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Lil Wayne Breaks "A Milli"
Take that, internet naysayers: Lil Wayne's new album Tha Carter III has sold over 1 million copies in the US in its first week, the first time such a figure has been reached since 50 Cent's The Massacre way back in early 2005. Since Wayne has been, shall we say, slatternly when it comes to online mixtapes and file-sharing downloads, the press seems astonished: why are people buying CDs from an artist with so much free stuff out there? The New York Times even set up the dichotomy in the headline, proclaiming that "Despite Leaks Online and File Sharing, Lil Wayne's New CD is a Hit." Maybe they should change that "despite" to a "because"? As file-sharing tracker BigChampagne CEO Eric Garland says in the article, fans who download Lil Wayne grab an average of ten of his tracks (as opposed to two for other artists) and "while people who like an individual song are not going to open their wallets for you, people who like 10 songs will." So having a prodigious amount of your work out there for people to hear may actually help you sell more CDs? Karrr-azy!
Although, as Vulture points out, people may just like candy-themed oral sex metaphors, as both The Massacre and Tha Carter III feature lead singles that "compared a sexual act to the consumption of lollipops." Although if that's the case, why wasn't Lil' Kim's "How Many Licks" a smash?
After the jump: Was Party Ben wrong about Tha Carter III?
Either way, Tha Carter III is getting much better reviews around the intertubes than I gave it here, an 8.7 from Pitchfork, an "oh my god it's so good" from Stereogum, 4.5/5 stars from Rolling Stone. I have to admit that I'm enjoying it a bit more than I expected to this week, and I think I made a bit of a journalistic error in my review, criticizing the album for what it isn't (i.e., a mixtape) rather than what it is, making it more about my expectations than the work itself. Even the retro-smooth "Comfortable" is getting stuck in my head. I have noticed an odd trend, though: why is it that critics and sites like Pitchfork seem to evidence one relationship of rating-to-popularity for hip-hop, and the inverse relationship for all other music? What I mean is, their best-reviewed hip-hop albums are also the biggest-selling (see, for instance, Kanye West, who also got an 8.7, coincidentally), whereas the other CDs Pitchfork liked this year are about as obscure as can be: Hercules & Love Affair, Fleet Foxes, No Age. Somehow, hip-hop artists can sell a million CDs and still be worthy of our attention, unlike, apparently, every other musical genre. How do they do it?
Comments
no comment
Lil' Wayne is the most overrated "artist" I can think of right now.
And...it's erroneous to refer to his music as hip hop. He makes club tunes for strippers - adds nothing to the cause or the culture. He's an embarassment, really.
If you haven't heard his stuff, trust me, you're not missing anything. He's a joke.
The reason for the correlation between sales and good reviews from publications that specialize in "other" music is that those publications generally don't review hip hop records unless they're highly-anticipated. Those publications are largely unwilling to take a chance on hip hop unless it proves to be hip POP, probably for the simple reason that there are so many convoluted views about what is good hip hop, but measuring the success of a hip POP joint is simple - is it filling up the dancefloors? If not, then forget about it.
And finally - I question your definition of "obscure." Fleet Foxes? Sub Pop is pretty well-known on at least two continents, FYI.
Posted by: nic on 06/19/08 at 10:22 AM Respond
I cosign with Nic's statement. I guess I'm showing my age at a tender 25, but what is the big freakin' deal about Lil' Wayne?!? 95% of what he says is unintelligible and the other 5% that I can discern is utter nonsense.
I should put the caveat out there that I can only get through about a minute of any of his songs before I have to turn the radio station, or risk scratching my eyes out in disgust. I mean really. Isn't his last song about a lollipop? My, my, my. Look how far we've come.
Don't get me wrong, Tupac and Biggie were egomaniac misogynists, but at least they were good story tellers for the most part and could put together a decent song. They are probably rolling over in their graves from the mess that is coming out and coined "hip hop" nowadays. It seems like all you need now is a good beat, a hook with T-Payne, and some gibberish, and you are well on your way to selling tons of records.
Can we rewind to the eighties please. When there were actually "artists" producing "art"?
Posted by: Tanisha R on 06/21/08 at 3:16 PM Respond
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Posted by: seyi on 06/19/08 at 6:29 AM Respond