Music
Tha Carter III's lead single, "Lollipop", peaked at number one on the US Billboard Hot 100, staying at the top for three weeks. It was Wayne's most successful solo single in his career, winning one Grammy Award, a BET Award, and an MTV VMA. The song was praised as an "electro-bumpin'...infectious track", perceived as more of a "bubblegum" pop track than rap. The second track on the album, "Mr. Carter", was nominated for a Grammy while also peaking within the Hot 100. It was praised for featuring Jay-Z, which was seen as Jay-Z passing the throne to Wayne. The second single, "A Milli", was a top ten hit and was praised as one of the best songs of 2008. The song garnered countless freestyles and remixes, while Wayne's original version was praised with "spectacular rhyme". "Dr. Carter", the sixth track, was also praised for lyrical content and humor as Wayne took on the persona of a doctor performing surgery on various patients (a metaphor for Wayne resurrecting hip-hop). "Tie My Hands", featuring Robin Thicke, was praised as a deep track featuring "political commentary" and "despair" with Thicke's performance being the most complementary to Wayne. "Phone Home" also features various alien metaphors reminiscent of the film E.T. the Extra-Terrestrial (1982).
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Famous quotes containing the word music:
“But listen, up the road, something gulps, the church spire
Opens its eight bells out, skulls’ mouths which will not tire
To tell how there is no music or movement which secures
Escape from the weekday time. Which deadens and endures.”
—Louis MacNeice (1907–1963)
“The great challenge which faces us is to assure that, in our society of big-ness, we do not strangle the voice of creativity, that the rules of the game do not come to overshadow its purpose, that the grand orchestration of society leaves ample room for the man who marches to the music of another drummer.”
—Hubert H. Humphrey (1911–1978)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
—Imamu Amiri Baraka (b. 1934)