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An installation at “Wake Me When I’m Free,” the museum’s new exhibit dedicated to the life and work of the late rap star Tupac Shakur.
Tupac There You Go
It came out through his posthumous book The Rose That Grow From Concrete, which featured selections from his poetry collection unannounced at the time. His appearance was brought to the big screen in the 2017 biopic All Eyez on Me, the drama that attempted to document the celebrity’s life story. And perhaps more powerfully, he appeared on the Coachella main stage with Dr. Dre and Snoop Dogg in 2012, rapping “Hail Mary” and “2 of Amerikaz Most Wanted” in holographic form with the two West Coast legends.
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Now, it comes alive again through “Wake Me When I’m Free,” the traveling museum exhibit chronicling the modern artist’s life and legacy. Located in L.A. Live, the show was created in conjunction with Shakur’s estate, with the original idea coming from his mother, Afeni Shakur, before her death in 2016.
The show, which will stay in Los Angeles until May before moving to other cities, opens in a gleaming white room, a stark contrast to the rectangular black box that creation outside the building. Inside the lobby, larger-than-life representations of Tupac’s various tattoos protrude from the walls, giving museum visitors a deeper understanding of the art that was decorating his body.
Arron Saxe, the show’s producer, wanted Wake Me When I’m Free to be “more than just a hip-hop museum.” For this reason, the first few rooms are dedicated to Afeni Shakur and the revolutionary philosophies he shared that would have informed his work.
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After focusing on his growth, the alley opens to a row of school-lined paper, scrawled by the prolific creative with handwritten poems, song lyrics and reruns of album records on the carefully revised to create their final version.
“I hope people down here on the floor are looking at these scripts,” said head curator Nwaka Onwusa, crouching down to get a closer look at the script pages of “Live 2 Tell” Tupac.
“Wake Me When I’m Free” is the latest attempt to pay homage to the life of an artist taken before his time. In the past decade, there have been documentaries about Whitney Houston, Amy Winehouse and Kurt Cobain, along with retrospectives of younger artists who have recently died, such as Juice WRLD, Lil Peep and Son of Miller.
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“You take the idea and the legacy of this artist, and if you can connect that magic to the age group of 11-30, they can immediately take an interest in everything that the artist has done,” said CEO Jampol Artist Management Jeff Jampol, who previously managed the Shakur estate and currently manages the estates of artists such as The Doors and Janis Joplin.
Early music — anything released outside the past 18 months — now makes up 70 percent of the US music market, according to music analytics firm MRC Data. The increased attention paid to such songs has made the business of legacy artists, including those who are no longer alive, more lucrative.
David Bowie’s estate recently sold his worldwide publishing rights to Warner Chappell Music for over $250 million. Recently, Bob Dylan sold his catalog of compositions to Universal Music Publishing Group for at least $300 million. (An estimate of Tupac’s net worth was not available.)
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While it’s hard to pinpoint a single reason for this growth, streaming services have made it easier for younger fans to engage with music from past icons and for older fans. relive the soundtracks of their childhood. The potential of hologram and NFT circuits, along with proven methods such as documentaries and posthumous albums, have also created more ways to extend an artist’s legacy beyond their recorded music.
At the same time, the plethora of new art competing for our eyes and ears makes it harder for up-and-coming musicians to reach the same heights as their predecessors.
“There was a time in the 60s and 70s when less than 300 albums were released commercially every year,” Jampol said. “Today, 60,000 songs are uploaded to Spotify every day. It made the b ‘ made it easy for unknown artists to develop a handshake relationship with potential fans, but it made it almost impossible to escape the trash.”
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“Wake Me When I’m Free” isn’t the only way Tupac’s name has returned to the forefront of culture; His unique song “Hit’ Em Up” was featured in the season 2 premiere of “Euphoria” and trended several times on TikTok. (Especially in 2021, when a woman took it upon herself to support singers who watched Tupac launch a racist slur at the end of the song.)
However, the show also comes at a time of turmoil for Shakur’s estate. Nine days before the show’s release, Tupac’s single sister, Sekyiwa “Set” Shakur, filed a lawsuit against the administrator of Afeni Shakur’s estate, music director Tom Whalley. In the lawsuit, Sekyiwa accuses Whalley of embezzling millions of dollars while collecting Tupac items she believes are now hers and of not providing a reliable account. right
Tom Whalley, who signed Tupac Shakur to Interscope Records in 1991, is the administrator of Afeni Shakur’s estate.
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Whalley signed Tupac to Interscope Records in 1991, making him the label’s first rap artist. After Tupac was shot in Las Vegas in a case that remains unsolved, Afeni Shakur asked him to help manage the estate of the late artist and later named him as manager of Amaru Entertainment, which owned much of Tupac’s intellectual property, in 2015.
Sekyiwa’s name is written twice in Tupac’s museum, both times briefly, describing the family’s tumultuous years in New York and Baltimore. However, she and her lawyer L. Londell McMillan believe that her inherited assets are scattered throughout the show, especially in the second half, where Tupac’s high-profile clothing and other accessories are on display.
“It looks like [the museum] was very well done, well taken care of, with a lot of Set’s personal things,” said McMillan, who represented Prince and Michael Jackson before died. “It’s a bittersweet situation. It’s good for people to get to know Tupac and see more, but the timing, the show and the organization should have been giving him -enter Set, with her personal items in the installation.”
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Disputes between family members and estates after an artist’s death are not uncommon. A clear, concise will agreed to by all parties can make for a smoother distribution process, but even so, Jampol points out that such arguments are “human nature.” and that they can be almost inevitable.
“Look at what happened with Michael Jackson’s family feuds, when he had a very clear will,” Jampol said. “Look what happened to Prince when he didn’t. [Disputes] are far more common than uncommon.”
Tupac did not leave a will at the time of his death. Therefore, all his property was handed over to his mother, Afeni, who kept the property until her death in 2016.
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According to Afeni’s trust document, Whalley was to distribute all personal property belonging to her and Tupac, such as pictures, jewelry, clothes and cars, with one notable exception:
“It’s obvious that the value of Tupac’s personal property is far beyond his intrinsic value,” said Howard King, an attorney representing Afeni Shakur’s trust. “For example, a $10 pair of used jeans is worth $10. Dh ‘ a $10 pair of jeans that Tupac wore on an album cover could be worth $20,000. Much of that property has been preserved for this reason in the museum, which proves that has a value higher than its intrinsic value.”
King described the items held for investment as properties belonging to Tupac that Whalley felt could be in a museum or sold at auction for a substantial amount.
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In the lawsuit, Sekyiwa accused the administrator of applying the exception too liberally and hiding behind her every time she asked for important things.
“Sekyiwa has repeatedly requested the distribution of personal property, many of which are believed to have little monetary value but tremendous sentimental value,” the petition states. the investment exception applies to almost all items of personal property owned by Afeni, including but not limited to items that Afeni inherited as a beneficiary of Tupac’s estate.”
As administrator, Whalley decided what items were defined as “investment properties” without the help of Tupac’s sister. However, King says the preservation of the various items was ultimately intended for the benefit of all the beneficiaries of the trust, including Sekyiwa.
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“The museum is not only there to share Tupac’s legacy with his fans, but also to make a profit for the trust,” he said. “Every month it receives a distribution from the trust of her share of the available funds that are not needed for other purposes. When the museum generates money, some of it goes back to her.”
The process of determining which items have investment value and can be provided to Sekyiwa,
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