Disclaimer: For the record, this is a fictional account. That said, it’s always how I’ve imagined “The Mobb” being created.
Lil Wayne walked in Circle House Studios in Miami a stressed man. Tha Carter II was to be submitted to Universal in less than a week and the album still lacked an intro. If push came to shove, several tracks had been recorded capable of serving as the album’s introductory moment. This was the opener, though; the first sound people would hear. Weezy needed a monster, and nothing less.
In basketball shorts, a wifebeater, flip flops and shades, Wayne tossed a bookbag to the corner of the studio while others talked and pretended to browse on their phones. Any measure was taken to avoid Weezy. Wayne being on edge always altered the vibe of studio sessions. He was irritable. He didn’t acknowledge others. Suddenly, an extrovert became introvert.
Wayne understood the importance this album would have on his career moving forward. The thought kept him awake all times of the night, not that he slept much to begin with. If he were to ever stamp himself as more than the teen prodigy who created “Bling Bling” during his label’s rise to national prominence in the late ’90s, dropping the ball here would give the faceless voices who guaranteed Cash Money could never thrive off Wayne alone a lifetime “We told you so!” card.
Jay-Z “retired.” Eminem never appeared truly comfortable with fame. Kanye West was already two well-received solo albums in. Working in Wayne’s favor, nevertheless, was the South’s rise to the top of Hip-Hop’s food chain. NFL highlights aired in the background. And not even his favorite player, Brett Favre, tossing three touchdowns in a 52-3 curb stomping of his hometown Saints cut the tension in the air. Wayne had already rolled six blunts and was nearly finished with the first. Tha Carter I grabbed the people’s attention and high-profile features like Bobby V’s “Tell Me” tossed gasoline on an ever-increasing fire. C2 was Wayne’s “all chips in” moment.