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Summary
Transcript
Well, I like him because he’s masculine. I’m masculine. I mean, thug life is the only thing up in the 90s. And I was raised loving, you know, my people and knowing that we was meant to do more than stay high and get by. That’s why I stay strapped, stay drunk, and stay high till I die. And I won’t sell my soul. I left wearing silver, came back to it and gold. Selling my soul for my theory. Wishes the fast cars, bitches Wishing I live my life a legend. Immortalize the bitches. The reason I am who I am today is because I can look directly into my face and find my soul.
It’s there. It’s not sold. I didn’t sell it. It’s still within me. I still feel it. My heart is still connected to my body. Does he like the movies or does he like the wrecking business? Hello? Hello? Nah, I like the money. You like that? I like the money. I don’t care who pays me. That shows me that somebody needs to pick up. Where the Panthers left, it’s like this. The masses, the hungry people, they outweigh the rich. So as long as I appeal to the hungry and the poverty stricken people, it’s all good. I’m gonna have a job for life.
It’s these rich people who worried about the fooling the poor people. Everybody knows crime out there. Everybody know what type of situation we in in the streets. All I’m doing is showing you and telling you, you know what I foreign. Yo, what’s good, everybody? It’s YA Boi script. And today’s the day we finally cover the man, the myth, the legend, Tupac Amaru Shakur. And let me tell you, I’ve had this one on my mind for a hot minute. And I’ve seen the comments over the years asking for it. So it’s only right I make it happen.
Tupac’s story isn’t one you can just sum up in a sentence. Decades later, we’re still uncovering rare footage and hearing new pieces of his mind. Like he’s still speaking to us from beyond. From early on, Pac never held back. He was unapologetically vocal, an open book who spoke his truth on anything and everything. His life has been etched into history through his music, films, interviews, and endless documentaries. He was once even brought back as a hologram. To many, he was a martyr, a prophet for the streets. The voice meant to uplift black youth and lead them to something greater.
To others, he was the definition of a gangster. Raw, defiant, and ready for war with Anyone? Tupac was a man of many layers. Some say it was his emotional depth that allowed him to show so many sides of himself. Others think the performance didn’t stop when the cameras did. That maybe Pac was always acting. I was the total opposite of what I am right now, playing roles on and off screen. Either way, he was unforgettable. So lock in with me as we peel back the layers of Tupac’s 25 year journey from his early life and rise to fame.
The controversies, conspiracy theories, and how the numbers seem to play into it all. To understand how a legend was born, we have to look at where he came from, starting with his roots. Tupac wasn’t just a product of talent or circumstance. He was shaped by the struggles, strength and spirit of his mother, Alice Faye Williams, better known to the world as Afeni Shakur. A former Black Panther, Afini’s life was layered with resistance, resilience, and a revolutionary fire. And that energy undoubtedly lit a fuse in Tupac’s voice. As for his father, well, for most of his life, Tupac didn’t even know the man was alive.
But we’ll touch on that later. Here’s something many don’t realize. Tupac Amaru Shakur wasn’t the name he was born with. His name was Lesane Parrish Crooks, a name that didn’t match either of his biological parents. It’s said that Lesane came from his mother’s side of the family, while Parrish Crooks belonged to a close friend of hers. Even in naming, Tupac’s story was already complex. But for Pac and his mother, changing names was just part of surviving. At least that’s what we’re told. And soon we’ll unpack exactly why that was. During the 1960s, Afeni, who was still known as Alice at this time, was like many young people trying to find her place in the world, though it was a world far different from today.
Growing up in the Bronx, she attended Benjamin Franklin Junior High School and later Manhattan’s High School of Performing Arts. But even as a student, Alice often found herself in altercations driven by a constant feeling of being unsafe. That unease stayed with her, and despite excelling academically, her focus began to shift from textbooks to politics and activism. Then, in 1968, everything changed. After hearing a speech by Bobby Seale, co founder of the Black Panther Party, Alice was inspired to join the movement. When we went to the Capitol, we were there to deliver a message based upon our understanding of what racism is and how it’s inflicted upon us in Our communities here in America.
At just 21 years old, she met her soon to be husband, Lumumba Shakur, and her life took a transformative turn. She converted to Islam, legally changed her name to Afeni Shakur and married Lumumba in November 1968. Afeni was getting very active in the Panther Party, beginning to make a name for herself and she would certainly end up doing so as you’ll soon see. However, just months after their marriage, Afeni and Lumumba were hit with a life altering challenge. On April 2, 1969, the two and several other Black Panthers were indicted on more than 150 charges. The accusations were staggering.
There were alleged plans to bomb a railroad, the New York Botanical Garden and various other public spaces. Afeni and the 20 others charge became known as the Panther 21, a case that would test their resilience and commitment to the movement. Now take note of the date April 2 written as 4 2, echoing the number 42. For those unfamiliar, I’ve done an entire video on how this number has historically been used in the media in connection to black people. And not in a flattering way. The words on the screen tell you why. Keep that in mind because later in pac’s life we’ll see how one of his run ins with the law also got marked with this number almost mockingly.
Leading up to these charges, the Black Panther Party was under the watchful eye of the FBI’s Counterintelligence Program, or COINTELPRO for short. In 1956, the program was developed to disrupt the activities of the Communist Party of the United states. In the 1960s, it was expanded to include a number of other domestic groups such as the kkk, the Socialist Workers Party and the Black Panther Party. COINTELPRO tactics in the Panther 21 case included planting informants, wiretapping and fabricating evidence to justify arrest. Now I’m not going to cover all the history as that’s a separate video on its own, but consider this.
The case against the Panther 21 would turn out to be the longest and most expensive trial in New York history at the time. It revealed the illegal activities which led to exile, imprisonment on false charges and and the assassination of Black liberation leaders. Now, with Afeni and her fellow Panthers behind bars, many of them facing decades or even life sentences, the future looked grim. Separated from Lumumba and held in different prisons, the reality set in. Freedom was uncertain and with it, their newfound love began to wane. Thankfully for Afini, after 10 months in Manhattan’s Women’s House of Detention, she was freed on bail on January 30, 19, 1970.
Female labor activists and church members covered her $100,000 bond, raising $66,000 in cash and using church assets as collateral. Out on bail, Afeni met William Garland, a Black Panther from Jersey City. And during this time, she decided to lay low at his place for a while, leading the two to form a romantic relationship. And let’s just say, things move quickly. William, also known as Billy, was already married with three kids of his own. But Afeni, facing the possibility of life behind bars, felt that giving birth to a child would allow a part of her to roam free in the world, even if she couldn’t.
Now pregnant and facing the possibility of life behind bars, Afini had even more on her plate. While Most of the Panther 21 accepted their assigned attorney, Carol H. Lefcourt, Affini wasn’t convinced. Despite advice from other members, she doubted Carol’s ability to defend her in court. This led to her bold decision to represent herself himself in court. It was a risky move, one that could have gone horribly wrong. But Afeney’s determination paid off. On May 13, 1971, after delivering a powerful closing argument and practically making a fool out of the prosecutors, she secured a miraculous victory. The 21 Panthers were acquitted of all 156 charges, marking a historic moment in the fight for justice.
Oh, and remember that government program, COINTELPRO? Well, according to the FBI’s site, all COINTELPRO operations were ended in 1971. Pretty interesting that it was halted the same year this case was resolved. Just two months after this pivotal victory, Afeney gave birth to Lysanne Parrish Crooks in East Harlem. In an interview with Tupac’s cousin William Lesane, who was a big part of Tupac’s early life, he explained that the name Lysane came from their side of the family. While Parish Crooks, which we mentioned earlier, was inspired by a close friend of Afeni’s. It’s believed that Afeni always intended to name her son Tupac, but at the time of his birth, she was fresh off facing major federal charges as part of the Panther 21.
Still under the watchful eye of government agencies, she made a calculated choice to name him Lysanne Parish Crooks, a move meant to shield her newborn from further scrutiny and potential targeting. But there are two things that stand out about that decision. First, if the goal was to fly under the radar, why choose a last name like Crooks? It’s literally a synonym for criminal. And second, this is the US Government we’re talking about hiding details, especially from federal agencies, was never going to last forever. Still, Afeni’s real intention came through later when she renamed him after Tupac Amaru II, the 18th century Incan revolutionary who led a fierce uprising against Spanish colonial rule before being brutally executed.
The name Tupac Amaru is rich with symbolism, often translated to mean shining serpent or royal thing. It wasn’t just a name. It was a legacy Afeni wanted her son to carry. For his surname, she chose Shakur, taken from her former husband, Lumumba Shakur. In Arabic, Shakur translates to thankful or grateful. It almost feels like Tupac’s path was mapped out the long before he ever picked up a mic. Throughout this video, we’ll explore whether he was simply the product of a mother raising her son to speak truth to power, or if there was something deeper at play.
Could Tupac have been groomed for the role of a street prophet, a modern day martyr handpicked to captivate hearts and minds across the globe, A symbol not just meant to inspire, but to warn? His rise felt almost too perfect, his fall too precise. Was he a natural outcome of his environment or a carefully placed figure meant to shine just long enough for his message to be cemented in history? Let’s keep peeling back the layers. Not long after Tupac was born, on June 16, 1971, his mother, Afeni, split from Lumumba Shakur. The breakup came after Lumumba discovered he wasn’t Tupac’s biological father, a title that belonged to Billy Garland.
By the time Tupac turned four, Afeni had moved on from her involvement with the Black Panther movement and found love again, this time with Mutulu Shakur, a member of the Black Liberation Army. Interestingly, Mutulu was the adopted brother of Lumumba, Afeni’s first husband, going on to Marry Mutulu in 1975, the year they met. The two would welcome a new addition to the family. Sekoua Shakur on October 3, 1975. Growing up in New York during the 70s and early 80s, PAC saw firsthand the struggles of a city that was raw, gritty and far from glamorous. It was a time when the streets were tough and survival wasn’t guaranteed.
But even as a young, charismatic kid, Pac always found ways to make the most of it. However, in 1981, when Pac was around 10 years old, his stepfather Mutulu got caught up in a botched armored car robbery in New York. Alongside members of the Black Liberation Army, Mutulu and his crew pulled off a $1.6 million heist, but the job turned messy, leaving several people injured and two police officers dead. Mutulu went on the run, leaving Afeni as a single mother once again and adding even more tension to an already chaotic household. At this point, Pac was without a father figure in his life, at least that he was aware of.
But we’ll get back to this later in the story. Looking for an escape, Pac turned to acting. At just 12 years old, he landed his first role, playing Travis in A Raisin in the Sun. It was the beginning of his love for the arts, a skill that would stay with him for life. By 1984, Afeni was not only divorced the second time, but she also lost her job, and this tied to the family packing their bags and heading to Baltimore, where they can all get a fresh start. The family lived in the first floor apartment of a brick row house at 3955 Green Mount Avenue in the small North Baltimore neighborhood of Pen Lucien.
It was in Baltimore where Tupac completed the eighth grade at Roland Park Middle School. Growing up in Baltimore, he formed a friendship with Dana Mouseman Smith and Gerard Young, and the three quickly realized their shared love for hip hop and the arts. With Tupac not being a big sports guy, he and his friends would form two rap groups, Born Busy and East side Crew. While attending Paul Laurence Dunbar high school in 1985, long before rap became the cultural powerhouse it is today, Tupac Shakur took part in a youth rap contest hosted by Baltimore’s Enoch Pratt Free Library.
Performing under the name MC New York with his friend Mouseman, Tupac spotted a flyer calling on young rappers to write a verse promoting the library. Their group, the east side Crew, entered with a track called Library Rap. Handwritten by Tupac himself, the lyrics encouraged kids to get library cards, stay in school, and earn their credits. Contest organizer Deborah Taylor remembered them as, quote, very polite boys, even giving them a ride to the event since they had no way to get there. Tupac kicked off their winning performance with the line, ay yo, Enoch Pratt bust this. Around this time, a young Tupac was rarely home and usually out with friends or staying over at someone else’s place.
At one point, he even worked briefly at a local fish market. However, while rapping was cool and all, Pac’s love for acting never left, and around 16 years old, he auditioned for the Baltimore School for the Arts as a theater major. It was here where Pac would not only form many friendships, but also get to put his acting talent to the test. Before Pac ever Yelled west side or turned thug life into a cultural anthem. He was reading Shakespeare, writing politically charged poetry, and acting in school plays. It was during this early chapter that he met Jada pickett Smith, a woman he’d leave a deep and lasting impression on.
Around the same time, Pac also formed a close bond with a classmate named John Cole. Their backgrounds couldn’t have been more different. John came from privilege, while Pac was shaped by struggle. But their contrast didn’t matter. They just clicked. While Pac was still trying to find his footing, his mother, Afeney, was losing hers. What she hoped would be a fresh start in Baltimore was quickly unraveling. Her addiction began to take hold, straining her relationship with both Pac and his younger sister. As a result, Pac spent more and more time at John’s house, crashing for days at a time, borrowing his clothes and becoming part of the family.
In an interview, Pac even credited John and his family for helping keep him on track at the Baltimore school for the Arts. I had a friend named John Cole who was blonde and had hair down to his shoulders and had blue eyes and looked like, you know, America’s vision of the perfect guy. But he was all tore up inside because things had happened in his life and he was curious, like stretch. And I was all tore up inside at the time that we met and we met and he had money and I didn’t. And he put me through high school.
That’s how I got through the school of performing arts. He snuck me up to his house so his parents didn’t see. I spent the night there. We went to school. I dressed in his clothes because it was fun for him to not have, and it was fun for me to have. There’s something telling that John Cole once revealed about Pac, something that adds weight to the idea that he was constantly in actor mode. Quote, tupac would stay in character for two, three days at a time. He said, I’d tell him, look, you gotta do something else.
I’m really getting sick of redbone. It’s as if Pac wasn’t just playing roles. He was living them. But Baltimore wouldn’t be home for much longer. Though Afeni’s addiction showed signs of improvement, she reached a painful realization. She wasn’t in the right place, mentally or emotionally, to raise her kids. And so she sent Pac and his sister to live with a family friend in Marin city, California, a cross country move that would change everything. Now on the west coast, Pac enrolled at Tamil Pius high school, keeping his love for acting alive. But it was clear that music was starting to take center stage, he began trading scripts for notebooks, filling them with poetry and lyrics.
By the spring of 89, at just 17 years old, Pac struck up a friendship with Leila Steinberg, who hosted poetry workshops at a local park In Oakland Park, Layla would become the bridge between Pac and the true beginning of his rap career. Layla Steinberg, Tupac’s first manager, was a cultural bridge, with Arab, Jewish, Latin and African American influences shaping her identity and work. Raised in Watts and attending all black schools, she credits the black community for grounding her while distancing herself from her own ethnic roots. Her activist mother introduced her early to social justice, even leaving the family when Layla was 12 to pursue activism full time.
Raised by her father and guided by her grandfather, a Latin dance teacher, Layla immersed herself in West African and Latin dance. After high school, she studied music and culture in Central America, later returning to the US to tour with artists like Carlos Santana and the Neville Brothers. She married Bruce, a rising figure in the LA rap scene, and juggled motherhood, dance, music promotion and a career in sports therapy. Eventually relocating to Northern California, she fronted her husband’s rap promotion business to navigate racial barriers he faced. Together, they hosted events drawing thousands of young people. When Pac met Layla, the connection was instant.
With her background in the arts and deep ties to the music world through her DJ promoter husband, she quickly saw something special in him. It was actually Pac who asked her to be his manager, a role she would embrace, becoming the first to guide his career. Not long after, she welcomed him into their home. In the Thug angel documentary, Leila reflects on Pac’s insatiable hunger for knowledge, the books they read and the deep conversations they had. But if you listen closely to what she says, there’s something she reveals that most people wouldn’t expect from Pac. Something that adds another layer to the man behind the myth relationship that we searched for knowledge, you know, we explored together.
And I’ll just tell you a book right now, you know, it’s been around for a long time. It’s called Ponder on this. The stuff we were exploring together. The occult teachings, Rajneesh, telepathy, the Cabal of the Tibetan Book of the Dead. The Cabal of the Tibetan Book of the Dead. Layla specifically mentions that she and Pac read about occult practices and Kabbalah to be exact, which is where Gematria comes from. The very system I’m using throughout this video to analyze moments of Pac’s life and death. And don’t sleep on the fact that it was a Jewish woman putting him onto that stuff.
But I Digress. With Layla’s help, Pac was introduced to music manager A Tron Gregory, who landed him a gig in the early 90s as a roadie and backup dancer for Digital Underground. Soon after, Pac officially signed with both Atron and Layla, marking the first real turning point in his music career. For the first time, it felt like making it was more than just a dream. But while Pac was trying to find his footing, his mother would eventually reunite with him and his sister in Marin City. But she was still deep in her battle with crack addiction.
In fact, it was reaching a breaking point, putting even more strain on their already fragile relationship. Still, Pac remained determined to make something of himself. Pac’s time with Digital Underground was all hustle, but it paid off. He made his debut on the track Same Song, which landed a spot in Dan Aykroyd’s film Nothing But Trouble. At the beginning of 91, his confidence both on the mic and on screen was undeniable. Not long after, Atran Gregory stepped in as Pac’s full time manager, helping secure him a deal with Interscope Records. Nearing the end of 91, Pac was excited about his feature on Digital Underground’s Sons of the P album, which dropped in October of 91, and his solo debut was just weeks away.
But that upward momentum hit a sudden interruption. Just two days after the group’s album release. On October 17th, Tupac was stopped by Oakland police for jaywalking, a seemingly minor offense that escalated quickly. According to reports, he was slammed on the ground and arrested. Here you can see pictures of his injuries. Now, what followed was rare for that era. A young rap artist suing the police. Tupac filed a $10 million civil lawsuit against the Oakland Police Department for their excessive force. And in an outcome even more unusual, the city settled, reportedly paying Pac 5 $42,000. $42,000, huh? Remember what I said earlier about that number? Whoever’s behind that settlement knows exactly why they chose to settle for that specific amount.
Following his run in with the Oakland Police Department, Tupac released his debut solo album, tupacalypse. Now, at this point, his music had a sharp political edge, revolutionary, reflective and charged with social commentary. That’s not to say he didn’t touch on gangster themes. He they were always there in the lyrics. But he hadn’t yet made that full shift into the thug life Persona. The fire was burning, no doubt, but the character we’d come to associate with bandanas, bravado and street code hadn’t fully emerged, at least not yet. The eerie cover, complete with classic one eye symbolism, features Pac surrounded by four men in black hooded robes, their dark, faceless figures looming behind him like shadows.
There are a few ways to interpret it, but to me it feels like an initiation. His entry into the industry, where oaths and hidden bargains shape everything behind the scenes. The hooded figures, they could very well represent the unseen forces. The labels, the power players, the ones pulling the strings from the dark. And before you dismiss it as a stretch, consider this. The album’s cover designer, Kevin Hossman is a music industry veteran who’s worked with major rap acts like Ice Cube, NWA and Big Daddy Kane. His work often leans heavily into symbolism and striking imagery. Visuals that paired with the music, helped cement lasting archetypes of young black men that echo through generations.
Now, this isn’t a single hymn out, but it’s worth pointing out that the consistent patterns and how these iconic rap albums were visually framed. These covers weren’t just marketing. They became cultural blueprints, subtly shaping how hip hop was seen, sold and remembered. Take a closer look at the back cover of Ice Cube’s second album, Death Certificate, and pay attention to the deliberate choices in imagery and wording. Cube stands at the intersection of two worlds, symbolizing the dual paths often placed before black men become the hardened gangsta or the militant revolutionary fighting for something greater. The COVID leans into the symbolism of duality, good and evil, light and dark.
And then there’s the newspaper in the image titled the Ritual Calls, boldly declaring Unite or Perish. Just beneath that, under the chilling headline reads Satan offers Substitute World. What exactly is being suggested here? I’ll leave that for you to decide. Anywho, with Pac finally having his foot in the door, let’s see how he moved through this twisted industry. Tupacalypse now might not have been his highest selling album, but it set the tone for Pac’s bold, outspoken style, tackling pressing issues like racism, poverty, police brutality and the breakdown of family unity. Thanks to Pac’s outspoken personality, he helped create a moment whenever he would appear on camera, generating buzz around his name.
I do so many people get on Hammer. I mean, the man sold 10 million records. I’m not getting on Hannah, and I’m not gonna say he did sell Tell me your records. But crack fiends bought 10 million rocks. That don’t mean crack is good. At this point in Pac’s life, things would truly begin to ramp up after his brief cameo on Dan Aykroyd’s Nothing But Trouble. He then spent most of 92 preparing for his second album and working on set for his Lead role as Bishop in the hood. Classic juice. But as often was the case with Pac, just when things would seem to be going his way, he would hit another roadblock.
On a hot summer day, August 22, 1992, tragedy struck at a festival in Marin City, California, when a six year old boy was fatally shot by a firearm allegedly linked to Pac. The gun had accidentally discharged. Despite the severity of the incident, it received little media coverage at the time, likely overshadowed by Pac’s rising fame. But the consequences didn’t disappear. Years later, in 95, a wrongful death lawsuit was quietly settled out of court for an estimated $300,000 to 500,000 DOL with no admission of guilt. No criminal charges were ever filed as the shooting was ruled accidental and Pac was not the shooter.
Now, earlier I touched on the idea that Pac’s album cover symbolized his initiation into the industry. And if you followed my channel, you know I often explore the concept of ritual sacrifice. From my perspective, these acts serve as offerings to the deities that certain individuals or groups revere. In this particular case, I’m referring to Moloch, a pagan God historically associated with child sacrifice in exchange for for worldly blessings, fertile land, victory in battle, protection, power and influence. Now, of course, in modern times, these rituals don’t look the way they did in ancient texts. But the underlying principle of sacrificial exchange still appears to echo in some of today’s most twisted corners, especially within the entertainment industry, which many believe is governed by shadowy networks with deep esoteric roots.
What I’m getting at is this. When you operate in an industry built on manipulation and illusion, a system run by particular groups with their own rules, there often comes a point where a sacrifice is expected in return for further success. It’s what some call the Faustian bargain. And when you examine Pac’s story, especially through the lens of Gematria, a numerical system derived from Kabbalah, which these groups are known to study. And so Pac did too. This tragic moment in his early career starts to look eerily symbolic. Alright, so let’s look at this story by the numbers.
Notice that the young boy’s full name, Quaid Walker Teal, matches Tupac’s first and last names. And139 is the 34th prime number, aligning with the words murder and rapper. The child died 67 days from Pak’s 21st birthday. I share these patterns a lot. Notice blood and human sacrifice Both equate to 67. And who was this sacrifice for? Well, as I stated, I believe the pagan God Moloch or malik, depending on, you know, how you pronounce it, which equates to 30 in the most pure cipher. Notice the date numerology. This child died eight the month plus 22 the day sums the 30, which further numerically stamps the ritual.
After a rollercoaster of a year, in 92, PAC was beginning to realize just how quickly fame could rise and just how easily it could all slip away. This realization seemed to ignite a shift in his Persona, as if he were stepping into the role of a character destined to redefine his legacy. As his influence over the black community deepened, so did the complexity of the identity he was shaping. As we dive in, the question becomes, was this evolution a calculated move or was the script for his life already written, guiding him toward a new path? Let’s take a closer look at the transformation that was about to unfold.
By 93, PAC would start the year hot with his follow up album, Strictly for My Ni, released in February. He would also get the infamous thug life tattooed across his stomach, which stood for the hate u give little infants fucks everybody. This moment would mark a pivotal shift in his career, marking the moment in time where he began to truly embody the gangsta image we all saw. It was as if he were stuck in the role of Bishop from Juice. Later that summer, he was back on the big screen, starring as Lucky alongside co worker Janet Jackson in the romantic drama Poetic Justice.
This, this film showed the world Pac’s versatility as an actor. If Bishop from Juice was, was a reflection of young black male today, I wouldn’t be honest if I didn’t show another reflection. All of our young black males are not violent. They’re all not taking the law into their own hands. They all not going to that extreme to accomplish some sort of achievement in their life. So this is just another way of showing how you can be a young black male and accomplish something. But again, this whole actor element makes you wonder when was Pac truly being himself and when was he playing a role? Throughout his career, there are moments where his true intentions seemed to shine through.
But just as quickly. He had a way of walking things back or cleaning up his statements in the same breath, almost like he was catching himself breaking character. In this 1993 Arsenio hall appearance, if you listen closely, Paul practically explains his plan to remain successful. Or depending on how you interpret what he’s saying, maybe he’s just telling you the plan the people behind him intend for him to follow. It’s like this. The masses, the hungry people, they outweigh the rich. So long as I appeal to the hungry and the poverty stricken people, it’s all good. I’m gonna have a job for life.
It’s these rich people who worried about the fooling the poor people. Everybody knows crime out there. Everybody know what type situation we in in the streets. All I’m doing is showing you and telling you. You know what I’m saying? Why get mad at the brother that bring you the news? Get mad at the person that’s making it happen. Feel me? There’s a, there’s a weird game that goes on because now as a result of your art, you’re becoming one of the rich. Yes, not rich, but they giving me checks more often. He’s essentially admitting that as long as the system stays broken, he can keep profiting from it, even as others remain trapped in the very cycles he critiques.
It raises a chilling possibility that is championing of thug life, no matter how he frames it, thrives on the glorification of violence and the very lifestyle that so many feel seen by in gangsta rap. And when Arsenio hall points out the contradiction that Pac himself is becoming the wealthy figure he once claimed to resist, he scrambles to defend himself. But by then the mask has slipped, if only for a moment. Hello. Nah, I like the money. How you like that? I like the money. I don’t care who pays me or. Take this clip of Pac at Marcus Garvey School in LA promoting his single Keep your head up in 1993, where the interviewer asked him if he has a positive message to leave the audience with.
And here’s what the street profit had to say. Pac, before you leave, could you leave our youth with a positive message out there? Fortunately, I don’t have any positive messages for our youth except keep your head up, you know, don’t give up, just stay struggling. That’s as positive as it get in 1993. Okay, we want to thank Tupac again for joining us. I’m Kanima Iver and like he said, keep your head up. You gotta focus and handle it if you got something to do. Until next time. Peace. I like the money. How you like that? I like the money.
That aside, nearing the end of the year, Tupac would find himself truly living that sad life. Halloween night, 1993, Tupac is involved in a shooting in Atlanta that would come to define a major pivot in his public image. According to reports, Pac intervened in what he believed was an instance of racial harassment. Two off duty white police officers allegedly threatening a black motorist the confrontation escalated. Pac, claiming self defense, fired his gun, injuring both officers, one in the abdomen and the other in the buttocks. At the time, Pac was actively promoting Strictly For My Niggaz, his second album released earlier that year.
It was a body of work that leaned harder into social commentary, frustration with authority and the realities of systemic oppression. This wasn’t just music promotion. It was the beginning of a much larger performance, one that aligned neatly with the Persona he’d soon fully inhabit. Shortly after he officially claimed Thug Life with his stepbrother Mo Prem Shakur, Big Shike, macadocious and rated R, their one and only album, Thug Life, Vol. 1, dropped in September of 94. From there the concept evolved, morphing into Outlaws in 95, a crew that further pushed the boundaries of Pac’s rebellious image. Now here’s where things get murky.
Pac was charged with aggravated assault for the Halloween shooting, serious charges, especially given the victims were officers of the law. But in early 1994, the case was dismissed. Why? Turns out both cops were intoxicated, and one was carrying a stolen pistol and taken from a police evidence room in Stone Mountain, Georgia. PA’s versions of events held up. He had stepped in, acted in self defense, and the evidence backed him. But that’s a remarkably lucky break for someone as publicly radical and politically rooted as the son of a Black Panther. Almost too lucky. Could this whole situation have been more theater than reality, a media moment designed to solidify PAC’s outlaw credentials and send a message, intentional or not, to black youth that you too could shoot at cops, live outside the law and still walk free? Whether it happened organically or was carefully scripted, the psychological programming would have worked the same.
It wasn’t just about guilt or innocence. It was about the impression left behind. To dig deeper, we turn to the numbers. The shooting took place on October 31st, a date that leaves 61 days in the year in the ordinal cipher Tupac 61. Not only that, but the shooting occurred 137 days before his birthday. One hundred and thirty seven is the 33rd prime number, and in Gematria, it aligns with words like authority, Government and Washington, D.C. each word is central to the conflict that Pac positioned himself against. And of course, 33 has long been associated with words like secrecy, policing and Freemasonry.
PAC’s disdain for authority was nothing new. Just listen to the end of I Don’t Give a F from his debut album, 2pocalypse. Now he names cops, politicians and the government. The album itself stirred national controversy to the point where the then Vice President Dan Quayle publicly called for it to be banned from stores. That level of visibility meant any move PAC made would reverberate, especially one as dramatic as this. Which brings us to an earlier incident. In 1992, a Texas state trooper was shot by a 19 year old black man who claimed he was inspired by tupacalypse.
Now whether the story was real, exaggerated or entirely fabricated doesn’t change its impact. It flooded headlines and it further supports the idea that PAC wasn’t just living his truth. He was playing a role with calculated precision. A role that projected power, rage and rebellion straight into the minds of impressionable listeners. And this is the danger. Not whether the stories are true, but the fact that they’re told, repeated, broadcast and embedded into the public imagination. Now by the time PAC stood before a judge on December 1, 1993, the lines between truth, performance and propaganda were already blurred beyond recognition.
At the hearing it was confirmed both officers had been intoxicated and were carrying stolen weapons. One Mark Whitwell even admitted to stealing his gun from an evidence locker. Further investigation revealed the brothers had lied about who started the altercation. Tupac, it turned out, had stopped to help, fired only in self defense, so the charges were dropped. Meanwhile, Mark Whitwell was hit with his own charges for making false statements and firing at pac’s car. A move later tied to a broken window at the scene. The district attorney would eventually drop these charges as well and Whitwell quietly resigned from the force six months later.
Alright, so not long after the Halloween incident with the two off duty officers in 93, PAC’s troubles deepened. On November 18, a 19 year old woman named Ayanna Jackson accused Tupac and three of his associates of sexually assaulting her in a New York hotel room. Tupac denied direct involvement, admitting that he only failed to prevent what happened. And still the damage was done. Accusations like these, especially against high profile black men, tend to linger, often permanently staining their image, regardless of the verdict. But this raises a more important question. Was Ayana telling the truth or was she planted to derail a voice that had become too loud, too political, too unfiltered or even broader? Was the entire situation crafted to reinforce a damaging stereotype? Lets just think about the trajectory early in pac’s career.
He is tied to a case involving a murdered child which although it didn’t get major attention, it still pushed the idea that his music glorified violence and rebellion. Then comes the Halloween shooting. Despite the case being dismissed, it painted him as a volatile outlaw. And just weeks later, he’s accused of sexual assault. That’s the trifecta. Violent, criminal, hypersexual. Whether true or not, these stories, especially when told back to back, send a clear message to the public, especially to middle class America. This is what urban youth look like. And maybe that was the point. Not necessarily to destroy Tupac the man, but to weaponize Tupac the image.
Whether he was an actor in the role or the role was written around him, the effect is the same. The rebellion he embodied was now draped in criminal personality. For young black men, it reinforced that to speak out meant to be vilified, or worse, to be set up. According to Ayanna, she met Pac at a club just four days before the incident. In a DJ Vlad interview, she describes their first encounter. I was at a party and I met him. He walked up on me and placed his hands in my back pocket of my jeans. We progressed out of the VIP to dance.
We started dancing and kissing. It wasn’t a full blown fellatio. I just came, kissed it and came back up. How did you meet the girl involved in the alleged. I met her in a club. Some guys introduced me to her. Sorry, I met in the club, Some guys introduced me to her. And she was very forward with you? Extremely. She even hung out with him a few more times in the days that followed. Now, I’m not here to label her a liar, although some might feel that way. But it’s hard to ignore how opportunistic this scenario feels like someone looking to legally capitalize on a rising star’s fame.
Whatever the truth, one thing’s certain. This case brought Pac’s momentum to a grinding halt. But before the final verdict would come down, he made the most of his time. By this point, Pac practically had a formula. Make music, star in a film, rinse and repeat. In March of 94, above the rim dropped, with Pac playing the role of Birdie, a smooth but menacing drug dealer. He was also originally cast and menaced to society. But after a heated altercation with director Alan Hughes, he got fired from the project. Pac didn’t take the dismissal lightly. He crashed out, eventually getting charged with assault and battery.
Now this didn’t slow down his music at all, but it did start raising flags in Hollywood. Directors began second guessing whether he was worth the risk. Even so, he’d go on to land a few more film roles, bullet gridlocked and gang related, though all of them would end up being released after his death. It’s worth noting that up to this point, the infamous east versus west coast beef hadn’t really kicked off yet. There was tension, sure, but nothing close to the full blown war it would later become. That all changed in late 1994 when a single incident flipped everything.
See, before the drama, Biggie and Pac actually had a solid relationship. Pac even described himself as something of a mentor to Biggie, putting him on game about the industry, inviting him to perform at his shows early in his career, and even partying together. But all of that mutual respect is shattered overnight. On November 30, Tupac was ambushed in the lobby of Quad Studios in Manhattan. Around 12:25am While arriving to record a verse for rapper Little Sean, invited by Jimmy Henchman, two armed men dressed in army fatigues approached Tupac, his manager Freddie Moore and associates, demanding they lie on the floor.
Tupac resisted, shouting, I’m not going down like that. The assailant shot him five times. Twice in the head, twice in the groin and once in the hand before stealing approximately 40,000 in jewelry, including a gold Rolex and diamond encrusted rings. Moore was shot once in the abdomen. The gunmen fled and Tupac, bleeding heavily, crawled to the elevator. Suspecting the studio’s occupants, including Puffy and Biggie Smalls, of involvement, he was rushed to Bellevue Hospital where surgeons removed bullets and repaired damage. Now there’s a bit to unpack here, so let’s go through it. First off, the date of the shooting is very telling.
November 30, 1994. That date is written as 1130, like the number 113. As in numerology, zeroes or null. 113 is considered the number of deception as it’s tied to many words adjacent to it. For example, words like puppets, fiction, not true. You get the picture. And why is that important? Because this shooting, like many of Pac’s previous legal battles, feels less like reality and more like a carefully staged production. I was acting. Who gets shot five times? An axe? Oh, I didn’t get shot. Shot five times in their vision, I only got shot once cuz they found the bullet.
He was shot numerous times, at least twice in the head. While mainstream media pushed it coast to coast, flooding the airwaves. What if it was never about truth? What if it was about planting a seed, setting the stage for chaos disguised as conflict? Pac and Biggie, once friends, now cast as rivals in a plot far bigger than either of them. Not just a feud, but a storyline meant to shape how the world viewed black youth in America at the time. When we looked at the reports, Pac was supposedly shot Five times. Twice in the head, twice in the groin, once in the hand.
And no mention of being shot in his chest. But things get a little strange in rare footage from November of 1995. PAC is on set mocking his shooters. And there’s a clearly visible gunshot wound on his chest. I just wanted to send another message out to the dudes that shot me. I’m still here. All five bullets touched me, but you couldn’t kill me. So all you did was really just give me that much more ambition, that much more drive to go forward. You really won’t be able to stop me because I’m be unstoppable. Because my heart is strong, my drive is strong.
I mean, I feel like God put his hands on me. So thanks to everybody that supported me for the dudes that shot me. Thanks, but no thanks. I’m still alive. You miss. Ha ha, I’m hard to kill, blah, blah, nah, nah, nah, nah. Tupac Shakur. I was acting. Who gets shot five times? An axe all. I didn’t get shot five times. In their vision, I only got shot once cuz they found the bullet. Fast Forward to a 1996 interview at Club 662, and he talks about the Quad Studio shooting, saying he wasn’t shot in the chest.
Hey, but the funny. I got shot five times. Ain’t there a bullet go on my chest? These shits ain’t no good. I’m just wearing it cuz it’s like warm. It’s like a vest, you know. So you had a bulletproof when you, when you got shot, you had a hell no. But ain’t there bullet go through my chest? Hey, so you don’t need that I’m saying, but I don’t want to switch up on me. And I ain’t with it if they decide to shoot me in my chest this time. Which lines up with official reports. So was he shot in the chest? Was he not? Was he even shot at all? Or is it just another narrative wrapped in conflicting details? The inconsistencies pile up and you start to wonder, were we watching reality unfold or a script being followed? Now also consider this.
While Pac was recovering at Bellevue Hospital, his biological father, Billy Garland, who, if you remember, Pac believed was dead, showed up after hearing the news. Pretty wild, right? Finally meeting your pops while laid up from a shooting. It’s almost like a scene from a movie. And she actually confirmed, no, that’s a father. Yes. So now you walk in the room and your son is in the hospital bed. Everybody’s looking at Me like, he does look like Tupac. People like he. I didn’t know Tupac had a dad. Years later, Billy did an interview with Vlad TV where he claimed that Biggie himself was in the hospital room checking in on Pac.
Who else was in the room when you first walked in? You know who came in? Biggie. So if that’s true, why would Pac go on to push the narrative that Biggie and Puff were behind the shooting? Half of the major New York rappers, or they. Or they managers or the agents or they. Somebody was there when I got shot and nobody couldn’t give me no information, just study that. According to Billy, he didn’t believe Biggie had anything to do with it and said he was upset that Pac kept fueling the beef after getting out of jail, which makes me believe.
I know he had nothing to do with it. No, Biggie had nothing to do with it. Not a goddamn thing. And I was kind of upset that he kept promoting that even after he got out of jail. So thanks everybody that supported me for the dudes that shot me. Thanks, but no thanks. I’m still alive. You miss Haha, I’m hard to kill, blah blah, nah nah nah nah. It generally makes me wonder if this story was manufactured solely to prop up an east versus west coast beef, with Pac and Big being on center stage, knowing this would lead to generational violence for years to come.
At least that being the intention of those orchestrating from behind the scenes. In addition to all of that, the New York Times reported that Pac was in guarded condition upon arrival, which generally means their situation is serious and their recovery is uncertain, but they are alive and being monitored closely. However, miraculously, after being shot five times, Pac, which at this point seemed to be this unstoppable rat messiah, leaves the hospital shortly after his operation to attend a court hearing in a wheelchair for that dual assault case from 1993. PAC was surrounded by the press upon arriving at the courthouse, but let’s be realistic.
If he was truly shot, wouldn’t his attorney immediately notify the court and request a postponement of the hearing? But instead checking himself out and appearing in court the next day only helped craft his image as a true thug life gangster. Also, keep in mind that while Tupac often pointed fingers at the media for fueling the east versus west rivalry, he wasn’t completely innocent in all of it. He added fuel to the fire with his own words, throwing jabs at Biggie during interviews after his release from prison, accusing him of stealing his style. Go back and study.
Study how Partying bullshit was me before I met Biggie. You don’t hear my style in his rap. Study how after I met Biggie, ready to die come out, his whole style changed. Study shot me five times. I came out of jail and sold 5. 5 million. Them can’t with us that Fat only sold 2 million. He had half of New York rapping on this. I this sold 5 million. That’s death Row west, baby. That’s how we do it. You know, the Players is on the west side. That peace. I ain’t even trying to make peace. Them all making it clear the tension wasn’t just media manufactured, it was personal too.
Or at least that’s how Pac made it appear. And the east coast west coast thing is something that the journalists and people are making up just to get paid off so it can drag out. So they’re perpetuating it so it could be drama, which I still love mtv. But when it all go down, don’t look at me and Biggie and be like, why is there a big east coast west coast war when you’re shooting this to 3,300 homes, 300 countries, telling them about an east coast west coast war that they would never know exist. That’s how we do it.
You know, the players is on the West Coast. That peace shit. I ain’t even trying to make peace them all. Ultimately, what I’m getting at ties back to the point I made earlier. The Quad Studio shooting very likely wasn’t what it seemed. It felt like theater. A carefully staged production meant to ignite the infamous east versus west coast beef we now view as a defining moment in hip hop history. And remember, Pac himself openly admired Shakespeare. The same man who once said, quote, all the world’s a stage and all men and women merely players. They have their exits and their entrances.
And one man in his time plays many parts. If there’s anyone that quote fits like a glove, it’s Tupac. Now let’s discuss how things unfolded shortly after the Quad Studio shooting. As for his verdict, on December 1st of 94, literally the day after he was shot, Pac was found guilty of first degree sexual abortion abuse, but acquitted of sodomy and weapons charges. On February 7th of 95, he was sentenced to 1 1/2 to 4 1/2 years in prison. He was officially placed behind bars on the 14th of February. It’s worth noting that during his time in prison was when he settled that 1992 case involving the six year old boy.
So although his legal team was able to deal with one Lawsuit. Pac was stuck behind bars, first at Rikers island, then later transferred to Clinton Correctional Facility. Wondering where his career stood. With the weight of the world on his shoulders, it was only right. He released his third album, fittingly titled Me against the World, on March 14, exactly a month from when he was imprisoned. Thankfully, this album really resonated with his fans, debuting number one on the Billboard 200 chart, holding the top spot for four consecutive weeks. After eight long months behind bars, free from his daily vices and lots of time on his hands to read, Pac would catch a break of a lifetime.
In comes Suge Marion Knight, co founder, president and CEO of Death Row Records, to the rescue. With Death Row’s rising dominance in the west coast with artists like Snoop Dogg and Dr. Dre, Suge saw a lot of potential adding Pac to the label. And with Pac’s albums and films under his belt, his resume was certified and worth paying a $1.4 million bail posted on October 12th of 1995. Rapper, actor and sex abuse convict Tupac Shakur walked out of a New York jail last week, bailed out to the tune of $1.4 million by Suge Knight of Death Row Records, which assigned Shakur to a record.
In exchange, Tupac would sign to Death Row Records for a three album deal. Following Pac’s release, he kept a relatively low profile, determined to hit the studio in LA with his new label and ready to speak his mind about the past eight months and more. A was in jail for 11 and a half months. I came out with a lot of to talk about. I went in the studio straight from jail, 20 songs, mind you. Prior to Pac’s release, things were brewing up between the east and West Coast. Another moment after the Quad studio situation that stood out was the 1995 Source Awards held in New York.
Suge Knight and Snoop were on stage accepting the award for motion Picture Soundtrack of the year for above the Rim when he said, first of all, I’d like to thank God. Second of all, I’d like to thank my whole entire Death Row family on both sides, you know what I’m saying? Like to tell Tupac to keep his guards up, we ride with him. And one other thing I’d like to say. Any artist out there want to be an artist and want to stay a star and don’t want to have to worry about the executive producer trying to be all in the video, all on the record, dancing come to Death Row.
By December of 95, Pac released his first single and visuals for California Love featuring Dr. Dre and Roger Troutman as a Death Row record signee. Yo, this is Tupac and Dr. Dre. And this is the weekend rock. We can rock, baby. We can rock, baby. The music video, directed by Hype Williams, depicted a post apocalyptic desert party inspired by Mad Max. Showcasing Tupac’s charisma and Death Row’s lavish production, the video heavily rotated on MTV. By February 13th of 96, the album all Eyes On Me was out. And this would really set the tone for what was soon, soon to come.
Tupac’s alignment with Death Row’s Mob Pyro Bloods and Suge Knight’s rivalry with Bad Boy Records laid the groundwork for feud escalation. His thug life Persona, rooted in his 1993 tattoo, was amplified by his freedom and Death Row’s influence. All Eyes on Me would go on to debut at number one on the Billboard 200, selling over a half a million copies in its first week, proving that Suge Knight’s investment in Pac was the right decision. Sometime around May, Pac recorded the infamous Hit Em Up Diss track with the Outlaws. And by the summer of 96, man did things really start to heat up.
On June 4th, the track plus visuals released where Pac is seen throwing the most direct lyrical jabs at Big and Puff. I’m sure most of y’ all know how that track goes. This track more or less served as a response to the more subtle Diss released by Big in 95 titled who Shot Shot Ya? Which Pac felt was a reference to the Quad Studio shooting after the release of Hit Em Up. Big E didn’t immediately respond and instead put his focus on his upcoming project at the time, Life After Death, this release from prison was often considered the revival of Tupac’s career.
Granted all the legal uncertainty he was facing, so it’s only right we crunch some numbers. For example, from his sentencing to his release was a span of 8 months and 5 days. Like the number 85, notice how it syncs with Death Row Records, the label that revived his career by bailing him out and signing him. From Suge Knight’s birthday to Pac’s release is a span of 176 days, matching death Row Records in the ordinal cipher. While on the topic of Suge Notice, Pac was officially placed behind bars on February 14, 1995, spending 241 days behind bars only for Suge Marion Knight to bail him out on 12th October.
Upon his release, Pac dropped All Eyes on me just 213 days before he would ultimately die in a drive by shooting. And when the news of the shooting broke, it was clear all eyes were truly on him. It’s worth noting that All Eyes On Me was the last album Pac released while he was alive, and it dropped on the 13th of the month. Strangely enough, he would also die on the 13th. Fittingly, in the most pure cipher, his stage name Tupac equals 13. Not to mention All Eyes on Me marked his fourth studio album. In Chinese numerology, the number 4 is often associated with death, and 13, when reduced 13 also equates to 4.
Eerily, Tupac died the same year this fourth album was released. So talk about unlucky. Even before his death, the theme of mortality was woven throughout Pac’s music. On me against the world World. A track like Death around the Corner feels less like a song and more like a warning, like he was planting the seed early. It made his eventual passing feel less like a tragedy and more like a prophecy. Something eerie, almost mythical, as if he knew how the story would end and was already preparing us for it. Despite all the death talk leading up to the fateful night, Pac was raising hell, dropping classics and showed no signs of slowing up.
So as the story goes, it’s the night of September 7, 1996. Pac, Shug and a bunch of other Death Row affiliates attended The Mike Tyson vs. Bruce Seldon fight at MGM grand in Las Vegas. It’s time to move on now to our main event, Seldon vs. Tyson for the WBA heavyweight championship. The fight didn’t last long, with Tyson ending it by a knockout in the first round. You got knocked up. After the match, Pac and the others would find themselves in a fight of their own when they recognized Orlando Baby Lane Anderson, a Southside Compton Crip member, in the MGM grand lobby.
Anderson had allegedly tried to rob a Death Row associate earlier that year at a Foot Locker in Lakewood, California. Tupac, informed of Anderson’s identity, asked if he was from the South, AKA Southside Crips, then punched him, knocking him down. Shug in the entourage joined in assaulting Anderson. Hotel security broke up the fight. Captured on surveillance footage. Pac and Suge, along with the others, would head back to the Luxor Hotel. While in the hotel that Pac was sharing with his fiance at the time, Kadada Jones, the daughter of late producer Quincy Jones. He filled her in about the fight, then quickly hit the road again in the passenger seat of Suge’s black 1996 BMW, heading to Club 662, a venue Shug owned for a charity of event.
They were part of A convoy of death row associates. Quick side note, Tupac’s relationship with Kadata started off real rocky, with Pac initially calling out Quincy’s preference for white woman, but later apologized and the two met at a Club late 1995 after his release. And things would really begin to ramp up from there. Now going back to that night, while cruising down Las Vegas Boulevard, Tupac and Suge were pulled over by some Las Vegas bike cops for blasting their stereo and not having visible license plates. A quick search revealed the plates were actually in the trunk.
Fortunately, the officers let them off without a citation. At around 11.10pm, Tupac and Suge were stopped at a red light on Flamingo Road in Koval Lane, just in front of the Maxim Hotel, now the Weston. A car with two women pulled up on the passenger side, flirting with both Pac and Shug through the window behind them. Members of Tupac’s entourage, seeing the interaction, assumed he was inviting the woman to Club 662. Just minutes later, around 11:15pm as the woman pulled off, a white four door late model Cadillac with California plates rolled up on the passenger side.
From the back seat, 13 shots rang out from a Glock 40 caliber handgun. As the gunfire erupted, Pac tried to climb into the back seat, but Suge yanked him down. Four of the bullets hit Tupac, one piercing his right lung, leaving him bloodied and struggling to breathe. Suge was grazed by a bullet, but escaped with only a minor head wound. Immediately after the shooting, the Cadillac went south on Koval. Suge made a U turn from the left lane of Flamingo and sped west towards Las Vegas Boulevard, away from the nearest hospital. Suge said that he told Tupac he’d get him to a hospital and Tupac said, I need a hospital.
You’re the one shot in the head. Patrol officers on an unrelated call at the Maxim Hotel had heard the gunshots and called for backup. Two officers followed the BMW, which took a left on Las Vegas Boulevard south, and police reached the car when it was caught in traffic at the intersection of Las Vegas Boulevard and Harmon Ave. The officers called an ambulance. The BMW was covered with blood and pieces of gold from Tupac’s jewelry on the inside and had two flat tires from hitting a median. They brought Tupac out of the car and laid him down on the stretcher.
He kept saying, I can’t breathe. I can’t breathe. This moment would lead to six long days of agony for the family, friends and fans around the world. When the news broke, let’s take the next few days one piece at a time. By the next day, September 8, PAC remained in critical condition at UMC. After surgery, doctors removed his right lung, shredded by bullets due to severe damage, Knight, with minor injuries, was released from the hospital. Lead investigator Kevin Manning was frustrated with the lack of cooperation by witnesses, including Suge Knight. September 9th. Pac’s condition remained critical.
Doctors reported he had a 5050 chance of survival but could live with one lung if he pulled through. Knight avoided police questioning, further stalling the investigation. By September 10, his survival odds dropped to 1 in 5 due to the severity of his chest wounds and lung removal. 8 out of 10 patients with such injuries die from a lack of oxygen or internal bleeding. September 11th. Tupac remained on life support connected to a respirator, but his body convulsed violently. Outlaw members, fearing the shooter might return, stayed vigilant with possible weapons, though no attackers came. September 12th, Tupac’s condition remained dire.
Doctors continued monitoring his critical state. But by September 13, it was reported that Tupac died at 4:03pm Pacific Daylight Time of respiratory failure, leading to cardiac arrest after doctors removed his right lung. Despite multiple resuscitation attempts, his mother, Afeni Shakur, decided to cease medical treatment, allowing, quote, his spirit to be free. Following Pac’s death, major outlets like the New York Times and NPR covered his death extensively, linking it to the east west rap feud. The investigation focused on the MGM grand altercation with Orlando Anderson, but no arrests were made. Family and friends were devastated worldwide with hopes of finding some sense of closure.
But unbeknownst to those at the time, it would end up being quite some years before any real, quote, unquote, justice was served. Las Vegas, September 7, 1996. The city pulsed with life. But for Tupac Shakur, as we know, the night would end in tragedy and the fleeting moments before a white Cadillac unleashed a barrage of bullets. Two women, Ingrid Johnson Stokes and Shalane Turner, were among the last to speak with Tupac and Suge Knight. Their story, drawn from grand jury Testimony and the 2015 documentary Murder Rap, offers a glimpse into that fateful night. Yet their accounts are riddled with inconsistencies conflicting with other recollections and even Hollywood’s flawed retelling.
As we unravel their tale, the details grow stranger, leaving us to question why? What did these women really see? And why does their story feel so unsettled? Ingrid and Shalane, along with two other women, one named Lauren, who knew Suge at some level, were cruising in a Chrysler Sebring convertible. Now, that’s four women. A detail Ingrid emphasized in her grand jury testimony. Curiously, most reports only mention two women, a discrepancy that sets the stage for confusion. The 2017 documentary who Shot Biggie and Tupac? Stands out for corroborating Ingrid’s claim of four. But why did so many others overlook this? The night began with a chance encounter as Tupac and Suge were briefly stopped by bike cops.
Chelain, the driver, and Ingrid noticed Suge standing outside of the black BMW. Seizing the moment, Suge invited the woman to join them at Club662. This implies that it was Suge who invited them to the club and not Pac. When they were at the intersection, as most accounts describe. Excited, they agreed to follow. But Tupac and Suge were rolling with a fleet of vehicles that the women didn’t even notice, and they ended up inadvertently cutting into the entourage. Ingrid, seated in the passenger seat, suggested moving to the right of Tupac’s BMW to stay close. This detail, also in her grand jury testimony, places their car on the passenger side, not the driver’s side, as depicted in the 2017 biopic All Eyes on Me.
That film, billed as a true story, not only shows just two women, but also puts them in a white sedan, not a convertible, erasing a key visual element of the scene. Now, as the cars idled at the intersection of Flamingo Road and Coval Lane, the woman flirted with Tupac and Suge. But what happened next is where accounts diverge, Ingrid’s testimony paints a peculiar scene. Her and Shilane began arguing about Shelane’s driving. Ingrid suggested she take the wheel, and they planned to switch seats at the intersection, an odd choice, as most would pull over, I would imagine.
As they prepared to swap, Ingrid said they were just a car or two ahead of Suge’s BMW when shots rang out. She recalled a white car, presumably the Cadillac, passing dangerously as they made a right turn onto Koval. In the 2015 murder rap documentary by retired LAPD officer Greg Kading, Ingrid and Shalane largely stick to this story, reinforcing their position near the BMW when the shooting started. But Malcolm Greenidge, a member of Tupac’s Outlaws riding in a car behind the BMW, tells a different tale. In an Associated Press article, he confirmed the women who were on the passenger side, matching Ingrid’s testimony, but said they pulled off to the right before the white Cadillac rolled up and opened fire.
The who Shot Biggie and Tupac documentary aligns with Greenidge, suggesting the woman had already turned onto Koval when the shooting began. This conflict is stark. Were Ingrid And Chelain and their friends still near Tupac’s car, or had they already left the scene? The woman’s actions after the shooting deepen the mystery. Ingrid said they circled back to the crime scene a few hours later to understand what happened. By then, Tupac and Suge were gone and police were in control. Ingrid told the officers, as per her grand jury testimony, that they were the car in front of or close to it.
But their interaction with law enforcement took a strange turn. Ordered to sit on the curb, Ingrid was irate, not about the tragedy unfolding, but because her designer clothing was getting dirty. It’s an oddly trivial concern at a murder scene. Ingrid then describes being taken downtown to the station. And in her testimony, she was asked if at that time she was willing to cooperate. Her response, quote, oh, absolutely not. Her reasoning was twofold. The officers were rude and callous in regards to answering her questions about whether or not if Tupac was shot, and this had rubbed her the wrong way.
She also expressed that there was a general concern about how cops treated black African Americans. And she also mentioned that she feared Suge Knight’s street reputation. She noted that Lauren, one of the women in the back, knew Suge, which heightened their concerns about speaking out. This reluctance raises eyebrows. Ingrid’s fears of Suge finding out she spoke to police persisted even though Suge was in prison just five months later in February of 1997, for violating probation after assaulting Orlando Baby Lane Anderson with Tupac. If Suge was behind bars, why was she still worried? Plus, it’s not like Suge was the one doing the shooting.
So that’s another reason for her not to be as concerned. In her testimony, when she asked why they returned to the scene, only to stonewall police, Ingrid leaned on her distrust of law enforcement and fear of Suge, admitting she didn’t get a clear view of the shooters. Her general disdain for police, coupled with the officer’s behavior that night, cemented her silence. The inconsistencies pile up. Why did reports insist on two women when Ingrid’s testimony clearly said states four? Why does the positioning of the car remain unclear? Were they in front of the BMW during the shooting as Ingrid claimed, or had they turned right as Greenidge and the documentary suggests? The all eyes on me film further muddies the waters, misplacing the woman on the driver’s side and swapping their convertible for a sedan.
Ingrid and Shalane, via their website, two girls from LA present themselves as LA woman, accustomed to select celebrity circles. Though Ingrid clarified they had no direct connection to Tupac. Some have speculated they might know more than they let on, but no evidence supports this. Their story, while not implicating them directly, feels off. Their reluctance to cooperate despite circling back, and their odd priorities paint a picture that’s hard to reconcile. Were they simply bystanders caught in a chaotic moment? Or does their account hint at something deeper? As the neon lights of Vegas faded that night, so too did the clarity of what happened, leaving us with a story as elusive as the truth itself.
Sometime around May or June, depending on which source you go by, Tupac filmed the visuals for his single I Ain’t Mad at Ya, a video that in hindsight would take on a much sadder and eerier tone following his tragic death. But what really raises eyebrows is the timing of its release, both from a moral standpoint and a conspiratorial one. In an article dated October 4, 1996, Entertainment Weekly reported this Three days after Tupac Shakur died from gunshot wounds sustained during September 7 drive by, executives at MTV received a call from his label. A new video from the rapper would be arriving the next morning.
Quote they said if we like the video, they’d like us to get it on the air as soon as possible, recalls MTV executive Vice Versa. President Shone would soon realize this wasn’t just any video. I Ain’t Mad At Ya is no ordinary clip. Shakur, who was shot four times in real life while riding in a BMW driven by Death Row CEO Suge Knight, is depicted in the video being shot six times, dying in an ambulance and later returning as a spirit riding around in a limo that eerily resembles Suge’s car. Industry insiders reportedly snickered at how quickly Death Row moved to release the video.
Calls to the label weren’t returned, but Shon himself admitted, quote, it causes someone to wonder if it was the best use of timing to deliver a video. MTV decided to hold off on putting it into heavy rotation, opting for a wait and see approach. If the public responded positively, they’d consider playing it more often. Now, there are a few ways to interpret this. Maybe Tupac, who often spoke about death and had a clear fascination with it, was simply creating art that mirrored his thoughts, something he’d done many times before in both his music and films. Or maybe Death Row was indulging in something darker, some black magic industry trickery kind of play, ritualistically mapping out his demise and packaging it Hollywood style to heighten the public’s emotional response and boost profit.
It’s not unheard of in this industry. A comparable case that comes to mind is Brittany Murphy. She tragically passed away in her bathroom in 2009, but a full decade earlier, she played a character in the film Girl Interrupted who also dies in a bathroom. It’s not a one to one match, sure, but the eerie setting’s similarity cannot be ignored. Just like I Ain’t mad at you didn’t show Tupac in a drive by, but he was shot in the video months before being shot to death in real life. Or maybe it was just business. Maybe Death Row saw the video’s potential to perform well, knowing it would stir up emotion and attract attention.
Still, it’s worth noting they also released the video for Toss it up that October. So out of all the visuals they had lined up, why prioritize the one where Tupac dies so soon after his real life death? Was it just about the money or was there something more sinister at play? With more attention on Pac’s name than ever, Death Row and Interscope decided to capitalize on by dropping Tupac’s first posthumous project, serving as his fifth album, The Don the 7 Day Theory. You know what they say artists are worth more dead than alive. With its extremely controversial cover art to its eerie title, this project would end up fueling so many theories regarding whether or not Pac actually died.
Naturally, people were shocked at the depiction of a bloody Pac being crucified, and even with that disclaimer on the COVID it sure ruffled feathers. Yet his fans truly showed out, selling over 600,000 first week with stores selling out within hours. The album was actually a mixtape Pac was working on during the summer of 96, and the COVID art designed by Ronald Brent, known as Risky, a local artist from LA that Suge Knight brought under his wing as an in house designer for the label, Risky, shared in an interview that his crucifixion was supposed to be a statement about race and what it felt like to be young, rich and black in America.
It was confirmed by the producers of the project, Big Duke Paws and Hurt him bad, that the 12 track project was recorded in just seven days around the beginning of August, which is where that part came from. The Machiavelli alias Pac embodied on the project was inspired by his readings of Niccolo Machiavelli while behind bars. Tupac was drawn to Machiavelli’s ideas of manipulation and survival, which resonated with his experiences in the music industry and legal battles. The dawn referred to a leader of sorts, and Caluminati combined kill and Illuminati, signifying his rebellion against the shadowy figures behind the corruption in the world.
With Pac’s death creating a massive ripple, fans around the world had a hard time believing it was just a cut and dry murder due to his gang affiliations, which sparked the theory that Pac intentionally faked his death. Rumors further arose as people questioned why he didn’t have a public funeral and why his mother requested for him to be cremated. However, the outlaws later confirmed that out of respect, expect they smoked a small portion of his ashes as a final goodbye. But this didn’t stop people from expecting Pac to return from his hideout in Cuba with such a lasting impact on fans.
They certainly hoped that Pac’s return would happen, but I think most deep down knew he was gone. Rumors floated around that maybe Suge set Pac up out of fear of Pac leaving the label. But others, including myself, found that to be a bit strange, especially considering he was in the vehicle and that would have been quite risky. If it did go down the way it was reported, then you have the theories that it was the police that set Pac up for his outspoken nature, many speaking on Pac’s death in the likes of Malcolm X and MLK leaders that spoke up for black America with great influence and were taken out.
On the other hand, you have the notion that he faked his death and what had occurred was all theater. Or how about the three completely different suspects that some Compton police officers stated were in the white Cadillac by the names of Jerry Bonds, Bobby Finch and Davion Brooks. Those names once mentioned were later replaced with Terrence Brown, Dwayne Davis, DeAndre Smith and Orlando Anderson, which most sources roll with. Another theory that gained serious traction over the years points the fingers at Diddy. Many believe he may have orchestrated the hit on Pac in response to PAC’s relentless attacks on the Bad Boy brand.
The murder rap documentary dives deep into this angle, presenting a compelling narrative backed by witness accounts and recordings, including from Keef D himself. According to the doc, Keef D’s ties to the Sellside Crips brought him into contact with Diddy more than once. Over time, that connection reportedly evolved into a relationship, one that, according to testimonies, eventually saw Diddy City floating. The idea of putting a hit out on Tupac in taped confessions, Keef D, the only man alive and charged as of 2023 in connection to Tupac’s murder, claims he met with Puff one on one at Greenblatts Deli in LA, where he was allegedly offered $1 million for the hit.
Who brought up the amount of $1 million? He did. Puffy did yeah. Okay. Wasn’t you? No, it wasn’t me. Fast forward to September 7th. According to Keef D, he had no idea Tupac would be at the Tyson fight, noting that he and his crew regularly attended big fights in Vegas. After the altercation on surveillance where Tupac and his entourage jumped Keef’s nephew, Orlando Anderson, Anderson quickly contacted Keef to tell him what happened, setting the stage for retaliation. Keef D happened to be dining with a New York drug dealer named Zip, who also had ties to Puff.
Zip allegedly provided the murder weapon. Word got out that Pac and Suge would be at Club 662 later that night. So they waited for hours hoping to catch them there. But as patience ran thin, Keef D joined three others in a car and hit the streets. They claimed that while turning onto Flamingo and Koval, it was a group of girls shouting Tupac that tipped them off, leading to the fatal drive by shooting. While this remains the most detailed account of what happened that night, it’s fueled the narrative that Tupac’s murder was a direct result of the east versus west coast rivalry.
And despite multiple signs pointing to Puff and confessions from both Keef D and other witnesses, he has never faced legal consequences in connection with the case. As it stands, Keef D is the only one to face legal action, though he now denies any involvement. Now with all that context laid out, lets shift gears and take a look at the numbers surrounding Tupac’s death. As we know, Pac was shot on September 7th but ultimately died on September 13th. Date that can be written as 13:9 resembling the number 139 matching his first and last name and MGM grand where the shooting occurred.
Also, 139 is the 34th prime number aligning with the words rapper and murder. He died at the young age of 25 years old. Matching with the word death, Tupac alone equates to 74 matching with rapper and killing. This is a number we’ll get back to in a bit. Adding just the month and day alone, he died on a date with 22 numerology matching with Tupac, his stage name and the word died. Here you see a pattern we find a lot when decoding the deaths of rappers. In particular the 38 fingerprint. In PAC’s case, the date numerology of his Death equates to 38 matching all of these words on the screen.
Now, I know Tupac didn’t die on the 7th, but they did try to murder him that day. Based on the reports. Think about how this happened 83 days after his birthday in Las Vegas, Nevada. For those new to this numerology stuff, it’s all about pattern recognition. And Hollywood’s been doing this for years right in front of us. Take these two examples from film and music. Notice the COVID art for the movie Murder by Numbers. Peep how they swapped the B and e for 3 and 8, like 38 or 83 matching the word murder. You’ll see the same thing with the police on their album titled Synchronicity of all titles with the song the Murder by numbers released in 1983.
And as the course reads, it’s murder by numbers, 1, 2, 3. It’s as easy to learn as your ABCs here and there. I’ll whip out the Latin cipher and notice Death equates to 118, matching the date numerology. Moving on to the four suspects that we’re told were in the Cadillac that let off the shots ending Pac’s life. Let’s start with the only man alive at the moment Keef die. He was 33 years old at the time of Pac’s death. This number, as I’ve mentioned, usually is a sign of a false flag or psyop and is laced throughout Tupac’s story.
Some might interpret this as a sign that the government took him out using Keef as a pawn. But also consider that he himself could be in on the theater. Another actor on the world stage, former LA police officer, now author Greg Kading, is the one one who tied Keef D to the murder of Pa in 2008. Greg got Keef D to confess on tape to damn near the whole thing. But at the time, a legal arrangement had barred prosecutors from using the confession in court. Davis had walked free. You could hear the tapes in the murder rap documentary, as per CNN, as far back as 98, Dwayne Keith Davis was telling a cable channel that he was a front seat passenger in a car from which a fellow passenger fired the shots that killed Tupac Shakur.
So why wait 27 years with tons of evidence on the table linking him to the shooting? Well, notice how the word ritual equates to 27 and in the other base ciphers equals 81 and 45, matching the date numerology of his arrest to a T. Now, depending on which spelling you go by, because apparently even the mainstream can’t decide Keef D spelled this way equates to 27, which further fits the timing of his arrest. At this point, the narrative has become so malleable that small changes can slip by unnoticed from who the original Suspects were to which side of the car those girls pulled up on to the car itself.
It’s as if the media doesn’t even care to get it right anymore. Assuming the public either won’t catch on or won’t care. Here you can see Dwayne Keith Davis equates to 153, and from his 60th birthday to his arrest spans 15 weeks in three days. Let’s quickly touch on Orlando Anderson, the supposed shooter. It’s quite fitting that the one suspect out of the four said to have pulled the trigger has the 83 in his name aligning with how many days it occurred from Pac’s birthday and the location of the crime, as well as the word murder.
When it comes to the remaining two, Terrence Brown and DeAndre Smith, see how their names tie to the value of Tupac’s full name in the reduction ciphers, all linking to 58. The word Freemasonry equates to 58. And consider the duality with Tupac being shot in a black Beamer by a white Cadillac. The symbolism was always there when you look at it, each member in the car has some numerical connection to the case, with Keef D having the most. Granted, he’s the only one alive. Some believe Pac wasn’t just a victim of street violence, but a target of something bigger, maybe even the government.
His mother’s Black Panther ties, her FBI surveillance, and the fact that Vice President Dan Quayle tried to ban his debut album in 92 all add fuel to that theory. While I can’t confirm or deny it, I did find something curious. The day he died carried date numerology of 137 and 47. Make of that what you will. Earlier, I touched on the notion that it might have been Shug. Granted, he was the president of Death Row and financially benefited from the posthumous releases of Pac’s work. Because, like I said earlier, artists are sometimes worth more dead than alive.
But regardless of who the sacrifice was tied to, notice the word blood sacrifice equates to 257, and PAC ultimately died on the 257th day of the year. Some speculate that Pac was sacrificed for breaking the industry’s unspoken rules and being too outspoken. When an artist dies, people often look to the labels. And while he was with Death Row, it was Interscope that originally brought him into the game and distributed his music even up until his death. That’s why I found it interesting that pac died exactly 89 days before his 25th birthday, mirroring the number tied to his label Interscope Records.
Again, just something to think about in the infamous interview with Snoop and Pac just days before Pac’s death, many have pointed out Snoop’s lack of facial expression, almost as if he knew something was coming. Some argue that Snoop was simply worried about his own safety given Pac’s tendencies to stir controversy. But on the other hand, it’s entirely possible he was deeply concerned about what was about to unfold. September 13th left 109 days in the year aligning with shooting. And Tupac’s death was as a result of a shooting days prior. Consider he was also shot on a Saturday, which also equals 109 more date numerology surrounding the day he actually died.
It also had 28 numerology matching with the word kill. And we do know that he was supposedly killed. And to close out this portion of the decode covering the events of his death notice the day and footage month together gives us 16 matching the value of his first name in the reduction cipher. But with this out of the way, let’s finally touch on the seven day theory. Alright, so let’s go through the many sevens that popped up after Pac’s suspicious death. For the sake of your time, I’m just going to list them off as we’ve already talked about most of these things throughout the earlier portion of this video.
Pac died at 4.03pm 4037 Pac died on 13.9.13 is the seventh Fibonacci number. Pac was born on 16.6.167. From the day he was shot to his death, including end date was a span of seven days before his death. He recorded the album the dawn the Seven Day Theory in just seven days. Some believe that he faked his death at 25257 only to return at the age of 43. 43 7. Tupac’s team released seven posthumous albums. His name in the most pure cipher Tupac equates to 16 again one plus six equals seven. The CIA made this really bizarre tweet on July 7th, 2017.
When you break down the date, it’s 777 because the year 20147 clearly making light of it. So as you can see, there are a ton of sevens throughout his mysterious passing. And some even alluded to a biblical connection in relation to the significance of the number seven in Genesis where God created the world in six days and rest on the seven. The play on the words being that he is now resting eternally at least. Quick disclaimer. I’m not alluding that Pac was A God. Just pointing out the numbers and connections. But the biblical connections are certainly relevant here, considering the COVID of the album displays him being crucified.
I’ve talked about it a bunch in previous videos, how there always seems to be heavy Jesus symbolism throughout many rappers careers. In short, there’s two particular reasons for this. One, it’s the Jesuits who are in charge of the labels, the entertainment business and much more. Their official title is the Society of Jesus and it’s suspected that they often use rappers to reenact ritualistic killings. Sinking the artist to Jesus. On the other hand, some think it’s the Jews essentially doing the same thing. I mean, regardless of whether you pin it on the Jesuits, Jews or Masons, they’re all interconnected behind the scenes.
Notice his label released the album seven weeks and four days after his death, matching with Tupac Mavelli his alias on the project. Words like cross, Jesus, Lucifer killing and gematria. But the Tupac and Jesus rabbit hole goes a bit deeper. So I’m not saying I’m Jesus, but I’m saying that we go through that type of thing every day. Like I said, there are articles out there literally comparing Pac to Christ. From his wild upbringing with a single mother, to stones being thrown at him throughout his career in the media to his death resulting in endless discussions all these years later, still analyzing his verses that some treat as gospel, ghetto gospel if you will.
People even thought he would have been resurrected, much like they expect with Christ. Notice pac died at 4:03pm Using numerology zeros or no, leaving us with the number 43, a number tying to Jesus Christ in the most pure cipher. Also consider that Jesus himself was said to be crucified on April 3, a date written 4/3. Again, consider that Pac’s first posthumous album displays him being crucified. Speaking of the number 43, PAC’s place of death, Las Vegas, Nevada equates to 43 in the reduction cipher. It’s worth remembering that the album depicting Tupac’s symbolic crucifixion was also deeply influenced by his readings of Niccolo Machiavelli.
Interesting that the name Niccol Machiavelli and the word crucifixion align with Tupac’s birthday numerology. Then there’s the long standing theory that he faked his death. While Machiavelli never explicitly wrote about faking one’s death, his work often explored the power of deception and strategic manipulation. I’m still here. Ideas that help fuel that very theory. And just for curiosity’s sake. I found it compelling that the phrases fake death and the name Tupac share the same value in the ordinal cipher. Suge Knight once claimed that during a trip to the Pacific island of Maui shortly after he signed Tupac to his Death Row record label, Suge explained, we was in Maui, you know what I mean? And Pac had like never been to Maui and he got to talking about faking his own death.
And just for the hell of it, here’s a map of times Pac’s reportedly been seen alive. However, many reports, and even Pac’s own mother have said that he was broke in the time leading up to his death, drained by years of ongoing legal battles. That doesn’t exactly sound like the ideal setup for someone planning to fake their death. Realistically, pulling off something like that would take a lot of money and resources, not to mention a number of other challenges. That’s not to say it’s completely impossible, but it would be incredibly difficult. Personally, I’m not staking my flag on the theory that he faked his death, but with all the inconsistencies that surround his life and story, it is really hard to know what to believe sometimes.
And just to mention it because I already know someone will bring it up in the comments. I don’t think Akil the MC is Tupac in disguise. Yeah, there are a few similarities but but when you look closely, especially at the nose for example, they clearly have different features. Plus, if he were an artist being compared to Tupac, why wouldn’t he lean into that a little? A bit of attention never hurts, especially in the music world, but to me it just feels like another layer in the never ending stack of conspiracies tied to Tupac’s legacy. Alright, now it’s time we discuss whether or not those rumors of Tupac being fruity are true.
This rumor isn’t new by any means, but it recently resurfaced when a tiktoker shared clips from an interview with Tupac at 17 years old while attending Baltimore School for the Arts. People were suggesting that his mannerisms reflected that of a gay man, but we’ll get to that shortly. As we know, Pac had quite the passion for acting and he was raised by a single mother with no male influences. All circumstances that could lead to such behavior. So lets dissect it. When it comes to the arts, especially back then and even now, there’s always been a certain stigma for male actors as you would often be viewed as gaaaaaa if you wanted to act.
Primarily because a lot of the kids in drama and arts classes were a little zesty, if you will. No, of course not all of them. But this reigns true till today. Also remember Tupac had a deep appreciation for Shakespeare’s work. Even telling the times LA in 1995. I love Shakespeare. He wrote some of the rawest stories, man. I mean, look at Romeo and Juliet. That’s some serious ghetto shit. You got this guy Romeo from the Bloods who falls for Juliet, a female from the Crips, and everybody in both gangs are against them. So they have to sneak out and they end up dead for nothing.
Real tragic stuff. But for those unaware, back when Shakespeare was around, women were not allowed to be on stage, which meant a all women’s roles were played by men. I said, hold up, wait a minute, something ain’t right. Yes, this means any erotic scenes were done by two dudes. Let that sink in. Pac’s close friend in Baltimore states in his book that when he asked Pac what type of actor he wanted to be, he immediately responded with quote, a Shakespearean actor. So was bro trying to tell us something? You don’t find that suspicious? Now factor in that Tupac spent his time in the arts surrounded by, let’s just say, more liberal minded individuals.
It’s natural this would shape his behavior. In this 1988 interview that went viral of a 17 year old PAC in high school, he does clearly display his true nature. Far from the thugged out Persona we grew attached to. Some people might think we’re reading too much into this, but I’d beg to differ. Well, I like him because he’s masculine. I’m masculine. I mean, Pac going from a sensitive, poetry writing, artsy teen to this thugged out gangster shows his strengths as a phenomenal method actor. This is where actors deeply immerse themselves in a character’s role, Often drawing on their own personal experiences and emotional states to create a more authentic and expressive performance.
Throughout his career, he’s been the political activist guy, the jokes, the sensitive one, the thug. Hell, he was whatever he needed to be to pull on our heartstrings. I can’t possibly cover every moment, but there is also that infamous interview that seemingly has been scrubbed from the web of Tupac talking about how producer Quincy Jones wanted to sleep with him and he adamantly refused, implying he doesn’t go that way. However, he’s the same guy linking up with gay Jewish photographer David LaChapelle in 96, shortly after coming out of prison, Pac does this photoshoot in a shower and come on man, he’s Gotta speak for themselves.
How are you? Screaming Thug Life one minute, then the next. Posing like this, he is deliberately spewing confusion into the minds of his impressionable audience. Hello. Nah, I like the money. How you like that? I like the money to condition them to accept this and, hell, probably even defend him. Pac also had a close relationship to the founder of Versace, a openly gay man. And look, I’m not saying you can’t be friends with a gay dude, but it certainly don’t fit the image of a Thug Life gangsta. Another great point. Consider the outfits Tupac would wear.
Sure, he had the baggy jeans, chains, and Timbs, but what’s up with the leather vest or corset style getups? These very much resemble what you’ll see dudes wear at a Pride rally. He wore things like this a few times, especially after his release in 95. Next thing is this vest on the COVID The designer saw this on last Sunday’s New York Times magazine cover, and they want you to star during Fashion Week in this show. I’ll hook you up that’s tight with a wardrobe for that, if you want to go. Also, consider his brief relationship with one of the biggest pro LGBT administration advocates in Hollywood, Madonna, known for being quite the freak herself.
One’s gotta wonder, what did Pac really see in her? Especially because he was always the type to advocate for black on black love. At least that’s what he presented. Or how about this Vibe magazine interview where Pac shares his perspective on how he felt people were disrespecting his name during a stint in prison. I find his choice of words quite interesting and took shots from every direction. They thought that meant that I’m gay now. He had me in the ass now. So, okay, you want to see some macho? I’m the most macho out here. A bit later in the interview, the interviewer asked Pac what he can offer in a relationship.
And he clarifies with the interviewer if she was referring to a relationship with women. Aside from the fame, the money, what do you think you can offer. Offer someone a relationship. A woman? Now, sure, you could say maybe he just wanted to clarify in case she meant a business relationship or something along those lines. But as he goes on to give his answer, explaining his love for women and his perspective on relationship dynamics, he randomly says, but I still can’t love a man. I still love women. I still get excited when they come in the room and all that, that.
So I feel what I can offer is my. My viewpoint who I am, my style My lifestyle. I mean, it’s a bit strange that he felt the need to clarify his sexuality unprompted. Especially since the interviewer didn’t interrupt or press him on anything related to that. He just offered it up on his own. Now, to be fair, earlier in the interview he did address rumors about him being assaulted in prison, but that was nearly five minutes before this point. By now the conversation had moved on entirely and the interviewer was asking something completely unrelated. In this interview from 96, Pac had a little bit of a Freudian slip, some might even call it.
What made me raw is that I’m West. I got both. I’m the future of black America when we, we manifest the best of the west side and the best of the east side and we bring that together, you know what I mean? With East Coast. Coast GS have sex with West Coast GS, East Coast GS have sex with west coast GS. These GS being women and they have kids, that’s gonna be the new breed, you know what I mean? When you start reading this culture with this gang bang shit, that’s the new breed, right? Lastly, there’s that older photo circulating of Pac and Digital Underground member Money B, seemingly taken in a hotel during their touring days.
In the photo, Money B is seen resting his head on Pac while they’re both on the bed. But I digress. There are certainly more moments throughout his career that make you wonder if he maybe did enjoy both sides. But that’s up for you to decide. Does Pac’s music still hit? No question. Was his rise to fame a little too convenient? Absolutely. And his death undeniably suspicious. When you really sit with his story, layer by layer, it’s a maze of contradictions. It’s almost as if Pac was meant to be remembered as a modern day rap prophet. Now, whether that was divine intervention or the work of a darker force behind the curtain, I think you know where I stand.
Pac was seen as more than a rapper, an old soul, sharper, wiser, more articulate than most of his, his peers. And on the surface, I’d agree. I still do in many ways. But when you look closer at the strange coincidences and shadowy threads that shaped his path, it makes you ask, was any of it real? Was Tupac truly hip hop’s messiah? Or a carefully crafted figure placed on the world stage to capture minds, push narratives and eventually vanish, only to be immortalized in memory? Whether for better or worse, I haven’t even started yet. I just begun, you know what I mean? The world is an oyster.
I just started. I’m finna run it. I’m finna do everything. I’m gonna touch every level and everything. You know what I mean? I don’t want to burn out. I want to be forever eternal. You know what I mean? That’s what Outlaw Immortal is. I want to be here forever. When I’m gone, I want my name to be here. So to do that, I gotta do more than just the average man would do. I gotta set a mark that can nobody touch. And then when I set that mark, I’m gonna make it. Make it happen. If you enjoyed this video, do your boy a favor and hit the like button.
This got to be one of my longest ones yet. And you know the deal. Tell me your thoughts in the comments. Share the video. Most importantly, subscribe. Man, it’s been your boy script and I’m out of here. Peace.
[tr:tra].

