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“ You n****s getting older, I see no threat in Yoda / I’m out here messing over the lives of these n****s that couldn’t fuck with my freshman floater / Look at that fucking chip on your nephew's shoulder / My sophomore, I was all for it, they all saw it / My junior and senior will only get meaner, take care, n***a. He looks back on his pre-rap stardom fondly with lines like “ You know it’s real when your latest nights are your greatest nights / The sun is up when you get home, that’s just the way of life.”Īnd then, in the final verse, he switches back to the first person and, suddenly, he’s hostile, concluding the best album of his career with a warning shot. On the second verse, Drake takes listeners back to his pre-fame days, a time when he would steal his mom’s debit card and drive around in overpriced rental cars just to maintain an image. On the first, he details his current situation of fame and fortune, rapping from his new place atop the throne (“ You won’t feel me until everybody say they love you, but it’s not love / And your suit is oxblood / And the girl you fucking hates you, and your friends faded off shots of / What you ordered to forget about the game that you on top of”), a position worthy of dinners at French Laundry in Napa Valley, where the maître d' treats you like a king and puts the cloth across your lap as soon as you sit down. On “The Ride,” Drake delivers the first two verses in the second person, arguing that us mere mortals can’t understand how his success has him feeling so alienated. But, whereas on So Far Gone’s “Say What’s Real” and his 2010 loosie “Paris Morton Music” he remains optimistic while facing the pressures of celebrity brought on by his sudden rise, Take Care’s closing statement finds him trepidatious and jaded.
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By then, he’d mulled over the idea on a handful of songs. “The Ride” wasn’t the first time Drake grappled with the trappings of fame.
#ALBUM OF DRAKE KNOW YOURSELF CODE#
“ I gotta keep watching for oppers, ‘cause anything’s possible, yeah / There’s no code of ethics out here, anyone will take shots at you, yeah.” More impressively, the next line suggests that even Drake knew he was too big to fail, as he shrugs off Meek’s future shots, rapping, “ N****s think they can come take what I got / Let’s be logical, yeah.” “1AM in Napa Valley” (“The Ride,” Take Care, 2011) Of course, the most profound statement comes at the beginning of his final verse, when Drake practically foreshadows the beef that would, five months out, threaten to end his reign. “ Please do not speak to me like I’m that Drake from four years ago / I’m at a higher place.” Then, as if we weren’t aware, he takes a moment to remind us that this isn’t 2011, back when he still had his eyes fixated on the throne. In the same city where, six years earlier, he was introduced to the lifestyles of hip-hop’s rich and famous, Drake is now the living legend who’s forced to eat his Alfredo pasta in the kitchen of VLive like a mob boss. The length of his dominant run atop hip-hop sets in when he transports us back to Houston.