Until now, this cover hasn’t been featured on an official vinyl edition of Ready To Die since the album’s release in 1994. Since then—both for the cover’s visual power alone and the overall impact of the album—it’s become one of the most recognizable album covers of all time.
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The design alludes to the most condensed version of the lifecycle possible, the guaranteed bookends. But at the time Notorious B.I.G. recorded the introspective bangers on Ready To Die, it was the version he was facing. On one hand, he was facing the possibility, reality and inevitability of death and chronicling it into an album, and on the other he had a baby girl at home to feed. Once you slide the record out of its sleeve and put it on, the first thing you’re confronted with is an autobiographical timeline reduced to 3 minutes and 24 seconds, naturally starting birth.
Ready To Die wasn’t the first cover to take advantage of impactful infant imagery, and it certainly wasn’t the last. Released 6 months after Nas’ Illmatic, which features a baby Nas on the front, Biggie’s cover even spurred controversy claiming the cover was a Nas rip-off. Ghostface and Nas even took digs at Biggie on Raekwon’s “Shark Niggas (Biters)” and “Last Real Nigga Alive:” “Bad Boy biting Nas album cover.” And whether by direct reference, influence or coincidence, the list of monumental albums with little ones on the front after 1994 is massive; everyone from Drake to Nirvana to Lil Wayne to the Cranberries.
The only thing more powerful than a premature death is a death foretold. When Notorious BIG closed his second album, 1997's Life After Death, with the track You're Nobody (Til Somebody Kills You), and was promptly murdered just weeks before its release, hip-hop's characteristic blurring of life and art reached its grisly apotheosis. Just months earlier, his bitter rival Tupac Shakur had also been shot dead, and his own posthumously released final album, The Don Killuminati: the 7 Day Theory, was rife with paranoia and fodder for conspiracy theories. The two murders, both still unsolved, comprise the defining drama in the history of hip-hop.
From the start, the two men's vexed relationship had an enthralling yin-yang quality. They were born less than a year apart: Tupac in 1971, Biggie (aka Christopher Wallace) in 1972. Tupac worked on the west coast, Biggie on the east. Tupac had the good looks, revolutionary heritage (his mother was former Black Panther Afeni Shakur) and poetic aspirations, but only middling skills. Biggie had the gangster credentials (he used to deal crack in Brooklyn), everyman appeal and effortless, weighty-but-nimble flow — to him, rapping itself was sheer poetry. Bahut pyar karte h tumko sanam. They both thought big: hip-hop heroes for the mainstream rather than the cognoscenti.
They were on good terms until Tupac was shot five times in a Manhattan recording studio on 30 November 1994. He suspected Biggie and his mentor, Sean 'Puffy' Combs, of arranging the shooting. After serving almost a year in jail for sexual abuse, he signed with Death Row, whose shady kingpin Suge Knight had his own grudge against Combs. Old-fashioned territorial rivalry, a familiar and largely harmless theme in hip-hop, blossomed into a more dangerous vendetta between the east and west coast factions, stoked by lyrical provocations from Biggie (Who Shot Ya?) and Tupac (Hit 'Em Up). 'Fear got stronger than love, and niggas did things they weren't supposed to do,' Tupac ominously told Vibe magazine.
But this is where the myth risks overtaking reality. Despite numerous competing theories, nobody has ever been prosecuted for either murder, and there's no evidence that the feud directly led to the killings. And the MCs' grim premonitions stemmed more from bravado than a genuine death wish. Tupac's 1996 album All Eyez on Me and Biggie's Life After Death were both brash, triumphalist, vibrant records. (Even the title of the latter's 1994 debut, Ready to Die, was Puffy's idea; Biggie preferred the Gotti-inspired The Teflon Don.)
Biggie Ready To Die Lyrics
Taken together, the two records are complex, compendious celebrations of the kind of superstar lifestyle that had fallen from favour in rock music, with a keen sense of the low expectations and narrow opportunities that their creators had escaped. For evidence of their differing approaches, take Tupac's Hold Ya Head ('My aim is to spread more smiles than tears/Utilise lessons learned from my childhood years') or Biggie's earlier hit Juicy ('Damn right I like the life I live/'Cause I went from negative to positive'). Each man had an angel on one shoulder and a devil on the other. At any given moment each could be either witty or morose, socially conscious or self-serving, sensitive or brutal, invincible or doomed. All hip-hop life was here. Neither man seemed ready to die.
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Tupac was shot after a Tyson fight in Las Vegas on 7 September 1996 and died of internal bleeding six days later in critical care at the University Medical Centre. Biggie was hospitalised in a car crash that same year and began walking with a cane. Combined with his physical heft and penchant for expensive suits, it made him look much older than his 24 years: Big Poppa, as he called himself in one song. On 9 March 1997, after attending a party in Los Angeles, he was also fatally hit in a drive-by shooting.
The deaths became iconic for many reasons. One was the enduring mystique of the young talent who burns out before he can fade away. Past a certain age, every MC struggles to recapture the energy and relevance of their early years, but Biggie and Tupac never had time to grow slow and lazy. The murders also lent hip-hop the tragic dimension it had long been gesturing towards. For all its gun-toting machismo, mid-90s hip-hop had a sentimental streak, and Puff Daddy's mawkish tribute to his fallen pal, I'll Be Missing You, became one of the biggest-selling rap singles ever, the musical equivalent of a memorial portrait spray-painted on a wall. The killings gave hip-hop real-world pathos.
Ready To Die Biggie Book
In death, their paths diverged. Tupac, always more self-conscious in his myth-making, became the rapper as icon, scrutinised by academics and revered worldwide as a latter-day Bob Marley, with many of his troubling contradictions washed away. Biggie, always more down-to-earth, remains the MC's MC, remembered for his lyrical skills and abundant appetites, and a vital inspiration to two of hip-hop's most significant empire-builders, his friends Puffy and Jay-Z. In their different ways, their short careers and dramatic demises helped make hip-hop an all-conquering global force.