Tupac And Biggy Murders R.I.P. Episode 6

Tupac Shakur and Christopher Wallace (The Notorious B.I.G.) first met in 1993 at a party in Los Angeles. Tupac, already a prominent figure in the rap world, was known for his albums "2Pacalypse Now" and "Strictly 4 My N.I.G.G.A.Z." Biggie, an emerging talent from Brooklyn, was making waves with his impressive lyrical skills.
Mentorship: Tupac took Biggie under his wing, offering guidance and advice. Biggie often cited Tupac as a mentor who taught him about stage presence, dealing with fame, and navigating the music industry. Their bond was strong, rooted in mutual respect and a shared passion for music.
Collaborations: Their friendship led to musical collaborations, such as the unreleased track "Runnin' from tha Police." They also performed together on several occasions, further solidifying their camaraderie. Tupac even allowed Biggie to stay at his house whenever he was in California, demonstrating the depth of their friendship.
The Quad Studios Shooting
The Setup: On November 30, 1994, Tupac was invited to Quad Recording Studios in Manhattan by an associate of Sean "P. Diddy" Combs to lay down a verse for another artist's track. Upon arriving at the studio with his entourage, Tupac was ambushed by three armed men in the lobby.
The Shooting: The assailants shot Tupac five times, robbed him of his jewelry, and left him for dead. Despite being severely wounded, Tupac managed to survive and was taken to Bellevue Hospital for treatment. He was later transferred to another facility due to security concerns.
Immediate Aftermath: While recovering, Tupac began to suspect that the attack was orchestrated by someone close to him, especially since Biggie, Diddy, and others associated with Bad Boy Records were in the same building at the time. Tupac felt betrayed, believing that his friends had prior knowledge of the attack and failed to warn him.
Legal Troubles and Further Strain
Prison Sentence: In February 1995, Tupac was convicted of sexual assault and sentenced to 1.5 to 4.5 years in prison. His incarceration further fueled his sense of betrayal and anger towards the East Coast rap scene, particularly Bad Boy Records.
Growing Paranoia: While in prison, Tupac's paranoia and resentment grew. He believed that the East Coast, represented by Biggie and Diddy, had conspired against him. His anger was exacerbated by the release of Biggie's track "Who Shot Ya?" which Tupac interpreted as a mockery of his shooting incident.
Diss Tracks and Public Feud
"Who Shot Ya?": Although Biggie insisted that "Who Shot Ya?" was not about Tupac and was recorded before the Quad Studios shooting, Tupac and many of his fans saw it as a direct taunt. The track's timing and aggressive tone seemed to confirm Tupac's suspicions of betrayal.
"Hit 'Em Up": In response, Tupac released "Hit 'Em Up" in June 1996, one of the most venomous diss tracks in hip-hop history. In the song, Tupac accused Biggie of copying his style, claimed to have had an affair with Biggie's wife, Faith Evans, and threatened violence against Biggie and his associates. The track was explicit in its disdain and marked a significant escalation in the feud.
Other Diss Tracks: The feud wasn't limited to these tracks. Tupac's album "All Eyez on Me" contained several veiled shots at Biggie and Bad Boy Records. Conversely, Biggie's "Ready to Die" and other recordings contained lines that Tupac perceived as disrespectful.
The Height of the Feud
Media and Publicity: The media played a crucial role in amplifying the East Coast-West Coast rivalry. Magazines like Vibe and The Source published stories that often sensationalized the conflict, portraying it as a coastal war within the hip-hop community. This coverage further inflamed tensions between the two camps.
Suge Knight's Involvement: Suge Knight, the CEO of Death Row Records, where Tupac was signed, stoked the flames by publicly insulting Bad Boy Records and its artists. At the 1995 Source Awards, Knight famously dissed Diddy, saying, "Any artist out there who wanna be an artist, and wanna stay a star, and don’t wanna have to worry about the executive producer trying to be all in the videos, all on the records, dancing, come to Death Row.