Wallace was born and raised in the Brooklyn borough of New York City. His debut album Ready to Die (1994) made him a central figure in East Coast hip hop and increased New York City's visibility in the genre at a time when West Coast hip hop dominated the mainstream. The following year, he led Junior M.A.F.I.A.—a protégé group composed of his childhood friends—to chart success. In 1996, while recording his second album, Wallace was heavily involved in the growing East Coast–West Coast hip hop feud. On March 9, 1997, he was murdered by an unknown assailant in a drive-by shooting in Los Angeles. His second album, Life After Death (1997), released two weeks later, rose to No. 1 on the U.S. album charts. In 2000, it became one of the few hip-hop albums to be certified Diamond.
Wallace was noted for his "loose, easy flow"; dark, semi-autobiographical lyrics; and storytelling abilities, which focused on crime and hardship. Three more albums have been released since his death, and he has certified sales of over 17 million records in the United States, including 13.4 million albums.
Wallace was born at St. Mary's Hospital in the Brooklyn borough of New York City on May 21, 1972, the only child of Jamaican immigrant parents. His mother, Voletta Wallace, was a preschool teacher, while his father, Selwyn George Latore, was a welder and politician. His father left the family when Wallace was two years old, and his mother worked two jobs while raising him. Wallace grew up at 226 St. James Place in Brooklyn's Clinton Hill, near the border with Bedford-Stuyvesant. Wallace excelled at Queen of All Saints Middle School winning several awards as an English student. He was nicknamed "Big" because he was overweight by the age of 10. Wallace said he started dealing drugs when he was around the age of 12. His mother, often away at work, did not know of his drug dealing until he was an adult. He began rapping as a teenager, entertaining people on the streets, and performed with local groups the Old Gold Brothers and the Techniques. At his request, Wallace transferred from Bishop Loughlin Memorial High School to George Westinghouse Career and Technical Education High School, where future rappers DMX, Jay-Z, and Busta Rhymes were also attending. According to his mother, Wallace was still a good student but developed a "smart-ass" attitude at the new school. At age 17, Wallace dropped out of school and became more involved in crime. In 1989, he was arrested on weapons charges in Brooklyn and sentenced to five years' probation. In 1990, he was arrested on a violation of his probation. A year later, Wallace was arrested in North Carolina for dealing crack cocaine. He spent nine months in jail before making bail.
Wallace's lyrical topics and themes included mafioso tales ("Niggas Bleed"), his drug-dealing past ("10 Crack Commandments"), materialistic bragging ("Hypnotize"), as well as humor ("Just Playing (Dreams)"), and romance ("Me & My Bitch"). Rolling Stone named Wallace in 2004 as "one of the few young male songwriters in any pop style writing credible love songs".
Guerilla Black, in the book How to Rap, describes how Wallace was able to both "glorify the upper echelon" and "[make] you feel his struggle". According to Touré of The New York Times in 1994, Wallace's lyrics " autobiographical details about crime and violence with emotional honesty". Marriott of The New York Times (in 1997) believed his lyrics were not strictly autobiographical and wrote he "had a knack for exaggeration that increased sales". Wallace described his debut as "a big pie, with each slice indicating a different point in my life involving bitches and niggaz... from the beginning to the end".
Ready to Die is described by Rolling Stone as a contrast of "bleak" street visions and being "full of high-spirited fun, bringing the pleasure principle back to hip-hop". AllMusic write of "a sense of doom" in some of his songs and the NY Times note some being "laced with paranoia"; Wallace described himself as feeling "broke and depressed" when he made his debut. The final song on the album, "Suicidal Thoughts", featured Wallace contemplating suicide and concluded with him committing the act.
On Life After Death, Wallace's lyrics went "deeper". Krims explains how upbeat, dance-oriented tracks (which featured less heavily on his debut) alternate with "reality rap" songs on the record and suggests that he was "going pimp" through some of the lyrical topics of the former. XXL magazine wrote that Wallace "revamped his image" through the portrayal of himself between the albums, going from "midlevel hustler" on his debut to "drug lord".
AllMusic wrote that the success of Ready to Die is "mostly due to Wallace's skill as a storyteller"; in 1994, Rolling Stone described Wallace's ability in this technique as painting "a sonic picture so vibrant that you're transported right to the scene". On Life After Death, Wallace notably demonstrated this skill on "I Got a Story to Tell", creating a story as a rap for the first half of the song and then retelling the same story "for his boys" in conversation form.
Considered one of the best rappers of all time, Wallace was described by AllMusic as "the savior of East Coast hip-hop". The Source magazine named Wallace the greatest rapper of all time in its 150th issue in 2002. In 2003, when XXL magazine asked several hip hop artists to list their five favorite MCs, Wallace's name appeared on more rappers' lists than anyone else. In 2006, MTV ranked him at No. 3 on their list of The Greatest MCs of All Time, calling him possibly "the most skillful ever on the mic". Editors of About.com ranked him No. 3 on their list of the Top 50 MCs of Our Time (1987–2007). In 2012, The Source ranked him No. 3 on their list of the Top 50 Lyrical Leaders of all time. Rolling Stone has referred to him as the "greatest rapper that ever lived". In 2015, Billboard named Wallace as the greatest rapper of all time.
Since his death, Wallace's lyrics have been sampled and quoted by a variety of hip hop, R&B and pop artists including Jay-Z, 50 Cent, Alicia Keys, Fat Joe, Nelly, Ja Rule, Eminem, Lil Wayne, Game, Clinton Sparks, Michael Jackson and Usher. On August 28, 2005, at the 2005 MTV Video Music Awards, Sean Combs (then using the rap alias "P. Diddy") and Snoop Dogg paid tribute to Wallace: an orchestra played while the vocals from "Juicy" and "Warning" played on the arena speakers. In September 2005, VH1 held its second annual "Hip Hop Honors", with a tribute to Wallace headlining the show.
Wallace had begun to promote a clothing line called Brooklyn Mint, which was to produce plus-sized clothing but fell dormant after he died. In 2004, his managers, Mark Pitts and Wayne Barrow, launched the clothing line, with help from Jay-Z, selling T-shirts with images of Wallace on them. A portion of the proceeds go to the Christopher Wallace Foundation and to Jay-Z's Shawn Carter Scholarship Foundation. In 2005, Voletta Wallace hired branding and licensing agency Wicked Cow Entertainment to guide the estate's licensing efforts. Wallace-branded products on the market include action figures, blankets, and cell phone content.
The Christopher Wallace Memorial Foundation holds an annual black-tie dinner ("B.I.G. Night Out") to raise funds for children's school equipment and to honor Wallace's memory. For this particular event, because it is a children's schools' charity, "B.I.G." is also said to stand for "Books Instead of Guns".
There is a large portrait mural of Wallace as Mao Zedong on Fulton Street in Brooklyn a half-mile west from Wallace's old block. A fan petitioned to have the corner of Fulton Street and St. James Place, near Wallace's childhood home renamed in his honor, garnering support from local businesses and attracting more than 560 signatures.
A large portrait of Wallace features prominently in the Netflix series Luke Cage, due to the fact that he served as muse for the creation of the Marvel Cinematic Universe's version of Marvel Comics character Cornell "Cottonmouth" Stokes.
Intro
The Notorious B.I.G. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Come on, she almost there push, come on
Come on, come on, push, it's almost there
One more time, come one
Come on, push, baby, one more time
Harder, harder, push it harder
Push, push, come on
One more time, here it goes
Yeah, come on
Yeah, yeah
You did it, baby, yeah
But if you lose, don't ask no questions why
The only game you know is do or die
Ah-ha-ha
Hard to understand what a hell of a man
Hip hop the hippie the hippie
Tp the hip hop and you don't stop
Rock it out, baby bubba, to the boogie, the bang-bang
The boogie to the boogie that be
Now what you hear is not a test, I'm rappin', to the beat
Goddamn it, Voletta, what the fuck are you doin'?
You can't control that goddamn boy? (What?)
I just saw Mr. Johnson, he told me he caught the motherfucking boy shoplifting
What the fuck are you doing? (Kiss my black ass, motherfucker)
You can't control that god-, I don't know what the fuck to do with that boy
(What the fuck do you want me to do?)
If if you can't fucking control that boy, I'ma send him
(All you fucking do is bitch at me)
Bitch, bitch, I'ma send his motherfuckin' ass to a group home goddamnit, what?
I'll smack the shit outta you bitch, what, what the fuck?
(Kiss my black ass, motherfucker)
You're fuckin' up
(Comin' in here smelling like sour socks you, dumb motherfucker)
When I'm bustin' up a party I feel no guilt
Gizmo's cuttin' up for thee
Suckers that's down with nei-
What, nigga, you wanna rob them motherfuckin' trains, you crazy?
Yes, yes, motherfucker, motherfuckin' right, nigga, yes
Nigga, what the fuck, nigga? We gonna get-
Nigga, it's eighty-seven nigga, is you dead broke?
Yeah, nigga, but, but
Motherfucker, is you broke, motherfucker?
We need to get some motherfuckin' paper, nigga
Nigga it's a train, ain't nobody never robbed no motherfuckin' train
Just listen, man, is your mother givin' you money, nigga?
My moms don't give me shit nigga, it's time to get paid, nigga
Is you with me? Motherfucker, is you with me?
Yeah, I'm with you, nigga, come on
Alright then, nigga, lets make it happen then
All you motherfuckers get on the fuckin' floor
Get on the motherfuckin' floor
Chill, give me all your motherfuckin' money
And don't move, nigga
I want the fuckin' jewelry
Give me every fuckin' thing
Nigga, I'd shut the fuck up or I'ma blow your motherfuckin' brains out
Shut the fuck up, bitch, give me your fuckin' money, motherfucker
Fuck you, bitch, get up off that shit
What the fuck you holdin' on to that shit for, bitch?
I get money, money I got
Stunts call me honey if they feel real hot
Open C-74, Smalls
Mr. Smalls, let me walk you to the door
So how does it feel leavin' us?
Come on, man, what kind of fuckin' question is that, man?
Tryin' to get the fuck up out this joint, dog
Yeah, yeah, you'll be back
You niggas always are
Go ahead, man, what the fuck is you hollerin' about?
You won't see me up in this motherfucker no more
We'll see
I got big plans nigga, big plans, hahaha
The beginning of "Intro" by The Notorious B.I.G. is a recording of the birth of his son Christopher Wallace Jr. The song opens with sounds of a woman in labor, pushing and being encouraged by those around her. The midwives say "I see the head," and moments later, the baby cries. The line "You did it baby, yeah" reinforces the empowerment and strength of the woman giving birth. The song quickly shifts to a completely different vibe, with an upbeat and funky hip-hop beat. The shift between the two parts of the song could represent the duality of Biggie's persona - one part family man and another part gangster rapper.
The second half of the song features a recorded argument between Biggie's mom, Voletta Wallace, and a person who is never identified. The argument is heated and intense, and it's unclear what the argument is about. This could be seen as a reflection of Biggie's upbringing in Brooklyn, New York, where arguments and fights were a daily occurrence. The final lines of the song show Biggie's determination to escape that life and make something of himself, proclaiming that he has "big plans."
Line by Line Meaning
Push
Encouragement for the mother giving birth to push harder and give birth to the baby.
C'mon she almost there push c'mon
Urging the mother to push as the baby is almost coming out.
C'mon c'mon push it's almost there
Continued encouragement for the mother to push as the baby is almost born.
One more time c'mon
Asking the mother to push one more time to ensure the baby is born.
C'mon push baby one more time
Urging the mother to push one more time to ensure the baby is born.
Harder harder push harder
Encouraging the mother to push harder to deliver the baby.
Push push c'mon
Urging the mother again to push to deliver the baby.
One more time here it goes
Asking the mother to push one more time to complete the delivery.
I see the head
Notifying the mother that the baby's head can now be seen.
Yeah c'mon
Encouragement to the mother to continue pushing to deliver the baby.
Yeah
Affirmation and support for the mother giving birth.
You did it baby yeah
Congratulating and praising the mother for successfully delivering the baby.
The hibby, the hibby dibby hip hop and ya don't stop
Starting to rap and express oneself through music.
Rock it out baby bubba, to the boogedy bang bang
Encouraging listeners to dance and enjoy the music.
The boogey to the boogedy beat
Promoting the idea of dancing and enjoying the music being played.
Now what you hear is not a test, I'm rappin', to the beat
Confirming that the listener is hearing a live performance and not a recorded track, while also introducing oneself as a rapper.
God damnit Voletta, what the fuck are you doin'?
Angrily addressing someone named Voletta and questioning their actions.
You can't control that goddamn boy? (What?)
Questioning why the person named Voletta hasn't been able to control a young boy (potentially Biggie himself).
I just saw Mr. Johnson, he told me he caught the motherfucking boy shoplifting
Revealing that the boy mentioned earlier has been caught shoplifting by someone named Mr. Johnson.
What the fuck are you doing?
Demanding answers from Voletta about why the boy hasn't been properly controlled.
If if you can't fucking control that boy, I'ma send him
Threatening to send the boy somewhere else if he continues to be difficult to manage.
(All you fucking do is bitch at me)
Voletta is being criticized for complaining and not taking action.
Bitch, bitch, I'ma send his motherfuckin' ass to a group home goddamnit, what?
Continuing to threaten to send the boy to a group home if he doesn't improve his behavior.
I'll smack the shit outta you bitch, what, what the fuck?
Using physical threats to intimidate Voletta.
(Kiss my black ass motherfucker)
Voletta responds by insulting the singer, asserting herself and her independence.
You're fuckin' up
Accusing Voletta of failing to properly control the young boy.
(Comin' in here smelling like sour socks you dumb motherfucker)
Further verbally attacking Voletta by criticizing her appearance and lack of intelligence.
Gizmo's cuttin', up for the
Referring to someone named Gizmo and teasing/promoting their abilities (possibly as a DJ/producer).
Suckers that's, down with me
Acknowledging followers and supporters of the artist's music.
What nigga you want to rob them motherfuckin' trains you crazy?
Asking someone if they are serious about wanting to rob a train.
Yes, yes, motherfucker, motherfuckin' right, nigga yes
Confirming that they are indeed serious about the plan to rob a train.
Nigga what the fuck nigga?
Responding to someone's disbelief or confusion regarding the plan to rob a train.
We gonna get
Asserting that they will be able to successfully rob the train.
Nigga it's eighty-seven nigga, is you dead broke?
Referencing the year and questioning if someone is completely without money.
Yeah nigga but, but
Admitting to a lack of funds, but still expressing hesitation about the plan to rob a train.
Motherfucker is you broke motherfucker?
Taunting someone for being broke and doubting their ability to contribute to the train robbery plan.
We need to get some motherfuckin' paper nigga
Stressing the need for money and using slang to emphasize the point.
Nigga it's a train ain't nobody robbed no motherfuckin' train
Asserting that robbing a train is not a realistic or practical plan.
Just listen man, your mother givin' you money nigga?
Suggesting that someone receives financial support from their mother, and using it as a reason to contribute to the train robbery plan.
My moms don't give me shit nigga, it's time to get paid nigga
Admitting that their mother does not provide financial support and emphasizing the need to earn money through the train robbery plan.
Is you wit me? Motherfucker is you wit me?
Asking someone if they are committed to the train robbery plan and insisting for an affirmative response.
Yeah I'm wit you nigga c'mon
Confirming commitment to the plan and urging the others to take action.
Alright then nigga lets make it happen then
Agreeing to put the plan into action and expressing determination.
All you motherfuckers get on the fuckin' floor
Commanding everyone present to get on the floor in preparation for the train robbery.
Get on the motherfuckin' floor
Insisting for everyone to promptly lie down on the floor.
Chill, give me all your motherfuckin' money
Demanding that everyone give them all the money they have.
And don't move nigga
Warning everyone to not even attempt to move or act against them during the robbery.
I want the fuckin' jewelry
Demanding that all jewelry be handed over as well.
Give me every fuckin' thing
Demanding that everything of value be handed over during the robbery.
Nigga I'd shut the fuck up or I'ma blow your motherfuckin' brains out
Threatening someone for being uncooperative or verbally defiant during the robbery.
Shut the fuck up bitch, give me your fuckin' money motherfucker
Disrespectfully commanding someone to be quiet and hand over their money during the robbery.
Fuck you bitch, get up off that shit
Insulting someone and demanding that they hand over any valuable possessions in their possession.
What the fuck you holdin' on to that shit for bitch?
Questioning why someone is refusing to hand over their possessions during the robbery.
Open C74, Smalls
Referring to C-74, a music studio at 74 Leonard Street in New York City, and directing someone named Smalls to open it.
Mr. Smalls, let me walk you to the door
Politely offering to escort Mr. Smalls to the door.
So how does it feel leavin' us?
Asking Mr. Smalls how he feels about departing from their surroundings.
C'mon man, what kind of fuckin' question is that man?
Dismissing the question as irrelevant or unnecessary.
Tryin' to get the fuck up out this joint dog
Expressing desire to leave the location.
Yeah, yeah, you'll be back
Jokingly suggesting that Mr. Smalls will return to their location in the future.
You niggaw always are
Continuing to joke with Mr. Smalls and implying that they know he always comes back.
Go head man, what the fuck is you hollerin' about?
Encouraging Mr. Smalls to leave and asking why he is causing a commotion.
You won't see me up in this motherfucker no more
Confirming that the singer will not be returning to the location.
We'll see
Leaving the possibility open that the singer may return at a later time.
I got big plans nigga, big plans
Asserting that they have a lot of ambitious plans for their future.
Lyrics © Warner Chappell Music, Inc.
Written by: Curtis Mayfield, Bernard Edwards, Nile Rodgers, Christopher Wallace, Osten S. Jr. Harvey
Lyrics Licensed & Provided by LyricFind
@machinegunfunk8908
The best intro to a hip hop album ever
@concheadle1852
Far from it
@jervonwilson3685
@@concheadle1852 best ever
@livindeadghoul
@@concheadle1852 Anyway, best intro to a hip-hop album ever
@rheeno3427
The Genesis?
@nochianand
@@rheeno3427 the genesis is so goated
@livetransmission1949
This intro tells a story, born into a world of superfly whilst crying, then hears rappers delight but the domestic problems distracts him from the music, so he gets out of the house and falls in with streets. Goes to prison. Gets out. On a mission for a higher purpose. The rest is history.
@DaddyD-og4jp
Yes exactly!!! 💯 when rap told stories!! I really appreciate your hypothesis of the intro!!
@livetransmission1949
@@DaddyD-og4jp i appreciate thar
@tremainehughes5974
I wish he wouldn't of started rapping. He'd probably still be alive 😥 RIP BIG You was and still is the DOPEST