It is seen in rap music videos & The song “party like a ROCK star” is about the motif. Yes he can actually play a guitar he said it on one of his interviews I think on rap city or something.
You can sign in to give your opinion on the answer. No he can 't play guitar ...he has an interview up on onlyhiphop saying that rapping is what he does best.
He's obviously not good at it because he doesn't play it in any of his songs. Yes he can play I saw him practicing on the MTV awards your cousin is a stupid prick...
He a bad rapper so i don't give a **** I repeat, he is still within the first stages of learning from what I've seen, but he still plays the axe.
People think he can, but he really sucks assholes at playing guitar. He was plucking away on the highest string of the guitar, and it was terrible.
Sorta, he's kinda like that guy at the campfire train to play Bombay over and over again but can never get it quite right. In other words, he's no Martrucci or anything like that, but he can probably play jingle bells.
I encourage all the rap elite to pick up an instrument... if they haven't already Maybe he should just get a Punk Rod from Crappy Guitars.
Basically his keyboard player was ripping it up on a synth lead guitar while Lil Wayne played little dinky-ra-doo's til the end of the song sort of faded out. The only good thing that Lil Wayne has going for him is his amazing dreads.
Wish mine would have looked half as good. Hell he's making a sure boatload more money than me playing the guitar like that.
Basically his keyboard player was ripping it up on a synth lead guitar while Lil Wayne played little dinky-ra-doo's til the end of the song sort of faded out. I YouTube'd this phenomenon to see if it is a reassuring thing.
Before the lean seizures and the long spells of jail time, LilWayne's own proclamation that he was “the greatest rapper alive” was at least believable. Wayne was prolific, releasing numerous mixtapes between some of his studio albums, all of them strong enough to sell as LPs.
His command over the mixtape format allowed him to reinvent his career and artistic persona several times over from gangsta to psychedelic visionary to martian. The way Wayne leveraged that mixtape promotion into record sales revitalized that culture for the younger generations of rappers like Drake, Mac Miller and ASAP Rocky, all of whom have built careers off the strength of their free offerings.
“He was still rapping, retaining his innate cleverness and style, but had such intoxicated confidence that he didn't need to live by the formal limitations adhered to by lesser MCs.” His recent verses for Nicki Many's “Truffle Butter” and Tyler, The Creator's “Suckers” show the rapper can still work himself through tangles of double entendre with ease.
After a threat of legal action, Young Thug hastily changed his album's name to Barter 6. He's likely kicked the codeine habit that his been debilitating to his health and productivity, and the man who changed hip-hop doesn't seem to be slowing down at all.
There's little reason to think that the Carter V won't be incredible once Wayne manages to free himself from his label and regain creative freedom. This was in late 2010, Dwayne Michael Carter Jr was midway through an eight-month sentence at New York’s Rikers Island for gun possession, and I was cobbling together a sort of biography.
Entitled Gone ’Til November, it is based on the journals that Wayne wrote in prison, documents I too studied as part of my research process. It is said to feature “his thoughts and feelings about spending time in Rikers Island, the people he met, his whole family, his past, his future, and more”.
Drake’s in it too, as is a story about a wedding at which he officiated for two fellow inmates and a reception for which he decorated a room with toilet paper and toasted with Gatorade. He was due to release They Carter V in 2014 but decided against it, at least under the umbrella of Cash Money Records, the label founded by Bird man.
He then sued Cash Money, demanding $51m and a release from his contract, pointing towards all manner of alleged monetary misdeeds. The row has been playing out for years, intermittently, veering from the silly (throwing drinks at one another) to the serious (Wayne’s tour buses were shot at by, it’s alleged, a “friend” of Bird man).
Their love/hate, father/son relationship has played out, Cronus-like, ever since and raises whether it’s money, attention or creativity which is fuelling the rift and, moreover, whether anyone cares anymore. The fight has become white noise, groaning under the weight of its legal contracts, and feels like fodder for TMZ rather than anything concrete.
Gone ’Til November is therefore likely to level out as some sort of battle cry, a literary scream in lieu of a musical one which is a shame, because once upon a time LilWayne’s output was tremendous: 12 albums, and double that in mixtapes (all of which came wrapped in makeshift zine-y covers) on which he used to release his most reactive and non-commercial content. Following Katrina, New Orleans’s comprehensive battering and George W Bush’s utter mismanagement of the situation, Lil Wayne became his hometown’s voice.
When Lil Wayne peaked, arguably around 2008, he was lauded as a hip-hop outsider bolstering a genre that had become stuck on the sort of aspirational sheen which made names of rappers such as P Daddy and Jay-Z. But his experimental work with rock (Rebirth, pretty terrible) and a shift away from music (including a confusing period of serious, serious skateboarding) pushed him off trajectory and lyrically, his relevance began to peter out.
Thomas Chatterton Williams, a US author who writes about race relations, notes: “The best role models tend to be those who assume that responsibility. Forcing someone into that seems less ideal than locating people who are less famous but more worthy of the emulation.” This is especially pertinent when you compare Lil Wayne to someone like Jay-Z, his one-time peer, who has“consciously attempted to move into that terrain over the past decade or so,” says Williams, citing a recent op-ed in the New York Times on mass incarceration.
Which is sad, because regardless of his enumeration of criminal records, squabbles and poor life choices, of disc tracks and Styrofoam cups of seizure, he is a talent, off-centre, a democrat, a freak, and unswervingly honest to boot. This article contains affiliate links, which means we may earn a small commission if a reader clicks through and makes a purchase.