July 1st, 1988
Tupac POV
After the release of "Fear Nothing," everything changed. That track, along with the radio interview, put me in a new light—not just within the group but out there on the streets too. People were starting to recognize me in a way I hadn't experienced before. It felt like I'd become the most popular member of N.W.A. almost overnight. It wasn't something I had planned, but it was happening, and I wasn't about to waste the opportunity.
The buzz wasn't just coming from the fans. Jerry Heller had taken notice too. He saw the potential in what I was bringing to the group, and he wanted to build on that momentum. He pushed to have a couple of my tracks included in the album's promotion. It wasn't just about the music anymore; it was about making sure my name was out there as much as possible. I could feel him backing me, and while some might've seen it as favoritism, I saw it as a chance to elevate us all.
So, I got to work. I wrote two songs specifically for the album's promotion: "Trapped" and "Holler If You Hear Me." These weren't just tracks to fill space—they were statements. They were about what we were living, what we were seeing every day in the streets. I wanted them to resonate, not just with our core fans but with anyone who heard them.
With those songs ready, the next step was the visuals. Music videos weren't just a luxury anymore; they were essential. They could make or break how people connected with your work. And we weren't just planning to shoot the videos for my songs—we were also gearing up for the video for the title track, "Straight Outta Compton."
The energy around these videos was electric. Everyone knew how much was riding on them. For my tracks, we wanted to keep it raw and authentic—shots that captured the streets, the energy, and the struggle. As for "Straight Outta Compton," the plan was to make something bigger, something that would hit hard and showcase not just the song but the entire group.
Finding the right director was crucial. Jerry was on it, and he told us he had someone in mind who understood what we were trying to do. We didn't want some Hollywood-style production. We wanted something that felt real, that represented where we came from.
The next step was to meet with the director, scout locations, and start pulling the vision together. It was all happening fast, but that was the way things moved in this business. You had to stay ahead, stay sharp, and keep the momentum going.
The vision for the "Straight Outta Compton" video was ambitious, but we knew we had to make it happen. This wasn't just another video—it was a message. Compton wasn't just a setting; it was the main character. Every street, every corner, every face needed to reflect the truth of where we came from.
Without a doubt, Dre was the most hands-on. He had a way of making you feel like every detail mattered. The beat wasn't enough—the visuals had to match the power of the track. And for me, stepping into the role of leading the song's verses meant taking on the responsibility of representing our entire crew.
Day 1: Meeting the Director
Jerry Heller set up a meeting with Marcus Hill, a young director who'd been making waves with his raw, documentary-style work. Marcus wasn't polished, but that was exactly why Jerry picked him. His work had grit, and that was what "Straight Outta Compton" needed.
The meeting took place in a small office above a record store in Inglewood. Marcus greeted us as we walked in—a skinny dude with a sharp eye and an old-school camera slung over his shoulder.
"Good to meet you all," Marcus said, shaking hands. "I've been playing this track non-stop since Jerry hit me up. I see what y'all are trying to do, and I'm all in."
Dre leaned against the wall, arms crossed. "We're not trying to sugarcoat anything. This is about where we're from—real life. None of that fake Hollywood mess."
Marcus nodded. "Got it. I'm thinking we keep it raw—no fancy sets, no fake backdrops. Just the streets, the people, the chaos, and the beauty of Compton."
Eazy chimed in with his signature grin. "Yeah, but we don't want it to feel like a public service announcement either. It's gotta be tight, something people can vibe with while still getting the message."
Marcus smirked. "I hear you. I've got a few ideas already. First, we start with an intro shot—a slow pan down a busy Compton street. Kids on bikes, dudes chilling on their cars, barbershops open. Then we cut to you guys walking and rapping right in the heart of it."
Dre nodded, clearly liking where this was headed. "Alright, but we need something iconic too. Something that makes people sit up when they see it."
Marcus thought for a moment. "How about we set up in front of the Compton courthouse? That's a symbol of authority, and you guys standing there sends a message: you're not afraid of the system."
I jumped in. "I like that. But we also need the people in it. Not just us—everybody. This isn't just our story; it's theirs too."
Marcus smiled. "Exactly. Let's make it happen."
Day 2: Scouting Locations
We spent the next day walking through Compton with Marcus. Every block told a story, and Marcus took it all in, his camera snapping pictures of potential spots.
We stopped at a corner on Rosecrans Avenue, where a wall of graffiti stretched for half a block. "This is it," Marcus said. "This is where we'll shoot the first verse. Pac, you're up front, Dre and the rest behind you. The wall makes it clear—this is your territory."
Dre nodded. "Yeah, that's the look we need. And the wall gives it that underground feel."
Next, we visited the parking lot of a liquor store. It was busy—cars pulling in and out, people chatting, music blasting from open windows. "This spot is perfect for the hook," Marcus said. "It's where everything comes together."
By the end of the day, we had a full list of locations: Rosecrans, the liquor store, a park where kids were playing, and the courthouse steps. Every spot felt like it belonged in the story.
Day 3-7: Shooting the Video
Day 3: The First Scene
We started bright and early on Rosecrans. Marcus had a small crew—just a couple of cameramen and a sound guy—but they moved like pros.
The first shot was simple: me standing in front of the graffiti wall, delivering the opening lines. Marcus was right behind the camera, giving directions. "Pac, I need that intensity. This isn't just about rapping—it's about making people feel what you're saying."
I nodded, shaking off the nerves. When the camera rolled, I let the music take over. By the end of the first take, the crew was nodding in approval.
Dre came up to me after. "You killed that, man. That's the energy we need for the whole video."
Day 4-5: Community Shots
The next two days were spent capturing the essence of Compton. Marcus wanted the video to feel alive, so we filmed everything—the kids playing basketball, old heads laughing on their porches, women braiding hair on their front steps.
In the parking lot of the liquor store, Dre and I stood side by side, rapping as the camera moved around us. The locals crowded in behind us, hyping us up and adding to the atmosphere.
"This is what it's about," Dre said between takes. "Showing people that we're not just rappers—we're representing our community."
Day 6-7: The Climax
The final days of shooting were all about the courthouse scene. Marcus had arranged for some extras to play cops, but even with actors, the tension was real.
The scene had us standing on the courthouse steps, rapping while the "cops" tried to push us back. Marcus wanted the shot to feel chaotic, like a confrontation waiting to explode.
"Tupac, Dre—you're leading this one," Marcus said. "I need fire. You're not just rapping—you're challenging the system."
When the cameras rolled, everything clicked. The energy was raw, and by the time Marcus yelled "Cut," the crew was buzzing with excitement.
Wrap-Up
As we packed up the gear on the final day, Marcus pulled us together. "The video is great . You guys il—you're starting a movement."
Dre nodded, clapping him on the back. "We couldn't have done it without you, man. This is exactly what we needed."
Driving home that night, I felt a mix of exhaustion and pride. The video wasn't just a project—it was a piece of Compton, a piece of us. And I knew, once it hit the streets, the world would never look at us the same again.