Lil Wayne Drops ‘No Ceilings 2′ Mixtape

28 Nov 2015 | Author: | No comments yet »

Lil Wayne Drops ‘No Ceilings 2′ Mixtape.

Lil Wayne is making it a habit of dropping mammoth mixtapes on national holidays: After the Free Weezy Album arrived on July 4th, the rapper’s No Ceilings 2 appeared just as fans were sitting down for Thanksgiving dinner. The sequel to 2009’s fan-favorite No Ceilings finds Weezy freestyling over tracks from Drake (including “Hotline Bling” and “Back 2 Back,” which he previously teased), Future and several cuts from their joint project, What a Time to Be Alive.

The 23-track collection boasts rap cameos from Mannie Fresh, Future, Yo Gotti, Curren$y, King Los and several Young Money stalwarts like Jae Millz and Gudda Gudda. Among the other remixed tracks are Eminem’s “My Name Is,” The Weeknd’s “The Hills” and Bryson Tiller’s “Don’t.” Future himself appears with Wayne and Yo Gotti on one of the tape’s original cuts, “Cross Me,” and other guests include Mannie Fresh, Jae Millz, Gudda Gudda, Curren$y and Baby E. The rapper dropped his new mixtape ‘No Ceilings 2’ for the holiday, and it features him making tons of popular rap songs — including, most importantly, Drake’s ‘Hotline Bling’ — his very own.

Lil Wayne released another entry in his famous mixtape series, PC Music creation/fabrication Sophie dropped an official album, Erykah Badu made a Drake-themed release, and even Pope Francis dropped a tape! The Weeknd’s “The Hills,” Eminem’s “My Name Is,” Post Malone’s “White Iverson” and Bryson Tiller’s “Don’t” are also among the songs reimagined by Wayne. After December 18th, we’ll no longer get to watch Joel McHale savage the idiocy of reality-show celebrities, a vital public service he’s performed for the past 11 years.

Taylor says she never signed off on the shirts using her bod — and, furthermore, she never would want her image “on apparel associated with misogyny and violence.” Taylor has retained the services of the Mase Lara law firm in Miami and wants all shirts with her photo on them to be eliminated from public view. And if last week is any indication, the remaining episodes are going to be something to see; the host is already going down swinging with hilariously mean jokes about Charlie Sheen, Jared Fogle, and E! itself. Adele has admitted that she wants to work with Drake to remix the track, and the rapper himself is totally on-board. “I’d do anything with Adele,” he told reporters. “I’d literally go to Adele’s house right now and do laundry for her.” Okay…so can we make this happen please?! This week’s round-up dips into the raging arguments sparked by a couple of cable dramas that has been playing fast and loose with the whole “killing off beloved characters” concept.

After a cliffhanger that saw The Leftovers’ main character Kevin Garvey drink poison and apparently die, the hero came back, slugging his way home through a purgatorial dreamscape full of familiar faces and religious symbolism. It was one feverish hour of TV, packed with allusive imagery and weird ideas — up to and including the premise that in this sideways universe, our hero’s been hired to kill (!) his Guilty Remnant nemesis Patti (!!), who’s now a presidential candidate (!!!). Showrunner Scott Gimple has an interesting defense of the drawn-out uncertainty over the character’s fate, saying that he and his writers were trying to create in the audience the same confusion the heroes were going through. It’s just that this “un-twist” came after a string of episodes set more or less the same day, seen from different perspectives and locations — which made it feel a lot like the creative team was just toying with us, making us mourn for a month for no reason.

At its worst, the crown jewel of the Shondaland empire can feel like a sputtering plot-twist-generator, jerking characters and viewers around almost at random. After spending the first half of the episode trading cookie recipes and planning dinners for her boyfriend, a.k.a. the President of the United States, Scandal’s suddenly tamed lioness discreetly got an abortion.

The point was clear: Even if the senate stunt was meant as political theater, it had personal meaning for the heroine — or for anyone who’d rather not be chained to traditional roles of wife/hostess/mother if she doesn’t want to be. Die-hard liberal Diane Lockhart took an assignment from one of her firm’s well-heeled right-wing clients, defending their right to post hidden-camera video of an abortion provider talking about selling fetal tissue. But it had ample mojo in the scenes where lawyers tossed around fast-paced arguments about free speech and biased judges, delivered in the show’s typical style—with editing so jumpy that it frequently cut people off mid-shout. If Scandal is about how private lives impact public policy, then the CBS drama is about how personal convictions get chopped to incomprehensibility by the Cuisinart of our court system. Adele’s third album 25 is already on-pace to go double platinum in its first week; and one day after its release, Saturday Night Live spoofed the British pop star’s ubiquity in a sketch where a family’s Thanksgiving arguments turn into a communal sing-along whenever someone puts on “Hello.” The lady herself to the stage, to belt out “Hello” and “When We Were Young” to a rapturous crowd.

It didn’t get as much attention — which was surprising given that it aired simultaneously on A&E, Lifetime, and The History Channel — but Friday’s multi-cast of Shining A Light: A Concert for Progress on Race in America featured maybe the most moving six minutes of television all week, when it opened with a performance of Bruce Springsteen’s “American Skin (41 Shots).” John Legend traded verses with the Boss while Tom Morello pitched in with a fiery guitar solo, all while the callback to the 1999 police-involved shooting of Amadou Diallo served as a reminder that this song was once so controversial that the E Street Band was booed whenever they played it. It’s rare for a network sitcom to find its voice and settle into steady excellence as quickly as this Fox show featuring ex-Brat Packer (and regrettable Tweeter) Rob Lowe did. It really only has one joke: What would happen if the star of a hit legal drama quit showbiz, returned to his hometown, and started hanging around his younger brother’s dinky law firm? In last week’s ‘Buckingham Malice,” when Lowe’s Dean Stewart senses he’s getting special treatment because of his celebrity, he tries — unsuccessfully — to get back to the “core principles” of being anonymously awesome. Savage keeps up a running commentary about his brother’s general ridiculousness, standing in for every viewer who ever shouted, ‘Oh, c’mon!” during some corny procedural.

When he’s rolling at eyes at the way Dean litigates his way out of a traffic ticket (swaying the judge with the argument, “People make the world great”) or reminding his sibling that, “Just because you walk away after you say stuff doesn’t mean you’ve made a point.” Boom! What’s mainly compelling about this show is the way it depicts an early 1960s America that looks unnervingly normal — aside from the whole “evil has triumphed” thing. A companion-piece to (and improvement on) the service’s acclaimed Daredevil, the newest addition to the MCU stars Krysten Ritter as a super-powered private eye who uses whiskey, sex, and sardonic remarks to mask some deep bruises. Years from now — hell, months from now — when The Walking Dead’s sixth season is up on Netflix and the streaming crowd is binging it, the whole “death of Glenn” bait-and-switch may be no big deal. And they won’t have dealt with the incessant Internet chatter, fan theories (“Damn, Glenn got ate!” “Nope, he ducked under a dumpster!”), and cryptic postmortem interviews that popped up in between.

Granted, that would’ve been a seriously gutsy move on the writers’ part — kill Glenn, wait a few weeks, bring him back, and then immediately blow him away. For the third week in a row, The Walking Dead didn’t really advance the plot in any significant way, at least until the end. (More on that in a moment.) Instead, this was another low-boil hour of training and arguments, threaded between superfluous scenes of Rick soaking up the awe of the Alexandrians. And in the one real moment of action, Deanna Monroe’s son, Spencer, tried to rope his way over the massing zombie hordes, in a headstrong attempt to restart the process of leading the undead away from town. What makes this all so frustrating is that anyone familiar with the source material knows the comics start getting really interesting around this point, by bringing in new characters and new challenges, based around the idea of what it actually takes to rebuild human society. The man with the ass-kicking stick skills made some strong points about the vagaries of cause-and-effect, pointing out that because Rick saved his life eons ago, he then saved Aaron and Daryl, in a rescue operation…which ended up tipping off the Wolves.

Still, after this week’s unfortunate resurrection, it’s going to take a lot of clever plotting to rebuild trust among a fanbase that may have been faked out a few too many times.

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