“Get money. Fuck bitches.” If a mantra could be distilled into its rawest, most unapologetic form, this line from Lil Wayne’s “Money on My Mind” off Tha Carter II arguably captures a certain facet of ambition and drive.
Alt text: Lil Wayne performing on stage, highlighting the raw energy of his “Money on My Mind” era.
This track isn’t just a song; it’s a statement. For many, “Money on My Mind” represents the quintessential rap song, and for some, it stands as Lil Wayne’s magnum opus. Perhaps its impact stems from the sheer repetition, the way that hook drills itself into your consciousness, played loud and on repeat until it’s permanently etched in your brain. Or maybe, it’s simply because the hook itself is undeniably potent, taking on a life beyond the song, becoming a cultural touchstone. Utter the phrase “get money,” and for a generation, the rest instinctively follows.
While “Money on My Mind” wasn’t officially released as a single from Tha Carter II – its visuals were bundled with “Hustler Muzik” – it resonated with the impact of a lead track, arguably eclipsing “Hustler Muzik” in sheer force and memorability. Beyond the anthemic “Fireman,” it’s arguably the most unforgettable cut from the album. (Again, how could anyone forget what comes after “get money”?) Even years later, when Lil Wayne took the stage in 2014, this was the sole Carter II track he chose to ignite the crowd. Its energy remains undiminished.
Alt text: Still frame from a VICE video featuring Lil Wayne, reflecting the media’s interest in his persona and financial success.
“Get money. Fuck bitches.” In just four words, Lil Wayne encapsulates his worldview, a perspective deeply rooted in his New Orleans upbringing. As he plainly states, “New Orleans my birthplace you heard me, where money’s more important than the person.” This isn’t just bravado; it’s a declaration of priorities. “If we talkin’ bout money baby now we talkin’,” he asserts, underscoring the central theme. It’s woven into the very fabric of his label, Cash Money Records. Delve into any Lil Wayne interview, and the conversation inevitably circles back to money. Women? That’s a different story. “Money over bitches, I’m yellin’ it to the grave,” he proclaims, solidifying his stance.
The song is laced with Wayne’s characteristic swagger and lyrical dexterity. “Dear Mr. Toilet, I’m the shit” stands as a quintessential example of his often scatological yet undeniably impactful punchlines. “In the heart of the summer we need a snow plow” delivers a breezy, confident line about his coke rap persona. “Too fast for the feds, too cocky for the cops” conjures vivid imagery of Lamborghinis weaving through the New Orleans streets, untouchable and defiant. And the opening line? “Steppin’ out the motherfuckin’ car they in awe” is arguably one of the most arresting opening lines in Lil Wayne’s extensive catalog. It’s audacious, immediate, and utterly believable. It creates a moment of awe, validating his self-proclaimed star status. “He looks like a star, bitch. When you see him make a wish.”
“Get money. Fuck bitches.” If these lines serve as a microcosm of Wayne’s musical universe – and arguably street rap as a whole – it’s fitting. Tha Carter II marks Wayne’s ascendance, the moment his self-assurance solidified into something monumental. While “Go DJ” had already propelled him to stardom, Tha Carter II built upon that foundation, crafting a mythos, a narrative of a mad genius emerging from the Louisiana swamps to conquer the rap world. It wasn’t merely a shift; it was an elevation. And the driving force behind it was simply superior artistry. “Money on My Mind” wasn’t designed to be revolutionary.
“Get money. Fuck bitches.” On paper, these are tired tropes. But within the sonic landscape of this booming beat, they sound transformative. Wayne wasn’t just reiterating clichés; he was reinventing them, injecting them with a renewed sense of urgency and authenticity. Every time this track plays, it commands attention, capturing the listener in Wayne’s infectious excitement as he cackles, “I know it’s crazy, but I can’t get enough, baby / I love it, I fuckin’ love it / I’m a self made millionaire, fuck the public.” It’s colossal. It’s visceral. It’s a raw expression of ambition and the spoils of success, capturing a feeling that, for many, remains unparalleled.
