![]() ![]() ![]() ![]() No wonder her character is “passive-aggressive when we’re texting,” as their relationship appears to have been in the rearview long before Drake has the epiphany of making life “deeper than money, pussy, vacation.” But most infamous of all is when he complains that Courtney from Hooters on Peachtree had the bad manners to go and get engaged when Drake had earmarked her for the duty of completing him. “I love me, I love me enough for the both of us / That’s why you trust me / I know you been through more than most of us,” is just a… bold thing to have a woman sing. The chorus she was given is so jaw-droppingly devoid of reciprocity that one realizes Drake’s true innovation insofar as rap’s emotions was his bravery in allowing it to be on his own record. This spooky and sparse Nothing Was the Same highlight put Jhené Aiko in the unfortunate position of consoling Drake to the point of absurdity. “I’m lucky that you picked up / Lucky that you stayed on / I need someone to put this weight on.” There’s no emoji for what that unlucky woman probably felt in response. Maybe he believes that, maybe he doesn’t, but it’s hard to hang up from this call and ultimately feel that the woman already trying to get over him needed this shit right now. After all, what’s more quintessentially Drake than drunk-dialing one’s ex and inadvertently mentioning all the sex he’s been having since? “Marvin’s Room” set the stage for a string of Drake songs that are ultimately about his needs, even as he tells his ex that she could do better than him. “Marvin’s Room” was seen as an anomaly at the time, a six-minute, somewhat avant-garde, ambient-R&B lament, but it’s come to be known as the stereotypical Drake song. ![]()
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