Citation: OPTICON Spencer-Hall, A 2012 The Post-mortem Projections: Medieval Mystical Resurrection and MDCCCXXVI the Return of Tupac Shakur. Opticon1826, 13: 56-71, DOI: http://dx.doi.org/10.5334/opt.af
Article Post-mortem Projections: Medieval Mystical Resurrection and the Return of Tupac Shakur Alicia Spencer-Hall*
Medieval hagiographies abound with tales of post-mortem visits and miracles by saints. The saint was a powerful religious individual both in life and in death, a con- duit of divine grace and lightning rod for Christian fervour. With her post-mortem presence, the presumptive boundary between living and dead, spirit and flesh, is rent apart: showing the reality of the hereafter and shattering the fantasies of the mortal world. The phenomenon of a glorified individual returning to a worshipful community after their apparent mortal expiration is not just medieval. In April 2012, the rapper Tupac Shakur “performed” on stage at the Coachella music festival. Tupac was murdered in 1996; his ghostly presence was the result of a hologram. His holo- graphic form, the “Pac-O-Gram”, took to the stage to a breathless crowd of fans. The holographic performance is a product of technological advances. Yet reports of the holographic performance were filled with references to Tupac’s “resurrection”, a significant word choice, and one which links the rapper’s return with medieval hagiography more than the advance of technology. What can an examination of the modern example of the Pac-O-Gram and examples drawn from medieval hagiography of the dead returning to life add to each other?
Introduction ‘felt like they were seeing Tupac rise from Renowned American rapper and actor Tupac the grave,’ according to one source (Dinar Shakur was gunned down on 7 September 2012). Another was impressed that the Pac- 1996. Six days later, he died in hospital. On O-Gram’s performance of the song ‘Hail 15 April 2012, Tupac returned to the stage Mary’ was ‘incredibly lifelike’, and applauded at the Coachella Valley Music and Arts Fes- the creators with successfully ‘reanimat- tival to the rapturous reception of 75,000 ing corpses’ (Souppouris 2012). The perfor- spectators, in an unexpected appearance mance was described as a ‘resurrection’ in during Dr Dre and Snoop Dogg’s headline three other sources (Gardner 2012, Magrath set. The Tupac “hologram”, created by Digi- 2012, Wappler 2012). tal Domain Media Group and also known as The technology to “reanimate” Tupac is a the Pac-O-Gram, performed some of his own form of optical illusion called Pepper’s Ghost songs, accompanied at turns by Dr Dre and (Souppouris 2012, Wappler 2012, Orr 2012). Snoop Dogg (Collins 2012). The audience Pepper’s Ghost, named after co-developer John Henry Pepper, was in wide usage from the end of the nineteenth century (Posner * Department of French, UCL 2012: 149-204). In 1862, Pepper unveiled an [email protected] improved and simplified version of technol- Spencer-Hall / Post-Mortem Projections 57 ogy initially created by Henry Dircks which mony against God, that he hath raised would allow for the apparent projection of up Christ; whom he hath not raised spectres in any space large enough to con- up, if the dead rise not again. For if tain the necessary mechanisms (Posner 2012: the dead rise not again, neither is 191-92, Pepper 1890: 3). Pepper and Dircks Christ risen again. And if Christ be not patented the device shortly thereafter in risen again, your faith is vain, for you 1863 (Posner 2012: 192). In Pepper’s Ghost, are yet in your sins. (Douay-Rheims a thin metallic film screen is placed in front Catholic Bible)2 of the stage, at an angle of 45 degrees to the audience (Pepper 1890: passim; Beech Moreover, medieval hagiographic tales 2012: 59-60). An image is projected on to have a number of examples of saints’ resur- the film, from an LED screen of projector rection. Such occurrences of resurrection placed in a recess below the screen. From the echo the first resurrection of Christ. Thus, perspective of the spectators, the reflected such occurrences both depend on doctrine visuals are onstage. Thus, the Pac-o-Gram is for authenticity but also bolster the valid- not actually a product of cutting edge holo- ity of the doctrine itself. The biography of graphic technology — nor a hologram per se Christina Mirabilis (c. 1150-1224), written — but rather an old conjuring trick1. “Holo- Thomas of Cantimpré ca. 1232, begins with gram” in the popular parlance, and media the first death of its protagonist, a humble sources consulted for this research, equates cow-herding orphan from Sint-Truiden (Can- to the spectral appearance of (computerised) timpré 1868). Devout religious meditation bodies through unobtrusive or overtly unac- has led to a fatally severe illness. However, knowledged artificial means. It is the strange after a day’s wait, her corpse springs to life ghostliness of the Tupac hologram which is and the holy woman is delivered back to the almost universally acknowledged, whilst the earthly world (Cantimpré 1868: 651). Chris- technology underpinning it is almost irrele- tina has been returned to the living in order vant. Reports on the Tupac hologram are sol- to experience the torments of purgatory on idly focussed on the blurring of the bounda- earth by divine will (Cantimpré 1868: 651-2). ries between life and death rather than the Her post-mortem body will be able miracu- development of technology. lously to withstand such suffering, and she Resurrection, at first glance, appears to will remain essentially corporeally intact — be a topic more pertinent to a discussion of unable to die — by the myriad punishments medieval Catholic theology than modern rap to come. After her initial death, Christ tells music performances. In I Corinthians 15:12- Christina that if she chooses to return to 17, St Paul proclaims that a belief in general earth, she will receive an ‘immortalis animus’ resurrection follows from the fundamental (‘immortal soul’) in a ‘mortale corpus’ (‘mor- cornerstone of Christian theology, Christ’s tal body’) that will receive purgatiorial pun- own resurrection: ishments on earth ‘sine detriment sui’ (‘with- out damage to it’) (Cantimpré 1868: 652 and Now if Christ be preached, that he 2008: 131). Christina dies a second time at arose again from the dead, how do the end of the narrative, only to be resur- some among you say, that there is no rected for a few moments by an inquisitive resurrection of the dead? But if there nun (Cantimpré 1868: 659). The holy woman be no resurrection of the dead, then experiences three deaths in total, but only Christ is not risen again. And if Christ the last one sticks. Christina’s returns to life be not risen again, then is our preach- are examples of “literal” resurrection, as it ing vain, and your faith is also vain. were, with Christina returning to her life on Yea, and we are found false witnesses earth complete with a (glorified) body, await- of God: because we have given testi- ing her next death. 58 Spencer-Hall / Post-Mortem Projections
Christina’s resurrection experiences are degrade and cannot seemingly be altered by not unique within hagiography. At least the mortal world. eight other medieval saints are shown to Andrew Joynes maintains that medieval experience mystical resurrection. Elizabeth tales of the dead returning to life ‘indicate Petroff cites the mystics Catherine of Siena various aspects of medieval belief about (1347-1380), Magdalena Beutler (1407- the possibility of traffic across the mysteri- 1458), St. Teresa of Avila (1515-1582) and ous border between the living and the dead’ Julian of Norwich (1342-c.1416) as expe- (2001: xi). Given the loaded language of “res- riencing miraculous resurrection (Petroff urrection” used to describe the Tupac holo- 1986: 40-1)3. Christine Quiqley suggests gram, it is hard not to draw a similar conclu- the following individuals as further cases of sion about modern beliefs, at least at first mystically resurrected saints: St. Winifride glance. What facilitates such meditations (d. c. 660), Blessed Peter Amengol (d. 1304), on the boundaries between life and death Saint Agnes of Montepulciano (d. 1317), and within modern secular society? What other Blessed Margaret of Castello (d. 1320) (Quig- signification does the Pac-O-Gram offer upon ley 1996: 192-3). I add the further example further examination? Can alternative inter- of Saint George (d. 303) who experienced pretations of the Pac-O-Gram add to medi- three deaths and subsequent resurrections eval scholarship on saintly resurrection? during his martyrdom, chronicled by Simund de Freine (1909) in an early twelfth-century ‘Forget keeping it real; thug life version of George’s life. just got surreal.’ (Wappler 2012) Another form of momentary resurrec- As Jesus’ resurrection is at the very core of tion is evident in medieval hagiography: the Catholic doctrine, the possibility that Tupac return of the dead, complete with a physical still lives is at the heart of his celebrity body, in mystical visions. For example, Mar- mythos. Tupac is an individual whose life/ garet of Ypres (1216-37) appears three times death status is already problematic, which post-mortem, both in the mortal world in a accentuates the unsettling, ghostly nature hall at the side of a preacher and in visions of of his holographic projection at Coachella. heaven (Cantimpré 1948: 129-30). The Pac- Days after the Coachella performance, Suge O-Gram corresponds to a short-lived literal Knight, former CEO of Tupac’s home label resurrection—the rapper “comes back to life” Death Row Records and eye-witness to once the hologram is switched on, and then Tupac’s fatal shooting, suggested that the “dies” when the apparatus is turned off. The rapper could still be alive in a Los Angeles projection also functions as a post-mortem interview with radio station 93.5 KDay. In spectral apparition that appears from, and response to questions about his own alleged then returns to, the hereafter: revivification participation in Tupac’s death, Knight in the form of a mystical vision. Similarly, replied: ‘Maybe the question is, Pac’s not medieval resurrections can be understood as really dead. Pac’s somewhere else’. holographic projections of longer or shorter Pressed further by his interviewer, he length with some sort of tangible corporeal added that he had never seen the rapper’s presence. The resurrected body, however, is corpse, and further: ‘Nobody seen [sic] Tupac incorruptible — whether because it is para- dead’ (all Magrath 2012). Myriad conspiracy doxically spiritual, in the case of saints in theory websites, created by fans, dissect the post-mortem visions, or a glorified body, in evidence of Tupac’s continued mortal exist- cases of ‘literal’ revivification. Resurrected ence (e.g. Belmont 2009; Everage 2011; Max- Tupac, manufactured from audio-visual well 2006; Mooch 2006; Wilson n.d.; Anon material recorded during the rapper’s life, n.d., ‘Makaveli Returns 2014’; Anon 2012, equally has an inviolate body which does not ‘TUPAC alive or dead; Anon n.d., ‘Is Tupac Spencer-Hall / Post-Mortem Projections 59 alive or dead?’). Rumours are repeated, Machiavelli (1469-1527), whose books Tupac almost verbatim, in the online echo chamber studied whilst serving time in prison, mining of Tupac “believers”. Denard McClairne sum- the texts for ideas about strategy for the rap marises many of the most prevalent theories game (Everage 2011, Hess 2007: 407). The in his 2003 self-published e-book, Tupac and title of the song ‘Empty Coffin’, reputedly Elvis: Inevitably Restless (2003: 69-83). This a B-side to a never-named album, suggests fan biography is by no means a scholarly text, Tupac’s closed casket was devoid of a body nor seemingly rigorously researched. How- (Mooch 2006, Wong 2007). This song, which ever, it does chronicle the conspiracy well, I have not been able to source, may or not and illustrates the viewpoint of one fan, the actually exist. Truth is of little import in the author, as he reacts to key elements of the online theory forums, however. Claims and Tupac death conspiracy debate. (McClairne, proofs gain a sort of critical mass of veracity however, ultimately refutes the theories, as they are repeated over and over across the and believes Tupac to be dead.) There is web. simply not enough space to detail all of the For others, even non-believers and non- specific claims of signs and proofs, nor the fans, the possibility of Tupac still being alive nuances of each of these, in this article. I will, is lodged in the cultural memory, and widely however, provide a flavor of the conspiracy known conspiracy theory. For example, debate below. It is noted, for example, that David Wong commented that the majority the video for the song ‘I Ain’t Mad at Cha’ of search engine traffic to Cracked.com came (2Pac 1996), released days after Tupac’s mur- from those researching the “death” of Tupac, der, features the rapper being gunned down, after his first article for the website on the thereby invalidating the real Las Vegas shoot- subject in 1999 detailed the conspiracies (see ing (Anon n.d., ‘Makaveli Returns 2014’, Wong 2007). On 2 April 2005, a website made Anon n.d., ‘TUPAC alive or dead’). Further, to resemble the webpage of popular North in the next video release, for the song ‘Toss American news outlet CNN hosted an arti- It Up’ (Makaveli 1996), he is seen alive and cle entitled ‘Unexpected twist: Tupac Shakur well. This song was released under Tupac’s alive and well’ surfaced online and went viral alias of Makaveli. Some posit that Tupac was (Wong 2007; Anon 2005). The false article reborn, not just musically but quite literally, notes that Tupac has been spotted alive and as Makaveli, taking on the new identity after well, nonchalantly browsing shops in Beverly his faked death (Anon n.d., ‘Makaveli Returns Hills. Relaxing in tropical locations during 2014’). This theory is believed to be substan- his post-mortem hiatus, Tupac is now, report- tiated in the lyric ‘[t]he only way for me to edly, ready to reclaim the stage. The bottom come back is by Makaveli — that’s it’ which of the page reveals that this is, in fact, an Tupac speaks as the introduction to the song April Fool’s Day prank. [The faux CNN web- ‘Ghost’ (Everage 2011). ‘Ghost’ appeared on site has since been taken down, but it is still the 2003 album Tupac: Resurrection (Tupac available for viewing as screenshots on other 2003). The title of the track and album, webpages (Wong 2007).] alongside the opening line presumably At Coachella, the audience certainly didn’t taken from unreleased earlier material, cre- see ‘Tupac dead’, the rapper as corpse. Some ate an uncanny, unsettling lack of certainty YouTube commenters to the video recording regarding the rapper’s death. It is noted of the performance appear to hold similarly that Makaveli is a partial anagram of “am with the resurrection of Tupac, momentary alive”, if one discounts the “k” in the name or otherwise. For example, user KillerCotton (Belmont 2009; Anon n.d., ‘TUPAC alive or posted simply ‘Hes [sic] not dead’ (KillerCot- dead’). Makaveli is also identified as a refer- ton 2012). User 1337vIKz (2012) posted ‘RIP ence to the Italian political theorist Niccolo Tupac 1976—2012’, suggesting that s/he con- 60 Spencer-Hall / Post-Mortem Projections
siders the disappearance of the Pac-O-Gram pered because of the framework of poten- as a new “death” for Tupac, with the rapper’s tiality thrown up by the Tupac mythology. date of death not posited as 1996 but 2012 Within the medieval theological framework, (1337vIKz 2012). Exactly what Tupac might saints can come back after death because the have been up to in the years between 1996 spirit lives eternally in the divine hereafter, and 2012 is left up to the reader’s imagina- and the boundaries between here and there tion. are permeable. The Pac-O-Gram presents a Seeing the Pac-O-Gram is encountering a vision of resurrection unhooked from the conception of the rapper which circulated Church and the Lord. Momentarily, even the widely during his career and after his death: non-religious can witness a return from the we hear his unique voice and rapping style, dead, thanks to the development of Pepper’s see him shirtless and tattooed with his noto- Ghost and digital technology. The abundant rious “Thug Life” motto, as we did in public- conspiracy theories around Tupac’s death ity of him during his life, and shortly after his form a sort of fan doctrine, which shores up death. Rolling Stone magazine, for example, the continued potentiality of Tupac’s return. featured Tupac — bare-chested, with tattoo In medieval hagiography, the doctrine of emblazoned upon his chest — as its cover Christ’s resurrection legitimises cases of mys- star in October 1996, six weeks or so after his tical resurrection. Ida of Louvain’s vita details murder (Rolling Stone 1996). We look at the the death and immediate resuscitation of the Pac-O-Gram and recognise Tupac. The eyes mystic’s own sister, brought about by Ida’s and ears are easily tricked, and with them, if prayers and touch: only for a moment, goes the brain and heart: … Necdum a terra genua, necdum ab a much loved idol is back from the dead. amplexo cadaver brachia subducendo The draw of the Pac-O-Gram resides in its levaverat; & ecce, qui per sanctos seeming revivification of an idol: we know Prophetas suos, Helizeum videlicet & Tupac is dead, and yet here he is on stage, Heliam, per alterum quidem Suna- looking — at least from the distance of the mitis, per alterum vero Sareptanae massive festival crowd — as he did at the filium, a mortis nexibus expeditos, peak of his career, and seeming somehow, beneficio prioris vitae restituit; quique impossibly alive. YouTube user dayati reports per semetipsum tres mortuos Euangeli- initial jubilation at watching the Pac-O-Gram cae Scripturae testimonio suscitavit; perform, seeing a beloved rapper back from & hujus quoque famulae suae pre- the dead momentarily (dayati 2012). As the cibus inclinatus, exanimato corpusculo hologram fades at the end of the set, dayati vitalem spiritum reddidit: ac hujus facti is saddened and demoralized, faced with the mirabili notvitate, … Confestim siqui- reality of Tupac’s death and/or the second dem, in pala, omnibus qui advenerant “death” of the expiration of the hologram intuentibus, ad tam sanctae Virginis itself: ‘I remember freaking out when I first attactum oris, puella septies oscitavit, saw this, then getting all sad and shit when oculus aperuit; ac demum sospitati he disappears at the end. Fuck’ (dayati 2012). pristinae perfectissime restututa, sur- Moreover, the Pac-O-Gram is unsettling gens a terra, Deoque gratias agens, in because it feeds into the conspiracy debate, ipso sospitatis tenore, multo post haec and opens the door to a life after death. annorum spatio superna savente clem- This is why, as Gillian Orr notes, seeing the entia, supervixit. (Anon 1867: 169) Pac-O-Gram is ‘markedly eerier’ than seeing other similar “holograms” of dead/living celebrities (2012). The usual secular attitude (…Ida raised first one knee from the towards the absolute finality of death is tem- ground, and then the other; released one arm from around the corpse [of Spencer-Hall / Post-Mortem Projections 61
her sister], and then the other. She Biblical cases of resurrection (Quigley 1996: thought of Elisha, of Elijah, of the 191 and 195). Historically distanced Biblical daughter of Jairus, of the lad from mystical revivification need not simply be Naim and of Lazarus of Bethany. She metaphorical or symbolic — Ida’s resuscita- prayed that the Power at work in them tion of her sister shows that such events are would bend down now to her sister, not just possible or plausible, but real. would free her from the grip of death As the mystical resurrections of saints and would restore to her the gift of showed the historical veracity of Christ’s res- life. And these ancient miracles were urrection, Christ’s resurrection, in a feedback indeed renewed…Ida had but touched loop, offers proof as to the authenticity of the mouth, when the girl gave seven the saint’s own revivification. Ida is not the gasps and opened her eyes (II Kings sole example of saintly intervention lead- 4:35). Thereupon, fully restored to ing to revivification. Christine Quigley lists her original health, the younger sister the following twenty-nine holy individuals, rose from the ground and thanked culled from Christian history from the fourth God. And with that same condition of to the nineteenth century, as agents of resur- health, she lived on many years under rection to their friends, spiritual colleagues, the favour of an All-considerate God.) neighbours and even strangers: St. Ambrose (Anon 2000: 34) (d. 397), St. Patrick (d. 493), St. Benedict (d. c. 547), St. Bernard of Abbeville (d. 1117), This passage reveals the Biblical framework St Malachy the Irishman (d. 1148), St. Ber- which underpins resurrection: Elisha (II nard of Clairvaux (d. 1153), St. Dominic de Kings 4:32-37), Elijah (I Kings 17:8-24), the Guzman (d. 1221), St. Anthony of Padua (d. daughter of Jairus (Mark 5:22-43; Luke 8:41- 1231), St. Elizabeth of Hungary (d. 1231), St. 56; Matthew 9:20-26), the boy from Naim Hyacinth (d. 1257), Blessed Agnes of Prague (Luke 7:11-17), and Lazarus of Bethany (John (d. 1282), St. Phillip Benizi (d. 1285), St. 11:1-45). Ida evokes both agents of resurrec- Agnes of Montepulciano (d. 1317), Blessed tion (Elisha and Elijah) and the resurrected Margaret of Castello (d. 1320), St. Catherine (the daughter of Jairus, the boy from Naim of Siena (d. 1380), St. Catherine of Sweden (d. and Lazarus, all resurrected by Christ) — 1381), St. Vincent Ferrer (d. 1419), Joan of Arc emphasising that raising the dead is possible, (d. 1431), St. Bernadine of Siena (d. 1444), and not just by Christ Himself. Ida mimes the St. Colette (d. 1447), St. Francis of Paola (d. actions of Elisha in this scene. As Elisha bows 1507), St. Teresa of Avila (d. 1582), St. Francis upon the dead child and puts his mouth Xavier (d. 1552), St. Ignatius Loyola (d. 1556), on the dead child’s mouth (II Kings 4:34), St. Stanislaus (d. 1079), Blessed Sebastian of so Ida prostrates herself over her deceased Apparizio (d. 1600), St. Francis Solanus (d. sister, and gently touches mouths with her. 1610), St Paul of the Cross (d. 1775), St. John On returning to life, Ida’s sister, like Elisha’s Bosco (d. 1888) (Quigley 1996: 191-96). To dead child, gasps seven times. By mimicking Quigley’s twenty nine, I add Ida of Louvain Elisha’s actions, Ida is implicitly taking up a (d. 1300) (Anon 1867). As the number of res- messianic role of agent of resurrection, fig- urrections enacted proliferates, the feedback ured in the account of the scene in her vita by loop of authentication which binds Christ’s the references to those miraculously revived resurrection and those of other individu- by Christ Himself. Biblical examples shore up als intensifies. Similarly, as almost endless Ida’s own case of mystical resurrection, set- rumours of Tupac’s resurrection circulate ting precedents which legitimise her tale. In around the internet, an incestuously self-ref- addition, the resurrection detailed in Ida’s erential tissue of “proofs” is constructed. This vita equally proves the power of the Lord to tissue, by dint of its size and reach, becomes act in the mortal realm, and authenticates 62 Spencer-Hall / Post-Mortem Projections
less of a bizarre marginality, something more to interpret Tupac’s resurrection then? Is worthy of contemplation. he a religious salvific figure? Or one more As with the medieval saint, connection secularly rooted, positioned as savior of the with the resurrected Christ also sustains the rap game upon his return? The questions reality of Tupac’s resurrection. Tupac’s last remain unanswered. album to be recorded during his lifetime fea- tures a drawing of the rapper’s crucifixion on Tupac-the-rapper (Pac-O-Gram) ver- its front cover which cannot but feed into the sus Tupac-the-man confusion of his life/death. Indeed, one web- Not all fans buy into the resurrection of site listing theories as to Tupac’s faked death Tupac. In response to a video of the Pac-O- jumps upon the crucifixion cover as poten- Gram’s Coachella performance, the YouTube tial evidence: ‘The cover of his next album, commenter xEMOzGirlzx fulminates: ‘he just [sic] has 2Pac looking like Jesus Christ. Could look like him , how can someone back from he be planning a resurrection?’ (Wilson n.d.) dead ? [/] juses [sic] can’t do that from him This sentiment is echoed on various other self [sic] so STFU Plz’ (xEMOzGirlzx 2012). websites almost word-for-word (Belmont Others make a clear distinction between the 2009; Maxwell 2006). Comments on You- real Tupac and the Tupac Hologram. This is Tube align Tupac with a quasi-Messiah figure most obvious when lists of best rappers are too. One, by cute1337, simply refers to him compiled beneath the YouTube video of the as the “GOD”: ‘The GOD IS BACK!’ (cute1337 Coachella performance. For example, user 2012). Liner notes from Tupac’s The Don Kil- GabroYoh maintains that ‘The world [sic] luminati: The 7 Day Theory (Makaveli 1996) best rapper is Tupac [/] The world [sic] best identify the executive producer as Simon, second rapper is Hologram Tupac’ (GabroYoh from which one theory site extrapolates a 2012). User skiingsimondumont split out fairly stretched Biblical parallel: his top seven rappers, with Tupac similarly The executive producer of The 7 Day placing first and the Tupac hologram featur- Theory [sic], as listed in the CD book- ing second: ‘Best Rappers! [ /] 1. Tupac [/] 2. let of the album, is Simon (who is a Tupacs [sic] Hologram [/ …]’ (Skiingsimondu- previously unknown producer in the mont 2012). rap music industry). In the bible [sic], Whilst the Pac-O-Gram may look like Tupac, Simon was an apostle of Jesus. Simon act like Tupac and be voiced by Tupac, he is was one of the first witnesses of the certainly not the real Tupac. [One YouTube Resurrection listed by Saint Paul (I commenter, Anton Svensson, argues that the Cor. 15: 5). The Outlawz [co-creators hologram nevertheless shows that Tupac is of the album] have confirmed Simon still alive and will return, as the rapper uses is a reference to Suge Knight who was the Pac-O-Gram as a means to communicate with Tupac the night of the shooting. with fans: ‘The hologram is a message from (Anon n.d., ‘Is Tupac alive or dead?’) tupac! At the beginning he comes up like risisng [sic] from the stage, that means he For at least some fans, justification for rises up from the dead. At 0:13 he was like Tupac’s potential resurrection lies within this is me! Tupac Back!!’ (Svenson 2012).] the Bible. Alongside referencing Biblical The real Tupac, whether communicating via resurrection as a legitimization of Tupac’s the Pac-O-Gram or not, is clearly superior to resurrection, this passage also implies that his holographic doppelganger. This hierar- Tupac is Christ. Christ died to cleanse the chy is reversed in the post-mortem visitation stain of sin from humanity, and his sacri- of medieval saints. The saint’s ‘holographic’ fice attained full value at his resurrection post-mortem intrusion into the mortal world (Romans 4:25) (Maas 1911). How are we is, in fact, the most authentic version of their Spencer-Hall / Post-Mortem Projections 63 personhood, their soul. The soul, released texts’ (1998: 1). For example, the star “Brad from the mortal body, can revert to its most Pitt” may bear little authentic resemblance representative appearance, which may or to Brad Pitt himself, his wants, needs, desires may not map with their physical body. For and so on. From Dyer’s perspective, ‘…we example, Margaret of Ypres’ (1216-1237) are dealing with the stars in terms of their appears to one of her friends with cristal- signification, not with them as real people’ lino corpore et rubicundam in pectore (‘with (1998: 10). The Tupac Hologram is an exem- a transparent, crystalline body and a rosy plary model of Dyer’s stardom thesis. The colour in her breast’) after death (Cantimpré Pac-O-Gram is constructed out of splicing 1948: 129 and 2008: 205). Her biographer together media texts, videos of the rapper glosses her appearance as linked to her pious and audio files of his voice. The performance virginity (virginitas) and charity (caritas): at Coachella does not signify the return of Tupac-the-man from the grave, but instead Dum lilliaceo candour translucido an apparition of the pure essence of Tupac- rubor roseus et transparents iucundius the-rapper. admiscetur, in candour notatur virgin- The pure essence of Tupac-the-rapper gen- itas, in rubore eius caritas designator. erates a vast amount of money for Tupac’s (Cantimpré 1948: 129) estate and record labels: he is the very model of the successful music artist from (…when the diaphanous red of roses is the perspective of the record label. He is a pleasantly mixed with the translucent well-known, successful, and beloved artist whiteness of lilies, virginity is signi- that they can manipulate to their heart’s fied by the whiteness and her char- content. He never tires, will never go off ity denoted by the red.) (Cantimpré the rails, and will always say “yes”. They can 2008: 205) repackage him perpetually. An article in the The anaphora of ‘in’ with a following colour Tasmanian newspaper The Mercury pub- and repetition of explanatory verb (‘notatur’, lished in July 1863 lauds Pepper’s Ghost not ‘designator’) creates a balanced phrase which for producing a terrifying ghost in a recent highlights that importance of Margaret’s theatre production, but instead for the con- appearance lies in its underlying significa- juring of ‘… a well-behaved, steady, regu- tion, a representation of her pious qualities. lar, and respectable ghost, going through In life, Alice the Leper (d. 1250) is described a prescribed round of duties, punctual to a as looking like a horrible monster (‘monstri minute–a patent ghost, in fact (Anon 1863: horribilis’) due to the ravages of her illness 3). Tupac-the-rapper in the form of the Pac- (Villers 1867: 482). After death, however, her O-Gram exemplifies this conception of a ‘pat- soul takes on the appearance of a young child ent ghost’, obedient to the letter, performing bathed in a glowing light which represents in an orderly and responsible fashion at the her exemplary pure soul (Villers 1867: 482 behest of countless conjurers behind the and 2000: 27). The Pac-O-Gram is a represen- scenes. Indeed, Tupac has had a ‘very lucra- tation of the essence of Tupac the celebrity tive life after death’, earning millions of dol- rapper, and not Tupac the human man: signi- lars for his estate and musical collaborators fying his “soul” as an entertainment idol, but (Greenburg 2010 and 2011). The six solo not of Tupac himself. Tupac albums that have been released after Writing on celebrity and stars, theorist the rapper’s death are: The Don Killuminati: Richard Dyer maintains that a celebrity does The 7 Day Theory (1996; completed during not exist outside of media texts, be they Tupac’s lifetime with “live” vocals), R U Still films, news print, advertisements or televis- Down? (Remember Me) (1997), Until the End ual programmes: stars are ‘images in media of Time (2001), Better Days (2002), Loyal to 64 Spencer-Hall / Post-Mortem Projections
the Game (2004), Pac’s Life (2006) (see also previous week (2Pac 1998; Caulfield 2012). Makaveli 1996; 2Pac 1997; 2Pac 2001; 2Pac Other Tupac albums also had improved sales: 2002; 2Pac 2004; 2Pac 2006). Another col- sales of All Eyez On Me (1996) hit 2,000 units laboration album was also released posthu- (95 per cent week-on-week increase), sales mously: Still I Rise (with the Outlawz; 1999) of Me Against the World (1995) hit 1,000 (2Pac + Outlawz 1999). In addition, two com- records (53 per cent week-on-week increase) pilation albums were released after 1996: (Caulfield 2012; 2Pac 1996; 2Pac 1995). Sales Greatest Hits (1998) and Tupac Resurrection of the tracks the Pac-O-Gram performed sky- (2003) (2Pac 1998; Tupac 2003). Seven of his rocketed: ‘Hail Mary’ shifted 13,000 units eleven platinum albums were released after in one week (1,530 per cent week on week his death, and as of 2010 he had sold over 75 increase), and ‘2 of Amerikaz Most Wanted’ million albums worldwide (Greenburg 2010 sold 9,000 units (881 per cent week on week and 2011). In 2007, 11 years after Tupac’s increase) (Caulfield 2012; Makaveli 1996; death, his estate earned $9 million, more 2Pac 1996). than the living artists 50 Cent or Eminem As Tupac generates vast amounts of finan- made in 2010. In 2010, his estate reportedly cial currency after his death, saints offer spir- raked in $3.5 million. itual currency to the still-living, in the form The ability to release so many records of a direct connection to the divine. An epi- posthumously is due to the large catalogue sode from the biography of Christina Mira- of unreleased material available to Tupac’s bilis has striking parallels to the technologi- estate, reportedly 153 songs. His estate, or cal figure of the ‘patent ghost’ (Cantimpré his label, has chosen to continue to release 1168: 659; Anon 1863: 3). After Christina’s songs to profit from the dead star’s oeuvre, second death, the holy woman is recalled and continue his career post-mortem. Fur- to life by Beatrice, a nun desperate for the ther, the estate has chosen to release albums beloved saint to answer an unspecified ques- titled with more or less explicit references to tion. Learning of Christina’s death, Beatrice the possibility of Tupac’s life after death: Still is described as ‘impatiens agens’(‘fearsomely I Rise, Tupac Resurrection, Pac’s Life (see 2Pac impatient’) (Cantimpré 1868: 659 and 2008: + Outlawz 1999; Tupac 2003; 2Pac 2006 153). She loudly protests that Christina died respectively). Tapping in to the conspiracies ‘sine licentia, … sine commendation sororum’ surrounding the rapper’s death seems to be (‘without permission and without leave of a means of profit production after Tupac’s her sisters’ (Cantimpré 1868: 659 and 2008: shooting. The Coachella performance of 153). With such declarations, Christina is the Pac-O-Gram functions as an extraordi- posited as a subordinate to her spiritual nary amplification of this strategy. Instead community, bound by their whims for divine of oblique references in album titles or song insight channelled through her. This is fur- lyrics dissected by fans, the Tupac projection ther emphasised by the thematic repetition seems to bring the rapper back to life, mud- of obedience in Beatrice’s apostrophe to dying the conspiracy-filled waters further, if Christina’s corpose: only for a few minutes. Indeed, the spectre O Christina! obediens semper mihi of Tupac onstage generated a huge amount in vita fuisti; adjuro ergo nunc te…ut of revenue. Sales of Tupac’s music catalogue obedias mihi etiam nunc: quia potens experienced a significant resurgence after the potes per illum, cui nunc jungeris, Pac-O-Gram performance. After Coachella, quaecumque vis, revertarisque ad Tupac’s Greatest Hits (1998) album re- vitam, & dicas mihi, quod a te aperien- entered the Billboard 200 for the first time dum in vita magno desiderio postulavi. since 2000, placing at 129, with an increase (Cantimpré 1868: 659) in sales of 571 per cent compared to the Spencer-Hall / Post-Mortem Projections 65
(O Christina! You were ever obedient Some medievalists have argued that as a to me in life! I now therefore beseech saint, an individual’s identity is constructed you an admonish you…that you obey around her spirituality to the exclusion of any me even now. For you are power- particularities of her personhood. For exam- fully able, through him to who you ple, Alison Goddard Elliott contends that, in are now joined [God], to do whatever medieval (female) hagiography, the ideals you want. So return to life and tell which the saint represents — that which she me what I begged you to reveal to signifies to her community — rather than the me with great desire while you were saint qua woman, are being venerated (1987: alive.) (Cantimpré 2008: 153) 18). Brigitte Cazelles (1982: 13) maintains that saints are ‘de fait interchangables’ (‘in After this speech, Christina is forced back to fact interchangeable’), products of a collec- life immediately (‘mox ubi hoc…’) (Cantimpré tive which ‘isolates and sacralises some of 1868: 659). Though clearly much desired by its members’ to harness their holy signifi- Beatrice, Christina’s resurrection is certainly cation (1991: 81). Such a viewpoint implies not viewed positively by the saint herself. She an equivalency between the medieval saint, is ‘grief-stricken’ (‘ianxioque vultu’) by her spiritual ‘star’ of her community, and Dyer’s resurrection, heaving a ‘great sigh’ (‘grave view of the modern celebrity, idolised not suspirium edidit’) and demanding to know for who she is, but what she represents. This why she has been brought back to life when perspective is persuasive, and certainly offers she was in the bosom of the Lord (Cantimpré some interesting potential readings of hagi- 1868: 659 and 2008: 153-54). She beseeches ography. However, a note of caution is also Beatrice to ask her question quickly so that needed. Medieval hagiographies, most often she might return to heaven and the peace authored by men, were designed to authen- which she has longed for so keenly. That ticate the holy status of the protagonist and Beatrice’s question and Christina’s response edify the Christian flock (King 1988). The are absent from the text ensures the focus of focus in hagiography is explicitly on the the interchange rests on the power dynamic exemplary piety (“spiritual celebrity”) of a between Beatrice and Christina. Certainly, woman, to the inevitable exclusion of other the question could be of crucial importance attributes. Moreover, some female saints are but it could equally utterly banal: we just shown to access a notable — albeit limited — do not know. What we do know, however, amount of power within social and political is that Christina must return to life at the circles. The vision of Juliana of Mont-Cornil- behest of the nun and perform her duties, lon (1193-1258), alongside subsequent lob- despite her personal wishes to the contrary. bying by the saint and her colleague Eve of Whilst the Pac-O-Gram is a means of gener- Saint-Martin (d. 1266), for example, lead to ating hard cash, the second resurrection of the institution of the Corpus Christi feast Christina is a mode of producing spiritual (Anon 1866: 457-77). Juliana’s Corpus Christi currency for the still living: intriguing con- vision is relayed to the most illustrious and nections are made between the signification learned theologians in the region, including and functions of modern celebrity and those Jacques of Troyes (archdeacon of Liège and of medieval sanctity. Unlike with the ‘patent future pontiff), Hugh of Saint-Cher, bishop ghost’ of the Pac-O-Gram, though, Christina John of Cambrai, the chancellor of Paris and is able to respond to the mistress of her con- several Dominican friars (Anon 1866: 459- juration. Her intense displeasure at resurrec- 60). The response of such learned men to tion is depicted, and we are given a glimpse Juliana’s vision is overwhelmingly positive, of what it is like to be harnessed for spiritual all unequivocally agreeing to the institution power. We will never know what Tupac-the- of the Corpus Christi feast. man would make of his post-mortem career. 66 Spencer-Hall / Post-Mortem Projections
Dynamic social agency can also be seen Conclusion in some cases after the saint’s death. Unlike In the autumn of 1863, the use of Pepper’s Christina, involuntarily resurrected by Bea- Ghost skyrocketed in New York theatres (Pos- trice, Yvette of Huy (1158-1228) appears of ner 2012: passim). The extraordinary popu- her own accord in a spiritual vision to one of larity of the illusion technique can partially her sisters to settle some important business be explained by the ever-present thirst for (Floreffe 1867: 886). In the vision, Yvette innovative theatrical staging, and anything of invites her spiritual sister, Margaret, to go on British origin in a staunchly Anglophile com- a journey with her to Liège in order to secure munity (Posner 2012: 192). However, Das- support for the continued development of sia N. Posner argues that the audiences and their religious community. Yvette had left an theatre producers were drawn to the Ghost extensive list of tasks for her sisters to com- as a means of contemplating death and plete, which had been left uncompleted due mourning in the midst of the ever increas- to the lack of a decree from the Bishop of ing bloodshed of the Civil War (2012: 201). Liège. The holy woman’s momentary revivi- Posner notes that Pepper’s Ghost ‘offered a fication in this vision ensures the success of fright as well as a form of therapy. …Audi- her political agenda, and is an example of ences experienced an emotional thrill from her dynamism. The text states that ‘ita tamen what appeared to be the stuff of nightmares, quod neminem huius beneficij auctorem inter- as a way of looking changing definitions and pretatae sunt alium, quod venerabilem Iuet- mourning directly in the face’ (2012: 201). tam’ (all ‘knew that no one but the blessed Further, Posner maintains that it was the Yvette was the author of [the] happy out- manner in which the Ghost was used — as come’) once the Bishop agrees to the plans a form of meditation on death and mourn- (Floreffe 1867: 886 and 2011: 141). Yvette’s ing — that is most significant about the vast spectral appearance justifies the need for appetite for the technology, rather than its the Bishop to award the required decree, and popularity in and of itself. thus could well be a neat textual manoeu- The past few years seem to have been vre. Nevertheless, it is significant that she is witness to a Pepper’s Ghost ‘craze’ similar depicted settling the matter after death of to that documented by Posner in New York her own accord. of 1863. Myriad deceased stars have been A medieval saint’s access to social/politi- “brought back to life” by Pepper’s Ghost or cal power, and position within the com- similar technology. A projection of Freddy munity, involved complex negotiations, Mercury appeared on stage with the living and often produced shifting dynamics Queen band-members at the tenth anniver- which are illustrated in biographies from sary show of the “We Will Rock You” musical the period. The saint was not just an inert on 14 May 2012 (Anon 2012, ‘Freddie Mer- object, animated by technology, at the cury’). In 2007, television talent show “Amer- whims of impresarios. She was an indi- ican Idol” broadcast a duet between Celine vidual who exerted her influence, could Dion and Elvis Presley (Orr 2012). The com- speak up about her treatment, and shape pany responsible for the Pac-O-Gram, Digital her own spiritual role in more or less lim- Domain Media Group, has secured the back- ited ways which vary from text to text. Fur- ing of Elvis Presley Enterprises to create an ther research on the points of contact and Elvis “hologram” for media appearances in divergence between modern celebrity and future (Dinar 2012). At media mogul Simon medieval sanctity is required. Such stud- Cowell’s 50th birthday party, a “holographic” ies would no doubt be fertile grounds for Frank Sinatra performed the song ‘Pennies developing approaches on medieval hagi- from Heaven’ for 400 guests (Orr 2012). ography. James Rock, the Director of Musion, the com- Spencer-Hall / Post-Mortem Projections 67 pany which created the technology that pro- Acknowledgements duced the Pac-O-Gram, is ‘certain [that] we’ll I would like to express my gratitude to the see a lot more instances of deceased perform- Arts and Humanities Research Council for ers being brought back to life’ in future [7]. their generous funding of my PhD project. With the pre-existing mythology of Tupac’s My thanks also go to Dr Jane Gilbert, of the uncertain death, the Pac-O-Gram is a means French Department at University College for a secular audience to embrace—even just London for her continued support of my for a moment—the possibility of some form studies. of life after death. Relief from the insistent presence of death is fleeting, however. The Notes Tupac hologram is revealed not to be the res- urrection of the beloved Tupac, the man, but 1 Despite the technical inaccuracy, I will instead the figuration of his pure essence as continue to use hologram/holographic celebrity rapper. to describe Tupac’s appearance at the Comparing medieval saintly resurrection Coachella performance as it is so widely to the 2012 performance allows us to under- circulated in writings on the event. stand the true reality of what we are seeing 2 Further examples of St. Paul’s insistence when we watch the Pac-O-Gram perform- of the centrality of resurrection to the ing. Not a resurrected Tupac, but a re-born Christian faith can be found in Acts 17:18, construction of Tupac-the-rapper star. By 31-2, Romans 8:11, I Corinthians 6:14, 2 consequence, new potential interpretations Corinthians 4:14, 5:4-5, Phillipians 3:21, for medieval hagiography are revealed: a per- 1 Thessalonians 4:12-16, 2 Timothy 2:11, spective of the saint as spiritual ‘star’. Hebrews 6:2. Christ also preaches doc- On 23 February 2012, the US Copyright trine of resurrection in John 5:28-9, 6:39- Office registered the first ever copyright for 40, 11:25, Luke 14:14. an original (digital) character, “VM2-Virtual 3 Petroff also cites Christina Mirabilis here. Marilyn” (Anon 2012, ‘VM2 - Virtual Mari- lyn’; Gardner 2012). VM2-Virtual Marilyn is References described by Digicon, the company responsi- 1337vIKz 2012 ‘[User Comment online]’ on ble for the invention, as a computer-created westfesttv. ‘Tupac Hologram Snoop Dogg figure with the ‘adopted persona of Marilyn and Dr. Dre Perform Coachella Live 2012’, Monroe’ (Gardner 2012). With copyright sta- YouTube, 17 April.
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