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“Ready to Die” 1994–2017 MA CCC CENTRAL SAINT MARTINS

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“Ready to Die” 1994–2017 MA CCC CENTRAL SAINT MARTINS “Ready To Die” 1994–2017 MA CCC CENTRAL SAINT MARTINS 1 F.Sargentone march 2017 ed: /2 2 READY TO BE The Anti-Cinematographic eye Writing an introduction to this publication has probably been one of the most difficult things I have ever done in the recent years. I thought it could have been easy to talk about one of the most influential records of the whole music history. It turned out that this loose, A5 –sized, home printed book- let is the only existing monographic work on Notorius B.I.G.’s Ready To Die. By stating this at the beginning of the sup- posed dissertation, I want to make sure that the reader could read these lines as the raw output of a deep, although instinc- tive, research on one of the milestones of hip-hop cultural history. The research pro- cess, of which this booklet testifies the ma- terial result, has been spontaneous, in the sense that did not started as a canonical research question, but instead it happened a posteriori, being the record a very famil- iar matter for me since ages. As you will see, the lyrics of the songs contained within Ready To Die are formal- ly printed –without any additional editing– from RapGenius, a world famous website collecting lyrics and anecdotes of hip-hop songs from users. The oral history com- ponent of this platform is an essential el- ement shared with early hip-hop culture, in which realities existed and formalised themselves only via word of mouth or so- cio-cultural affinity with the hip-hop phe- nomenon. 3 No lyrics booklets were provided with the records. Starting from this oral, user generated ap- proach towards street literature, I have progressively developed a visual research through Google Images, entering generic, stereotyped queries within Google’s search engine. All the visual references within the publication are publicly and widely dissem- inated, organised into macro-themes be- longing to generalised black-culture topoi. “Gangsta car”, “gangsta bedroom”, “pimped nails”, “black Brooklyn 90s”, “90s guns”, “police in Brooklyn”, “police in Har- lem”, “bucks and guns”, “black woman hair”, “black hair”, “3D black woman mod- el” are few examples of my automatized research via Google. In doing this, I wanted to perform the stig- ma with which early hip-hop culture and rap music were dealing in their primitive environment. In its vernacular age, hip-hop has been read mostly as black-folklore rather than as a literary and musical genre, as a sort of street-oriented, rudimentary novel depict- ing the life of the ghetto. The categorisation of rap music as rudi- mentary and primitive has been an enor- mous trend in music history, especially when opposed to rock and pre-heavy metal music in the early 80s, and it actually end- ed when rap became to be market-placed by the big players in the music industry. There is a line drawn by Ready To Die. And it is the line of consciousness within hip-hop lyrics. In his first record, Notorius B.I.G is effectively conscious of what was happening to hip-hop culture, aware of the 4 commoditization and appropriation of the whole black culture. This process of ap- propriation became a schema during the late 90’s, when brands as Nike and Adidas started to create an imaginary, stereotyped character of the so-called urban man. Of course that was the time in which a young, almost desperate, black man could find his own luck instantaneously. And no shame on this; the rap game is based on chains and bucks, it has its own rules based on the “I did it” criterion. Formally, Ready To Die is different from every rap record of that age. It is not funky, not musically appealing, not easy, not hap- py, not positive, not goliardic and not cir- cumstantial as rap records used to be (i.e. alluding to personal background through a cinematographic amplification of the reali- ty). There is a deep, claustrophobic feeling within the songs, both in the lyrics and the musical structure. The atmospheres are oppressive, auto-referential and hypnotic; totally against any accepted paradigm in 90s hit-parade rap music. The beats are rhythmically essential, with the drum-kits totally pitched down of two or three oc- taves in order to resemble to bass notes. The samples are repeated continuously, as looping sounds for hypnosis. The general macro-framework in which the record may be read is an advanced, intellectual version of early gangsta-rap, based on real, unfiltered life events. The record is probably the first cultural product of hip-hop culture that features elements of pure autobiography, intended as the ac- tual description of feelings, emotions as well as drug dealing and shootings. This stylistic mixture appears evident in the 5 lyrical component, where lines describing Biggie’s chronic depression are rhymed with very raw events belonging to the crim- inal sphere. In the lyrics, Biggie’s authorial presence is emotionally relevant, confiden- tial in its candour, especially in the closing track, “Suicidal Thoughts”. Ready To Die is a unique masterpiece of self-awareness. A brilliant work of criticism toward rap-game schemata and clichés, in which being emotional may result as being weak, which is probably the only charac- teristic that a gangsta should never show out in the streets. In the There is no need for street-credibility, no impulse to instigate a certain mentality, even if narrating it at the same time. That beats, that never-ending samples. Everything is authentic, non-fictional. The most direct de-constructional jazz ap- proach within street music. Federico Sargentone 6 1. Intro Wallace C., Combs S. (What the fuck do you, what do you do?) If if you can’t fucking control him (All you fucking do is bitch at me) Bitch, what I say, I’mma send his motherfuckin ass to a group home goddamnit, what? I’ll smack the shit outta you bitch (Take your black ass the fuck outta here) Motherfucker, you are fucking up (Comin in here, smelling like pile of shit, dumb motherfucker) [Part 1: Puff Daddy] Push *Sugarhill Gang - “Rapper’s Delight” C’mon Shorty stay push, c’mon fades out* C’mon, c’mon push it’s almost there One more time, c’mon *Audio Two - “Top Billin’” fades in* *baby cries* C’mon push baby, one more time [Part 3: The Notorious B.I.G. & *baby cries* Accomplice] Harder harder, push harder Accomplice: What nigga you wanna rob Push, push, c’mon them motherfuckin trains, you crazy? One more time, here it goes! B.I.G.: Yes, yes, motherfucker, I see the head! motherfuckin right, nigga yes Yeah c’mon! Accomplice: Nigga what the fuck nigga? YEAH! YEAHHHH! We gonna get... You did it baby, yeah! B.I.G.: Nigga it’s eighty-seven nigga, is you dead broke? *Curtis Mayfield - “Super Fly” plays over Accomplice: Yeah nigga but, but... this* B.I.G.: Motherfucker is you broke motherfucker? *Sugarhill Gang - “Rapper’s Delight” We need to get some motherfuckin fades in* paper nigga Accomplice: Yeah but nigga it’s a train [Part 2: ‘Prince’ Charles Alexander] ain’t nobody robbed no motherfucking God damnit Voletta, what the fuck are train you doin? B.I.G.: Just listen man, your mother You can’t control that god damn boy? giving you money nigga? My moms (What?) don’t give me shit nigga, it’s time to get I just saw Mr. Johnson, he told me he paid nigga. Is you wit me? *gun clicks* caught the motherfucking boy shoplifting Motherfuck is you wit me? (Get your black ass off!) Accomplice: Yeah I’m wit you nigga You can’t control the god, I don’t know c’mon what the fuck to do with that boy 7 B.I.G.: Alright then nigga let’s make it happen then! All you motherfuckers get on the fuckin floor! *blam blam* Get on the motherfucking floor! B.I.G.: Chill, give me all your motherfucking money Accomplice: And don’t move nigga! B.I.G.: Give me all your motherfucking money, I want the jewelry! Give me every fucking thing Accomplice: Nigga I’d shut the fuck up or I’mma blow your motherfuckin brains out! Nigga, give me your jewelry, give me your wallet B.I.G.: Fuck you bitch, get up off that shit. What the fuck you holding on to that shit for bitch? *Audio Two - “Top Billin’” fades out* *Snoop Dogg - “Tha Shiznit” fades in* [Part 4: The Notorious B.I.G. & Guard] Guard: Open C-74, Smalls. Mr. Smalls, let me walk you to the door. So how does it feel leaving us? B.I.G.: C’mon man, what kind of fucking question is that man? Trying to get the fuck up out this joint dog Guard: Yeah, yeah, you’ll be back. You niggers always are B.I.G.: Go ahead man, what the fuck is you hollering about? You won’t see me up in this motherfucker no more Guard: We’ll see B.I.G.: I got big plans nigga, big plans, hahahaha 8 2. Things Done Change Wallace C., Owen D., Scott K. [Hook x4] Back in the day [Verse 2] Things done changed on this side No more coco-levio 1, 2, 3 Remember they used to thump 1, 2, 3... all it is to me, is a mystery but now they blast, right I hear you motherfuckers talk about it [Verse 1] But I stay seeing bodies with the Remember back in the days when motherfucking chalk around it niggas had waves And I’m down with the shit too Gazelle shades and corn braids For the stupid motherfuckers want Pitching pennies, honeys had the to try to use Kung-Fu high-top jellies Instead of a MAC-10, he tried Shooting skelly, motherfuckers scrapping was all friendly Slugs in his back and that’s what Lounging at the barbecues, the fuck happens drinking brews When you sleep on the street With the neighborhood crews, Little motherfuckers with heat hanging on the avenues wanna leave a nigga six feet deep Turn your pages to 1993 And we coming to the wake Niggas is getting smoked, G: To make sure the crying and believe
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