Here's Drake being introspective on top of a building in downtown Toronto...
So, to use a current Drakeism, some-ting happened this past Friday. Nothing too major. Just global superstar and the living, breathing, walking embodiment of an internet meme, Drake, dropped his fourth studio album. You might've heard about it. It WAS called 'Views From The 6'. Now it's simply 'VIEWS' because, as Drake states on the album, he "turned the 6 upside down / that's a 9 now...". And turn "the Six" (wait, are we capitalizing it now? Is it a number? Or do we spell it out?), or Toronto (or "T-Dot" if your a Nineties head), upside down is indeed what Drake has done as of late. More so the entire continent of North America. Possibly the world.
The numbers are already out, and 'Views' is looking to clear platinum in first-week sales, easily. Birdman, the man of many internet memes including current "Respeck my name" 15-minute fame status, is grinning through his diamond-encrusted grill somewhere right now. Probably Miami. Getting a pedicure and a tattoo AT THE SAME DAMN TIME PLAYBWOY (and don't forget that Blood Red fingernail polish, yawhhurrd). Baby is just one of many "handlers" of the Drake/OVO cash cow, though. And, per usual, Drake takes to his songs to air-out greviences regarding such people who see him only as a paycheck. Or a career come-up. Or exposure. Or romantic interest. Or all of that - and then some more. That's not even his REAL circle of friends and family; who Drake famously keeps close at all times.
Regarding that same Drake/OVO cash cow - you can't expect someone to switch-up a winning gameplan. As the old adage goes; if it ain't broke, don't fix it - and Drake's hardly ever needed a tune-up, let alone actual repairs. It's eerie the amount of success he's had; and Drake will be the first to let us know, that he knows, that we know. He's possibly the most "meta" rapper, ever. Definitely of the millenial generation. So, of course, Drake and his camp are self-conscious of the OVO brand and realized the recipe for success and stuck to it. That recipe - from the seemingly-random release of Soundcloud track looses, using internet memes (and it's coinciding social media effect) to their full advantage promotion-wise, the specific collaborations and extensions of OVO-branded artists and influencers; to the ambient, empty-space sounds and infectious melodies and hooks, mixed-in with self-referential, over-sharing lyrics. Oliver North, the defecto second-in-charge of October's Very Own, has it all down to a science. And the results, well as the Jigga man would say, "numbers don't lie". They really don't. And when your name is being mentioned in the same rarefied air (sales/chart-wise, anyways) as musical artist legends like Elvis and The Beatles; well, YOU KEEP MAKING MORE OF THAT SHIT MY DUDE.
Panties coming off in 5...4...3...2....
So when people complain that Drake's doing nothing new on 'VIEWS', I simply ignore them. I happen to really, reeeeally enjoy everything that Drake's put-out so far. I like that I can expect the same type of subject matter and sounds with each new release. Drake's always talking about knowing his worth - but it's his limits that Drizzy possibly knows best. He's always leaned more towards the R.Kelly side of urban music, instead of the Jay-Z side. At least, musically. When Drake was first introduced to the masses, his lyrical prowess was on full display. He collaborated with fellow up-and-coming wordsmiths like J.Cole and Kendrick Lamar frequently. But as Drake released major project after major project, the "6AM In Dallas" songs became less and less frequent - while the "Housatlantavegas" joints moved to the forefront. Unfortunately, early-Drake lyrical habits like Disney-level cheesy wordplay ("wear so many chains / they call me Chaining Tatum") have survived on 'Views', but only to an extent. Still, you can expect to have a couple cringe-worthy listening moments with 'Views'. Thankfully, #hastag rap is nowhere to be found.
Speaking-of Jay-Z, Drake only moved-away from his lyrical influence - the Jigga man's business acumen was, still is, and always will be Drake's primary role model. And with one billion dollars in the bank (including his Bey-Bey, obviously) - I think Drake's made the right mentor choice. Jay-Z has also, quite famously, refused to stray from his core subject matter (I label it in my mind under "Jay's Pyrex Fantasies"). Ten-plus albums, Jay's still spitting' verses about cooking crack and wearing expensively-gaudy AF watches. And he's touted as a lyrical genius. Granted, this is a debate that deserves it's own think piece. The short-end, though, is that both artists have realized their core subject matter - and they work within the space created by that subject matter.
Both Jay and Drake have found "different ways of saying the same thing", pretty much. 'So Far Gone' was Drake at his most "awh, shucks" moment - the purest "fame freak-out" that he's ever been. It was Drizzy's most-innocent album, for sure. 'Thank Me Later' was Drake worried about being successful, living up to the MAJOR amount of hype that was created around him. Which meant a LOT of "safe" records. Let's just say that 'Thank Me Later' is the album you'll have the best chance of hearing at the super-market next time you're out buying groceries. 'Take Care' was Drake maturing. The growing pains were over, and he'd started to realize his potential. This was the time period where Drake truly took-over the rap game...and pop music to an extant. Drake continued this theme of Andy Warhol-ish "art-pop" with a 90's rap-baby twist on 'Nothing Was The Same'. Then there's the 'IYRTITL' and 'WATTBA' mixtape releases. The dual-emotion records of pain & anguish, success & excess. Drake was growing-up. He wasn't the new kid on the block anymore. And now, there's 'Views'. What this album will be remembered in the Drake discography remains to be seen. But as of right now, it's an artist celebrating continued financial and musical success, while struggling with continuing to remain in possession of the elusive "musical Midas touch", so-to-speak. Drake seemingly handled one of the biggest attempts at chinking his armor, "Rap Ghostwriter-gate", with ease. It's a different era of rap-listener - one who's experienced the smoke-and-mirrors and realizes that one musically successful man is not an island. I mean, OF COURSE Drake has help with his records. Astoundingly, and probably causing a few old rap-heads to choke on their dinner, the music-buying public hardly batted an eye. Or maybe it was the art of mis-direction. Drake's definitely a magician; regardless of wether it's because he distracts against his haters with the lightning-fast rate of sold-gold releases ('Hotline Bling' , the biggest song of Drake's carrier thus far, WAS A SOUNDCLOUD THROWAWAY TRACK PEOPLE) or if he's truly just THAT damn talented.
Basically, the millions of people listening to 'Views' this weekend are in for more of the same ambient, oversharing and emotional Drake. Which is goddamn delicious the way it is. It's just a little older. And with a reeeeally well-manicured beard. So don't get your musical panties in a bunch when I expect to order the same damn thing next time.
Here's Drake being introspective in A GODDAMN ROLLS ROYCE MY DUDE. There's a box of Kleenex right outside the camera lens' frame. It projects nifty stars too.
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