The first two measures of Mozart's Sonata K. 331, which indicates the tempo as "Andante grazioso" and a modern editor's metronome marking: "♪ = 120".  Play (help·info)

In musical terminology, tempo (Italian for time, plural: tempi) is the speed or pace of a given piece. Tempo is a crucial element of any musical composition, as it can affect the mood and difficulty of a piece.

Measuring tempo[link]

Electronic metronome, Wittner model

The tempo of a piece will typically be written at the start of a piece of music, and in modern Western music is usually indicated in beats per minute (BPM). This means that a particular note value (for example, a quarter note or crotchet) is specified as the beat, and the marking indicates that a certain number of these beats must be played per minute. The greater the tempo, the larger the number of beats that must be played in a minute is, and, therefore, the faster a piece must be played. Mathematical tempo markings of this kind became increasingly popular during the first half of the 19th century, after the metronome had been invented by Johann Nepomuk Mälzel, although early metronomes were somewhat inconsistent. Beethoven was the first composer to use the metronome, and in 1817 he published metronomic indications for his (then) eight symphonies. Some of these markings are today contentious, such as those on his "Hammerklavier" Sonata and Ninth Symphony, seeming to many to be almost impossibly fast, as is also the case for many of the works of Schumann.^[1]

With the advent of modern electronics, BPM became an extremely precise measure. Music sequencers use the BPM system to denote tempo.

As an alternative to metronome markings, some 20th century composers (such as Béla Bartók and John Cage) would give the total execution time of a piece, from which the proper tempo can be roughly derived.

Tempo is as crucial in contemporary music as it is in classical. In electronic dance music, accurate knowledge of a tune's BPM is important to DJs for the purposes of beatmatching.

Musical vocabulary for tempo[link]

A Seth Thomas model metronome

Some musical pieces do not have a mathematical time indication. In classical music it is customary to describe the tempo of a piece by one or more words. Most of these words are Italian, because many of the most important composers of the 17th century were Italian, and this period was when tempo indications were first used extensively.

Before the metronome, words were the only way to describe the tempo of a composition. Yet after the metronome's invention, these words continued to be used, often additionally indicating the mood of the piece, thus blurring the traditional distinction between tempo and mood indicators. For example, presto and allegro both indicate a speedy execution (presto being faster), but allegro also connotes joy (from its original meaning in Italian). Presto, on the other hand, indicates speed as such.

Additional Italian words also indicate tempo and mood. For example, the "agitato" in the Allegro agitato of the last movement of George Gershwin's piano concerto in F has both a tempo indication (undoubtedly faster than a usual Allegro) and a mood indication ("agitated").

Understood tempo[link]

In some cases (quite often up to the end of the Baroque period), conventions governing musical composition were so strong that no tempo had to be indicated. For example, the first movement of Bach's Brandenburg Concerto No. 3 has no tempo or mood indication whatsoever. To provide movement names, publishers of recordings resort to ad hoc measures, for instance marking the Brandenburg movement "Allegro", "(Allegro)", "(Without indication)", and so on.

In Renaissance music most music was understood to flow at a tempo defined by the tactus, roughly the rate of the human heartbeat. Which note value corresponded to the tactus was indicated by the mensural time signature.

Often a particular musical form or genre implies its own tempo, so no further explanation is placed in the score. Thus musicians expect a minuet to be performed at a fairly stately tempo, slower than a Viennese waltz; a Perpetuum Mobile to be quite fast, and so on. Genres can be used to imply tempos; thus Ludwig van Beethoven wrote "In tempo d'un Menuetto" over the first movement of his Piano Sonata Op. 54, although that movement is not a minuet. Popular music charts use terms such as "bossa nova", "ballad", and "Latin rock" in much the same way.

It is important to remember when interpreting these words that not only have tempos changed over historical time, and even in different places, but sometimes even the ordering of terms has changed. Thus a modern largo is slower than an adagio, but in the Baroque period it was faster.^[2]

Beats per minute[link]

BPM of 120

Beats per minute (BPM) is a unit typically used as a measure of tempo in music and heart rate.

The BPM tempo of a piece of music is conventionally shown in its score as a metronome mark, as illustrated to the right. This indicates that there should be 120 crotchet beats (quarter notes) per minute. In simple time signatures it is conventional to show the tempo in terms of the note duration on the bottom. So a 4/4 would show a crotchet (or quarter note), as above, while a 2/2 would show a minim (or half note).

In compound time signatures the beat consists of three note durations (so there are 3 quavers (eighth notes) per beat in a 6/8 time signature), so a dotted form of the next note duration up is used. The most common compound signatures: 6/8, 9/8, and 12/8, therefore use a dotted crotchet (dotted quarter note) to indicate their BPM.

Exotic time and particularly slow time signatures may indicate their BPM tempo using other note durations. Beats per minute became common terminology in disco because of its usefulness to DJs, and remain important in the same genre and other dance music.

	120 BPM tempo Example of a basic 4/4, 120 BPM tempo
Problems listening to this file? See media help.

In this context the beats measured are either crotchets (quarter notes) in the time signature (sometimes ambiguously called down-beats), or drum beats (typically bass-drum or another functionally similar synthesized sound), whichever is more frequent. Higher BPM values are therefore achievable by increasing the number of drum beats, without increasing the tempo of the music. House music is faster around 120-128 bpm (from regular house music to UK Garage), Trance Music ranges from 125 to 150 bpm,^[3] and Jungle music generally ranges between 150-180 bpm. Psytrance is almost exclusively produced at 145 BPM,^{[citation needed]} whereas Speedcore and Gabber music exceed 180 bpm.

Extreme BPM[link]

More extreme BPMs are achievable at the same underlying tempo with very fast drum patterns, often expressed as drum rolls. Such compositions often exhibit a much slower underlying tempo, but may increase the BPM by adding additional percussive beats. Extreme music subgenres such as speedcore and cybergrind often strive to reach excessively high BPM rates. The use of extreme tempo was very common in the fast bebop jazz from the 1940s and 1950s. A common jazz tune such as "Cherokee" was often performed at quarter note equal to or sometimes exceeding 368 BPM. Some of Charlie Parker's famous tunes ("Bebop", "Shaw Nuff") have been performed at 380 BPM plus. John Coltrane's "Giant Steps" was performed at 374 BPM.

Beatmatching[link]

Beatmatching, a tool amongst DJs, concerns the speeding up or down of a record in order to match the tempo of a previous track so both can be seamlessly mixed.

DJs often beatmatch the underlying tempos of recordings, rather than their strict bpm value suggested by the kick drum, particularly when dealing with high tempo tracks. A 240 bpm track, for example, will match the beat of a 120 bpm track without slowing down or speeding up, because both will have an underlying tempo of 120 crotchets (quarter notes) per minute. Thus, some soul music (around 75-90 beats per minute) can be mixed well with a drum and bass beat (from 150-185 beats per minute).

When speeding up or slowing down a record on a turntable, the pitch and tempo of a track are linked: spin a disc 10% faster and both pitch and tempo will be 10% higher. Software processing to change the pitch without changing the tempo, or vice-versa, is called time-stretching or pitch-shifting. While it works fairly well for small adjustments (± 20%), the result can be noisy and unmusical for larger changes.

Measures per minute[link]

Measures per Minute (MPM) or bars per minute is another way to measure the speed of music: the number of measures in one minute. It is commonly used in ballroom dance music. For example, in Waltz, the dancer would count 1 2 3 1 2 3 in his/her head.

Italian tempo markings[link]

The definitions of the Italian tempo markings mentioned in this section can be found in the Harvard Dictionary of Music and/or the online Italian-English dictionary, both of which are listed in Sources.

Basic tempo markings[link]

All of these markings are based on a few root words. By adding an -issimo ending the word is amplified/made louder, by adding an -ino or -etto ending the word is diminished/made softer. The metronome marks are broad approximations. Note: Metronome markings are a guide only and depending on the time signature and the piece itself, these figures may not be appropriate in every circumstance.

• Larghissimo — very, very slow (20 bpm and below)
• Grave — slow and solemn (20–40 bpm)
• Lento — slowly (40–60 bpm)
• Largo — broadly (40–60 bpm)
• Larghetto — rather broadly (60–66 bpm)
• Adagio — slow and stately (literally, "at ease") (66–76 bpm)
• Adagietto — rather slow (70–80 bpm)
• Andante moderato — a bit slower than andante
• Andante — at a walking pace (76–108 bpm)
• Andantino – slightly faster than andante (although in some cases it can be taken to mean slightly slower than andante)
• Moderato — moderately (108–120 bpm)
• Marcia Moderato — moderately, in the manner of a march
• Allegretto — moderately fast (but less so than allegro)
• Allegro moderato — moderately quick (112–124 bpm)
• Allegro — fast, quickly and bright (120–168 bpm)
• Vivace — lively and fast (≈140 bpm) (quicker than allegro)
• Vivacissimo — very fast and lively
• Allegrissimo — very fast
• Presto — very fast (168–200 bpm)
• Prestissimo — extremely fast (more than 200bpm)

Additional Terms:

• A piacere — the performer may use his own discretion with regard to tempo and rhythm; literally "at pleasure"^[4]
• L'istesso tempo or Lo stesso tempo — at the same speed
• Tempo comodo — at a comfortable (normal) speed
• Tempo di... — the speed of a ... (such as Tempo di valse (speed of a waltz), Tempo di marcia (speed of a march))
• Tempo giusto — at a consistent speed, at the 'right' speed, in strict tempo
• Tempo semplice — simple, regular speed, plainly

Common qualifiers[link]

• alla — in the manner or style of, as in:
  • alla breve — in short style, i.e., duple time, with the half note (minim) rather than the quarter note (crotchet) as the beat; cut time; 2/2 instead of 4/4; often marked as a semicircle with a vertical line through it (see Time signature)
  • alla marcia — in the manner of a march^[5] (e.g., Beethoven, op. 101)
  • all' ongarese — in Hungarian style
  • alla (danza) tedesca — in the style of the Ländler (ca. 1800), and similar dances in rather quick triple meter (see Beethoven, op. 79, op. 130)^[6]
  • alla turca — in the Turkish style, that is, in imitation of Turkish military music (Janizary music), which became popular in Europe in the late 18th century (e.g., Mozart, K. 331, K. 384)
  • alla zingarese — in the style of Gypsy music
• assai — very much, as in allegro assai, quite fast^[7]
• ben — well, as in ben marcato (well marked or accented)
• con bravura— with skill^[8]
• con brio — with vigor and spirit^[9]
• con fuoco — with fire
• con moto — with motion
• deciso — decidedly, decisively
• fugato — in fugal style, usually part of a non-fugal composition; such passages often occur in the development sections of symphonies, sonatas, and quartets^[10]
• in modo — in the manner of, in the style of: in modo napolitano (in Neapolitan style), in modo di marcia funebre (in the manner of a funeral march)
• meno — less, as in meno mosso (less quickly)^[11]
• appena — almost none, as in appena forte (almost not at all loud)
• misterioso — mysterious
• molto — much, very, as in molto allegro (very quick) or molto adagio (very slow)^[12]
• non troppo — not too much, e.g. allegro non troppo (or allegro ma non troppo) means "fast, but not too much"
• non tanto — not so much
• più — more, as in più allegro (more quickly); used as a relative indication when the tempo changes
• piuttosto — rather, as in piuttosto allegro (rather quick)^[13]
• poco — slightly, little, as in Poco adagio
• poco a poco — little by little
• polacca — generic name for Polish dances, usually the polonaise, as in tempo di polacca; note, however, that the "Polacca" in Bach's Brandenburg Concerto No. 1 shows little resemblance to the polonaise^[14]
• primo — principal or early, as in tempo primo, the same tempo as at the beginning
• quasi — almost, nearly, as if (such as Più allegro quasi presto, "faster, as if presto")
• senza — without, as in senza interruzione (without interruption or pause), senza tempo or senza misura (without strict measure)^[15]
• sostenuto – sustained, prolonged
• subito — suddenly

Note: In addition to the common allegretto, composers freely apply Italian diminutive and superlative suffixes to various tempo indications: andantino, larghetto, adagietto, and larghissimo.

Mood markings with a tempo conotation[link]

Some markings that primarily mark a mood (or character) also have a tempo connotation:

• Affettuoso — with feeling/emotion
• Agitato — agitated, with implied quickness
• Appassionato — to play passionately
• Animato — animatedly, lively
• Brillante — sparkling, glittering, as in Allegro brillante, Rondo brillante, or Variations brillantes; became fashionable in titles for virtuoso pieces^[16]
• Bravura - broadly
• Cantabile — in singing style (lyrical and flowing)
• Dolce — sweetly
• Energico — energetic, strong, forceful
• Eroico — heroically
• Espressivo — expressively
• Furioso — to play in an angry or furious manner
• Giocoso — merrily, funny
• Gioioso — joyfully
• Grandioso — magnificently, grandly
• Grazioso — gracefully
• Lacrimoso — tearfully, sadly
• Lamentoso — lamenting, mournfully
• Leggero — to play lightly, or with light touch
• Legiadro - lightly and gracefully
• Maestoso — majestic or stately (which generally indicates a solemn, slow march-like movement)
• Malinconico — melancholic
• Marcato — marching tempo, marked with emphasis
• Marziale — in a march style, usually in simple, strongly marked rhythm and regular phrases
• Mesto — sad, mournful
• Morendo — dying
• Nobilmente — nobly (in a noble way)
• Patetico — with great emotion
• Pesante — heavily
• Sautillé/ Saltando — jumpy, fast, and short
• Scherzando — playfully
• Sostenuto — sustained, sometimes with a slackening of tempo
• Spiccato — slow sautillé, with a bouncy manner
• Tenerezza — tenderness
• Tranquillamente — adverb of tranquillo, "calmly"
• Trionfante — triumphantly
• Vivace — lively and fast, over 140 bpm (which generally indicates a fast movement)

Terms for change in tempo[link]

Composers may use expressive marks to adjust the tempo:

• Accelerando — speeding up (abbreviation: accel.)
• Allargando — growing broader; decreasing tempo, usually near the end of a piece
• Calando — going slower (and usually also softer)
• Doppio movimento — double speed
• Lentando — gradual slowing and softer
• Meno mosso — less movement or slower
• Mosso — movement, more lively, or quicker, much like più mosso, but not as extreme
• Più mosso — more movement or faster
• Precipitando — hurrying, going faster/forward
• Rallentando — gradual slowing down (abbreviation: rall.)
• Ritardando — slowing down gradually; also see rallentando and ritenuto (abbreviations: rit., ritard.)
• Ritenuto — slightly slower; temporarily holding back. (Note that the abbreviation for ritenuto can also be rit. Thus a more specific abbreviation is riten. Also sometimes ritenuto does not reflect a tempo change but a character change instead.)
• Rubato — free adjustment of tempo for expressive purposes
• Stretto — in faster tempo, often near the conclusion of a section. (Note that in fugal compositions, the term stretto refers to the imitation of the subject in close succession, before the subject is completed, and as such, suitable for the close of the fugue.^[17] Used in this context, the term is not necessarily related to tempo.)
• Stringendo — pressing on faster (literally "tightening")

While the base tempo indication (such as allegro) appears in large type above the staff, these adjustments typically appear below the staff or (in the case of keyboard instruments) in the middle of the grand staff.

They generally designate a gradual change in tempo; for immediate tempo shifts, composers normally just provide the designation for the new tempo. (Note, however, that when Più Mosso or Meno Mosso appears in large type above the staff, it functions as a new tempo, and thus implies an immediate change.) Several terms, e.g., assai, molto, poco, subito, control how large and how gradual a change should be (see Common qualifiers).

After a tempo change, a composer may return to a previous tempo in two different ways:

• a tempo - returns to the base tempo after an adjustment (e.g. "ritardando ... a tempo" undoes the effect of the ritardando).
• Tempo primo or Tempo I - denotes an immediate return to the piece's original base tempo after a section in a different tempo (e.g. "Allegro ... Lento ... Moderato .... Tempo I" indicates a return to the Allegro). This indication often functions as a structural marker in pieces in binary form.

These terms also indicate an immediate, not a gradual, tempo change. Although they are Italian, composers typically use them even if they have written their initial tempo marking in some other language.

Tempo markings in other languages[link]

Although Italian has been the prevalent language for tempo markings throughout most of classical music history, many composers have written tempo indications in their own language. The definitions of the tempo markings mentioned in this section can be found in the Harvard Dictionary of Music and/or the online foreign language dictionaries which are listed in Sources.

French tempo markings[link]

Several composers have written markings in French, among them baroque composers François Couperin and Jean-Philippe Rameau as well as Claude Debussy, Olivier Messiaen, Maurice Ravel and Alexander Scriabin. Common tempo markings in French are:

• Au mouvement — play the (first or main) tempo.
• Grave — slowly and solemnly
• Lent — slowly
• Modéré — at a moderate tempo
• Moins — less, as in Moins vite (less fast)
• Rapide — fast
• Très — very, as in Très vif (very lively)
• Vif — lively
• Vite — fast

Erik Satie was known to write extense tempo (and character) markings by defining them in a poetical and literal way, as in his Gnossiennes.^[18]

German tempo markings[link]

Many composers have used German tempo markings. Typical German tempo markings are:

• Langsam — slowly
• Lebhaft — lively (mood)
• Mäßig — moderately
• Rasch — quickly
• Schnell — fast
• Bewegt — animated, with motion^[19]

One of the first German composers to use tempo markings in his native language was Ludwig van Beethoven. The one using the most elaborate combined tempo and mood markings was probably Gustav Mahler. For example, the second movement of his Symphony No. 9 is marked Im Tempo eines gemächlichen Ländlers, etwas täppisch und sehr derb, indicating a slowish folk-dance–like movement, with some awkwardness and much vulgarity in the execution. Mahler would also sometimes combine German tempo markings with traditional Italian markings, as in the first movement of his sixth symphony, marked Allegro energico, ma non troppo. Heftig, aber markig (Energetically quick, but not too much. Violent, but vigorous^[20]).

Tempo markings in English[link]

English indications, for example quickly, have also been used, by Benjamin Britten and Percy Grainger, among many others. In jazz and popular music charts, terms like "fast", "laid back", "steady rock", "medium", "medium-up", "ballad", and similar style indications may appear.

Tempo markings as movement names and compositions with a tempo indicator name[link]

This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (March 2012)

Often, composers (or music publishers) will name movements of compositions after their tempo (and/or mood) marking. For instance the second movement of Samuel Barber's first String Quartet is an "Adagio".^[21]

Some such movements may start to lead a life of their own, and become known with the tempo/mood marker name, for instance the string orchestra version of the second movement of Barber's first string quartet became known as Adagio for Strings. A similar example is Mahler's most famous work - the Adagietto from his Symphony No. 5. Another is Mozart's Alla Turca (here indicating the Janissary music type of mood of the final movement of Mozart's 11th Piano Sonata, K. 331)

Sometimes the link between a musical composition with a "tempo" name and a separate movement of a composition is less clear. For instance Albinoni's Adagio, a 20th century creative "reconstruction" based on an incomplete manuscript.

Some composers chose to include tempo indicators in the name of a separate composition, for instance Bartók in Allegro barbaro ("barbaric Allegro"), a single movement composition.

Rushing and dragging[link]

This unreferenced section requires citations to ensure verifiability.

When performers unintentionally speed up, they are said to rush. The similar term for unintentionally slowing down is drag. Musicians generally consider unintentional tempo drift undesirable, and these terms thus carry a negative connotation. Therefore neither rush nor drag (nor their equivalents in other languages) are often used as tempo indications in scores. Mahler is a notable exception. For example, he used schleppend (dragging) as part of a tempo indication in the first movement of his Symphony No. 1.

See also[link]

• A capriccio
• Alla breve
• As Slow As Possible
• Half time (music)
• Multitemporal music
• Stop-time

References[link]

Sources[link]

Books on tempo in music:

• Epstein, David (1995). Shaping Time: Music, the Brain, and Performance. New York: Schirmer Books. ISBN 0-02-873320-7. 
• Marty, Jean-Pierre (1988). The tempo indications of Mozart. New Haven: Yale University Press. ISBN 0-300-03852-6. 
• Sachs, Curt (1953). Rhythm and Tempo: A Study in Music History. New York: Norton. OCLC 391538. 
• Snoman, Rick (2009). The Dance Music Manual: Tools, Toys, and Techniques – Second Edition. Oxford, UK: Elsevier Press. ISBN 0-9748438-4-9.

Music Dictionaries:

• Apel, Willi, ed., Harvard Dictionary of Music, Second Edition, Revised and Enlarged. The Belknap Press of Harvard University Press, Cambridge, Massachusetts, 1969. ISBN 978-0-674-37501-7
• Sadie, Stanley; John Tyrrell, eds. (2001). The New Grove Dictionary of Music and Musicians, 2nd edition. NewYork: Grove's Dictionaries. ISBN 1-56159-239-0.

External links[link]

• Research group specializing in rhythm, timing, and tempo, University of Amsterdam
• Tempo indications in Mozart's music
• Tempo Terminology, Virginia Tech department of music
• Tempo variation among and within 300+ recorded performances of Beethoven's 'Eroica' Symphony
• Dolmetsch article on tempo
• All8.com's - Beats Per Minute counter Tap computer key to the beat

v t e Musical notation and development Staff Bar & bar line Clef Da capo Dal segno Key signature Ledger line Musical mode Musical scale Rehearsal letter Repeat sign Time signature Transposition Transposing instrument Notes Accidental Flat Natural Sharp Dotted note Grace note Note value Beam Note head Stem Pitch Rest Tuplet Interval Helmholtz pitch notation Letter notation Scientific pitch notation Articulation Dynamics Ornament Trill Mordent Grace note Portato Accent Legato Tenuto Marcato Staccato Staccatissimo Tie Slur Fermata Tonguing Development Cell Coda Exposition Figure Harmony Hook Lick Melody Motif Ossia Ostinato Period Phrase Recapitulation Repetition Rhythm Beat Meter Tempo Theme Tonality Atonality Related Braille music Chord chart Figured bass Graphic notation Lead sheet Eye music Neume Tablature List of musical symbols

Fat Joe
Joe performing in April 2011
Background information
Birth name	Joseph Antonio Cartagena[1]
Born	(1970-08-19) August 19, 1970 (age 41)[1][2][3] New York City, New York, U.S.
Genres	East Coast hip hop, mafioso rap, hardcore hip hop
Occupations	Rapper
Years active	1992–present
Labels	Terror Squad Entertainment, Relativity, Atlantic, Imperial, E1
Associated acts	Big Punisher, Terror Squad, D.I.T.C., DJ Premier, Kool G Rap, Apache, Grand Puba, R. Kelly, KRS-One, Raekwon, Jadakiss, Big L, N.O.R.E., DJ Khaled, Kill All Rats
Website	www.myspace.com/fatjoe

Joseph Antonio Cartagena (born August 19, 1970), better known by his stage name Fat Joe, is an American rapper, CEO of Terror Squad Entertainment, and member of musical groups D.I.T.C. and Terror Squad.

Fat Joe's first album was Represent, released in 1993, followed by Jealous One's Envy in 1995. From 1998 to 2006, he was signed to Atlantic Records, releasing four albums under the label, Don Cartagena in 1998, Jealous Ones Still Envy (J.O.S.E.) in 2001, Loyalty in 2002, and All or Nothing in 2005.^[1] Around the release of All or Nothing, Fat Joe became involved in a highly publicized feud with another New York City-based rapper 50 Cent, who attacked Fat Joe in his song "Piggy Bank". His most popular song in which he performed was his Remy Ma duet "Lean Back" with Terror Squad. The song was a number-one hit in the summer of 2004.

Starting in 2006, when his album Me, Myself, & I was released, Fat Joe was signed to Imperial Records, which distributes through Terror Squad Entertainment. His follow up album wasThe Elephant in the Room, which was released in 2008; Jealous Ones Still Envy 2 (J.O.S.E. 2), the sequel to Jealous Ones Still Envy (J.O.S.E.), was released in October 2009. His tenth album The Darkside Vol. 1 was released on July 27, 2010.

Early life[link]

Fat Joe was born on August 19, 1970 in the southern Bronx area of New York City, where he was raised by parents of Puerto Rican and Cuban descent.^[1][4] He lived in public housing and began stealing at a young age to support his family.^[5] He also states that he was a bully in his childhood.^[5] His brother introduced him to rap music. As a teenager, he was highly influenced by fellow Latino rapper Big Pun. Fat Joe explained the rapper's influence on him by saying "Latinos before us who had the opportunity to do it just didn't know how to do it. They came in trying to do this black music, waving flags. [But] we're trying to kick in the doors for other Latinos and represent our people, and it shows."^[6]

Music career[link]

1992–1995: Early years[link]

Under stage name Fat Joe da Gangsta and part of the Diggin' in the Crates (D.I.T.C.) rap group, Cartagena was signed to Relativity Records in the early 1990s, recording material and working with many artists who he would later sign to his own label. In 1993, his debut album, Represent, was released, featuring production from The Beatnuts, Diamond D, Lord Finess, and others. Its lead single, "Flow Joe" peaked at number one on the Billboard Hot Rap Singles chart; other minor singles from the album included "Watch the Sound" and "This Shit is Real".^[1]

In 1995, Fat Joe released his second studio album, Jealous One's Envy, which peaked at #71 on The Billboard 200 and at #7 on Top R&B/Hip Hop Albums. The album featured a guest appearance from KRS-One and production from Diamond D. The lead single was Success, which did not chart, but his second single, "Envy" peaked at #8 on the Hot Rap Tracks chart. The success of this album led Fat Joe to be featured on the remix of LL Cool J's single "I Shot Ya" along with Foxy Brown, Keith Murray and Prodigy of Mobb Deep.^[1]

1998–2005: Signing to Atlantic Records, Terror Squad, feud with 50 Cent[link]

Released in 1998, Don Cartagena was Joe's third album and his first for Atlantic Records. It peaked on The Billboard 200 at #7 and #2 on Top R&B/Hip Hop albums, eventually being certified gold by the RIAA.^[7]

The album featured two hit singles "Bet Ya Man Can't Triz", and "Don Cartagena". Guest appearances included Nas, Diddy, Big Pun, Raekwon, Jadakiss, and Bone Thugs-N-Harmony. Within the album, Fat Joe debuted his own group Terror Squad that consisted of the late Big Pun, as well as Cuban Link, Triple Seis, Prospect, Armageddon and later Remy Ma.^[8] Joe himself acknowledged, in an interview with HipHopGame.com, that he has received criticism for releasing only one solo album by a former Terror Squad member, Remy Ma, as well as barely featuring original members Prospect and Armageddon on "True Story." Terror Squad singer Tony Sunshine has had possible album release dates pushed back over three years, and Joe had stated that artists Prospect and Armageddon have not released solo albums yet as the result of them being "really lazy".^[9] Former Terror Squad member Triple Seis also went on record when asked who had written Fat Joe's lyrics, stating that he and Pun were Joe's ghostwriters, and asserts that Joe continues to hire ghostwriters.^[10] In 1999, he appeared on Jennifer Lopez's single "Feelin' So Good" from her On the 6 album with late rapper Big Pun.

Fat Joe released his fourth album Jealous Ones Still Envy (J.O.S.E.) in 2001, featuring production from the then-popular Irv Gotti. The album featured a star-studded line up from the likes of Ashanti, Ja Rule, N.O.R.E., Busta Rhymes, Petey Pablo, M.O.P., Ludacris, R. Kelly, Buju Banton, and artists from his Terror Squad label. The lead single "We Thuggin'" featuring R. Kelly was a big hit in late 2001, but would not reach the level of the Irv Gotti-produced "What's Luv?" which was a massive hit in early 2002 and featured The Inc. superstars Ja Rule and Ashanti. The album was Fat Joe's biggest hit as it was successful from its January release all the way into May, being certified platinum.^[7] However, Fat Joe's fifth album Loyalty, released later in 2002 and featuring production from Irv Gotti, was not as successful.

In 2003, Fat Joe was featured in the pop single "I Want You" by Mexican singer Thalía. The same year, he and Tony Sunshine performed the single "Crush Tonight" from Loyalty on the Comedy Central program Chappelle's Show, hosted by comedian Dave Chappelle.^[11]

Despite the setback, Fat Joe scored a number-one hit in 2004 with his group Terror Squad, collaborating with Remy Ma on the Scott Storch production "Lean Back" from the album True Story.^[8] The song was criticized twice by conservative columnist L. Brent Bozell III for its extensive use of obscenity.^[12][13] However, Jason Birchmeier of Allmusic called the song "a perfect club-ready duet between Joe and Remy Ma that boasts a trademark Scott Storch beat and a memorable singalong hook and dance-along step".^[14]

A year later, in 2005, Fat Joe released his sixth album All or Nothing, noted for featuring the popular diss track "My Fofo", aimed at fellow New York rapper 50 Cent, who had dissed Joe for recording with Ja Rule.^[15] All or Nothing spawned the singles "So Much More" and "Get It Poppin" featuring Nelly, also with guest appearances from Eminem, Mase, Remy Ma, Mashonda, and R. Kelly. Responding to "My Fofo", 50 Cent attacked Fat Joe in his song "Piggy Bank" from his best-selling 2005 album The Massacre.^[16][17][18] Fat Joe subsequently attacked 50's street credibility and called him a "coward" on a phone interview with Kay Slay of New York City hip-hop radio station WQHT.^[19] The conflict carried on at the 2005 MTV Video Music Awards, while Fat Joe introduced the reggaeton act featuring Daddy Yankee, Joe remarked, "I feel safe with all the police protection—courtesy of G-Unit."^[20] Shortly after, when MTV switched to a commercial break, 50 Cent directed an obscenity at Joe, and 50 Cent jumped on stage as Fat Joe was leaving.^[21]

[edit] 2006–2008: Me, Myself & I, The Elephant in the Room, the 50 Cent feud continued, and more

Fat Joe performing in Portugal in 2006

Me, Myself & I, released in 2006, is Fat Joe's seventh album. It was his first album released on his new deal with Virgin Records. It featured the hit single "Make It Rain" with southern rapper Lil Wayne, followed by "No Drama (Clap and Revolve)". Fat Joe did a freestyle cipher segment for VH1's "Freestyle 59" competition in October 2006 prior to the VH1 Hip Hop Honors featuring New Jersey emcee Neuse.^[22]

In June 2007, the Reverend Michael Pfleger targeted Fat Joe as among several rappers he believed promoted misogyny in his billboard campaign "Stop Listening to Trash", which was launched June 18, 2007 throughout Chicago, Illinois, where Pfleger preaches.^[23] Also that month, Fat Joe was featured in the DJ Khaled singles "We Takin' Over" alongside Akon, T.I., Rick Ross, Birdman, and Lil Wayne and the remix to Khaled's "I'm So Hood" with Lil Wayne, Young Jeezy, Rick Ross, Busta Rhymes, Big Boi, Ludacris, and Birdman. Verbal disputes between Fat Joe and 50 Cent continued during this time period: in September 2007, on the BET program Rap City, 50 Cent accused Fat Joe of being cowardly for not willing to confront him, but Fat Joe dismissed this claim as nonsense.^[24] Later in January, 50 Cent released another Fat Joe diss, called "Southside Nigga (I'm Leaving)". At the end of January 2008, Fat Joe and his longtime accountant Brian Dittrich both denied rumors spreading on the Internet that Fat Joe owed the IRS in taxes.^[25]

Fat Joe's eighth solo studio album The Elephant in the Room was distributed by Imperial Records, a division of Capitol Records and Terror Squad Entertainment,^[26][27] and released on March 11, 2008; its lead single was "I Won't Tell" featuring singer J. Holiday.^[28] The album debuted at the sixth position on the Billboard Hot 100.^[29] "Ain't Sayin' Nuthin'" followed and featured Plies.

On March 20, 2008, shortly after record sales were released for Fat Joe's new album The Elephant in the Room, 50 Cent released a video via his YouTube account, which features the "funeral" of Fat Joe, which shows 50 Cent crying in the fake footage. 50 Cent then talks about Fat Joe's record sales, and states that he ended Fat Joe's career (like he says he did to Ja Rule's) and that his mixtape blew out Fat Joe's album.^[30]

[edit] 2009: Jealous Ones Still Envy 2

Fat Joe's ninth solo studio album, J.O.S.E. 2, was released towards the end of June 2009.^[31] The project reprises the title of Joe’s 2002 RIAA-Certified Platinum release, Jealous Ones Still Envy (J.O.S.E.), and marked Joe’s third release since bringing his Terror Squad imprint to the EMI family in 2006. For this album, Joe has reached out to many artists, landing assists from Ron Browz, Fabolous, Lil' Kim, T-Pain, Lil Wayne, and Akon. Producers include Jim Jonsin, The Inkredibles, and frequent collaborator StreetRunner.^[32] "One", featuring Akon, was the first single. The album was released on October 6, 2009 and sold 11,000 copies in its first week. It debuted on The Billboard 200 at #73.^[33]

[edit] 2010: Signing to E1 Music and The Darkside

In January 2010, Fat Joe announced that he was working on a new album, The Darkside Vol. 1. MTV News reported that Fat Joe intended "all the material...to be much harsher" than his previous album. Production comes from The Alchemist, Cool & Dre, Streetrunner, DJ Premier, Scoop DeVille, Just Blaze, Scram Jones, Raw Uncut and DJ Infamous with guest appearances by Busta Rhymes, Trey Songz, Lil Wayne, R Kelly, Clipse, Cam'ron, Rico Love, Too $hort, TA and Young Jeezy.^[34] The first single from The Darkside Vol. 1 is "(Ha Ha) Slow Down," which features Young Jeezy. The second single off the album is "If It Ain't About Money" and features Trey Songz.

On March 28, 2010 Fat Joe signed a record deal with E1 Music.^[35][36] The Darkside Vol. 1 was released on July 27, 2010 and sold approximately 12,000 copies in the first week and entered the Billboard 200 at #27.

On August 6, 2010 Fat Joe was interviewed on MTV RapFix Live by Sway. Fat Joe announced in the interview that he planned to record 2 more volumes of The Darkside and then retire.^[37]

[edit] 2011–present: Darkside Vol. 2 mixtape & TBA

Joe was featured on a remix to DJ Khaled's song "Welcome to My Hood", which also features Ludacris, T-Pain, Bust Rhymes, Twista, Mavado, Birdman, Ace Hood, Game, Jadakiss, Bun B and Waka Flocka Flame. It is included as the final track on Khaled's fifth studio album We the Best Forever.

In an interview with XXL Magazine on September 21, 2011 Fat Joe stated Darkside Vol. 2 is going to be his first ever official mixtape and will feature the Mark Henry produced songs "Massacre on Madison" and "Drop a Body", both of which were released earlier in the year. Joe went on to say he is also working on an album which is yet to be named but the first single is called "Another Round" produced by Cool and Dre and Young Lad and features Chris Brown.^[38]
On October 19, 2011 Another Round the first single off Joe's yet to be named eleventh studio album was released on iTunes^[39]

Personal life[link]

Fat Joe in July 2005

Family[link]

Fat Joe currently lives in Miami and is married with three children.^[40]

Community work[link]

Fat Joe has been back to his old school in the Bronx, New York to donate computers for the students.

In 2008 He attended the grand opening of the Hip Hop Soda Shop in Miami which was community outreach project set up by Ben Chavis for the youth to hang out and do things such as record music, use the computers and play on Xbox 360s.^[41]

At a "School is Cool" assembly in Public School 5 in Jersey City, New Jersey on June 11, 2009, Fat Joe was a speaker.^[42]

Weight loss[link]

By 1996, he weighed 300 pounds.^[2] In 2005, Stuff magazine^[43] and ContactMusic.com^[44] profiled Fat Joe's weight loss efforts.

In 2011, Fat Joe unveiled his latest weight loss efforts in the video for his song "Drop a Body"^[45] after shedding 88 pounds off his previous weight of 350 pounds. He has said although he loves to eat KFC, McDonald’s and other less healthy foods he had to stop due to losing several friends, including former Terror Squad member Big Pun to obesity and he wanted to stay alive to see his children grow up. He lost the weight without the help of supplements and fad diets by combining 2 hour cardio and weight lifting sessions with proper eating habits. Instead of Burger King, KFC, and McDonald’s, he opted for smaller portioned meals of fruit, vegetables, and lean meats.^[46] Furthermore he follows a low-carb approach, eating some sweet potatoes but not eating bread, rice and pasta.^[47]

Basketball[link]

Fat Joe is a huge fan of the New York Knicks and was involved in convincing Amar'e Stoudemire and Carmelo Anthony to sign with them.^[48]

Legal issues[link]

On September 8, 1998, Fat Joe and Big Pun were arrested on assault charges for hitting a man with a baseball bat and stealing the man's gold chain on June 14 that year.^[3]

Joe was arrested again on May 12, 2002 for allegedly fighting with another man at B.B. King's Blues Club in Times Square, but the charges were dropped on January 10, 2003.^[49]

In two murder cases, Fat Joe has been named a witness:

Joe's former bodyguard, Jose Mulero (also known as Sing Sing), was arrested on September 17, 2004 for the April 15, 1994 shooting death of 16-year-old Ernesto Rivera at a Bronx nightclub. Responding to a subpoena, Fat Joe claimed to have heard the shooting and seen people fleeing the scene, but investigators argued that he was standing closer to Mulero, by a door.^[50]

Miami Beach police also named Fat Joe as a witness in a Memorial Day double homicide outside David's Cafe II in South Beach. Jermaine Wufgang Chamberline of Miami Gardens was accused of shooting Lessli Paz and Joey Navarro to death on that morning; Fat Joe and the two victims were sitting in a rented Cadillac Escalade parked outside the restaurant when a fight broke out between passengers and another man.^[51]

LGBT people[link]

During an interview with Vlad TV, Joe stated that while not gay himself, gay people should not hide their sexuality and stand by what they are. He mentioned that it's possible that he has done songs with gay rappers and that there are likely several gay people besides just rappers in the Hip Hop industry who are in the closet, describing it as a "Gay Mafia".^[52]

His comments came after being asked to comment on Mister Cee being arrested for public lewdness with a transgender.^[53]

Discography[link]

Studio albums[link]

• Represent (1993, as Fat Joe da Gangsta)
• Jealous One's Envy (1995)
• Don Cartagena (1998)
• Jealous Ones Still Envy (J.O.S.E.) (2001)
• Loyalty (2002)
• All or Nothing (2005)
• Me, Myself & I (2006)
• The Elephant in the Room (2008)
• Jealous Ones Still Envy 2 (J.O.S.E. 2) (2009)
• The Darkside Vol. 1 (2010)^[36]
• TBA^[38] (2012)

Filmography[link]

• Thicker Than Water (1999) - Lonzo Medina
• Prison Song (2001)
• Empire (2002)
• Scary Movie 3 (2003) - As Himself
• Happy Feet (2006) - voice of Seymour

See also[link]

• List of famous Puerto Ricans
• Latin hip hop
• List of number-one dance hits (United States)
• List of artists who reached number one on the US Dance chart

References[link]

External links[link]

• Fat Joe on Myspace
• Official website (archived from 2009)
• Fat Joe on Twitter
• Fat Joe at the Internet Movie Database

Barrington Levy
Barrington Levy in Stockholm, Sweden
Background information
Born	(1964-04-30) 30 April 1964 (age 48)
Origin	Clarendon, Jamaica
Genres	Reggae, dancehall, reggae fusion, ragga Jungle
Years active	1976–present
Labels	MCA Records
Website	www.barringtonlevy.net

Barrington Levy (born 30 April 1964, Clarendon, Jamaica)^[1] is a reggae and dancehall artist from Jamaica.

Career[link]

In 1976, Levy formed a band with his cousin, Everton Dacres, called the Mighty Multitude; the pair released "My Black Girl" in 1977.^[1][2] Levy established his solo career the next year with "A Long Time Since We Don't Have No Love";^[2] though the single was a failure, the fourteen year old was a popular performer at Jamaican dancehalls.^[3] In 1979, Levy met Henry "Junjo" Lawes and Hyman Wright, both record producers, and recorded several singles with the Roots Radics, including "Al Yah We Deh", "Looking My Love", "Englishman", "Skylarking", "Wedding Ring Aside" and "Collie Weed", all of which became hits and established Levy's career. Levy's next few singles were similarly successful, including "Shine Eye Girl", "Wicked Intention", "Jumpy Girl", "Disco Music", "Reggae Music", "Never Tear My Love Apart", "Jah", "You Made Me So Happy" and "When You're Young and in Love". Levy then recorded several duets with Toyan, Jah Thomas and Trinity, and appeared at Reggae Sunsplash in 1980 and 1981.^[2] Although albums were not terribly important in Jamaica at the time, Levy released four albums before 1980: Shaolin Temple, Bounty Hunter, Shine Eye Gal (United Kingdom) and Englishman, a critically acclaimed record. His success led to many earlier studio and sound system performances being reissued without his consent, releases he described as "joke business".^[2][4]

By the time his 1980 album Robin Hood was released, Levy was one of the biggest Jamaican stars, and saw his international fame growing as well, especially in the United Kingdom. Taking a break from albums, Levy then released a series of hit singles, including "Mary Long Tongue", "In the Dark", "Too Poor", "I Have a Problem", "Even Tide Fire a Disaster", "I'm Not in Love", "You Have It", "Love of Jah", "Under Mi Sensi", "Tomorrow Is Another Day", "Robberman", "Black Roses", "My Woman" and "Money Move".^[2] He began working with Paul "Jah Screw" Love and toured the UK in 1984, where he enjoyed a big hit on the reggae charts with "Under Mi Sensi", which was followed by the crossover hit "Here I Come", which reached number 41 in the UK Singles Chart in 1985.^[5] He returned to LPs with Lifestyle and Money Move, followed by a British hit album called Here I Come; Levy received the Best Vocalist prize at the British Reggae Awards in 1984.^[2] The late 1980s saw Levy, now in his twenties, slow down his recorded output, though he continued to perform and record regularly, and played at Sunsplash every year from 1987 to 1995.^[2] His fortunes were revived by two cover versions of Bob Andy songs - "My Time" and "Too Experienced", both produced by Jah Screw,^[1] and he was signed by Island Records in 1991 for the Divine album.^[4] In 1991 he returned to the UK chart with "Tribal Base", a single by Rebel MC featuring Levy and Tenor Fly, which reached number 20.^[2] In 1993, Levy tried to break in the United States with the Barrington album, produced by Lee Jaffe, Andre Betts and Sly & Robbie, but it failed to give him the breakthrough he wanted and his relationship with MCA Records was short-lived.^[2]

In the 1990s, Levy continued to release periodic hits in Jamaica, and more rarely in the UK, although his vocals were sampled and used in many underground and released jungle tunes. In 1998, he released Living Dangerously, which included a collaboration with one of Jamaica's most prolific deejays, Bounty Killer, and with Snoop Dogg. The release was one of Levy's most successful since the start of the 1990s, and saw him finally achieve some success in the US.^[3] Levy performed on two tracks on Long Beach Dub All Stars 1999 album Right Back, and also played a few shows with the band. He was featured on a 1999 track by the Rascalz titled "Top Of The World", also featuring K-os. Levy also appeared on two singles by rapper Shyne (notably Shyne's 2000 debut single, "Bad Boyz"), and on a track for drum and bass artist Aphrodite's 2000 album Aftershock. "Here I Come" returned to the charts in 2001, with a new version by Levy and Talisman P reaching number 37 in the UK.^[6]

In 2004, he contributed to a track on the album White People by Handsome Boy Modeling School, a project by Prince Paul and Dan the Automator. He also did some collaborations with Slightly Stoopid on their 2005 album Closer To The Sun. Most recently, Levy made a guest appearance on the single "No Fuss" by Red-1 of the Rascalz, from his 2007 album Beg For Nothing.

"Here I Come" is also featured in Saints Row 2 and Grand Theft Auto San Andreas.

He also appeared on a demo for Jadakiss' latest album The Last Kiss called Hard Times

Discography[link]

Albums[link]

• Bounty Hunter (1979) Jah Life
• Shine Eye Gal (1979), Burning Sounds
• Englishman (1979), Greensleeves
• Robin Hood (1980), Greensleeves
• Doh Ray Me (1980), JB
• Run Come Ya! (1981), Jah Life
• 21 Girls Salute (1982), Jah Life
• Poor Man Style (1983), Trojan
• Lifestyle (1983), GG's
• Teach Me Culture (1983), Live & Learn
• Money Move (1983), Powerhouse
• Here I Come (1984), Greensleeves
• Barrington Levy Meets Frankie Paul (1984), Ariwa - with Frankie Paul
• Barrington Levy (1984), Clocktower
• Prison Oval Rock (1985), Volcano
• Open Book (1985), Tuff Gong
• Clash Of The 80s (1986), Cornerstone - with Cocoa Tea
• Love the Life You Live (1988), Time
• Live and Learn Presents Beres Hammond and Barrington Levy (1990), Live & Learn - with Beres Hammond
• Divine (1991), Island/Mango
• Turning Point (1992), Greensleeves
• Barrington (1993), MCA
• Duets (1995), RAS - also released as DJ Counteraction (1995), Greensleeves
• Time Capsule (1996), RAS - recorded 1982
• Living Dangerously (1998), Breakaway
• Too Experienced: The Best of Barrington Levy (1998)
• Wanted (2005), 2B1 - CD+DV
• The Lost Mixes From King Tubbys Studio (2005)
• Teach The Youth (2008)

New songs since 2000[link]

• Barrington Levy - Full Control (feat. Shaggy)
• Barrington Levy - Caan Hold Us Down (feat. Gentleman & Daddy Rings)
• Barrington Levy - The Worlds Gone Mad (feat. Handsome Boy Modeling School)
• Barrington Levy - Bad Boyz (feat. Shyne)
• Barrington Levy - Boonie & Shyne (feat. Shyne)
• Barrington Levy - All Over Me (feat. Aphrodite)
• Barrington Levy - Don´t Turn Off The Light (feat. Varon)
• Barrington Levy - See No Other Way (feat. Slightly Stoopid)
• Barrington Levy - No Fuss (feat. Red1)
• Barrington Levy - No Fuss (Reggaeton/Dancehall Remix) (feat. Red1)
• Barrington Levy - Free Tempo (feat. Fat Joe & Tempo)
• Barrington Levy - Free Tempo (Remix) (feat. Tempo, Mexicano 777, MC Ceja, getto & Gastam)
• Barrington Levy - Free Tempo (Mambo Remix) (feat. Omega, Tempo & Fuego^{[disambiguation needed ]})
• Barrington Levy - Delilah (feat. Wyclef Jean)
• Barrington Levy - Gangster (feat. Vybz Kartel & Khago)
• Barrington Levy - No War (feat. Kardinal Offishall)
• Barrington Levy - No War (Remix) (feat. Busta Rhymes & Kardinal Offishall)
• Barrington Levy - No War (Remix) (feat. Busta Rhymes, Kardinal Offishall & Lil Wayne)
• Barrington Levy - Be Strong
• Barrington Levy - Murderer (feat. Snoop Dogg & Mims)
• Barrington Levy - Mr. DJ (feat. Foxy Brown^{[disambiguation needed ]})
• Barrington Levy - Murderation (feat. Gyptian)
• Barrington Levy - Hard Times (feat. Jadakiss)
• Barrington Levy - Only You
• Barrington Levy - Soldados (feat. Daddy Yankee & Ñengo Flow)
• Barrington Levy - Welcome To My Gangsters Hood (feat. DJ Khaled, T-Pain, Vybz Kartel, Khago & Lil Wayne)

References[link]

External links[link]

• Official website
• Discography

Nicki Minaj
Minaj at 2010 MTV Music Awards
Background information
Birth name	Onika Tanya Maraj
Born	(1982-12-08) December 8, 1982 (age 29)[1] Saint James, Trinidad and Tobago
Origin	South Jamaica, Queens, New York, U.S.
Genres	Hip hop, R&B, pop
Occupations	Rapper, singer-songwriter
Years active	2002–present
Labels	Cash Money Records, Young Money Entertainment, Universal Republic Records, Universal Motown
Associated acts	Young Money
Website	mypinkfriday.com

Onika Tanya Maraj (born December 8, 1982), known by her stage name Nicki Minaj ( /mɪˈnɑːʒ/), is a Trinidadian-born American rapper and singer-songwriter. She was born in Saint James, Trinidad and Tobago and when she was 5 years of age she moved to the New York City borough of Queens, where she grew up.

After releasing three mixtapes between 2007 and 2009 and being signed to Young Money Entertainment in August 2009, Minaj released her debut album, Pink Friday, in November 2010. It quickly became a commercial success, peaking at number one on the U.S. Billboard 200 and being certified Platinum by the Recording Industry Association of America (RIAA) a month after its release.^[2][3] She became the first female solo artist to have seven singles on the Billboard Hot 100 at the same time.^[4] Her second single, "Your Love", reached number 1 on the Billboard Hot Rap Songs chart, making Minaj the first female artist to top the chart unaccompanied since 2002.^[5] She also became the first female artist to be included on MTV's Annual Hottest MC List.^[6] Minaj was named the 2011 Rising Star by Billboard.^[7] Her second studio album, Pink Friday: Roman Reloaded was released on April 3, 2012.

Early life[link]

Maraj was born in 1982^{[1][note 1]} in Saint James, a suburb of Trinidad and Tobago's capital city Port of Spain.^[8][9][10] Her parents are of mixed Indian and Afro-Trinidadian ancestry^[11][12] and she lived in Saint James with her grandmother until age five, because her parents were looking for a place to live in the Queens borough of New York City at the time. Her mother would occasionally visit, and one day, when Minaj was five, her mother picked her up to move to Queens.^[13] According to Minaj, her father drank heavily, took drugs, and once tried to kill her mother by setting the house on fire.^[14]

She attended Elizabeth Blackwell Middle School 210, where she played the clarinet.^[13] She graduated from LaGuardia High School.^[15][16] At LaGuardia, a school specializing in music and the visual and performing arts, Minaj participated in the drama program.^[15] She had initially planned to sing at LaGuardia but lost her voice on the day of the audition.^[15]

Career[link]