Monday morning, Tupac, and my hurt feelings.

“Eclipse” is a new play in Cleveland in which fantasy confrontational scenarios are enacted between Tupac and his famous adversaries, Suge and Biggie. Its corresponding write-up in the NY Times made me rather indignant and cranky. Pac’s gone and he’s never EVER coming back, and now all we got is Drake’s loud loud monotone, rap-yelling at me all over my car stereo when I drive around my city.

“Tupac is a very Shakespearean character,” said the “Eclipse” playwright, Michael Oatman, of Cleveland. “He is loaded with contradictions. He’ll be talking about ‘bitches and hos’ one minute then give you a song that has a crushing sensitivity. He lends himself to theatricality.”

– Johnathan Jackson, 19, who plays Shakur in “Eclipse,” reports that the rapper’s music appeals more to his mother’s generation than his own. OWW. IT BURNS.

– “50 Cent is kind of like our Tupac,” Mr. Jackson said. “But there won’t be a 50 Cent musical. Tupac’s death is what made him this legend.” You know, we all said goofy things when we were 19. Still, I’m shocked at what’s become of the youth of America.

– Everyone is always amazed at his contradictions, like we aren’t all conflicted, complicated individuals talkin bout Huey Newton, suing the Oakland PD, then gettin some oral in the club. Right?

There will never be a better one. And that Steadicam work, swoon. The Underground Railroad, who produced 1 little Aceyalone track and then curled up and died somewhere, evidently.

2Pac – “Trapped”

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