Im ready to die biggie smalls
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As men are increasingly engaged in equality and gender debates, issues like depression and fatherhood appear in discussion more. can be moved by female companionship and undermines any orthodox misogyny he might be associated with.Ī new-wave feminist perspective on the album could also make note of the masculinity in it. The mourning nature of this song ultimately shows that even the Notorious B.I.G. We have an original depiction of a woman in a rap song admired and adored by Biggie, a tragic heroine. We’ve got parity (“A real bitch is all I want… With a glock just as strong as me/Totin’ guns just as long as me”) as well as poignancy (“I swear to God I hope we fucking die together” … “They killed my best friend…”). The title and the line about “beating her right” doesn’t bode well, yet this is probably the most romantic track on the album despite the distressing outcome. ‘Me and My Bitch’ is similarly surprising when you listen beneath the surface. The whole scene feels in no way derogatory tongue-in-cheek it might be, but this break in the album suits the new-wave feminist value of sexual autonomy and reveals an unexpected side to Brooklyn’s finest. Rather than resisting the powerful force of feminine pleasure as a source of liberation, Biggie seems to condone it. Since Donna Summer’s iconic orgasm, African-American women singers have long utilised sexuality for the sake of expressing independence and enjoyment.
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She is clearly getting the most out of it as the 380-pound rapper tries to keep up. The ‘Fuck Me’ interlude-the predecessor to those video clips your friends send to you that unexpectedly turn into loud porn half way through-is literally the sound of Biggie’s female counterpart thoroughly enjoying herself for 90 seconds. for nuttin”, depicting a man who takes pride in his work, doing all that is necessary to leave no customer dissatisfied. Another line goes “I gotcha wishin’ for an intermission/Fuck the kissin, lickin down to your belly button, I ain’t frontin/they don’t call me B.I.G. In ‘One More Chance’, Smalls promises that “Whether it’s stiff tongue or stiff dick/Biggie squeeze it to make shit fit”, proving himself to be a rather accommodating lover. Violence is second to sex in this album and presented much more ambiguously. Under Biggie’s rules, men and women are just as disposable as each other-equality, yay.
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Rather than the discomfort felt when listening to say Eminem’s ‘Kim’, there’s a sense of indifference for anyone and everyone that gets in his way. Violence towards women is indisputable, yet Biggie exerts just as much brutality on the male victims of his verbal spray-you certainly can’t accuse him of double standards.
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The initially censored line on ‘Gimme the Loot’ about robbing a woman even if she’s pregnant alongside the murder of another woman in a car sound pretty cold after 20 years. Regardless of how pissed off they make him, the women in ‘Friend of Mine’ probably don’t deserve the hate Biggie’s offering. There are certain moments difficult to justify. This might sound as far-fetched as Kanye doing an album about rectal sensuality, but there are multiple moments throughout ‘Ready to Die’ that stand out for the fact they don’t fall into the typical misogynist discourse in hip-hop. What I heard was something quite different and far more original-a partial new-wave feminist piece. I recently heard the album ‘Ready to Die’ for the first time, expecting exactly the kind of subject matter that is so often condemned as sexist. Amongst the genre’s icons that are held up as examples of this is Biggie Smalls. There’s been much written about the role of hip-hop as a cultural obstacle to feminism a globally favoured genre that advocates misogyny verse after verse, rapper after rapper.