Drake is gracing the cover of VIBE Magazine’s 2013 Race Issue.
In true Drizzy fashion he’s pretty transparent … which of course makes for a good interview. He talks Kendrick, Kanye and Courtney from Hooters. Here are some excerpts. Go pick up the issue.
Rap nerds have speculated whether “The Language” is a subliminal response to Kendrick Lamar’s verse on Big Sean’s “Control.” Is it appropriate to put those two records side by side?
I don’t ever want to get into responses. It’s a commitment to go there. “The Language” is just energy. What it was inspired by, I’m sure that, and other things. It’s just me talking my shit. I never once felt the need to respond to that record. The sentiment he was putting forth is what he should have. Of course you wanna be the best. Where it became an issue is that I was rolling out an album while that verse was still bubbling, so my album rollout became about this thing. What am I supposed to say? Nah, we’ll be buddy-buddy? Mind you, I never once said he’s a bad guy [or] I don’t like him. I think he’s a fucking genius in his own right, but I also stood my ground as I should. And with that came another step, which then I have to realize I’m being baited and I’m not gonna fall. Jordan doesn’t have to play pickup to prove that he could play ball, no offense. But I’m not gonna give you the chance to shake me necessarily, ‘cause I feel great. There’s no real issue. It’s tough because the people wanna see us tear each other down; I don’t wanna give them that. There’s no point. I have no ill feelings toward that guy. It’s just like, it’s there for me if I wanna fall for it. I’m just too smart for that. Hopefully it’s the last time I gotta talk about this, ‘cause every time I open my mouth up about it, they take this piece and take this piece. And he’s hungry, so he’s going to do what he has to do like the BET [cypher]. But again, it’s not enough for me to go. We haven’t seen each other [since the BET cypher] but I’m sure we’ll see each other and it’ll be cool. And if it’s not, then I guess that’s how our story unfolds.
In an interview with Los Angeles’ Power 106, Kanye West told Big Boy that he wishes he’d recorded “Hold On, We’re Going Home.” How does it feel to hear someone who’s inspired you— someone who’s greatly steered hip-hop culture in the past decade—say that about your song?
[Pauses] As of late, me and ’Ye have opened up the doors to having communication and a relationship that was closed for a bit—and it needed to be. To push him more. We’re just checkin’ on each other once in a while. I’m sure it’s always gonna be competitive. [OVO co-founder] Oliver El-Khatib and I were talking the other night, like, “How crazy it is to hear ’Ye say shit about us?” We’re some kids from Toronto. It’s crazy. I couldn’t have predicted it. I’m still very much honored when I hear something like that because that’s still my guy. He’s why people accept me. He really was the first one to break down that door that I was allowed to walk through. It was crazy to hear him say anything about my music, let alone, that. And there’s a lot of good songs out right now for him to say that. It’s dope.
Do you ever have to censor yourself when telling personal stories? On “From Time” you mentioned a “Courtney from Hooters on Peachtree,” and people tracked her down online. Do you ever feel the need to change names or details?
That was my biggest wake-up call. I’ve just gotten too big to do that. I never wanted to cause her any stress in her life, and I think she’s such a good, wholehearted person. They made up this whole fake flyer online [about] hosting parties, which she doesn’t. She’s like the best girl ever. It was tough for me to watch that happen. I repeatedly kept apologizing. I didn’t think it was that specific—she doesn’t even work there anymore. I don’t want to be looked at as a guy who exploits his relationships, but I feel it’s okay because I’m not saying anything negative. I’m just telling the story and usually in their favor, usually saying I was the one that fucked up. I don’t know if I’m ever gonna continue with that formula, but it definitely gives people a more personable listen. And I feel like I’ve established these characters. Paris Morton is a character—I always check in with Paris, like “this is happening, this is what it is.” I think people are intrigued, like “Who is this girl that’s your muse? Who is Bria? Why did she get an interlude?” With Courtney I just expected it to go a little better. It got blown out of proportion because she was too accessible. My apologies to her, formally.
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