2Pac Couldn’t Get Away With Cursing Around Samuel L. Jackson’s Wife On ‘Juice’ Set
Samuel L. Jackson reflected on his time working with the late Tupac Shakur on the set of the 1992 classic film ‘Juice.’
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action or later. Please see Debugging in WordPress for more information. (This message was added in version 6.7.0.) in /wordpress-versions/6.7.2/wp-includes/functions.php on line 6114Samuel L. Jackson reflected on his time working with the late Tupac Shakur on the set of the 1992 classic film ‘Juice.’
DIRECTOR ERNEST R. DICKERSON TALKS ABOUT THE DIFFERENT VERSION
WATCH PAC DO AN IMPERSONATION OF TONY MONTANA
“JUICE!”
THE MOVIE PACKAGE INCLUDES NEW INTERVIEWS, PHOTOS & MORE
FUTURE RECREATES INFAMOUS OJ CAR CHASE IN NEW VIDEO…
L&HH HOLLYWOOD’S SINCERE SHOW DROPS REMIXES AD’S “JUICE”
HEATER OF THE DAY: AD – ” JUICE”
ANDRE PITTS SAYS KANYE SPOKE FOR TWO HOURS ABOUT 2PAC, ICE CUBE & NUMEROUS OTHER TOPICS
OMAR EPPS, TREACH & MORE SHARE UNKNOWN STORIES FROM THE SET OF “JUICE”
It was my senior year of high school. A hot Memorial Day weekend, May 26, 1993. My cousin and I went to a see it at a theater that has long since closed down, The Americana. Patrons were being waved down with security wands, scanned for guns. It was an inconveinece that we didn’t even think twice about. Hey, it was better than getting shot. This was Detroit. In the early 90’s, and violence was just a fact of life. And so were guns. And the death or incarceration of young, black men. Doughboy had only declared it 2 years earlier, but it seemed like they still didn’t know, didn’t show, or just didn’t care about what was going on in the hood. But, then came Menace II Society. The “hood movie” genre was already in full swing. New Jack City, Boyz N the Hood, and Juice provided the visuals for the hardcore music of the time. Set to gangster rap soundtracks, the new image of African American culture now had faces to match it. While Nino Brown was a villain worth hating, Doughboy tugged at your heart strings, and Bishop, you just felt sorry for. But, then came O-Dog. Nothing could prepare you for the opening scene of the movie. The random violence was astonishing. O-Dog was an antihero. He blurred the lines between hero and villain. Because for all of his bad-ness, he felt like someone you knew, someone you loved. He was young, black, and didn’t give a f**k. But the heart of the story was Caine. Caine Lawson was a boy I went to high school with. And if you grew up in an urban jungle, you probably did too, and if you didn’t, you might have been him. The son of a junkie mother and a drug dealing, murderous father, raised by grandparents who didn’t understand him, Caine seemed doomed from the very start. But, he was smart. Unlike most of his friends, he was graduating from high school, a fact that endeared him even more with the audience. And, hey, I’ll say it… he was cute. He was handsome in a way that wasn’t off-putting. He was handsome in a way that was just above average, just enough for it to matter. He could pull the girls, with his texturized hair and his silk shirts. He had a nice (stolen) ride, and nice (stolen) rims. [ALSO READ: ’93 til Infinity: Our favorite “Menace II Society” Characters] He was such an epitome of young, Black manhood in the early 90’s, that he could have been from anywhere. But, he grew up in South Central Los Angeles. In the late 80’s and 90’s, after the rise of NWA and West Coast hip-hop, South Central was synonymous with violence and anger. Having been filmed and released just a few short years after the Rodney King beating and the uprisings that followed, the beginning images of the 1965 Watts Rebellion and the 1992 LA Riots (or Rebellion) explained without words the city’s long-history of police brutality, gang violence, and systematic oppression. And that was the point. Menace II Society was, above all, the story of forgotten men. While Boyz N the Hood was a story of lost promise, of an invisible war waging in America’s ghettos, there was still a silver lining; after all Tre and Brandi went away to college, one at Morehouse and the other at Spelman. Caine never made it to Atlanta with his girl. Instead he died, right when he had found a reason to live. And that was what made the tragic film so painful and powerful. After seeing it that opening weekend, I saw it again a few days later with my film buff mother, and afterwards in little Ford Escort, she threw her head into her hands and sobbed. Shocked, I stared at her as she wailed about the “vicious cycle.” I understood, but in my heart, I chose to make up a little story that Caine made it to the hospital and lived. I held that in my heart for years. To this day, when the movie comes on television, I usually turn it off before he gets shot. He was that powerful a protagonist. The tragedy in Caine’s death was that it seemed so unavoidable. That it was a fate that he knew was hopeless to outrun. Caine’s fate was like so many in the Black community. A waste, a young man who could have been a good father, a good contributor to society. Instead, he was just another one of the lost ones, another brother you tipped the bottle for. The late, great Roger Ebert, who absolutely loved this film, stated in his 4 star review: He (Caine) has the values of his immediate circle, and the lack of imagination: He cannot envision a world for himself outside of the limited existence of guns, cars, drugs and swagger. This movie, like many others, reminds us that murder is the leading cause of death among young black men. But it doesn’t blame the easy target of white racism for that: It looks unblinkingly at a street culture that offers its members few choices that are not self-destructive. The Hughes Brothers didn’t blame society for the problems in the hood. But, it didn’t let it off the hook either. It showed, plainly, that there was a cycle of violence going on in the ghetto, and young men, smart men, handsome men, black men, were dying everyday and we were doing nothing about it. The film asked hard questions and demanded answers that still have yet to come. Questions about single motherhood, the growing numbers of grandparents raising kids–co-parenting with the streets, America’s obscenely high incarceration rate, the proliferation of guns in the Black community, and how systematic oppression (lack of access to liveable wage jobs, quality schools, and basic services) just creates more problems for all of us. 20 years later, street culture is celebrated. Films like Menace II Society put […]
Next week the Jay-Z executive produced soundtrack for The Great Gatsby will be available for purchase. The collection will feature the new Jay song “100$ Bill” and a “Back to Black” remake by Andre 3000 and Beyoncé, but the rest of the album will be tracks by pop, EDM, and rock acts. So if you’re missing the days of classic movie compilations rooted in the culture, here’s 10 vintage Hip-Hop-centered soundtracks that rap music collectors need to add to their playlists. [ALSO READ: The Great Gatsby Tracklisting Revealed] 8 Mile (2002) Eminem’s semi-autobiographical tale of an aspiring emcee’s battle from the bottom to the limelight was one of the most commercially successful Hip-Hop themed movies of all time. The accompanying album was also a major milestone for the culture as well. 8 Mile’s lead single, “Lose Yourself” by Em, was the first rap song to ever win the Academy Award for Best Original Song. The collection helped introduce a Queens rapper named 50 Cent to the mainstream with his hit song “Wanksta.” The 8 Mile soundtrack also got the attention of Hip-Hop fans because of the fact that both Jay-Z and Nas appeared on the LP even though the two rap titans were still in the midst of their famous beef. Key Tracks: “Lose Yourself” (Eminem), “Wanksta” (50 Cent), “Love Me” (Eminem, 50 Cent, Obie Trice),”You Wanna Be Me” (Nas), – Above The Rim (1994) In March of 1994, Death Row Records, led by Suge Knight and Dr. Dre, was still riding high off the success of Dre’s The Chronic and Snoop Doggy Dogg’s Doggystyle, so when the West Coast label took on the charge of overseeing the Above The Rim soundtrack expectations were high. By calling on the film’s star 2Pac, the Death Row roster, and some of the biggest names in R&B music at the time like H-Town, Al B. Sure!, and SWV, Suge and Dre did not disappoint. The album spawned the mega-hit “Regulate” performed by Warren G and Nate Dogg and the classic B-side track “Pain” by Pac. Key Tracks: “Regulate” (Warren G feat. Nate Dogg), “Pain” (2Pac), “Anything” (SWV), “Afro-Puffs” (The Lady of Rage) – Belly (1998) Hype Williams is perhaps the most accomplished Hip-Hop music video director of all time. But so far in his illustrious career he has only tried to tackle directing a full length movie once. Williams’ sole feature film is 1998’s Belly starring DMX, Nas, Method Man, and T-Boz from TLC. Of course, the movie’s featured rappers/actors graced the soundtrack along with Jay-Z, Ja Rule, D’Angelo, Mya, Noreaga, and several members of the Wu-Tang Clan. Ironically (or perhaps purposely), Williams’ Belly Soundtrack was the antithesis to Hip-Hop’s “Shiny Suit Era” that he helped spark with his videos for Bad Boy artists like Puff Daddy and Ma$e. Key Tracks: “Grand Finale” (DMX, Nas, Method Man, Ja Rule), “Devil’s Pie” (D’Angelo) “Crew Love” (Jay-Z , Beanie Sigel, Memphis Bleek), “Windpipe” (RZA, Ghostface Killah, Ol’ Dirty Bastard) – Juice (1992) If the music from Belly was a great representation of a late 1990’s Hip-Hop sound, then the soundtrack to the film Juice paints a fairly accurate picture of the genre’s musical landscape at the beginning of the decade. Rap legends Eric B. & Rakim, Big Daddy Kane, EPMD, Salt & Pepa, Cypress Hill, Too Short, and Naughty by Nature provided the audio backdrop as Tupac Shakur’s “Bishop” faced off against Omar Epps’ “Q” to see who really had “crazy juice”. Early 90’s R&B was held down by Teddy Riley, Tammy Lucas, Aaron Hall, and Rahiem. Key Tracks: “Juice (Know The Ledge)” (Eric B. & Rakim), “Uptown Anthem” (Naughty by Nature), “Nuff Respect” (Big Daddy Kane), “Is It Good To You” (Teddy Riley feat. Tammy Lucas) – Menace II Society (1993) A year after Juice another urban drama hit movie theaters. The Hughes Brothers-directed film about friends trying to survive the struggles of life in South Central Los Angeles has become a cult classic, and its soundtrack is equally heralded as a Hip-Hop standard. The 17-track LP featured Cali emcees (MC Eiht, Too Short, Spice 1, Da Lench Mob, DJ Quick, Cold 187 um, Ant Banks, Kokane) as well as acts from New York (Brand Nubian, Pete Rock & CL Smooth, Boogie Down Productions), Texas (UGK, Hi-Five), and Massachusetts (Guru). Menace II Society also introduced a new generation to Zapp & Roger’s classic 1985 song “Computer Love.” Key Tracks: “Streiht Up Menace” (MC Eiht),”Trigga Gots No Heart” (Spice-1), “Unconditional Love” (Hi-Five), “Pocket Full of Stones” (UGK) – Murder Was The Case (1994) Snoop Doggy Dogg (now known professionally as Snoop Lion) was the hottest rapper on the planet in 1994. His Dr. Dre-produced debut solo album, Doggystyle, broke sales records the previous year selling over 800,000 copies in its first week of release. Less than a year later the Long Beach, California rapper delved into movie making with the short film Murder Was The Case. Snoop teamed up with Dre again for the movie’s soundtrack. The West Coast icons mostly enlisted their fellow Death Row artists to add songs to the eventual Billboard #1 album. The compilation also featured a song by the Bloods and Crips unified group Young Soldierz. Key Tracks: “Murder Was the Case (Remix)” (Snoop Doggy Dogg), “Natural Born Killaz” (Dr. Dre, Ice Cube), “What Would You Do” (Tha Dogg Pound), “Dollaz + Sense” (DJ Quick) – New Jersey Drive Vol. 1 & Vol. 2 (1995) New Jersey Drive the movie may not have stood up against the test of time very well, but New Jersey Drive the soundtracks have been able to survive on their own as great bodies of work. Released by Tommy Boy Records as a two-part collection two weeks a part, Vol. 1 and Vol. 2 appealed to two different rap consumers – the radio listener and the underground head. Vol. 1 contained “Can’t You See,” the debut single from girl group Total. Vol. 2 contained Jeru the Damaja’s “Invasion” produced by DJ Premier. Both volumes contained a classic 1980’s throwback track; Maze & Frankie Beverly’s “Before I Let Go” (Vol.1) and Biz Markie’s “Nobody Beats the Biz” (Vol. 2). Key Tracks Vol.1: “Can’t You See” (Total, The Notorious B.I.G.), “Benz or Beamer” (OutKast), “Where I Am?” (Redman), “East Left” (Keith Murray) Key Tracks Vol 2: “Headz Ain’t Ready” (Black Moon, Smif-N-Wessun), […]
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