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BOOK CONTENTS
Introduction
1. The Weezy Phenomenon
2. 2004: Passing of the Torch:
The New Breed of Rapper
3. Hip Hop’s Bathhouse:
Dissecting Tha Carter 3
4. Media and Pop Culture:
The Modern Blackface
5. Gang Rape Music:
The Dying of the Urban Female
6. Sociology, Psychology, or Spirituality:
How to Interpret Hip Hop Culture
(Critique of Michael Eric Dyson)
7. Rap Music’s Urban Influence:
The Power of Words
8. The Occult Influence
9. The Expected Conclusion of Lil’ Wayne
10. Dire Warning
Appendix A: Interview Transcript With Strictly Hip Hop News
Appendix B: 2012 Prophecy Concerning Hip Hop
Appendix C: God Listens to Hip Hop
New Reader’s Edtion Includes the Following Articles:
Lil’ Wayne and Machiavelli
Lil’ Wayne and Black Women
5 Myths about the Sexual Abuse of Lil’ Wayne
Lil Wayne Mirrors Video: Blasphemy or Art?
Nicki Minaj Grammy Set: Too Hot
The Death of Rapper Slim Dunkin
IX. The Expected Conclusion of Lil’ Wayne
On August 29, 2011, Cash Money records dropped Lil’ Wayne’s ninth studio album titled Tha Carter 4. It was Wayne’s first official release since being set free from prison after serving eight months on a weapons charge. Following the global success of Tha Carter 3, many fans were anxious to see what Wayne could possibly do to top his last album’s mega success.
Tha Carter 4 actually came out three days before its release date. As usual it had been leaked online, which caused massive downloading and audio streaming on video websites. Immediately the reviews from hip-hop enthusiasts and critics began to come in. And the overall consensus was that this album has nowhere near the dexterity, lyricism, or overall production as his previous megahit. Although Tha Carter 4 sold an astounding one million copies in its first week, the album was critically considered a weak and disappointing showing by the man that had dubbed himself “the best rapper alive.”
CRITICAL RESPONSE
David Amidon of Pop Matters magazine wrote in his article that the album was most likely the greatest musical disappointment of the year. He said that that the album is “a smattering of tracks lacking in relevance, carried by everything other than the primary artist for which they were made.” A New York Times reporter released a recent article about the new album titled, “Rapper Returns with Punchlines but Little Soul.” In the piece, John Caramanica writes about the lack of quality and seemingly uninspired material saying, “It’s the least memorable Lil Wayne album in years; Lil Wayne at his laziest or most uninterested.” The article continues to make unique observations especially when noting, “Vintage Lil Wayne was the equivalent of speaking in tongues, words flying in unexpected directions, in unlikely combinations. But those were the syrup-sipping years. Sobriety is a condition of Lil Wayne’s probation, and it appears that the lucid Lil Wayne has less interest in bending words into strange shapes.”
THE UNINSPIRED RAPPER
I personally took time to listen to Tha Carter 4 once it was released. If I had to give a one-word critique of this project (aside from the obvious negative influences of his lyrics and concept) it would be “uninspired.” I believe this description also echoes other critics of the album. Ryan Dombalm of Pitchfork magazine commented on the Tha Carter 4 saying “his delivery has slackened” and, “Almost everything about Wayne is relaxed, regurgitated, or regressing here.” Julian Benbow of The Boston Globe wrote that there is a lack of the “playful wit that made Wayne so interesting to begin with.” He went on to call the album “bland and aimless,” writing that “it comes off monotonous and redundant but, more than that, uninspired.”
The question should be asked: what makes Wayne’s current album so negatively received when his previous work received accolades from critics and fans alike? Did serving eight months in prison change his outlook and motivation? Is his inability to use recreational drugs as often because of his probation diminishing his creativity and productivity as an artist? Has he reached that level of success from which there is no other mountain for him to climb and therefore has become complacent? Why does Wayne seem so uninspired?
In the preface to this book I wrote these words, “Hip Hop music [in its current form] has lost all its redeeming qualities and is now unable to become more degenerate than it already is.” Please keep in mind I wrote these words before the release of Wayne’s new album. I believe that these words hold true, as the uninspired nature of Wayne’s latest release proves it. It is impossible for Wayne to reach deeper levels of sinfulness and debauchery in his music. In his lyrics and interviews he has glorified rape, cannibalism, baby-killing, and devil-worship. He has run the gamut of humorous punch lines that seek to lighten the offensiveness of his misogyny, blasphemy, and depravity. And since he has injected into urban youth the full measure of nihilism and amoralism, he has nothing left to give. The current music of Lil’ Wayne sounds uninspired because Satan is no longer inspiring him.
“NIGHTMARES OF THE BOTTOM”
There is a very interesting song on the album. It is titled “Nightmares of the Bottom.” Aside from the steady stream of punchlines that he constantly gives during his tracks, he does exhibit some unique personal introspection that is rare for a Wayne album. He says in the song’s first line, “Sleeping at the top, nightmares from the bottom.” This strange imagery is parallel to Wayne’s success. For the last five years Wayne has been at the very top of Hip Hop and the music industry. He has won four Grammys and sold at least 10 million records worldwide. Yet his success derives from the bottom, or a satanic spirit and power. The title of the song itself, “Nightmares of the Bottom” seem to suggest that Wayne is beginning to be plagued by the source of his own success.
In more lines from the song Wayne goes on to say, “Highway to Heaven, God do you see my headlights” and “only God can judge me, I don’t need a jury.” In the first verse Wayne asks God a question as if God does not know. Could this suggest that there are things in Wayne’s life which he hopes God does not know or will hold him accountable for? The latter verse, which refers to God being his only judge, is common with many gangster rappers. First-generation gangster rappers Tupac Shakur, Bone Thugs, and Master P. all had songs titled, “Only God Can Judge Me.” Although this saying sounds pious and reverent it is actually an urban amoral mantra. The underlying motivation for this philosophy believes that actions (whether good or bad) can only be determined when one finally meets God in the afterlife. Because it is the afterlife that is believed to bring the revelation of morality, it does not matter what one does in this life.
And finally Wayne says in the song, “Mack’s mom told me she going to keep me in her prayers.” Mac Maine is one of the artists signed to Lil’ Wayne’s record label, Young Money Records. The unique factor about this line is that Wayne remembers that the woman said she would pray for him. As a minister, I know that a person remembers when you say you want to pray for them when they really need prayer. His reference to the prayers made on his behalf may suggest that Wayne is beginning to understand the state of depravity that he is in while recognizing that he is in need of a higher source of help.
WAYNE’S FUTURE AS AN ARTIST
The music career of Lil’ Wayne is quickly running its course toward the end. I say this not by my own observation but also by statements which Wayne himself has made. When Hot 97′s radio DJ Angie Martinez interviewed Wayne in March of 2011, the 28-year-old said that he would retire from the industry at the age of 35. Later he told popular Hip Hop magazine XXL that he would be finished with rapping by the age of 31. If Wayne holds true to his statements, it would mean that he would only record music for two more years before calling it quits.
Wayne as a future artist no longer carries the cultural impact that he once had. I say this not because his music has ceased to promote amoral philosophy, sexual abuse, and occult practices. Rather, I say this because I believe that Satan has used him to capacity. The spirit of Satan has used Wayne and his music to be a channel and instrument of unimaginable evil to the current urban generation. And once Satan uses a man, he will either move him out of the way to make way for others to follow suit or he will dispose of that man.
SATAN’S DISPOSAL AFTER USAGE
Remember what Jesus said in the Gospel of John? Satan comes to steal, kill, and destroy? Jesus tells us here that Satan’s work is not only spiritual but physical. The devil in his cruelty is not content with simply leading men to a place of eternal judgment but also takes pleasure in physical suffering as well. And part of that cruelty comes from using a person for his demonic purposes before sacrificing them after he is done with them.
The Bible gives witness to this occurrence in the Book of Numbers. In chapter 22 we read the account of the false prophet Balaam. When Balak, the king of Moab, became afraid because the children of Israel were coming to fight against him he sought to hire the false prophet to curse the children of Israel that he might overcome them in battle. In verse 35, we read that God came to the prophet and spoke to him saying, “Go with the men: but only the word that I shall speak unto you, that you shall speak.” God intervened in the situation so that the false prophet could not curse the children of Israel. But later on we read in chapter 25:1-2 that as the children of Israel abode in a certain Moabite city they began to commit sexual immorality with the women of the city. They also made sacrifices to other gods while forsaking the true God of Israel. The true instigator of this demonic scheme to defeat the children of Israel was Balaam. We read in the book of Revelation 2:14 that “Balaam taught Balak to cast a stumbling block before the children of Israel, to eat things sacrificed to idols, and to commit fornication.” Balaam was used by Satan to tempt the children of Israel to sin and therefore come under the wrath of God. Balaam would then be killed in battle not long after when God raised up a man named Phinehas to lead the Israelites into battle against the Midianites.
Another example of such deception and destruction is the woman Jezebel. She has been rightfully characterized as the most wicked woman in the entire Bible. She was the queen of Israel and wife of wicked King Ahab during the 8th century B.C. Jezebel was the daughter of Ethbaal of the Zidonians. This group along with many other Ancient Near Eastern cultures worshipped the false god Baal. Upon her enthronement as queen she sought to implement the mandatory worship of this false god while executing all of God’s prophets.
The prophet Elijah was often the target of Jezebel’s anger. He was given a dreadful prophecy about her death before God caught him up into heaven. He spoke saying, “The dogs shall eat Jezebel by the wall of Jezreel” (1Kings 21:23). This word was fulfilled when God used King Jehu to execute judgment upon her. The Scripture reads, “Then Jehu went to Jezreel. When Jezebel heard about it, she put on eye makeup, arranged her hair and looked out of a window. He looked up at the window and called out, ‘Who is on my side? Who?’ Two or three eunuchs looked down at him. ‘Throw her down!’ Jehu said. So they threw her down, and some of her blood spattered the wall and the horses as they trampled her underfoot.” The words were fulfilled later as stray dogs would pass only to consume her remains. These two Biblical accounts show that those who are used by Satan against the children of God oftentimes have very violent ends.
G. Craig Lewis, the prominent pastor of Ex-Ministries Chicago speaks on the same issue concerning Hip Hop. He stated in his popular series The Truth Behind Hip Hop, “The devil always demands a sacrifice. Whenever you are glorifying the enemy (Satan) he always demands a sacrifice.” He uses the deaths of Tupac Shakur and Biggie Smalls to show how their own lyrics pointed to their immediate deaths. This is the result of such usage and disposal. I agree with Lewis on this point as both popular rappers were plummeting toward a greater spiritual and moral depravity while leading their fans and followers to do the same.
THE FATE OF LIL’ WAYNE
Before I make the next statement I want to say that I write with pastoral concern and care. I believe that what I’m about to say is true, valid, and highly likely apart from divine intervention. I believe that the artist known as Lil’ Wayne is in extreme danger of a premature death.
I have two reasons for proposing this. The first of these is health issues. Lil’ Wayne, for almost a third of his entire life, has used drugs in some form or other. The most dangerous of these drugs is promethazine. As mentioned earlier, at least three rappers have died in the last ten years by overdosing on this narcotic. While Wayne is forbidden to use this narcotic during his probation, it is difficult to say that he will completely cease once he has the freedom to use it again. The recent and tragic death of Amy Winehouse should be a constant reminder of the seriousness of musicians with drug abuse problems.
I also believe that creativity might motivate Wayne to abuse this drug in the future. Remember the quote from the New York Times article on Tha Carter 4 album: “Sobriety is a condition of Lil Wayne’s probation, and it appears that the lucid Lil Wayne has less interest in bending words into strange shapes.” A portion of Wayne’s success can be attributed to the drugs that he abuses. Therefore when that success is no longer evident I believe it will be a temptation for him to relapse in order to regain his song producing ability, popularity, and prominence.
Wayne has deep emotional problems that need to be dealt with. As mentioned earlier, Wayne’s father left him at an early age, he was sexually abused at the age of 11, he almost killed himself at the age of 12, and he has been a child star with numerous legal problems. As his popularity and success begin to wane the temptation for Wayne will be to medicate these deep emotional issues with drug abuse. This has proven fatal for many child stars including the recent death of Michael Jackson.
GANG AFFILIATION
Wayne is also a professing member of the Piru Bloods street gang. He is constantly heard rapping about this affiliation in his songs. He even went as far as releasing a mixtape called “Blood Brothers” in 2007. There have been threats of violence against him from a well-known Los Angeles Crip gang member named Tory Gassway also known as “40-Glock.” There is a video posted online in which Gassway and other Crips accost a group of vehicles in which Wayne is allegedly riding. By Wayne’s blatant advertisement of the Blood gang he is not only instigating urban gang rivalries but also putting his own life in danger. Who knows what up-and-coming Crip might want to take a shot at Wayne just for the sake of street credibility and notoriety? And considering that the deaths of two of the biggest rap stars have never been solved one might believe such a crime to be above the law.
Wayne’s fate could be eerily similar to that of Tupac Shakur who had gang connections before his death. Although Shakur was neutral in his relation to gang membership, his record label and record executive Suge Knight were affiliated with the Bloods in California. The night of the shooting of Shakur, Sugeand Tupac can be seen on a surveillance video assaulting Orlando Anderson, a well-known member of the Crips.
EARLY PREMONITIONS OF DEATH
Is it possible that Lil’ Wayne is already having early premonitions about death? In a recent song off Tha Carter4 album titled “John,” he raps, “If I die today, remember me like John Lennon, buried in Louis I’m talking all brown linen.” It is interesting to observe that an artist at the peak of his success is pondering and reflecting on death through his music. Wayne has also done this before on a track titled, “I Feel Like Dying,” in which he constantly repeats the phrase, “Only once the drugs are done, that I feel like dying… I feel like dying; And if my dealer don’t have no more, then…I feel like dying.”
THE NEED FOR DIVINE INTERVENTION
It is important for us to distinguish between the artist Lil’ Wayne and the man Dwayne Carter. We often project Lil’ Wayne in our minds as an image and not a person. Therefore by understanding that this is a flesh and blood man with a human soul, personality, and fate, it should help us to see the seriousness and dire need for divine intervention. Dwayne Carter, like all men who have been used by Satan to deceive masses, is not outside the realm of God’s grace. An omnipotent God is able in his sovereign choosing to redeem and rescue Carter from his own personal sin while stopping his mouth from speaking the lies that lead millions astray.
The life of the Apostle Paul is an example of God’s great redemption. Paul was a Jewish legalist who attempted to destroy Christianity in the first century. He believed it to be a heretical religious cult and used his influence in the Jewish Sanhedrin to persecute and imprison those who believed in Jesus Christ. But during this time in his life God miraculously intervened and changed him forever. He went on to become the greatest Christian missionary in the early church.
God can change the life of Dwayne Carter. The Gospel of the Lord Jesus Christ is a message of hope and salvation for all who are lost in sin. It is an open invitation that whosoever believes in the Lord Jesus Christ while repenting of their sins can find pardon and forgiveness of the vilest iniquities. Faith in Christ is the only way by which men can be transformed from sinners into saints while having a relationship with the true and living God. Jesus Christ is the only one who can rescue men from the bondage and dominion of Satan while translating us into his everlasting Kingdom. Only in Christ Jesus are eternal joy, peace, and satisfaction found. It is my fervent hope and prayer that Dwayne Carter will find Jesus as Lord, Savior, and God before it’s too late.