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Why Tupac Never Died

In just five years of stardom, Tupac Shakur released four albums, three of which were certified platinum, and acted in six films. He was the first rapper to release two No. 1 albums in the same year, and the first to release a No. 1 album while incarcerated. But his impact on American culture in the nineteen-nineties is explained less by sales than by the fierce devotion that he inspired. He was a folk hero, born into a family of Black radicals, before becoming the type of controversy-clouded celebrity on the lips of politicians and gossip columnists alike. He was a new kind of sex symbol, bringing together tenderness and bruising might, those delicate eyelashes and the “ fuck the world ” tattoo on his upper back. He was the reason a generation took to pairing bandannas with Versace. He is also believed to have been the first artist to go straight from prison, where he was serving time on a sexual-abuse charge, to the recording booth and to the top of the charts.

“I give a holla to my sisters on welfare / Tupac cares, if don’t nobody else care,” he rapped on his track “Keep Ya Head Up,” from 1993, one of his earliest hits, with the easy swagger of someone convinced of his own righteousness. On weepy singles like “Brenda’s Got a Baby” (1991) and “Dear Mama” (1995), he was an earnest do-gooder, standing with women against misogyny. Yet he was just as believable making anthems animated by spite, including “Hit ’Em Up” and “Against All Odds”—both songs that Shakur recorded in the last year of his life, with a menacing edge to his voice as he calls out his enemies by name. That he contained such wild contradictions somehow seemed to attest to his authenticity, his greatest trait as an artist.

He died at the age of twenty-five, following a drive-by shooting in Las Vegas, in 1996. Until last month, nobody had been charged in the murder, despite multiple eyewitnesses—a generation’s initiation into the world of conspiracy theories. An entire cottage industry arose to exalt him. Eight platinum albums were released posthumously. His mystique spawned movies, museum exhibitions, academic conferences, books; one volume reprinted flirtatious, occasionally erotic letters he’d mailed to a woman while incarcerated. There appears to be no end to the content that he left behind, and it has been easy to make him seem prophetic: here’s a clip of him foretelling Black Lives Matter, and here’s one warning of Donald Trump ’s greed. Every new era gets to ask what might have happened had Shakur survived.

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This plenitude is the challenge faced by “ Tupac Shakur: The Authorized Biography ” (Crown), a book that the novelist and screenwriter Staci Robinson began working on nearly a quarter century ago. She first met Shakur, who attended the same Bay Area high school that she had, when he was seventeen. In the late nineties, at his mother’s behest, Robinson began interviewing his friends and family, though the project was soon put on hold. She was asked to return to it a few years ago, and was given access to unpublished materials.

It’s a reverential and exhaustive telling of Shakur’s story, leaning heavily on the perspective of his immediate family, featuring pages reproduced from the notebooks he kept in his teens and twenties. The biography’s publication follows “Dear Mama: The Saga of Afeni and Tupac Shakur,” a documentary series that premièred, on FX, in April. Robinson was an executive producer on “Dear Mama,” which drew on the same archive of estate-approved, previously unreleased materials as her book, and the works share a common purpose: to complicate Shakur without demystifying him.

She begins, as the artist himself would have preferred it, with his mother. Afeni Shakur was born Alice Faye Williams on January 10, 1947, in Lumberton, North Carolina; about twelve years later she moved to the South Bronx. Williams was academically gifted and attended the High School of Performing Arts, in Manhattan, though she felt out of place among her more affluent classmates and eventually dropped out. In the late sixties, she became interested in Black history and Afrocentric thinking, took the Yoruba name Afeni, and joined a local chapter of the Black Panthers. In 1968, she married Lumumba Shakur—and into a family of political radicals. His father, Salahdeen Shakur, was a revolutionary leader who’d worked closely with Malcolm X. The Shakurs were such a force that others in their circle adopted their surname as a mark of allegiance.

In April, 1969, prosecutors charged her and twenty other Black Panthers with participating in a plot to kill policemen and to bomb police stations and other public places throughout the city. The police relied on undercover informants, one of whom Afeni had long suspected. As Robinson writes, this “was the beginning of what would become a lifelong ‘trust nobody’ mentality.”

The defendants became known as the Panther 21. Supporters raised enough money to get Afeni out on bail. “Because I was articulate, they felt that I would be able to help get them out if I got out first,” she recalled. When the case went to trial, in 1970, Afeni, who was pregnant, defended herself and supported her comrades from the stand. She was clever, charismatic, and relentless in the courtroom, helping her fellow-Panthers gain acquittal in May, 1971. The journalist Murray Kempton, who covered the trial, wrote that Afeni spoke “as though she were bearing a prince.”

Her “trust nobody” mentality was encoded into Tupac Shakur’s very identity. He was born Lesane Parish Crooks in East Harlem in June, 1971, and Robinson explains that the name, borrowed from Afeni’s cellmate, Carol Crooks, was meant to protect him from being seen as a “Panther baby.” Meanwhile, Afeni’s marriage collapsed when Lumumba learned that she had been seeing other men; Tupac’s biological father, whose identity would remain a mystery for years, was a man named Billy Garland.

From the beginning, Afeni saw her son—whom she would rename Tupac Amaru, for the Peruvian revolutionary—as a “soldier in exile.” Robinson depicts her as a devoted, and at times demanding, mother. She enrolled him at a progressive preschool in Greenwich Village—but withdrew him after she came to pick him up and saw him standing on a table and dancing like James Brown. “Education is what my son is here for, not to entertain you all,” she told his teacher. Later that night, as she spanked her son, she reminded him, “You are an independent Black man, Tupac.”

In 1975, Afeni married an adopted member of the Shakur clan, the revolutionary Mutulu Shakur, with whom she had a daughter, Sekyiwa. Despite gestures toward a conventional life, Afeni couldn’t shake her experiences in the sixties, especially her sense of mistrust and vulnerability. She split from Mutulu in the early eighties and moved with Tupac and Sekyiwa to Baltimore, where she struggled with addiction and a larger sense of disillusionment. “It was a war and we lost,” she later explained. “Your side lost means that your point lost. . . . That the point that won was that other point.”

Shakur sometimes felt that his mother “cared about ‘the’ people more than ‘her’ people.” He attended the Baltimore School for the Arts, with the hope of becoming an actor, and fell in with an artsy crowd that included Jada Pinkett. Robinson sees this as a period of self-discovery. He was into poetry and wore black nail polish, recruited classmates for the local chapter of the Young Communist League, and obsessively listened to Don McLean’s “Vincent,” a feathery tribute to the misunderstood genius of van Gogh, who had “suffered” for his sanity: “This world was never meant for one / As beautiful as you.”

Just before his senior year of high school, Tupac and Afeni moved to California, where they would be closer to Sekyiwa, who had gone to live with family friends just north of San Francisco. “He taught us a lot about Malcolm X and Mandela,” a local d.j. recalled, “and we taught him a lot about the streets.” Shakur eventually befriended members of Digital Underground, an Oakland hip-hop group that took inspiration from the energy and the eclecticism of seventies funk. He worked primarily as a dancer before earning a guest verse on Digital Underground’s 1991 hit “Same Song.”

In the early nineties, making it through hip-hop’s hypercompetitive gantlet didn’t guarantee stability. Robinson writes that Shakur considered leaving music for a career in political organizing. His modest, local fame got him a record deal, but it didn’t insulate him from the troubles facing most young Black males. In October, 1991, he was stopped by the police for jaywalking in downtown Oakland. After a brief argument, in which the officers made light of his name, the rapper was put in a choke hold, slammed against the pavement, and then charged with resisting arrest. (He sued the city of Oakland, settling out of court.)

That November, he released his début album, “2Pacalypse Now,” drawing on the slow-rolling, synthesizer-driven funk of the West Coast. His political convictions gave shape to his anger; there was a brightness to his voice which made tales of police brutality, such as “Trapped” (“too many brothers daily headed for the big pen”), seem like an opportunity to organize, not a reason for resignation. “2Pacalypse Now” gained notoriety when Vice-President Dan Quayle demanded that the rapper’s record label recall it, after a self-professed Tupac fan shot a state trooper in Texas. Among aficionados, meanwhile, Shakur became better known for “Brenda’s Got a Baby,” which he wrote after reading a newspaper story about a twelve-year-old Black girl who put her newborn down a trash chute. Shakur avoids judgment, instead pointing to larger forces at play: “It’s sad, ’cause I bet Brenda doesn’t even know / Just ’cause you’re in the ghetto doesn’t mean you / Can’t grow.”

At the heart of the Tupac Shakur mythology is how much of his artistic persona was the result of moments in which he imagined what it might be like to walk in another’s shoes. It speaks to how empathetic—but also how impressionable—he could be. It’s something his fans often debate: Were there simply some poses he could never shake? While working on what became his début album, he had been filming “Juice,” Ernest Dickerson’s movie about four young men juggling friendship and street ambition in Harlem. He played Roland Bishop, whose devil-may-care drive distinguishes him from his pals, and leads him to betray them. Shakur studied Method acting while in high school, and some believe Bishop was the beginning of a series of more sinister characters that Shakur absorbed into his persona.

There are a few clips on YouTube of speeches that Shakur delivered in the early nineties, and they are among the most riveting performances he ever gave. In one, he addresses the Malcolm X Grassroots Movement at a banquet in Atlanta. Shakur, introduced as a “second-generation revolutionary,” regards the room of middle-aged activists, some of whom might have fought alongside his mother, with a punk irreverence. “It’s on, just like it was on when you was young,” he says, casting himself as the new face of the struggle. “How come now that I’m twenty years old, ready to start some shit up, everybody telling me to calm down?” He keeps apologizing for cursing before cursing some more, making light of their respectability politics. “We coming up in a totally different world. . . . This is not the sixties.”

He talked about an initiative called 50 N.I.G.G.A.Z.—a backronym for “Never Ignorant, Getting Goals Accomplished”—in which he would recruit one young Black man in each state to build a community-organizing network. This eventually became T.H.U.G. L.I.F.E. (“The Hate U Gave Little Infants Fuck Everybody”). The approach was inspired by the Black Panthers and sought to mend the divisions engendered by gang life. By the time he released his triumphant 1993 album, “Strictly 4 My N.I.G.G.A.Z.,” he seemed resolute in his pursuit of politics by other means.

That fall, he went to New York to film “Above the Rim,” the story of a talented basketball player trying to steer clear of a local drug dealer who has taken an interest in his success. Shakur was the villain, and to shape the role he spent time with Jacques (Haitian Jack) Agnant, a local gangster. Agnant was present on a night that became pivotal to Shakur’s life. That November, Shakur, Agnant, and two others were accused of sexual assault by a woman the rapper had met a few days earlier at a club. Shakur claimed to have fallen asleep in an adjoining room, and to have played no role in the alleged abuse.

“When the charge first came up,” he explained in an interview for Vibe magazine, “I hated black women. I felt like I put my life on the line. At the time I made ‘Keep Ya Head Up,’ nobody had no songs about black women. I put out ‘Keep Ya Head Up’ from the bottom of my heart. It was real, and they didn’t defend it. I felt like it should have been women all over the country talking about, ‘Tupac couldn’t have did that.’ ”

This is a challenging moment to weave into a largely flattering biography. Biographies tend to make a life into a series of inevitable outcomes. At times, Robinson’s book invests more in exhaustive detail than in a sense of interiority. We get the family and friends lobbying on Shakur’s behalf. “He was not just angry, but insulted by the charge,” his aunt explains to Robinson. The author continues, “Afeni felt sympathy for the woman, but she never doubted that Tupac was innocent.” (Robinson notes that his accuser “would tell a different story.”)

A song like “Wonda Why They Call U Bitch” (addressed to a “sleazy,” “easy” gold-digger) might be rationalized as so much toxic bravado. It’s much harder to explain away acts of coercion. Fans and journalists struggled with this question at the time. In June, 1995, Vibe printed a letter from his accuser. She denied that Shakur was, as he insisted, in an adjoining room. “I admit I did not make the wisest decisions,” she writes, “but I did not deserve to be gang raped.”

The episode marked the beginning of Shakur’s paranoid descent. In late November, 1994, almost exactly one year later, he was beaten up and robbed in the lobby of a recording studio in New York. During the scuffle, he was shot five times. The following day, he was found guilty of first-degree sexual abuse, a lesser charge among those he faced, but one that still carried a sentence of eighteen months to four and a half years in prison. “It was her who sodomized me,” he declared of his accuser at the time of the trial. (Agnant pleaded guilty to misdemeanor charges and got probation.) A person of extremes, he expected extremes of those around him. “He definitely believed there were two kinds of women,” Jada Pinkett Smith told Michael Eric Dyson, whose 2001 book, “ Holler if You Hear Me: Searching for Tupac Shakur ,” helped bring Shakur to the academy. “He had a way of putting you on a pedestal and, if there was one thing you did wrong, he would swear you were the devil.”

Shakur was sentenced in February, 1995. He became convinced that Christopher Wallace (better known as the Notorious B.I.G.) and Sean Combs (then Puffy), who were at the studio the night he was shot, were part of a setup; he thought Agnant was in on it, too. (All three denied involvement.) In the meantime, his legal bills had left him with precarious finances. Suge Knight, the bullying head of Death Row Records, a label with ties to L.A.’s gang underworld, persuaded Shakur to sign with him; soon afterward, its parent label posted bail, so that Shakur could go free while he appealed his conviction. Knight preyed on Shakur’s growing persecution complex. By this time, it was hard to recall that his famous “ THUG LIFE ” tattoo, which was inked across his abdomen in 1992, had once held a political meaning. The struggle was no longer against an unjust establishment; it was between “ridaz and punks,” his fast-living crew and its “bitch” rivals.

He was feverishly productive, sometimes setting up two studios at once and bouncing between them, working on different songs at the same time. Months after his release, Shakur put out a double CD—the first by a solo rapper—called “All Eyez on Me.” Joining Death Row gave his music a fearless and foreboding feel; it sounded both harder and more radio-ready than anything he’d previously done, his raps toggling from hell-raising party boasts to taunting sing-alongs. But there were also moments of penitence, like “Life Goes On” and “I Ain’t Mad at Cha,” which some fans later interpreted as prophecies of his demise.

In the ten months following his release, he recorded two additional albums and worked on two films. He had plans for restaurants, a fashion line, a video game, a publishing company, a cookbook, a cartoon series, and a radio show. In her introduction, Robinson explains that Shakur had couch-surfed at her apartment when he was younger and visiting Los Angeles to meet with record labels. He never forgot her kindness. He told her that he was forming a group of women writers to work on screenplays with him. Their first meeting was to be at his Los Angeles condo on September 10, 1996.

The writers’ group would never meet. On September 7, 1996, Shakur attended a Mike Tyson fight in Las Vegas. Afterward, he caught four bullets from a drive-by near the Strip. His death, six days later, mired in mystery, seemed instantly significant. Chuck D, of Public Enemy, soon floated a theory that the rapper was still alive. When Shakur’s first posthumous album was released, in November, fans combed it for clues that he had faked his own death.

Others tried to reconcile the vengeance rap he recorded for Death Row with the conscious ideals with which he’d started out. “It is our duty to claim, celebrate and most of all critique the life of Tupac Shakur,” Kierna Mayo wrote a few months after his demise. In 1997, Vibe published a book collecting its coverage of the artist. “Wasn’t Tupac great when he wasn’t getting shot up? Or accused of rape?” the editor Danyel Smith asks in the introduction. “Wasn’t he just the best when he wasn’t falling for Suge Knight’s lame-ass lines and dying broke? Couldn’t Tupac just have been your everything?” In the Village Voice ,the critic dream hampton wrote, “I believed he’d get his shit together and articulate nationalism for our generation.”

For years, the most plausible explanation for Shakur’s murder was that he fell victim to a feud between two Los Angeles gangs, the Mob Piru Bloods, with which Death Row was associated, and the South Side Compton Crips. In 2019, a Crips leader, Duane (Keffe D) Davis, published “ Compton Street Legend ,” in which he detailed the mounting tensions that led to Shakur’s killing. “Tupac was a guppy that got swallowed up by some ferocious sharks,” Davis wrote. “He shouldn’t have ever got involved in that bullshit of trying to be a thug.” Davis explained that, although he didn’t pull the trigger, he was in the car and supplied the murder weapon. In September of this year, he was finally arrested by the Las Vegas Police Department, and he now faces murder charges. (A former lawyer of his told the New York Times that Davis plans to plead not guilty.)

Rap music has a particular relationship with death—a reminder of the precariousness of Black life. In a recent essay on hip-hop’s long trail of deceased, Danyel Smith lamented that “so much of Black journalism is obituary.” The one-two punch of Shakur’s death in September, 1996, and the Notorious B.I.G.’s the following March taught a generation how to mourn: loudly, defiantly. Perhaps Shakur’s contradictions—the gangster poet who was never exactly a gangster, the actor who could never break character—would have found resolution had he lived longer. At the heart of things was always the question of how to distinguish the persona from the person.

That Shakur left so much behind—a vault of unreleased songs, a startling trove of videotaped interviews, from his high-school years to the last hours of his life, the speeches and performances—is one reason that his career can appear to be a solvable mystery. He could have been a political leader or gone on to even greater success as an actor or a recording artist. What he wanted, however, seemed always to elude him. I remember seeing the February, 1994, issue of Vibe , which featured Shakur in a straitjacket, and the question “ Is Tupac crazy or just misunderstood? ” Maybe a little of both? He took on the world because he was young, convinced that he could turn the pain around him into something else. He trusted nobody; he wished to love everybody. He was, for a long cultural moment, incandescent. But he was never free. ♦

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Tupac Shakur, the son of two Black Panther members, William Garland and Afeni Shakur, was born in East Harlem, New York on June 16, 1971, and named after Jose Gabriel Tupac Amaru II, an 18th century political leader in Peru who was executed after leading a rebellion against Spanish rule. Tupac’s parents separated before he was born.  At the age of 12, Shakur performed in A Raisin in the Sun with the 127th Street Ensemble. Afeni and Tupac later moved to Baltimore, Maryland where he entered the prestigious Baltimore School for the Arts as a teenager.  While at the school, he began writing raps and poetry.  He also performed in Shakespearian plays and took a role in The Nutcracker.

In June 1988, Shakur and his family moved to Marin City, California where he joined the Ensemble Theater Company (ETC) to pursue a career in entertainment. Seventeen-year-old Shakur became an avid reader absorbing books such as J.D. Salinger’s Catcher in the Rye, Jamaica Kincaid’s At the Bottom of the River , Herman Melville’s Moby Dick , and the feminist writings of Alice Walker and Robin Morgan.

Shakur’s professional career began in 1991 with his hit single “Same Song.”  Later that year he appeared in Sons of the P , the first of his eight films.  He also recorded his first solo album 2Pacalypse Now .  In 1993, Shakur formed the group Thug Life with a few of his friends and his stepbrother Mopreme Shakur.  The group released their only album, Thug Life: Thug Life Vol 1 on September 26, 1994.  Despite his short five-year professional career (1991-1996) Shakur became the best selling hip-hop artist in the world with over 75 million albums sold including 44 million in the U.S.

Tupac Shakur also gained notoriety for his violent life and his conflicts with the law. In October 1993, in Atlanta, Georgia, Shakur shot two off-duty police officers who he claimed were harassing a black motorist.  The case was dropped when it was disclosed that the officers were intoxicated.  The following year he was convicted of assaulting a former woman employer while on a music video set. The day before the guilty verdict was handed down on December 1, 1994, Shakur was shot five times in a Manhattan recording studio.  Entering the courthouse in a wheelchair, he was sentenced to 15 days in jail with additional days on a highway work crew as community service, and a $2,000 fine. In April, 1996 he served 120 days in jail for violating the terms of his probation.  On September 7, 1996, shortly after attending the Mike Tyson –Bruce Seldon boxing match in Las Vegas, Nevada Shakur was wounded in a drive-by shooting. He died of his wounds six days later at the age of 25.

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Jonathan Jones, T upac Shakur Legay (New York: Atria Books, 2006; Jacob Hoye, Tupac: Resurrection (New York: Atria Books, 2003; Jonathan Jones, “Tupac Comes to Life for Bay Area Teens”. Northgate News Online , U.C.-Berkeley Graduate School of Journalism. Nov. 18, 2003. Retrieved from http://journalism.berkeley.edu/ngno/stories/001588.html on Apr. 9, 2006; “Rapper Is Sentenced To 120 Days in Jail”. New York Times . April 5, 1996;.

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Tupac Shakur

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Complex. Personal. Fearless. Tupac is authentic and larger than life.

The definitive hip-hop anti-hero, Tupac wrote lyrics that spark conversations about rap, race relations, and young black men in America today.

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By Alan Light

Tupac was a lightning rod, a screen onto which millions of people projected their feelings about rap, about race, and about the young black man in America. He may be a legend, but he’s hardly a hero. Many young listeners looked up to him, but he himself often seemed to be searching for a leader.

Though his recording career lasted just five years, Tupac Amaru Shakur (1971-1996) is one of the most popular artists in history, with over seventy-five million records sold worldwide.

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TUPAC SHAKUR: The Authorized Biography, by Staci Robinson

Last month, after 27 years, a suspect was charged in the murder of Tupac Shakur. A firecracker and crusader as sharp as he was brusque, Tupac reached megastar status in 1996, when his fourth studio album, “All Eyez on Me,” went five times platinum. Often hailed as one of the greatest rappers of all time, he was a magnet for controversy during his life, and became a martyr for hip-hop militance after his death.

Though anticipated by those familiar with the case, the arrest may provide long-awaited closure that aptly comes in conjunction with Staci Robinson’s poignant “Tupac Shakur.”

The Tupac story has been told many times over , but this is the only authorized biography, meaning Robinson was granted nearly unprecedented access to the Shakur family and to Tupac’s many journals and notebooks. Along with scores of interviews, the book is stuffed with photocopies of the rapper’s personal writings. As if tucked between the pages, these hand-scrawled poems, raps and musings provide windows into his mind.

For Robinson, this is a personal undertaking. She and Tupac were in the same high school social circle in Northern California, and over time she fielded calls to work on writing projects for him. With Shakur’s aunt she collaborated on “Tupac Remembered,” a 2008 collection of interviews, and was an executive producer on “Dear Mama: The Saga of Afeni and Tupac Shakur,” the 2023 docuseries about the rapper and his mother.

Robinson writes in an introduction that she took up the biography at Afeni’s request in 1999, but that the project was put “on hold” a few weeks after she submitted the manuscript. Called on decades later to complete the work, Robinson spends its pages advocating not only for Tupac’s integrity, but for the spirit of Black resistance he embodied.

“He wanted to relay stories that needed to be told,” she writes. “It was time to tell the truth about America’s history, about its dark past and especially about the oppression and disparities that were plaguing communities.”

“Tupac Shakur” is a touching, empathetic portrait of a friend. Even familiar stories achieve new intimacy at closer range. And small moments help clarify longstanding narratives, coloring in the outlines of this well-known tale of the actor-rapper-activist who died at 25. The book attempts to contextualize the sadness and paranoia beneath the charisma; throughout his life, we learn, “van Gogh would come to be a touchstone for Tupac.”

As in “Dear Mama,” Robinson’s biography sees the rapper’s legacy as inextricable from his mother’s, and the book begins not with Tupac, but with Afeni — her exposure to racism in the Jim Crow South, her arrest in New York as a member of the Black Panthers and her standing trial while pregnant.

Afeni, we are told, was the bedrock of Tupac’s moral mission. “Ingrained from birth and into his upbringing were both Afeni’s fears and her dreams for her son — the expectation that he would carry on her dedication to the Black community and the will to help others achieve freedom from oppression,” Robinson writes.

The book posits that Tupac inherited an antagonistic relationship with the police from the Shakurs — his mother, her first husband, Lumumba, and Tupac’s stepfather, Mutulu. Yet it astutely chronicles his life as a microcosm of the ongoing Black American struggle. Robinson often draws direct parallels between Tupac’s creative life and his run-ins with law enforcement. She notes that he was assaulted by Oakland police officers only weeks after shooting the video for “Trapped,” a diatribe against police brutality; filming on the 1993 movie “Poetic Justice,” in which he starred, was put on pause during the L.A. riots.

Black cultural responses to injustice were early fuel for a sensitive, boisterous would-be artist. We hear of him furiously riding his tricycle around the apartment as Gil Scott-Heron plays on the turntable; he “entered a new realm” portraying 11-year-old Travis Younger in “A Raisin in the Sun” at a Harlem fund-raiser for Jesse Jackson’s 1984 presidential campaign.

We get what feel like firsthand peeks into his turbulent rise to stardom, too; Robinson recounts how his mother would send Tupac traveling with care packages that included condoms, vitamins, prayer cloths and phone numbers for bail bondsmen.

Though there are frequent references to his prolific output, “Tupac Shakur” doesn’t focus much on music, which undersells him as an artistic genius. The book mostly considers his songs as ways to explain his behavior; it is not overly concerned with how they were made or whether they succeeded aesthetically. Lyrics either underscore a caring nature or are vehicles for public controversy.

In this way, the narrative plays into a longstanding Tupac binary — the sensitive revolutionary and the hair-trigger thug — though it insinuates the latter was primarily a construction of a sensationalist press. And while offering a valiant defense, Robinson excuses Tupac of many provocations. It spends very little time on his 1994 sexual-abuse conviction , and absolves the rapper in an earlier incident at an outdoor festival that left a 6-year-old boy dead, even though the gun in question was registered to him. It doesn’t even consider that he might be culpable, accidentally or by proxy.

Robinson does not stand at a historian’s distance. Her writing radiates admiration, and at times she even speaks on Tupac’s behalf. Even so, this is far from hagiography. At its best, the book feels like a plea to re-examine the world that made Tupac Shakur so angry.

TUPAC SHAKUR: The Authorized Biography | By Staci Robinson | 406 pp. | Crown | $35

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The Moment It Was Clear Tupac Would be a Star

By Staci Robinson

Staci Robinson

In the spring of 1990, Tupac Shakur was shuttling between Marin City and Oakland, California, restlessly seeking his future. His manager, Atron Gregory, was shopping his demo tape but with little success so far. Meanwhile, activism beckoned. Friends of his mother, the former Black Panther revolutionary Afeni Shakur, had engaged Tupac to become the youth chairman of the New Afrikan Panthers, a youth division of a Black nationalist political group, with responsibilities across the country in Atlanta. This excerpt from the new Tupac Shakur: The Authorized Biography by Staci Robinson tells the story of when Tupac’s Bay Area friend and supporter Leila Steinberg, realizing that Tupac needed a musical path forward to keep him from heading east, sounded the alarm. 

“Can you do something with Tupac?” Atron asked.

Shock was confused. “What do you mean?”

“Can you take him on the tour with you?”

“What? We’re full.”

“Well, if we don’t do something, we’re gonna lose him.”

“Maybe I can replace one of the roadies?” Shock offered.

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“Tupac was not going to wait for anybody,” recalled Atron. “He was frustrated because he wanted to get out there and show his talents and do what everyone else was doing. If not, he was gonna leave and go somewhere else.”

The  Big Daddy Kane: Chocolate City  tour was scheduled to roll through more than twenty cities in two months. Kane, with his catchy rhymes and sharp fashion, had become a breakout star with his albums  Long Live the Kane  and  It’s a Big Daddy Thing . Along with Digital Underground, his supporting acts on the tour included Queen Latifah, who had just scored her debut hit single, “Ladies First”; rapper MC Lyte; and 3rd Bass. Eric B. & Rakim and De La Soul would also join the lineup in cities along the way, as would an up-and-coming artist named Jay-Z.

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During Digital Underground’s set, static and feedback interrupted the volume levels of the microphones. According to Tupac, it ruined their performance. By the time the set ended, he was fuming. As the group walked backstage, Tupac ran over to the sound man and yelled, “You fucked up our sound! And you did that shit on purpose!”

“Pac tried to knock his head off,” Money-B remembered. “He swung at him. I mean, the sound man did actually do something that was way out of line, and everybody really did wanna kick his ass, but Pac was ready to jump on him.” When Money told him to calm down, Tupac grew even more infuriated.

But Tupac was also giving others, including Atron and Shock G, reasons to tell him to calm down. He was always the first to react, ready to challenge any security guard or police officer. They spent many evenings trying to control Tupac’s energy and unpredictability. By the end of the tour, telling Tupac to calm down had become a running joke.

During daily meetings on the tour bus, Tupac was always perched and ready to inject a comment, amend the agenda, or just add his two cents. And after Tupac proved he could carry bags and fulfill his roadie tasks, Shock G asked him to come onstage with the rest of the group to perform as one of the backup dancers.

The Digital Underground set was not your average hip-hop show. The group rapped and they danced, but it was the props and theatrical antics that made them one of the most memorable musical acts of the ’90s. Shock G was the quintessential front man, seamlessly moving in and out of character as his alter ego, Humpty Hump, and hyping up the crowd with water guns and blow-up sex dolls until the audience was in a frenzy. Tupac dove in, headfirst, ready to be part of it all.

The girl and Tupac created a potentially explosive situation when the bus driver noticed a strange man chasing the bus as it pulled away from the arena. The driver came to a stop and opened up the doors. “Is my girl on there?” the man demanded, evidently a disgruntled boyfriend. A sea of no’s answered loudly from the bus. The bus driver shut the door, leaving the man standing there while she and Tupac hid in the back.

When Shock noticed the adoring response Tupac received from female fans during the show, he decided to give him a shot on the microphone. At first, Tupac freestyled, but that posed a problem; Tupac couldn’t contain himself to just one verse here or there. He instantly started to take over other members’ verses by rapping it with them, or for them. Sometimes, when one of the singers was hitting a chorus and Tupac didn’t like the way it sounded, he would even try to sing over it to keep the audience focused on him. “He would just take the whole show in his hands,” Shock recalled. “I kept feelin’ like Frank in  Scarface,  and he was Tony Montana. He was just tryin’ to flip the whole script.”

Shock asked him to chill. Tupac ignored him. Shock warned him again. But Tupac didn’t care whose turn it was. He didn’t care if he was hired initially just as a roadie. Every time Shock put the mic in his hand, Tupac was on a mission.

After a few warnings, and another night of Tupac stepping on someone else’s verse, Shock had had enough. He fired Tupac. “You’re not a singer, Pac,” he explained.

“But he wasn’t singing that shit right,” Tupac protested. “You wouldn’t know. You’re not a singer.”

“But we were losin’ the crowd. They weren’t likin’ that shit. I had to do somethin’ to get everyone back into it.”

“How would you like it if someone sang over your parts?” Shock asked.

Tupac cut to the chase. “Fuck that! What? You sending me home?” “Yeah, I’m sending you home,” Shock fired back. Then he yelled loudly to everyone who could hear, “Fuck that! Yeah, Pac’s off the tour!”

And so it went, Shock kicking Tupac off the tour, Tupac refusing to go. Shock laughed about it years later. “I used to send Pac home a lot. We’d curse each other out, but two hours later we’d get over it.” Looking back, he summed up his relationship with Tupac by saying, “It was one long argument.”

AS DIGITAL UNDERGROUND’S “Humpty Dance” hit number 1 on  Billboard ’s rap singles chart, the group’s stock increased and opportunities abounded. One of these opportunities was an invitation to go back on the road, this time with some of Tupac’s biggest hip-hop heroes — the politically charged rap group Public Enemy, led by Flavor Flav and Chuck D. Just two years before, Tupac had skipped school and rushed to meet Flavor Flav at the local radio station, just hoping to get a photo; now he was part of a lineup that would travel across the country with Public Enemy as they promoted their new album  Fear of a Black Planet.  Heavy D, Ice Cube, and Queen Latifah would also join parts of the tour.

The buses for the  Fear of a Black Planet  tour offered artists a more luxurious experience — bigger beds and kitchen areas and better TVs — than those for Big Daddy Kane’s tour, but what mattered most to Tupac was who was on the bus. Even though it was expected that each group and their entourage remain on their assigned bus during their travels, Tupac roamed freely, often forming friendships with girls who were part of the adjoining entourages.

One of them was 25-year-old Rosie Perez, a dancer in Heavy D’s act, and at the beginning of a career that would, like Tupac’s, take her far in Hollywood. Enamored and curious, she remembered the first time she saw Tupac. Standing with Heavy D when Tupac took the stage, she was taken by his presence. “That muthafucka is a star!” she yelled out. “And everyone just started to look at him, because I said it, I said it really loud. We were in the wings. And I remember walking out of the wings of the stage down into the front, where security is, so I could watch him. I don’t know why I did that; he just compelled me to do so. That was just his greatness.”

Tupac responded, “I’m going to be bigger than a book.”

Despite the excitement of being on another nationwide tour, there were still moments when Tupac’s troubled family life weighed heavy on his heart. Periodic calls to New York to talk to his sister, Sekyiwa ,  and check in on how Afeni was holding up in Marin City left him uncertain. He knew his mother had a long road ahead of her in beating her drug addiction, but he held on to his hope, believing that she was strong enough to find a path to recovery. Sometimes during these sad and discouraging moments, he would sit alone in his hotel room listening to Mariah Carey’s “Vision of Love”:

Felt so alone

Suffered from alienation 

Carried the weight on my own

“You always knew when Pac was sad,” Shock recalled, “’cause if you walked by his hotel room and heard that playing, you knew.”

Money-B, too, learned quickly how to navigate Tupac’s moods. The two often roomed together while on tour and grew closer when they discovered they were both children of Black Panthers. Money remembered their conversations often spun from the Panthers and their childhoods to Tupac’s love for and deep connection to his mother. “Tupac would always say, ‘Man, you gotta meet my mom, she’s the shit!’ Whether it was talking about how she was on crack, or whether he was telling me about all the things she taught him and that half the shit that he knew was from her, we’d get into a conversation about something . . . anything, and it’d always lead back to some kind of story about his mom.”

EVEN WITH THE FEELINGS OF SUCCESS on the horizon, Tupac was still a live wire when it came to confrontations with the police. One night they had a hard time getting into a club and the police got involved. Shock was ready to leave, but Tupac jumped into the fray. Shock re- counted, “We all decided we’re gonna walk. Fuck it, we’ll just go to the next club, but because someone raised their voice at Queen Latifah, Pac went off on the police officers.”

Staring the officer in the eye, he asked loudly, “Do you know who you’re talking to? That’s Queen Latifah. Fuck that! Nobody can talk to Queen Latifah like that!” A potentially explosive situation was only defused by a last-minute intervention by Shock, who came upon the scene, practically picked up an irate Tupac, and set him aside to try to get him to calm down.

But Tupac couldn’t calm down. If there was an officer of any sort nearby, he was on alert, ready to guard against injustice. From Afeni’s teachings that the police were not to be trusted, and all he had seen   in Baltimore and Marin City, Tupac’s reaction became reflexive, the intensity never easing.

When Digital Underground performed at venues in the Bible Belt states, their stage show had to be revised because local laws forbade “crude” acts — a designation that certainly included the humping and dancing with blow-up dolls that had become one of the group’s performance signatures. Instead of leaving out the props, though, the band devised a plan. They would frolic with the dolls as usual, but as soon as the show ended, instead of going backstage where the officers would be waiting, they would jump off the five-foot stage and land in the audience. From there, they could blend in with the crowd, and the police officers who lined the stage wouldn’t be able to find them.

As much as Tupac detested security guards and police officers, he was not above doing some policing himself, taking matters into his own hands if those he cared for were wronged. In Oklahoma City, news traveled backstage that someone had entered Public Enemy’s dressing room and stolen Chuck D’s signature black leather jacket. Tupac was infuriated, another holdover response from Afeni’s lessons about lying and stealing. He combed the place looking for the culprit. “I think I know who did it. I’m gonna find out who did it,” Tupac promised Chuck D.

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“Why you holdin’ me, man?!” Tupac yelled. “I found the guy! That’s the guy that stole Chuck D’s jacket. Let me go!” By then it was too late. Although it seemed that Tupac was the only one who truly cared about the petty theft, he still earned respect for his efforts. “He created his own legend within that first tour,” Money-B remembered, “where every group and band that was with us went away wondering what was going to happen, what we were going to do with him. But they knew they were gonna see him again.”

Adapted from the book TUPAC SHAKUR: The Authorized Biography by Staci Robinson. Copyright © 2023 by Amaru Entertainment, Inc.. Published in the United States by Crown, an imprint of Crown Publishing Group, a division of Penguin Random House LLC. All rights reserved.

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Tupac Shakur (1971-1996)

• Music Artist
• Music Department

IMDbPro Starmeter See rank

• 6 wins & 15 nominations

• Det. Rodriguez

• music editor

• In-development projects at IMDbPro

Personal details

• Apple Music
• 5′ 11″ (1.80 m)
• June 16 , 1971
• East Harlem, Manhattan, New York City, New York, USA
• September 13 , 1996
• Las Vegas, Nevada, USA (homicide)
• Keisha Morris April 29, 1995 - 1996 (annulled)
• Parents Afeni Shakur
• Relatives Sekyiwa Shakur (Half Sibling)
• Other works Rapper, released albums "2Pacalypse Now" and "All Eyez On Me", "Strictly for My NIGGAZ", "Me Against The World" and "Thug Life"
• 10 Biographical Movies
• 11 Print Biographies
• 4 Portrayals
• 2 Interviews
• 16 Articles
• 9 Magazine Cover Photos

Did you know

• Trivia Recorded close to 150 songs during the final year of his life, and often completed three songs per day in the same period. Shakur also wrote lyrics in the studio and often performed his verses in one take. He felt that rappers who could not perform their verses properly on the first take weren't ready to be rappers. R&B music, on the other hand, was worthy of multiple takes for the vocal tracks, he felt.
• Quotes Everybody's at war with different things...I'm at war with my own heart sometimes". In Vibe interview 2/96
• Trademarks Socially conscious lyrics
• When did Tupac Shakur die?
• How did Tupac Shakur die?
• How old was Tupac Shakur when he died?

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Hip Hop Scriptures

Tupac Shakur Biography

The digital biography of Tupac Amaru Shakur - from Hip Hop Scriptures virtual Hip Hop Museum!

Tupac Shakur Digital Bio

GOVERNMENT NAME: TUPAC AMARU SHAKUR

Sun sign: gemini, birthday: june 16, hometown: harlem, nyc, ny, hologram performance:.

Hip-Hop Bio:

Tupac Amaru Shakur was an inspiration to millions.

While  2Pac was most famous for his rap career,  he was also a gifted actor, poet and thoughtful while outspoken advocate for the poor and the overlooked in America. During his life, he produced an immense amount of artistic work, which included studio albums, major Hollywood feature films, and published works.  He was most prolific in the music industry, selling over 75 million albums. 2Pac’s unapologetic lyrics were relevant, important, and reflective of the hard lives led by many. His music earned attention and respect through a poetic style that embraced street vocabulary while being innovative. Today, 2Pac is still considered by many to be one of the biggest influences on modern hip-hop.

2Pac’s career has earned him six Grammy nominations and three MTV Video Music Award nominations. In 1997, Shakur was honored by the American Music Awards as the Favorite Hip Hop Artist.

Born on June 16 1971 in New York City, Shakur’s parents were both members of the Black Panther Party whose militant style and provocative ideologies for civil rights would come to influence 2Pac’s music. 

Shakur was born on June 16, 1971, in the East Harlem section of Manhattan in New York City. He was named after Túpac Amaru, an 18th-century South American revolutionary who was executed after leading an indigenous uprising against Spanish rule. Subsequent to Shakur's death, the Las Vegas Metropolitan Police Department (as well as the official coroner's report, which lists "Crooks" as an aka) released his name as Lesane Parish Crooks.

His mother, Afeni Shakur, and his father, Billy Garland, were active members of the Black Panther Party in New York in the late 1960s and early 1970s. The infant boy was born a month after his mother was acquitted of more than 150 charges of "Conspiracy against the United States government and New York landmarks" in the New York "Panther 21" court case.

Shakur lived from an early age with people who were convicted of serious criminal offences and who were imprisoned. His godfather, Elmer "Geronimo" Pratt, a high ranking Black Panther, was convicted of murdering a school teacher during a 1968 robbery, although his sentence was later overturned. His stepfather, Mutulu, spent four years at large on the FBI's Ten Most Wanted Fugitives list beginning in 1982. Mutulu was wanted for having helped his sister Assata Shakur (also known as Joanne Chesimard) to escape from a penitentiary in New Jersey. She had been imprisoned for killing a state trooper in 1973. Mutulu was caught in 1986 and imprisoned for the robbery of a Brinks armored truck in which two police officers and a guard were killed. Shakur had a half-sister, Sekyiwa, two years his junior, and an older stepbrother, Mopreme "Komani" Shakur, who appeared in many of his recordings.

At the age of twelve, Shakur enrolled in Harlem's 127th Street Repertory Ensemble and was cast as the Travis Younger character in the play A Raisin in the Sun, which was performed at the Apollo Theater. In 1986, the family relocated to Baltimore, Maryland. After completing his second year at Paul Laurence Dunbar High School, he transferred to the Baltimore School for the Arts, where he studied acting, poetry, jazz, and ballet. He performed in Shakespeare plays, and in the role of the Mouse King in the ballet The Nutcracker. Shakur, accompanied by one of his friends, Dana "Mouse" Smith, as his beatbox, won many rap competitions and was considered to be the best rapper in his school. He was remembered as one of the most popular kids in his school because of his sense of humor, superior rapping skills, and ability to mix with all crowds. He developed a close friendship with a young Jada Pinkett (later Jada Pinkett Smith) that lasted until his death.

In the documentary Tupac: Resurrection, Shakur says, "Jada is my heart. She will be my friend for my whole life." Pinkett Smith calls him "one of my best friends. He was like a brother. It was beyond friendship for us. The type of relationship we had, you only get that once in a lifetime." A poem written by Shakur titled "Jada" appears in his book, The Rose That Grew From Concrete, which also includes a poem dedicated to Pinkett Smith called "The Tears in Cupid's Eyes". During his time in art school, Shakur became affiliated with the Baltimore Young Communist League USA, and began dating the daughter of the director of the local Communist Party USA.

In June 1988, Shakur and his family moved to Marin City, California, a residential community located 5 miles (8.0 km) north of San Francisco, where he attended Tamalpais High School in nearby Mill Valley. He began attending the poetry classes of Leila Steinberg in 1989. That same year, Steinberg organized a concert with a former group of Shakur's, "Strictly Dope"; the concert led to him being signed with Atron Gregory. He set him up as a roadie and backup dancer with the young rap group Digital Underground in 1990.

At an early age, Tupac’s love for performance and the arts began to show, as he began acting at age 13 and later enrolled in the Baltimore School of the Arts before dropping out at 17. Shakur broke into the music business with rap group Digital Underground as a back-up dancer and roadie. Eventually Shakur released his first solo album in ’91,  2pacalypse Now . 2Pac’s music career began to grow as his second album, Strictly 4 My N.I.G.G.A.Z  included two top 20 pop chart tracks:  I Get Around  and  Keep Ya Head Up .

1991–92: 2Pacalypse Now

Shakur's professional entertainment career began in the early 1990s, when he debuted his rapping skills in a vocal turn in Digital Underground 's "Same Song" from the soundtrack to the 1991 film Nothing but Trouble and also appeared with the group in the film of the same name. The song was later released as the lead song of the Digital Underground extended play (EP) This is an EP Release, the follow-up to their debut hit album Sex Packets. Shakur appeared in the accompanying music video. After his rap debut, he performed with Digital Underground again on the album Sons of the P. Later, he released his first solo album, 2Pacalypse Now. Though the album did not generate any "Top Ten" hits, 2Pacalypse Now is hailed by many critics and fans for its underground feel, with many rappers such as Nas , Eminem , Game, and Talib Kweli having pointed to it as inspiration. Although the album was originally released on Interscope Records, rights of it are now owned by Amaru Entertainment. The album's name is a reference to the 1979 film Apocalypse Now.

The album generated significant controversy. Dan Quayle criticized it after a Texas youth's defense attorney claimed he was influenced by 2Pacalypse Now and its strong theme of police brutality before shooting a state trooper. Quayle said, "There's no reason for a record like this to be released. It has no place in our society." The record was important in showcasing 2Pac's political conviction and his focus on lyrical prowess. On MTV's Greatest Rappers of All Time List, 2Pacalypse Now was listed as one of 2Pac's "certified classic" albums, along with Me Against the World, All Eyez On Me and The Don Killuminati: The 7 Day Theory.

2Pacalypse Now went on to be certified Gold by the RIAA. It featured three singles; "Brenda's Got a Baby", "Trapped", and "If My Homie Calls". 2Pacalypse Now can be found in the Vinyl Countdown and 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.

1993: Strictly 4 My N.I.G.G.A.Z.

His second studio album, Strictly 4 My N.I.G.G.A.Z., was released in February 1993. The album did better than the previous one debuting on number 24 on the Billboard 200. The album contains many tracks emphasizing Tupac's political and social views. This album had more commercial success than its predecessor, and there were noticeable differences in production. While Tupac's first effort had an indie-rap-oriented sound, this album was considered his "breakout" album. It spawned the hits "Keep Ya Head Up" and "I Get Around" and reached platinum status. On vinyl, Side A (tracks 1–8) was labeled the "Black Side" and Side B (tracks 9–16) the "Dark Side." It's known as his tenth-biggest selling album with 1,366,000 units moved as of 2004.

1994: Thug Life, Thug Life: Volume 1 and November shooting

"Thug Life" redirects here. For the film, see Thug Life (film). For the album, see Thug Life: Volume 1.

In late 1993, Shakur formed the group Thug Life with a number of his friends, including Big Syke, Macadoshis, his stepbrother Mopreme Shakur, and Rated R. The group released their only album Thug Life: Volume 1 on September 26, 1994, which went gold. The album featured the single "Pour Out a Little Liquor," produced by Johnny "J" Jackson, who went on to produce a large part of Shakur's album All Eyez on Me. The group usually performed their concerts without Shakur. The album was originally released by Shakur's label Out Da Gutta Records. Due to criticism about gangsta rap at the time, the original version of the album was scrapped and re-recorded with many of the original songs being cut. Among the notable tracks on the album are "Bury Me a G," "Cradle to the Grave," "Pour Out a Little Liquor" (which also appears in the soundtrack to the 1994 film Above the Rim), "How Long Will They Mourn Me?" and "Str8 Ballin'." The album contains ten tracks because Interscope Records felt many of the other recorded songs were too controversial to release. Although the original version of the album was not completed, Tupac performed the planned first single from the album, "Out on Bail" at the 1994 Source Awards. Although the album was originally released on Shakur's label Out Da Gutta, Amaru Entertainment, the label owned by the mother of Tupac Shakur, has since gained the rights to it. Thug Life: Volume 1 was certified Gold. The track "How Long Will They Mourn Me?" appeared later in 1998 from 2Pac's Greatest Hits album.

Shakur was rushed to Bellevue Hospital after a near-fatal shooting in 1994

On the night of November 30, 1994, the day before the verdict in his sexual abuse trial was to be announced, Shakur was shot five times and robbed by two armed men in army fatigues after entering the lobby of Quad Recording Studios in Manhattan. He would later accuse Sean Combs, Andre Harrell, and Biggie Smalls —whom he saw after the shooting—of setting him up. Shakur also suspected his close friend and associate, Randy "Stretch" Walker, of being involved in the attack. In a documentary, Biggie says that they were in the recording studio and did not know Shakur would be there. Once they heard he was downstairs, Lil' Cease went to get him but came back with news that he had just been shot. When Biggie 's entourage went downstairs to check on the incident, Shakur was being taken out on a stretcher, still conscious and giving the finger to those around.

According to the doctors at Bellevue Hospital, where he was admitted immediately following the incident, Shakur had received five bullet wounds; twice in the head, twice in the groin and once through the arm and thigh. In the documentary " Biggie and Tupac", Tupac's father is interviewed and said that Tupac made a point to show him that no damage was inflicted upon his penis and/or testicles. His father also mentions that when he saw Tupac's groin, he knew that he was his son. He checked out of the hospital against doctor's orders, three hours after surgery. In the day that followed, Shakur entered the courthouse in a wheelchair and was found guilty of three counts of molestation, but innocent of six others, including sodomy. On February 6, 1995, he was sentenced to one-and-a-half to four-and-a-half years in prison on a sexual assault charge.

A year later on November 30, 1995, Stretch was killed after being shot twice in the back by three men who pulled up alongside his green minivan at 112th Ave. and 209th St. in Queens Village, while he was driving. His minivan smashed into a tree and hit a parked car.

On March 17, 2008, Chuck Philips wrote a Los Angeles Times article stating that Jimmy Henchman, a hip hop talent manager, ordered a trio of thugs to rough up Shakur. The article, which was later retracted by the LA Times because it partially relied on FBI documents which turned out to be forged was thought to be vindicated in 2011 when Dexter Isaac admitted to attacking Tupac on orders from Henchman. Following Isaac’s public confession, Philips corroborated Isaac as one (among many) of his key unnamed sources. In a June 12, 2012 exclusive for The Village Voice, Philips reported that Jimmy Henchman admitted to setting up Tupac's ambush during one of nine "Queen For A Day" proffer sessions with the government in autumn of 2011, according to prosecutors, key evidence supporting Philips' theory of the attack.

1995: Prison sentence, Me Against the World and bail

Shakur began serving his prison sentence at Clinton Correctional Facility on February 14, 1995. Shortly afterward, he released his multi-platinum album Me Against the World. Shakur became the first artist to have an album at number one on the Billboard 200 while serving a prison sentence. Me Against the World made its debut on the Billboard 200 and stayed at the top of the charts for four weeks. The album sold 240,000 copies in its first week, setting a record for highest first week sales for a solo male rap artist at the time. While serving his sentence, he married his long-time girlfriend, Keisha Morris, on April 4, 1995; the couple divorced in 1996. Shakur stated he married her "for the wrong reasons". While imprisoned, Shakur read many books by Niccolò Machiavelli, Sun Tzu's The Art of War and other works of political philosophy and strategy. He wrote a screenplay titled Live 2 Tell while incarcerated, a story about an adolescent who becomes a drug baron.

The album was very well received, with many calling it the magnum opus of his career. It is considered one of the greatest and most influential hip hop albums of all-time. It is his fourth biggest selling album with 2,439,000 units moved to date. Me Against the World won best rap album at the 1996 Soul Train Music Awards.

"Dear Mama" was released as the album's first single in February 1995, along with the track "Old School" as the B-side. "Dear Mama" would be the album's most successful single, topping the Hot Rap Singles chart, and peaking at the ninth spot on the Billboard Hot 100. The single was certified platinum in July 1995, and later placed at #51 on the year-end charts. The second single, "So Many Tears", was released in June, four months after the first single. The single would reach the number six spot on the Hot Rap Singles chart, and the 44th on the Billboard Hot 100. "Temptations", released in August, was the third and final single from the album. The single would be the least successful of the three released, but still did fairly well on the charts, reaching number 68 on the Billboard Hot 100, 35 on the Hot R&B/Hip-Hop Singles & Tracks, and 13 on the Hot Rap Singles charts.

1996: All Eyez on Me and The Don Killuminati: The 7 Day Theory

All Eyez on Me was the fourth studio album by 2Pac, released on February 13, 1996 by Death Row Records and Interscope Records. The album is frequently recognized as one of the crowning achievements of 1990s rap music. It has been said that "despite some undeniable filler, it is easily the best production 2Pac's ever had on record". It was certified 5× Platinum after just 2 months in April 1996 and 9× platinum in 1998. The album featured the Billboard Hot 100 number one singles "How Do U Want It" and "California Love". It featured 5 singles in all, the most of any 2Pac album. Moreover, All Eyez On Me (which was the only Death Row release to be distributed through PolyGram by way of Island Records) made history as the first double-full-length hip-hop solo studio album released for mass consumption. It was issued on two compact discs and four LPs. Chartwise, All Eyez on Me was the second album from 2Pac to hit number-one on both the Billboard 200 and the Top R&B/Hip-Hop Albums charts. It sold 566,000 copies in the first week of its release, and was charted on the top 100 with the top one-week Soundscan sales since 1991. The album won the 1997 Soul Train R&B/Soul or Rap Album of the Year Award. Shakur also won the Award for Favorite Rap/Hip-Hop Artist at the 24th Annual American Music Awards.

Makaveli The Don - Killuminati: The 7 Day Theory, commonly shortened to The 7 Day Theory, is the fifth and final studio album by Tupac Shakur, under the new stage name Makaveli, finished before his death and his first studio album to be posthumously released. The album was completely finished in a total of seven days during the month of August 1996. The lyrics were written and recorded in only three days and mixing took an additional four days. These are among the very last songs he recorded before his fatal shooting on September 7, 1996. In 2005, MTV.com ranked Killuminati: The 7 Day Theory at #9 on their greatest hip hop albums of all time list and, in 2006, recognized it as a classic. The emotion and anger showcased on the album has been admired by a large part of the hip-hop community, including other rappers. Ronald "Riskie" Brent is the creator of the Makaveli Don Killuminati cover painting. George "Papa G" Pryce, Former Head of Publicity for Death Row, claimed that "Makaveli which we did was a sort of tongue and cheek and it was not really to come out and after Tupac was murdered, it did come out. But before that it was going to be a sort of an underground." The album peaked at number one on the Billboard Top R&B/Hip-Hop Albums chart and the Billboard 200. The album generated the second-highest debut-week sales total of any album that year, selling 664,000 copies on the first week. This album was certified 4× Platinum on June 15, 1999.

Shakur’s legal battles began after he established his rap career. In the early nineties Shakur faced a wrongful death suit which settled out of court, accusations of assaulting police officers where charges were ultimately dropped, and even an incident where Shakur sustained five gunshot wounds from shooter Dexter Isaac. In 1995 2Pac was sentenced one-and-a-half to four-and-a-half years in prison for sexual abuse. However, not even prison could slow the success of Shakur’s career.

While incarcerated 2Pac’s latest album at the time,  Me Against the World , was number one in the pop charts and would later go double platinum. Shakur became the first artist to reach number one in the pop charts while serving a prison sentence. Making the most of his time in jail, 2Pac became a passionate reader. Among his favorites were the works of Niccolò Machiavelli, an Italian Renaissance writer whose works were in part the foundation for western political science. Shakur’s appreciation of his work inspired the nickname: Makaveli.

After serving only eight months of his sentence, 2Pac was out on parole thanks to a 1.4 million dollar bond paid by Suge Knight, CEO of Death Row Records. Now signed with Death Row Records, Shakur went on to create  All Eyez on Me , which featured hits  How Do You Want It  and  California Love .

2Pac’s life was cut short in September of 1996 when Shakur became the victim of a drive-by shooting while his car waited on a red light. While Shakur survived the surgery that followed he was pronounced dead almost a week after the attack.

Even today, 2Pac’s influence is wide-spread. From the Library of Congress where his song Dear Mama was added in 2010 to the National Registry, to artists like 11 time Grammy winner Eminem who in an interview with MTV said:

“He made you feel like you knew him. I think that , honestly, Tupac was the greatest songwriter that ever lived. He made it seem so  easy.  The emotion was there, and feeling, and everything he was trying to describe. You saw a picture that he was trying to paint.”

2Pac leaves a legacy of honesty and passion in his songs. Respected by many,  2Pac has become an inspiration for artists and a standard in rap music.

(sources: 2pac.com, wikipedia.org)

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Tupac Shakur Biography

Tupac Amaru Shakur was born in the East Harlem section of Manhattan in New York City, New York. He was named after  Tupac Amaru II , an Incan revolutionary who led an indigenous uprising against Spain and subsequently received capital punishment. The names “Tupac Amaru” and “Shakur” mean Shining Serpent or Royal Serpent in Quechua and Thankful (to God) in Arabic, respectively.

His mother,  Afeni Shakur , was an active member of the Black Panther Party in New York in the late 1960s and early 1970s; Tupac was born just one month after her acquittal on more than 100 charges of “Conspiracy against the United States government and New York landmarks” in the New York Panther 21 court case Tupac grew up around nothing but self-delusion. His mother, thought she was a “revolutionary. ” She called herself “ Afeni Shakur ” and associated with members of the ill-fated Black Panther Party, a movement that wanted to feed school kids breakfast and earn civil rights for African Americans.

During her youth she dropped out of high school, partied with North Carolina gang members, then moved to Brooklyn: After an affair with one of Malcolm X’s bodyguards, she became political. When the mostly white United Federation of Teachers went on strike in 1968, she crossed the picket line and taught the children herself.

After this she joined a New York chapter of the Black Panther Party and fell in with an organizer named Lumumba. She took to ranting about killing “the pigs” and overthrowing the government, which eventually led to her arrest and that of twenty comrades for conspiring to set off a race war. Pregnant, she made bail and told her husband, Lummuba, it wasn’t his child. Behind his back she had been carrying on with Legs (a small-time associate of Harlem drug baron Nicky Barnes) and Billy Garland (a member of the Party). Lumumba immediately divorced her.

Tupac said, “I never knew where my father was or who my father was for sure.” His godfather, Geronimo Pratt, was also a high-ranking Panther. His step-father, Mutulu, was a drug dealer who, according to Tupac, was rarely present to give him the discipline he needed.

Tupac had a half-sister, Sekyiwa , two years his junior, and an older stepbrother, Mopreme “Komani” Shakur , who appeared on many of his recordings.

At the age of twelve, Shakur enrolled in Harlem’s famous “127th Street Ensemble.” His first major role with this acting troupe was as Travis in A Raisin in the Sun . In 1986 Tupac’s mother brought him and his sister to live in Baltimore, Maryland. The Shakurs lived on Greenmount Ave. in East Baltimore. There, Tupac was disliked because of his looks, name, and lack of trendy clothing. He attended Roland Park Middle School, then spent his freshman year at Paul Lawrence Dunbar High.

For his sophomore year Tupac was accepted to the Baltimore School for the Arts. He enjoyed his classes there, studying theater, ballet, and other arts. It was during this time that Tupac became close friends with another student named Jada Pinkett. Even at this young age, Tupac was outspoken on the subject of racial equality. His teachers remembered him as being a very gifted student. He was an avid reader, delving into books on eastern religions, and even entire encyclopedia sets. Hiding his love of literature from his peers, he gained the respect of his peers by acting like a tough guy. Tupac composed his first rap in Baltimore under the name “MC New York”. The song was about gun control and was inspired by the fatal shooting of one of his close friends.

From childhood, everyone called him the “ Black Prince .” For misbehaving, he had to read an entire edition of The New York Times. But she had no answer when he asked about his daddy. “She just told me, ‘I don’t know who your daddy is.’ It wasn’t like she was a slut or nothing’. It was just some rough times. “When he was two, his sister, Sekyiwa, was born. This child’s father, Mutulu, was a Black Panther who, a few months before her birth, had been sentenced to sixty years for a fatal armoured car robbery.

With Mutulu away, the family experienced hard times. No matter where they moved-the Bronx, Harlem, homeless shelters Tupac was distressed. “I remember crying all the time. My major thing growing up was I couldn’t fit in. Because I was from everywhere. I didn’t have no buddies that I grew up with.”

At the age of twelve, Tupac enrolled in Harlem’s 127th Street Repertory Ensemble and was cast as the Travis Younger character in the play A Raisin in the Sun, which was performed at the Apollo Theater. In 1986, his family moved to Baltimore, Maryland. After completing his second year at Paul Laurence Dunbar High School, he transferred to the Baltimore School for the Arts. There he studied acting, poetry, jazz, and ballet. He performed in Shakespeare plays, and in the role of the Mouse King in the ballet The Nutcracker.

In June 1988 , a drug-addicted Afeni was having trouble finding work (her Panther past did not help, either). She uprooted the family again and brought Tupac and Sekyiwa to live with a family friend in Marin City, California,  where Tupac attended Tamalpais High School . He joined the Ensemble Theater Company (ETC) to pursue his career in entertainment.

Tupac move into Leila Steinberg’s home with his friend Ray Luv at the age of seventeen and he eventually dropped out of high school. Leila Steinberg acted as a literary mentor to Tupac, an avid reader.

In August of 1988, Tupac’s stepfather Mutulu was sentenced to sixty years in prison for armed robbery after being on the FBI’s Ten Most Wanted list for several years. Shakur soon moved in with a neighbor and started selling drugs on the street, but also made friends who helped spark his interest in rap music. One of these was Ray Luv, and with a mutual friend named DJ Dize (Dizz-ee), they started a rap group called Strictly Dope . Their recordings were later released in 2001 under the name Tupac Shakur: The Lost Tapes. Their neighborhood performances brought Tupac enough acclaim to land an audition with Shock G of Digital Underground.

Steinberg has kept copies of the books that he read, which include J.D. Salinger’s Catcher in the Rye, Jamaica Kincaid’s At the Bottom of the River, Herman Melville’s Moby Dick, Eileen Southern’s Music of Black Americans, and the feminist writings of Alice Walker and Robin Morgan. Most of these books were read before the age of twenty. It has been said that Tupac was, in fact, more well-read and intellectually well-rounded at that age than the average student in the first year class of most Ivy League institutions In 1989, Leila Steinberg organized a concert with Tupac’s group, Strictly Dope . The concert lead to him being signed with Atron Gregory who set him up with Digital Underground .

Tupac’s professional entertainment career began in the early 1990s, when he debuted his rapping skills on “ Same Song ” from the Digital Underground album ” This is an EP Release ”. He first appeared in the music video for “ Same Song “. After his rap debut, Tupac performed with Digital Underground again on the album ” Sons Of The P ”.

Later, he released his first solo album, 2Pacalypse Now . Initially he had trouble marketing his solo debut, but Interscope Records ‘ executives Ted Field and Tom Whalley eventually agreed to distribute the record.

Tupac claimed his first album was aimed at the problems facing young black males, but it was publicly criticized for its graphic language and images of violence by and against law enforcement.In one instance, a young man claimed his killing of a Texas-based trooper was influenced by the album. Former Vice President Dan Quayle publicly denounced the album as having “no place in our society” 2Pacalypse Now did not do as well on the charts as future albums, spawning no top ten hits.

His second record, Strictly 4 My N.I.G.G.A.Z… , was released in 1993. The album, produced mostly in part by Randy “ Stretch ” Walker (Shakur’s closest friend and associate at the time) and the Live Squad , generated two hits, “ Keep Ya Head Up ” and “ I Get Around “, the latter featuring guest appearances by Shock G and Money-B of the Digital Underground .

Shakur’s profile was raised considerably by his acclaimed role in the Ernest Dickerson film Juice, which led to a lead role in John Singleton’s Poetic Justice the following year. By the time the film hit theaters, 2Pac had released his second album, Strictly 4 My N.I.G.G.A.Z… , which became a platinum album, peaking at number four on the R&B charts and launching the Top Ten R&B hit singles “I Get Around” and “Keep Ya Head Up,” which peaked at number 11 and 12, respectively, on the pop charts. Late in 1993, he acted in the basketball movie ”Above the Rim”.  Tupac was filming ” Menace II Society ” in the summer of 1993 when he assaulted director Allen Hughes; he was sentenced to 15 days in jail in early 1994. Although Tupac was selling records and earning praise for his music and acting, he began having serious altercations with the law; prior to becoming a recording artist, he had no police record.

By the time he was twenty, Tupac had been arrested eight times, even serving eight months in prison after being convicted of sexual abuse. In addition, he was the subject of two wrongful-death lawsuits, one involving a six-year-old boy who was killed after getting caught in gang-war crossfire between Tupac’s gang and a rival group.

In late 1993, Shakur formed the group Thug Life with a number of his friends, including Big Syke , Macadoshis , his stepbrother Mopreme Shakur , and Rated R . The group released their first and only record album Thug Life Vol. 1 on September 26, 1994. The group usually performed their concerts without Tupac.

The concept of “Thug Life” was viewed by Tupac as a philosophy for life. He developed the word into a backronym standing for “ The Hate U Give Little Infants Fucks Everybody “. He declared that the dictionary definition of a “thug” as being a rogue or criminal was not how he used the term, but rather he meant someone who came from oppressive or squalid background and little opportunity but still made a life for himself and was proud. In 1994, he was found guilty of sexual assault . The day after the verdict was announced, he was shot by a pair of muggers while he was in the lobby of a New York City recordings studio. Shakur was sentenced to four-and-a-half years in prison on February 7, 1995.

He married his long-time girlfriend, Keisha Morris , while serving his sentence. This marriage was later annulled. While imprisoned, Shakur read many books by Niccolo Machiavelli, Sun Tzu’s The Art of War and other works of political philosophy and strategy.

Read for Keisha Morris, here .

He also wrote a screenplay titled ” Live 2 Tell ” while incarcerated, a story about an adolescent who becomes a drug baron.

After serving eleven months of his one-and-a-half year to four-and-a-half year sentence, Tupac was released from the penitentiary, due in large part to the help and influence of Marion “ Suge ” Knight, CEO of Death Row Records. Knight posted $1.4 million bail pending appeal of the conviction, in exchange for which Shakur was obligated to release three albums for the Death Row label.

It debuted at number one upon its February release, and would be certified quintuple platinum by the fall. Although he had a hit record and, with the Dr. Dre duet “California Love,” a massive single on his hands, Shakur was beginning to tire of hip-hop and started to concentrate on acting. During the summer of 1996, he completed two films, the thriller Bullet and the dark comedy Gridlock’d, which also starred Tim Roth. He also made some recordings for Death Row, which was quickly disintegrating without Dre as the house producer, and as Knight became heavily involved in illegal activities.

The album presents a stark contrast to previous works. Throughout the album, Tupac continues to focus on the themes of pain and aggression, making this album one of the emotionally darker works of his career. Tupac wrote and recorded all the lyrics in only three days and the production took another four days, combining for a total of seven days to complete the album (hence the name). The album was completely finished before Shakur died and Shakur had complete creative input on the album from the name of the album to the cover, which Shakur chose to symbolize how the media had crucified him. The record debuted at number one and sold 663,000 copies in the first week. Tupac had plans of starting Makaveli Records which would have included Outlawz, Wu-Tang Clan, Big Daddy Kane, Big Syke, and Gang Starr.

On the night of September 7, 1996, Shakur attended the Mike Tyson – Bruce Seldon boxing match at the MGM Grand in Las Vegas, Nevada. After leaving the match, one of Suge Knight’s associates spotted 21 year-old Orlando “Baby Lane” Anderson , a member of the Southside Crips, in the MGM Grand lobby and had Shakur aware. Shakur immediately rushed Anderson and knocked him to the ground. Shakur’s entourage, as well as Knight and his followers assisted in beating down Anderson. The fight was captured on the hotel’s video surveillance. A few weeks earlier, Anderson and a group of Crips robbed a member of Death Row’s entourage in a Foot Locker store, precipitating Shakur’s onset. After the brawl, Shakur went to rendezvous with Knight to go to Death Row-owned Club 662 (now known as restaurant/club Seven).

He rode in Knight’s 1996 black BMW 750i sedan as part of a larger convoy with some of Tupac’s friends, Outlawz, and bodyguards. At 10:55 p.m., while paused at a red light, Shakur rolled down his window and a photographer took their photo at around 11:00-11:05 p.m., they were halted on Las Vegas Blvd. by Metro bicycle cops for playing the car stereo too loud and not having license plates. The plates were then found in the trunk of Knight’s vehicle; they were released without being fined a few minutes later.

At about 11:10 p.m., while stopped at a red light at Flamingo Road near the intersection of Koval Lane in front of the Maxim Hotel, a vehicle occupied by two women pulled up on their right side. Shakur, who was standing up through the sunroof, exchanged words with the two women, and invited them to go to Club 662. At approximately 11:15 p.m., a white, four-door, late-model, Cadillac driven by unknown person(s) pulled up to the sedan’s right side, rolled down one of the windows, and rapidly fired around twelve to thirteen shots at Tupac.

At the time of the drive-by, Tupac was riding alongside Knight, with his bodyguard following behind in a vehicle belonging to Kidada Jones, Shakur’s then-fiance. The bodyguard, Frank Alexander, stated that when he was about to ride along with the rapper in Knight’s car, Shakur asked him to drive Kidada Jones’ car instead just in case they were too drunk and needed additional vehicles from Club 662 back to the hotel. Shortly after the assault, the bodyguard reported in his documentary, ” Before I Wake” , that one of the convoy’s cars drove off after the assailant but he never heard back from the occupants. After arriving on the scene, police and paramedics took Knight and a fatally wounded Shakur to the University Medical Center. According to an interview with one of Shakur’s closest friends and music video director Gobi, while at the hospital, he received news from a Death Row marketing employee that the shooters had called the record label and were sending death threats aimed at Shakur, claiming that they were going there to “finish him off”.Upon hearing this, Gobi immediately alerted the Las Vegas police, but the police claimed they were understaffed and no one could be sent.Nonetheless, the shooters never arrived.At the hospital, Shakur was in and out of consciousness; heavily sedated, breathed through a ventilator and respirator, was placed on life support machines, and was ultimately put under a barbiturate-induced coma after repeatedly trying to get out of the bed. Despite having been resuscitated in a trauma center and surviving a multitude of surgeries (as well the removal of a failed right lung), Shakur had gotten through the critical phase of the medical therapy and had a 50% chance of pulling through Gobi left the medical center after being informed that Shakur made a 13% recovery on the sixth night.While in Critical Care Unit on the afternoon of September 13, 1996, Shakur died of internal bleeding; doctors attempted to revive him but could not stop his hemorrhaging.

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Tupac Shakur: The Authorized Biography Hardcover – October 24, 2023

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• Print length 448 pages
• Language English
• Publisher Crown
• Publication date October 24, 2023
• Dimensions 6.4 x 1.4 x 9.4 inches
• ISBN-10 1524761044
• ISBN-13 978-1524761042
• See all details

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• Publisher ‏ : ‎ Crown (October 24, 2023)
• Language ‏ : ‎ English
• Hardcover ‏ : ‎ 448 pages
• ISBN-10 ‏ : ‎ 1524761044
• ISBN-13 ‏ : ‎ 978-1524761042
• Item Weight ‏ : ‎ 1.72 pounds
• Dimensions ‏ : ‎ 6.4 x 1.4 x 9.4 inches
• #24 in Rap Music (Books)
• #26 in Rap & Hip-Hop Musician Biographies
• #389 in Actor & Entertainer Biographies

About the author

Staci robinson.

Staci Robinson is an author and screenwriter. Her previous projects and collaborations include Tupac Remembered, Bearing Witness to a Life and Legacy; the novel Interceptions; the film The Bounce Back; and the forthcoming FX documentary Dear Mama: The Saga of Afeni and Tupac Shakur. Staci graduated from UCLA with a degree in History. She currently lives with her family in Northern California.

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How Biggie and Tupac Went From Friends to Music's Biggest Rivals

Two rappers on the rise to hip-hop stardom became fast friends — and even faster enemies, which may have led to their untimely passings.

What exploded into arguably the biggest rivalry in music history, ended up in the death of both artists, just as their careers were skyrocketing. Tupac (also known as 2Pac) was gunned down on September 7, 1996, and died six days later, while Biggie (also known as the Notorious B.I.G.) was shot and killed six months later on March 9, 1997.

Neither murder has ever been solved. But one thing that there’s no question about is that they started off as friends.

READ MORE: Inside Tupac's Last Days

Tupac entered the music scene two years before Biggie

Born in the Harlem neighborhood of New York City as Lesane Parish Crooks, Tupac’s single mother moved the family often in an attempt to escape the high-crime areas. They first went to Baltimore and then to Marin City, California. It was there that Tupac’s love and talent for poetry was bred. He eventually broke into the music business, first as a roadie and dancer for the group, Digital Underground. He eventually he took the mic in 1991, with his debut album, 2Pacalypse Now , released that year.

Meanwhile, back in New York City, Christopher “Biggie” Wallace, was raised in Brooklyn, spent his teen years attending prestigious high schools (where English was a strong subject), dealing drugs in the streets and rapping for fun. “It was fun just hearing myself on tape over beats,” he said in his biography for Arista Records.

But a demo he made found its way to Source magazine, which spotlighted the young talent — and he was soon represented by Sean “Diddy” Combs (also known as “Puffy Daddy”). His first single, “Party and Bulls**t” came out in 1993.

Biggie asked Tupac to be his manager

By that year, Tupac was already a platinum-selling artist, so Biggie asked a drug dealer to introduce him to Tupac at a Los Angeles party, according to a Vice excerpt of the book Original Gangstas: The Untold Story of Dr. Dre, Eazy-E, Ice Cube, Tupac Shakur, and the Birth of West Coast Rap by Ben Westhoff.

“'Pac walks into the kitchen and starts cooking for us. He's in the kitchen cooking some steaks,” an intern named Dan Smalls who worked with Biggie recalled of the meeting. “We were drinking and smoking and all of a sudden ‘Pac was like, ‘Yo, come get it.’ And we go into the kitchen and he had steaks, and French fries, and bread, and Kool‑Aid and we just sittin’ there eating and drinking and laughing...that's truly where Big and ‘Pac’s friendship started.”

There was mutual respect between the two, as well as their friend groups. According to the Vice excerpt, EDI Mean, a friend of Biggie’s, said, “We all thought he was a dope rapper.” The story reports that Tupac gave Biggie a Hennessy bottle as a gift. Biggie would crash on Tupac’s couch when he was in California and Tupac would always stop by Biggie’s neighborhood when he was in New York. In essence, they were like any other pair of friends.

And the potential greatness of their combined talents was also evident. At the 1993 Budweiser Superfest at New York City’s Madison Square Garden, they freestyled together. Biggie often turned to Tupac for advice in the business — and even asked him to manage his career. But Tupac didn’t mix business with friendship: “Nah, stay with Puff. He will make you a star.”

Tupac believed Biggie had a hand in his 1994 gun down

While there were some smaller kerfuffles between Tupac and Biggie, the first big fallout happened when they were scheduled to work on a project together for another rapper, Little Shawn.

Tupac arrived at Times Square’s Quad Recording Studios on November 30, 1994, and was getting ready to head upstairs to where Biggie and Combs were. But instead, Tupac was gunned down in the lobby and shot five times, according to the New York Time s .

He survived the attack but believed Biggie might have something to do with it, even though they did make it upstairs to see them right after the incident. “Tupac said the crew looked surprised and guilty, but Puffy claimed they showed him ‘nothing but love and concern,’” according to the Vice excerpt.

READ MORE: Inside Notorious B.I.G.'s Final Days and Drive-By Murder in Los Angeles

When Tupac joined Death Row Records, the East Coast-West Coast rivalry was cemented

While Tupac was incarcerated for another incident, he came to believe Biggie knew about the attack ahead of time. The west coast rapper reached out to Suge Knight, who offered him a place on his Death Row Records roster. Tupac accepted, cementing the rivalry between Knight's label and Combs’ Bad Boy Records. “Any artist out there that wanna be an artist, stay a star, and won’t have to worry about the executive producer trying to be all in the videos, all on the records, dancing—come to Death Row!” Knight proclaimed at that 1995 Source awards show.

There was never proof that Biggie or Combs knew about the incident. But a couple of months later, Biggie’s B-side single was a track called “Who Shot Ya?” which led to Tupac’s response with the song, “Hit ‘Em Up.” In it, Tupac claimed he slept with Biggie’s wife, Faith Evans. According to Vibe , Evans denied the claim, saying, “That ain’t how I do business.”

The punches continued to be thrown throughout their short lives, each side blaming the other for the deaths (while other theorists believe they may still be alive).

But after Tupac’s death, Biggie wanted to put an end to the coast-to-coast fighting. “We two individual people, we waged a coastal beef...one man against one man made a whole West Coast hate a whole East Coast. And vice versa. And that really bugged me out,” he said in an interview . “I've got to be the one to try to flip it... because Pac can't be the one to try to squash it because he's gone.”

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IF WE DON’T EVER GO OUTSIDE OF THE BOUNDARIES, WE WILL NEVER CHANGE ANYTHING.

– Tupac Shakur

Rapper. Actor. Activist. Thug. Poet. Rebel. Visionary.

Though his recording career lasted just five years, Tupac Amaru Shakur (1971-1996) is one of the most popular artists in history, with over 75 million records sold worldwide. More than half of his eleven studio albums sold over three million copies in the U.S., and both 1996’s All Eyez on Me and his Greatest Hits collection have been certified diamond, surpassing the ten-million mark and placing them among the top-selling albums of all time.

Strictly 4 my N.I.G.G.AZ… OG Biography

Birthday hymn for afeni, 2pacalypse now 1991 biography part 1, 2pacalypse now 1991 biography part 2, tupac inducted into the 32nd rock & roll hall of fame hymn for afeni, 2pacalypse now available on vinyl.

2Pac – 2Pacalypse Now

2Pac – Strictly 4 My N.I.G.G.A.Z…

Thug Life – Thug Life: Volume 1

2Pac – Me Against The World

2Pac – All Eyez On Me

The Don Killuminati: The 7 Day Theory (2LP)

2Pac – R U Still Down? [Remember Me]

2Pac – Greatest Hits

2Pac Outlawz – Still I Rise

2Pac – The Rose That Grew From Concrete

Official store, all eyez on me tracklist hoodie, boundaries t-shirt, the don killuminati: the 7 day theory – 2lp, makaveli sweatpants, makaveli crewneck, all eyez on me – 4lp, featured videos, 2pac – how do u want it ft. k-ci & jojo, 2pac – papa’z song ft. wycked, 2pac – do for love ft. eric williams, makaveli – to live & die in l.a., makaveli – toss it up ft. danny boy, aaron hall, makaveli – hail mary ft. the outlawz, 2 pac – hit ‘em up, 2pac – trapped, 2pac – brenda’s got a baby, 2pac – if my homie calls.