From early 2009 to mid-2010, the Underbelly Project was the world's best-kept urban art secret. This is the only book documenting the project, during which the world's leading urban artists, such as Swoon, Faile, Revok, and Lister, made late-night trips to an abandoned New York City subway station, painting night after night to transform the space into the largest underground art gallery in the world.
When curators Workhorse and PAC declared the project finished, there was no opening to show the work. In fact, the space's location remains a secret kept by the MTA, which boarded up the space, making it, like the cave of Lascaux, a time capsule for future generations to discover.
The book includes three hundred photographs documenting the project and the participating artists' stories of secret expeditions, ranging from the hilarious to the suspenseful. With texts from artists such as Dan Witz, Brian Campbell aka Elbow Toe, Jeff Soto, Miya Ando, and Ron English, the result is an extraordinary contribution to urban history and the annals of street art.

2Pac Loyal To The Gameincludes the lead single "Thugs Get Lonely Too" in addition to 11 other previously unreleased songs and 4 bonus tracks. Featured Artists include 50 Cent, Jadakiss, Lloyd Banks, Nate Dogg, Obie Trice, Outlawz, Ron Isley, Sleepy Brown, and Young Buck.

2Pac's been dead for more than six years, and in that time his estate has released a dizzying array of questionable posthumous material--with much more to come in 2003, by the way (the liner notes list documentary soundtracks, another unreleased double album, DVDs, etc.). On the first disc's "Intro," an unnamed street reporter wonders, "Where are these songs coming from?" After repeated listens, your best guess would be from his unfinished studio outtakes. Nevertheless, these tracks were apparently recorded during his prolific, vexed Makaveli stage. "When We Ride on Our Enemies" demonstrates much vitriol, as Pac's verses are littered with fightin' words for rappers like Mobb Deep and Da Brat. Likewise, "F*** 'Em All" hurls threats at the late Notorious B.I.G., reminding fans of the time when media-induced East Coast-West Coast feuds were way out of control. The ghetto Elvis's tales of slum grandeur reach their zenith when he serves up his explicit boasts to women on "Fair Xchange." Gripping. It's too bad the first disc's last track, an acoustic version of "Thugz Mansion," undermines much of the credibility of this project. When Pac's alleged enemy Nas's vocals are mixed in to appear like he's sitting next to Pac by a fireplace all warm and toasty, sharing rhymes, you immediately smell the influence of executive producer Suge Knight. The second disc is just as dodgy, but might resonate more with new fans simply wanting to hear good beats and rhymes. "Never Call U B**** Again" is a tidy love song that R&B crooner Tyrese complements well, while the title track featuring Ronald "Mr. Biggs" Isley provides a necessary escape from much of Pac's brooding imagery. In the end, the quandary of this double disc has nothing to with Pac but with producer Johnny "J"'s middling G-funk-lite beats and Suge Knight's involvement. This one's for collectors and curious onlookers. --Dalton Higgins

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ Le Raid Et Les Sapeurs a Cheval P.-A. C***. L. Baudouin et ce, 1885