Lil Wayne 36th Birthday Party/Carter V Release Party Lil Wayne 36th Birthday Party/Carter V Release Party
Lil Wayne stands next to his birthday cake at his 36th birthday party and Carter V release at HUBBLE on September 28, 2018 in Los Angeles, California. (Photo by Jerritt Clark/Getty Images for Young Money Records)
Photo by Jerritt Clark/Getty Images for Young Money Records

With Tha Carter V Finally Out, What Will Lil Wayne Do Next?

Lil Wayne's long-awaited 'Tha Carter V' has finally been released, but where does he go from here?

Lil Wayne finally did it. Freed at last from red tape, industry woes, and the whims of Cash Money Records’ mercurial co-founder Birdman, Tha Carter V dropped this past Friday (Sept. 28) to the delight of the New Orleans native’s long-suffering fanbase. With 23 songs and features by Nicki Minaj, Snoop Dogg, and Travis Scott, among others, the fifth volume in Weezy’s beloved and respected series of full-lengths is already on its way to an assured debut atop the Billboard 200 album charts.

His ties as an artist to Cash Money are now formally severed, with his Young Money imprint apparently fully separated as a standalone unit for any future releases and new business, though still benefiting from a distribution arrangement with Universal Music Group’s Republic Records arm. But now that Tha Carter V has made its way into the world and onto everyone’s favorite streaming music platforms, a question arises about Dwayne Michael Carter Jr. that we haven’t needed to ask in years—what’s next?

Before diving into his prospects, it’s worth examining Wayne’s accomplishments to date. Actively recording since the 1990s, the majority of his commercially released projects have earned at least gold certification from the RIAA, the most recent of which being I Am Not A Human Being II. His two biggest album awards went to the third and fourth installments of Tha Carter series, which went triple-platinum and double-platinum, respectively. Soon to be his fourth No. 1 charting solo album, Tha Carter V should reach RIAA gold eligibility within the first two weeks of its release.

Following the ultimately platinum certified loosie “Believe Me,” Wayne soldiered through the five years separating his last two proper albums as a reliable feature artist, on hits by or with DJ Khaled, Kodak Black, and Wiz Khalifa. Those latter day wins contributed to an overall total of 143 appearances in a lead or guest capacity on the Hot 100, including the 2000 Hot Boys single “I Need A Hot Girl” and a handful of posse cuts credited to Young Money. And thanks to the way Billboard currently takes streaming into account, that number will grow considerably when the chart refreshes next week to reflect most if not all of Tha Carter V’s tracks.

All of this indicates that Wayne has a healthy career ahead as a recording artist, should he opt to pursue one. Having lost none of his commercial luster at the age of 36, his contemporary resurgence with Tha Carter V demonstrates undeniably that rap’s listenership still desires to hear him spit his witty and boisterous bars after more than two decades. Assuming any lingering rumors of this album being his curtain call prove false, he can assume his rightful place once again among the genre’s active elite.

How the next phase of Wayne’s rap career will manifest remains unknown and, for the first time in quite a while, exciting. Tha Carter V clearly contained material produced over a range of years, its somewhat eclectic final tracklist the natural byproduct of release date delays and the shifting preferences of hip-hop fans both old and new. His apparently daily studio sessions allowed him to amass a veritable vault’s worth of unreleased recordings, now the stuff of legend in music lore. Teeming with enough content to launch the kind of relentless bombardment campaign that would make Gucci Mane blush, these archives provide a wellspring of release possibilities.

READ MORE: Lil Wayne Admits He Attempted Suicide At Age 12 In ‘Billboard’ Cover Story

Were he so inclined, Wayne could easily drop Tha Carter VI this coming Friday and send it straight to the top of the charts, repeating what Future did with his back-to-back Future and Hndrxx albums in 2017. That would certainly be a boss move for the second Young Money Records release in his post-Cash Money discography, even if he waited a few months to put it out instead. Provided he has the necessary rights, a wide release for the previously Tidal-only Free Weezy Album seems a logical option too, seeing as the unsanctioned 2015 project reached such a small audience that it didn’t even crack the Billboard 200.

Still, it might suit Wayne better to look forward rather than backward, lest he misuse his font of goodwill to flood the market with tracks deemed moldy oldies. The comeback success of Tha Carter V coupled with his liberation from old record deals means he’ll be able to work with just about any artist or producer he chooses, both within and outside of hip-hop. With the newfound ability to determine for himself what he does or doesn’t release, the opportunities for his next projects abound. A third edition of I Am Not A Human Being, a second helping of the 2 Chainz joint effort ColleGrove, more Mixtape Weezy business, all of these appear viable. Yet the best route of all could simply be a new one altogether, to use this moment to make a clean break with his existing franchises and focus on building a fresh musical narrative.

At the same time, Wayne is poised to capitalize on that lengthy discography by going on tour in 2019. Ostensibly billed as a support run for Tha Carter V, this already announced concert series coming right after reconnecting officially with generations of his fans stands to earn him a substantial payout. He’s got the refreshed clout to headline arenas nationwide once again, with many markets overdue for such a show. With the right support acts in tow, perhaps some younger talents in the game, sellout dates seem certain. Despite the widening pool of potential openers, Wayne could stun us all by linking with Nicki Minaj for a co-headlining run following her canceled autumn North American shows with Future. No matter who he takes with him on the road, he shrewdly included ticket presale access and digital album bundles with all purchases made via his album-specific merchandise site, boosting both his sales and his mailing list ahead of time.

Naturally, Wayne knows there are more ways to make money right now as a rapper than through rapping. International brands actively and increasingly seek out partnerships with urban artists, and he’s no exception. Having worked previously with consumer electronics companies such as Samsung and Beats By Dre, he has experience as a spokesman and product ambassador that can translate well to other fields. While the TrukFit brand could use a refresh, Wayne may find it more lucrative to work with another company in the apparel industry, lending his streetwear savvy and skate culture bonafides not unlike what he once did with Supra and what Kanye West has done with Adidas. And as diversifying entrepreneurs like JAY-Z and Young Jeezy have proven, multiple industries and investments can enrich a rapper’s portfolio.

Assuming any lingering rumors of Tha Carter V being his curtain call prove false, Lil Wayne can assume his rightful place once again among the genre’s active elite.

Then, of course, there’s the Young Money brand to take into account. No longer beholden to the 51-49 arrangement with Cash Money, Wayne now commands its future with Tez Bryant and Mack Maine. He already had brand extensions in place prior to this year’s legal settlement, including a full-service sports agency and marketing firm in Young Money APAA Sports. That venture connects him with figures in professional basketball, boxing, and football, with the latter grouping especially robust. Further activity on this front broadens his reach beyond entertainment without weakening the value or integrity of the company’s name.

Ultimately, however, Wayne ought not overlook Young Money’s history and ongoing potential as a record label. Even apart from his own catalog, that legacy cannot be overstated, having launched and nurtured the major label careers of current hip-hop hitmakers Drake and Nicki Minaj. A record executive with both of those artists under their belt should rightfully be heralded as one of the greatest tastemakers of our times, a due credit that unfairly eluded Wayne as his signees soared in the 2010s. Obviously, not all of his signees went on to produce hits there, and those tied to existing contracts in the prior model still have to contend to some extent with Cash Money’s involvement. To be clear, just because Young Money Records belongs to Wayne now doesn’t mean he gets Aubrey and Onika all to himself.

Nonetheless, getting spun off with all the benefits of Republic’s marketing machine presents the label with the opportunity to expand beyond its maturing stars. At long last, Wayne can make deals with whomever he wants without needing Birdman’s signature to make it official, the latter contingency having previously quashed plans with Chanel West Coast some years back. Respected and admired, he now can use his ear and his platform to identify and attract talent at a time when SoundCloud sensations and viral singles are all the rage at the majors. Even if Wayne never drops Tha Carter VI or another album of his own ever again, carrying Young Money up into the 2020s as a thriving player in this industry could truly emancipate him from his former mentor Birdman’s long shadow and assure him a future all his own.

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Let Jacquees Tell It, He’s The Jodeci Of This R&B Game

Rodriquez Jacquees Broadnax doesn’t want to be the bad guy of R&B. He says this with a sinister, yet warm smile. With year-end debates taking over social circles, Jacquees wants all the flowers for his glowing debut, 4275. “I ain't never had a year like this, I got one of those careers and lives that keep going like this,” he says, as he raises his iced out wrist to draw his progression. “It keeps going up, my sh*t just keeps going up.”

At 24 years old, the singer knows a thing or two about the ever-changing genre. Nearly half of his life has been dedicated to music, specifically to quiet storm-like sounds that now take on new meaning in our adult love lives. He’s hibernated under the radar for some time with his 2014 debut EP 19 and released gentle falsettos and big name features with Chris Brown, Ty Dolla $ign and Trey Songz along the way.

But between his accolades, he’s been condemned for his favorable “Quemix” of Ella Mai’s “Trip” and now, his self-proclaimed status of “The King of R&B” for his generation.

"I just wanna let everybody know that I'm the king of R&B right now," Jacquees said in an Instagram post on Sunday (Dec. 9). "For this generation, I understand who done came and who done did that and that and that, but now it's my time. Jacquees, the king of R&B.”

R&B artists like J. Holiday and Pleasure P shared their two cents on the matter while the game’s most elite like Tank, Tyrese and Eric Bellinger dropping stacks of knowledge on the gift of consistency, respect, and talent. But Jacquees has these things and then some with legends like Jon B., Donell Jones and Jermaine Dupri in his corner. Despite quick reactions from his peers, Jacquees is confident in nature and proud of his space in the game.

“I think I'm the leader though, as far as males go, I think I'm the number one,” he tells VIBE, just days before his “King of R&B” comments went viral. “You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees.”

Jacquees’ music is just a branch of what R&B has evolved into. Over the years, artists like SZA, H.E.R., Daniel Caesar, The Internet, Miguel and many more have flipped the genre on its head by churning out music that not only speaks to the soul, but to their vocal abilities. Successful R&B records aren’t confined to rap guest verses and traditional instruments now take center stage. But Jacquees sits in an interesting space seeing as his style caters to a grey area of folks who just heard their first Monica album yesterday and now appreciate a good nayhoo like the rest of us.

With hopes to release his sophomore album in February 2019, Jacquees chats with VIBE about his confidence, making 7275 and why he’s the perfect leader for R&B today.

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What have you learned about yourself as a human and an artist in 2018?

Jaquees: This was my biggest year. I made the most money I’ve ever made. I dropped my album and was able to take care of my family. I ain’t never had a year like this and I thank God for that. I got one of those careers and lives that keep going like this, (slowly raises a hand to the ceiling) It keeps going up, my sh*t just keeps going up.

I think I learned about my whole self in 2018. Being that it was my biggest year, I went through a lot of stuff personally, but I think the biggest thing for me was listening to other people but also trusting myself. I have a strong mind so more of listening to myself helped.

Do you think you're the good guy or the bad guy in R&B?

Who do you think I am?

I think you’re a sweetie.

I don’t wanna be the bad guy, I’m a good guy. I’m easy to deal with. I’m a sweetie, but ain’t sh*t sweet though. (Laughs)

You have a lot of ‘90s and 2000s influence in your music. Do you ever feel you might sound dated, or do you think you’re bringing new sounds into the genre?

I just think I'm bringing a whole new sound. When I was younger, someone told me if you switch up what you’re doing, someone else is going to do it and you’re going to be pissed off. Just stick with it. When I was 14, everyone was telling me I needed to make club records but I didn’t want to do it. I remember CEOs saying, “Just let Jacquees do that [what he wants,]” because it’s a clock.

I figured out how to get my records at the club without changing who I was. I remember making “B.E.D.” and finding my flow on my project 19, you know? That’s when I got my swag.

What does love look like to you right now?

I think about a family. I think about me, a girl, a kid or something, like a whole family. One day I’m going to have it. I’ll still be in the game but I’ll say, “Yeah, that’s my wife over there with our son and daughter.” I'm getting older, too. I’ve been in the game for 10 years for real, but I’ll be 25 next year and soon they’ll be a little Jacquees.

There are a lot of layers in today’s R&B, especially in the mainstream resurgence it’s had. In that, there aren’t as many young black vocalists being pushed to the forefront. I want to know your thoughts on where you exist in the genre today.

I think there's a big wave coming back right now because even if R&B didn't die down they weren’t promoting it that heavy. Artists were making songs, they just weren’t being acknowledged on a mainstream level. I think the game is really putting R&B back on top. You know, you’ve got artists like me, Tory [Lanez], Ella Mai, H.E.R., so many people, you know what I’m saying? Of course, you had Chris [Brown], Trey [Songz], all of them but that’s when we were in school. It’s a new time, ain’t no big male R&B singers.

I think I'm the leader though, as far as males go, I think I'm the number one. You're talking about R&B young dudes who understand who goin’ [at] it, [but] who are they going to put in the front? I believe everyone will say Jacquees. They’re not rugged like me. You’ve got Jodeci and Boyz II Men. I’m Jodeci, they’re all Boyz II Men. I’m street, they’re not street like me. You can hear it in their voice. There’s a difference.

It’s no disrespect to nobody because they’re all my friends, but I still wanna be number one. If we’re playing the game and I lose, I’ll be mad as hell but I’m still a good person. I just want to win.

As you should. Everyone wants to make the best music they can–

But I ain’t no hater either. The game is like a sport. The game is like high school. I remember being at this year’s BET Awards and seeing certain singers and thinking, ‘Oh, they’re seniors.’ I knew I was a freshman, but I saw Meek and all of them thought, “He’s a senior.’ You know how it is when you walk through school in the first year. Then the second you’re like, “I’m the ni**a now.”

When I did the Soul Train Awards in November, I felt like a sophomore that everybody knew. They knew me from my freshman year, but this time I’m playing varsity.

You’ve said before you want to do this for a long time–

Yeah, I want to make music forever and it’s my choice. I want to make enough money for me to turn down shows because now, I have to take everything I get. I always tell artists, you got this much time to make this much money. Because after that, sh*t’s closed. I've seen it happen.

For me, I know I got longevity in this game because I'm an R&B singer and a lot of R&B singers have longevity if you take care of yourself, you know what I'm saying? Even rappers, you know what I'm saying? You keep that flow going, don't do no lame sh*t, you know you’re stick around.

How do you take care of yourself?

You gotta take care of your health. That's number one. Your mind and your health is your biggest thing. Keeping good people around you...stay in good spirits with me. I like to keep good people around me. I like people around me [who] make me laugh. Smile, I don't really like people around me that I got to be like, “What's going on?” I just like people who are themselves.

Stream 4275 below.

READ MORE: Tyrese, Usher And Others Reacts To Jacquees' Claim That He's The King Of R&B

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Music Sermon: The Groundbreaking Sprite and St. Ides Hip-Hop Campaigns

Today, rap music is used to sell everything from electronics to tax filing services to nut butter grinding machines at Whole Foods. We understand that hip-hop culture is essentially the root of everything cool and hip in culture, period, and it’s been commodified and appropriated within an inch of its life. But in the early ‘90s, the genre was far from Madison Avenue-friendly. Aside from the groundbreaking deal between Adidas and RUN DMC, brands didn’t yet see full value and impact of hip-hop…except in the food and beverage industry.

Beverage companies centering campaigns for the urban demo around black music was nothing new; Coca-Cola had ads featuring artists such as New Edition and Anita Baker singing their hearts out for the cola in the ‘80s, and Schlitz Malt Liquor had a legendary – and hilarious - run of spots featuring The Commodores, The Four Tops, Teddy Pendergrass and more through the ‘70s and early ‘80s. However, in the early ‘90s two brands put their entire business on hip-hop’s back, by not only building their brands but spring-boarding the recognition of the music and artists as a marketing and advertising tool: Sprite soda and St. Ides malt liquor.

In the ‘80s, Sprite was languishing behind competitor 7Up when parent company Coca-Cola decided to focus on the youth market, and the quickly growing hip-hop culture was part of the strategy. African-American ad agency Burrell Communications tagged hip-hop acts for a series of spots that began a long-standing marriage between the brand and the culture, starting with Kurtis Blow in 1986. It was one of the first national TV ads to feature a rapper.

KURTIS BLOW - 1986

In 1990, the brand kicked off the “I Like the Sprite in You” campaign, using rap acts that matched the soft drink’s bubbly energy, starting with Heavy D & the Boyz before partnering with Kid ’n Play the following year. The ads featured the artists clad in lemon-lime fare, rhymin’ about lymon.

HEAVY D - 1990 KID’N PLAY – 1991

With Kris Kross, they turned it up a notch and had us crunk inside the Sprite can. Edgy. Also, this was catchy as hell.

KRIS KROSS - 1993

Then in 1994, a young brand manager from Clark Atlanta University named Darryl Cobbin had an idea for a new direction: Gen X was about authenticity and independence of thought, not following the hype. Sprite ditched the pop-friendly crossover acts and identified more “authentic” rap artists – lyricists with street and cultural cred – to rep the brand. “Lymon” was also out of the window, as they moved away from marketing taste and towards marketing attitude. (Cobbin later spearheaded the iconic, yet grammatically questionable, Boost Mobile “Where You At?” campaign.)

Gone were the bright yellow and green sets, because while the new slogan said, “Image is nothing,” it was all about image. Bright and shiny was traded for dark and gritty. Now we were in the studio; a fly on the wall for freestyle sessions. In the first spot of the series with Grand Puba and Large Professor, Puba closes with “First thing’s first, obey your thirst.” It’s legend even within Coca-Cola that Puba ad-libbed the phrase that then became the brand’s tagline that remains to this day.

GRAND PUBA & LARGE PROFESSOR - 1994 PETE ROCK & CL SMOOTH – 1994 A TRIBE CALLED QUEST – 1994

The “Obey Your Thirst” spots also took us the street corner, the club, and inside the ring when Sprite resurrected the legendary KRS One vs. MC Shan battle.

KRS ONE & MC SHAN - 1996 NAS & AZ – 1997 THE LOST BOYS – 1997

By the late ‘90s Sprite had spent roughly $70M on the “Obey Your Thirst” campaign, tripled sales, and commanded a majority market share of the citrus category (which also included 7Up, Sierra Mist, and Mountain Dew).

Sprite had also succeeded in becoming an official and established part of the culture. They were family. The brand further expanded into urban youth culture through a partnership with the NBA, while continuing to evolve the creative of the rap campaigns.

KOBE BRYANT, TIM DUNCAN & MISSY ELLIOTT – 1998

Near the end of the decade, Sprite explored the overlap between hip-hop culture, comics and martial arts with a series of posse spots based on Voltron (representing all hip-hop regions) and the 5 Deadly Venoms (with all female emcees).

VOLTRON SERIES - 1998 5 DEADLY VENOMS SERIES – 1999

Over the years, Sprite has continued to be one of the most consistent brands in hip-hop. We’ve grown accustomed to spotting the logo everywhere from music festivals and shows to the background of BET’s hip-hop cyphers. They revitalized the “Obey Your Thirst” campaign with Drake in 2010 and paid homage to the greatest lyricists in rap with the “Obey Your Verse” campaign featuring iconic rappers and cans with classic lyrics in 2015.

SPRITE "Obey Your Verse - Cooler" (starring Rakim) from SHOUT IT OUT LOUD MUSIC on Vimeo.

St. Ides’ run with hip-hop doesn’t have the same happy ending as Sprite’s. The brand’s usage of rap petered out in the mid-90s after wide backlash and a series of lawsuits.

For St. Ides, hip-hop was the brand campaign. It’s how they built their business. The brand was introduced in 1987 and their rap campaigns launched in 1988. The malt liquor 40 oz., with significantly higher alcohol content than beer at around a $2 price point, was already a staple in lower-income neighborhoods and hip-hop culture. The “Crooked I” capitalized on that.

Parent company McKenzie River secured Ice Cube as their anchor spokesperson and tapped West Coast producer DJ Pooh to spearhead advertising creative. Pooh lined up a veritable who’s who of additional West Coast rappers over the years, including Geto Boys, Cypress Hill, Warren G, Snoop and Tupac; plus the thorough-est from the East, including Eric B and Rakim, Wu-Tang Clan, Biggie and EPMD.

EPMD & ICE CUBE - 1991 GETO BOYS & ICE CUBE – 1992 ERIC B & RAKIM - 1992

Unlike Sprite’s campaigns which were first jingles and still felt like commercials, even when elevated to trading hot bars for Obey Your Thirst. St. Ides spots, however, looked and felt like straight up music videos with album-worthy production and flow.

ICE CUBE – 1993 MC EIHT – 1994 NOTORIOUS B.I.G. – 1995

Complex even named Wu-Tang’s St. Ides spot “Shaolin Brew” as one of the collective’s 100 best songs! (But at least it’s ranked near the bottom; #97.)

WU-TANG CLAN - 1995

In fact, in 1994, the brand did turn the hottest of the joints into an album, with the St. Ides promotional mixtape dropping at your neighborhood liquor store. It featured full-length songs about getting twisted off the malt liquor from Ice Cube, Wu-Tang Clan, Scarface, MC Eiht, Snoop Doggy Dogg, and Nate Dogg.

The Snoop and Nate track is low key a jam, still. Homegirl in the background starting at the 10-second mark is a whole mood.

This blatant marketing of malt liquor directly to black and brown youth wasn’t going to go unchecked indefinitely. It was all irresponsible, even while being genius for the demo. In 1991, the Wall Street Journal listed the St. Ides ad campaign among one of the worst of the year, which probably didn’t matter at the time since WSJ readers weren’t St. Ides’ base.

In 1991, Public Enemy released Apocalypse ’91: The Empire Strikes Back. The album featured “100 Bottle Bags,” a direct criticism against malt liquor companies marketing specifically to urban communities “…but they don’t sell that sh*t in the white neighborhoods.” Shortly after the release, St. Ides found itself in Chuck D’s crosshairs, and he fired the first in a series of big shots against the brand, marking the beginning of the end of their love affair with hip-hop. An 80-second radio spot featuring Cube used a sample of Chuck’s voice without his permission. The ad had already aired over 500 times on rap radio shows when Chuck sued St. Ides parent company McKenzie River for five million dollars (they settled out of court).

Then, St. Ides and McKenzie River fell under legal scrutiny from the New York State Attorney General in 1992 for using verbiage like Cube’s lyric “Get your girl in the mood quicker, make your jimmy thicker…St. Ides.” to suggest the malt liquor increased sexual prowess. Can you imagine the think pieces if that spot ran today?

They were later in hot water with the New York AG’s office again, along with the Bureau of Alcohol, Firearms and Tobacco (the ATF) for advertising perceived to the be targeted towards minors, with complaints that it glamorized gang affiliation and promoted sex. After having production completely shut down for a short while and getting hit with heavy fines, St. Ides tried to clean up its act, adding “drink responsibly” messaging into the spots.

By ’96 the run was over. Hip-hop was growing up, getting money and moving towards more sophisticated alcoholic beverage choices. Alizé and Hennessy, anyone?

The relationship between hip-hop and alcohol never ended, of course, but has continued to evolve to match the evolution of the lifestyle. We don’t go to the corner store no more, homie (save a brief return in the early aughts of Four Loko). We’re toasting to the good life with premium brands, some of which are now owned by the artists.

We can look back now with the wizened, woke eyes of maturity and possibly scrutinize our artists selling out at the expense of the community, but for the young and burgeoning hip-hop culture, both the St. Ides campaigns and the Sprite campaigns opened the door for the power and commodification of hip-hop and consumer brands. For better or for worse.

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J.Cole, Teyana Taylor And Other Snubs Of The 2019 Grammy Nominations

It's that time of year again when inner circles and strangers on the Internet debate who's up for a gramophone.

On Friday (Dec. 7), the nominees for 2019's Grammy Awards (Feb. 10) were announced to a span of hot takes, early but informed predictions, and a wall of confusion as to why certain artists were overlooked. While some entertainers excitedly received the good news (Cardi B discovered her nods while leaving a courthouse), others were left scratching their heads.

Here's a look at why those who were snubbed by the Recording Academy deserved to be nominated.

READ MORE: Drake, Kendrick Lamar, And Cardi B Lead 2019 Grammys Nominations

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