1 00:00:00,240 --> 00:00:02,960 Speaker 1: Welcome to five hundred Greatest Songs, a podcast based on 2 00:00:03,080 --> 00:00:09,320 Speaker 1: Rolling Stones, hugely popular, influential and sometimes controversialist. I'm Britney 3 00:00:09,360 --> 00:00:10,360 Speaker 1: Spanis and. 4 00:00:10,280 --> 00:00:13,320 Speaker 2: I'm Rob Sheffield. We're here to shed light on the 5 00:00:13,360 --> 00:00:16,840 Speaker 2: greatest songs ever made and discover what makes them so 6 00:00:17,000 --> 00:00:19,439 Speaker 2: special and what makes them matter throughout history. 7 00:00:20,079 --> 00:00:23,960 Speaker 1: And today's song is none other than Hotline Blank, right, Drake, 8 00:00:25,079 --> 00:00:27,560 Speaker 1: a true classic and I mean obviously of course to 9 00:00:27,640 --> 00:00:30,600 Speaker 1: my twenty one list. This was Drake's debut on the list. 10 00:00:30,600 --> 00:00:33,559 Speaker 1: He came in strong with three songs. Hotline Blink comes 11 00:00:33,600 --> 00:00:36,080 Speaker 1: in at number three seventy three. The other songs are 12 00:00:36,479 --> 00:00:39,960 Speaker 1: hold On, We're Going Home and take Care, both great, 13 00:00:40,240 --> 00:00:42,320 Speaker 1: both perfect songs. But today we're going to talk about 14 00:00:42,320 --> 00:00:45,400 Speaker 1: Hotline Blink because that was like an earth shattering song 15 00:00:45,440 --> 00:00:47,960 Speaker 1: in twenty fifteen. Do you remember a little bit of 16 00:00:48,280 --> 00:00:51,200 Speaker 1: that of that summer and Drake and kind of hearing 17 00:00:51,240 --> 00:00:52,520 Speaker 1: that song for the first time. 18 00:00:52,840 --> 00:00:54,920 Speaker 2: It was such a great song. Hearing here for the 19 00:00:54,920 --> 00:00:57,080 Speaker 2: first time. It was so different from what you would 20 00:00:57,120 --> 00:01:00,480 Speaker 2: have expected from Drake at the time, since he was 21 00:01:00,520 --> 00:01:05,240 Speaker 2: being challenged so much at the time on his rap credentials, 22 00:01:05,280 --> 00:01:09,600 Speaker 2: on his seriousness, and this is how he chooses to respond. 23 00:01:10,040 --> 00:01:12,960 Speaker 2: Is such an incredibly bold, audacious Drake move. 24 00:01:13,120 --> 00:01:15,559 Speaker 1: Yeah, we should talk a little bit about the history 25 00:01:15,600 --> 00:01:17,200 Speaker 1: of Drake leading up to this, because he is his 26 00:01:17,280 --> 00:01:19,839 Speaker 1: careers truly. I mean it's obviously such like a part 27 00:01:19,880 --> 00:01:22,480 Speaker 1: of everything. It was beyond De Grossi as a teen actor, 28 00:01:23,120 --> 00:01:27,560 Speaker 1: then releasing mixtapes and gained signed to Young Money and 29 00:01:27,600 --> 00:01:29,479 Speaker 1: working with Lil Wayne and like being a part of 30 00:01:29,800 --> 00:01:32,880 Speaker 1: that whole crew, which of course was dominating twenty tons rap. 31 00:01:32,959 --> 00:01:35,280 Speaker 1: I remember, best I ever had was mind blowing to 32 00:01:35,280 --> 00:01:38,360 Speaker 1: see the kid from De Grossi on you know, hearing 33 00:01:38,440 --> 00:01:40,520 Speaker 1: him on the radio and being like he's rapping now, 34 00:01:41,080 --> 00:01:44,280 Speaker 1: Jimmy from De Grossi is rapping now, And I mean 35 00:01:44,319 --> 00:01:46,040 Speaker 1: he just like I mean out the gate, like he 36 00:01:46,160 --> 00:01:48,800 Speaker 1: was already so popular. He had such an impact on 37 00:01:48,840 --> 00:01:52,000 Speaker 1: younger audiences almost immediately, I feel like, and also because 38 00:01:52,000 --> 00:01:54,040 Speaker 1: I grew up watching De Grossi, like that was a 39 00:01:54,080 --> 00:01:57,680 Speaker 1: show that's like especially for millennials, like it was on 40 00:01:57,840 --> 00:02:00,720 Speaker 1: TV constantly, Like there was no Sadder Morning where De 41 00:02:00,720 --> 00:02:04,560 Speaker 1: Grassei wasn't playing in sort of marathon form on PBS 42 00:02:04,680 --> 00:02:05,160 Speaker 1: or something. 43 00:02:05,600 --> 00:02:09,320 Speaker 2: Yeah, he was amazing. What was your first Drake experience 44 00:02:09,360 --> 00:02:10,960 Speaker 2: because you were Drake fan really early. 45 00:02:11,120 --> 00:02:13,600 Speaker 1: Yeah, I think it was best I ever had. But 46 00:02:13,639 --> 00:02:15,360 Speaker 1: also like that song, I feel like set such like 47 00:02:15,400 --> 00:02:17,840 Speaker 1: a precedent for what would come next because it is 48 00:02:17,880 --> 00:02:20,520 Speaker 1: such a such a boy band pop song, you know, 49 00:02:20,720 --> 00:02:23,400 Speaker 1: like so pants, like chilling with your hair tide like 50 00:02:23,480 --> 00:02:25,280 Speaker 1: you know, like no makeup on all that stuff is 51 00:02:25,280 --> 00:02:28,080 Speaker 1: like such like a you know, one direction, like little 52 00:02:28,120 --> 00:02:31,200 Speaker 1: things type of song moment. So I feel like it 53 00:02:31,240 --> 00:02:34,120 Speaker 1: was such a good precedent for kind of him catering 54 00:02:34,160 --> 00:02:37,279 Speaker 1: to the women who love him and love his music. 55 00:02:37,639 --> 00:02:39,239 Speaker 2: A lifelong passion for him. 56 00:02:39,360 --> 00:02:41,720 Speaker 1: Yeah, but that was that was the first introduction, and 57 00:02:41,760 --> 00:02:44,480 Speaker 1: I feel like he was already kind of straddling that, 58 00:02:44,600 --> 00:02:48,200 Speaker 1: like trying to be a tough rapper, but also like 59 00:02:48,280 --> 00:02:52,040 Speaker 1: having this kind of you know, pop sensitivity to him 60 00:02:52,040 --> 00:02:54,960 Speaker 1: where he really did want to be a pop star 61 00:02:55,360 --> 00:02:58,840 Speaker 1: and did want to like make and still you know, 62 00:02:59,000 --> 00:03:00,280 Speaker 1: this is still a big part of him, like he 63 00:03:00,360 --> 00:03:03,040 Speaker 1: wants to be someone who makes like pop music for 64 00:03:03,080 --> 00:03:04,880 Speaker 1: everyone and looks up to a lot of big pop 65 00:03:04,919 --> 00:03:08,280 Speaker 1: stars and sees himself in competition with like the Beyonces 66 00:03:08,280 --> 00:03:10,240 Speaker 1: and Taylor Swifts of the world, like He's always like 67 00:03:10,960 --> 00:03:14,239 Speaker 1: his competition is not just jay Z or Kanye, even 68 00:03:14,240 --> 00:03:16,680 Speaker 1: though he also is competing with them too. He didn't 69 00:03:16,680 --> 00:03:19,000 Speaker 1: invent sort of being a rapper who sings too right. 70 00:03:19,000 --> 00:03:20,720 Speaker 1: It's like, you know, we heard it like jot Role 71 00:03:20,760 --> 00:03:23,200 Speaker 1: and like Nelly in the early two thousands, and that 72 00:03:23,280 --> 00:03:24,200 Speaker 1: was such a part of them. 73 00:03:24,520 --> 00:03:27,800 Speaker 2: Drake just had his unique personality there. He was really 74 00:03:28,360 --> 00:03:31,040 Speaker 2: unstressed about things that you would think that other people 75 00:03:31,080 --> 00:03:34,720 Speaker 2: would be stressed about artistically, but he was so confident 76 00:03:34,720 --> 00:03:37,520 Speaker 2: about doing so many things at the same time that 77 00:03:37,560 --> 00:03:41,480 Speaker 2: you really wondered how he got away with doing all these, 78 00:03:41,520 --> 00:03:44,160 Speaker 2: in some ways contradictory things at the same time. There's 79 00:03:44,160 --> 00:03:46,480 Speaker 2: so many Drake songs you'd hear them for the first 80 00:03:46,480 --> 00:03:48,680 Speaker 2: time think I just can't believe somebody's. 81 00:03:48,320 --> 00:03:50,160 Speaker 1: Doing this, and like nothing was the same. Of course, 82 00:03:50,200 --> 00:03:52,480 Speaker 1: headhold on We're Going Home, which I know is your 83 00:03:52,520 --> 00:03:54,520 Speaker 1: vote for the five hundred Great of Songs list, But 84 00:03:54,560 --> 00:03:56,920 Speaker 1: that song, I feel like, really set the precedent of 85 00:03:56,960 --> 00:04:00,720 Speaker 1: how people would kind of have a new understanding an 86 00:04:00,720 --> 00:04:02,560 Speaker 1: image of Drake in their heads. 87 00:04:03,040 --> 00:04:06,880 Speaker 2: Absolutely, and it was such a massive song. I remember 88 00:04:07,080 --> 00:04:11,720 Speaker 2: really fun October afternoon that year, I was walking and 89 00:04:11,960 --> 00:04:13,840 Speaker 2: I had my headphones on. I was listening to the 90 00:04:13,960 --> 00:04:16,480 Speaker 2: radio in New York and I thought, you know, every 91 00:04:16,520 --> 00:04:19,320 Speaker 2: station is playing this Drake song. I wonder if I 92 00:04:19,320 --> 00:04:21,599 Speaker 2: can spend the entire afternoon just listening to this one 93 00:04:21,760 --> 00:04:25,840 Speaker 2: song from station to station, And it was absurdly easy. 94 00:04:26,240 --> 00:04:29,200 Speaker 2: Every moment I had to spin the dial, it was 95 00:04:29,279 --> 00:04:32,640 Speaker 2: starting on another station. It was a continuous flow of 96 00:04:32,640 --> 00:04:34,880 Speaker 2: that on New York radio. And that was very typical 97 00:04:34,880 --> 00:04:35,680 Speaker 2: for that whole fall. 98 00:04:35,920 --> 00:04:38,240 Speaker 1: Yeah, I mean his like, his voice sounds great on it. 99 00:04:38,279 --> 00:04:40,920 Speaker 1: I mean it's just him singing like it's so it 100 00:04:40,960 --> 00:04:44,240 Speaker 1: was so unlike anything for a rapper to do at 101 00:04:44,240 --> 00:04:46,840 Speaker 1: that time, especially a male rapper to test out at 102 00:04:46,839 --> 00:04:49,400 Speaker 1: that time, and I mean nothing was the same, and 103 00:04:49,440 --> 00:04:51,560 Speaker 1: that song really dominated things for a couple of years, 104 00:04:51,600 --> 00:04:55,440 Speaker 1: and then twenty fifteen is sort of a whole new peek. 105 00:04:55,800 --> 00:04:58,880 Speaker 1: If you're reading this, it's too late. Surprise dropped in 106 00:04:58,960 --> 00:05:02,120 Speaker 1: the beginning of the year, which was like post Beyonce 107 00:05:02,440 --> 00:05:05,359 Speaker 1: and also like a lot of artists were attempting to 108 00:05:05,360 --> 00:05:08,039 Speaker 1: do the surprise drops at that time, and very few 109 00:05:08,040 --> 00:05:10,840 Speaker 1: were doing it effectively. But it was a big moment 110 00:05:10,880 --> 00:05:12,800 Speaker 1: for Drake to be able to surprise drop something and 111 00:05:12,839 --> 00:05:16,119 Speaker 1: then actually it kind of becomes a conversation for longer 112 00:05:16,120 --> 00:05:19,880 Speaker 1: than forty eight hours and really like made people realize, oh, yes, 113 00:05:20,040 --> 00:05:23,839 Speaker 1: this is like the biggest artist of this generation right now. 114 00:05:23,880 --> 00:05:27,080 Speaker 1: Like he's like really like in charge of everything. Yeah, 115 00:05:27,360 --> 00:05:28,960 Speaker 1: that's like I love that mixtape. 116 00:05:29,520 --> 00:05:31,480 Speaker 2: I love it so much, And it's so funny that 117 00:05:31,560 --> 00:05:35,160 Speaker 2: it was not just the surprise that he's surprise released 118 00:05:35,160 --> 00:05:37,640 Speaker 2: an album, but that it was such a surprise move 119 00:05:37,720 --> 00:05:40,800 Speaker 2: for him that he was so tough on it and 120 00:05:40,839 --> 00:05:44,200 Speaker 2: so street on it and going for one style of 121 00:05:44,200 --> 00:05:46,480 Speaker 2: what he did, yeah, and just focusing on that. 122 00:05:46,720 --> 00:05:49,080 Speaker 1: Yeah. I mean, those are some of my probably my 123 00:05:49,080 --> 00:05:52,800 Speaker 1: favorite Drake songs still, Like I love Madonna on There, 124 00:05:53,000 --> 00:05:55,839 Speaker 1: such a great song. I love that album, yeah Energy. 125 00:05:56,520 --> 00:05:59,480 Speaker 2: I love the one where he's complaining about driving his 126 00:05:59,520 --> 00:06:03,760 Speaker 2: girlfriend to her law school exams through the snow, and 127 00:06:03,920 --> 00:06:06,559 Speaker 2: I'm just like, that is so perfectly on brand Drake. 128 00:06:06,960 --> 00:06:09,000 Speaker 2: I mean, aside from the whole thing he's complaining about 129 00:06:09,040 --> 00:06:11,679 Speaker 2: the snow and he's driving to her law board examinations 130 00:06:11,720 --> 00:06:15,080 Speaker 2: in Toronto, it's just a very strange sort of complaint 131 00:06:15,120 --> 00:06:20,440 Speaker 2: to make, and yet he is he's so on brand Drake, 132 00:06:20,560 --> 00:06:23,359 Speaker 2: even when he's adopting this really street running through the 133 00:06:23,400 --> 00:06:25,080 Speaker 2: six with my woes sort of persona. 134 00:06:25,320 --> 00:06:28,719 Speaker 1: Yeah, and then he headline Cortello that year and brought 135 00:06:28,720 --> 00:06:31,840 Speaker 1: out Madonna as a guest, which again big deal for 136 00:06:31,920 --> 00:06:34,440 Speaker 1: sort of a kind of someone who is slid bying 137 00:06:34,480 --> 00:06:37,080 Speaker 1: themselves as like the pop star version of themselves while 138 00:06:37,120 --> 00:06:41,159 Speaker 1: also slovilling themselves as like a great rapper and has 139 00:06:41,200 --> 00:06:43,720 Speaker 1: the beef with Meek Mill this year. He starts off 140 00:06:43,760 --> 00:06:46,320 Speaker 1: the summer with back to Back, which was like a 141 00:06:46,400 --> 00:06:49,039 Speaker 1: great diss song. I feel like that song immediately just 142 00:06:49,080 --> 00:06:51,880 Speaker 1: became such a massive hit and was all over the 143 00:06:51,880 --> 00:06:55,279 Speaker 1: clubs and like everywhere. And then just a couple months 144 00:06:55,360 --> 00:06:58,440 Speaker 1: later he comes back with complete polar opposite of back 145 00:06:58,480 --> 00:07:02,280 Speaker 1: to Back with Hotline, which is a perfect song. 146 00:07:02,520 --> 00:07:05,080 Speaker 2: It's a perfect song, It's a perfect song. I know 147 00:07:05,160 --> 00:07:07,520 Speaker 2: that you, like me, are obsessed with the connection between 148 00:07:07,600 --> 00:07:10,560 Speaker 2: Drake and Paul McCartney. Yes, who are the same person 149 00:07:10,760 --> 00:07:13,960 Speaker 2: in so many ways. They have very similar sort of 150 00:07:15,000 --> 00:07:19,920 Speaker 2: mixes of contradictory personality traits. But I think of Hotline, 151 00:07:19,920 --> 00:07:22,520 Speaker 2: bling is such a Paul McCartney song, the one it 152 00:07:22,560 --> 00:07:25,160 Speaker 2: really reminds me of is the Beatles classic for No 153 00:07:25,200 --> 00:07:28,679 Speaker 2: One Yes, And it's a breakup song where Paul McCartney 154 00:07:28,760 --> 00:07:31,000 Speaker 2: is sitting alone in his room thinking about this girl 155 00:07:31,320 --> 00:07:34,120 Speaker 2: who left and he's trying to figure out what went wrong, 156 00:07:34,160 --> 00:07:36,960 Speaker 2: and he's having this conversation with her where he talks 157 00:07:36,960 --> 00:07:38,880 Speaker 2: her out of it and explains why it was such 158 00:07:38,880 --> 00:07:41,280 Speaker 2: a bad idea, was a love that should have lasted years. 159 00:07:41,760 --> 00:07:44,960 Speaker 2: And he's having this argument with her in his head 160 00:07:45,240 --> 00:07:49,760 Speaker 2: and she's totally forgotten him. Someone mentions his name to 161 00:07:49,800 --> 00:07:52,360 Speaker 2: her and she just says, yet he was someone I knew, 162 00:07:52,400 --> 00:07:55,000 Speaker 2: but you know I don't need him. You know it's 163 00:07:55,040 --> 00:07:57,800 Speaker 2: over for her. It's so not over for him. It's 164 00:07:57,880 --> 00:08:00,240 Speaker 2: such a McCartney song for him in the best ways. Yeah. 165 00:08:00,360 --> 00:08:02,559 Speaker 1: I remember, like years ago, I think, on the Music 166 00:08:02,600 --> 00:08:05,000 Speaker 1: Now podcast we were talking about it and I always 167 00:08:05,040 --> 00:08:07,080 Speaker 1: liked the song Drive My Car by the Beatles is 168 00:08:07,320 --> 00:08:08,840 Speaker 1: one of my favorite songs in he re mind. It's 169 00:08:08,880 --> 00:08:10,640 Speaker 1: like such like a Drake song in so many ways. 170 00:08:11,560 --> 00:08:15,040 Speaker 2: It really is. My God, it's a total Drake song. 171 00:08:15,040 --> 00:08:17,560 Speaker 1: Like just like completely obsessed with this girl who like 172 00:08:17,640 --> 00:08:20,000 Speaker 1: really doesn't want him that much, and like it's just 173 00:08:20,040 --> 00:08:21,840 Speaker 1: like you could drive my car. You know you could 174 00:08:21,880 --> 00:08:24,440 Speaker 1: do this and this song, I mean, just the the 175 00:08:24,480 --> 00:08:26,000 Speaker 1: girl in the song is like I want to be 176 00:08:26,080 --> 00:08:29,360 Speaker 1: this girl just generally, like she's all over the world. 177 00:08:29,960 --> 00:08:32,000 Speaker 1: She's like, you know, hanging out with a bunch of 178 00:08:32,000 --> 00:08:35,160 Speaker 1: new friends. She's living a fabulous life. She's I mean, 179 00:08:35,160 --> 00:08:38,160 Speaker 1: everything he's describing is perfect. It's a great it's a 180 00:08:38,160 --> 00:08:38,760 Speaker 1: great existence. 181 00:08:38,800 --> 00:08:43,760 Speaker 2: It's an aspirational breakup song. Yeah, he and he totally knows. 182 00:08:44,040 --> 00:08:46,120 Speaker 2: He's got so much fomo about all the fun that 183 00:08:46,160 --> 00:08:49,160 Speaker 2: she's having without him, And he's totally right. She's having 184 00:08:49,200 --> 00:08:52,120 Speaker 2: the best time of her life. Absolutely nobody on earth 185 00:08:52,160 --> 00:08:54,600 Speaker 2: is having a better time than this girl who got 186 00:08:54,640 --> 00:08:57,680 Speaker 2: away from Drake and is finally wearing less and going 187 00:08:57,720 --> 00:09:00,840 Speaker 2: out more. And he's convinced that somewhere in it there's 188 00:09:00,840 --> 00:09:03,520 Speaker 2: some sort of inner sadness and she still yearns for 189 00:09:03,600 --> 00:09:06,079 Speaker 2: him on some level. And yeah, she so obviously doesn't. 190 00:09:06,080 --> 00:09:08,160 Speaker 1: She's got champagne out on the dance floor, like she's 191 00:09:08,200 --> 00:09:11,280 Speaker 1: not thinking about Drake at all. Aubrey Graham, who. 192 00:09:11,559 --> 00:09:13,360 Speaker 2: What's the status of her passport? 193 00:09:13,400 --> 00:09:16,280 Speaker 1: Pridgin, She's running out of pages, running out of pages, 194 00:09:17,240 --> 00:09:18,720 Speaker 1: Like who doesn't want to be this girl. I mean, 195 00:09:18,760 --> 00:09:21,480 Speaker 1: only Drake can release a hit breakup song where he's 196 00:09:21,520 --> 00:09:23,960 Speaker 1: the loser in the song, yes, and. 197 00:09:23,880 --> 00:09:26,920 Speaker 2: It's so perfect and also it makes women in the 198 00:09:27,000 --> 00:09:29,800 Speaker 2: audience this is what they want to be. They want 199 00:09:29,800 --> 00:09:32,760 Speaker 2: to be the girl who has left Drake and he's 200 00:09:32,760 --> 00:09:35,120 Speaker 2: so miserable and he keeps telling them how much fun 201 00:09:35,120 --> 00:09:38,360 Speaker 2: they're having without him. Yeah, it's kind of perfectly perfectly 202 00:09:38,360 --> 00:09:39,000 Speaker 2: designed that way. 203 00:09:39,160 --> 00:09:42,320 Speaker 1: I feel like that's like such a marker of Drake 204 00:09:42,520 --> 00:09:46,040 Speaker 1: during this period or this like chunk of his career, 205 00:09:46,120 --> 00:09:48,720 Speaker 1: right like from I guess like nothing was the same 206 00:09:49,160 --> 00:09:51,480 Speaker 1: ish era like twenty thirteen, but I mean obviously really 207 00:09:51,559 --> 00:09:53,959 Speaker 1: kind of hits its stride with Hotline Blank and kind 208 00:09:53,960 --> 00:09:56,600 Speaker 1: of goes into the next couple of years with Views 209 00:09:56,640 --> 00:09:59,440 Speaker 1: and Scorpion, where he has these songs that are so 210 00:09:59,600 --> 00:10:03,920 Speaker 1: much for the girls and for his like female audience 211 00:10:03,960 --> 00:10:07,440 Speaker 1: who like need these kind of like great sort of 212 00:10:07,480 --> 00:10:12,199 Speaker 1: anthemic club bangers that he makes where it's still him complaining. 213 00:10:12,280 --> 00:10:14,360 Speaker 1: It's it's like so like only Drake can do this 214 00:10:14,400 --> 00:10:17,000 Speaker 1: where he's the one complaining on the song, and yet 215 00:10:17,040 --> 00:10:20,599 Speaker 1: everything he's complaining about is just like absolutely what I 216 00:10:20,640 --> 00:10:23,320 Speaker 1: would like my life to look like like everything that's 217 00:10:23,320 --> 00:10:26,400 Speaker 1: making him so angry, it's just kind of like, yeah, 218 00:10:26,480 --> 00:10:28,800 Speaker 1: I would like to live like that. I would like 219 00:10:28,840 --> 00:10:31,640 Speaker 1: to have this life. Of all of Drake's exes, they 220 00:10:31,679 --> 00:10:34,040 Speaker 1: seem to have a nice life, they seem to have 221 00:10:34,200 --> 00:10:37,559 Speaker 1: they seem to go to greener pastures in their own existence. 222 00:10:37,600 --> 00:10:40,920 Speaker 2: After this, the entire city of Toronto is a Drake 223 00:10:41,200 --> 00:10:44,600 Speaker 2: X who's having the best time ever. Without him, Toronto 224 00:10:44,720 --> 00:10:47,320 Speaker 2: turns into one big party zone as soon as Drake 225 00:10:47,440 --> 00:10:48,000 Speaker 2: leaves down. 226 00:10:48,679 --> 00:10:51,400 Speaker 1: I mean, I think he just he makes such great 227 00:10:51,440 --> 00:10:54,480 Speaker 1: pop records, like he really and it's one of those 228 00:10:54,520 --> 00:10:56,480 Speaker 1: things where he's never shied away from it. I think 229 00:10:56,520 --> 00:10:59,680 Speaker 1: there's a lot of this idea of like hardness and 230 00:10:59,760 --> 00:11:02,360 Speaker 1: rap and kind of being sort of like leaning into 231 00:11:02,400 --> 00:11:04,920 Speaker 1: that for male rappers specifically, and like I feel like 232 00:11:05,520 --> 00:11:08,760 Speaker 1: he did something where I think he's influenced so much 233 00:11:08,800 --> 00:11:11,160 Speaker 1: of what rap sounds like now, which is like unafraid 234 00:11:11,160 --> 00:11:15,000 Speaker 1: of making really dancy music and unafraid of making things 235 00:11:15,000 --> 00:11:18,160 Speaker 1: that are you know, straddling that line between like Meg 236 00:11:18,240 --> 00:11:20,120 Speaker 1: and The Stallion, where she has like really kind of 237 00:11:20,160 --> 00:11:22,640 Speaker 1: like hard bars on songs that are kind of super 238 00:11:22,679 --> 00:11:24,920 Speaker 1: clubby and meant to be super clubby and are like 239 00:11:25,000 --> 00:11:28,160 Speaker 1: unapologetically pop. He like worked with city girls around this time, 240 00:11:28,160 --> 00:11:30,240 Speaker 1: and they are like queens of that. They're so good 241 00:11:30,240 --> 00:11:33,199 Speaker 1: at doing that where they have these like incredibly really 242 00:11:33,200 --> 00:11:35,720 Speaker 1: really hard songs that are just like excellent rapping from 243 00:11:35,760 --> 00:11:38,360 Speaker 1: them and then just like the best beat you've ever 244 00:11:38,400 --> 00:11:40,400 Speaker 1: heard in your entire life, you know. And he's and 245 00:11:40,440 --> 00:11:42,439 Speaker 1: obviously with him singing on a lot of those songs too, 246 00:11:42,480 --> 00:11:44,439 Speaker 1: like he's doing his own hooks. He's like having these 247 00:11:44,480 --> 00:11:47,600 Speaker 1: like really excellent kind of like pop R and B hooks. 248 00:11:47,760 --> 00:11:49,760 Speaker 1: I mean it came from like, like I think, like 249 00:11:49,800 --> 00:11:52,920 Speaker 1: Trey songs dissed him once and was like, Drake can't sing, 250 00:11:52,920 --> 00:11:55,280 Speaker 1: and he was like, I'll show him, which is like, 251 00:11:55,360 --> 00:11:57,040 Speaker 1: is such a Drake thing? Which is like, well, I 252 00:11:57,080 --> 00:12:00,400 Speaker 1: mean like building the entire like branding of himself for 253 00:12:00,920 --> 00:12:03,120 Speaker 1: years was just like kind of like to piss off 254 00:12:03,120 --> 00:12:06,520 Speaker 1: Trey songs, what. 255 00:12:06,559 --> 00:12:11,200 Speaker 2: A quest unbelievable. Something I love about how hotline bling 256 00:12:11,320 --> 00:12:13,320 Speaker 2: works like that for him is that, like you said, 257 00:12:13,320 --> 00:12:16,080 Speaker 2: this was after his Meek Mill beef and he'd just 258 00:12:16,160 --> 00:12:20,440 Speaker 2: been accused of not being serious enough about hip hop 259 00:12:20,480 --> 00:12:25,959 Speaker 2: and not taking his rap hardness seriously enough, and this 260 00:12:26,000 --> 00:12:28,400 Speaker 2: is how he chooses to respond. Yeah, it's just kind 261 00:12:28,400 --> 00:12:31,440 Speaker 2: of brilliant. It's funny that beef with Meek Mill was 262 00:12:31,760 --> 00:12:36,360 Speaker 2: such an amazing iconic night of hip hop radio, for 263 00:12:36,400 --> 00:12:38,960 Speaker 2: sure in New York. I remember, I was listening to 264 00:12:39,000 --> 00:12:40,880 Speaker 2: funk Maxter Flex. I was in a cab on the 265 00:12:40,920 --> 00:12:44,280 Speaker 2: way to a party, and it actually was so obsessed 266 00:12:44,320 --> 00:12:45,760 Speaker 2: with what was going on in the radio that it 267 00:12:45,800 --> 00:12:47,160 Speaker 2: got to the party and didn't even go in. I 268 00:12:47,240 --> 00:12:51,360 Speaker 2: just walked around in Brooklyn just like listening to this 269 00:12:51,600 --> 00:12:54,959 Speaker 2: rap beef unfold in real time on funk Master Flex, 270 00:12:55,000 --> 00:12:59,480 Speaker 2: And it was just an incredibly exciting, action packed pop 271 00:12:59,600 --> 00:13:02,760 Speaker 2: moment of hip hop as a sort of ongoing real 272 00:13:02,800 --> 00:13:06,160 Speaker 2: time thing. Yeah, And it was so wild that having 273 00:13:06,640 --> 00:13:10,199 Speaker 2: responded from basically responding to something like that, that he 274 00:13:10,240 --> 00:13:13,360 Speaker 2: would go to a song as pop as R and B, 275 00:13:13,760 --> 00:13:17,640 Speaker 2: as Slow Jammy and as forlorn as Hotline Bling is 276 00:13:17,679 --> 00:13:20,200 Speaker 2: something that just really bold move. 277 00:13:20,440 --> 00:13:23,360 Speaker 1: Yeah, And it also is such a big thing of 278 00:13:23,440 --> 00:13:25,720 Speaker 1: showing off just how much he understands hip hop, you know, 279 00:13:26,160 --> 00:13:28,960 Speaker 1: like it really does show off how much he understands 280 00:13:29,040 --> 00:13:31,040 Speaker 1: kind of that history and kind of you know, a 281 00:13:31,080 --> 00:13:34,280 Speaker 1: lot of what's made hip hop work and successful is 282 00:13:34,320 --> 00:13:36,680 Speaker 1: like it's dance music, you know, like it's meant to be, 283 00:13:37,000 --> 00:13:39,760 Speaker 1: you know, great dance music, and so you know, I 284 00:13:39,800 --> 00:13:41,839 Speaker 1: think that is just like such a great coup for 285 00:13:41,920 --> 00:13:44,360 Speaker 1: him to kind of come back off of already a 286 00:13:44,440 --> 00:13:47,439 Speaker 1: hit diss record like that song was also having back 287 00:13:47,480 --> 00:13:51,120 Speaker 1: to back and Hotline Bling simultaneously blowing up over the 288 00:13:51,160 --> 00:13:53,200 Speaker 1: course of that year. Like it was. I remember going 289 00:13:53,240 --> 00:13:55,120 Speaker 1: to like clubs and they would play them, like both 290 00:13:55,120 --> 00:13:56,679 Speaker 1: the songs at the same time, you know, like just 291 00:13:56,720 --> 00:13:59,240 Speaker 1: to kind of highlight this like massive year that Drake 292 00:13:59,360 --> 00:14:02,360 Speaker 1: was having. But yeah, I mean just they were kind 293 00:14:02,400 --> 00:14:04,920 Speaker 1: of coexisting as like the two sides of Drake his 294 00:14:05,040 --> 00:14:06,640 Speaker 1: Juckle and Hyde music. 295 00:14:08,679 --> 00:14:10,920 Speaker 2: Well, I mean, Holling Bling is so special because it's 296 00:14:10,920 --> 00:14:14,240 Speaker 2: also it's got its own sort of musical personality with 297 00:14:14,320 --> 00:14:17,719 Speaker 2: the sort of seventies Miami soul sound of it. 298 00:14:17,960 --> 00:14:20,040 Speaker 1: Oh, there's been a lot of covers of it, but yeah, 299 00:14:20,040 --> 00:14:22,440 Speaker 1: I mean there's been like, like I love the Rikabadoo 300 00:14:22,840 --> 00:14:25,920 Speaker 1: remix of it. Billie Eilish did like a version of it. 301 00:14:26,240 --> 00:14:28,080 Speaker 1: Justin Bieber did a version which I actually really liked. 302 00:14:28,080 --> 00:14:29,720 Speaker 1: His version of the song I thought that was kind 303 00:14:29,720 --> 00:14:31,440 Speaker 1: of a fun one, and I kind of always always 304 00:14:31,520 --> 00:14:33,920 Speaker 1: liked that they always played with beans sort of each 305 00:14:33,920 --> 00:14:36,760 Speaker 1: other's kind of Toronto pop mirrors in a lot of 306 00:14:36,840 --> 00:14:37,440 Speaker 1: ways over the. 307 00:14:37,400 --> 00:14:42,400 Speaker 2: Years, interestingly linked spiritual twins. Yeah, in some interesting ways. 308 00:14:42,560 --> 00:14:42,760 Speaker 3: Yeah. 309 00:14:42,760 --> 00:14:45,000 Speaker 1: I thought one of the smartest things Drake has ever 310 00:14:45,040 --> 00:14:47,920 Speaker 1: done is have Justin Bieber Starr and his pop Star video. 311 00:14:48,280 --> 00:14:50,720 Speaker 1: I thought that was the most brilliant casting he's ever done. 312 00:14:50,760 --> 00:14:52,920 Speaker 1: I was like, this is perfect for a song called 313 00:14:52,960 --> 00:14:56,560 Speaker 1: pop Star, Justin Bieber, you know, lip syncing to it. Like, 314 00:14:56,560 --> 00:14:58,600 Speaker 1: I'm like, this is like an actually like perfect little 315 00:14:59,040 --> 00:15:00,040 Speaker 1: little moment from. 316 00:15:01,800 --> 00:15:06,440 Speaker 2: I'm intrigued by the Beyonce Drake combination that because it 317 00:15:06,520 --> 00:15:08,800 Speaker 2: is interesting that, like you said about the ego and 318 00:15:08,840 --> 00:15:12,280 Speaker 2: the self seriousness, whereas I mean, it's just very different 319 00:15:12,320 --> 00:15:15,000 Speaker 2: for her. He is willing to seem silly in a 320 00:15:15,000 --> 00:15:17,680 Speaker 2: way that she wouldn't or you. 321 00:15:17,640 --> 00:15:20,680 Speaker 1: Know, yeah, and I feel like she's just starting to 322 00:15:20,720 --> 00:15:21,520 Speaker 1: be sillier. 323 00:15:21,640 --> 00:15:24,680 Speaker 2: But I also feel like for he and Beyonce, there's 324 00:15:24,760 --> 00:15:28,600 Speaker 2: so much, so much symbiosis that they have yet to 325 00:15:28,720 --> 00:15:29,840 Speaker 2: explore fully. 326 00:15:30,160 --> 00:15:33,120 Speaker 1: Yeah, I mean, even like the song Mine on Beyonce 327 00:15:33,240 --> 00:15:37,000 Speaker 1: self titled Deeply Underrated Tracks for an album, And I 328 00:15:37,000 --> 00:15:39,520 Speaker 1: think they just work really well as duet partners because 329 00:15:39,520 --> 00:15:42,280 Speaker 1: they both kind of straddle that like the hardness and 330 00:15:42,320 --> 00:15:44,840 Speaker 1: the softness very well of both hip hop and R 331 00:15:44,880 --> 00:15:47,880 Speaker 1: and B, and like that's something that they both lean 332 00:15:47,960 --> 00:15:50,280 Speaker 1: into at the same time. I'm kind of surprised that 333 00:15:50,320 --> 00:15:52,760 Speaker 1: they haven't done more over the years, because I think 334 00:15:52,760 --> 00:15:55,760 Speaker 1: they would. They really kind of, like I don't know, 335 00:15:55,840 --> 00:15:57,920 Speaker 1: sort of flourish together in that way. And I really 336 00:15:58,240 --> 00:16:00,480 Speaker 1: kind of I've always really liked their like innership. 337 00:16:00,720 --> 00:16:03,200 Speaker 2: It seems so perfect. Also, what you said about him 338 00:16:03,240 --> 00:16:06,320 Speaker 2: being the ultimate risk taker is so true of her. 339 00:16:06,640 --> 00:16:08,600 Speaker 2: That they're both fearless in a way that you can't 340 00:16:08,600 --> 00:16:12,280 Speaker 2: really imagine anybody else being that fearless together at the 341 00:16:12,320 --> 00:16:12,840 Speaker 2: same time. 342 00:16:12,960 --> 00:16:16,680 Speaker 1: Yeah, I feel like the one sort of downfall for Drake, 343 00:16:16,720 --> 00:16:21,160 Speaker 1: and that is like Beyonce's a very good editor. Beyonce 344 00:16:21,320 --> 00:16:23,680 Speaker 1: is very she's very strict with how she puts things out, 345 00:16:23,720 --> 00:16:26,200 Speaker 1: and Drake is not Drake, And I mean, I mean, 346 00:16:26,240 --> 00:16:28,160 Speaker 1: I guess like it's two different kinds of risk takers, right, 347 00:16:28,200 --> 00:16:31,120 Speaker 1: Like Beyonce is like very like virgo calculated of like 348 00:16:31,280 --> 00:16:33,920 Speaker 1: I'm going to be thinking about exactly the risk that 349 00:16:33,960 --> 00:16:35,520 Speaker 1: I'm going to take, and we're going to put in 350 00:16:35,560 --> 00:16:37,240 Speaker 1: all of her effort and we're going to make the 351 00:16:37,240 --> 00:16:39,520 Speaker 1: best house album you've ever heard in your entire life, 352 00:16:39,720 --> 00:16:41,720 Speaker 1: and it's going to be so referential to everything in 353 00:16:41,720 --> 00:16:44,160 Speaker 1: the history of house music. And Drake's like, what if 354 00:16:44,160 --> 00:16:46,760 Speaker 1: I just called up this artist from the scene that 355 00:16:46,800 --> 00:16:53,160 Speaker 1: I like and I try out an accent and sometimes 356 00:16:53,200 --> 00:16:55,360 Speaker 1: it works and sometimes it doesn't, And that's okay. 357 00:16:56,760 --> 00:17:01,120 Speaker 2: Absolutely yes. She is like the concept of quality control 358 00:17:01,440 --> 00:17:03,360 Speaker 2: does not have the same weight for him that it 359 00:17:03,400 --> 00:17:06,119 Speaker 2: does for her. She is so determined to keep her 360 00:17:06,600 --> 00:17:09,240 Speaker 2: flawless track record. She's like, there will never be a 361 00:17:09,280 --> 00:17:13,720 Speaker 2: bad track ever under this brand name. She's absolutely committed 362 00:17:13,760 --> 00:17:16,920 Speaker 2: to that quality control. And he does not worry about 363 00:17:16,960 --> 00:17:19,320 Speaker 2: the hits to Missus Ratio Yeah at all. 364 00:17:19,400 --> 00:17:20,080 Speaker 3: That is just math. 365 00:17:20,119 --> 00:17:20,760 Speaker 2: He does not do. 366 00:17:20,920 --> 00:17:22,560 Speaker 1: Yeah, He's like, if you if you want to hear 367 00:17:22,600 --> 00:17:25,600 Speaker 1: British accent, let me try it real quick. Yes, Like 368 00:17:25,920 --> 00:17:27,600 Speaker 1: let's just see how it works. Like if you're not 369 00:17:27,680 --> 00:17:30,920 Speaker 1: cool with it, we'll move on. Yes, And I'm okay 370 00:17:30,960 --> 00:17:33,399 Speaker 1: with that, Like I think it's it's been for the 371 00:17:33,400 --> 00:17:36,879 Speaker 1: best that He's willing to like try and do that 372 00:17:36,920 --> 00:17:40,320 Speaker 1: because I think that's like made him who he is, 373 00:17:40,600 --> 00:17:42,959 Speaker 1: you know, that's made him so popular, and it's made 374 00:17:43,040 --> 00:17:46,720 Speaker 1: him such like a person who people you know, kind 375 00:17:46,760 --> 00:17:49,200 Speaker 1: of laugh with most of the time most of the time, 376 00:17:49,600 --> 00:17:51,600 Speaker 1: not all the time, but most of the time. And 377 00:17:51,640 --> 00:17:53,919 Speaker 1: he leans into that. He doesn't mind that. I'm wondering 378 00:17:53,920 --> 00:17:56,199 Speaker 1: if there's gonna be more of I feel like the 379 00:17:56,240 --> 00:17:58,600 Speaker 1: heated semi collab I'm Connie as a clap in my 380 00:17:58,640 --> 00:18:00,639 Speaker 1: head because I mean, also, some of those lines are 381 00:18:00,680 --> 00:18:06,200 Speaker 1: so peak peak Drake, but like, but yeah, I feel 382 00:18:06,200 --> 00:18:08,040 Speaker 1: like there has to be there has to be happening 383 00:18:08,080 --> 00:18:08,600 Speaker 1: in the future. 384 00:18:08,760 --> 00:18:11,640 Speaker 2: Absolutely well. They both have the undeniable ear for a classic, 385 00:18:11,840 --> 00:18:15,240 Speaker 2: yeah no, and the hotline bling is I mean, that's 386 00:18:15,280 --> 00:18:17,640 Speaker 2: a song that people will be singing forever, yeah. 387 00:18:17,520 --> 00:18:21,400 Speaker 1: Ear for a classic, and also a great knowledge of history, 388 00:18:21,640 --> 00:18:24,000 Speaker 1: like of music history, Like they both. Drake is so 389 00:18:24,040 --> 00:18:27,600 Speaker 1: good at picking samples, so good at like really you know, 390 00:18:28,000 --> 00:18:30,400 Speaker 1: finding like really great R and B songs to sort 391 00:18:30,400 --> 00:18:32,760 Speaker 1: of integrate into his music and to use and to 392 00:18:32,760 --> 00:18:36,119 Speaker 1: sing along with and you know, make a part of it. Obviously, 393 00:18:36,400 --> 00:18:39,920 Speaker 1: this episode, as probably our listeners can tell much of 394 00:18:39,960 --> 00:18:44,560 Speaker 1: it was recorded prior to the Great Drake Kendrick lamarbef 395 00:18:44,600 --> 00:18:48,159 Speaker 1: of twenty twenty four that involves future and Metro Boomin 396 00:18:48,240 --> 00:18:51,280 Speaker 1: and Jack Antonov randomly and everyone else. I want us 397 00:18:51,280 --> 00:18:53,439 Speaker 1: to kind of revisit a conversation that we had in 398 00:18:53,480 --> 00:18:56,480 Speaker 1: this episode and the conversation that we will be having 399 00:18:56,520 --> 00:18:59,919 Speaker 1: with Jeff in the next segment. I'm curious how you 400 00:19:00,119 --> 00:19:04,960 Speaker 1: think this particular moment between Drake and Kendrick Lamar will 401 00:19:05,000 --> 00:19:10,119 Speaker 1: affect the future of Drake. Will this lower Hotline Bling 402 00:19:10,480 --> 00:19:13,440 Speaker 1: and other Drake songs on the list and future incarnations? 403 00:19:13,600 --> 00:19:17,040 Speaker 1: Will we forget about him altogether? What will happen now 404 00:19:17,080 --> 00:19:19,919 Speaker 1: that all of these diss songs have come out and 405 00:19:20,000 --> 00:19:25,439 Speaker 1: Drake has ostensibly kind of lost in the war between 406 00:19:25,480 --> 00:19:26,119 Speaker 1: Kendrick Lamar. 407 00:19:26,880 --> 00:19:29,959 Speaker 2: We've been talking about Hotline Bling as a moment in 408 00:19:30,080 --> 00:19:34,840 Speaker 2: Drake's long, complex career, an ongoing career, and an ongoing moment. 409 00:19:35,080 --> 00:19:38,000 Speaker 2: We've been talking about him and his rap career and 410 00:19:38,000 --> 00:19:41,320 Speaker 2: what this pop moment means in his rap career. And 411 00:19:42,000 --> 00:19:44,720 Speaker 2: of course, you know, while we're talking about this now 412 00:19:44,760 --> 00:19:47,720 Speaker 2: in twenty twenty four, obviously a lot is going on 413 00:19:48,200 --> 00:19:53,000 Speaker 2: with Drake and his participation in an old school rap beef, 414 00:19:53,160 --> 00:19:56,000 Speaker 2: except none of the old school rap beefs were actually 415 00:19:56,160 --> 00:19:56,399 Speaker 2: like this. 416 00:19:56,920 --> 00:20:00,240 Speaker 1: No rap beef has ever happened this quickly. Yeah, No 417 00:20:00,280 --> 00:20:03,840 Speaker 1: one's ever dropped a song fifteen minutes after someone dropped theirs. 418 00:20:04,160 --> 00:20:06,560 Speaker 2: Yes, I mean, this makes the old like you know, 419 00:20:07,040 --> 00:20:11,720 Speaker 2: South Bronx, Queen's Bad be like you know mc shan, 420 00:20:12,160 --> 00:20:15,040 Speaker 2: that kind of back and forth seem like snail mail 421 00:20:15,080 --> 00:20:18,840 Speaker 2: in comparison. Also, I mean a very strange beef. Honestly, 422 00:20:18,840 --> 00:20:21,200 Speaker 2: I can't think of any hip hop beef that compares 423 00:20:21,240 --> 00:20:25,240 Speaker 2: to this in terms of one very artistic, serious, for 424 00:20:25,320 --> 00:20:27,760 Speaker 2: lack of a better word, rapper who is like very 425 00:20:27,840 --> 00:20:31,040 Speaker 2: much a poet, a complex artist, a winner of a 426 00:20:31,080 --> 00:20:36,400 Speaker 2: Pulitzer Prize versus one who has always been a pop 427 00:20:36,680 --> 00:20:39,520 Speaker 2: entertainer in addition to everything else he is. And we've 428 00:20:39,520 --> 00:20:42,440 Speaker 2: got a Pulitzer Prize winner versus someone who is onto 429 00:20:42,440 --> 00:20:45,879 Speaker 2: grassy Junior High. It's very strange for them to be 430 00:20:46,119 --> 00:20:48,560 Speaker 2: competing on any level, but to have this kind of 431 00:20:48,600 --> 00:20:50,720 Speaker 2: beef is without precedent. 432 00:20:51,040 --> 00:20:54,080 Speaker 1: I mean, and also Kendrick Lamar beating Drake at his 433 00:20:54,160 --> 00:20:57,280 Speaker 1: own game, I mean his song debut at number one. 434 00:20:57,320 --> 00:21:00,399 Speaker 1: I mean all is like all of his songs charted 435 00:21:00,480 --> 00:21:03,199 Speaker 1: and did much better than Drake. And of course the 436 00:21:03,280 --> 00:21:06,959 Speaker 1: thing that Drake has had is incredible chart success. I mean, 437 00:21:06,960 --> 00:21:09,840 Speaker 1: this is someone who's like beating Beatles records. You know, 438 00:21:09,920 --> 00:21:12,800 Speaker 1: He's the person who's like finally kind of broke through 439 00:21:12,840 --> 00:21:15,040 Speaker 1: and beat a lot of those you know, big kind 440 00:21:15,080 --> 00:21:19,000 Speaker 1: of sales and chart records that had not yet been 441 00:21:19,000 --> 00:21:21,440 Speaker 1: broken just in terms of the volume of hits that 442 00:21:21,880 --> 00:21:24,680 Speaker 1: he's had and kind of in that way got beat 443 00:21:24,840 --> 00:21:26,960 Speaker 1: in his own game. I mean again, the timing of 444 00:21:26,960 --> 00:21:30,920 Speaker 1: Hotline Bling was coming after a beef with Meek Mill 445 00:21:31,040 --> 00:21:33,480 Speaker 1: that Drake was having and you know, back to back 446 00:21:33,560 --> 00:21:36,359 Speaker 1: being Drake's diss song which ended up becoming like a 447 00:21:36,359 --> 00:21:40,920 Speaker 1: massive hit, and therefore he won that battle, and Hotline 448 00:21:40,960 --> 00:21:43,680 Speaker 1: Bling sort of further solidifying that by becoming an even 449 00:21:43,720 --> 00:21:45,960 Speaker 1: bigger song. Like I'm wondering, like, is he going to 450 00:21:46,040 --> 00:21:48,159 Speaker 1: try to do that again? Like is he going to 451 00:21:48,240 --> 00:21:51,960 Speaker 1: try to drop in twenty twenty four his new version 452 00:21:52,040 --> 00:21:55,080 Speaker 1: of Hotline Bling that sort of like overtakes the beef 453 00:21:55,119 --> 00:21:57,879 Speaker 1: and kind of goes beyond the dis songs as just 454 00:21:57,880 --> 00:22:00,720 Speaker 1: like a pop hit like could that be his way 455 00:22:00,760 --> 00:22:03,639 Speaker 1: of sort of like kind of secretly side stuffing the 456 00:22:03,680 --> 00:22:07,080 Speaker 1: dissongs by just Drafia, another big pop hit banger. I 457 00:22:07,080 --> 00:22:07,439 Speaker 1: don't know. 458 00:22:07,760 --> 00:22:11,120 Speaker 2: I don't know, Honestly, it's hard to tell because I mean, 459 00:22:11,160 --> 00:22:14,399 Speaker 2: a rap beef is Kendrick's home turf. Yeah, Drake is 460 00:22:14,400 --> 00:22:17,520 Speaker 2: the out of town team and this like he's never 461 00:22:17,600 --> 00:22:20,080 Speaker 2: been the artist that you go to for that. He's 462 00:22:20,080 --> 00:22:23,080 Speaker 2: got more slaps than the Beatles, but like you know, 463 00:22:23,160 --> 00:22:24,960 Speaker 2: the Beatles wouldn't have won a rap beef war with 464 00:22:25,040 --> 00:22:29,679 Speaker 2: Kendrink either, nobody would. But it's not I mean not 465 00:22:29,720 --> 00:22:33,480 Speaker 2: even like Boogey Down Productions versus like Queensbridge so much 466 00:22:33,480 --> 00:22:36,920 Speaker 2: as like Boogeann Productions versus pm DON, which is a 467 00:22:37,000 --> 00:22:39,720 Speaker 2: rap beef that nobody remembered because it was a very 468 00:22:40,040 --> 00:22:44,959 Speaker 2: serious street artistic philosopher king of hip hop versus a 469 00:22:44,960 --> 00:22:46,879 Speaker 2: pop act with the number one hit, and it just 470 00:22:46,960 --> 00:22:51,119 Speaker 2: didn't make any cultural impact because there was you know, 471 00:22:52,160 --> 00:22:54,080 Speaker 2: there was really no common ground. Neither of them had 472 00:22:54,080 --> 00:22:56,800 Speaker 2: something that the other one wanted. It's obviously too early 473 00:22:56,840 --> 00:22:58,480 Speaker 2: to tell this is ongoing thing, but I had to 474 00:22:58,520 --> 00:23:02,600 Speaker 2: picture this doing long term damage to either of them, 475 00:23:02,920 --> 00:23:05,280 Speaker 2: but it's hard just because that isn't the standard that 476 00:23:05,320 --> 00:23:06,600 Speaker 2: people generally measured Drake. 477 00:23:06,640 --> 00:23:10,480 Speaker 1: But maybe why it's been such like a shocking development, 478 00:23:10,600 --> 00:23:14,080 Speaker 1: and like this is the most damage it's done to Drake, 479 00:23:14,280 --> 00:23:15,919 Speaker 1: you know, this is like probably the most kind of 480 00:23:15,960 --> 00:23:20,520 Speaker 1: like public image, and Drake usually pretty unbreakable just because 481 00:23:20,600 --> 00:23:22,640 Speaker 1: he is like such a meme in and of himself, 482 00:23:22,680 --> 00:23:25,200 Speaker 1: Like that is something he's lead into. He's like leaned 483 00:23:25,240 --> 00:23:27,159 Speaker 1: into a lot of the joke of the Drake of 484 00:23:27,160 --> 00:23:29,680 Speaker 1: it all right, But like this is just because it's 485 00:23:29,760 --> 00:23:32,600 Speaker 1: very clear that there's like someone from his own team 486 00:23:32,720 --> 00:23:35,919 Speaker 1: kind of leaking stuff to Kendrick. Like there's like kind 487 00:23:35,960 --> 00:23:38,760 Speaker 1: of levels to a lot of what's going on like 488 00:23:38,800 --> 00:23:41,800 Speaker 1: behind the scenes for Drake, levels to a lot of 489 00:23:41,840 --> 00:23:45,360 Speaker 1: what Kendrick alleges in the songs. And it's very fascinating 490 00:23:45,400 --> 00:23:49,000 Speaker 1: because I mean, even when we spoke, you know, a 491 00:23:49,040 --> 00:23:51,919 Speaker 1: while ago about the song for this episode, like it 492 00:23:52,000 --> 00:23:54,239 Speaker 1: almost seemed like there was nothing that could kind of 493 00:23:54,280 --> 00:23:57,399 Speaker 1: break that Drake success bubble. And this is maybe the 494 00:23:57,480 --> 00:23:59,760 Speaker 1: closest is gotten. But I'm also not in that same 495 00:23:59,760 --> 00:24:03,600 Speaker 1: way sure this is like the end in any way 496 00:24:03,640 --> 00:24:06,560 Speaker 1: for Drake, Like I do kind of genuinely think that 497 00:24:06,800 --> 00:24:12,440 Speaker 1: he probably has a hotline bling in my feelings nice 498 00:24:12,480 --> 00:24:15,920 Speaker 1: for what level type of like summer smash in him. 499 00:24:15,960 --> 00:24:20,520 Speaker 1: Still that like immediately people move on from He's. 500 00:24:20,359 --> 00:24:23,440 Speaker 2: Taken l's like this before. That's the essence of Drake, right, 501 00:24:23,560 --> 00:24:25,560 Speaker 2: he takes l's. That's what he does. 502 00:24:26,000 --> 00:24:27,560 Speaker 1: Drake thesis of everything. 503 00:24:27,880 --> 00:24:29,880 Speaker 3: Yes, likee yes. 504 00:24:30,080 --> 00:24:34,119 Speaker 2: The constant themes with Drake are girls love Drake and 505 00:24:34,440 --> 00:24:36,880 Speaker 2: Drake loses, like you know. 506 00:24:37,000 --> 00:24:37,680 Speaker 1: Hot line Blink. 507 00:24:37,760 --> 00:24:40,919 Speaker 2: Yeah, people thought people thought pusha and ended Drake. Ye, 508 00:24:41,080 --> 00:24:44,280 Speaker 2: Like they seriously thought that, and it seemed like he 509 00:24:44,320 --> 00:24:46,879 Speaker 2: could never come back from this, and of course it 510 00:24:46,920 --> 00:24:48,840 Speaker 2: went down in history. Is one of the great l's 511 00:24:48,880 --> 00:24:51,080 Speaker 2: that Drake takes because that's what Drake does. 512 00:24:51,280 --> 00:24:52,560 Speaker 3: So what's that? 513 00:24:53,040 --> 00:24:56,200 Speaker 2: Yes, exactly, So to me it fits in with hotline 514 00:24:56,240 --> 00:24:59,199 Speaker 2: Blink because hotline Bling is like, Drake is not the 515 00:24:59,240 --> 00:25:02,240 Speaker 2: winner of that battle with the girl. She's wearing lesson 516 00:25:02,320 --> 00:25:04,800 Speaker 2: going out more. You know, Kendrick could be you know, 517 00:25:04,920 --> 00:25:07,520 Speaker 2: like the one in Hotline Blaying who's like, you know, 518 00:25:07,600 --> 00:25:13,320 Speaker 2: leaving Drake behind charity Moore, Yeah, exactly. But you know, 519 00:25:13,640 --> 00:25:16,439 Speaker 2: part of what people love about Drake is, you know 520 00:25:16,520 --> 00:25:20,120 Speaker 2: that he gets beat down, like in his songs. Yeah, 521 00:25:20,119 --> 00:25:22,840 Speaker 2: and that's just something about him that people relate to. 522 00:25:23,440 --> 00:25:26,520 Speaker 2: And so I think he comes out of this. I 523 00:25:26,520 --> 00:25:30,560 Speaker 2: could be wrong, but I think this fits into a 524 00:25:30,600 --> 00:25:33,800 Speaker 2: long tradition of Drake taking l's and people like, ah, 525 00:25:33,840 --> 00:25:36,480 Speaker 2: that Drake. He sure got beat this time, he said, 526 00:25:36,760 --> 00:25:37,640 Speaker 2: the Drake of it all. 527 00:25:39,240 --> 00:25:41,400 Speaker 1: Next up, we will be joined by Rolling Stone Senior 528 00:25:41,520 --> 00:25:46,400 Speaker 1: editor Jeffy Hasa. And now we're joined by senior Editor 529 00:25:46,480 --> 00:25:49,119 Speaker 1: Rolling Stone, Jeffy Haza. Thank you so much for joining 530 00:25:49,240 --> 00:25:49,679 Speaker 1: us today. 531 00:25:49,800 --> 00:25:50,920 Speaker 3: Thanks for having me, guys. 532 00:25:51,800 --> 00:25:54,119 Speaker 1: So tell us a little bit about your your relationship 533 00:25:54,160 --> 00:25:55,120 Speaker 1: with Drake over the years. 534 00:25:55,160 --> 00:25:58,200 Speaker 4: Oh my goodness, it's funny actually. So I'm from Houston, 535 00:25:58,240 --> 00:26:01,920 Speaker 4: Texas originally, and when Drake was first really popping off, 536 00:26:01,920 --> 00:26:03,760 Speaker 4: this has to have been in two thousand and nine, 537 00:26:03,800 --> 00:26:05,440 Speaker 4: maybe two thousand and eight, two thousand and nine. A 538 00:26:05,520 --> 00:26:07,639 Speaker 4: lot of his early shows were at in Houston. I 539 00:26:07,640 --> 00:26:10,760 Speaker 4: think he wraps about like nine at Warehouse, like his 540 00:26:10,840 --> 00:26:13,239 Speaker 4: buncoming or whatever. And I'll never forget I worked at 541 00:26:13,280 --> 00:26:15,720 Speaker 4: Kroger grocery store and I was like a bag boy, 542 00:26:16,000 --> 00:26:17,840 Speaker 4: and I had a crush on the girl who was 543 00:26:17,880 --> 00:26:20,359 Speaker 4: the cashier that I was bagging for, and that was 544 00:26:20,359 --> 00:26:23,000 Speaker 4: the beginning of me knowing who Drake was and listening 545 00:26:23,080 --> 00:26:23,680 Speaker 4: to Drake. 546 00:26:25,600 --> 00:26:28,080 Speaker 1: And do you remember where you were or kind of 547 00:26:28,160 --> 00:26:31,360 Speaker 1: like how you heard Hotline Blane when it first came out. 548 00:26:31,560 --> 00:26:33,840 Speaker 4: Yeah, So fast forward all those years later, I think 549 00:26:33,880 --> 00:26:35,920 Speaker 4: I just moved to New York or i'd been here 550 00:26:35,920 --> 00:26:37,440 Speaker 4: for like a year or so, and I was working 551 00:26:37,440 --> 00:26:41,080 Speaker 4: at a different music magazine and I had the graveyard 552 00:26:41,119 --> 00:26:44,639 Speaker 4: shift editor job, so it was like he announced that 553 00:26:44,720 --> 00:26:46,760 Speaker 4: it was dropping, and then it was my job that 554 00:26:46,920 --> 00:26:49,399 Speaker 4: night to like write up the premiere. So I was 555 00:26:49,520 --> 00:26:52,439 Speaker 4: very much like refreshing the page waiting to see it. 556 00:26:52,480 --> 00:26:55,040 Speaker 4: And then you know, when the video came out, all 557 00:26:55,080 --> 00:26:57,600 Speaker 4: those memes came along with it of like him in 558 00:26:57,640 --> 00:26:59,840 Speaker 4: the room and the dancing and everything, and then one 559 00:26:59,880 --> 00:27:01,679 Speaker 4: of the first like blog post that ever and was 560 00:27:01,720 --> 00:27:03,399 Speaker 4: like all of the funny memes to come out of 561 00:27:03,400 --> 00:27:06,560 Speaker 4: the Hotline playing music video. Very impactful moment in my 562 00:27:06,640 --> 00:27:07,760 Speaker 4: music journalism career. 563 00:27:07,840 --> 00:27:11,159 Speaker 1: I'd say, yeah, I feel like the that summer it 564 00:27:11,200 --> 00:27:13,760 Speaker 1: was like the first summer, like the first true summer 565 00:27:13,760 --> 00:27:14,120 Speaker 1: of Drake. 566 00:27:14,160 --> 00:27:17,199 Speaker 4: It felt like, yeah, that whole year honestly, Yeah, he 567 00:27:17,280 --> 00:27:19,919 Speaker 4: kind of ran twenty fifteen to a point where, you know, 568 00:27:20,040 --> 00:27:20,919 Speaker 4: the haters came out. 569 00:27:20,760 --> 00:27:21,960 Speaker 3: Of the woodwork as we saw. 570 00:27:23,040 --> 00:27:26,320 Speaker 4: I feel like that same year Kanye was doing like 571 00:27:26,480 --> 00:27:28,760 Speaker 4: I forget what release Kanye was doing or what was 572 00:27:28,800 --> 00:27:31,360 Speaker 4: going on, but he had this big concert in Madison 573 00:27:31,359 --> 00:27:34,399 Speaker 4: Square Park and like Push a T, Travis Scott, all 574 00:27:34,440 --> 00:27:36,280 Speaker 4: these people were there, and then all these videos came 575 00:27:36,320 --> 00:27:38,240 Speaker 4: out the next day of like Drake in the crowd, 576 00:27:38,520 --> 00:27:40,080 Speaker 4: like trying to get up front, and it was like 577 00:27:40,119 --> 00:27:42,720 Speaker 4: the beginning of people like hating on Drake in this 578 00:27:42,840 --> 00:27:44,639 Speaker 4: where it's like Kanye didn't even let you into the 579 00:27:44,680 --> 00:27:48,160 Speaker 4: show type of big. But yeah, that summer, like Drake 580 00:27:48,280 --> 00:27:50,000 Speaker 4: was so hot that I feel like there were just 581 00:27:50,040 --> 00:27:52,639 Speaker 4: all these arrows coming at him because everyone wanted to 582 00:27:52,640 --> 00:27:53,960 Speaker 4: take him off like the perch. 583 00:27:54,240 --> 00:27:57,080 Speaker 1: You know, were you both immediate fans of this song 584 00:27:57,119 --> 00:27:57,879 Speaker 1: when he first heard it. 585 00:27:58,359 --> 00:28:01,080 Speaker 4: Yeah, it didn't take it long because it's got that 586 00:28:01,160 --> 00:28:03,480 Speaker 4: like I don't know what the classic thing is called, 587 00:28:03,480 --> 00:28:05,600 Speaker 4: but it kind of the rhythm of it feels very 588 00:28:05,640 --> 00:28:09,200 Speaker 4: reminiscent of like a like a Honolulu like vacation song 589 00:28:09,280 --> 00:28:11,199 Speaker 4: or something, or like something you'd played a wedding like 590 00:28:11,480 --> 00:28:13,360 Speaker 4: it just immediately kind of catches you as like, oh, 591 00:28:13,400 --> 00:28:16,479 Speaker 4: this is a very almost wholesome song, even though it's 592 00:28:16,600 --> 00:28:18,600 Speaker 4: very not wholesome yea what he's talking. 593 00:28:18,400 --> 00:28:19,240 Speaker 3: About on it. 594 00:28:19,800 --> 00:28:23,560 Speaker 1: I feel like everyone was taken by Hotline Playing immediately, 595 00:28:23,600 --> 00:28:26,119 Speaker 1: Like it was there's no corner of music that was 596 00:28:26,200 --> 00:28:28,320 Speaker 1: untouched by loving Hotline Playing. 597 00:28:29,040 --> 00:28:32,520 Speaker 2: And it was such a weird sound that really retro 598 00:28:32,680 --> 00:28:35,359 Speaker 2: Miami sound really transposed to a really different sort of 599 00:28:35,960 --> 00:28:39,480 Speaker 2: emotional story, and it definitely it got your attention, and 600 00:28:39,520 --> 00:28:42,160 Speaker 2: that was even before anybody saw the video, which was 601 00:28:42,400 --> 00:28:43,640 Speaker 2: different kind of attention getting. 602 00:28:44,160 --> 00:28:47,000 Speaker 4: Yeah, it reminds me a lot of hold on, We're 603 00:28:47,000 --> 00:28:49,400 Speaker 4: going Home, where it's like it's Drake in this like 604 00:28:49,520 --> 00:28:53,000 Speaker 4: retro pop vibe, which is so outside of the norm 605 00:28:53,000 --> 00:28:55,160 Speaker 4: from what you see from rappers or even pop stars. 606 00:28:55,600 --> 00:28:57,600 Speaker 4: And I think like he kind of does that really well. 607 00:28:57,600 --> 00:29:00,520 Speaker 4: It's one of the many like little like that he 608 00:29:00,520 --> 00:29:02,880 Speaker 4: can put on where it's like okay, dude, you're Bobby called, Well, 609 00:29:02,920 --> 00:29:03,840 Speaker 4: we'll take it. 610 00:29:04,800 --> 00:29:05,000 Speaker 3: Yeah. 611 00:29:05,000 --> 00:29:07,440 Speaker 1: I feel like he was so good at catering to 612 00:29:07,560 --> 00:29:11,080 Speaker 1: like his female audience because he realized very early on 613 00:29:11,240 --> 00:29:14,520 Speaker 1: how much like like girls just loved his music and 614 00:29:14,600 --> 00:29:16,920 Speaker 1: like he kind of catered to it in a way 615 00:29:17,000 --> 00:29:19,160 Speaker 1: that was so specific and so like you said, like 616 00:29:19,200 --> 00:29:21,600 Speaker 1: so outside of what so many rappers were doing at 617 00:29:21,640 --> 00:29:24,160 Speaker 1: that time and singing and like really making a point 618 00:29:24,200 --> 00:29:26,479 Speaker 1: to show off that he can sing and you know, 619 00:29:26,480 --> 00:29:28,880 Speaker 1: hold on, we're going home with such a big moment 620 00:29:28,920 --> 00:29:30,880 Speaker 1: for him in that way, and I think obviously sets 621 00:29:30,880 --> 00:29:33,040 Speaker 1: the tone for this. And then he'd have a hit 622 00:29:33,080 --> 00:29:36,240 Speaker 1: with like One Dance Later and Passion Food and you know, 623 00:29:36,320 --> 00:29:38,160 Speaker 1: like obviously like in my feelings and nice for what 624 00:29:38,240 --> 00:29:40,400 Speaker 1: kind of also have this kind of like you know, 625 00:29:40,520 --> 00:29:43,200 Speaker 1: lightness to them and sort of like party kind of 626 00:29:43,320 --> 00:29:45,960 Speaker 1: club vibe to them. That's like so much different than 627 00:29:46,600 --> 00:29:48,200 Speaker 1: a lot of other stuff he had been doing prior. 628 00:29:48,800 --> 00:29:50,440 Speaker 3: Yeah, I feel like this is pop star drink. 629 00:29:50,560 --> 00:29:52,640 Speaker 4: Yeah, this is where he's like kind of you know, 630 00:29:52,720 --> 00:29:54,360 Speaker 4: I think when he came onto the scene, it was 631 00:29:54,360 --> 00:29:56,440 Speaker 4: like I can rap and I can sing, And then 632 00:29:56,480 --> 00:29:58,360 Speaker 4: into this era he starts to get into like I 633 00:29:58,400 --> 00:30:01,400 Speaker 4: can also do Taylor Swift number with these major hits. 634 00:30:01,680 --> 00:30:03,800 Speaker 1: Yeah, this is the year that they had the Apple Music. 635 00:30:04,600 --> 00:30:10,640 Speaker 3: Oh yeah, yeah, absolutely, she was in your feelings. 636 00:30:10,240 --> 00:30:12,800 Speaker 1: Like Drake, you know, even just that summer of having 637 00:30:12,840 --> 00:30:15,239 Speaker 1: back to back and hotline blank, which are such like 638 00:30:15,480 --> 00:30:18,480 Speaker 1: disparate sides of who Drake is. Like this like really 639 00:30:18,520 --> 00:30:21,080 Speaker 1: hard to song at another rapper and that he like 640 00:30:21,600 --> 00:30:24,320 Speaker 1: really owned, and then this like really great sort of 641 00:30:24,360 --> 00:30:27,840 Speaker 1: like sung Miami ish like R and B song, which 642 00:30:27,880 --> 00:30:29,000 Speaker 1: is perfect. 643 00:30:29,280 --> 00:30:31,880 Speaker 4: Well, that's a really fun way to like end a 644 00:30:32,000 --> 00:30:35,320 Speaker 4: rap beef. It's like to now, I'm just gonna come 645 00:30:35,360 --> 00:30:38,880 Speaker 4: out with like the softest song ever. 646 00:30:38,120 --> 00:30:38,800 Speaker 3: But only Drake. 647 00:30:38,840 --> 00:30:40,760 Speaker 4: I feel like, Oh, that's like kind of Drake's specialty 648 00:30:40,800 --> 00:30:45,120 Speaker 4: where it's he doesn't he doesn't like fulfill any expectations, 649 00:30:45,200 --> 00:30:46,880 Speaker 4: especially when it comes to hip hop. It's like he 650 00:30:46,920 --> 00:30:49,920 Speaker 4: does his own thing genuinely. And I think his fans 651 00:30:49,920 --> 00:30:52,200 Speaker 4: and people who really love him they respond to that 652 00:30:52,280 --> 00:30:55,200 Speaker 4: because it's like he's willing to be vulnerable. He's willing 653 00:30:55,240 --> 00:30:57,760 Speaker 4: to be you know, self deprecating. Even though Drake is 654 00:30:57,760 --> 00:30:59,000 Speaker 4: probably two in his head about. 655 00:30:58,840 --> 00:30:59,480 Speaker 3: It these days. 656 00:31:00,720 --> 00:31:03,320 Speaker 1: Yeah, I feel like he really had fun with being 657 00:31:03,480 --> 00:31:05,680 Speaker 1: a meme when it came up, Like it was something 658 00:31:05,720 --> 00:31:07,480 Speaker 1: where he didn't take it too seriously. And I think 659 00:31:07,480 --> 00:31:10,160 Speaker 1: a lot of artists can and feel so like self 660 00:31:10,160 --> 00:31:12,040 Speaker 1: conscious about it and like in their head about it 661 00:31:12,080 --> 00:31:14,720 Speaker 1: and like take it very, very personally, Whereas I think 662 00:31:14,800 --> 00:31:17,520 Speaker 1: like Drake really owned it and kind of loved it 663 00:31:17,520 --> 00:31:19,280 Speaker 1: because he knew that was like the power of the 664 00:31:19,320 --> 00:31:22,440 Speaker 1: audience and like what kept him in the conversation. 665 00:31:23,160 --> 00:31:25,680 Speaker 4: Yeah, I mean, Drake is so Internet savvy, and I 666 00:31:25,720 --> 00:31:28,240 Speaker 4: feel like this hotline and bling moment is kind of 667 00:31:28,240 --> 00:31:31,280 Speaker 4: the beginning of us really seeing how savvy. 668 00:31:30,960 --> 00:31:31,960 Speaker 3: He is with the Internet. 669 00:31:32,680 --> 00:31:35,080 Speaker 4: I know we were talking earlier about how that song 670 00:31:35,200 --> 00:31:38,120 Speaker 4: was ten years ago, and it's like for the past 671 00:31:38,160 --> 00:31:42,400 Speaker 4: ten years, Drake has dominated the conversation primarily because he's 672 00:31:42,480 --> 00:31:44,960 Speaker 4: so good at being like the subject of the internet's 673 00:31:45,240 --> 00:31:47,560 Speaker 4: you know, ire or love one day or the other, 674 00:31:48,040 --> 00:31:49,479 Speaker 4: and he kind of knows how to just own it 675 00:31:49,560 --> 00:31:52,479 Speaker 4: and not like flame out. Like we've seen a lot 676 00:31:52,520 --> 00:31:54,920 Speaker 4: of artists flame out. There's one flaming out today. 677 00:31:58,280 --> 00:32:00,920 Speaker 1: And I mean, let's talk about the video a little bit, 678 00:32:00,920 --> 00:32:03,480 Speaker 1: because the video is so good and like, even just 679 00:32:03,520 --> 00:32:05,680 Speaker 1: like rewatching it, I'm like, I don't even know what 680 00:32:05,720 --> 00:32:08,000 Speaker 1: it was about this, Like it's such a great video obviously, 681 00:32:08,040 --> 00:32:10,160 Speaker 1: but like I'm like, I cannot believe how much this 682 00:32:10,280 --> 00:32:12,920 Speaker 1: video overtook culture for like as long as it did, 683 00:32:13,040 --> 00:32:16,080 Speaker 1: Like it's like so simple. It's just like Drake dancing 684 00:32:16,160 --> 00:32:20,040 Speaker 1: and just Neon like rooms, and it works so well 685 00:32:20,080 --> 00:32:22,800 Speaker 1: because he's just like kind of it's just funny to 686 00:32:22,800 --> 00:32:24,040 Speaker 1: watch him dance, and it's. 687 00:32:24,000 --> 00:32:26,680 Speaker 4: Just Drake, right, if I'm remembering correctly. It's like there's 688 00:32:26,680 --> 00:32:28,480 Speaker 4: not like a whole background dancer. 689 00:32:28,760 --> 00:32:31,360 Speaker 1: There's like one dancer who shows up randomly, and then 690 00:32:31,360 --> 00:32:35,440 Speaker 1: there's like the call center girls. At the beginning, I 691 00:32:35,480 --> 00:32:39,400 Speaker 1: did a group costume for Hotlines playing that year. I 692 00:32:39,760 --> 00:32:40,880 Speaker 1: was a call center girl, and then one of my 693 00:32:40,920 --> 00:32:43,000 Speaker 1: friends was Drake and then another friend Why go Aground? 694 00:32:44,800 --> 00:32:47,040 Speaker 4: The video is like it's so minimal and it's so 695 00:32:47,320 --> 00:32:49,800 Speaker 4: like I think the lighting of it and the way 696 00:32:49,800 --> 00:32:52,760 Speaker 4: that Drake dances in it just became so immediately like 697 00:32:52,880 --> 00:32:55,160 Speaker 4: this is what we're doing now. From twenty fifteen to 698 00:32:55,360 --> 00:32:58,640 Speaker 4: like twenty sixty or seventeen, almost like Borat where it's 699 00:32:58,640 --> 00:33:00,760 Speaker 4: like one of those things that happens and then everywhere 700 00:33:00,800 --> 00:33:02,680 Speaker 4: you look it's like someone's making a joke about it. 701 00:33:02,880 --> 00:33:04,719 Speaker 1: Yeah. Yeah, I feel like there was, like I mean 702 00:33:04,920 --> 00:33:06,800 Speaker 1: it was there were memes for like a year. There's 703 00:33:06,840 --> 00:33:10,600 Speaker 1: references on like every show and it's even crazier that 704 00:33:10,800 --> 00:33:13,320 Speaker 1: it's not even like I feel like Hotline Blink isn't 705 00:33:13,360 --> 00:33:15,880 Speaker 1: even like the primary thing you think of when you 706 00:33:15,880 --> 00:33:18,320 Speaker 1: think of Drake anymore. Like it's right how everywhere that 707 00:33:18,400 --> 00:33:22,120 Speaker 1: song was like it it's not necessarily the thing people 708 00:33:22,240 --> 00:33:24,560 Speaker 1: even associate with Drake. Like there's so much other like 709 00:33:25,120 --> 00:33:28,000 Speaker 1: really massive hits he's had since then, or like giant 710 00:33:28,000 --> 00:33:29,680 Speaker 1: cultural moments that he's had since then. 711 00:33:30,000 --> 00:33:33,200 Speaker 4: Yeah, it's like, you know, that was the first of 712 00:33:33,280 --> 00:33:37,080 Speaker 4: many of his like world smashing pop crossover hits, whereas 713 00:33:37,120 --> 00:33:40,280 Speaker 4: you mentioned like One Dance, Passion Fruit, those all came 714 00:33:40,880 --> 00:33:43,000 Speaker 4: I feel like right after actually because they're all on views. 715 00:33:43,200 --> 00:33:45,600 Speaker 4: But I feel like the guy's got it, you know 716 00:33:45,640 --> 00:33:48,240 Speaker 4: when he makes these big statement songs, like they take 717 00:33:48,280 --> 00:33:50,560 Speaker 4: over and then it's he does so many of them 718 00:33:50,560 --> 00:33:52,640 Speaker 4: that you almost forget that he did that. Like when 719 00:33:52,640 --> 00:33:55,080 Speaker 4: we were talking about doing this episode, I'm like, oh, yeah, 720 00:33:55,200 --> 00:33:58,800 Speaker 4: Hotline Blink, that song is amazing, Like it's just one 721 00:33:58,800 --> 00:33:59,800 Speaker 4: of those things about Drake. 722 00:34:00,080 --> 00:34:04,239 Speaker 1: Yeah, but I feel like everyone, especially with like you know, 723 00:34:04,240 --> 00:34:05,920 Speaker 1: more of his more at the Twin One Savage album 724 00:34:05,960 --> 00:34:07,800 Speaker 1: and all that, Like it seems like he's kind of 725 00:34:07,800 --> 00:34:10,759 Speaker 1: moved towards just being like harder Drake again. 726 00:34:11,000 --> 00:34:11,920 Speaker 3: Yeah, what do you. 727 00:34:11,840 --> 00:34:12,439 Speaker 1: Think of that? 728 00:34:13,000 --> 00:34:17,879 Speaker 4: I think he's been so tested by his peers where 729 00:34:18,000 --> 00:34:19,799 Speaker 4: you know, kind of like we're talking about, you know, 730 00:34:19,840 --> 00:34:23,760 Speaker 4: twenty fifteen and onwards, he's been like the main target 731 00:34:24,120 --> 00:34:27,040 Speaker 4: at the same time, and I think he's someone who 732 00:34:28,120 --> 00:34:30,680 Speaker 4: seems to need to have the need to prove himself 733 00:34:30,760 --> 00:34:32,960 Speaker 4: or feel the need to prove himself. So instead of 734 00:34:32,960 --> 00:34:35,560 Speaker 4: giving us full on house bangers for the past ten years, 735 00:34:35,600 --> 00:34:37,880 Speaker 4: which I'm sure in his heart is what he wants 736 00:34:37,920 --> 00:34:40,800 Speaker 4: to be doing, it's like someone tests him and he's like, 737 00:34:40,840 --> 00:34:42,359 Speaker 4: you know what, I gotta rap again just to make 738 00:34:42,400 --> 00:34:44,760 Speaker 4: sure they know that, like I still got it, I'm still. 739 00:34:44,560 --> 00:34:45,200 Speaker 3: Him or whatever. 740 00:34:45,520 --> 00:34:50,200 Speaker 4: Meanwhile, his real fans we want that, honestly, never mind Drake, 741 00:34:50,239 --> 00:34:52,799 Speaker 4: we want the Abeza Drake. Like, I'm good with that. 742 00:34:52,800 --> 00:34:55,760 Speaker 4: I'm good if he never wraps again. Just does hotline blinks. 743 00:34:55,920 --> 00:34:57,120 Speaker 1: I feel the exact same way. 744 00:34:57,320 --> 00:34:59,480 Speaker 4: What's gonna happen when Drake is like happy, like he 745 00:34:59,520 --> 00:35:01,439 Speaker 4: gets merri or something and falls in love. 746 00:35:01,640 --> 00:35:05,759 Speaker 3: Oh no, I. 747 00:35:05,760 --> 00:35:07,799 Speaker 1: Feel like Drake is like the least satisfied man. 748 00:35:09,800 --> 00:35:11,360 Speaker 3: I think him in future of a song about that. 749 00:35:11,480 --> 00:35:15,120 Speaker 2: Yeah, yeah, he sort of built that into the system. 750 00:35:15,160 --> 00:35:16,560 Speaker 2: I don't think we have to worry about that. 751 00:35:16,640 --> 00:35:19,600 Speaker 4: Yeah, that'll be the twist in pop culture though, Like 752 00:35:19,719 --> 00:35:22,879 Speaker 4: Drake pulls up and he's like happily married. Say, guys, 753 00:35:23,160 --> 00:35:25,000 Speaker 4: I love my wife. 754 00:35:25,560 --> 00:35:29,000 Speaker 1: I would I think a wife, guy Drake wife be 755 00:35:29,120 --> 00:35:30,480 Speaker 1: really earth shattering. 756 00:35:30,680 --> 00:35:32,480 Speaker 3: Yeah, that's how you really change it up. 757 00:35:32,440 --> 00:35:35,240 Speaker 1: By for Drake his version of Man of the Woods. 758 00:35:35,280 --> 00:35:40,600 Speaker 1: You know, like, yeah, well, thank you so much Jeff 759 00:35:40,640 --> 00:35:42,239 Speaker 1: for joining us today. I really appreciate it. 760 00:35:42,280 --> 00:35:43,440 Speaker 3: Thank you guys, it's just fun. 761 00:35:44,160 --> 00:35:46,640 Speaker 1: Thanks so much for listening to Rolling Stone's five hundred 762 00:35:46,640 --> 00:35:49,799 Speaker 1: Greatest songs. This podcast is brought to you by Rolling 763 00:35:49,840 --> 00:35:54,120 Speaker 1: Stone and iHeartMedia. Written hosted by Me, Britney Spanos. 764 00:35:53,880 --> 00:35:56,400 Speaker 2: And Rob Sheffield, Executive. 765 00:35:55,920 --> 00:35:59,600 Speaker 1: Produced by Jason Fine, Alex Dale and Christian Horde, and 766 00:35:59,680 --> 00:36:03,200 Speaker 1: produce by Jesse Cannon, with music supervision by Eric Zeiler. 767 00:36:03,320 --> 00:36:04,840 Speaker 1: Thanks for watching, and thanks for listening.