It isn’t a series of scraps and exclusives put out under a DJ’s name, nor is it an album under novelty glasses and a fake mustache, as so many quote-unquote mixtapes are now.” Recorded largely in Canada, because studio managers around New York found 50 a safety hazard, Future was the most nationally visible patient zero of “mixtapes” as we knew them in the 2000s: a sampling of original raps by a single act over a variety of mostly pilfered beats. Here’s an excerpt on his mixtape run from The FADER: After getting shot nine times, the Queens rapper was willing to break any rules and do whatever it took to get put on. It’s romantically fitting that 50 Cent catalyzed the modern mixtape. Now that everyone follows the same formula, the industry may be bound for disruption yet again. Successfully disruptive products, like 50 and Wayne’s mixtapes, caused competitors (old and new) to switch their style up. That evolution paved the way for today’s “mixtape,” which has now become a pointless delineation for marketing purposes. 50, DJ Whoo Kid, and their street team redefined the product, distribution, and marketing strategy for mixtapes and independent releases. In 2002, 50 Cent is the Future took the summer by storm. Wayne’s mixtape run thrived on a foundation built by 50 Cent. But by the time No Ceilings dropped, they wielded enough power to validate the “best rapper alive” at the peak of his powers. Mixtapes were once raw compilations of freestyles curated by DJs.
That statement itself is a testament to the power that mixtapes had gained. No Ceilings proved that Wayne could sustain excellence after Tha Carter III. Today is the tenth anniversary of No Ceilings, one of the mixtapes that defined Lil’ Wayne’s epic run in the 2000s. He's now looking to collaborate with 2 Chainz on an upcoming project, currently titled ColliGrove.Both 50 Cent and Lil’ Wayne’s mixtapes redefined the product, distribution, and marketing for mixtapes and got the entire industry to follow their lead. He already released the Free Weezy Album last July, through streaming service Tidal, and the expertly named Sorry 4 The Wait 2 back in January. For one, Wayne's really over-estimating how much people are into autotune.ĭespite the legal quagmire, it looks as if Wayne's busy as ever. It's a strong mix of tracks, except Wayne's got one major problem: trading on the legacy of the original No Ceilings has instantly run the risk of setting expectations too high, and it's hard not to feel just a tinge of disappointment at this new drop of tracks. There's no judgement yet on whether Nicki Minaj, Drake, Tyga, and Lil Wayne will indeed be receiving the funds reportedly due.
Record label Cash Money's refusal to release it led Wayne to file a $51 million lawsuit in which he claims the company, owned by Birdman, has been withholding money from its clients. It's a small, but welcome, consolation for the huge delay on releasing his next album Tha Carter V. Running just under 1 hour and 40 minutes, the mix features Wayne rapping over instrumentals of 24 hits including Jumpman (from Drake and Future's joint mistape), The Weeknd's The Hills, and everyone's current obsession: Hotline Bling by Drake. Lil Wayne just dropped the sequel to Halloween 2009's beloved mixtape, No Ceilings.