Over a decade and a half after his
death, the legacy of Tupac Shakur is something that's still
discussed, in sources ranging from MTV to NPR. For most of this time,
the discussion centered on the music and performances during his
life. But now there's Virtual Tupac, here to add an appendix to the
artist's life story.
Not only has Virtual Tupac taken pop music a step further into the realm of the manufactured (in this case, literally) star, but it also shows how little control an artist has over their own persona, especially after shuffling off the mortal coil.
This certainly isn't the first time an artist has “performed” new material after their death. Natalie Cole famously sang a duet with her late father Nat King Cole in a version of his hit “Unforgettable” that was only possible through recording technology. The Beatles made a similar move with “Free As a Bird,” a new Beatles song consisting of the remaining three members playing behind an unused vocal track from John Lennon's solo days.
Not only has Virtual Tupac taken pop music a step further into the realm of the manufactured (in this case, literally) star, but it also shows how little control an artist has over their own persona, especially after shuffling off the mortal coil.
This certainly isn't the first time an artist has “performed” new material after their death. Natalie Cole famously sang a duet with her late father Nat King Cole in a version of his hit “Unforgettable” that was only possible through recording technology. The Beatles made a similar move with “Free As a Bird,” a new Beatles song consisting of the remaining three members playing behind an unused vocal track from John Lennon's solo days.
But in these examples, at least it can
be said that the living parties were closely related to their
deceased collaborators. Dr. Dre and Snoop Dogg had left Death Row Records by
the time Tupac was murdered, and while Dre did work with Tupac on the
classic “California Love,” there's no indication that the three
were BFFs.
And then there's the cable commercial
using the Buddy Holly meoldy, the Glee episode featuring the
“tribute” to Whitney Houston, the Ford commercials and bad movie
trailers with Johnny Cash singing in the background.
If you can say one thing for all of the
above examples, whether good or bad, they at least never made any
challenge to the singers' deaths. Yes, Natalie was singing with her
dad, but there wasn't any banter or other random element to make it
seem as though they were actually in the same room together. Virtual
Tupac kicking off the performance with a rousing “What the fuck is
up Coachella?” brings him into the present moment in a disturbing
way.
It's true that most individuals really
have a limited amount of control they can exert over others'
perceptions of them, and even pop stars – whose entire job is to
craft and flourish a public image – are ultimately subject to the
whims and caprices of the audience. But at least the artist has the
chance to take an active role in their life.
With Virtual Tupac, all control that
the real Tupac had over himself and his actions is gone. Would real
Tupac have played those songs? Would have have shared a stage with
Dre and Snoop? Would he even played Coachella? None of this matters
any more, because Virtual Tupac is here, ready to stand in anywhere
he's set up. And if it's decided that Virtual Tupac should do things
the real Tupac would never have done, well, not much real Tupac can
do about it.
And while most people won't necessarily
confuse Virtual Tupac with the the deceased real Tupac, the
association will be created in their minds (that's just how the brain
works, like it or not). Virtual Tupac hawking some light beer in a
commercial will, in continued discussion, become Tupac hawking a
light beer. The line between the actual man and his digital
doppelganger will blur, especially as the time when he was alive
dwindles ever further into the past.
All a person truly has is their self,
but when even that can be replicated and manipulted, then what does
one have? Labels and managers are famous for stealing artists' songs,
royalties, and publishing rights, but when they can take even your
face and body, what's left?
