Songs like “Everyday Struggle” and “Suicidal Thoughts” showed Big’s depth, frequent references to his mother showed his rearing, and casual dropping of words like “placenta” showed his coy love of language. “Those that rushes my clutches get put on crutches, get smoked like dutches, from the master” you can hear the roots of “punchline rap” forming in Big’s puns and internal rhyme, and the ironic turns of phrase that kids like Cam’ron would intensify years later: “‘I thought he was wack!’-Oh come, come, now, why y’all so dumb now?”Īt the time, the album was praised for its honest portrayal of the drug dealer’s internal conflicts, as opposed to sunny glorification of gang violence imported from L.A. “Unbelievable” was the antithesis of “Juicy,” a love-letter to underground rap radio shows like Stretch & Bobbito, and to anyone with an oversized Land Cruiser (another change to consider-New Yorkers used to drive). And if taut flows were giving way to languid hooks, B.I.G. If Cali crossed over with low-rider funk from Parliament, New York would ride on block-party boogie from Mtume. was getting paged at 5:46, wiping cold out his eye. He was a gruff, neurotic alternative to the ice-cool Snoop Dogg: if Snoop had bitches in the living room till six in the morning, B.I.G. What made Christopher Wallace pop-palatable amid such a gruesome backdrop was his humor, personality, and wit. The day that he left, the Raleigh house he’d operated out of was raided by police officers. to pick up the slack, and Puffy called him, alternately begging and demanding the rapper stop hustling and return to New York, devoted to music for good. When his record advance didn’t land quickly enough, he went back to N.C. was splitting time between Brooklyn and Raleigh, where he’d set up a profitable drug operation. But as the demo’s opening line specified, it was only at the nudging of his close friends that he pursued music-B.I.G. The demo he recorded, “Microphone Murderer,” along with a few other cuts, made it’s way to The Source’s Unsigned Hype column, then influential in hip-hop’s walled off media environment, and then to Bad Boy, where Sean “Puffy” Combs would sign him. In 1992, “a whole lot of niggas want Big to make a demo tape.” He’d been battling around Fulton St since he was 13, and was known in Bedford-Stuyvesant as a force, in music and otherwise. “Things done changed on this side,” the sample declares, a savvy appropriation that characterized a rise in violence across coasts, and a shift in sound that B.I.G. Dre’s voice we hear between verses, dispatching from Compton. It goes unmentioned here, but hip-hop’s region of choice had changed too: New York’s first generation of rap inventors had given way to the West Coast, so it’s Dr.
Life used to be about funny hairstyles, curbside games, and lounging at barbecues, he says, but “Turn your pagers to 1993,” and the story has taken an inexplicably dark turn. Its intro maps B.I.G’s life against the sounds of various eras-’70s “Superfly,” ‘80s “Top Billin’,” and ‘90s Doggystyle-before the 21-year-old launches into “Things Done Changed,” an opening monologue that sets the chaotic scene.
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Even then, the album was a reflection: an over-the-top, fisheye union address of the city’s waning crack era, and a reeling admission that something must have gone terribly wrong for it to have happened. opened Ready to Die by complaining about changes in the city around him over 20 years ago. The thrill is a combination of fear and gall, rooted in the security that the scene will likely never repeat itself.īut there may be something habitual in New York’s craned gaze backward. Young transplants and natives alike would rather hear old tall tales than experience anything near it firsthand distinct from nostalgia, it's more like moving into a home where a murder occurred. The lawlessness it describes-robberies at gunpoint on the A train, open-air hand-to-hand crack deals on Fulton St., shootouts with the NYPD-land unfathomably to most New Yorkers today. But the shift has fossilized a certain kind of rap album, like The Notorious B.I.G.’s debut Ready to Die, released in 1994. This is undoubtedly a good thing-entrepreneurial city teens today hustle fashion trends to ogling editors instead of baggies to scraggly addicts. Sure, there are bike messengers that peddle weed packed in plastic jars and Russian mobsters who launder money through Coney Island auto-shops, but the kind of trap-house, dope-boy, Robin Hood archetype that still carries in cities like Atlanta has been wiped clean from tri-state folklore. New York City doesn’t sell drugs anymore.
Today we commemorate the 20th anniversary of the death of Christopher Wallace with a review of his 1994 debut Ready to Die, an unparalleled piece of rap history.
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