Instead, Hammer has been training to take down the only man he views as a triple threat when it comes to dancing, singing, and lighting millions of dollars on fire for the sake of a music video: Michael Jackson. He was 2 Legit 2 Quit, and anyone that thought otherwise is an idiot. There, Hammer reveals that it was all a ploy. & amp amp amp amp amp amp amp amp amp amp lt img src="" alt="" /& amp amp amp amp amp amp amp amp amp amp gt Īfter working up the deep, cleansing sort of sweat only possible in pitch-black conditions, a seemingly retired Hammer is more than ready for the next step in his journey: a visit to the definitely haunted mansion of James Brown, the godfather of repeating his own song titles like a malfunctioning animatronic robot powered by domestic violence. That Hammer took this opportunity, which also marks the beginning of his downward trajectory as a pop entity, to assail audiences with a lengthy tapestry of barely-related cameos, overblown CGI, and his messianic importance leaves us with a curious document of a man transforming from legend to punchline before our very eyes. With social media nonexistent and information not oozing uncontrollably through every available screen, the music video would have been one of the chief ways musicians shaped how audiences viewed them. In addition to the said melting of our collective brains, the video is an insight into Hammer himself. The result is a truly epic 15-minute thrill ride that cost a whopping $4.2 million in today's dollars (last year's Boyhood cost $4 million and was 2.5 hours longer) and is guaranteed to melt your brain.
Like a parachute pant-clad George Orwell, Hammer used the video for the not-quite-titular "2 Legit 2 Quit" to take us to a dystopian world where Hammer was, in fact, capable of quitting. In 1991, with 14.5 million sales of the previous year's Please Hammer, Don't Hurt 'Em under his elastic band, MC Hammer dropped the MC from his name and released Too Legit to Quit, a blistering response to a question that no one had asked.
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