#03-09

Christopher George Latore Wallace (May 21, 1972 – March 9, 1997), better known by his stage names The Notorious B.I.G., Biggie, or Biggie Smalls, was an American rapper. He is consistently ranked as one of the greatest and most influential rappers of all time.

Wallace was raised in the Brooklyn borough of New York City. When he released his debut album Ready to Die in 1994, he became a central figure in the East Coast hip hop scene and increased New York's visibility in the genre at a time when West Coast hip hop was dominant in the mainstream. The following year, Wallace led his childhood friends to chart success through his protégé group, Junior M.A.F.I.A. While recording his second album, Wallace was heavily involved in the growing East Coast–West Coast hip hop feud.

On March 9, 1997, Wallace was killed by an unknown assailant in a drive-by shooting in Los Angeles. His double-disc album Life After Death, released 16 days later, rose to No. 1 on the U.S. album charts and was certified Diamond in 2000, one of the few hip hop albums to receive this certification. Wallace was noted for his "loose, easy flow", dark semi-autobiographical lyrics and storytelling abilities, sometimes changing his pitch on songs. Two more albums have been released since his death. He has certified sales of 17 million units in the United States.

Life and career

1972–94: Early life, arrests, career beginnings and first child

Wallace was born in St. Mary's Hospital in Brooklyn, New York, New York, on May 21, 1972, as the only child of Voletta Wallace, a Jamaican preschool teacher, and Selwyn George Latore, a Jamaican 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 in the Clinton Hill section of Brooklyn on 226 St. James Place near the border of Bedford-Stuyvesant, Brooklyn, considered at the time to be within the latter neighborhood's boundaries.

At Queen of All Saints Middle School, Wallace excelled in class, winning several awards as an English student. He was nicknamed "Big" because of his overweight size by age 10. He said he started dealing drugs when he was around the age of 12. His mother, often away at work, did not know of her son's drug dealing until Wallace was an adult.

At his request, Wallace transferred out of Bishop Loughlin Memorial High School to attend George Westinghouse Career and Technical Education High School, which future rappers DMX, Jay-Z and Busta Rhymes also attended at the time. According to his mother, Wallace was still a good student, but he developed a "smart-ass" attitude at the new school. At age seventeen, Wallace dropped out of school and became further 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 began rapping when he was a teenager. He entertained people on the streets and performed with local groups the Old Gold Brothers and the Techniques. After being released from jail, Wallace made a demo tape under the name Biggie Smalls, a reference to a character in the 1975 film Let's Do It Again as well as his stature; he stood at 6 feet 3 inches (1.91 m) and weighed 300 to 380 lb (140–170 kg) according to differing accounts. The tape was reportedly made with no serious intent of getting a recording deal. However, it was promoted by New York-based DJ Mister Cee, who had previously worked with Big Daddy Kane, and it was heard by the editor of The Source.

In March 1992, Wallace was featured in The Source's Unsigned Hype column, dedicated to aspiring rappers, and made a recording off the back of this success. The demo tape was heard by Uptown Records A&R and record producer Sean Combs, who arranged for a meeting with Wallace. He was signed to Uptown immediately and made an appearance on label mates, Heavy D & the Boyz' "A Buncha Niggas" (from the album Blue Funk). Soon after signing his recording contract, Combs was fired from Uptown and started a new label. Wallace followed and in mid-1992, signed to Combs' new imprint label, Bad Boy Records.

On August 8, 1993, Wallace's longtime girlfriend gave birth to his first child, T'yanna. Wallace had split with the girlfriend for some time before T'yanna's birth. Wallace wanted his daughter to complete her education, despite being a high school dropout himself. Wallace said that if his mother had promised him what he promised his daughter, everything she wanted, Wallace would have been not only a graduate but also at the top of his class. He continued selling drugs after the birth to support his daughter financially. Once Combs discovered this, he forced Wallace to quit.

Later in the year, Wallace gained exposure on a remix to Mary J. Blige's single "Real Love", under the pseudonym The Notorious B.I.G. He recorded under this name for the remainder of his career, after finding the original moniker "Biggie Smalls" was already in use. "Real Love" peaked at No. 7 on the Billboard Hot 100 chart and was followed by a remix of Blige's "What's the 411?". He continued this success, to a lesser extent, on remixes with Neneh Cherry ("Buddy X") and reggae artist Super Cat ("Dolly My Baby", also featuring Combs) in 1993. In April 1993, his solo track, "Party and Bullshit", appeared on the Who's the Man? soundtrack. In July 1994, he appeared alongside LL Cool J and Busta Rhymes on a remix to label mate Craig Mack's "Flava in Ya Ear", reaching No. 9 on the Billboard Hot 100.

1994: Ready to Die and marriage

On August 4, 1994, Wallace married R&B singer Faith Evans after they met at a Bad Boy photoshoot. Five days later, Wallace had his first pop chart success as a solo artist with double A-side, "Juicy/Unbelievable", which reached No. 27 as the lead single to his debut album.

Ready to Die was released on September 13, 1994, and reached No. 13 on the Billboard 200 chart, eventually being certified four times Platinum. The album, released at a time when West Coast hip hop was prominent on US charts, according to Rolling Stone, "almost single-handedly... shifted the focus back to East Coast rap". It immediately gained strong reviews and has received much praise in retrospect. In addition to "Juicy", the record produced two hit singles: the Platinum-selling "Big Poppa", which reached No. 1 on the U.S. rap chart, and "One More Chance" featuring Faith Evans, a loosely related remix of an album track and its best selling single.

Busta Rhymes claimed to have seen Wallace giving out free copies of Ready to Die from his home, which Rhymes reasoned as "his way of marketing himself." Around the time of the album's release, Wallace became friends with Tupac Shakur, also a rapper. Cousin Lil' Cease recalled the pair being close, often traveling together whenever they were not active in furthering their careers. According to him, Wallace was a frequent guest at Shakur's home and they constantly spent time together when Shakur was in California or Washington, D.C.. It was claimed by Yukmouth, an Oakland emcee, that Wallace's style was inspired by that of Shakur. Wallace also formed a friendship with Shaquille O'Neal, O'Neal remembering his first time hearing Wallace, during listening to the song "Gimme the Loot", where Wallace mentioned him in the lyrics and thereby attracted O'Neal to his music. O'Neal requested a collaboration with Wallace, which resulted in the song "You Can't Stop the Reign". Sean Combs related that Wallace would not do collaborations with "anybody he didn't really respect", adding that Wallace paid O'Neal "respect by shouting him out." Daz Dillinger said in 2015 that Wallace and he were "cool". Wallace would travel to meet with him, and Dillinger recalled serving him cannabis and recording two songs with him.

1995: Junior M.A.F.I.A., Conspiracy and coastal feud

In August 1995, Wallace's protégé group, Junior M.A.F.I.A. ("Junior Masters At Finding Intelligent Attitudes"), released their debut album Conspiracy. The group consisted of his friends from childhood and included rappers such as Lil' Kim and Lil' Cease, who went on to have solo careers. The record went Gold and its singles, "Player's Anthem" and "Get Money" both featuring Wallace, went Gold and Platinum. Wallace continued to work with R&B artists, collaborating with R&B groups 112 (on "Only You") and Total (on "Can't You See"), with both reaching the top 20 of the Hot 100. By the end of the year, Wallace was the top-selling male solo artist and rapper on the U.S. pop and R&B charts. In July 1995, he appeared on the cover of The Source with the caption "The King of New York Takes Over", a reference to his Frank White alias from the 1990 film King of New York. At the Source Awards in August 1995, he was named Best New Artist (Solo), Lyricist of the Year, Live Performer of the Year, and his debut Album of the Year. At the Billboard Awards, he was Rap Artist of the Year.

In his year of success, Wallace became involved in a rivalry between the East and West Coast hip hop scenes with Shakur, now his former friend. In an interview with Vibe in April 1995, while serving time in Clinton Correctional Facility, Shakur accused Uptown Records' founder Andre Harrell, Sean Combs, and Wallace of having prior knowledge of a robbery that resulted in him being shot five times and losing thousands of dollars worth of jewelry on the night of November 30, 1994. Though Wallace and his entourage were in the same Manhattan-based recording studio at the time of the shooting, they denied the accusation. Wallace said: "It just happened to be a coincidence that he [Shakur] was in the studio. He just, he couldn't really say who really had something to do with it at the time. So he just kinda' leaned the blame on me." In 2012, a man named Dexter Isaac, serving a life sentence for unrelated crimes, claimed that he attacked Shakur that night and that the robbery was orchestrated by James Rosemond aka Jimmy Henchman.

Following his release from prison, Shakur signed to Death Row Records on October 15, 1995. Bad Boy Records and Death Row, now business rivals, became involved in an intense quarrel.

1996: More arrests, Tupac Shakur's death and second child

Wallace began recording his second studio album in September 1995. The album, recorded in New York City, Trinidad, and Los Angeles, was interrupted during its 18 months of creation by injury, legal wranglings and the highly publicized hip hop dispute in which he was involved. During this time, he also worked with R&B/pop singer, songwriter and producer Michael Jackson for the HIStory album. Lil' Cease claimed in 2013 that Wallace denied his wishes to meet Jackson, citing that he did not "trust Michael with kids".

On March 23, 1996, Wallace was arrested outside a Manhattan nightclub for chasing and threatening to kill two autograph seekers, smashing the windows of their taxicab and then pulling one of the fans out and punching them. He pleaded guilty to second-degree harassment and was sentenced to 100 hours of community service. In mid-1996, he was arrested at his home in Teaneck, New Jersey, for drug and weapons possession charges.

In June 1996, Shakur released "Hit 'Em Up", a diss song in which he claimed to have had sex with Wallace's wife (at the time estranged) and that Wallace copied his style and image. Wallace referred to the first claim about his wife's pregnancy on Jay-Z's "Brooklyn's Finest" where he raps: "If Faye (Faith Evans, his wife at the time) have twins, she'd probably have two 'Pacs. Get it? 2Pac's?" However, Wallace did not directly respond to the record during his lifetime, stating in a 1997 radio interview that it was "not [his] style" to respond.

Shakur was shot multiple times in a drive-by shooting in Las Vegas, Nevada, on September 7, 1996, and died six days later on September 13, 1996 of complications from the gunshot wounds. Rumors of Wallace's involvement with Shakur's murder were reported almost immediately. A two-part series Chuck Philips wrote for the Los Angeles Times in 2002, "Who Killed Tupac Shakur?", based on police reports and multiple sources reported that "the shooting was carried out by a Compton gang called the Southside Crips to avenge the beating of one of its members by Shakur a few hours earlier" and that Wallace paid for the gun. His family publicly denied the report, producing documents purporting to show that the rapper was in New York and New Jersey at the time. The New York Times called the documents inconclusive, stating:

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."

Moreover, Philips' article was based on multiple sources. As the Assistant Managing Editor of the LA Times Mark Duvoisin wrote: "Philips' story has withstood all challenges to its accuracy, ...[and] remains the definitive account of the Shakur slaying." Faith Evans remembered her husband calling her the night of Shakur's death and crying due to him being in shock. Evans added, "I think it’s fair to say he was probably afraid, given everything that was going on at that time and all the hype that was put on this so-called beef that he didn’t really have in his heart against anyone." Wayne Barrow, Wallace's co-manager at the time, said Wallace was recording the song "Nasty Girl" the night Shakur was shot. Shortly after Shakur's death, he met with Snoop Dogg, who claimed that Wallace played the song "Somebody Gotta Die" for him, in which Snoop Dogg was mentioned, and declared he never hated Shakur.

On October 29, 1996, Faith Evans gave birth to Wallace's son, Christopher "C.J." Wallace, Jr. The following month, Junior M.A.F.I.A. member Lil' Kim released her debut album, Hard Core, under Wallace's direction while the two were having a "love affair". Lil' Kim recalled being Wallace's "biggest fan" and her being "his pride and joy." In a 2012 interview, Lil' Kim said Wallace prevented her from doing a remix of the Jodeci single "Love U 4 Life" by locking her in a room and according to her, Wallace stated that she was not "gonna go do no song with them," likely because of the group's close affiliation with Tupac and Death Row Records.

1997: Life After Death and car accident

During the recording sessions for his second album, tentatively named "Life After Death... 'Til Death Do Us Part", later shortened to Life After Death, Wallace was involved in a car accident that shattered his left leg and temporarily confined him to a wheelchair. The injury forced him to use a cane. He and Lil' Cease were arrested for smoking marijuana in public and had their car repossessed. Wallace chose a Chevrolet Lumina rental SUV as a substitute, despite Lil' Cease's objections. The vehicle had brake problems before the accident but Wallace dismissed them. According to Lil' Cease, Wallace's leg was shattered when they hit a rail along with Lil's Cease's jaw. Wallace spent months in a hospital following the accident and had to complete therapy. Despite his hospitalization, he continued to work on the album. The accident was referred to in the lyrics of "Long Kiss Goodnight": "Ya still tickle me, I used to be as strong as Ripple be / Til Lil' Cease crippled me."

In January 1997, Wallace was ordered to pay US$41,000 in damages following an incident involving a friend of a concert promoter who claimed Wallace and his entourage beat him up following a dispute in May 1995. He faced criminal assault charges for the incident which remains unresolved, but all robbery charges were dropped. Following the events of the previous year, Wallace spoke of a desire to focus on his "peace of mind". "My mom... my son... my daughter... my family... my friends are what matters to me now".

Death and funeral

Wallace traveled to Los Angeles in February 1997, to promote his upcoming second studio album and film a music video for its lead single, "Hypnotize". The album, Life After Death, was scheduled for release on March 25, 1997.

On March 7, he presented an award to Toni Braxton at the 1997 Soul Train Music Awards in Los Angeles and was booed by some of the audience. The following evening, March 8, Wallace attended an after party hosted by Vibe magazine and Qwest Records at the Petersen Automotive Museum in Los Angeles. Other guests included Faith Evans, Aaliyah, Sean Combs, and members of the Bloods and Crips gangs.

On March 9, Wallace left in a GMC Suburban SUV at 12:30 a.m. (PST). By 12:45 a.m. (PST), the streets were crowded with people leaving the event. Wallace's SUV stopped at a red light at the corner of Wilshire Blvd & South Fairfax Ave 50 yards (46 m) from the museum. A dark colored Chevrolet Impala SS pulled up alongside Wallace's SUV. The driver of the Impala, a black male dressed in a blue suit and bow tie, rolled down his window, drew a 9mm blue-steel pistol and fired at the SUV. Four bullets hit Wallace. His entourage rushed him to Cedars-Sinai Medical Center, where doctors performed an emergency thoracotomy, but he was pronounced dead at 1:15 a.m. (PST), six months after Tupac Shakur was killed.

Wallace's autopsy was released to the public in December 2012, over a decade after his death. According to the report, three of the four shots were not fatal. The first bullet hit in his left forearm and traveled down to his wrist; the second hit him in the back, missing all vital organs, and exited through his left shoulder; and the third hit his outer left thigh and left through his inner thigh. The report said that the third bullet struck "the left side of the scrotum, causing a very shallow, 3⁄8 inch [10 mm] linear laceration." The fourth bullet was fatal, entering through his right hip and striking several vital organs, before stopping in his left shoulder area. That bullet struck his colon, liver, heart and upper lobe of his left lung.

Wallace's murder remains unsolved and there are many theories regarding the identities and motives of the murderers. Immediately after the shooting, reports surfaced linking Wallace's murder to the murder of Tupac Shakur, because of the similarities in the drive-by shootings and the involvement of Shakur and Wallace in the East Coast–West Coast hip hop rivalry. In 1997, Los Angeles Times authors Chuck Philips and Matt Laitt reported that the key suspect was a member of the Crips acting in service of a personal financial motive.

Biggie's funeral was held on March 18, 1997, at the Frank E. Campbell Funeral Chapel in Manhattan. There were among 350 mourners at the funeral, including Queen Latifah, Flava Flav, Mary J. Blige, Lil' Kim, Lil' Cease, Run–D.M.C., DJ Kool Herc, Busta Rhymes, Salt-N-Pepa, DJ Spinderella, Foxy Brown, Sister Souljah and others. After the funeral, his body was cremated and the ashes were given to his family.

Posthumous releases

Sixteen days after his death, Wallace's double-disc second album was released as planned with the shortened title of Life After Death and hit No. 1 on the Billboard 200 charts, after making a premature appearance at No. 176 due to street-date violations. The record album featured a much wider range of guests and producers than its predecessor. It gained strong reviews and in 2000 was certified Diamond, the highest RIAA certification awarded to a solo hip hop album.

Its lead single, "Hypnotize", was the last music video recording in which Wallace would participate. His biggest chart success was with its follow-up "Mo Money Mo Problems", featuring Sean Combs (under the rap alias "Puff Daddy") and Mase. Both singles reached No. 1 in the Hot 100, making Wallace the first artist to achieve this feat posthumously. The third single, "Sky's The Limit", featuring the band 112, was noted for its use of children in the music video, directed by Spike Jonze, who were used to portray Wallace and his contemporaries, including Sean Combs, Lil' Kim, and Busta Rhymes. Wallace was named Artist of the Year and "Hypnotize" Single of the Year by Spin magazine in December 1997.

In mid-1997, Combs released his debut album, No Way Out, which featured Wallace on five songs, notably on the third single "Victory". The most prominent single from the record album was "I'll Be Missing You", featuring Combs, Faith Evans and 112, which was dedicated to Wallace's memory. At the 1998 Grammy Awards, Life After Death and its first two singles received nominations in the rap category. The album award was won by Combs' No Way Out and "I'll Be Missing You" won the award in the category of Best Rap Performance By A Duo Or Group in which "Mo Money Mo Problems" was nominated.

Wallace had founded a hip hop supergroup called The Commission, which consisted of Jay-Z, Lil' Cease, Combs, Charli Baltimore and himself. The Commission was mentioned by Wallace in the lyrics of "What's Beef" on Life After Death and "Victory" from No Way Out but never completed an album. A song on Duets: The Final Chapter titled "Whatchu Want (The Commission)" featuring Jay-Z was based on the group.

In December 1999, Bad Boy released Born Again. The album consisted of previously unreleased material mixed with guest appearances including many artists Wallace had never collaborated with in his lifetime. It gained some positive reviews but received criticism for its unlikely pairings; The Source describing it as "compiling some of the most awkward collaborations of his career". Nevertheless, the album sold 2 million copies. Wallace appeared on Michael Jackson's 2001 album, Invincible. Over the course of time, his vocals were heard on hit songs such as "Foolish" by Ashanti and "Realest Niggas" in 2002, and the song "Runnin' (Dying to Live)" with Shakur the following year. In 2005, Duets: The Final Chapter continued the pattern started on Born Again, criticized for the lack of significant vocals by Wallace on some of its songs. Its lead single "Nasty Girl" became Wallace's first UK No. 1 single. Combs and Voletta Wallace have stated the album will be the last release primarily featuring new material.

Musical style

Wallace mostly rapped on his songs in a deep tone described by Rolling Stone as a "thick, jaunty grumble", which went deeper on Life After Death. He was often accompanied on songs with ad libs from Sean "Puffy" Combs. On The Source's Unsigned Hype, his style was described as "cool, nasal, and filtered, to bless his own material".

Allmusic describe Wallace as having "a talent for piling multiple rhymes on top of one another in quick succession". Time magazine wrote Wallace rapped with an ability to "make multi-syllabic rhymes sound... smooth", while Krims describes Wallace's rhythmic style as "effusive." Before starting a verse, Wallace sometimes used onomatopoeic vocables to "warm up" (for example "uhhh" at the beginning of "Hypnotize" and "Big Poppa" and "whaat" after certain rhymes in songs such as "My Downfall").

Lateef of Latyrx notes that Wallace had, "intense and complex flows", Fredro Starr of Onyx says, "Biggie was a master of the flow", and Bishop Lamont states that Wallace mastered "all the hemispheres of the music". "Notorious B.I.G. also often used the single-line rhyme scheme to add variety and interest to his flow". Big Daddy Kane suggests that Wallace didn't need a large vocabulary to impress listeners – "he just put his words together a slick way and it worked real good for him". Wallace was known to compose lyrics in his head, rather than write them down on paper, in a similar way to Jay-Z.

Wallace would occasionally vary from his usual style. On "Playa Hater" from his second album, he sang in a slow-falsetto. On his collaboration with Bone Thugs-n-Harmony, "Notorious Thugs", he modified his style to match the rapid rhyme flow of the group.

Themes and lyrical content

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 "[mixed] 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.

Legacy

Considered one of the best artists in hip hop music, 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 supplies and to honor the memory of the late rapper. 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 an oversize portrait mural of Wallace as Che Guevara on Fulton Street in Brooklyn a half mile west from the star'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. The Notorious B.I.G.'s children C.J. and Ty'anna are set to star in an animated series called House of Wallace.

Biopic

Notorious is a 2009 biographical film about Wallace and his life that starred rapper Jamal Woolard as Wallace. The film was directed by George Tillman, Jr. and distributed by Fox Searchlight Pictures. Producers included Sean "Diddy" Combs, Wallace's former managers Wayne Barrow and Mark Pitts, as well as Voletta Wallace. On January 16, 2009, the movie's debut at the Grand 18 theater in Greensboro, North Carolina was postponed after a man was shot in the parking lot before the show. The film received mixed reviews from critics and grossed over $44 worldwide.

In early October 2007, open casting calls for the role of Wallace began. Actors, rappers and unknowns all tried out. Beanie Sigel auditioned for the role, but was not picked. Sean Kingston claimed that he would play the role of Wallace, but producers denied it. Eventually it was announced that rapper Jamal Woolard was chosen to play Wallace while Wallace's son, Christopher Wallace, Jr. was cast to play Wallace as a child. Other cast members include Angela Bassett as Voletta Wallace, Derek Luke as Sean Combs, Antonique Smith as Faith Evans, Naturi Naughton formerly of 3LW as Lil' Kim, and Anthony Mackie as Tupac Shakur. Bad Boy released a soundtrack album to the film on January 13, 2009; the album contains hit singles of B.I.G. such as "Hypnotize", "Juicy", and "Warning" as well as rarities.

mi lenne, ha egyszerűen azt mondanám, ne haragudj, én nem ülök be. Ebbe az autóba, ebbe a szemétdombba, koszba, én nem ülök be! Inkább metrózom. Fel sem tudom fogni, hogy hogy jön ez létre. És hogyhogy nem zavarja?? Beül az otthonos kis szemétdombba és rádob még valamit meg mégvalamit? Múltkor egy építési vállalkozó vitt. Az ülésen papírok, iratok tömege. Felnyalábolta, arrébb tette. Nem kosz volt, de mivel egyedül szokott autózni, íróasztalnak használja az anyósülést. Szavam se volt, a kocsi belül rendben volt, annak ellenére, hogy építési vállalkozó és többnyire rengeteg koszos dolgot szállít meg pakolgat. Voltam autós én is. Gyerekkel, gyereküléssel, utazás közben étellel, itallal, nedvestörlővel a maszatos kezeknek és játékokkal, mégse volt a kocsink hányadék. Utazáskor volt szemeteszacsink, mire megérkeztünk, csak elegánsan ki kellett dobni a szemetesbe. Hozzáteszem, hogy kocsit szerintem életemben kétszer, ha takarítottam, amikor behordtuk a sarat, szóval szó sincs mániákus rendről. Nyilván, ha az első ilyen tapasztalásom lenne, csak megdöbbennék, reménykedve, hogy többet nem történik meg velem, de nem az első! És ezek az emberek a lábukkal arrébb kotorják a dzsuvát, a kezükkel csinálnak kéttenyérnyi helyet az ülésen, és azt mondják, szálj be! Azt hiszem, ha azt mondanám, hogy bocs nem, véget érne a barátság. Egyébként, koszoskocsi tekintetében az arány 3:1 a nők javára. :(

Pilinszky szerelmes lett egy nőbe, miközben meleg volt ő valójában, csak nem bírta elfogadni, úgyhogy folyton próbálkozott nőkkel és kapcsolatokkal. Két hónap házasság után a nő azt mondta, “hagyjuk ezt a maszatolást”. És elváltak. Aztán Pilinszky más nőbe szeretett bele, meg is házasodott, és gondolom ott is csak a maszatolás ment. Közben, ahogy ebben a témában körbeolvastam, tényleg és valós érzései meg lenyűgöződései voltak ezekkel a nőkkel kapcsolatban. Dehát, a kedvenc versem tőle a “Ne félj” ami amúgy is a kedvenc kedvencem, szóval bármilyen neműhöz íródhatott volna, ha egyébként elfogadjuk, hogy egy beteljesületlenség frusztrációja ihlette. "Maszatolás”. A pszichológusom annak idején pontosan ezt a szót  használta. (illetve még a szárazbaszás szót is, de arra nem találtam még költői példát) Olvastam egy posztot, egy fiatal lány írta, és valaki más nagyban támogatta, hogy reménykedjen, a remény hal meg utoljára. Én meg annyira megírnám neki, hogy ne, ne tedd! Egyetlen esetben reménykedj, ha elpusztíthatatlan erőd van, ha kimeríthetetlen forrásaid, ha olyan táncot tudsz járni a történések, a képzelet, a másik ember és a saját belső világod között, hogy maga a tánc elszórakoztat téged és rabul ejti a másikat, akkor csinád, de akkor sem azért mert reméled, hogy valamikor szerelmes lesz beléd, hanem mert elfogadod, hogy amíg hallod a zenét, addig táncolsz, mert visz a lábad és amásik csak nézi, nézi, és nem akar más lenni, mint néző. De reménykedni való nincs. Aki reményre bíztat, az ámít. Kedvesen, talán azért mert ő maga is várakozott valamikor hosszasan, akár 2-3 hónapig is, mielőtt belátta volna, hogy marhaság. Fiatalon nem szabad beletemetkezni egy várakozásba, egy reménykedésbe. Két hónap max, és ki kell mondani: maszatolás ez. Hagyjuk. Aki nem ezt teszi, azzal valami nem százas. Van egy kollégám, aki tegnap miután hazament felhívott. Hazafelé elgondolkodott, hogy lehet, hogy megbántott engem és bocs. Fogalmam se volt róla, hogy mire gondol. Megnyugodott. Nem egy szorongó típus és semmilyen gyengéd érzések nem fűzik hozzám úgyhogy engem is meglepett az aggodalma. Még az is lehet, hogy mesélt valamit a feleségének, az meg leszólta, hogy de paraszt vagy! és azért volt az aggódás a sértés miatt. Logan soha nem hívna fel, hogy bocs, ha megbántottalak. Ma szembejött egy mókás zokni, és eszembe jutott, hogy ennek a kollégának milyen jó ajándék lenne. Ha tudnám a születésnapját. De nem tudom. És annyira azért nem érdekel a dolog, hogy meg is nézzem. Múltkor meg szuperhősös textileket láttam a kirakatban (szokatlanul jókat) és arról jutott eszembe, hogy vicces ajándék lenne Logannek egy ilyen... valami... nem is tudom mi, ágynemű? heh. gyerekes. Logan szülinapját tudom. A kollégával kb minden nap beszélek. Ahogy Logannel is. Ez a kolléga nem mondta, hogy boldog nőnapot. Logan mondta, bár készültem rá, hogy nem mondja, és akkor onnantól folyamatosan hivatkozhatok az őt sújtó demenciára és vakságra, hívhatom szivatásból nagypapinak, mert az, hogy én nőből vagyok az eléggé látszik. Ez a kolléga valamiféle referenciapont nekem. Nem tartom a barátomnak pedig sok dologban kapcsolódunk. Nem tetszik nekem. Egyszerűen nem vonzó. (ez mondjuk kurvára jó mert az lenne a legrosszabb ami történhet, hogy beleszeretek egy nős kollégámba) Néha azt gondolom, hogy ilyesmi lehetek Logannek, mint nekem ez a kolléga. Mostanában Logannel már annyira harmonikus a kapcsolatunk, hogy fel se tudom rázni igazán fel se tudom baszni igazán. Mint egy jól begyakorolt tánc, amikor nem vétjük már el a lépést, és 10 potos lenne a dolog, csak az a kis plusz hiányzik, a szenvedély. A reménykedés egy hülyeség.

úgy döntöttem, mután a fiam elmondta, hogy nem ülnek le velem megbeszélni a terveket, hogy mi legyen, merre mozduljunk mert egyrészt maximálisan bíznak az ítéletemben, másrészt nem érdekli őket a dolog, bármit csinálok, jó lesz nekik, ők majd akkor arra felé haladnak, mert fingjuk nincs mit akarnak. Elbőgtem magam. Mondtam neki, hogy nincs semmi baj, nem bántott vagy ilyesmi, csak annyira rám szakadt ezzel a magányos felelősség meg a rettegés, hogy valamit nem veszek figyelembe, valamivel nem számolok, és ezért kellett volna, hogy leüljünk beszélgetni, mert miközben beszélünk, akkor rájövök, hogy mi az ami faszság, kivitelezhetetlen, következetlen vagy erőltetett. Jó lett volna azt érezni, hogy nem az én akaratom érvényesül, hanem egy közös megállapodás és akkor megnyugszik a lelkem, hogy nem egy despotaként döntök a család dolgairól. Értsem meg, hogy ők tudják, hogy ezerszer megrágtam mindent és nem hiszik, hogy jobbat tudnak mondani. Viszont hülyén érzik magukat attól, hogy összeülünk, én elmondom, ők helyeselgetnek, aztán hazamegyünk. Erre mégjobban bőgtem. Mert nekem nincs jobb érzés annál, mint amikor összejövünk, megbeszélgetjük a terveket, ötletelünk, és megállapodunk benne, hogy merre haladjanak a dolgok. én ezt szeretem csinálni. Ezt az együttlevést meg együttgondolkodást. Beletelt egy hónapba mire belenyugodtam, hogy egyedül kell eldöntenem, kitalálnom és persze a megvalósítás nagyobbik része is az enyém. Bár most nem fogom ezt teljesen elengedni, szóval segítsen a két büdös kölyök! Amúgy attól is bőgtem, hogy milyen felnőttes mondás volt ez a fiam részéről. Tudja, hogy mi történik, hogy mi fog történni és nem akar színházazni, hogy tegyünk úgy, mintha közös döntés lenne amikor nyilván az én szavam a meghatározó, hiszen ők egy napot nem foglalkoztak a dologgal. Nem szeret úgy tenni, mint ami nincs. Szóval, átalakítom és felújítom az egyik kecót. Megszültem a legjobb tervet. Beletolom a pénzem felét, de amit lehet magunk fogunk megcsinálni, mert meg kell fogni a pénzt. Persze a végén megölelgetett, nem csak nézte hidegen ahogy bőgök. Mert ennek a gyereknek vannak érzései, akkor is, ha amúgy megőrjít a racionális agyával.

Abban, hogy ma reggelre elhatároztam magam, abban van szerepe persze annak, hogy tegnap kaptam a lökést, hogy "maga meg tudja csinálni!" Indulásnak van 8 nm padlócsempém ehhez az átalakításhoz. :D Egyelőre nem szakadhat meg a szívem. Dolog van.

\ Hello ♡/ 動かない鳩時計さん・ 電池交換した掛け時計さん ✧ᴴᴱᴸᴸᴼ✧

2021-03-17 (水)

🔋🍵☕️ 🍺🥛💧💦

( ̿–ᆺ ̿–) චᆽච ( ̿–ᆺ ̿–) චᆽච ( ̿–ᆺ ̿–)

👑 No. １ ⟴ ８８

⑅⃛⑅⃛⑅⃛ℒℴѵℯ⑅⃛⑅⃛⑅⃛♡*

=͟͟͞͞ ♡︎ 甲子

𓏸𓈒 𓂃 ♡ 𓂃 𓈒𓏸 (⁎⁍̴̛ᴗ⁍̴̛⁎) ♡⃝⃜♡♥︎˵⍢⃝˵♥︎♡

〖引用🤩雑学ネタ帳〗

彼岸、漫画週刊誌の日、聖パトリックの祝日、みんなで考えるSDGsの日、国産なす消費拡大の日、いなりの日、減塩の日、薔薇忌、月斗忌

2021-03-16 (火)

=͟͟͞͞ ♡︎ 癸亥

国立公園指定記念日、財務の日、ミドルの日、十六団子の日、おかでんチャギントンの日、ミールオンデマンドの給食サービスの日、トロの日、十六茶の日、横超忌

2021-03-15 (月)

=͟͟͞͞ ♡︎ 壬戌

靴の日・靴の記念日、世界消費者権利デー、万国博デー、オリーブの日、「会いに、走れ。」記念日、サイコの日、眉の日、ドメインの日、最硬の盾の記念日、温泉むすめの日、涅槃会、いちごの日、邪神忌

2021-03-14 (日)

=͟͟͞͞ ♡︎ 辛酉

ホワイトデー、円周率の日、数学の日、パイの日、国民融和日、美白デー、国際結婚の日、さーたーあんだぎーの日、切腹最中の日、ホームインスペクションの日、花贈り男子の日、ピカジョの日、不二家パイの日、オキシクリーンの日・オキシ漬けの日、採用担当者へありがとうを伝える日、元麿忌

2021-03-13 (土)

=͟͟͞͞ ♡︎ 庚申

新選組の日、青函トンネル開業記念日、漁業法記念日、サンドイッチデー、崔さんの日、ペヤングソースやきそばの日、一汁三菜の日、石井スポーツグループ 登山の日、お父さんの日、VSOP運動の日、花幻忌、虚空蔵の縁日

2021-03-12 (金)

=͟͟͞͞ ♡︎ 己未

世界反サイバー検閲デー、サンデーホリデーの日・半ドンの日、モスの日、スイーツの日、咲顔（えがお）の日、サイズの日、サイフの日、だがしの日、豆腐の日、育児の日、パンの日、わんにゃんの日、菜の花忌

2021-03-11 (木)

=͟͟͞͞ ♡︎ 戊午

いのちの日、おうえんの日、防災意識を育てる日、おくる防災の日、パンダ発見の日、コラムの日、ロールちゃんの日、めんの日、おかあちゃん同盟の日、世界おかあちゃん同盟の日、宋淵忌

2021-03-10 (水)

=͟͟͞͞ ♡︎ 丁巳

東京都平和の日、農山漁村女性の日、チベット民族蜂起記念日、東海道・山陽新幹線全通記念日、陸軍記念日、砂糖の日、佐渡の日、横浜三塔の日、水戸の日、サボテンの日、ミントの日、ミルトンの日、クラシアンの日、名古屋コーチンの日、たけのこの里の日、ミードの日、サトウ記念日、見合いの日、サンドブラスト彫刻の日、ミートソースの日、水通しの日、マルヨのほたるいかの日、糖化の日、パンケーキの日、アメリカンフライドポテトの日、バイナリーオプションの日、コッペパンの日、Windows 10 の日、スカイプロポーズの日、キャッシュレスの日、みすゞ忌、金毘羅の縁日

||＊||:||＊||:||＊||:||＊||:||＊||:||＊||:||＊||:||

♡/// 冬～春景色の時間 🌃🌙*.｡★*ﾟ

🎞ᎥᏝᵒᵛᵉϋෆ* おじぎも忘れずに m(❁_ _)m ペコリンチョ♡ (✽˘▿˘✽) peko

追記：カラスさんのおじぎ動画は、後乗せで投稿しますね。

໒꒱ʚ✞ɞ(◉8◉)໒꒱ʚ✞ɞ໒꒱(◉8◉)ʚ✞ɞ໒꒱

〖制約条件〗行動範囲＆徒歩圏内＆〖偶然の一致〗

( ᵕᴗᵕ )⋆☪︎ ɢᵒᵒᵈ ɴⁱᵍʰᵗ♥️(-_-)_zzz%%%

NHK小諸ラジオ中継局アンテナ（小諸ラジオ送信所）

🕐🕑🕒🕓🕔🕕🕖🕗🕘🕙🕚🕛

꒒ ০ ⌵ ୧ ♡ᶫᵒᵛᵉ♡😄💗💫💖😍💖♡(｡••｡)⸝ෆ⃛⸜(｡••｡)♡💕👫💕 ꒒ ꒩ ꒦ ꒰ ♡ lℓσνє♡

❤ＬＯＶＥ❤Lᵒᵛᵉᵧₒᵤ♡ˡºᵛᵉ♡̣̊Ꮭ̩͙ᐤ͘ᘁ̟ℯ͘ ℽ̊ᐤ∪̣̕♡ℓσνє.❤♡ᑊ ♡ͦ ♡ͮ ♡ͤ ˚ ˳* LOVE★⌒ヾ(^-''*) ℒℴνℯ✍

.-..-. `·.· ´ I love you♡ ●/ /▌ / \

ℓσνє♡ 🅛🅞🅥🅔 Ｌ♡ＶＥ

⇢ℒℴνℯ⇠ 💕👫💕(*˘︶˘*)∫♡⃜ζ(*˘︶˘*) 🅛🅞🅥🅔

ଘ♡ଓ*:ﾟ+｡⋈｡♡:* :ﾟ+｡ଘ☆:ﾟ+｡⋈｡.໒꒱°

/ᐠ｡ꞈ｡ᐟ❁ \∫ /ᐠ｡ꞈ｡ᐟ❁ \∫ /ᐠ｡ꞈ｡ᐟ❁ \∫ /ᐠ｡ꞈ｡ᐟ❁ \∫ /ᐠ｡ꞈ｡ᐟ❁ \∫ /ᐠ｡ꞈ｡ᐟ❁ \∫ /ᐠ｡ꞈ｡ᐟ❁ \∫

👹\ ♩ /🎵~🎶♪🎶♪🎶~🎵\ ♩ /👹

𓂃◌𓈒𓐍 鬼の首を取ったよう

（読み）オニノクビヲトッタヨウ

𓂃◌𓈒𓐍 鬼(おに)の首(くび)を取(と)ったよう

〖デジタル大辞泉の解説〗

大変な功名・手柄を立てたかのように得意になるさま。

「鬼の首を取ったような喜びよう」

👹\ ♩ /🎵~🎶♪🎶♪🎶~🎵\ ♩ /👹

𓂃◌𓈒𓐍 寄(よ)らば大樹(たいじゅ)の陰(かげ)

 〖解説〗

身を寄せるならば、大木の下が安全である。同じ頼るならば、勢力のある人のほうがよいというたとえ。

𖤣𖥧𖥣｡𖤣𖥧𖥣｡𖤣𖥧𖥣｡𖤣𖥧𖥣｡𖤣𖥧𖥣｡𖤣𖥧𖥣｡𖤣𖥧𖥣｡𖤣𖥧𖥣｡𖥧 𖧧

꒰ ๑ּగᴗ̂గ๑꒱ෆ⃛* 夜更かしさん夜なべ仕事に精を出すの巻 ((φ(v_v*)ﾌﾑﾌﾑ

✳真夜中のど壷にはまる ∀⌒☆

読み方：どつぼにはまる

別表記：ド壷にはまる、ドつぼにはまる

〖意味〗

はなはだ悪い状況に陥ることなどを意味する表現。最悪の状態に陥る。一説には 「ど壷」 は肥溜めのことであるとされる。

✳✨(-'ﾛ'-  )(,,>᎑<,,)(∗vᴗv∗)( ❛⃘ᵕ ❛⃘ )...♡‎⋆ ･‎⋆ ･‎⋆ ･‎⋆( ❛⃘ੌᵕ ❛⃘ੌ  )...♡✴✨

ó‿ó ～ Ծ_Ծ ～ ŏﺡó ～ ಠoಠ ～ ರ_ರ ～ ⋋ō_ō`

𝓗𝓪𝓹𝓹𝔂𝓥𝓪𝓵𝓮𝓷𝓽𝓲𝓷𝓮 💘 𝓗𝓪𝓹𝓹𝔂𝓥𝓪𝓵𝓮𝓷𝓽𝓲𝓷𝓮

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

【黒板】 ＼_( ﾟﾛﾟ)ここ重要。ﾒﾓょ!！ﾒﾓ! !

( ' '♬) (^_^♪)♪😇♪೨̣̥*♪♪♪♪

🎞ᎥᏝᵒᵛᵉϋෆ* 最後のシュミレーション (Ü)۶🤔٩(Ü)

ʚෆ⃛ɞ ໒꒱· ﾟʚ♥ɞ «❤︎» ʚ♥ɞ ໒꒱· ﾟʚෆ⃛ɞ

〜時は一巡した〜

◆ 〖ことわざ〗

月夜に提灯

【読み】 つきよにちょうちん

【意味】

月夜に提灯とは、必要ないもの、役に立たないもののたとえ。

ˣx✖ˣ♡✖ˣx♡xˣ✖xˣ♡ˣx✖ˣx♡xˣ

◝▾̎⃝◜·͙.♬ ( ͡° ͜ʖ ͡° ) ◝▾̎⃝◜·͙.♬😏💭💕◝▾̎⃝◜·͙. ♬ ((﹡ˆ︶ˆ﹡))♬* ◝▾̎⃝◜·͙.♬

🎞ᎥᏝᵒᵛᵉϋෆ* はなれないでよ　近くをとんで ‪𓂃 𓈒𓏸໒꒱

🎞ᎥᏝᵒᵛᵉϋෆ* 翼ひろげて眠るわ 𓂃 𓈒𓏸໒꒱

🎞ᎥᏝᵒᵛᵉϋෆ* ああ突然 オレンジ色の ( ⸝⸝⸝˙ ˙⸝⸝⸝ )

🎞ᎥᏝᵒᵛᵉϋෆ* ああ光が 私をつつみ (💡•᎑•💡)

🎞ᎥᏝᵒᵛᵉϋෆ* いったい俺は何を主張しかかげるのか ٩( *´﹀`* )۶♬*゜

🎞ᎥᏝᵒᵛᵉϋෆ* 欲に意地はりあうことから降りられない (((≫_≫)))

🎞ᎥᏝᵒᵛᵉϋෆ* 思い出さえ　帰らない (*￣ｰ)ﾉﾉ[家]

🎞ᎥᏝᵒᵛᵉϋෆ* 君はどこに　眠るの ( ᵕᴗᵕ )⋆☪︎ ɢᵒᵒᵈ ɴⁱᵍʰᵗ

🎞ᎥᏝᵒᵛᵉϋෆ* 真っすぐ君へと線を引きたい ◌⑅◌┈┈┈┈┈┈┈┈┈◌⑅◌

🎞ᎥᏝᵒᵛᵉϋෆ* 仲良く暮らしたとさ ﾟ+.(*♡Ü(Ü♡*)ﾟ+.　

🎞ᎥᏝᵒᵛᵉϋෆ* きっと 変わらないのは 鳥のように 自由な心 ㄟ( ･ө･ )ㄏ

🎞ᎥᏝᵒᵛᵉϋෆ* ずっと変わらないのは 空のように自由な心 ︎︎☁︎*°⋆͛*

🎞ᎥᏝᵒᵛᵉϋෆ* たかが人生なりゆきまかせ (Ü)۶♡٩(Ü)

🎞ᎥᏝᵒᵛᵉϋෆ* 男なんかは星の数ほど 👦⑉👦⑉👦⑉👦🏻𖤐⸒⸒

🎞ᎥᏝᵒᵛᵉϋෆ* たかが人生 綺麗なときは ✿ﾟ❀.(*´▽`*)❀.ﾟ✿

🎞ᎥᏝᵒᵛᵉϋෆ* 花よりもっと短いはずね ꒰ღ˘◡˘ற꒱

🎞ᎥᏝᵒᵛᵉϋෆ* あたしだけ飛べる青空を持ってる人ならば ️️️⛅️

撮影日：2021-03-09 (火)

=͟͟͞͞ ♡︎ 丙辰

♥︎︎∗︎*ﾟ🐦 本番登場～🤍主張お便り電線に雀さん❕ °ʚ(•ө•)ɞ°

♥︎︎∗︎*ﾟ🐦 本番登場～🤍庭木に名前の分からない鳥さん❕ ㄟ( ･ө･ )ㄏ

💕ूू (１)(２)(３)：

撮影時刻 🔜 14:43:56・14:45:18・16:03:23

💕ूू (４)(５)(６)：

撮影時刻 🔜 16:03:32・16:03:41・16:04:21

💕ूू (７)(８)：

撮影時刻 🔜 16:04:33・16:04:57

ʚ♡⃛ɞ 春の訪れヨモギ（蓬）

💕ूू (９)(１０)：

- ̗̀ ♡ ̖́- 食べないエントランス下

幸福・平和・平穏

静穏・夫婦愛・決して離れない

( ✋˘ ˘👌 ) (๑ｰㅅｰ๑)

🕐🕑🕒🕓🕔🕕🕖🕗🕘🕙🕚🕛

▹◃┄▸◂┄▹◃┄▸◂┄▹◃┄▸◂┄▹◃┄▸◂┄▹◃┄▸◂

by 中山美穂『Love For You』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 好きだった 歌口ずさみ ♪♪"

(ღ•ㅂ•๐) 全ての 過去に ふれている ♪♪"

(ღ•ㅂ•๐) 精一杯 生きてた 香りがする ♪♪"

(ღ•ㅂ•๐) 大人になるのいやで 大人のふりしたけど ♪♪"

(ღ•ㅂ•๐) きっと 変わらないのは 鳥のように 自由な心 ♪♪"

(ღ•ㅂ•๐) The love I have for you. it's

true... ♪♪"

(ღ•ㅂ•๐) 友達も そうね いつまでも ♪♪"

(ღ•ㅂ•๐) 繋がってる メロディね ♪♪"

(ღ•ㅂ•๐) 存在して 気まぐれ だから 心地いい ♪♪"

(ღ•ㅂ•๐) 泣きたい時にいつも 泣かせてくれるものね ♪♪"

(ღ•ㅂ•๐) ずっと変わらないのは 空のように自由な心 ♪♪"

(ღ•ㅂ•๐) The love I have for you. it's

true... ♪♪"

(ღ•ㅂ•๐) 誰もが味方するわ いちばん 愛すること ♪♪"

(ღ•ㅂ•๐) 人は心のために 生きていくの 羽を広げ ♪♪"

(ღ•ㅂ•๐) The love I have for you. it's

true... ♪♪"

(ღ•ㅂ•๐) The love I have for you. ♪♪"

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

by 桂銀淑『すずめの涙 』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 幸福を窓に閉じこめて飼いならしてみても ♪♪"

(ღ•ㅂ•๐) 悲しみが胸のすき間から忍び込んでくる ♪♪"

(ღ•ㅂ•๐) たかが人生なりゆきまかせ ♪♪"

(ღ•ㅂ•๐) 男なんかは星の数ほど ♪♪"

(ღ•ㅂ•๐) 泥んこになるまえに 綺麗にあばよ ♪♪"

(ღ•ㅂ•๐) 好きでいるうちに 許してあばよ ♪♪"

(ღ•ㅂ•๐) もし・・・今度生まれてくるなら孔雀よりすずめ ♪♪"

(ღ•ㅂ•๐) 口紅も香水もつけないで誰かと暮すわ ♪♪"

(ღ•ㅂ•๐) 色づいた夢を見るよりも ♪♪"

(ღ•ㅂ•๐) ささやかでもいいの ♪♪"

(ღ•ㅂ•๐) あたしだけ飛べる青空を持ってる人ならば ♪♪"

(ღ•ㅂ•๐) たかが人生 綺麗なときは ♪♪"

(ღ•ㅂ•๐) 花よりもっと短いはずね ♪♪"

(ღ•ㅂ•๐) 酔いどれになるまえに 背中にあばよ ♪♪"

(ღ•ㅂ•๐) 好きでいるうちに 許してあばよ ♪♪"

(ღ•ㅂ•๐) 許してあばよ ♪♪"

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

by ・中島みゆき増田惠子『すずめ』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 別れの話は 陽のあたる ♪♪"

(ღ•ㅂ•๐) テラスで紅茶を飲みながら ♪♪"

(ღ•ㅂ•๐) あなたと私の一日の ♪♪"

(ღ•ㅂ•๐) 一頁を読むように ♪♪"

(ღ•ㅂ•๐) 別れの話をする時は ♪♪"

(ღ•ㅂ•๐) 雨降る夜更けに 呼ばないで ♪♪"

(ღ•ㅂ•๐) あなたと私の 一生が ♪♪"

(ღ•ㅂ•๐) 終わるように 響くから ♪♪"

(ღ•ㅂ•๐) 時計の中に だれかがいるの ♪♪"

(ღ•ㅂ•๐) 旅立つ仕度の あなた ♪♪"

(ღ•ㅂ•๐) 今なら汽車に 間に合うかしら ♪♪"

(ღ•ㅂ•๐) 車をさがしてくるわ ♪♪"

(ღ•ㅂ•๐) 雀 雀 私の心 ♪♪"

(ღ•ㅂ•๐) あなたのそばを 離れたくない ♪♪"

(ღ•ㅂ•๐) なのになのに ふざけるばかり ♪♪"

(ღ•ㅂ•๐) 雀のように はしゃいでるばかり ♪♪"

(ღ•ㅂ•๐) あなたにもらった パステルの ♪♪"

(ღ•ㅂ•๐) 私の似顔を捨てたいわ ♪♪"

(ღ•ㅂ•๐) 焼くのはあまりにつらいから ♪♪"

(ღ•ㅂ•๐) 夜の海に 捨てたいわ ♪♪"

(ღ•ㅂ•๐) いつものように 手を振りながら ♪♪"

(ღ•ㅂ•๐) あなたの車が消える ♪♪"

(ღ•ㅂ•๐) ついでのように 見送りながら ♪♪"

(ღ•ㅂ•๐) 私 いつか走りだす ♪♪"

(ღ•ㅂ•๐) 雀 雀 私の心 ♪♪"

(ღ•ㅂ•๐) あなたのそばを 離れられない ♪♪"

(ღ•ㅂ•๐) 呼んで 呼んで 雀のように ♪♪"

(ღ•ㅂ•๐) あにたのあとを 追いかけてゆくの ♪♪"

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

by 山口百恵『幸福の実感』 ♪̊̈♪̆̈

(ღ•ㅂ•๐) 【歌詞】

(ღ•ㅂ•๐) 昨日までなら幸福と ♪♪"

(ღ•ㅂ•๐) 思った事が ♪♪"

(ღ•ㅂ•๐) 今日は不幸に感じられる ♪♪"

(ღ•ㅂ•๐) 私 困った女ですね ♪♪"

(ღ•ㅂ•๐) あなたと過す一時が ♪♪"

(ღ•ㅂ•๐) 今はかえって ♪♪"

(ღ•ㅂ•๐) 私の心 波立たせる ♪♪"

(ღ•ㅂ•๐) なんの理由もないはずなのに ♪♪"

(ღ•ㅂ•๐) 幸福はシーソーゲーム ♪♪"

(ღ•ㅂ•๐) 手にしたとたん ♪♪"

(ღ•ㅂ•๐) 重くなる 重くなる ♪♪"

(ღ•ㅂ•๐) すべてを賭けて愛せると ♪♪"

(ღ•ㅂ•๐) 思った人が ♪♪"

(ღ•ㅂ•๐) 今日は他人に見えるなんて ♪♪"

(ღ•ㅂ•๐) 私 いけない女ですね ♪♪"

(ღ•ㅂ•๐) あなたの話す何気ない ♪♪"

(ღ•ㅂ•๐) 言葉の癖が ♪♪"

(ღ•ㅂ•๐) 時々すごく気になったり ♪♪"

(ღ•ㅂ•๐) そんな自分が怖いのです ♪♪"

(ღ•ㅂ•๐) 幸福はシーソーゲーム ♪♪"

(ღ•ㅂ•๐) 手にしたとたん ♪♪"

(ღ•ㅂ•๐) 重くなる 重くなる ♪♪"

(ღ•ㅂ•๐) 縛られる事が愛なんて ♪♪"

(ღ•ㅂ•๐) 思ったけれど ♪♪"

(ღ•ㅂ•๐) 今は自由が欲しいのです ♪♪"

(ღ•ㅂ•๐) 私 かってな女ですね ♪♪"

(ღ•ㅂ•๐) 暖か過ぎるその手から ♪♪"

(ღ•ㅂ•๐) 翼を広げ ♪♪"

(ღ•ㅂ•๐) 飛ぶことばかり夢に見てる ♪♪"

(ღ•ㅂ•๐) そんな女に変りました ♪♪"

(ღ•ㅂ•๐) 幸福はシーソーゲーム ♪♪"

(ღ•ㅂ•๐) 手にしたとたん ♪♪"

(ღ•ㅂ•๐) 重くなる 重くなる ♪♪"

♡┈┈┈┈┈┈┈┈┈┈┈┈┈┈┈♡

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

❣Ꮠ ᏞᎾᏙᎬ ᎽᎾᏌ❣

🕊 𓈒 𓂂𓏸 ⸜🕊⸝🕊💭⸜🕊⸝🕊💭🕊 𓈒 𓂂𓏸

ひとりじゃないっていいね。

o♬*ﾟ・*:..｡o♬*ﾟ_____☆*°_______☆*°

𝚠𝚎𝚕𝚌𝚘𝚖𝚎 ♬︎♡ 𝓌ℯ𝓁𝒸ℴ𝓂ℯ

いらっしゃいませ (‘-‘*)ｴﾍ

♡𝕋𝕙𝕒𝕟𝕜 𝕐𝕠𝕦 ＞📣〃May I help you?〃

“No, thank you. I’m just looking (around).”

ᐠ( ᐢ ᵕ ᐢ )ᐟｲﾗｯｼｬｲﾏｾ💖

⋆.*⃝̥◌ॱ꒰*ॢ˘̴͈́꒵˘̴͈̀*ॢ꒱ॱ◌̥*⃝̣ ⋆ ꒰* ॢꈍ◡ꈍ ॢ꒱.*˚‧

___☆*°______☆*° o♬*ﾟ・*:..｡o♬*ﾟ

(4WD) Front Wheel Bearing Hub Assembly Replacement for 10-18 Lexus GX460, 03-09 GX470, 03-19 Toyota 4Runner, 07-14 FJ Cruisers, 05-18 Toyota Tacoma Hub Bearing [w/6 Lugs 4×4]-515040, 950-001

(4WD) Front Wheel Bearing Hub Assembly Replacement for 10-18 Lexus GX460, 03-09 GX470, 03-19 Toyota 4Runner, 07-14 FJ Cruisers, 05-18 Toyota Tacoma Hub Bearing [w/6 Lugs 4×4]-515040, 950-001 Product Description & Features: 1×950-001 Front Wheel Bearing and Hub Assembly Compatible with 6 Lugs 4WD 4×4, Driver(LH Left) or Passenger(RH Right) Side-515040. Fit: 2010 2011 2012 2013 2014 2015 2016…