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This carefully crafted ebook is formatted for your eReader with a functional and detailed table of contents. I Am Not a Human Being is the eighth studio album by American rapper Lil Wayne. It had a digital release on September 27, 2010 and on Compact Disc on October 12, 2010, by Young Money Entertainment, Cash Money Records, and Universal Motown. It was recorded prior to Wayne's eight-month prison term for criminal possession of a weapon. Production for the album was handled by Wayne and several record producers, including Boi-1da, Cool & Dre, Streetrunner, Noah "40" Shebib and DJ Infamous, among others. This book has been derived from Wikipedia: it contains the entire text of the title Wikipedia article + the entire text of all the 136 related (linked) Wikipedia articles to the title article. This book does not contain illustrations. e-Pedia (an imprint of e-artnow) charges for the convenience service of formatting these e-books for your eReader. We donate a part of our net income after taxes to the Wikimedia Foundation from the sales of all books based on Wikipedia content.
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Main table of contents:
I Am Not a Human Being
Introduction
Background
Release and promotion
Critical reception
Commercial performance
Track listing
Personnel
Charts
Certifications
Release history
References
External links
Linked articles
Contents
I Am Not a Human Being
I Am Not a Human Being is the eighth studio album by American rapper Lil Wayne. It had a digital release on September 27, 2010[1] and on Compact Disc on October 12, 2010, by Young Money Entertainment, Cash Money Records, and Universal Motown. It was recorded prior to Wayne's eight-month prison term for criminal possession of a weapon. Production for the album was handled by Wayne and several record producers, including Boi-1da, Cool & Dre, Streetrunner, Noah "40" Shebib and DJ Infamous, among others.
Upon its release, I Am Not a Human Being received generally favorable reviews from music critics, who drew comparisons to Wayne's earlier works. The album debuted at number two on the U.S. Billboard 200, based on its first-week digital sales alone. Following its physical release, it topped the chart, becoming Lil Wayne's second US number-one album and the first studio album since Tupac Shakur's Me Against the World in 1995 to reach the top slot on the Billboard 200 while its artist was jailed. Its lead single "Right Above It" became a top-ten hit in the United States. The album has been certified gold by the Recording Industry Association of America.
Background
On August 4, 2010, Billboard announced that Lil Wayne would release an EP called I Am Not a Human Being and would have a single from the EP called "Right Above It". The single debuted on DJ Funkmaster Flex's show, which Lil Wayne called and gave an interview. The album is a prelude to Lil Wayne's album Tha Carter IV.[2]
"I'm putting out a [Wayne] album called I Am Not a Human Being and I'll probably drop it on his birthday, September 27...I'm not even putting it out in stores. We just gonna put it out virally and maybe package it up for Christmas. Give 'em a hard copy later for fan appreciation."[3]
Drake, Jay Sean, Lil Twist, Nicki Minaj, Jae Millz, Tyga, Gudda Gudda, Lil Chuckee and T-Streets are all guests who are featured on the album.[4][5]
Vibe magazine spoke with DJ Scoob Doo about Tha Carter IV and I Am Not a Human Being. This is what Scoob Doo had to say:
"I got videos for the Carter IV and the I’m not a Human Being EP all ready. I can’t say the name of the song but Wayne was singing on the hook, but they’re getting Drake to re-do it and it’s off the Human Being EP,” Scoob Doo says. “Carter IV is probably the best album I’ve heard in the last decade, but Wayne is such a different artist now that he wants to record new music when he comes home. The stuff he’s talking about now is just on another level. That’s why a lot of the songs on the EP were originally taken from the Carter IV.”[6]
Lil Wayne’s manager Cortez Bryant told SPIN that that I Am Not a Human Being would actually be a full-length album. Initially, the tracks were to be appear on Tha Carter IV, but Wayne decided to put the old tracks on the album so new music could be recorded for Tha Carter IV.[7][8]
He uses no autotune on the album: according to Birdman, it's just "raw rap".[9] The production to bonus track "YM Salute" was originally recorded by Young Jeezy and Ester Dean as potential material for Young Jeezy's forthcoming album TM 103.
Release and promotion
The last three tracks featured on the album's physical CD release, "YM Banger", "YM Salute", and "I Don't Like The Look Of It", were not initially included on the digital download version of the album:[10] however, after the physical CD version was released, the tracks were added to the digital version of the album.
The album's lead single, "Right Above It" featuring Drake, was released to iTunes on August 17, 2010. The song debuted at number six on the US Billboard Hot 100, and at number one on the BillboardHot Digital Songs chart.
"What's Wrong With Them" received strong download sales in the UK during the album's release and as such, the track charted on the UK R&B Chart at a peak of 27.[11]
Critical reception
I Am Not a Human Being received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 67, based on 17 reviews.[22]Allmusic's David Jeffries stated, "This is too short and scattered to put on his top shelf, but it comes awfully close, which is downright astonishing considering the circumstances."[12] Luke Bainsbridge of The Observer called the album "a return to classic Weezy".[23]Rolling Stone writer Jody Rosen commended its "unadulterated fun" and Wayne's "irrepressibly wacked-out spirit", writing that the album "has the loose-limbed feel of the rapper's many mixtapes".[18]Nathan Rabin of The A.V. Club commented that, "though Human Being feels more like a mix-tape stopgap than a proper album, it's nevertheless full of intriguing experiments and infectious tracks."[13] Ben Detrick of Spin found its production "unfashionable", but stated "Though this is a flawed and scattershot project, Wayne remains an artist who makes music like a pâtissier–his songs are frivolous, delicious, and meant to be relished for just a moment".[20] In his Consumer Guide, Robert Christgau gave the album a three-star honorable mention (), picking out three songs from the album ("I Am Not a Human Being," "Popular," and "I'm Single"), and said of Lil Wayne, "His throwaways beat their keepers, from solitary yet, but the true classics are all in the middle and the Young Money promos are filler."[24]Uncut gave the album four stars out of five and called it "a far superior effort [than Rebirth]."[25]Billboard gave it a score of 77 out of 100 and said it was "not as experimental as the rapper's previous rock-tinged "Rebirth" set that arrived earlier this year, and most fans will likely appreciate this."[26] Wilson McBee of Prefix Magazine gave the album a score of 7.5 out of ten and said that "For most of [the album], it seems like Wayne has forgotten how to write a verse. He's all about couplets now."[27]
Los Angeles Times writer Jeff Weiss noted a "creative languor" and stated "Wayne reveals he’s mortal after all".[15]Pitchfork Media's Ryan Dombal stated "We get Wayne spouting classic Weezy-isms—explicit sex, cartoonish gunplay, and allusions to the intricacies of the digestive system abound—over at-least-decent original beats", but noted that "there's a lingering sense that the rapper is not in top gear; his flow is often slow and static, his wordplay lively yet less energized than what we're now used to".[17]Entertainment Weekly's Brad Wete called the album "stale" and wrote that "none of the new songs on this set hold a candle to [No Ceilings], much less... Tha Carter III".[14] Andy Gill of The Independent gave the album three stars out of five and called it "a perfunctory affair".[28]The Boston Globe's Julian Benbow wrote that "the sharper moments [...] are drowned out by the redundant ones".[29] Jon Caramanica of The New York Times called it "an uncentered collection of odds and ends", writing that "Too often Lil Wayne lapses into predictable flow structures, quick ideas paired with built-in rejoinders: 'They say money talks/ but it’s my spokesperson,' and so on".[30]Slant Magazine's Jesse Cataldo perceived "half-assed rhyme work" from Wayne and called it "kind of a crummy album, rife with laziness and repetition ... It may have a decidedly lazy presentation, but I Am Not a Human Being inevitably succeeds at what it sets out to do: remind us of Wayne's artistic validity and whetting our appetite for more".[19] David Pott-Negrine of Drowned in Sound gave it a score of six out of ten and said that "It may not be a great or even particularly good album, but it does at least tide us over until Weezy become[s] a free man, and the much talked about Tha Carter IV finally sees the light of day."[31] Sean L. Maloney of American Songwriter gave the album two-and-a-half stars out of five and said of Lil Wayne, "he's just killing time with sub-par versions of his far more popular songs – this is a completely superfluous release that lacks the relevance and immediacy of his mixtape works and the quality-control of his albums."[32]
Commercial performance
The album debuted at number two on the US Billboard 200 chart, with first-week digital sales of 110,000 downloads.[33] In its second week, it dropped to number 16 on the chart and sold 23,000 digital copies.[34] Following its CD release on October 12, the album sold 125,000 copies and moved up to number one on the Billboard 200 in its third week.[35] It became Lil Wayne's second number-one album and seventh top-ten album in the US.[36] In November 2010, the album was certified gold by the Recording Industry Association of America (RIAA).[37] As of September 4, 2011, the album has sold 953,000 in the US.[38]
Track listing
The track listing was confirmed by iTunes and Rap-Up.[39][40]
No.TitleWriter(s)Producer(s)Length1."Gonorrhea" (featuring Drake)Dwayne Carter, Jr., Aubrey Graham, Daniel Johnson, HideKane Beatz4:222."Hold Up" (featuring T-Streets)Carter, Jesse James, Keith Miller, Brian Parker, David Stokes, Brian WickerThe Olympicks4:113."With You" (featuring Drake)Carter, Graham, Nicholas WarwarStreetrunner3:494."I Am Not a Human Being"Carter, Andrews Correa, Marco Rodriguez-DiazInfamous, Drew Correa4:055."I'm Single"Carter, Graham, Noah Shebib, Sidney Brown, Christopher Gibson, Matthew Samuels, Dalton TennantNoah "40" Shebib, Omen (co.)5:336."What's Wrong with Them" (featuring Nicki Minaj)Carter, Onika Maraj, Bigram ZayasDevelop3:317."Right Above It" (featuring Drake)Carter, Graham, Johnson, Andrew CantonKane Beatz4:328."Popular" (featuring Lil Twist)Carter, Christopher Moore, Marcello ValenzanoCool & Dre4:409."That Ain't Me" (featuring Jay Sean)Carter, Warwar, Kamaljit Jhooti, Roger Pasco, Michael AielloStreetrunner4:0310."Bill Gates"Carter, Matthew Samuels, Matthew BurnettBoi-1da, Burnett (add.)4:1911."YM Banger" (featuring Gudda Gudda, Jae Millz and Tyga)Carter, Carl Lilly, Jarvis Mills, Michael StevensonMike Banger3:5512."YM Salute" (featuring Lil Twist, Lil Chuckee, Gudda Gudda, Jae Millz and Nicki Minaj)Carter, Daen Simmons, Maraj, Moore, Lilly, Mills, Rashad BallardMr. Pyro5:1413."I Don't Like the Look of It" (featuring Gudda Gudda)Carter, Lilly, Orlando TuckerJahlil Beats3:18Total length:55:42• (co.) Co-producer • (add.) Additional production
Personnel
Credits for I Am Not a Human Being adapted from Allmusic.[41]
Charts
Weekly charts
Year-end charts
Certifications
*sales figures based on certification alone^shipments figures based on certification alone
Release history
References
External links
This page was last edited on 27 May 2017, at 00:26.
This text is based on the Wikipedia article I Am Not a Human Being: https://en.wikipedia.org/wiki/I_Am_Not_a_Human_Being which is released under the Creative Commons Attribution-ShareAlike 3.0 Unported License available online at: http://creativecommons.org/licenses/by-sa/3.0/legalcode List of authors: https://tools.wmflabs.org/xtools/wikihistory/wh.php?page_title=I_Am_Not_a_Human_BeingContents
Album
An album is a collection of audio recordings issued as a single item on CD, record, audio tape or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, then from 1948 as vinyl LP records played at 33 1⁄3 rpm. Vinyl LPs are still issued, though in the 21st-century album sales have mostly focused on compact disc (CD) and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl.
An album may be recorded in a recording studio (fixed or mobile), in a concert venue, at home, in the field, or a mix of places. The time frame for completely recording an album varies between a few hours to several years. This process usually requires several takes with different parts recorded separately, and then brought or " mixed" together. Recordings that are done in one take without overdubbing are termed "live", even when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes; other locations, such as concert venues and some "live rooms", allow for reverberation, which creates a "live" sound.[1] The majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones; with each part recorded as a separate track.
Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, and lyrics or librettos.[2][3] Historically, the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century.[4] Later, collections of related 78rpm records were bundled in book-like albums[5] (one side of a 78 rpm record could hold only about 3.5 minutes of sound). When long-playing records were introduced, a collection of pieces on a single record was called an album; the word was extended to other recording media such as compact disc, MiniDisc, Compact audio cassette, and digital albums as they were introduced.[6]
History
The LP record (long play), or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948.[7] It was adopted by the record industry as a standard format for the "album". Apart from relatively minor refinements and the important later addition of stereophonic sound capability, it has remained the standard format for vinyl albums. The term "album" had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music.[4] Later, collections of related 78rpm records were bundled in book-like albums.[5] When long-playing records were introduced, a collection of pieces on a single record was called an album; the word was extended to other recording media such as compact disc, MiniDisc, Compact audio cassette, and digital albums, as they were introduced.[6] As part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album.
Length
While an album may contain as many or as few tracks as required, the criteria for the UK Albums Chart is that a recording counts as an "album" if it either has more than four tracks or lasts more than 25 minutes.[8] Sometimes shorter albums are referred to as " mini-albums" or EPs.[9] Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yes's Close to the Edge, include fewer than four tracks. There are no formal rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as "albums".
If an album becomes too long to fit onto a single vinyl record or CD, it may be released as a double album where two vinyl LPs or compact discs are packaged together in a single case, or a triple album containing three LPs or compact discs. Recording artists who have an extensive back catalogue may re-release several CDs in one single box with a unified design, often containing one or more albums (in this scenario, these releases can sometimes be referred to as a "two (or three)-fer"), or a compilation of previously unreleased recordings. These are known as box sets. Some musical artists have also released more than three compact discs or LP records of new recordings at once, in the form of boxed sets, although in that case the work is still usually considered to be an album.
Tracks
Material (music or sounds) is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track (often simply referred to as a track) is an individual song or instrumental recording. The term is particularly associated with popular music where separate tracks are known as album tracks; the term is also used for other formats such as EPs and singles. When vinyl records were the primary medium for audio recordings a track could be identified visually from the grooves and many album covers or sleeves included numbers for the tracks on each side. On a compact disc the track number is indexed so that a player can jump straight to the start of any track. On digital music stores such as iTunes the term song is often used interchangeably with track regardless of whether there is any vocal content.
Bonus tracksA bonus track (also known as a bonus cut or bonus) is a piece of music which has been included as an extra. This may be done as a marketing promotion, or for other reasons. It is not uncommon to include singles as bonus tracks on re-issues of old albums, where those tracks weren't originally included. Online music stores allow buyers to create their own albums by selecting songs themselves; bonus tracks may be included if a customer buys a whole album rather than just one or two songs from the artist. The song is not necessarily free nor is it available as a stand-alone download, adding also to the incentive to buy the complete album. In contrast to hidden tracks, bonus tracks are included on track listings and usually do not have a gap of silence between other album tracks.
Recording
The contents of the album are usually recorded in a studio or live in concert, though may be recorded in other locations, such as at home (as with JJ Cale's Okie,[10][11] Beck's Odelay,[12] David Gray's White Ladder,[13] and others),[14][15][16] in the field - as with early Blues recordings,[17] in prison,[18] or with a mobile recording unit such as the Rolling Stones Mobile Studio.[19][20]
Although recording in a studio can be done using large multi-track systems with many overdubs and different takes of the same instrument, some recordings may be done "live" in order to reproduce the feel and energy of a live performance.[citation needed] Basic parts such as drums and rhythm guitar may be recorded live, with overdubs such as solos and vocals recorded later.[citation needed] Studio recordings may be mixed and mastered at different facilities.[citation needed]
Audio formats
Vinyl records
Vinyl LP records have two sides, each comprising one-half of the album. If a pop or rock album contained tracks released separately as commercial singles, they were conventionally placed in particular positions on the album.[6] A common configuration was to have the album led off by the second and third singles, followed by a ballad. The first single would lead off side 2.[citation needed] In the past many singles (such as the Beatles' "Hey Jude" and Bob Dylan's "Positively 4th Street") did not appear on albums, but others (such as the Beatles' "Come Together" and Dylan's "Like a Rolling Stone") formed part of an album released concurrently. Today, many commercial albums of music tracks feature one or more singles, which are released separately to radio, TV or the Internet as a way of promoting the album.[21] Albums have also been issued that are compilations of older tracks not originally released together, such as singles not originally found on albums, b-sides of singles, or unfinished "demo" recordings.[6]
Album sets of the past were sequenced for record changers. In the case of a two-record set, for example, sides 1 and 4 would be stamped on one record, and sides 2 and 3 on the other. The user would stack the two records onto the spindle of an automatic record changer, with side 1 on the bottom and side 2 (on the other record) on top. Side 1 would automatically drop onto the turntable and be played. When finished, the tone arm's position would trigger a mechanism which moved the arm out of the way, dropped the record with side 2, and played it. When both records had been played, the user would pick up the stack, turn it over, and put them back on the spindle—sides 3 and 4 would then play in sequence.[6] Record changers were used for many years of the LP era, but eventually fell out of use.
8-track tape
8-track tape (formally Stereo 8: commonly known as the eight-track cartridge, eight-track tape, or simply eight-track) is a magnetic tape sound recording technology popular in the United States[22] from the mid-1960s to the late 1970s when the Compact Cassette format took over.[23][24] The format is regarded as an obsolete technology, and was relatively unknown outside the United States, the United Kingdom, Canada and Australia.[25][26]
Stereo 8 was created in 1964 by a consortium led by Bill Lear of Lear Jet Corporation, along with Ampex, Ford Motor Company, General Motors, Motorola, and RCA Victor Records (RCA). It was a further development of the similar Stereo-Pak four-track cartridge created by Earl "Madman" Muntz. A later quadraphonic version of the format was announced by RCA in April 1970 and first known as Quad-8, then later changed to just Q8.
Compact cassette
The Compact Cassette was a popular medium for distributing pre-recorded music in the late 1970s through to the 1990s. The very first "Compact Cassette" was introduced by Philips in August 1963 in the form of a prototype.[27] Compact Cassettes became especially popular during the 1980s after the advent of the Sony Walkman, which allowed the person to control what they listened to.[27][28] The Walkman was convenient because of its size, the device could fit in most pockets and often came equipped with a clip for belts or pants.[27] Compact cassettes also saw the creation of mixtapes, which are tapes containing a compilation of songs created by any average listener of music.[29] The songs on a mixtape generally relate to one another in some way, whether it be a conceptual theme or an overall sound.[29] The compact cassette used double-sided magnetic tape to distribute music for commercial sale.[27][30] The music is recorded on both the "A" and "B" side of the tape, with cassette being "turned" to play the other side of the album.[27] Compact Cassettes were also a popular way for musicians to record " Demos" or "Demo Tapes" of their music to distribute to various record labels, in the hopes of acquiring a recording contract.[31] The sales of Compact Cassettes eventually began to decline in the 1990s, after the release and distribution Compact Discs. After the introduction of Compact discs, the term "Mixtape" began to apply to any personal compilation of songs on any given format.[29] Recently there has been a revival of Compact Cassettes by independent record labels and DIY musicians who prefer the format because of its difficulty to share over the internet.[32]
Compact disc
The compact disc format replaced both the vinyl record and the cassette as the standard for the commercial mass-market distribution of physical music albums.[33] After the introduction of music downloading and MP3 players such as the iPod, US album sales dropped 54.6% from 2001 to 2009.[34] The CD is a digital data storage device which permits digital recording technology to be used to record and play-back the recorded music.[30][33]
MP3 albums, and similar
Most recently, the MP3 audio format has matured, revolutionizing the concept of digital storage. Early MP3 albums were basically CD-rips created by early CD-ripping software, and sometimes real-time rips from cassettes and vinyl.
The so-called "MP3 album" isn't necessarily just in MP3 file format, in which higher quality formats such as FLAC and WAV can be used on storage mediums that MP3 albums reside on, such as CD-R-ROMs, hard drives, flash memory (e.g. thumbdrives, MP3 players, SD cards), etc.[citation needed]
Types of album
Studio
Most albums are studio albums - that is, they are recorded in a recording studio with equipment meant to give those overseeing the recording as much control as possible over the sound of the album. They minimize external noises and reverberations and have highly sensitive microphones and sound mixing equipment. In some studios, each member of a band records their part in separate rooms (or even at separate times, while listening to the other parts of the track with headphones to keep the timing right).
Live
An album may be recorded in a recording studio (fixed or mobile), in a concert venue, at home, in the field, or a mix of places. The recording process may occur within a few hours or may take several years to complete, usually in several takes with different parts recorded separately, and then brought or " mixed" together. Recordings that are done in one take without overdubbing are termed "live", even when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes; other locations, such as concert venues and some "live rooms", allow for reverberation, which creates a "live" sound.[1]
Concert or stage performances are recorded using remote recording techniques. Live albums may be recorded at a single concert, or combine recordings made at multiple concerts. They may include applause and other noise from the audience, comments by the performers between pieces, improvisation, and so on. They may use multitrack recording direct from the stage sound system (rather than microphones placed among the audience), and can employ additional manipulation and effects during post-production to enhance the quality of the recording. Comedy albums, in particular, are most often recorded live because the audience reaction is part of the cue that the comedian is succeeding.
The best-selling live album worldwide is Garth Brooks' Double Live, having sold in excess of 21 million copies as of November 2006.[35] In Rolling Stone's 500 Greatest Albums of All Time 18 albums were live albums.[citation needed]
Solo
A solo album, in popular music, is an album recorded by a current or former member of a rock group which is released under that artist's name only, even though some or all other band members may be involved. The solo album appeared as early as the late 1940s. A 1947 Billboard magazine article heralded "Margaret Whiting huddling with Capitol execs over her first solo album on which she will be backed by Frank De Vol".[36] There is no formal definition setting forth the amount of participation a band member can solicit from other members of his band, and still have the album referred to as a solo album. One reviewer wrote that Ringo Starr's third venture, Ringo, "[t]echnically... wasn't a solo album because all four Beatles appeared on it".[37] Three of the four members of the Beatles released solo albums while the group was officially still together.
A performer may record a solo album for a number of reasons. A solo performer working with other members will typically have full creative control of the band, be able to hire and fire accompanists, and get the majority of the proceeds. The performer may be able to produce songs that differ widely from the sound of the band with which the performer has been associated, or that the group as a whole chose not to include in its own albums. Graham Nash, of The Hollies described his experience in developing a solo album as follows: "The thing that I go through that results in a solo album is an interesting process of collecting songs that can't be done, for whatever reason, by a lot of people".[38] A solo album may also represent the departure of the performer from the group.
Tribute or cover
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A tribute or cover album is a collection of cover versions of songs or instrumental compositions. Its concept may involve various artists covering the songs of a single artist, genre or period, a single artist covering the songs of various artists or a single artist, genre or period, or any variation of an album of cover songs which is marketed as a "tribute".
See also
References
This page was last edited on 18 May 2017, at 11:32.
This text is based on the Wikipedia article Album: https://en.wikipedia.org/wiki/Album which is released under the Creative Commons Attribution-ShareAlike 3.0 Unported License available online at: http://creativecommons.org/licenses/by-sa/3.0/legalcode List of authors: https://tools.wmflabs.org/xtools/wikihistory/wh.php?page_title=AlbumContents
Lil Wayne
Dwayne Michael Carter, Jr. (born September 27, 1982),[1] known professionally as Lil Wayne, is an American hip hop recording artist. In 1991, at the age of nine, Lil Wayne joined Cash Money Records as the youngest member of the label, and half of the duo The B.G.'z, alongside fellow New Orleans-based rapperLil' Doogie. In 1996, Lil Wayne joined the southern hip hop group Hot Boys, with his Cash Money label-mates Juvenile, Young Turk and Lil' Doogie (who now goes by B.G.). Hot Boys debuted with Get It How U Live!, that same year. Most of the group's success came with their platinum-selling album Guerrilla Warfare (1999) and the 1999 single "Bling Bling". Along with being the flagship artist of Cash Money Records, Lil Wayne is also the Chief Executive Officer (CEO) of his own label imprint, Young Money Entertainment, which he founded in 2005.
Lil Wayne's solo debut album Tha Block Is Hot (1999), was certified platinum by the Recording Industry Association of America (RIAA). His subsequent albums, Lights Out (2000) and 500 Degreez (2002), went on to be certified gold. Wayne reached higher popularity with his fourth album Tha Carter (2004), which was led by the single "Go D.J." and his appearance on Destiny's Child's Top 10 single " Soldier", that same year. The album was followed by Tha Carter II (2005), as well as several mixtapes and collaborations throughout 2006 and 2007. Wayne gained more prominence with his sixth album Tha Carter III (2008), which became his most successful album to date, with first-week sales of over one million copies in the United States. The album won the Grammy Award for Best Rap Album and includes the hit singles " Lollipop", "A Milli" and "Got Money".
Following the success of Tha Carter III, Wayne decided to record a rock-esque album titled Rebirth. The album, released in 2010, was certified gold by the RIAA, despite a generally negative critical response. In March 2010, Lil Wayne began serving an 8-month jail sentence in New York after being convicted of criminal possession of a weapon stemming from an incident in July 2007. Wayne's eighth album I Am Not a Human Being (2010), was released during his incarceration. His 2011 album and first following his release, Tha Carter IV, sold 964,000 copies in its first week of availability in the United States. It includes the singles "6 Foot 7 Foot", "How to Love" and "She Will".[2] On September 27, 2012, Lil Wayne passed Elvis Presley as the male with the most entries on the Billboard Hot 100 chart, with 109 songs. The record has since been passed by other artists.[3] Lil Wayne's thirteenth studio album, Tha Carter V, has been delayed multiple times and has no scheduled release date. Lil Wayne has sold over 100 million records worldwide, including sold more than 15 million albums and 37 million digital tracks in United States, making him one of the best-selling artists of all time.[4][5][6]
Early life
Dwayne Michael Carter, Jr. was born on September 27, 1982, and grew up in the Hollygrove neighborhood of New Orleans, Louisiana.[7] His mother, a cook, gave birth to him when she was 19 years old. His parents divorced when he was 2, and his father permanently abandoned the family. Although Wayne and Birdman have a father–son relationship and Birdman calls Carter his son, Wayne's biological father and namesake (Dwayne Carter) is still alive. Lil Wayne has also spoken about his deceased stepfather, Rabbit, who he has said he considers his real father. Carter has a tattoo dedicated to Rabbit, who was murdered before Carter became a star.[8] Carter enrolled in the gifted program of Lafayette Elementary School and in the drama club of Eleanor McMain Secondary School.[9] Wayne attended McMain in the early 1990s for two years. He moved to the Marion Abramson Senior High School.[10]
In a CBS interview with Katie Couric, Wayne described why he goes by the name of "Wayne" instead of his given name, Dwayne. Carter explained, "I dropped the D because I'm a junior and my father is living and he's not in my life and he's never been in my life. So I don't want to be Dwayne, I'd rather be Wayne". Couric asked Wayne if his father knew of this and Wayne replied with a smile, "He knows now."[11]
He wrote his first rap song at age eight.[12] In the summer of 1991, he met Bryan Williams, rapper and owner of Cash Money Records. Carter recorded freestyle raps on Williams's answering machine, leading him to mentor the young Carter and include him in Cash Money-distributed songs. He also recorded his first ever collaboration album True Story with rapper B.G.. At the time, Carter was 11, and B.G. was 14, and was billed as "The B.G.'z".[13] When he was 12, he played the part of the Tin Man in his middle school drama club's production of The Wiz.[14] At age 12, he accidentally shot himself with a 9 mm handgun, and off-duty police officer Robert Hoobler drove him to the hospital.[15] At McMain Magnet School, Carter was an honors student, but he dropped out at the age of 14 to focus on a musical career.[16]
Career
1996–99: Career beginnings and Hot Boys
In 1996, Carter joined the Hot Boys along with rappers Juvenile, B.G., and Turk. At age 15, Carter was the youngest member at the time. Hot Boys' debut album Get It How U Live! was released the same year, followed in 1999 by the group's major-label debut Guerrilla Warfare,[7] which reached No. 1 on the BillboardTop R&B/Hip-Hop Albums chart and No. 5 on the Billboard 200.[17] During their career, the Hot Boys had two charting singles, "We on Fire" from Get It How U Live! and "I Need a Hot Girl" from Guerrilla Warfare.[18] Carter was also featured on Juvenile's single "Back That Azz Up", which reached No. 18 on the Billboard Hot 100 and No. 5 on the Hot R&B/Hip-Hop Singles & Tracks.[19]Let 'Em Burn, a compilation album of unreleased tracks recorded during 1999 and 2000, came out in 2003, several years after the group disbanded.[20] It reached No. 3 on the Top R&B/Hip-Hop Albums chart and No. 14 on the Billboard 200.[17]
1999–2004: Tha Block Is Hot, Lights Out, and 500 Degreez
Carter's debut solo album Tha Block Is Hot was released when he was 17 and featured significant contributions from the Hot Boys. It debuted at No. 3 on the Billboard 200 and was later certified platinum by the RIAA.[7] The album earned Carter a 1999 Source magazine nomination for "Best New Artist",[21] and also became a Top Ten hit.[7] The lead single was "Tha Block Is Hot". After the release of Tha Block is Hot, Carter was featured on the single "Bling Bling", with B.G., Juvenile, and Big Tymers. His verse appeared only on the radio version of the song, while on the album version he performed on the chorus.
His 2000 follow-up album Lights Out failed to attain the level of success achieved by his debut[7] but was certified gold by RIAA.[22]
