Drake Honors Creative Partnership With Director Karena Evans

The finest artists deal with each ingredient their craft with the utmost care. In that sense, it is no shock that Drake’s music movies are ten spectacular spectacles, from the charitable feel-good story “God’s Plan,” to the Degrassi reunion “I am Upset,” to the viral-marketing-centric “In My Feelings.” Of course, due credit score should be given to director Karena Evans, who held it down behind the digital camera for the whole lot his Scorpion visible marketing campaign. The Canadian director shortly grew to be one Drizzy’s trusted collaborators, not not like 40 or Ali, and she or he proved chargeable for helming all 4 his video drops. 

In honor their inventive partnership, each events took to Instagram to rejoice their profitable yr. “Thank you for all the pieces this yr,” writes Drake, alongside a photograph the pair embracing. Evans posted the identical image, reflecting on how 2018 was her “favorite yr all time.” Respect to the Canadian spelling.

It stands to purpose that the union will proceed, every time Drake decides to drop f some new visuals – be it for Scorpion or his subsequent album. Big shout out to Karena Evans for holding it down as one essentially the most profitable younger administrators within the sport.

Drake Performs "In My Feelings," "Sicko Mode" & More With Virgil Abloh: Watch

Drake kicked f his “Aubrey & The Three Migos” tour earlier this month after a few set backs. They’re currently getting ready to wrap up three dates at Madison Square Garden which kicked f on Saturday. While the remaining two dates are tonight and tomorrow, Drake spent the day f by throwing a day party at a Brooklyn club which he co-hosted alongside Virgil Abloh. While Abloh held down the ones and twos for the party, Drake later joined Louis Vuitton’s artistic director to perform some hits out his catalog.

At the top his set, Drake gave a shout out to Virgil Abloh before acknowledging the large size the audience at The Brooklyn Mirage.

“Make some noise for my brother Virgil one time,” he urged the crowd. “I thought this shit was a party like in the club. This shit is like a festival. We got to go up. Listen, if Virgil’s] going to play the records, I can’t stand up there and drink. I got to perform and do some shit with you.” 

After speaking to the crowd, Drake jumped into “Look Alive.” He performed some the tracks currently dominating the charts right now including “In My Feelings” and Travis Scott’s “Sicko Mode.” He also jumped into “Mob Ties” as well as “I’m Upset.”

Peep some the clips below.

Faith Evans & Stevie J's Wedding Reportedly Left Family And Friends Upset

The speedy wedding between Faith Evans and Stevie J may sound cute and lovely for the couple, but according to sources close to the newlyweds, their family and friends are feeling all kinds ways. It seems as though the couple’s marriage was something no one was expecting and it was never talked about once. 

Apparently, Faith was scheduled to be in Los Angeles and Stevie was just in ATL for Love and Hip Hop and the Las Vegas hotel room wedding came out nowhere. Faith’s son, CJ Wallace, was one the ones left disappointed since Stevie is his godfather. Things get more interesting after reports suggest that Stevie J’s idea a quick wedding was done because he knew Faith’s family wouldn’t let her go through with it. 

When Faith’s crew hit her up with questions on her new love move, she replied with a song she recorded with Stevie titled “A Minute.”  

Not even 24 hours into their wedding bliss, Stevie has been exposed for cheating on Faith with both men and women – yikes.

Drake Holds 7 Spots On Billboard Hot 100's Top 10, Breaks The Beatles Record

Drake’s latest album, Scorpion was bound to do numbers. The rapper dominated the top the Billboard Hot 100 for the majority the year with “Nice For What” and “God’s Plan.” Needless to say, the rapper’s latest project was one his most anticipated albums 2018 based f the hype those two songs alone. Drizzy debuted at the top the Billboard 200 which wasn’t a shock to anyone. However, his latest feat on the Billboard Hot 100 finds him breaking the record the Beatles’ held since 1964.

After Scorpion debuted at number one on the Billboard 200, Drake also has seven songs f the project dominating the top 10 the Billboard Hot 100. His latest feat breaks the Beatles’ record five songs in the top 10 back in 1964. “Nice For What” reclaims the top spot on the chart while “Nonstop” follows it at number 2. In addition, “God’s Plan” is at number 4, “In My Feelings” debuts at number 6, “I’m Upset” climbs 19 positions to number 7. “Emotionless” and the Michael Jackson assisted, “Don’t Matter To Me” both debut at 8 and 9, respectively. 

While the rapper beat out The Beatles’ record, he also surpassed Michael Jackson for the total amount Hot 100 top 10 entries. Drake’s career total is currently at 31 while Michael Jackson sits at 30 with the inclusion “Don’t Matter To Me.”

Drake also broke his own record for the most concurrent Hot 100 titles with 27 songs, including all 25 songs f Scorpion, landing on the chart. 

VIA]

Drake "Scorpion" Review

Tarnishing the release Scorpion was an appropriately venomous narrative. The telenovela-esque birth a Graham heir, fathered in secret somewhere in the romantic French countryside, or possibly the standard hospital. In a vacuum, the birth Drake’s son is nothing particularly unheard , least all in hip-hop; many rappers have children, some more than others, and seldom is progeny put on so public a pedestal. Yet Drake is different. For reasons, perhaps self-imposed, perhaps driven by his self-pressed embracement the “good-guy” role, the reveal young Adonis seemed to play out like a television plot-twist, played to audible gasps and the visual a smug Pusha T stroking his goatee, Satanlike.

For many, even those dubbing themselves loyalists, Drake’s reputation took an irrefutable hit. Though few would dispute “Duppy” was a respectable first strike, public opinion soon came to favor the counter-riposte “The Story Of Adidon.” It didn’t take long for the once adoring public to turn on Drake, and soon, October’s Very Own felt very much on his own. While a Drake record may have previously set the summer ablaze, it felt more akin to the scene from Toy Story, where Andy trades in the stalwart Woody for the post-modern delights Buzz Lightyear.

Ubiquity is a gift and a curse. Only when one reigns so mightily at the top, can the descent to the bottom be such a public affair; while the masses cherish an underdog, they’re ten quick to forget their role in shaping such a figure to begin with. It’s strange to imagine Drake, with all his broken records, platinum plaques, and worldwide recognition, as an underdog. Yet Scorpion felt weighed down by a cumbersome set expectations. Despite reports that the Pusha T beef was dead, some wondered if Drizzy had a response tucked away in the stash; anything remotely resembling pacifism reeked defeat, even if the moral compass so clearly favored the higher ground.

Maybe that’s why Scorpion still carried an aura disappointment, despite being lined with many quality bangers. We’ve already come to understand Drake as a proud man, and one can only imagine backing down from such a scathing public shaming would prove difficult. In that regard, a ble alternative might have been to counter Daytona with undeniable quality; a clear sense vision, meant to encapsulate Drake in all his artistic glory. Instead, the result was a double album, twenty-five songs deep. In the era “stream-trolling,” such a move only served to give skeptics further stores ammunition.

To be fair, plenty double albums have existed before “stream-trolling” kept eyebrows perpetually raised. To write the dual-sided project f as a vain attempt at capitalizing on increased streaming numbers only serves to strip away all semblance creative agency. We already know Drake is a proven creative mind, and adding greed to his list sins is only doing unnecessary disservice. Ostensibly, the divide exists to satiate both factions his core audience, broken down most succinctly through the basic dichotomy “rap” and “r&b.

With two sides to unpack, it seems fitting to start at the onset. Introductory cut “Survival” finds Drake sitting in his comfort zone, blending deadpan wit with trademark introspection. Unfortunately, his choice to completely ignore the fallout “Adidon” puts fans in a difficult predicament. Those who feel connected to Drizzy’s story clearly want to know the emotional impact such a public blow, especially from a man who has so openly worn his heart on his sleeve. If anything, distancing himself from Pusha’s taunts only serve to distance himself from those willing to hold up the safety net.

Luckily, the Tay Keith produced “Nonstop” is hard enough to shake f the cobwebs. Channeling the minimalist swagger Take Care banger“The Motto,” Drake rides the bassline, flaunting his honorary Bay Area membership pass with conviction. When he kicks into his “I’m a bar spitta,” rhyme scheme, it’s easy to remember what makes him such a compelling emcee in the first place, evoking memories Cash Money veteran Juvenile’s singsong delivery. Despite “Nonstop’s” early placement, it feels very much like an album highlight, retaining the honor throughout the entire musical odyssey.

From that moment on, Side A largely covers familiar ground, leading to the occasional moment brilliance, largely evidenced by “Emotionless,” and the DJ Premier produced “Sandra’s Rose,” though the latter raises questions over why Drake channels Bart Simpson in calling his parents by their given names. And while there is something validating about hearing Jay-Z sneer “y’all killed X and let Zimmerman live, streets is done,” the sheen the statement is not enough to match previous drops “Light Up” or “Pound Cake.” Is it enjoyable? Of course. But it still feels like treading water, when swimming is merely one element the triathlon.

Of course, he sings. There are some who still consider, perhaps naively, Drake to be a “pop singer,” simply because his biggest hits gravitate to radio. As if the man hasn’t put in work behind the mic. Still, the subdued, ten emotional, 3AM-iMessage lamentations have become a staple his persona. Therefore, it’s no surprise that Side B features plenty entertaining melodic moments throughout its refreshing, if occasionally subdued runtime. Despite Side A feeling decidedly more immediate, Side B is arguably the more complete the two.

Like its predecessor, Side B starts f with strong, with the muted melancholy “Peak” and the infectious sentimentality “Summer Games,” which feels inspired by known Drake favorite Stranger Things. Despite being thematically reminiscent an iconic Grease number, “Summer Games” has all the makings a Drizzy radio banger. Though Side B largely slides lyricism to the side, Drake’s confident bouts self-analyzing mansplanation inevitably delivers a few gems, like the ever-relatable “talk used to be cheap, nowadays it’s free, people are only as tough as they phone allows them to be.”

From that moment onward, Scorpion continues along the path, never straying into unpleasantness. Moments nostalgia-fueled excitement arise upon hearing Nicki Minaj, Future, and Lil Wayne, each employed with restraint, more tools than collaborators. The buzz is fleeting, however. By the time closer “March 14th” rolls around to provide a sense closure to the Adonis saga, it feels almost like an after-credits scene; a scene with quality writing to be sure, but an afterthought, especially given that many awaited its arrival with bated breath. One has to wonder what kind statement would be made had “March 14th” been the album opener. Might the greater thematic narrative have changed in any way? Now, it all sort feels like Drake has closed the book on that tumultuous little arc, attempting to wash his hands all things Surgical Summer in one fell swoop.

Yet Drake is now five studio albums deep, and one can’t help but look to the competition. Consider Drake’s most obvious parallel, Kendrick Lamar, with whom the public harbor an unyielding love affair; call it the honeymoon stages, call it a well-earned trust. It can’t be denied that Kendrick consistently pushes himself as an artist, taking risks with every project, cultivating a discography to rank alongside any in modern music. It serves to put Drake’s legacy in perspective. The man has the talent, and his writing can rival that any rapper; look no further than More Life closer “Do Not Disturb” to bear witness. Yet when “album mode” approaches, it feels like Drake’s more adventurous creative impulses take a back seat.

In honor Drake’s Canadian roots, the end result feel like a hockey player capable landing the Rocket Richard trophy with ease, doomed to never hoist the Stanley Cup. Maybe it doesn’t matter, as the ride has always been enough for Drizzy. But has the perception turned? Though he styles himself a scorpion, at times, he feels more like a chameleon. Shifting from hero to villain, Casanova to heel, made man to public enemy. His nature never changes, only the narrative. For better or worse, the album never really stood a chance; at least, not in this most vocal court public opinion. Instead, Scorpion felt doomed to be cursed by an inherent set unobtainable expectations. Perhaps that was our own masochistic doing.