DOCSLIB.ORG

Tupac Shakur 2Pacalypse Now Free Zip Download Tupac Shakur 2Pacalypse Now Free Zip Download

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tupac Shakur 2Pacalypse Now Free Zip Download Tupac Shakur 2Pacalypse Now Free Zip Download tupac shakur 2pacalypse now free zip download Tupac shakur 2pacalypse now free zip download. 1) Select a file to send by clicking the "Browse" button. You can then select photos, audio, video, documents or anything else you want to send. The maximum file size is 500 MB. 2) Click the "Start Upload" button to start uploading the file. You will see the progress of the file transfer. Please don't close your browser window while uploading or it will cancel the upload. 3) After a succesfull upload you'll receive a unique link to the download site, which you can place anywhere: on your homepage, blog, forum or send it via IM or e-mail to your friends. 2Pac – 2Pacalypse Now (CD) (1991) (FLAC + 320 kbps) 01 Young Black Male 02 Trapped 03 Soulja’s Story 04 I Don’t Give A Fuck 05 Violent 06 Words Of Wisdom 07 Something Wicked 08 Crooked Ass Nigga 09 If My Homie Calls 10 Brenda’s Got A Baby 11 Lunatic 12 Rebel Of The Underground 13 Part Time Mutha. Related posts: 2 comments "2Pac – 2Pacalypse Now (CD) (1991) (FLAC + 320 kbps)" Can u re-post please. Leave a Reply Cancel reply. This blog does not store any files on its server. We only index and link to content provided on other servers. This blog is for preview purposes only and all music downloaded should be deleted within 24 hours. If you want to support the artist or artists that recorded and released this music, please go and purchase their music. 2Pac – Strictly 4 My N.I.G.G.A.Z… [Official Album], February 16, 1993. Released : February 16, 1993 on Interscope Records; 1998 on Amaru/Jive Certified : Gold September 24, 1993; Platinum Aplril 19, 1995 Recorded : June 1992 – January 1993: Starlight Sound Studio (California); Echo Sound Studio (Los Angeles, California); Unique Recording Studios (New York) Formats : CD, Cassette, Vinyl Length : 64:25 Producer : Live Squad (Stretch), 2Pac, Underground Railroad, Atron Gregory, Akshun, D’Flow Production Squad, Big D The Impossible, DJ Daryl, Bobby Ervin, Laylaw, Special K, Bobcat. Review : Strictly 4 My N.I.G.G.A.Z , was a continuation of raw messages from a young black male . Although this album still emphasized 2Pac’s political and social thoughts, the style and production was a lot more hardcore than the debut album . This album was full of sadness, compassion and rage and also carried many disses to then Vice President Dan Quayle in retaliation for his criticism of 2Pacalypse Now. This album also had a lot more commercial success than 2Pacalypse Now. ‘ Keep Ya Head Up ‘ got acclaim for it’s social pertinence and its supportive message to single mothers. ‘I Get Around’ was the ultimate party jam of its time. ‘ Holler If You Hear Me ‘ and ‘ Last Wordz ‘ continued Tupac’s political attitude in his lyrics. Unfortunately, the raw political messages faded after this album as 2Pac got deeper and deeper into the Thug Life, his marijuana addictions, fame, legal problems, and skepticism from being backstabbed from ‘friends’. They only began to return near and during his recording of Makaveli, shortly before his untimely death. The production on this album was better than the first. The original vinyl names : Side A (tracks 1-8) the “Black Side” and Side B (tracks 9-16) the “Dark Side”. 2Pac – 2Pacalypse Now [Official Album], November 12, 1991. Recorded : 2Pacalypse Now was recorded in Richmond, California from March to August 1991. Producers : Atron Gregory (exec.), Big D the Impossible, Jeremy, Live Squad, Raw Fusion, Shock G, Underground Railroad. Unused tracks : “Crooked Nigga Too” (Original featuring Stretch) (Remixed On Loyal To The Game) “Tears Of A Clown” (Unreleased) “Scared Straight ’91” (Original featuring Ray Luv) (Remixed On Pac’s Life) “Resist The Temptation” (Remixed On Best of 2Pac) “Dopefiend’s Diner” (Remixed On Best of 2Pac) “Crooked Cop Killer” (Produced By Stretch) (featuring Ice-T) (Unreleased) “Fever In The Funkhouse” (Unreleased) “Revenge Of Tha’ Lunatic” (featuring Money B)(Unreleased) (Original Version & Remix) “Funky Freestyles” (featuring Money B, Del the Funky Homosapien & Deb-E) (Unreleased) “Hymn of The 90’s N.I.G.G.A.” (Original featuring Mouse Man & The Wycked) (Remixed On Loyal To The Game) (Partially) “Backstabbaz” (Unreleased) “What U Won’t Do 4 Love” (featuring Schoovy Schmoov) (Early 1991 Version of “Do For Love”) “Use Me” (Unreleased) “This Is The Brain On a 40 Ounce” (featuring Treach) (Unreleased) “2FLY4ME” (Unreleased) “Trapped” (Remix) (Unreleased) “You Don’t Wanna Battle” (featuring Ryan G.) (Unreleased) “It Ain’t Necessarily So” (featuring Shock G) (Unreleased) “Break ‘Em Off” (featuring Money B, Debby & WC) (Unreleased) “Fade Away” (feat. Sean, Julian) (Unleaked Yet) / Producer: Big D The Impossible (Deon Evans) Review : 2Pacalypse Now, the great debut release, is probably 2Pac’s most raw political album. He addresses social issues such as police brutality, poverty, teenage pregnancy, and drug abuse with the anger of a young black male. It is hailed by many critics and fans for its underground feel, with many rappers such as Nas and Talib Kweli having pointed to it as a source for inspiration from the album. Although the album was originally released on Interscope , Amaru Entertainment , the label owned by the mother of Tupac Shakur, has since gained the rights to it. The album’s name is a played-on title of the 1979 film Apocalypse Now, which is about the Vietnam War. This album was strongly criticised by politics and the media. Vice president Dan Quayle believed ” that this album has no place in our society”. It didn’t help this album’s image when it was found in the tape player of a young black male who shot and killed the police officer who pulled him over. The male was at the time listening to Souljah’s Story ; one of the songs where 2Pac raps in detail about killing cops. This album showcases all of the elements of 2Pac’s nature that he later focused on at various stages in his life and career. ‘ Brenda’s Got A Baby ‘ and ‘ Violent ‘ highlight 2 extremes of his complex character: Sadness in circumstances and raw vengeful anger driven by a need to survive. This album was produced along with his friends from Digital Underground . The record never achieved the same success as many of Shakur’s later albums owing in part to rough construction and sometimes repetitive beats, but it was important in showcasing Shakur’s political conviction and lyrical talent. It featured three singles, “ Brenda’s Got a Baby “, “ Trapped “, and “ If My Homie Calls “. 2Pacalypse Now can be found in the Vinyl Countdown ad in the instruction manual for Grand Theft Auto: San Andreas along with the track “ I Don’t Give a Fuck ” which appeared on the in-game radio station, Radio Los Santos..
Load more

Recommended publications
  • Hip-Hop & the Global Imprint of a Black Cultural Form
    Hip-Hop & the Global Imprint of a Black Cultural Form Marcyliena Morgan & Dionne Bennett To me, hip-hop says, “Come as you are.” We are a family. Hip-hop is the voice of this generation. It has become a powerful force. Hip-hop binds all of these people, all of these nationalities, all over the world together. Hip-hop is a family so everybody has got to pitch in. East, west, north or south–we come MARCYLIENA MORGAN is from one coast and that coast was Africa. Professor of African and African –dj Kool Herc American Studies at Harvard Uni- versity. Her publications include Through hip-hop, we are trying to ½nd out who we Language, Discourse and Power in are, what we are. That’s what black people in Amer- African American Culture (2002), ica did. The Real Hiphop: Battling for Knowl- –mc Yan1 edge, Power, and Respect in the LA Underground (2009), and “Hip- hop and Race: Blackness, Lan- It is nearly impossible to travel the world without guage, and Creativity” (with encountering instances of hip-hop music and cul- Dawn-Elissa Fischer), in Doing Race: 21 Essays for the 21st Century ture. Hip-hop is the distinctive graf½ti lettering (ed. Hazel Rose Markus and styles that have materialized on walls worldwide. Paula M.L. Moya, 2010). It is the latest dance moves that young people per- form on streets and dirt roads. It is the bass beats DIONNE BENNETT is an Assis- mc tant Professor of African Ameri- and styles of dress at dance clubs. It is local s can Studies at Loyola Marymount on microphones with hands raised and moving to University.
    [Show full text]
  • Abstract Jordan III, Augustus W. B.S. Florida A&M University, 1994 A
    Abstract Jordan III, Augustus W. B.S. Florida A&M University, 1994 A Study of Language and Ideology in Rap Music Advisor: Dr. O. Osinubi Dissertation Dated June 5,1998 This study examined the language of Hip-Hop songs and ideology of the artists as reflected through their songs. The study was based on the theory that Hip-Hop or rap songs are legitimate artforms because of their use of poetic elements such as figuration, figures of sound, symbolism, and ambiguity. The study recorded and interpreted the lyrics of a few current rap songs for the purpose of investigating their poetical and ideological elements. The researcher found signification battles by some rap artists as the best examples of songs which express the richness and complexity of Hip-Hop music. The researcher found that both Hip-Hop music lyrics and standard poetry have many similarities, but also have a few different features which enhance their uniqueness. The conclusions drawn from the findings suggest that the main reason many critics do not consider Hip-Hop or rap music an artform, is that they either compare the music to something extremely different, or they simply do not take the time to listen to its songs. Rap Music is an artform that expresses poetic elements and utilizes electronic devices, thus making it a Postmodernist popular artform. Through the research, the researcher showed that rap music lyrics also have intense meaning, just like poetry. 2 A STUDY OF LANGUAGE AND IDEOLOGY IN RAP MUSIC A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN AFRICAN AND AFRICAN-AMERICAN STUDIES BY AUGUSTUS JORDAN III SCHOOL OF ARTS AND SCIENCES ATLANTA,GA JULY 1998 R -111 P-Jfl © 1998 AUGUSTUS W.
    [Show full text]
  • The Evolution of Commercial Rap Music Maurice L
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 A Historical Analysis: The Evolution of Commercial Rap Music Maurice L. Johnson II Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION A HISTORICAL ANALYSIS: THE EVOLUTION OF COMMERCIAL RAP MUSIC By MAURICE L. JOHNSON II A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Science Degree Awarded: Summer Semester 2011 The members of the committee approve the thesis of Maurice L. Johnson II, defended on April 7, 2011. _____________________________ Jonathan Adams Thesis Committee Chair _____________________________ Gary Heald Committee Member _____________________________ Stephen McDowell Committee Member The Graduate School has verified and approved the above-named committee members. ii I dedicated this to the collective loving memory of Marlena Curry-Gatewood, Dr. Milton Howard Johnson and Rashad Kendrick Williams. iii ACKNOWLEDGEMENTS I would like to express my sincere gratitude to the individuals, both in the physical and the spiritual realms, whom have assisted and encouraged me in the completion of my thesis. During the process, I faced numerous challenges from the narrowing of content and focus on the subject at hand, to seemingly unjust legal and administrative circumstances. Dr. Jonathan Adams, whose gracious support, interest, and tutelage, and knowledge in the fields of both music and communications studies, are greatly appreciated. Dr. Gary Heald encouraged me to complete my thesis as the foundation for future doctoral studies, and dissertation research.
    [Show full text]
  • Beyond the Triangle of Emancipation: Tupac's Hip Hop Theory of Criminal
    Thomas Ehrlich Reifer Beyond the triangle of emancipation: tupac’s hip hop theory of criminal (in)justice,the pope’s playlist, and the prophetic imagination For Tupac Shakur, 1971-1996, my brother, Matthew Benjamin Ehrlich, 1974-1999, Trayvon Martin, 1995-2012, Afeni Shakur-Davis and Maria Reyes and the Freedom Writers “All my songs deal with the pain I’ve felt from my childhood.” 2Pac/Tupac Amaru Shakur, Tupac, Resurrection “Hip hop is blues filtered through a century of experience and a thousand miles of asphalt.” William Jelani Cobb, To the Break of Dawn: A Freestyle on the Hip Hop Aesthetic “The need to let suffering speak is the condition of all truth.” Theodor Adorno, Negative Dialectics “Only for the sake of the hopeless ones have we been given hope.” Walter Benjamin, Selected Writings: Volume 1 “We must first of all rid ourselves of the illusion that penality is above all (if not exclusively) a means of reducing crime.…We must analyze rather the ‘concrete systems of punishment’…in which the punishment of crime is not the sole element…but...linked to a whole series of positive and useful effects which it is their task to support.” Michel Foucault, Discipline and Punish: The Birth of the Prison “The police force is arguably the most powerful organization in society because officers of all ranks are imbued with the power to infringe upon the civil liberties of society’s citizens. Therefore, the 1 Beyond the Triangle of Emancipation: Tupac’s Hip-Hop Theory of Criminal (In)justice, the Pope’s Playlist, & the Prophetic Imagination racist misconduct or power abuse of white officers entangles their victims in the criminal justice system.
    [Show full text]
  • Hybrid Gangs and the Hyphy Movement: Crossing the Color Line in Sacramento County
    HYBRID GANGS AND THE HYPHY MOVEMENT: CROSSING THE COLOR LINE IN SACRAMENTO COUNTY Antoinette Noel Wood B.S., California State University, Sacramento, 2008 THESIS Submitted in partial satisfaction of the requirements for the degree of MASTER OF SCIENCE in CRIMINAL JUSTICE at CALIFORNIA STATE UNIVERSITY, SACRAMENTO SPRING 2011 © 2011 Antoinette Noel Wood ALL RIGHTS RESERVED ii HYBRID GANGS AND THE HYPHY MOVEMENT: CROSSING THE COLOR LINE IN SACRAMENTO COUNTY A Thesis by Antoinette Noel Wood Approved by: __________________________________, Committee Chair Dimitri Bogazianos, Ph.D. __________________________________, Second Reader Dan Okada, Ph.D. ____________________________ Date iii Student: Antoinette Noel Wood I certify that this student has met the requirements for format contained in the University format manual, and that this thesis is suitable for shelving in the Library and credit is to be awarded for the thesis. __________________________, Graduate Coordinator ________________ Yvette Farmer, Ph.D. Date Division of Criminal Justice [Thesis Abstract Form] iv [Every thesis or project mustracts for some creative works such as in art or creative writing may vary somewhat, check with your Dept. Advisor.] Abstract of HYBRID GANGS AND THE HYPHY MOVMENT: CROSSING THE COLOR LINE IN SACRAMENTO COUNTY by Antoinette Noel Wood [Use of the next optional as long as te content is supplied.]three headings is Statement of Problem Crips and Bloods-traditional gangs whose mere names conjure up fearful images of violence and destruction-are no longer at the forefront of the gang reality in Sacramento. Instead, influenced by the Bay Area-based rap music subculture of Hyphy, gangs calling themselves "Families," "Mobbs," and "Camps" are believed to be creating a new, hybridized gang culture.
    [Show full text]
  • Radio Rap Rap As Marketing, Advertising, and Branding
    R n RADIO rap fans seeking to emulate popular artists. Since the mid- 1980s, rap has been used to sell everything from clothing SEE Hot 97; Lady B; Mr. Magic's Rap Attack; Payola; The Stretch and Bobbito Radio Show. to cars, cell phone providers, computers, beverages, food, lint rollers, and dolls. MAINSTREAMING OF RAP MUSIC AS A RAP MARKETING TOOL The rhythmic delivery of speech, usually in rhyme and In the early 1980s hip hop mogul Russell Simmons accompanied by a beat. Rap is often divided into three (1957–) of Def Jam Recordings sought a way to make his distinct elements: content (the words being spoken), flow rap duo Run-D.M.C. more relatable to a younger, rap- (the mutual interaction between rhyme and rhythm), and buying generation. Using that mind-set, Simmons delivery (the tone and cadence of the speech). The word suggested that the group don their everyday street rap is also used broadly to refer to all music that clothing on stage as opposed to the extreme costuming of incorporates rapping, as well as to hip hop music in acts in earlier years. The street clothing consisted of general. Practitioners of rap are known as rappers or MCs. Adidas or Puma track suits and matching sneakers, gold rope chains, and Kangol hats. Simmons was mostly SEE ALSO Flow; MCing looking to increase record sales, but what he stumbled on was the birth of a new era of advertising—rap as a James Overholtzer marketing tool. The members of Run-D.M.C.—Joseph “Rev Run” Ward Simmons (1964–), Darryl “D.M.C.” McDaniels (1964–), and Jason “Jam Master Jay” William Mizell RAP AS MARKETING, (1965–2002)—had become cultural influencers.
    [Show full text]
  • Tupac Biography
    Tupac Biography Written by Staff ID17 Thursday, 23 September 2004 15:02 - Last Updated Tuesday, 13 December 2011 09:09 Tupac Biography "A moment of silence, and then it was on!" - 2Pac (Resurrection DVD) An embryo in Prison.Cultivated behind bars.Then on the 16th June 1971, 'Lesane Parish Crooks' was entered into this world.The world will later know this man as 'Tupac Amaru Shakur'; but little did they know the impact that this man would have on this world. Tupac was the son of one of the famous 'Black Panther' members, Afeni Shakur. This was a movement fighting for the prejudice against African Americans. He was from a single parent family as many at the time were and he would from a very early age ask about his father but the reply from Afeni was vague, "She just told me, ''I don''t know who your daddy is.'' It wasn''t like she was a slut or nothin''. It was just some rough times." His step father, Mutulu Shakur was sentenced to sixty years for a fatal armored car robbery. This had a big impact on Tupac's life, he had no father figure that he could look up to; "How can I be a man if there's no role model? Strivin to save my soul I stay cold drinkin a forty bottle",the only role models that he had were pimps and hustlers, and this is where he adopted the thug image. Tupac moved to Baltimore at an early age. He describes these "as the best days of my life".
    [Show full text]
  • Download 2Pac Stop the Gunfight Album Zip Tupac Discography Torrent
    download 2pac stop the gunfight album zip Tupac Discography Torrent. Download 2Pac Tupac - Discography, [LOSSY Mp3 320 kbps] Hip hop torrent or any other torrent from Music category. Tupac Shakur discography Studio albums 5 Compilation albums 10 Music videos 50 Singles 44 Posthumous albums 6. Step up 123movies. The discography of Tupac Shakur , an American rapper, consists of eleven studio albums. Four were released before Shakur's death on September 13, 1996, and seven were posthumously released, the first being The Don Killuminati: The 7 Day Theory , released on November 5, 1996 (although the album was finished before Shakur's death). As of June 2014, he was the second best-selling hip hop/rap artist of the Nielsen Soundscan era in the United States with 29,235,000 albums sold. [1] Producto Ilícito. 01. Young Black Male 02. Trapped 03. Soulja's Story 04. I Don't Give A Fuck I Don't Give A Fuck 05. Violent 06. Words Of Wisdom 07. Something Wicked 08. Crooked Ass Nigga (feat. Stretch) 09. If My Homie Calls 10. Brenda's Got A Baby 11. Tha' Lunatic (feat. Stretch) 12. Rebel Of The Underground 13. Part Time Mutha. 01. Holler If Ya Hear Me 02. Pac's Theme (Interlude) 03. Point The Finga 04. Something 2 Die 4 (Interlude) 05. Last Wordz (feat. Ice Cube & Ice-T) 06. Souljah's Revenge 07. Peep Game (feat. Deadly Threat) 08. Strugglin' (feat. Live Squad) 09. Guess Who's Back 10. Representin' 93 11. Keep Ya Head Up 12. Strictly 4 My N.I.G.G.A.Z.
    [Show full text]
  • Rap, Black Rage, and Racial Difference
    Rap, Black Rage, and Racial Difference Steven Best and Douglas Kellner ([email protected] and [email protected]) "Don't believe the hype!" Public Enemy "My music is a product of who I am and where I came from. I'm made in America. I'm not from Mars or nowhere else," Ice Cube "What's a brother gotta do to get a message through to the Red, White, and Blue?" Ice-T Rap music has emerged as one of the most distinctive and controversial music genres of the past decade. A significant part of hip hop culture, [1] rap articulates the experiences and conditions of African-Americans living in a spectrum of marginalized situations ranging from racial stereotyping and stigmatizing to struggle for survival in violent ghetto conditions. In this cultural context, rap provides a voice to the voiceless, a form of protest to the oppressed, and a mode of alternative cultural style and identity to the marginalized. Rap is thus not only music to dance and party to, but a potent form of cultural identity. It has become a powerful vehicle for cultural political expression, serving as the "CNN of black people" (Chuck D), or upping the high-tech ante, as their "satellite communication system" (Heavy D). It is an informational medium to tune into, one that describes the rage of African-Americans facing growing oppression, declining opportunities for advancement, changing moods on the streets, and everyday life as a matter of sheer survival. In turn, it has become a cultural virus, circulating its images, sounds, and attitude throughout the culture and body politic.
    [Show full text]
  • View, Professors, Literature, and Environment Are More Suitable to Their Own Cultural and Intellectual Preferences
    Empowering First-Year African American Students: Exploring Culturally-Responsive Learning Enhancements by Sheba Lo, Ph.D. [email protected] Assistant Professor, Department of Africana Studies, California State University, Northridge Abstract This work is a two-semester examination of course materials, student production and student surveys in the Stretch Composition Program in the Department of Africana Studies at California State University, Northridge which demonstrates the use of culturally-affirming texts and imagery enhances the connection between African American students, course materials and concepts grounded in the Black aesthetic centered on Black agency and empowerment, exploring topics such as Black/African consciousness, South African freedom struggles, and systematic injustice, including the prison industrial complex through written texts and films. Utilizing a thematic analysis, the study also explored the impact of the Black aesthetic on students’ ideas about their place within the contemporary political, social, and cultural milieu. The study revealed students see collective action as urgent and necessary; and that culturally-responsive learning materials and assignments provide an opportunity for students to express how they envisage their futures, and it argues that Africana Studies departments center the Black experience and are critical centers for nationwide collaboration in creating culturally-responsive course materials. Keywords: Black aesthetic, student agency, student empowerment, Africana Studies, composition, Stretch Composition Program, culturally-responsive learning, African American students 182 Africology: The Journal of Pan African Studies, vol.11, no.3, February 2018 Introduction The Stretch Composition Program has been fully implemented, piloted, or proposed on at least 17 of the 23 California State University campuses. At California State University, Northridge (CSUN), Stretch Composition courses are taught as Approaches to University Writing.
    [Show full text]
  • 13 by Anthony Braddy
    13 K q W a c k Photo from VIBE Magazine By Anthony Braddy Staff W riter One former member, Dr. Dre, released “The Chronic” which became the cornerstone for Death Row Records. Dre and his partner Suge Knight founded the label in 1991. The name Death Row was chosen because according to Knight, “...most everybody had been involved with the law.” Looking at two of the mem­ bers shows this is no exaggera­ tion. Rapper Snoop Doggy Dogg is currently facing murder charges, and newcomer Tupac Shakur has only been out of jail, on $1.4 million bail since October. Death Row Records, however, is not just a label full of felons and parolees. They are in a business, so they are doingjust that While only being four years old, it is the most prof­ itable independently owned African American label of the 1990’s, with an esti­ mated worth of $100 million. This is due not only to the success of Snoop, Tupac, and Dre, but also to the The Dogg Pound, which went to number 1 on the pop charts. Other yet to be released, but already heard from members, include singers Danny Bf»y and Nate Dogg, and female rappers the Lady of Rage, Jewell, and Sam Sneed. In fact, even East Coast artists Maiy J. Blige and Jodeci consult with Death Row. Recently, due to the attacks of C. Delores Tucker and other anti- nee upon a time, on the Ecist Coast, everyone rapped rap-activists. Death Row Records has lost a fifty percent shareholder D about their cars and their women.
    [Show full text]
  • BIGGIE Smallsammunition Murder
    | ' l i 92 .. l E1 #- "-"- --*1 - ':- ; -V. M: -'"- 9 s-.. _ -2'?! "~_:- -- __i'' ~. ,1 t i ;.=.~ *- » -, 'I"92~ ,- ' -, L5» 1 92- Q is -T . s. L - - if 3| * ¢ T _i7-1 Rev?2-11-03! L. ~ ~ l $1 ATTENTION T l as The following documents appearingin FBI les have been reviewed under the provisions of The Freedom of F -i Inforination Act FOIA! Title 5, United States Code,Section 552!; Privacy Act of I974 PA! Title 5, United States Code, Q Section 552a!-,and/or Litigation. m, 4 '3 1 E1. ===¢ip> E3E 4 ow.-1 U FOIA/PA b6 El Litigation |:i ExecutiveOrder Applied TL? $5 Requester: __ _ _b7Q £3 bi Subject: _ __ V » j Computer or Case Identication Number: 1,--l > Title of Case: _ _, Section * File __ __ _ Serials Reviewed; C __ l§ l H Release Location: *File _ ____ Section 4 1 1 k; v This le section hasbeen seiiiiiiedinto the FOIPA Document Processing System FDPS! prior to National Security I "'92. Classieatioii review. Please sec the docunients located in the FDPS for current classication action, if warranted. Direct it inquires about the FDPS toRIDS Service RequestUnit X File Nuiiiber:1/ Ti _r__ Section_Q_ ->;@.Serial s! Reviewed: __ _ _ M i ,5; FOIPA Requester: _ _ WW T 11T FOIPA Subject: ComputerNuniber:__ Q _Q! I _7___ _ __ =1? File Number: _ Section J l Seri-al s! Reviewed: l FOIPA Requester: FOIPA Subject: FOIPA Computer Nuiiibcr: File Number: _ Section ' Serial s! Reviewed: FOIPA Requester: ,1 FOIPA Subject: ? FOIPA Computer Number: i» Jar THIS FORM IS TO BE MAINTAINED AS THE TOP SERIAL OF THE FILE, BUT NOT SERIALIZED.
    [Show full text]