![]() Where does Lil Wayne fit into all of this, you ask? Actually, Lil Wayne has managed to contribute to both sides of this equation: countless collaborations with untalented artists have resulted in countless ringtone hits, but underground mixtapes such as Da Drought 3 and Dedication II have thrived commercially and critically. Hell, Interscope had to fabricate a supposed “sales battle” between 50 Cent and Kanye West, who are on the same label. But when it’s dead, there certainly is no denying it: Sean Kingston, Soulja Boy, Chris Brown, Hurricane Chris, MIMS, and T-Pain have all received large radio play (that speaks for itself), mixtape distributors are shut down everyday by the smarmy RIAA, and recent albums by acclaimed and talented hip-hop artists such as Outkast, Nas, and Public Enemy have been disappointing critically and financially. When it’s alive, it’s really alive: excellent singles from Chamillionaire and Kanye West have reached Number 1 on the Billboard Hot 100, underground rappers such as Blackalicious and Pharoahe Monch continue to enjoy an ever-rising profile, and two of the five albums given at least a 4.5 rating from Rolling Stone were hip-hop albums. ![]() Hip-hop has been both alive and dead recently. ![]() ![]() Review Summary: Mainstream rap sucks? Not anymore baby, not anymore. ![]()
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