The Notorious B.I.G.

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Christopher George Latore Wallace (May 21, 1972 – March 9, 1997), better known by his stage names the Notorious B.I.G., Biggie Smalls,<ref name="v130">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> or simply Biggie,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was an American rapper. Rooted in the New York rap scene and gangsta rap traditions, he is widely considered one of the greatest rappers of all time. Wallace became known for his distinctive, laidback lyrical delivery, offsetting his lyrics' often grim content. His music was usually semi-autobiographical, telling of hardship and criminality but also of debauchery and celebration.

Born and raised in Brooklyn, New York City, Wallace was the first artist to sign with Sean "Puffy" Combs's Bad Boy Records in 1993. That same year, he gained recognition for his guest appearances on other artists' singles. His debut studio album, Ready to Die (1994), received widespread critical acclaim and included signature tracks "Juicy" and "Big Poppa". This album made him the central figure in East Coast hip hop, helping to restore New York's prominence at a time when the West Coast was dominating the genre. In 1995, Wallace was named Rapper of the Year at the Billboard Music Awards. That same year, Wallace and his protégé group, Junior M.A.F.I.A.—which included longtime friends like Lil' Kim—released their debut album, Conspiracy (1995).

While working on his second album in 1995, he became embroiled in the growing East Coast–West Coast hip hop feud. After Tupac Shakur was murdered in a drive-by shooting in Las Vegas in September 1996, rumors circulated suggesting that criminal elements connected to the Bad Boy camp might have been involved, given Wallace's public feud with Shakur. In March 1997, six months after Shakur's death, Wallace was also killed in a drive-by shooting in Los Angeles by an unknown assailant. Two weeks later, his second album, Life After Death (1997), was issued as a posthumous double album; it debuted atop the Billboard 200, yielded two Billboard Hot 100-number one singles: "Hypnotize" and "Mo Money Mo Problems" (featuring Puff Daddy and Mase), and received diamond certification by the Recording Industry Association of America (RIAA).

With two posthumous albums released, Wallace's certified U.S. sales exceed 28Template:Nbspmillion copies, including 21Template:Nbspmillion albums. Rolling Stone called him the "greatest rapper that ever lived",<ref name="m649">Template:Cite magazine</ref> and, in 2015, Billboard named him the greatest rapper of all time.<ref name="g236">Template:Cite magazine</ref> The Source magazine named him the greatest rapper of all time in its 150th issue. 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".<ref name="mtv greatest">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2020, he was inducted into the Rock and Roll Hall of Fame.

Life and careerEdit

1972–1990: Early lifeEdit

Christopher George Latore WallaceTemplate:Sfn was born at Cumberland Hospital in Brooklyn, New York, on May 21, 1972.Template:Sfn Wallace was the only child of Jamaican immigrant parents;<ref name="d291">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn his mother Voletta Wallace (1947–2025),<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> was a preschool teacher,Template:Sfn<ref>Template:Cite news</ref> while his father Selwyn George Latore (1933–1996), was a welder and politician.Template:Sfn<ref>Template:Cite news</ref> At the age of five, he began attending preschool at Quincy-Lexington Open Door Day Care Center, where he was already bigger than most of the other children.Template:Sfn Three months before Wallace's third birthday, his father left the family, leaving his mother to raise him while working two jobs.Template:Sfn He grew up in Brooklyn's Clinton Hill,Template:Sfn near the border of Bedford-Stuyvesant.Template:Sfn As a child, Wallace spent most of his time on Fulton Street, where he was introduced to drug dealing, alcoholism, and gambling.Template:Sfn Raised as a Jehovah's Witness,<ref name="d269">Template:Cite magazine</ref> Wallace attended St. Peter Claver Church in Brooklyn, graduating from the parish elementary school in 1982.Template:Sfn He excelled in the English subject at Queen of All Saints Middle School.<ref name="p749">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He attended Westinghouse High School, a public school attended by several future celebrities, including Jay-Z and Busta Rhymes.Template:Sfn Template:Sfn

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While attending Westinghouse High School, Wallace weighed Template:Convert,Template:Sfn which earned him the nickname "Big".<ref name="rolling stone murder">Template:Cite magazine</ref> During this period, his interest in drug dealing intensified, having been influenced by the crack epidemic of the 1980s and 1990s.Template:Sfn A friend introduced him to buying and selling marijuana when he was around the age of twelve. Having grown up in a strict household, Wallace concealed the money he earned on the roof of his apartment.Template:Sfn<ref name="o749"/> His mother had no idea about this; she only discovered it when he was twenty years old.<ref name="o749"/> Despite being an honor student, Wallace dropped out of school at the age of sixteen due to his growing interest in drug dealing.Template:Sfn In 1989, he was arrested in Brooklyn on weapons charges and sentenced to five years of probation. The following year, he was arrested for violating that probation.Template:Sfn<ref name="u734">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A year later, Wallace was arrested in North Carolina for dealing crack cocaine and spent nine months in jail before making bail.<ref name="o749"/>

Early in his life, Wallace was influenced by Black artists like the Dramatics, Blue Magic, Teddy Pendergrass, Stevie Wonder, and Marvin Gaye. He was also well acquainted with the performances of Parliament-Funkadelic, Earth, Wind & Fire, Kool & the Gang, and Chic. During visits to Jamaica he was influenced by its prominent native genres, including jazz, reggae, soul, and mento.Template:Sfn As Wallace entered adolescence, he started listening to artists like Run-DMC and LL Cool J.Template:Sfn Wallace adopted the stage name MC CWest and formed the Techniques with his two friends Michael Bynum and Hubert Sams. Wallace met Donald Harrison, a saxophonist from New Orleans, and the Techniques worked on their first songs together at Harrison's home studio.Template:Sfn As the trio grew older, their interests shifted; Sams became focused on high school football, while Bynum lost interest in the music industry.Template:Sfn Wallace adopted his second stage name, Biggie Smalls, from Calvin Lockhart's character in the 1975 film Let's Do It Again.Template:Sfn

1991–1994: Early career and first childEdit

After his release from jail, Wallace produced his first demo tape in 1991 called Microphone Murderer with a disc jockey named 50 Grand.Template:Sfn<ref name="v107">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Although Wallace reportedly had little ambition for the tape, local disc jockey Mister Cee, known for his work with Big Daddy Kane and the Juice Crew, discovered and promoted it.<ref name="c243">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Mister Cee sent the tape to Matteo Capoluongo, an editor at The Source magazine, who featured the track in the "Unsigned Hype" section in March 1992, a chart dedicated to showcasing promising rappers.Template:Sfn<ref name="c237">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> That year, Wallace started gaining exposure; after reading the "Unsigned Hype" section, Sean "Puffy" Combs arranged to meet him.Template:Sfn<ref name="i967">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Combs connected Wallace to rhyme on the remix of Mary J. Blige's hit "Real Love".Template:Sfn

In 1992, Wallace's girlfriend, Jan Jackson,<ref name="p410">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> became pregnant, and he was signed to Uptown Records in March by Combs.Template:Sfn<ref name="z654">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace's first chance to record a solo track for Uptown Records, rather than featuring on another artist's remix, came in 1993 when Combs was creating a song for the soundtrack of the hip-hop comedy Who's the Man?. The song was "Party and Bullshit", produced by the Brooklyn-based Easy Mo Bee.Template:Sfn The song was heavily inspired by "When the Revolution Comes" by the Last Poets, which uses sarcasm, frustration, and humor to critique young Black people's lack of seriousness in the struggle for equality. In the track, vocalist Umar Bin Hassan delivers lines like "niggas will party and bullshit, and party and bullshit".Template:Sfn Development on Wallace's first album began at Capoluongo's apartment in late 1992.Template:Sfn Wallace appeared on Heavy D & the Boyz's 1992 album Blue Funk, on the track "A Buncha Niggas".Template:Sfn

In July 1993—a month before Wallace's first child was born—Combs was fired from Uptown Records by his mentor Andre Harrell, resulting in the loss of access to the songs recorded at that time. Jan gave birth to T'yanna Dream Wallace on August 8, 1993.Template:Sfn Template:Sfn Wallace promised his daughter "everything she wanted," believing that if he had experienced the same support in his own childhood, he would have graduated at the top of his class.<ref name="i673">Template:Cite magazine</ref> Soon after he was fired, Combs started his own record, Bad Boy Records, and took Wallace with him.<ref name="b481">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Combs discovered that Wallace continued dealing drugs and insisted he stop. When Wallace found out the name Biggie Smalls was already taken, he adopted a new moniker, settling on the Notorious B.I.G.Template:Sfn Wallace explained that the acronym "B.I.G." stood for "Business Instead of Game".Template:Sfn Combs and Clive Davis, then CEO of Arista Records, reached an agreement in which Davis provided Combs with a $1.5 million advance and full creative control. Combs promptly used the money to repurchase the tracks recorded for Wallace's album from Harrell.Template:Sfn

The "Real Love" remix single was followed by a remix of a Mary J. Blige song, "What's the 411?".<ref name="z684">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace's success continued, though to a lesser extent, with remixes of Neneh Cherry's "Buddy X" and reggae artist Super Cat's "Dolly My Baby" in 1993.Template:Sfn In July 1994, Wallace appeared alongside LL Cool J and Busta Rhymes on a remix of Craig Mack's track "Flava in Ya Ear", which reached No. 9 on the Billboard Hot 100.<ref name="b734">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Flava in Ya Ear" reached No. 1 on the rap chart for three consecutive weeks.Template:Sfn

1994: Ready to Die and marriage to Faith EvansEdit

File:Faith Evans 1998.jpg

Faith Evans (pictured in 1998), whom Wallace married in 1994

On August 4, 1994, Wallace married R&B singer Faith Evans,Template:Sfn<ref>Template:Cite magazine</ref> whom he first met in June 1994 at a promotional photoshoot.Template:Sfn Wallace and Mo Bee originally wanted "Machine Gun Funk" as the upcoming album's first single due to its "funky, upbeat" sound, but Combs preferred a "smoother" sound for the release.Template:Sfn The upcoming album's first song to be released was the title track, "Ready to Die", followed by "Gimme the Loot", "Things Done Changed", "Machine Gun Funk", and "Warning".Template:Sfn<ref name="xxl">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Five days after his marriage, Wallace had his first pop chart success as a solo artist with double A-side, "Juicy / Unbelievable",Template:Sfn<ref>Template:Cite magazine</ref> which reached No. 27 as the lead single to his debut album.<ref name="e100">Template:Cite magazine</ref>

Recorded at the Hit Factory between 1993 and 1994, Wallace released his debut studio album, Ready to Die, on September 13, 1994.Template:Sfn Inspired by Snoop Dogg's bold, violent, and darkly humorous hit records, Wallace sought to create a similar style with Ready to Die, infused with an East Coast influence.Template:Sfn Wallace originally wanted to name the album The Teflon Don, drawing inspiration from John Gotti, who was then making headlines for his ability to avoid legal troubles. Combs disagreed, arguing that the title should make an impact in a way that would "represent for the masses". Wallace agreed to follow Combs' decision, and the two conceived the name Ready to Die.Template:Sfn

Ready to Die reached No. 13 on the Billboard 200 chart,<ref name="q277">Template:Cite magazine</ref> sold 500,000 copies in its first week,Template:Sfn and was certified four times platinum.<ref name="t749"/> The album shifted attention back to East Coast hip-hop at a time when West Coast hip-hop dominated U.S. charts.Template:Sfn<ref name="f960">Template:Cite magazine</ref> It received positive reviews upon release and has been widely praised in retrospect.<ref name="w527">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="b906">Template:Cite magazine</ref><ref name="f187">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In addition to "Juicy", the album produced two other hit singles: the platinum-selling "Big Poppa", which topped the U.S. rap chart;<ref name="l905">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and "One More Chance", which sold oneTemplate:Nbspmillion copies in 1995 (the year of its release).<ref name="u907">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Busta Rhymes recalled seeing Wallace handing out copies of Ready to Die from his home, which the former saw as "his way of marketing himself".<ref name="n459">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="a914">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 1994, Wallace formed the hip-hop group Junior M.A.F.I.A.,<ref name="j092">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> which included many of his childhood friends, such as Lil' Kim and Lil' Cease.<ref name="x724">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The name is a backronym for "Masters at Finding Intelligent Attitudes".<ref name="p579">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Around the time of the album's release, Wallace formed a friendship with fellow rapper Tupac Shakur in Los Angeles.<ref name="z553">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="q452"/> Lil' Cease remembered the two as being very close, often traveling together when they were not working. He noted that Wallace frequently visited Shakur's home, and they spent time together whenever Shakur was in California or Washington, D.C.<ref>Template:Cite news</ref> Yukmouth, an Oakland emcee, stated that Wallace's style was influenced by Shakur.<ref name="d835">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace also befriended basketball player Shaquille O'Neal. O'Neal said they were introduced during a listening session for "Gimme the Loot"; Wallace mentioned him in the lyrics and attracted O'Neal to his music. O'Neal requested a collaboration with Wallace, which resulted in the song "You Can't Stop the Reign". According to Combs, Wallace would not collaborate with "anybody he didn't really respect" and that Wallace paid O'Neal his respect by "shouting him out".<ref name="p718">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2015, Daz Dillinger, a frequent collaborator with Shakur, said that he and Wallace were "cool", with Wallace traveling to meet him to smoke cannabis and record two songs.<ref>Template:Cite news</ref>

1995: Collaboration with Michael Jackson, Junior M.A.F.I.A. success, and coastal feudEdit

Junior M.A.F.I.A. began working on their debut studio album in 1994. On August 29, 1995, Conspiracy was released via Undeas Recordings.<ref name="x724"/> It achieved gold certification<ref name="t083">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and sold over 500,000 copies.Template:Sfn The first single, "Player's Anthem", features Wallace, Lil' Kim, and Lil' Cease, and was produced by Clark Kent. The third single, "Get Money", a battle-of-the-sexes track featuring Wallace and Lil' Kim, became their most popular song. "Player's Anthem" and "Get Money" charted within the top 20 in the US and also earned gold and platinum status, respectively.<ref name="v397">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace continued collaborating with R&B artists, working with groups like 112 on "Only You" and Total on "Can't You See",<ref>Template:Cite magazine</ref><ref>Template:Cite magazine</ref> both of which reached the top 20 on the Hot 100.<ref>Template:Cite magazine</ref><ref name="f040">Template:Cite magazine</ref> By the end of the year, Wallace had become the top-selling male solo artist and rapper on both the U.S. pop and R&B charts.<ref name="m172">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In July 1995, Wallace appeared on the cover of The Source with the caption "The King of New York Takes Over," a nod to his alias Frank White, inspired by the character from the 1990 film King of New York.<ref name="q685"/><ref name="g601">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> At The Source Awards in August 1995, he won Best New Artist, Lyricist of the Year, and Live Performer of the Year,<ref name="v107"/>Template:Sfn while his debut album was named Album of the Year.<ref name="q945">Template:Cite magazine</ref> He was also honored as Rap Artist of the Year at the Billboard Awards.<ref name="l622">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In 1995, Wallace became embroiled in the East Coast–West Coast hip-hop rivalry, which involved his now-former friend, Shakur.<ref name="d704">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn In an April 1995 interview with Vibe while serving time in Clinton Correctional Facility, Shakur accused Harrell, Combs, and Wallace of having prior knowledge of a robbery on November 30, 1994, during which he was shot five times and lost thousands of dollars worth of jewelry.<ref name="v156">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="x105">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> They denied any involvement.<ref name="j339">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace stated, "I had nothing to do with that, it just happened to be a coincidence that he was in the studio. He couldn't really say who really had something to do with it at the time, so he just kind of leaned the blame on me".<ref name="y682">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2012, Dexter Isaac, who was serving a life sentence for unrelated crimes, claimed responsibility for the attack on Shakur that night, stating that the robbery was orchestrated by entertainment executive and former drug trafficker James Rosemond.<ref>Template:Cite news</ref> After his release from prison, Shakur signed with Death Row Records in October 1995.<ref name="p886">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> This made Bad Boy Records and Death Row business rivals, further escalating the conflict between Shakur and Wallace.<ref name="l392">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="u037">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In October 1995, Wallace revealed that he still had not received any earnings from Ready to Die, despite the album having sold twoTemplate:Nbspmillion copies at the time. With each CD priced at $15 (Template:Inflation), the album should have generated approximately $30 million ($Template:Inflation Template:Nbspmillion in Template:Inflation/year) in revenue.Template:Sfn Amid the rivalry between Wallace and Shakur, many speculated that "Who Shot Ya?", released in late February 1995 as a secondary B-side to "Big Poppa", was intended to taunt Shakur.<ref name="t086">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn According to Lil' Cease, the song was not intended to be a comment on the shooting, stating, "He knew that song wasn't about himTemplate:Nbsp[...] he was around at that time". Lil' Cease stated that the song was an introduction for Mary J. Blige's second album, however, "the shit was too hard, so Big kept it and said, 'I'm gonna put it out'".Template:Sfn

File:Michael Jackson in 1988.jpg

Wallace worked with Michael Jackson (pictured in 1988) on HIStory Continues (1995).

In June 1995, Wallace guest appeared with pop singer Michael Jackson on the album HIStory Continues, providing vocals for the song "This Time Around".<ref name="u834">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Lil' Cease claimed that when Wallace met Jackson, he was made to stay behind, with Wallace explaining that he didn't "trust Michael with kids" due to the 1993 child sexual abuse allegations against Jackson.<ref name="b067">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The engineer John Van Nest recalled that Wallace was excited to meet Jackson and was nearly brought to tears when it happened.Template:Sfn Wallace began recording his second studio album in late 1995, working on it over the course of eighteen months in New York City, Trinidad, and Los Angeles. The recording process was disrupted by injuries, legal issues, and the publicized hip-hop feud between Wallace and Shakur.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

1996: More arrests, accusations regarding Shakur's death and second childEdit

In 1996, Lil' Kim became pregnant with Wallace's child while the two were having a love affair, but she later decided to abort it.Template:Sfn<ref name="i285">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace also started a relationship with Charli Baltimore, a Philadelphia native who portrayed Evans in the "Get Money" music video. Although Wallace shared his plans to include her in a supergroup called the Commission, she was aware that she was not the only woman in his life.Template:Sfn On March 23, 1996, Wallace was arrested outside a Manhattan nightclub for chasing and threatening two fans who were asking for autographs, smashing the windows of their taxi, and punching one of them. He pleaded guilty to second-degree harassment and was sentenced to 100 hours of community service. Later that year, he was arrested at his home in Teaneck, New Jersey, on drug and weapons possession charges.<ref name="u734"/><ref name="y196">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

At the Soul Train Music Awards in 1996, "One More Chance (Remix)" was nominated for Song of the Year and received the R&B/Soul or Rap Song of the Year award in the same year.Template:Sfn In June 1996, Shakur released "Hit 'Em Up". A diss track directed towards Wallace and other East Coast rappers, Shakur claimed to have had an affair with Evans, who was estranged from Wallace at the time, and accused Wallace of copying his style and image.Template:Sfn Template:Sfn Template:Sfn Described as "manic", "Hit 'Em Up" disses Wallace, Combs, and their associates, including Junior M.A.F.I.A., Evans, and Bad Boy Records.Template:Sfn In 1996, Wallace collaborated with rising rapper Jay-Z on his debut album, Reasonable Doubt, recording a duet titled "Brooklyn's Finest". The track used humor to address speculation surrounding Wallace and Shakur: "If Faith has twins, she'll probably have two Pacs. Get it? TuTemplate:Nbsp... Pac's."Template:Sfn According to Wallace, humor had always been his way of coping with hardship since elementary school, explaining, "I gotta make jokes about it [...] I can't be the [guy] running around all serious".Template:Sfn

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On September 7, 1996, Shakur was shot four times in a drive-by shooting in Las Vegas and died six days later.Template:Sfn Template:Sfn Template:Sfn Because of Shakur's accusations in his records, Wallace, along with other New York rappers like Mobb Deep, Capone, and Noreaga, became suspects in his murder.Template:Sfn In a 2002 Los Angeles Times series titled "Who Killed Tupac Shakur?", journalist Chuck Philips reported, based on police reports and multiple sources, that the shooting was carried out by the Southside Crips, a Compton gang, seeking revenge for a beating Shakur had allegedly inflicted earlier that day. The report also claimed that Wallace had financed the gun used in the shooting.<ref name="Philips: Who killed Tupac Shakur">Template:Cite news</ref><ref name="Police probe in Tupac Shakur">Template:Cite news</ref> The night Shakur died, Wallace called Evans in tears; Evans recalled that "he was in shockTemplate:Nbsp[...] and it's fair to say he was probably afraid".Template:Sfn Wallace expressed regret over Shakur's death but declined to attend his funeral when asked by a friend. He explained his decision by saying, "[Shakur] made my life miserableTemplate:Nbsp[...] he told lies, fucked with my marriage, [and] turned [my] fans against me".Template:Sfn<ref name="d395">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The Los Angeles Times editor Mark Duvoisin stated that "Philips' story has withstood all challenges to its accuracy,Template:Nbsp[...] [and] remains the definitive account of the Shakur slaying".<ref name="i134">Template:Cite magazine</ref> Wallace's family denied the report, providing documents that claimed he was in New Jersey at the time of the incident.<ref>Template:Cite magazine</ref> The New York Times called the documents inconclusive, stating:<ref name="leland2002">Template:Cite news</ref><ref name="r359">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

The pages purport to be three computer printouts from Daddy's House, indicating that Wallace was in the studio recording a song called "Nasty Boy" on the night Shakur was shot. They indicate that Wallace "wrote half the session", was "in and out/sat around" and "laid down a ref", shorthand for a reference vocal, the equivalent of a first take. But nothing indicates when the documents were created. And Louis Alfred, the recording engineer listed on the sheets, said in an interview that he remembered recording the song with Wallace in a late-night session, not during the day. He could not recall the date of the session but said it was likely not the night Shakur was shot. "We would have heard about it", Mr. Alfred said.

Wayne Barrow, Wallace's co-manager at the time, stated that Wallace was recording the track "Nasty Girl" on the night Shakur was shot.<ref name="z382">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Shortly after Shakur's death, Wallace met with Snoop Dogg, who recalled that Wallace played him the song "Somebody's Gotta Die", which mentioned Snoop Dogg. During their meeting, Wallace expressed that he never hated Shakur.Template:Sfn<ref name="w912">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> During the recording of his second album, Life After Death, Wallace and Lil' Cease were arrested for public marijuana use, resulting in the repossession of their car. Wallace opted to rent a Chevrolet Lumina rental SUV, despite Lil' Cease's concerns about its faulty brakes.<ref name="f818">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The car was ultimately crashed into a rail, breaking Wallace's left leg and fracturing Lil' Cease's jaw.<ref name="v297">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="z363">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace spent months in the hospital, initially confined to a wheelchair,<ref name="u384">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> later relying on a cane (which he used until his death), and undergoing therapy.<ref name="q452">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Despite his hospitalization, he continued working on the album, referencing the accident in "Long Kiss Goodnight" with the line, "Ya still tickle me, I used to be as strong as Ripple be / Til Lil' Cease crippled me".<ref name="z363"/>

On October 29, 1996, Evans gave birth to Wallace's son, Christopher "C.J." Wallace Jr.Template:Sfn Template:Sfn Around this time, Wallace began recording the songs for Life After Death.Template:Sfn The following month, Junior M.A.F.I.A. member Lil' Kim released her debut album Hard Core.<ref name="n788">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Lil' Kim described herself as Wallace's "biggest fan" and referred to herself as "his pride and joy".<ref>Template:Cite news</ref><ref name="r036">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In a 2012 interview, Lil' Kim revealed that Wallace stopped her from recording a remix of Jodeci's single "Love U 4 Life" by locking her in a room. According to Kim, Wallace told her she was "not gonna go do no song with them", likely due to Jodeci's association with Shakur and Death Row Records.<ref>Template:Cite news</ref> While working on Life After Death, Wallace began to lose weight, losing around Template:Convert, according to his mother.Template:Sfn

1997: Conclusion of development on Life After DeathEdit

Template:Quote box In January 1997, Wallace was ordered to pay $41,000 in damages following an incident involving a friend of a concert promoter who claimed Wallace and his entourage beat him following a dispute in May 1995.<ref>Template:Cite news</ref> He faced criminal assault charges for the incident, which remains unresolved, but all robbery charges were dropped.<ref name="ny times short life">Template:Cite news</ref> Following the events, Wallace spoke of a desire to focus on his "peace of mind" and his family and friends.Template:Sfn

The development of Life After Death concluded in January 1997 for a March 25 release.Template:Sfn In February 1997, Wallace traveled to California to promote Life After Death.<ref name="n271">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> On the morning of February 16, Wallace began preparations for the day's work. He had arrived in Los Angeles two weeks before the Soul Train Music Awards to film the video for his album's lead single, "Hypnotize". The three-day shoot, with a budget of $700,000, was both a promotional effort and a statement of his return to the music scene.Template:Sfn "Hypnotize" was officially released on March 4, 1997,<ref name="d084"/> debuting at number two in the US, just behind Combs' "Can't Nobody Hold Me Down". "Hypnotize" later reached number one.<ref name="d084">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

After production of the video had ended, Wallace recorded his vocals for Combs' upcoming album, Hell Up in Harlem;Template:Sfn following the former's death, the album was retitled No Way Out. He posthumously featured on the tracks "Victory" and "It's All About the Benjamins".Template:Sfn

MurderEdit

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File:"King of New York" Biggie Smalls.jpg

Wallace in the iconic King of New York photograph by Barron Claiborne, taken three days before his death in March 1997

On March 8, 1997, Wallace attended a Soul Train Awards after-party hosted by Vibe and Qwest Records at the Petersen Automotive Museum in Los Angeles, California.<ref name="n888">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn<ref name="d371">Template:Cite magazine</ref> Guests included Evans, Aaliyah and members of the Bloods and Crips gangs.<ref name="b466">Template:Cite magazine</ref> With over 2,000 people overcrowding the venue, fire marshals shut it down at 12:35Template:Nbspa.m. on March 9.Template:Sfn After taking a few photos, Wallace and his crew headed downstairs to the Chevrolet Suburbans they had rented from Budget Rent a Car.Template:Sfn He traveled in the front passenger seat alongside associates Damion "D-Roc" Butler, Lil' Cease, and driver Gregory "G-Money" Young.<ref name="o072">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Combs traveled in the other Suburban with three bodyguards.<ref name="k239">Template:Cite magazine</ref> The two trucks were trailed by a Chevrolet Blazer carrying Bad Boy director of security Paul Offord.<ref name="v289">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Soon after Wallace's Suburban stopped at the red light, a black Chevrolet Impala pulled up to the right side of the car Wallace was in.Template:Sfn The Impala's driver, described as an unidentified African-American man in a blue suit and bow tie, rolled down his window, drew a Template:Convert blue-steel pistol, and fired at Wallace's vehicle. Wallace was struck by four bullets. His entourage rushed him to Cedars-Sinai Medical Center, where an emergency thoracotomy was performed, but he was pronounced dead at 1:15 a.m.<ref name="e526">Template:Cite magazine</ref> He was twenty-four years old.Template:Sfn Template:Sfn An autopsy report, released fifteen years after his death, revealed that only the final shot proved fatal. The bullet entered through his right hip, damaging his colon, liver, heart, and left lung before coming to rest in his left shoulder.<ref name="p132">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="i372">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Wallace's funeral was held at the Frank E. Campbell Funeral Chapel in Manhattan on March 18.Template:Sfn<ref name="l296">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> There were more than 350 mourners at the funeral,Template:Sfn<ref name="t931">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> including Lil' Cease, Queen Latifah, Flavor Flav, Mary J. Blige, Lil' Kim, Run-D.M.C., DJ Kool Herc, Busta Rhymes, Salt-N-Pepa, DJ Spinderella, Foxy Brown, and Sister Souljah.<ref name="n331">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>Template:Sfn David Dinkins and Clive Davis also attended the funeral.Template:Sfn After the funeral, his body was cremated at the Fresh Pond Crematory in Fresh Pond, Queens,Template:Sfn<ref name="a080">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and the ashes were given to his family.<ref name="a080"/>

Posthumous releasesEdit

Sixteen days after his death, Wallace's second studio album, Life After Death, was released on March 25, 1997.<ref name="i437">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The album achieved four-time platinum certification and became the highest-selling release of the year, tying with MC Hammer's Please Hammer Don't Hurt 'Em (1990) as one of the best-selling rap albums of all time at release. Life After Death debuted at No. 1 on the Billboard 200.<ref name="y453">Template:Cite magazine</ref> It had briefly appeared earlier at No. 176 due to street-date violations.<ref name="d431">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The follow-up single of "Hypnotize", "Mo Money Mo Problems", featuring Combs and Mase, became Wallace's biggest chart success, reaching No. 1 on the Billboard Hot 100, making him the first artist to achieve two posthumous No. 1 singles.<ref name="t749">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="b483">Template:Cite magazine</ref> The third single, "Sky's the Limit", featuring the band 112, featured a Spike Jonze-directed video with children portraying Wallace and his contemporaries, including Combs, Lil' Kim, and Busta Rhymes.<ref name="r393">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="t872">Template:Cite magazine</ref> In December 1997, Spin named Wallace Artist of the Year, with "Hypnotize" as Single of the Year.<ref>Template:Cite news</ref>

File:Sean Combs 2.jpg

Wallace featured on five tracks on Combs' (pictured in 2006) No Way Out album.

In mid-1997, Combs released his debut album, No Way Out, which featured Wallace on five tracks, including the single "Victory".Template:Refn The album's most second track, "I'll Be Missing You", featuring Combs, Evans, and 112, was dedicated to Wallace's memory and became a worldwide chart-topper.<ref name="o889">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> At the 1998 Grammy Awards, Life After Death and its first two singles—"Hypnotize" and "Mo Money Mo Problems"—received nominations in the rap category.<ref name="CNNGRAMM">Template:Cite news</ref> Combs' No Way Out won Best Rap Album,<ref name="g905">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> while "I'll Be Missing You" won Best Rap Performance by a Duo or Group,<ref name="c491">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> where Wallace's "Mo Money Mo Problems" was also nominated.<ref name="CNNGRAMM"/> In December 1999, Bad Boy Records released Born Again,<ref name="c241">Template:Cite magazine</ref> an album featuring previously unreleased material from Wallace, mixed with new guest appearances from artists he had not collaborated with during his lifetime, including Eminem and Missy Elliott.<ref name="v430">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="m133">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It spawned two singles: "Dead Wrong" and "Notorious B.I.G.", released on October 26, 1999, and December 11, 1999, respectively.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Notorious B.I.G." peaked at No. 82 on the Billboard Hot 100.<ref name="h432">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Wallace featured on Michael Jackson's album Invincible, providing lead vocals for the track "Unbreakable", which was released on October 30, 2001.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace's vocals appeared on Ashanti's "Unfoolish" in 2002,<ref name="o118">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and the track "Runnin' (Dying to Live)" with Shakur in 2003.<ref name="k551">Template:Cite magazine</ref> Duets: The Final Chapter, a remix album, was released on December 20, 2005, which spawned the singles "Nasty Girl" and "Spit Your Game".<ref name="l527">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> "Nasty Girl" features Combs, Nelly, Jagged Edge and Avery Storm,<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and "Spit Your Game" includes guest appearances from Krayzie Bone, Twista, and 8Ball & MJG. The album peaked at No. 3 on Billboard 200,<ref name="e885">Template:Cite magazine</ref> while "Nasty Girl" peaked at No. 44 on the Hot 100.<ref name="b254">Template:Cite magazine</ref> Combs and Voletta both stated Duets: The Final Chapter would be the last album primarily featuring new material.<ref name="u327">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> A compilation album, Greatest Hits, was released on March 6, 2007—three days before the tenth anniversary of Wallace's death.<ref name="l360">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> It included tracks like "Juicy" and "Big Poppa",<ref name="l360"/> but was criticized by AllMusic for not containing hits like "Mo Money Mo Problems" and "Going Back to Cali".<ref name="k891">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The album debuted at number one on the Billboard 200 chart.<ref name="y337">Template:Cite magazine</ref> On May 19, 2017, The King & I, a duet album featuring Evans and Wallace, was released, showcasing mostly unreleased tracks.<ref name="j436">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The album peaked at No. 65 on the Billboard 200.<ref name="k026">Template:Cite magazine</ref>

ArtistryEdit

VocalsEdit

{{#invoke:Listen|main}} Wallace had the vocal range of a baritone.<ref name="h944">Template:Cite magazine</ref><ref name="c953">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> He typically rapped in a deep tone that Rolling Stone described as a "thick, jaunty grumble",<ref name="rolling stone lad">Template:Cite magazine</ref> which became even deeper on Life After Death.<ref name="rolling stone bio">Template:Cite magazine</ref> Wallace was frequently joined by Combs, who contributed ad libs to his tracks.<ref name="t814">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="h432"/> The SourceTemplate:'s "Unsigned Hype" column described his style as "cool, nasal, and filtered, blessing his own material".<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> AllMusic noted Wallace's talent for layering multiple rhymes in rapid succession,<ref name="b962">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> while Time magazine highlighted his ability to deliver multi-syllabic rhymes smoothly.<ref name="z868">Template:Cite magazine</ref> Scholar Adam Krims described his rhythmic style as "effusive".Template:Sfn Wallace often used onomatopoeic sounds, like "uhhh" at the start of tracks such as "Hypnotize" and "Big Poppa".<ref name="h129">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="j592">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Lateef of Latyrx described Wallace as having "intense and complex flows",Template:Sfn while Onyx's Fredro Starr called him "a master of the flow".Template:Sfn Rapper Bishop Lamont praised Wallace's ability to capture "all the hemispheres of the music".Template:Sfn Wallace often employed single-line rhyme schemes to bring variety and depth to his flow.Template:Sfn Big Daddy Kane noted that Wallace did not need an extensive vocabulary to impress; instead, he "just put his words together a slick way, and it worked well for him".Template:Sfn<ref name="n277">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Known for composing lyrics in his head rather than writing them down, Wallace occasionally deviated from his usual style.Template:Sfn For example, he sang in a slow falsetto on "Playa Hater"<ref name="d861">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> and adapted to the rapid-fire rhyme flow of Bone Thugs-n-Harmony on "Notorious Thugs".<ref name="n647">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Musical styleEdit

Wallace's lyrics explored a range of themes, including mafioso narratives ("Niggas Bleed"),<ref name="v266">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> reflections on his drug-dealing past ("Ten Crack Commandments"),<ref name="x854">Template:Cite magazine</ref> materialistic boasting ("Hypnotize"),<ref name="z654"/> humor ("Just Playing (Dreams)"),<ref name="stilltheill">Template:Cite news</ref> and romantic experiences ("Me & My Bitch").<ref name="stilltheill"/> In 2004, Rolling Stone praised him as "one of the few young male songwriters in any pop style writing credible love songs".<ref name="rolling stone bio"/> In the book How to Rap, rapper Guerilla Black highlighted Wallace's ability to "glorify the upper echelon"Template:Sfn while also making listeners "feel his struggle".Template:Sfn According to The New York Times journalist Touré, Wallace's lyrics "[mixed] autobiographical details about crime and violence with emotional honesty".<ref name="o749">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Another writer for The New York Times, Michel Marriott, noted in 1997 that his lyrics were not entirely autobiographical, as he had a talent for exaggeration to improve his storytelling and sales appeal.<ref name="u734"/> Wallace described his debut album, Ready to Die, as "a big pie, with each slice indicating a different point in [his] life involving bitches and niggasTemplate:Nbsp[...] from the beginning to the end".Template:Sfn

Rolling Stone described Ready to Die as a contrast of "bleak" street visions and being "full of high-spirited fun, bringing the pleasure principle back to hip-hop".<ref name="rolling stone bio"/> AllMusic noted "a sense of doom" in some of his songs, while Jon Pareles of The New York Times described a thread of paranoia in others.<ref name="b962"/><ref name="c708">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace himself stated that he felt "broke and depressed" while creating his debut album.<ref name="c708"/> The final track on Ready to Die, "Suicidal Thoughts", portrays a character contemplating and ultimately committing suicide.Template:Sfn On his follow-up album, Life After Death, Wallace's lyrics delved even "deeper", as observed by Rolling Stone.<ref name="rolling stone bio"/> Krims observed that the record alternates between upbeat, dance-oriented tracks and gritty "reality rap," reflecting a thematic shift toward a more "pimp" persona.Template:Sfn XXL Mag noted that Wallace "revamped his image" between the two albums, evolving from a "mid-level hustler" on his debut to a "drug lord" on his sophomore effort.<ref name="e097">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> AllMusic credited Wallace's storytelling ability as a key factor in the success of Ready to Die.<ref name="b962"/>

LegacyEdit

Widely regarded as one of the greatest rappers of all time, AllMusic described Wallace as "the savior of East Coast hip-hop".<ref name="m172"/> The Source named him the greatest rapper of all time in its 150th issue in March 2002.<ref>Template:Cite magazine</ref><ref name="bbc profile">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> MTV ranked him No. 3 on their 2006 list of The Greatest MCs of All Time, calling him potentially "the most skillful ever on the mic".<ref name="mtv greatest"/> In 2012, he was listed on The SourceTemplate:'s Top 50 Lyrical Leaders.<ref>Template:Cite magazine</ref> Rolling Stone hailed him as the "greatest rapper that ever lived",<ref name="m649"/> and in 2015, Billboard named Wallace the greatest rapper of all time.<ref>Template:Cite magazine</ref>

Wallace's lyrics have been extensively sampled and quoted by artists across genres, including Jay-Z,<ref name="d642">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> 50 Cent,<ref name="y067">Template:Cite magazine</ref> Eminem,<ref name="g641">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Lil Wayne,<ref name="l623"/> Drake,<ref name="l623">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Kendrick Lamar,<ref name="l623"/> Ludacris,<ref name="l623"/> and Kanye West.<ref name="l623"/> Tributes to him have featured prominently in hip-hop culture, such as at the 2005 MTV Video Music Awards, where Combs and Snoop Dogg honored him with an orchestral performance of his songs "Juicy" and "Warning".<ref name="h242">Template:Cite magazine</ref><ref name="f181">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> At the 2005 VH1 Hip Hop Honors, a tribute to Wallace headlined the show.<ref name="g486">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> At the same show in 2016, Rich Homie Quan performed "Get Money" but faced criticism after forgetting the lyrics.<ref name="a315">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="t180">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Before he died, Wallace had begun promoting a clothing line, Brooklyn Mint, focused on plus-sized apparel.<ref name="c789">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The brand became dormant after his death but was relaunched in 2004 by his managers, Mark Pitts and Wayne Barrow,<ref name="c789"/> with assistance from Jay-Z.<ref name="s833">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Proceeds benefitted several charitable organizations, including Christopher Wallace Foundation and the Shawn Carter Scholarship Foundation.<ref name="c789"/><ref name="s833"/>

The Christopher Wallace Memorial Foundation hosts an annual black-tie charity event, "B.I.G. Night Out", to raise funds for children's educational resources.<ref name="q819">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> The acronym "B.I.G." is repurposed to stand for "Books Instead of Guns".<ref name="v532">Template:Cite news</ref> In Brooklyn, Wallace's legacy is preserved through art and community efforts. A mural depicting Wallace can be found on Fulton Street, near his childhood neighborhood.<ref name="z491">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In 2019, the corner of Fulton Street and St. James Place was renamed in his honor.<ref name="a704">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Wallace's image and persona inspired elements of the Marvel Cinematic Universe's portrayal of Cornell "Cottonmouth" Stokes in the Netflix series Luke Cage.<ref name="e208">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> In August 2020, Wallace's son, C. J. Wallace, released a house remix of "Big Poppa".<ref name="y633">Template:Cite magazine</ref><ref name="y998">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

BiopicsEdit

Notorious is a 2009 biographical film depicting the life and career of Wallace,<ref name="e775">Template:Cite magazine</ref> starring rapper Jamal Woolard in the lead role.<ref name="y149">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Directed by George Tillman Jr. and distributed by Fox Searchlight Pictures,<ref name="c124">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="q685">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> the film was produced by his managers, Combs, Barrow, and Pitts, and his mother, Voletta.<ref name="m252">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref><ref name="b763">Template:Cite magazine</ref> On January 16, 2009, the film's debut at the Grand 18 theater in Greensboro, North Carolina, was delayed after a shooting occurred in the parking lot before the screening.<ref>Template:Cite news</ref> The film grossed $44.4 million worldwide with a $20 million budget, and received mixed reviews from critics.<ref name="h290">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

In October 2007, open casting calls began for the role of Wallace,<ref name="v914">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> attracting actors, rappers, and aspiring performers. Beanie Sigel auditioned but was not selected,<ref>Template:Cite magazine</ref> while Sean Kingston expressed interest in the role, though producers denied his involvement.<ref>{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> Ultimately, Woolard was cast as Wallace,<ref name="y149"/> and Wallace's son, C. J., portrayed his father.<ref name="r091">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref> To accompany the film, Bad Boy Records released a soundtrack album on January 13, 2009, featuring many of Wallace's prominent tracks such as "Hypnotize" and "Juicy".<ref name="h891">{{#invoke:citation/CS1|citation |CitationClass=web }}</ref>

Another biopic, the 2021 Netflix documentary Biggie: I Got a Story to Tell, explores Wallace's life before fame, and features "unprecedented access granted by the Wallace estate featuring rare access and insights". It was executive-produced by Voletta and Combs.<ref name="m159">Template:Cite magazine</ref>

DiscographyEdit

{{#invoke:Labelled list hatnote|labelledList|Main article|Main articles|Main page|Main pages}}

Studio albums

Ready to Die (1994)
Life After Death (1997)

Collaboration album

Conspiracy (with Junior M.A.F.I.A.) (1995)

Other posthumous albums

Born Again (1999)
Duets: The Final Chapter (2005)
Notorious (2009)
The King & I (with Faith Evans) (2017)

MediaEdit

FilmographyEdit

The Show (1995) as himself
Rhyme & Reason (1997 documentary) as himself
Biggie & Tupac (2002 documentary) archive footage
Tupac: Resurrection (2004 documentary) archive footage
Notorious B.I.G. Bigger Than Life (2007 documentary) archive footage
Notorious (2009) archive footage
All Eyez on Me (2017) archive footage
Quincy (2018 documentary) archive footage
Biggie: The Life of Notorious B.I.G. (2017 documentary) archive footage
Biggie: I Got a Story to Tell (2021 documentary) archive footage

Television appearancesEdit

New York Undercover (1995) as himself
Martin (1995) as himself
Who Shot Biggie & Tupac? (2017)
Unsolved (2018)

Awards and nominationsEdit

Template:Sronly
Award	YearTemplate:Efn	Work/Nominee	Category	Result	Template:Reference heading
ASCAP Rhythm & Soul Music Awards	2005	"Runnin' (Dying to Live)" Template:Small)	Top Soundtrack Song of the Year	Template:Won	<ref name="q927">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
	2017	Template:N/a	ASCAP Founders Award	Template:Won	<ref name="i136">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
	2020	"Sicko Mode"	Winning Rap and R&B/Hip-Hop Songs	Template:Won	<ref name="v687">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
Billboard Music Awards	1995	Template:N/a	Rap Artist of the Year	Template:Won	<ref name="z426">Template:Cite magazine</ref>
	1995	"One More Chance/Stay with Me (Remix)" Template:Small	Rap Single of the Year	Template:Won	<ref name="j448">Template:Cite magazine</ref>
	1997	Life After Death	R&B Album	Template:Won	<ref name="database">Template:Cite magazine</ref>
Grammy Awards	1996	"Big Poppa"	Best Rap Solo Performance	Template:Nominated	<ref name="d020">Template:Cite magazine</ref>
	1998	"Hypnotize"	Best Rap Solo Performance	Template:Nominated	<ref name="o932">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
		"Mo Money Mo Problems"	Best Rap Performance by a Duo or Group Template:Small	Template:Nominated	<ref name="s009">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
		Life After Death	Best Rap Album	Template:Nominated	<ref name="k368">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
MTV Video Music Awards	1997	"Hypnotize"	Best Rap Video	Template:Won	<ref name="k115">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
MTV Video Music Awards	1998	"Mo Money Mo Problems"	Best Rap Video Template:Small	Template:Nominated	<ref name="w116">Template:Cite magazine</ref>
Rock and Roll Hall of Fame	2020	Template:N/a	Performers	Template:Won	<ref name="r515">Template:Cite magazine</ref>
Soul Train Music Awards	1996	"One More Chance/Stay With Me (Remix)" Template:Small	R&B/Soul or Rap Song of the Year	Template:Won	<ref>Template:Cite magazine</ref>
	1998	Life After Death	Best R&B/Soul Album – Male	Template:Won	<ref>Template:Cite magazine</ref>
		Life After Death	R&B/Soul or Rap Song of the Year	Template:Nominated	<ref name="c076">Template:Cite magazine</ref>
		"Mo Money Mo Problems" Template:Small	Best R&B/Soul or Rap Music Video	Template:Nominated	<ref>Template:Cite magazine</ref>
The Source Hip-Hop Music Awards	1995	Template:N/a	New Artist of the Year, Solo	Template:Won	<ref name="t381">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
		Template:N/a	Lyricist of the Year	Template:Won	<ref name="d316">{{#invoke:citation/CS1\|citation	CitationClass=web }}</ref>
		Template:N/a	Live Performer of the Year	Template:Won	<ref name="t381"/>
		Ready to Die	Album of the Year	Template:Won	<ref name="t381"/>

NotesEdit

Template:Notelist

CitationsEdit

Template:Reflist

BibliographyEdit

Template:Refbegin

Template:Refend

External linksEdit

Template:Sister project Template:Sister project

Template:New York Times topic
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