Yes, three H's. That's the point: excess. It's all over new tape Hottest Ni**a Under the Sun. Mook-rock guitars? Yeah. "Purple Rain" solo w/ falsetto? Yeahh. And-- perhaps most shockingly-- an actually-hilarious verse from Mack Maine? Yeahhh. I mean, bitching about something like "Prom Queen" is like bitching about insects devouring each other on Discovery-- it's disgusting, it's horrible, it's fascinating. Then you flip it off. It's over, onto the next thing. No big deal. Breathe.Lil Wayne doing rock isn't like Andre doing rock, i.e., dude is still rapping lines around throats, heads, torsos, whatever. Like on "Yeahhh". The song has a rock beat, I guess. But if rock is what's getting Wayne this hyped, give this man his rock. This is throat-jumping-out-of-mouth Wayne, as seen on "Playing With Fire" mixed with go-go-no-hook Wayne, as seen on "A Milli". It's like he's stuck in that space where you realize your entire arm is on fire and people turn into scorching skeletons when you tap them on the shoulder. You know what I mean? No? You are not Wayne.My favorite line isn't the best line: "Yes, I am a dog/ Now watch me catapult a boy." Right: It's raining pets, hallelujah. But it's the way "catapult a boy" comes out: "cat-a-pult-a-boy," like "cat" is cutting the rope and the "a-pult-a" is the big spoon flying and "boy" is the boulder breaking through a castle wall. Nobody uses catapults in real life anymore, and that's a shame. But there's a lyricism to such ancient weaponry. The angle, the arc, the impact. They flow, in other words. And they hit. [from the Hottest Ni**a Under the Sun mixtape]