(t5!) Heroes Of The Zeroes Singles: #08: Lil’ Wayne – A Milli (2008)

When it comes to the ”The Best Rapper Alive” distinction, Lil’ Wayne most likely owns the belt. That wasn’t always the case, however. There was a time when Lil’ Wayne was known as the dreadlocked scrawny kid hanging around Mannie Fresh, Juvenile, and the rest of the Hot Boyz. And even when he made his solo debut, he didn’t sell out stadiums right away. The songs that made the biggest dents in zeroes pop culture were 2004’s “Go DJ”, 2005’s “Fireman” and 2006’s “Shooter” with Robin Thicke, but even the layman with the sharpest memory will have a difficult time remembering these micro-hits when we’re at year 2049. Weezy, thankfully, were acquiring critical acclaim during this run and from his countless mixtape tracks, where he showcased his best couplets. So when 2008 came and the phenomenal album Tha Carter III dropped, he was primed for stardom.

Some would say that “Lollipop” featuring Static Major was Lil’ Wayne’s coming out party. Sure, it was the first single off the renowned album and it skyrocketed to the top of the Billboard charts. It was a terrific pop number, a sing-songy autotune-soaked bawdy anthem of sorts and it’ll probably be the song first discussed when Lil’ Wayne’s legacy is discussed in future blogs—or whatever new media they will invent in the future. But as good as “Lollipop” is, it didn’t encapsulate why he was beloved by critics, rap pundits, and mixtape hoarders. That’s why the next release “A Milli” was such a celebration. Like Michael Jackson’s moonwalk at Motown, like Lebron’s fourth quarter against Detroit, like Samuel L. Jackson’s performance in “Pulp Fiction”, like Seinfeld’s “Master of your Domain” episode, “A Milli” is where Lil’ Wayne’s popularity went from a cult following to a full-on embrace by the popular culture.

The reason why he hasn’t had mainstream success before the release of this sixth album is because he was always better when it seems like he’s thinking off his feet. His pop hits, “Lollipop” included, were attempts at holding on to a singular topic, but it always softened his persona. His mixtape smashes are a completely different story. Without a subject matter to worry about, it enables him to pound out clever rhyming couplets about how much better he is than his competitors. In “A Milli”, Lil’ Wayne took that mixtape tactic and ran with it. Every line is quotable, rich in quick-witted combative word play designed to knock your socks off. As my own testament to its memorability, it’s actually the first rap song I’ve known word for word since Dr. Dre and Eminem’s “Forgot About Dre”.

The theme is so simple. I can sell a million, thus I’m great. Cue the highlights: “You drop em cuz we pop ‘em like Orville-Redenbacher”, “I’m a venereal disease like a menstrual bleed”, “my name ain’t Bic, but I keep that flame”, “even Gwen Stefani say she couldn’t doubt me”, “Boy I got so many bitches like I’m Mike Lowery“I don’t owe you like two vowels” Some ludicrous, some gross, but utter genius nevertheless.

It’s a guarantee that when you create genius, there will always be some copycats. Many of hip-hop’s illustrious names have had a crack at the looping “A Milli” beat, like, for example, Jay-Z, Mos Def, LL Cool J, Busta Rhymes, Fabolous, etc. Some have also constructed their own version of a beat with a looping lyric phrase—case in point, MIMS’ “Move (If You Wanna)”, Beyonce’s “Diva”, Black Eyed Peas “Imma Be”, and Jay-z “On To The Next One”. Still and all, as often as it is copied, it has never been duplicated. I’m not even sure Lil’ Wayne can match “A Milli”, even if he had a million chances.