On the night of December 8, 1980, a man with a gun approached another man on a quiet street outside the Dakota building in the Upper West side of Manhattan. Moments later, 5 gunshots rang out, and 4 of them found their way into the back of the victim of whom the shooter, Mark David Chapman, had for so long been obsessed with killing. This man, who would soon validate Chapman’s horrific ambition, was, of course, John Lennon. The upshot motive behind why Chapman shot Lennon doesn’t provide a reasonable controversy as to why he did it, because he told people why: God willed him to.
Chapman was and is a mentally ill person, and at the time he committed Lennon’s murder, he was heavily laden with the complex delusional notion that he, because of his devout religious piety, was supposed to kill the former Beatle based strongly (not wholly) on the comment he [Lennon] had made in 1966, when he was still with the Beatles, about them being “more popular than Jesus Christ.” Chapman, though extremely fond of Lennon’s band, could not place Jesus as a second to any. And there is no doubt that the maniacally inflamed and infamous retort of fans to this same comment, which involved the mass destruction of records and collectibles, like those of the godly gems destroyed during the Reformation, affected him profoundly. The Beatles’ fans, like the disenchanted Catholic followers dissuaded by Martin Luther, were suddenly dismissing their devotions to them because they were, like the Church, seemingly putting themselves over the divine spirit of God due to their vast and influential notoriety amongst the masses.
Chapman ultimately plead guilty and was sentenced to 20 to life in prison. The point here is that the killer of a man with whom the public was well acquainted, like John Lennon, and who never made a secret of his personified egalitarianism — which could have made him a public threat (the government thought so), was found, charged and convicted. Not that Chapman — who, after the he abruptly pulled Lennon off the merry-go-round that he had just again mounted after years of watching the wheels roll, read the Catcher in the Rye as he waited for police — made his capture very difficult. Even with this said, some claim there was government involvement in Lennon’s death. No terms of finality (in this case the capture and conviction of Chapman) escapes victoriously without first being theoretically scrutinized. Regarding this reality, though, a transitional question does emerge en route the return through the retroactive thoroughfares that peer back on Lennon and his everlasting message that aimed simply to engage peace and social change. Both of the figures involved in this question were, like Lennon was, shot and murdered, and they were both major figures of the times of which they were reflecting through their music. The figures being alluded to here are that of Tupac Shakur (06/16/ 1971 – 09/13/1996) and the Notorious B.I.G. [Christopher Wallace] (05/21/1972 – 03/9/1997). The thematic question concerning the rappers is why, unlike Lennon’s, were their cases never solved? It seems that at some point during the last 16 years some kind of progress in at least 1 of the cases should have come forth to bare witness, yet this has not occurred — why? Anyone involved in the killings of Tupac and Biggie remain at large, and it appears as though neither the LAPD nor the FBI seem too interested in dedicating to the cases any kind of real attention.
One might feel that the shadowy decorums of the investigations disclose naught save inconclusive possibilities — which they do, but at the same time, reasonable speculation is warranted to foster an attitude that feels as though perhaps the agencies know more than they claim to. So the question, again, is why? Why have investigators working on both murders made such little progress? Whoever has the best motive is generally guilty of the crime. So who had it? After posing this initial question, what manifests is the coherence to grasp that the question is conceived to segue into a series of considerations on many different theories — none of which can be proved. These cases are not Agatha Christie’s, and there is unfortunately no Hercule Poirot working on them. So conclusive answers are not possible. It seems, though, that the 3 most industrious motives found in the plot lines of these mysteries are that of vengeance; jealousy; and, of course, money.
In 1992, Tupac shot 2 off duty police officers in Atlanta, Georgia (both of whom survived), but the charges were later dismissed. As Tupac once iterated, cops pretty much are gangs, which means they stick together, and the knowledge that any mutual feelings between law enforcement and Shakur were thoroughly sullied was not secretive. The fact that he got off was something that very likely angered many of the cops around the country of whom were aware of the incident. So law enforcement in Las Vegas … or from Los Angeles; Atlanta; New York, one can surmise — but only insofar as to understand that this guess will merely allow only other wild guesses to develop — might have preformed a role in the carrying out of his murder. But if the vengeance depicted in this scenario is the case, then one can almost be assured that no acclaim of who was behind Tupac’s murder will ever be voiced without some giant reason endorsing the confession. Cops, as mentioned, stick together, and the possibility of police involvement will again be confronted in the latter.
On November 30, 1994, Tupac was himself shot in New York at Quad Recording Studios. The assailants were reportedly dressed in Army getup, yet till this day they have not been identified. Much of this pertains to the fact Tupac would later discover an alleged reasoning that pointed to who he claimed was behind his shooting in the song “Who Shot Ya?” by Bad Boy Records’ headliner, the incomparable Notorious B.I.G.. In Biggie Tupac found a goat to slaughter, but much of it was hyper propaganda devised by Death Row Records, who were tooling around with an effort to methodize a rise in the market of record sales. (It is also thought that the East vs.West, Mark Antony vs. Caesar Augustus, battle was a promoted beef between Virgilian mouthpieces Sean “Puffy” Combs of Bad Boy records and Suge Knight of Death Row records.) But what the public saw was the sale’s pitch; they saw the soap-operatic gangster version being portrayed in the press and on MTV — and many believed that a stout portion of what was being rumored was possibly true, though Biggie (who was present at the studio that night) denied his involvement in the shooting all along. Tupac and Biggie, in truth, were using a thug image to enrich a greater social conscious about life shaped in the ghetto — and none better to personify the hard life that’s bred on the streets than a hard person, like a gangster (though neither rapper was a gangster in the slightest in reality). Because of Tupac’s attack on Biggie, though (prominently due to the video of Tupac’s “Hit ‘Em Up,” a vicious dis-song clearly aimed at Biggie and Bad Boy Records, that was released in June of 1996), it was conveyed that he felt that Biggie had taken part in the plot to shoot him, but this accusation drew attention away from the actual offenders being looked at. Did this lack of attention on them leave room open for these same men to finish the job on September 7, 1996 in Las Vegas — the job that they had failed to finish in Nov., ’94 in New York?
Another theory that seems to be widely believed by many is that Tupac is still alive. Yet there is at least 1 gruesome autopsy photograph that has found its way into the public domain of the internet which candidly shows that he is dead. But regardless what one may speculate about the image’s authenticity, the notion that Tupac would relinquish the spotlight for16 minutes — let alone16 years — is outlandish and unrealistic. But many claim, as many claim that Elvis is still alive, or that Courtney Love shot and killed Kurt Cobain, that he is still alive.
But the last possibility to be illuminated here is not the one associated the Illuminati, as it is an absolute absurdity, but with Death Row Records and its owner Suge Knight. Having survived the 5 bullets he taken in ’94, Tupac rolled himself in a wheelchair out of the hospital and into a courtroom only days after being shot and going under surgery. He was sentenced to possibly over 4 years in prison for an alleged rape charge that he strongly denied was true. But growing notoriety of his music and film roles, getting shot and doing time made his next record, “Me Against the World,” which was released while he was incarcerated in Clinton Correctional Facility in Upstate New York, made him the most important rapper alive, because the album had gone platinum 2 times and reached number 1 on the Billboard Top 200 even though he was imprisoned, and, therefore, he was intangible to a large public that was overtly fiercely dedicated to him. When Suge Knight bailed Tupac, whose case was on appeal, out, this notion concerning Tupac’s fame and marketability was well understood.
Now out on bail, Tupac debuted his first of 2 releases for Death Row, which was a double record called “All Eyez On Me.” The album was hugely successful, going 9 times platinum. And his second release for Death Row, “The Don Killuminati: The 7 Day Theory,” marketed under the pseudonym “Makiveli” (after Machiavelli, author of the highly influential political treatise “The Prince”), was also massive, selling 4 million copies. But the key element here is the fact that the first release was a double record. The agreement between Death Row and Tupac upon bailing him out was that he make 3 records for them. He made those albums in seemingly record time, yet his master verses remained locked in the studio decks. On top of this, rumors abound that Suge Knight, who was then the CEO of Death Row Records, owed Tupac many millions of dollars in royalties. There are those of whom will attest this to be the case, that there were heated arguments concerning this subject between Knight and Shakur, and that because of it Tupac was gearing up to form his own label. Yet in order to achieve this he would have to get his hands on the master tapes — which he couldn’t do easily. His label, at least at first, would basically have to be an imprint of Death Row: “Makiveli Records.” This indicates that Tupac was not to leave Death Row and Suge Knight completely — not at that time, anyway. But did Knight, as many have surmised he did, have something to do with it? Again, as is the case with all the aforementioned scenarios, a hypothetical theory is solely what one can come up with here. The motive, though, would be money in this example, and it is not a camouflaged fact that money is usually the best motivator in almost any instance given to commit murder. Yet if it was Knight — if the casino incident at the MGM Grand after the Tyson fight, in which Tupac, Knight and others engaged in a jumping of a member of the Crips named Orlando Anderson in the lobby, and all the moments leading up to the shooting were an elaborate fix — how did he pull it off? And if so, was Biggie’s murder some 6 months later on March 9, 1997 connected to Tupac’s? Was Biggie a just a pasty?
Well, if no answer is sought, then none will be found. One thing to note about Knight is that he had LAPD officers working for him during the time of each murder — many of whom were subsequently convicted of other felonies cultivated in the Rampart investigations. Cops and their gang-like mentalities can, if willing to, both pull the trigger and cover it up the way the CIA has the ability to cover up JFK’s assassination, and the officers with said possible involvement are either now in jail or dead. The ending results define no new conditions, though. As earlier asserted, only more questions derive from those first posed. The loss of both Tupac and Biggie is a tragic actuality, but a reality none the less. Just whether or not their killer(s) will ever be brought up on charges is unfortunately as likely as any theory that offers more than nothing — as the truth is not believable when it dresses up as a fantasy, but, simultaneously, it is, too, a suitor that love just isn’t tailored to accommodate, it seems. It really comes down to what Tupac himself once said: “Some things will never change.”