CD & DVD INFO
Band : TUPAC
Album : LIVE AT HOUSE OF BLUES DVD
VÖ : 21.10.2005
Label/Vertrieb : eagle vision / edel
Format: DVD 9 | Katalognummer: 0000501ERD | Bildformat: 4:3 | Sound-Format: Dolby 5.1, Dolby Stereo | Spielzeit: 116 Minuten | Untertitel: keine |FSK:12
FEAT. SNOOP DOGG, THA DOGG POUND, NATE DOGG, THE OUTLAWZ, K-CI & JOJO
Tupac Shakur ist eine der wichtigsten Figuren in der Geschichte des Hip-Hop, obwohl seine Karriere nur fünf Jahre andauerte. Vom Beginn 1991 bis zu Tupacs Ermordung im Jahr 1996 etablierte er sich mit einer Reihe von Arbeiten auf einem ungewöhnlich hohen Niveau und feierte riesige kommerzielle Erfolge. Seit seinem Tod sind eine Reihe posthumer Tonträger. Dieser CD Release ist anders. Er beinhaltet die schier explosive, raue Energie eines Tupac Livekonzertes. Man kann die gesamte Show im ´House Of Blues`, beginnend mit Tupacs Set, anschließend folgen Snoop Dogg and Tha Dogg Pound hören und am Ende präsentieren Tupac und Snoop gemeinsam ein Finale, das aus zwei Tracks besteht. Die Show ist nichts für zart Besaitete und beinhaltet Tupacs kompromisslose Publikumsansagen sowie Snoops freizügige Haltung zu Sex und Drogen und seiner Präsentation leicht bekleideter Frauen. Tupac und Snoop hatten 2005 beide große Singleerfolge in Deutschland. Dazu gehören ‚Ghetto Gospel’ von Tupac zusammen mit Elton John und Snoops Hits wie ‚Drop It Like It’s Hot’ und ‚Signs’ im Duett mit Justin Timberlake.
1) Ambitions Az A Ridah
2) So Many Tears
4) Hit ‘Em Up
5) Tattoo Tears
6) All About You
7) Never Call U Bitch Again
8) Freak ‘n’ You
9) How Do You Want It Tha Dogg Pound (Snoop Dogg, Kurrupt, Daz) & Nate Dogg
10) Murder Was The Case
11) The Shiznit
12) If We All Gonna Fuck
13) Some Bomb Azz (Pussy)
14) Ain’t No Fun (If The Homies Can’t Have None)
15) New York
16) Big Pimpin’
17) Do What I Feel
18) G’z And Hustlas
19) Who Am I (What’s My Name)
20) Me In Your World
21) For My Niggaz And Bitches
23) Gin And Juice Tupac, Snoop, Tha Dogg Pound, The Outlawz, Nate Dogg, K-Ci & JoJo
24) 2 Of Amerikaz Most Wanted / Nothing But A Gangster Party
Bonus: 5 Videos
Tupac - Live at the House of Blues, Los Angeles - by Kevin Powell
I first met Tupac Shakur in Atlanta, Georgia, in the late spring of 1993. It was at a music conference, and he was enjoying the glow of his recent star turn in the gritty urban saga Juice. I came away from that film thinking about another young genius who had also died too soon: James Dean. Back then I was a writer for Vibe magazine and certain that Tupac was the figure I wanted to write about because he, better than anyone else I had listened to or seen on screen up until that moment, embodied the often difficult and stunted experience of being a Black boy, a Black manchild, in America. He was, in short, the hiphop generation’s James Dean. Little did I know that, for the next three years, until his death in Las Vegas on Friday, September 13, 1996, his life and mine would be intertwined, because of our numerous conversations and interviews, in Los Angeles, in Atlanta, and in New York City when he was behind bars at Rikers Island.
It is here, on Death Row Records, on this DVD, that we see Tupac Shakur in his last and most potent incarnation. The tattoos, the metallic Death Row necklace, the gleaming bald head, the black shirt, the white tank top, the baggy white pants, the diamond-studded ears, the black shoes, the black belt. The date is July 4, 1996, the location, the House of Blues on Sunset Strip in Los Angeles, and it is one of Tupac’s final live performances. The funny thing is he is not the headliner. That moniker belongs to labelmate and fellow superstar Snoop Dogg; yet it is clearly Tupac’s concert. The venue is jammed with hyperkinetic bodies, women, men, all yelping hysterically because they obviously sense that Tupac is more than a rapper, more than an actor, more than a sex symbol. He is, in a word, them. Of the people, giving power to the people, as he prowls the stage, like a magical black panther. Part preacher and part showman. When Tupac spits “I’m ridin’ for y’all!” you believe him, because no one-no one-represents the West Coast, West Coast hiphop, or Death Row records, as he does on this summer evening.
Indeed, Tupac Amaru Shakur was born to ride-fast. His life began in New York City on June 16, 1971, just a few short weeks after his mother Afeni Shakur, a member of the controversial Black Panther Party, was released from prison after being falsely accused of planning politically motivated violent acts. His family, first him and his mother, then him, his mother, and his sister, moved a great deal. All about the city, from this apartment to that one, from one reality to another, sinking deeper and deeper into the clutches of ghetto life. No matter, since Afeni Shakur gave Tupac a profound sense of himself, in spite of the poverty, the hunger, the fatherlessness, the taunts about his “girlish” looks and his dark skin. It began with his name. Named after an Inca chief, “Tupac Amaru means “shining serpent.” “Shakur” is Arabic for “thankful to God.” You are Black, his mother told him, and You are beautiful. Likewise Tupac’s artistic side, amidst the madness, was nurtured as a child. He told me one of his most triumphant moments was when he got the opportunity to play the little boy Travis in Lorraine Hansberry’s landmark play, A Raisin in The Sun, at Harlem’s legendary Apollo Theater, as part of a fundraiser for presidential candidate Jesse Jackson in the early 1980s. That episode, Tupac said, made him feel alive, and he knew instantly that being on a stage was his calling.
Tupac got his chance again when his family narrative shifted to Baltimore. He enrolled at the famous Baltimore School for the Performing Arts, where ‘Pac was known as MC New York and honed his chops as a thespian, as a lover of Shakespeare and Van Gogh. Although he did not finish high school, Tupac never stopped studying, reading, or believing he could have a life for himself, even as his family headed next to Marin County, California. There, as his mother slipped into a debilitating crack addiction, Tupac, the teenager, slept in strange places, hustled, stole, begged, survived. His life was a cross between that of Richard Wright’s fictitious Bigger Thomas and the young Malcolm X (nee Malcolm Little AKA “Detroit Red”). That Tupac maintained during those dark, lonely days, talked his way into a Bay Area hiphop crew called Digital Underground, first as a road assistant, then as a dancer, and, finally, as a rapper, speaks to his vision, for himself, for his life.
And what Tupac Shakur did during his short life journey is undoubtedly a part of hiphop folklore. Hit records like “Keep Ya Head Up” and “California Love.” Critical acclaim in films like Juice and Poetic Justice. A uniquely American outlaw image branded by his many brushes with the law, including the audacity to shoot at two White off-duty police officers in Atlanta who had attacked a Black man. The ugliness of his trial for rape, a crime he said to his death he had never committed. Being shot five times and living to boast about it. The prison bid of about a year stemming from the rape trial. Then his rescue from prison, via Suge Knight and Death Row Records.
Rescued, and free, is what Tupac is on this occasion at the House of Blues. No one knew he would live just two additional months after this now historic performance. That is why this concert, viewing it all these years later, has such a timeless quality to it. You wonder if he knew the end was near. There, on stage, in his safe space, Tupac smiles, he frowns, he rhymes, he vents, he curses, he smokes, he inhales, he exhales, and he loves and he hates-unapologetically. On a night that not only features Snoop Dogg, but also platinum acts like the Dogg Pound, Nate Dogg, and K-Ci, JoJo, and Mr. Dalvin of early 90s R&B supergroup Jodeci, it is the sweaty and suddenly shirtless, muscled Tupac Shakur who holds court for the masses. Then all eyes are on Tupac and Death Row boss Suge Knight standing in the balcony. Finally Snoop calls ‘Pac back to the stage near the end of his set, to perform their classic duet “2 of Amerika’s Most Wanted,” we discern it is because Snoop knows that Tupac Amaru Shakur is a rebel without a pause, destined and determined to live forever.
Kevin Powell is an essayist, poet, journalist, public speaker, college lecturer, and hiphop historian. His most recent book, Who’s Gonna Take The Weight? Manhood, Race, and Power in America, includes a long meditation on the life and times of Tupac Shakur.
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