Wayne had a loose definition of what constituted a cussword he still threw around N-words and offered to kill people. It was true: Wayne, out of respect for his mother, did not cuss on records until he made his debut album. As in: The guy who says “wobbledy wobbledy” is 16 years old? And he doesn’t cuss on records? Because his mom won’t let him? He seemed like a gimmick. Of the crew, Juvenile was the clear star - the guy with the seen-it-all eyes and the rumbling singsong drawl and the hits. One of those rappers was Juvenile, who’d just released the generational landmark 400 Degreez. (On “Tha Block Is Hot,” Wayne mentions that they “ain’t got on no suits cuz we ain’t tryna be presidents.” I’ve always understood that as a shot at No Limit.)Ĭash Money, as a crew, only had six rappers, which meant you could keep them all straight. They had their own kind of glitz, but they rejected the theatrical flair of No Limit.
They had a whole aesthetic - enormous white T-shirts, bandannas, diamonds on their teeth. Cash Money, on the other hand, was small and controlled. They were loud and flashy and visually dazzling, and they seemed to release a lavishly packaged new album every week. A year or two earlier, Master P’s No Limit label, the crosstown rivals of Cash Money, had crossed over in an enormous way. Cash Money Records, Wayne’s label, had suddenly become a powerhouse. When Lil Wayne first showed up on the national scene, he was a curio. Tha Block Is Hot does not offer too much indication that Wayne would eventually become the greatest, most popular, most influential rapper of his generation - not unless you listen hard, and with the benefit of hindsight. That album, Tha Block Is Hot, turns 20 tomorrow. And a month after he turned 17, Wayne released an album that would be Platinum within two months. He turned in probably the catchiest part of Cash Money’s breakout national single, ad-libbing “wobbledy wobbledy” over the outro of Juvenile’s “Back That Azz Up” and unwittingly coining a catchphrase. He achieved regional bounce-rap stardom, linking up with the ascendant New Orleans indie Cash Money records. He attempted suicide, shooting himself in the chest. Mike WiLL Made It's namesake producer drop has been ubiquitous on rap radio for nearly two years, and he recently parlayed his hip-hop acumen into a full-on assault on mainstream pop radio this year via songs like Rihanna's "Pour It Up," Ciara's "Body Party," and the Miley Cyrus' controversial "We Can't Stop." Mike WiLL made it from local renown to total radio domination in just a few short years, and there's the sense that what we've heard from him so far is only the tip of the iceberg of what he's capable of creating.While he was still a child, Lil Wayne watched his father leave and his stepfather die.
Years of refining his talent paid off in 2011 when he produced a stream of tracks for Atlanta trap dignitaries Gucci Mane, Future, and 2 Chainz that got the attention of Rick Ross and his Maybach Music Group, who tapped Will for "Tupac Back," one of the biggest singles off their inaugural Self Made compilation and Will's first showing on the charts.Īfter that came a stream of hits-Future's soul-searching "Turn on the Lights," Lil' Wayne's platinum smash "Bitches Love Me," Ace Hood's inescapable "Bugatti," Juicy J's career resurrecting "Bandz a Make Her Dance"-each subverting the bombast of trap with dramatic loud-quiet dynamics as spectral, aquatic synths, and muted drums break up otherwise booming 808 concoctions for an overall effect akin to listeners bobbing their heads in and out of open water. As he told Complex last year, he discovered a knack for making beats as a teenager after walking into a local music store and fooling around on the MPC to the amusement of gobsmacked store employees. Recent bangers: Ace Hood f/ Future & Rick Ross "Bugatti" (2013), Juicy J f/ Big Sean & Young Jeezy "Show Out" (2013), Lil Wayne f/ Drake "Love Me" (2013)Ītlanta trap architect Mike WiLL Made It came from a musical background, but he got into hip-hop on a whim.
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