## Kanye’s Got Take Notes: Did Ye Just Admit to Mimicking Drake? The music world is buzzing after Kanye West’s recent comments, where he seemingly confessed to borrowing from the iconic Drake flow. Is this a playful acknowledgement or a brazen admission? We dive into Ye’s words, explore the history of their musical rivalry, and analyze whether this revelation changes how we perceive his iconic sound. Buckle up, because this is about to get interesting.
Influence on His Style
Ye’s admission that he borrows Drake’s flow is not a new revelation. In fact, it’s been a long-standing observation among fans and critics alike. Throughout his career, Ye has often been accused of borrowing from other artists, including Drake. One notable example is his 2013 album Yeezus, which featured a prominent sample of Drake’s song “Pound Cake”.
On his recent stream, Ye explicitly mentioned the influence of Drake’s style on his own music. He stated, “I had sh– that copies a Drake flow a lot of the times. I got sh– that once Drake took over the algorithm, I had sh– that was copies of Drake.” These comments suggest that Ye is aware of the impact of Drake’s style on his own work and is willing to acknowledge it.
Ye’s borrowing of Drake’s flow is not limited to his lyrics. His production style has also been influenced by the Toronto rapper. Ye has often incorporated elements of trap and cloud rap into his music, which are genres that have been popularized by Drake and other artists from the 6 God’s circle.
Examples of Ye’s Borrowing from Drake’s Style
Ye’s 2013 album Yeezus features a sample of Drake’s song “Pound Cake”. The sample is used extensively throughout the album, particularly on tracks like “On Sight” and “Hold My Liquor”.
Ye’s 2016 album The Life of Pablo features a track called “Ultralight Beam”, which has a similar atmospheric and introspective vibe to Drake’s song “Weston Road Flows”. Both tracks feature a mix of hip-hop and R&B elements, with a focus on atmospheric production and introspective lyrics.
Ye’s 2018 album Ye features a track called “Ghost Town”, which has a similar trap-inspired beat to Drake’s song “Duppy Freestyle”. Both tracks feature a mix of hip-hop and electronic elements, with a focus on heavy production and introspective lyrics.
These examples illustrate the extent to which Ye has borrowed from Drake’s style. However, it’s worth noting that borrowing from other artists is a common practice in music, and Ye is not alone in his admiration for Drake’s style.
Creative Freedom
Ye’s admission that he borrows Drake’s flow raises questions about his creative freedom as an artist. Is he truly in control of his own creative vision, or is he simply following in the footsteps of another artist?
On the one hand, Ye’s borrowing of Drake’s style could be seen as a form of creative homage. By incorporating elements of Drake’s style into his own music, Ye is paying tribute to the Toronto rapper’s influence on his own work. This approach could be seen as a form of creative freedom, as Ye is choosing to draw inspiration from another artist rather than simply copying their style.
On the other hand, Ye’s borrowing of Drake’s style could be seen as a form of creative copying. By relying too heavily on Drake’s style, Ye may be sacrificing his own creative vision in order to appeal to a wider audience. This approach could be seen as a form of creative constraint, as Ye is limiting his own potential by following in the footsteps of another artist rather than forging his own path.
The Implications of Ye’s Admission
Ye’s admission that he borrows Drake’s flow has sparked a wider conversation about creative freedom in music. The debate raises questions about the extent to which artists should be allowed to borrow from one another, and whether this borrowing is a form of creative freedom or a form of creative copying.
Ultimately, the implications of Ye’s admission will depend on how he chooses to use his influence and creative freedom in the future. If he continues to borrow from Drake’s style, he may be seen as a talented artist who is able to draw inspiration from others. However, if he relies too heavily on Drake’s style, he may be seen as a copycat who is unable to forge his own path.
The Broader Conversation
The debate about creative freedom in music is a long-standing one. It raises questions about the extent to which artists should be allowed to borrow from one another, and whether this borrowing is a form of creative freedom or a form of creative copying.
One of the key arguments in favor of creative freedom is that borrowing from other artists is a natural part of the creative process. Artists often draw inspiration from one another, and this borrowing can lead to new and innovative works of art.
On the other hand, some argue that borrowing from other artists is a form of creative copying. This approach can lead to a lack of originality and creativity, as artists rely too heavily on the styles of others rather than forging their own path.
Artistic Integrity
Ye’s admission that he borrows Drake’s flow raises questions about his artistic integrity. Is he truly committed to his own creative vision, or is he simply following in the footsteps of another artist?
Ultimately, the question of artistic integrity is a complex one. It raises questions about the extent to which artists should be allowed to borrow from one another, and whether this borrowing is a form of creative freedom or a form of creative copying.
In the end, the answer will depend on how Ye chooses to use his influence and creative freedom in the future. If he continues to borrow from Drake’s style, he may be seen as a talented artist who is able to draw inspiration from others. However, if he relies too heavily on Drake’s style, he may be seen as a copycat who is unable to forge his own path.
Originality vs. Influence
The debate about creative freedom in music raises questions about the importance of originality versus influence. Is it more important for artists to be original and unique, or is it acceptable for them to draw inspiration from others?
Ultimately, the answer will depend on the context in which the borrowing takes place. If an artist is able to incorporate elements of another artist’s style into their own work in a way that is creative and innovative, then this borrowing can be seen as a form of creative freedom. However, if an artist simply copies another artist’s style without adding anything new or original, then this borrowing can be seen as a form of creative copying.
Conclusion
Ye’s admission that he borrows Drake’s flow is a complex issue that raises questions about creative freedom, artistic integrity, and the importance of originality versus influence in music. While borrowing from other artists is a natural part of the creative process, it is also important for artists to be able to forge their own path and create something new and original.
In the end, the implications of Ye’s admission will depend on how he chooses to use his influence and creative freedom in the future. If he continues to borrow from Drake’s style, he may be seen as a talented artist who is able to draw inspiration from others. However, if he relies too heavily on Drake’s style, he may be seen as a copycat who is unable to forge his own path.
Brothers Can Beg and Borrow
Brothers can beg and borrow, still feel sorrow when Jay-Z, like Zorro, gets in that ass. Better luck tomorrow, I’m too much, nigga, so never should you rush. You need slow down, or get your ass tore down. Check it out, I’m too cocky, to stop me, you gotta kill me. And when I’m gone, you can still feel me, on the real, B. The shit is eternal, I rock the heavens well, even if they won’t let me in heaven, I raise hell, till it’s heaven.
This song is a powerful expression of the emotions and struggles that Ye has faced in his life. The lyrics are a testament to his resilience and determination, and they demonstrate his ability to use his music as a form of self-expression and catharsis.
Lyrics
Yo, check it Yo, I got slugs for snitches No love for bitches Puttin thugs in ditches When my trigger finger itches I got a rep that make police jet Known to get a priest wet I never beg for pussy like Keith Sweat Is Big L slow? Hell no Bitches get fucked on the roof when I ain’t got no hotel dough I’m known for yoking jacks And beatin them with smoking gats Leavin token blacks with broken backs and open caps So with that bullshit, step to the rear son The last thing you want with Big L is a fair one Cause in a street brawl, I strike men like lightning You see what happened in my last fight friend? Aight then I beat kids with lead pipes I leave a trail of dead mic’s Where I’m from, niggaz jewels get ran like red lights Old folks get mugged and raided Crimes are drug related And we live by the street rules that thugs created Clowns get smoked about a thousand volts For selling pounds of coke Front in this town and get a tech stuck down your throat I’m tellin you shit is about to get drastic soon I’m quick to blast a goon And break a motherfucker like a plastic spoon I got the looks that make your hotty stare I keep a shotty near It’s the nigga with notty hair who Gotti fear Tracks I’m know to roast Until the microphone is ghost Props I own the most I’m leaving niggaz comatose Front and get your brain pinched Big L will have your whole gang lynched I started smoking dust and been insane since This rap shit was a great gift The other night some snake riffed And got a hot lead face lift All through high school I had braids I kept mad blades Stabbing teachers to death that gave me bad grades I cook the mic like a beef steak Cause my techniques great And I’m the nigga police hate in each state Cause I’m the neighborhood lamper Punk brother vamper Fuck around you’ll find my silk boxers in your mother’s hamper Cops drop when my glock makes a pow sound I’m from a whyle town You know my style clown, so bow down
Conclusion
In conclusion, the recent admission by Kanye West that he borrowed Drake’s flow is a telling revelation that sheds light on the complexities of creativity, influence, and originality in the music industry. As we delved into the story, it became apparent that Ye’s candid confession not only sparked a heated debate about artistic ownership but also raised important questions about the blurred lines between inspiration and imitation. By acknowledging that he had “shit that was copies of Drake,” West inadvertently opened up a Pandora’s box of concerns regarding the true value of authenticity in an era where musical landscape is increasingly homogenized.
The implications of this controversy extend far beyond the realm of celebrity feuds and instead, touch on the very fabric of creative expression. As we move forward, it is crucial that artists, producers, and industry insiders engage in more nuanced conversations about the role of influence, homage, and innovation in shaping the soundscapes of tomorrow. By doing so, we can foster a culture that not only celebrates originality but also acknowledges the inevitable intersections of artistic expression. As the music world continues to evolve, one thing is certain – the boundaries between inspiration and imitation will remain a topic of intense scrutiny, and it is up to us to ensure that the pursuit of creativity is always tempered by a deep respect for the pioneers who paved the way.
In the end, Ye’s admission serves as a poignant reminder that even the most iconic figures in music are not immune to the gravitational pull of influence. As we look to the future, it is our responsibility to recognize that the true power of creativity lies not in the absence of influence, but in the capacity to transform those influences into something entirely new, entirely original, and entirely our own. And so, let the echoes of Ye’s confession reverberate as a clarion call – a call to arms for artists, producers, and music lovers alike to reclaim the true essence of creativity, and to forge a sonic landscape that is at once, both reverent and revolutionary.