Suspect Charged in Rapper Tupac Shakur’s Fatal Shooting Will Appear in Las Vegas Court 

32nd Annual Rock & Roll Hall of Fame Induction Ceremony - Show – New York City, US, 07/04/2017 – Tupac Shakur. (Reuters)
32nd Annual Rock & Roll Hall of Fame Induction Ceremony - Show – New York City, US, 07/04/2017 – Tupac Shakur. (Reuters)
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Suspect Charged in Rapper Tupac Shakur’s Fatal Shooting Will Appear in Las Vegas Court 

32nd Annual Rock & Roll Hall of Fame Induction Ceremony - Show – New York City, US, 07/04/2017 – Tupac Shakur. (Reuters)
32nd Annual Rock & Roll Hall of Fame Induction Ceremony - Show – New York City, US, 07/04/2017 – Tupac Shakur. (Reuters)

A self-described gangster who police and prosecutors say masterminded the shooting death of Tupac Shakur in Las Vegas in 1996 is due to make his first appearance Wednesday before a Nevada judge.

Duane "Keffe D" Davis, 60, was arrested Friday during an early-morning walk near his home in suburban Henderson. A few hours later a grand jury indictment was unsealed in Clark County District Court charging him with murder.

Grand jurors also voted to add sentencing enhancements for the use of a deadly weapon and alleged gang activity. If Davis is convicted, that could add decades to his sentence.

Davis denied a request from The Associated Press for an interview from jail where he's being held without bond. Court records don’t list an attorney who could comment on his behalf.

Davis had been a suspect in the case, and publicly admitted his role in the killing in interviews ahead of his 2019 tell-all memoir, "Compton Street Legend."

"There’s one thing that’s for sure when living that gangster lifestyle," he wrote. "You already know that the stuff you put out is going to come back; you never know how or when, but there’s never a doubt that it’s coming."

Davis’ own comments revived the police investigation that led to the indictment, police and prosecutors said. In mid-July, Las Vegas police raided Davis’ home, drawing renewed attention to one of hip-hop music's most enduring mysteries.

Prosecutors allege Shakur's killing stemmed from a rivalry and competition for dominance in a musical genre that, at the time, was dubbed "gangsta rap." It pitted East Coast members of a Bloods gang sect associated with rap music mogul Marion "Suge" Knight against West Coast members of a Crips sect that Davis has said he led in Compton, California.

Tension escalated in Las Vegas the night of Sept. 7, 1996, when a brawl broke out between Shakur and Davis' nephew, Orlando "Baby Lane" Anderson, at the MGM Grand hotel-casino following a heavyweight championship boxing match won by Mike Tyson.

Knight and Shakur went to the fight, as did members of the South Side Crips," prosecutor Marc DiGiacomo said last week in court. "And (Knight) brought his entourage, which involved Mob Piru gang members."

After the casino brawl, Knight drove a BMW with Shakur in the front passenger seat. The car was stopped at a red light near the Las Vegas Strip when a white Cadillac pulled up on the passenger side and gunfire erupted.

Shot multiple times, Shakur died a week later at age 25. Knight was grazed by a bullet fragment.

Davis has said he was in the front passenger seat of the Cadillac and handed a .40-caliber handgun to his nephew in the back seat, from which he said the shots were fired.

In Nevada, a person can be convicted of murder for helping another person commit the crime.

Among the four people in the Cadillac that night, Davis is the only one still alive. Anderson died in a May 1998 shooting in Compton. Before his death, Anderson denied involvement in Shakur’s death. The other backseat passenger, DeAndre "Big Dre" or "Freaky" Smith, died in 2004. The driver, Terrence "Bubble Up" Brown, died in a 2015 shooting in Compton.

Knight, now 58, is now serving a 28-year prison sentence for running over and killing a Compton businessman outside a burger stand in January 2015.

Sheriff Kevin McMahill, who oversees the Las Vegas Metropolitan Police Department, has acknowledged criticism that his agency was slow to investigate Shakur's killing.

"That was simply not the case," McMahill said. He called the investigation "important to this police department."

Shakur's sister, Sekyiwa "Set" Shakur, issued a statement describing the arrest as "a pivotal moment" but didn't praise authorities who investigated the case.

"The silence of the past 27 years surrounding this case has spoken loudly in our community," she said.



Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
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Movie Review: From Bumper to Bumper, ‘F1’ Is Formula One Spectacle 

Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)
Brad Pitt, from left, Lewis Hamilton, and Damson Idris attend the world premiere of "F1 The Movie" on Monday, June 16, 2025, in Times Square in New York. (Photo by Evan Agostini/Invision/AP)

The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s “F1,” a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor.

Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in “Top Gun: Maverick,” has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on “Maverick,” takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping score.

And, again, our central figure is an older, high-flying cowboy plucked down in an ultramodern, gas-guzzling conveyance to teach a younger generation about old-school ingenuity and, maybe, the enduring appeal of denim.

But whereas Tom Cruise is a particularly forward-moving action star, Brad Pitt, who stars as the driving-addicted Sonny Hayes in “F1,” has always been a more arrestingly poised presence. Think of the way he so calmly and half-interestedly faces off with Bruce Lee in Quentin Tarantino’s “Once Upon a Time ... in Hollywood.” In the opening scene of “F1,” he’s sleeping in a van with headphones on when someone rouses him. He splashes some water on his face and walks a few steps over to the Daytona oval, where he quickly enters his team’s car, in the midst of a 24-hour race. Pitt goes from zero to 180 mph in a minute.

Sonny, a long-ago phenom who crashed out of Formula One decades earlier and has since been racing any vehicle, even a taxi, he can get behind the wheel of, is approached by an old friend, Ruben Cervantes (Javier Bardem) about joining his flagging F1 team, APX. Sonny turns him down at first but, of course, he joins and “F1” is off to the races.

The title sequence, exquisitely timed to the syncopated rhythms of Zimmer’s score, is a blistering introduction. The hotshot rookie driver Noah Pearce (Damson Idris) is just running a practice lap, but Kosinski, his camera adeptly moving in and out of the cockpit, uses the moment to plunge us into the high-tech world of Formula One, where every inch of the car is connected to digital sensors monitored by a watchful team. Here, that includes technical director Kate McKenna (Kerry Condon) and Kaspar Molinski (Kim Bodnia), the team’s chief.

Verisimilitude is of obvious importance to the filmmakers, who bathe this very Formula One-authorized film in all the sleek operations and globe-trotting spectacle of the sport. That Apple, which produced the film, would even go for such a high-priced summer movie about Formula One is a testament to the upswing in popularity of a sport once quite niche in America, and of the halo effects of both the Netflix series “Formula 1: Drive to Survive” and the seven-time world champion Lewis Hamilton, an executive producer on “F1.”

Whether “F1” pleases diehards, I’ll leave to more ardent followers of the circuit. But what I can say definitively is that Claudio Miranda knows how to shoot it. The cinematographer, who has shot all of Kosinski’s films as well as wonders like Ang Lee’s “Life of Pi,” brings Formula One to vivid, visceral life. When “F1” heads to the big races, Miranda is always simultaneously capturing the zooming cars from the asphalt while backgrounding it with the sweeping spectacle of a course like the UK’s fabled Silverstone Circuit.

OK, you might be thinking, so the racing is good; is there a story? There’s what I’d call enough of one, though you might have to go to the photo finish to verify that. When Sonny shows up, and rapidly turns one practice vehicle into toast, it’s clear that he’s going to be an agent of chaos at APX, a low-ranking team that’s in heavy debt and struggling to find a car that performs.

This gives Pitt a fine opportunity to flash his charisma, playing Sonny as an obsessive who refuses any trophy and has no real interest in money, either. The flashier, media-ready Noah watches Sonny's arrival with skepticism, and the two begin more as rivals than teammates. Idris is up to the mano-a-mano challenge, but he’s limited by a role ultimately revolving around and reducing to a young Black man learning a lesson in work ethic.

A relationship does develop, but “F1” struggles to get its characters out of the starting blocks, keeping them closer to the cliches they start out as. The actor who, more than anyone, keeps the momentum going is Condon, playing an aerodynamics specialist whose connection with Pitt’s Sonny is immediate. Just as she did in between another pair of headstrong men in “The Banshees of Inisherin,” Condon is a rush of naturalism.

If there’s something preventing “F1” from hitting full speed, it’s its insistence on having its characters constantly voice Sonny’s motivations. The same holds true on the race course, where broadcast commentary narrates virtually every moment of the drama. That may be a necessity for a sport where the crucial strategies of hot tires and pit-stop timing aren't quite household concepts. But the best car race movies — from “Grand Prix” to “Senna” to “Ferrari” — know when to rely on nothing but the roar of an engine.

“F1” steers predictably to the finish line, cribbing here and there from sports dramas before it. (Tobias Menzies plays a board member with uncertain corporate goals.) When “F1” does, finally, quiet down, for one blissful moment, the movie, almost literally, soars. It's not quite enough to forget all the high-octane macho dramatics before it, but it's enough to glimpse another road “F1” might have taken.