I can make ya bitch root for me like I grew her.Ĩ. Like a white boy wearing black paint, you’re a fake ass nigga.ħ. I stick it in her ass like some fucking steroids.ĥ. Then I make her take this dick like advice.Ĥ. I be grindin’ on them hoes like a half pipe.ģ. See also: Lil Wayne, Future, and the Ouroboros of Defensive Trendhumperyġ.
![ianahb lyrics ianahb lyrics](https://i.redd.it/gr65jigttlj71.jpg)
And obviously this is the most profane thing you will read today. The general guidelines here are that hashtag similes (the ones where it’s just a noun at the end of a line, apropos nothing, grammatically) don’t count. Note that only five come from guest artists. By way of demonstrating this, here’s all 80 similes from the new album. But Wayne’s style allowed for looser association, and as he’s steadily run out of things to say, that’s where you can see the deterioration of his creativity most obviously. Metaphors and similes have always been a valuable tool for anyone writing poetry, rappers very much included. And then people followed him and did it even better while he got too big to care anymore.
![ianahb lyrics ianahb lyrics](http://pm1.narvii.com/7500/429b17c45ff0e46f6ffed7a43e97fec97e885d79r1-630-630v2_uhq.jpg)
Wayne understood language so intuitively in those heady pre- Tha Carter III days that he could skip through convention and construction and arrive at expression that made him seem like the only dude speaking in colors, while everyone else was stuck in black and white. That style would be the free-association that people once reverently described as “Dadaist” but now more commonly refer to as “stupid.” And he deserves it, really: In 2007 we were getting vivid genius like “I’m so motherfuckin’ high, I could eat a star.” Whereas now we’re just getting whatever lazy nonsense wanders into his addled brain (“‘Cause when it Waynes it pours,” which come on). In that time, he’s been a lesser-known member of an embattled southern hip-hop group, a scrawny kid, a mixtape hero, the greatest rapper alive, the world’s biggest pop star, a crossover cautionary tale, a completely non-discriminatory shill and an old man playing catch-up in a style he practically invented. It’s been 18 years since his first album: True Story as one half of The B.G.’z. The album opens with an inspiring classical piano background and Wayne rapping loosely about sex and homicide.Lil Wayne has just released his tenth studio album, I Am Not a Human Being II. It jumps into “Curtains” next, where he leads with “I ain’t nervous, I swear to God I ain’t nervous,” but maybe he should be because the lyric quality throughout the rest of the album is seriously lacking. The best tracks are featuring other artists such as Drake, 2Chainz, Detail and Future on “Days and Days,” “No Worries” and “Love Me”. But on “Hello” Shane Heyl makes an already bad song worse. His vocals are more than unimpressive, and overstated. It used to be Wayne that could carry a song and make it popular just by jumping on the track but now that trend has reversed. It’s surprising that his performance on studio albums would be less than par when his work on mix-tapes like “Sorry For the Wait” were really strong. He rapped with conviction and lyricism on “Tha Carter III” and his collaboration with Birdman on “Like Father, Like Son.” Although numerous singles like “Lollipop” and “John” sold well in the itunes marketplace. IANAHB II lacks in execution because the tracks surrounding those ready-for-radio singles don’t deliver the same Wayne punch. “No Worries” and “Love Me” are going to get great circulation on mainstream hip-hop stations, hell they already are, but the rest of the album sounds like the last few scraps of rhyme at the bottom of Wayne’s hip-hop barrel. He earned the nickname “Weezy” for multiple reasons, but the one that always stuck with me was the emotion Wayne injected into his voice in songs like “Shoot Me Down,” “Misunderstood,” “I’m Me” or “Let The Beat Build.” He challenged other artists and his audience because he constantly challenged himself to create something new, novel and raw. But now the rhymes roll off his tongue like overused, under-developed ramblings of a mind strung together by blunts and codeine syrup.
![ianahb lyrics ianahb lyrics](https://cdn.totalfratmove.com/wp-content/uploads/2016/07/c17846e53e37d75db48c35efa78d26c6.jpg)
On “Beat The S***,” Wayne doesn’t even try something inventive.
![ianahb lyrics ianahb lyrics](https://64.media.tumblr.com/ec385864b50a93b0ddca40d8337a6cee/5f0fc63cf745961a-36/s1280x1920/790040ed7171c8e2f91bca7955a48b369bc5124e.jpg)
Not to downplay Gunplay, who is featured on the track, but his ill-equipped verse about pitching a fit in the club is the silver-lining to “Beat The S***.” Every line in the hook ends with “p****-a** n****”, and his only verse on the track is more of the same with tired tag-along rhymes. I remember scouring the Internet a few years ago looking for anything from Lil’ Wayne that had been leaked from any of his upcoming works, but now it’s Lil’ Wayne that’ll be looking for me, his audience.