"A Milli", abbreviated occasionally as "Milli", is a song by American rapper Lil Wayne. The song was released April 23, 2008, as the second official single from his sixth album Tha Carter III.

The original version of this song leaked early on several mixtapes. Then, a second version, with the first verse from the album version, a verse from Cory Gunz and the final two verses from the original version, was leaked prior to the album version. "A Milli" was played several times when sampling the record before its release,[1][2] and was originally slated to appear on Tha Carter III in multiple versions as "skit-like" tracks, featuring artists such as Tyga, Cory Gunz, Hurricane Chris, and Lil Mama[3] though the tracks never made the final cut. They were rumored to appear on the re-release of Tha Carter III, until Wayne revealed that the aforementioned album would be a rap rock album called Rebirth with no connection to Tha Carter III.[4] "A Milli" was ranked the number one hip hop song of 2008 by MTV.[5]

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"A Milli" peaked at number six on the Billboard Hot 100, making it Lil Wayne's second top ten and second-highest peaking song on the chart as a lead artist at the time. It has reached number one on Hot R&B/Hip-Hop Songs, making it his second number-one song on that chart. It was also able to top the Hot Rap Tracks like his previous single "Lollipop". As of 2011, "A Milli" has sold 2,053,000 digital copies.[15]

The official remix, dubbed "A Milli Freemix", was made by Wayne to thank his fans, celebrating his first week sale of one million copies of Tha Carter III. In the remix, Wayne also hinted at the production of Tha Carter IV.[16]

This is a blog post about the best Lil Wayne song of all time. I would have a case for beginning many blog posts about Wayne songs that way, and perhaps I will in due time. But if there is one, a single one, the one that should go in the history books, surely it is "A Milli," the moment where Wayne did what he did and the rest of the rap world was left to do what they could do about it. So we'll begin here.

I have a lot of thoughts on that, but suffice it to say that social media disincentivized publishing the type of deliberate, unsensational writing that mirrors how we might want to think about music at our own pace in favor of a constant churn that is easy to talk about. What are the chances that we are all going to choose to geek out over the internal rhyme scheme of Lil Wayne rapping "A million here a million there / Sicilian bitch with long hair with coconut derrire" at the same time? Low, especially when we could be talking about whether or not Frank Ocean will put out a new album, which, of course, would be new. Novelty is prized over inherent musical value (notice how people had a lot less to say about that Frank Ocean album once it was finally out hmmmmm). But there's no reason that old stuff can't, in fact, be new to us and get treated the same way on social media. Or maybe there is! We're about to find out. But I'll tender a hypothesis: While we often act like we already know everything that already exists because, of course, we're only a Google search away from expertise, there's a lot that we don't know.

Today is my 28th birthday, so it's the beginning of a new year in a few ways. At 28, Lil Wayne had already reinvented himself multiple times and was already past what many of his fans consider his prime. On his birthday in 2010, he was in prison at Rikers Island, with two months left to serve. Twenty-eight was what, in sports, might be called a rebuilding year for Lil Wayne, but it was by no means unsuccessful. It yielded Sorry 4 Tha Wait and Tha Carter IV, the latter of which nearly matched Tha Carter III's as-yet-unreplicated feat for a rap album of selling a million copies in its first week (Drake's Views technically did it with streams this year, but otherwise only Taylor Swift, Lady Gaga, and Adele have done better since). There was also some weird shit in there! Maybe we'll get to it at some point. Maybe, like Wayne at 28, I'm just heading off in a weird direction that will end with me peddling glorified Zubaz pants. Who knows! I'm just excited to write about Lil Wayne, and, as the man himself once said, I don't O U like two vowels. That's why I'm doing this cop out post about "A Milli," the best Lil Wayne song, that doesn't spend enough time discussing its history or arguing why it's the best or even bringing up Cory Gunz. Here's to discovering the actual best Lil Wayne song (hint: for me it's not "A Milli"). Here's to a potentially bad idea. Here's to popping these blog posts like Orville Redenbacher.

its so funny that this is the song that will take her to new mainstream heights. i always thought conceited was THE one but this one is also great. The remix with SZA just might boost this into the top 3 (which i can def see happen)

Available now on video and song streaming platforms Spotify and YouTube , "Anything Flows" was developed in partnership with Dentsu, led by Dentsu Creative and dentsu X, produced by Nova Wav and comes complete with a Y2K-inspired music video directed by Warren Fu.

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His professional growth between 2021's Reverie and Honeymind is apparent not just thematically, but sonically and in production. This latest album sounds natural and lush, with input from GRAMMY-winning producer Dave Cobb and producer/songwriter/multi-instrumentalist Alex Hope. While Honeymind shows a version of Platt some listeners may not be accustomed to, he's never sounded more comfortable in his own skin.

I wrote that song with Alex Hope, one of my favorite longtime collaborators, and I had a session earlier in the week with someone else who was also wonderful. [This first songwriter] was talking to me about her son, who was 10 or 11, and how he had his best friend, a boy he loved so much. She shared that she had an inclination that more love was going towards this friend and was coming back to him [than] he could even really communicate.

It reminded me so deeply and immediately of so many different experiences growing up: having straight friends in high school and middle school, who you just love and who aren't doing anything wrong, but just by virtue of chemicals and how we're born, you develop feelings that just can't be reciprocated. [That's] such a special kind of melancholy. It's no one's fault, and I hadn't heard that strain of unrequited love and that particular type of melancholy expressed in a song.

But for me, the whole shebang has always been getting to perform live, and that's just my greatest joy. The songs are the most mine when I'm singing them live. I also love sharing music with people, and hearing in person and online conversations, about how it applies to their lives, how it reminds them of things, and how they use it. The tour is always the part where I'm the most in love with the album, and when the tour ends, I'm ready to let it out into the world and say goodbye for a minute.

In 2020, Megan Thee Stallion solidified herself as one of rap's most promising new stars, thanks to her hit single "Savage." Not only was it her first No. 1 song on the Billboard Hot 100, but the "sassy, moody, nasty" single also helped Megan win three GRAMMYs in 2021.

The Pop Song Professor project is all about helping music lovers like you to better understand the deeper meanings of popular song lyrics so that you know what your artist is saying and can enjoy your music more.

He continues by singing, "P1 cleaner than your church shoes / Milli point two just to hurt you." A P1 is a very expensive type of car that Abel owns and whose specific car, according to Genius.com users, is worth about $1.2 million dollars.

As if the cars weren't enough, he also claims that he "[m]ade your whole year in a week too," in which he's referring to how much he's made compared to most people's salaries. Of course, after making over $50 million dollars since his last album, he probably made most people's salaries in less than a few hours.

He sings that he was able to buy his "mama a crib and a brand new wagon"--a house and a car. He sings that now she's hitting "the grocery shop looking lavish." "Star Trek roof in that Wraith of Khan" is a reference to a lit up ceiling in one of his cars, and "Girls get loose when they hear this song" talks about parties getting started when his music comes on.

"Starboy" is an intense song with what seems like a powerful message. Tesfaye is never very clear on what the deeper point of this song is, but the last line of Verse 3 ("We don't pray for love, we just pray for cars") and the repeated lines of the chorus ("Look what you've done / I'm a motherf****n' starboy") hint at some self-awareness that his lifestyle may not be all that healthy. 0852c4b9a8

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