A commentary on Holler If Ya Hear Me, the Tupac-inspired musical directed by Kenny Leon and starring Saul Williams.
In these times, we must demand something from the culture. Over the years, the mainstream culture has forced the pop culture to use unthinkable maneuvers to try to destroy Tupac’s essence, and the success of his legacy. From objective observation, the mainstream culture hasn’t been successful. The media has been a tool and an sidekick of political order to destroy, characterize and quiet a voice they oppose. Thus far, Tupac and his legacy, with the help of his fans and family has defeated their strategy. The death of his persona should not be left in the hands of those who rejected him.
Broadway is an important indicator of any artist’s legacy. It’s a place where the world recognizes such. It’s not a question that Tupac must make it on Broadway, not only for his legacy, but for the endurable spirit of the hip-hop culture, and yes the struggle. Tupac personifies both aspects. It is said on Broadway that, “if you can make it on Broadway, you can make it anywhere,” but in truth if you are loved everywhere Broadway should want you there. As the caravans and theater workshops spreads his legacy and contributions of the culture that he represented around the shantytowns, favellas and ghettos of the world, his story told on Broadway must be whole-heartedly supported. As a symbolic worldwide recognition of his importance and contribution to the art and the struggle.
Broadway is known as the vehicle theater where tragedies, joys, triumphs of events, extraordinary people, and extraordinary accomplishments have prevailed.
The tradition of doing a play on his birthday is distinguished by the Broadway play. Broadway theater does not diminish the very real importance of the grassroot and street theaters all over the world, but as we say, “his fans and admirers must overwhelm the Broadway venue as an act of protest-‘yes’ protest!” From then, we have encountered the manipulation of his legacy and maintained that his work and his life has a universal acceptance. Thereby memorializing his legacy in that venue.
Tupac wanted change and the mass media resisted that change, because of:
1) some couldn’t understand it,
2) many was afraid, and
3) a small conglomerate wanted it silenced.
We the dreamers, the hopers and the have-nots understood it, embraced it, and was all the way down with it. Tupac’s special ability to be self-revealing through his art is what made him uniquely qualified as an artist to express our desires, fears and vulnerabilities.
Tupac represented the tragedy of change, the triumph of change, and the joy of change. He gave us hope, he gave voice to not the voiceless, but to the voices that were rejected, crying out for comprehension and a new tomorrow. He truly felt that pain. Tupac’s art and his lyrics represented those who wanted in and yes those who wanted out, and to be left in their own space. His representation of moving the people in a free-spirited direction, searching for answers to represent us all from the chains of the struggle. Tupac’s direction was positive, unified an the task was herculean especially in light of his own admitted faults vulnerabilities and unconventional thinking he exposed to the world through his lyrics, his performance, and songs [a triple threat capability], consequences be damned and we loved it. Pac said “lace me with the words of destruction and I’ll explode, but supply me with the will to survive and watch the world grow.” And he also said “shattered black talents style thoughts I throw, if it remains in your brain then of course it grows.”
The new generation must know who he was, what he represented and see the impact that he has left today all over the world. Tupac was not a aberration, a fad, or a trend. He was a healer, he was a continuation of a spirit, he was a voice, he was love, he was the struggle and a painter through the manifestation of his art…He believed we would follow him through his art as he painted the world before our eyes. He saw nothing but his dreams coming true while staring through the world from his rearview. He had found the answer to his question, if dreams come true?, by leaving behind his legacy and paving the way for our future of having the first Black president. He screamed, “never forget those locked-down who fought for our freedom that we enjoy today- they are our political prisoners.”
As Bob Marley, Hugh Maeskla, and Nina Simone, when your voice remains as powerful as Tupac’s, the challenge to discern its different forms and genre can seem dyslexic. In fact, for many navigating the presentation of his art and his different forms, venues, various angles and colors begs for intense examination while being forever nimble in its tasks; that is essential for the appreciation of his essence.
The same has been true for the hip-hop culture overall as it arrived to a permanent footprint in the artistic landscape. In the past, someone or some great event ushers in the transition; in this instance, we cannot deny that Tupac was a major contributor in our third eye. We watched him stubbornly, with severe sacrifices, resist stereotypical typecasting; yes he braved the expansion, gave his body and soul to save the culture he loved from being kidnapped into the abyss, and had the audacity and the ability to inject into our DNA the real purpose of hop-hop culture that is a vehicle of change. With that, we became whole. This is a man’s work now intergrading the great white way. For Tupac, it is ripe to seize the time. In our lives, we define who we are through struggle. We never know if time is precise; we depend on other indicators to guide the way.
The ethereal callings not to be over-metaphysical, but we come from a different place, we survive off of different laws of the universe. The “stars” (a special ensemble) emerge to transmit this play/legacy into the rightful place in our cultural passage.
Afeni Shakur, his mother, believes in this play it continues her ever consecrated devotion to assure the memorialization of Tupac and his art and give to us. She acknowledges and understands how germane and imperative it is for this era.
Tupac like Pablo Neruda performed in his other self voice gave the defiant silence of the masses of chile the courage to resist the oppressive state apparatus. He became the beacon not only for Chile but for Latin America. So to has the phoenix of Tupac our true renaissance artist of his generation gave voiced to a jettison and ignored culture, and demanded respect. We are hip-hop and relevant; this man child gone too soon served us well.
Tupac the invisible man, Curtis Mayfield predicted will come is still here. Whether he becomes “invisible” depends entirely on us. I prevail on you to support this play now what it would mean for the future renaissance.
“Right on to the darkness”
Long live the words of Tupac,
-Dr. Mutulu Shakur
I was last on the continent of Africa I was in the countries of Senegal and in Gambia. While walking in the busy market streets of Dakar I passed a store where the youth shop for clothes. In a large window display were sale items which are very popular among Senegalese youth. Prominently in front to my happy surprise were jeans and t-shirts of Tupac Shakur, next to this was Bob Marley and next to this Che. Rap music is very popular in Senegal and Tupac is still the biggest even with Senegalese rap stars. Tupac is a part of the new generation BUT it is not just over here in America. Tupac’s artistry has REPATRIATED to the youth of Africa.
Pingback: San Francisco Bay View » Dr. Mutulu Shakur on Tupac: Fight for the legacy