggie in In contrast, 2Pac was the artist who thrived in many spheres.
An artistic and moral vision catalyzed the start of his career as an MC. His first single was s Brendas Got A Baby, a cautionary tale and plea. The menace and first-person violence that shaped Biggies music from the outset infused the second-half of Shakurs output with new energy. His postprison double album, s All Eyez On Me, billows with a weary vanity, a mood largely foreign to. This book has previously covered some details of Christopher Wallaces early life.
Since were now going to deal with more of Biggies real-life incidents and their rendering in verse, I want to direct readers to an invaluable book, a book Ive cited previously here and have consulted regularly in my own reading: Cheo Hodari Cokers Unbelievable: The Life, Death, and Afterlife of The Notorious B.
Cokers summary of key passages in Wallaces life and his encyclopedic list of recordings are similarly useful. Gifted — Introduction B2. Hasstyle — Road To Success B5. Renagayd — Shop Of Horrors B6. FLAC — Florenfile. Your email address will not be published. Subscribe Enter your email address: Delivered by FeedBurner. Artist: Various Artists. April 11, at am. December 31, at am. Leave a Reply Cancel reply Your email address will not be published. Lif - Farmhand [EP] 40 mb Mr. Lif - I Phantom 69,5 mb Mr.
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