An intense interview with Akademiks delves into the ongoing feuds between Drake and The Weeknd, as well as Drake and Kendrick Lamar. His youtube podcast feature from NELK is 2.5 hours and we've detailed everything that was talked about. Below are sections in the interviews with quotes and more details.
The conversation begins with Akademiks outlining the intricate history between these rappers. He describes instances where collaborations and public appearances suggested a bond, only to be followed by veiled insults and underlying tensions.
A central theme that emerges is Drake's perception of using friendships for career advancement. Akademiks compares it to "using girls," as he mentioned on the podcast, suggesting that Drake befriends these artists, gains the spotlight he seeks, and then moves on when it's no longer advantageous.
The interview explores the complexities of "winning" in a rap feud. Akademiks acknowledges that Drake may have the upper hand commercially, but the internet appears to be applauding The Weeknd and Kendrick Lamar's lyrical attacks. "Commercially, Drake is a powerhouse," Akademiks acknowledged, "but online, the diss tracks from Weeknd and Kendrick are receiving a lot of love."
While the music industry appears to be unified against Drake, Akademiks warns that this may not be the definitive end. He points out past examples of rappers like Jay-Z and Nas, where strategic career moves outweighed diss tracks. "We've seen this before," Akademiks explained, "strategic silence or a surprise album drop can often be more effective than responding to every diss track."
Akademiks revealed that his connection with Drake began years ago, though not without its bumps. "The first time that Drake and I communicated was years ago, but we actually ended up arguing," Akademiks recounted. He went on to explain that he and Drake eventually reached a place of mutual respect "along the way."
A pivotal moment in their relationship came when Drake called Akademiks to address a situation concerning SZA. "He essentially called me saying, 'Hey, I'm trying to work on these songs with SZA, and she's visibly upset... some of the things you've said really bother her,'" Akademiks recalled. This call, according to Akademiks, made him realize the immense influence he wields in the hip-hop world, even if he doesn't always recognize it. "You don't think they're listening sometimes, too, right? Like someone like SZA," he admitted.
The conversation highlighted the evolving landscape of hip-hop media, where trust between outlets and artists is increasingly paramount. "Having that relationship with the artist and the artist actually trusting you on a level to be like, 'Hey, I'm not going to reach out to TMZ to answer whatever,'" said Akademiks. He contrasted this approach with traditional media outlets, suggesting that his focus on building trust allows for a more nuanced and fair portrayal of artists.
According to Akademiks, Kendrick Lamar has cunningly crafted a narrative that positions him as the underdog in the battle against Drake. By leveraging perceptions of authenticity and subtly undermining Drake's credibility, Lamar has won sympathy and support from fans.
"Kendrick doesn't seem like the guy who's the internet guy... because of the perception of Kendrick, no one's going to really care about that."
Both artists have used their music as a weapon in their feud, strategically timing their song releases and embedding cryptic references aimed at each other. Akademiks reveals how Drake and Lamar have employed these tactics to gain an advantage. He mentions Kendrick on 66 616 saying "I'm looking at academics, he's compromised... he was just like I'm going to just cut off the lifeline of you even disseminating any information."
Reports of violence targeting Drake's inner circle have surfaced, signaling a dangerous escalation in hostilities. Akademiks describes incidents of drive-by shootings aimed at security guards, heightening concerns about the safety of those close to Drake.
"Apparently, these dudes drive up to the gate in Toronto, start playing music at 2 am, and lure the security out. It's clear that it's not a random occurrence, as nobody goes to Bridal Path to play music at odd hours."
Akademiks acknowledges a potential shift in the ongoing feud, stating: "Kendrick currently holds a slight lead," but emphasizes that Drake isn't out for the count. This sentiment is based on industry knowledge and observations of fan reactions.
Akademiks discusses the impact of Kendrick's "Not Like Us" track, which included controversial accusations against Drake. Akademiks stated, "While Kendrick's bars were powerful, making unproven accusations of pedophilia against Drake could have negative consequences." This statement underscores the potential risks of using such a harsh tactic.
Akademiks criticizes Drake's response strategy: "He should have waited and crafted a stronger diss track instead of rushing a response," he suggests, raising questions about Drake's next move and whether he will counterpunch with a more calculated attack.
Social media appears to be favoring Kendrick, as noted by Akademiks. "Social media and online buzz are in favor of Kendrick's delivery and overall strategy," he points out. This indicates that Kendrick's approach may be resonating more with fans at the moment.
Akademiks provides valuable advice for aspiring rappers engaged in feuds. He emphasizes the importance of waiting for the right moment to strike back with a powerful response. He references Eminem's "Killshot" as a prime example, describing it as perfectly timed and devastating. This underscores the significance of strategic timing and well-crafted lyrics in the success of a diss track.
Akademiks humorously acknowledges the recurring theme of women in rap beef: "Here we go again with women in rap beef! Seems like these guys are always competing for the same ladies." This lighthearted comment injects humor while acknowledging a recurring theme in hip-hop feuds.
Akademiks acknowledged the online chatter surrounding Drake's rumored involvement with multiple women. He mentioned his own past encounters with some of these women, hinting at a wider network connected to rappers: "We gotta stay away, bro... we're probably all Eskimo Brothers with each other." This lighthearted comment added a layer of humor to the discussion.
Akademiks pointed out the difference in online presence between Drake, who is very active online, and The Weeknd, who is more mysterious. He mentioned, "Even Playboi Carti...these guys are on the internet all the time...The Weeknd hits me up for the very first time ever." This emphasizes the varied strategies used by these artists.
Akademiks highlights the compelling nature of rappers' carefully crafted online personas. He mentions, "Even if a smaller channel says something about us...Drake used to be like that. There was a time when people used to care about getting a follow from Drake. Now, you realize that Drake sees everything. I'm pretty sure he's watching videos with about 400 views. Yeah, he definitely watches my stuff." This quote underscores the intense level of scrutiny that rappers face online and the potential for fans to become obsessed.
A frustrated Akademiks expressed his disapproval of Drake's rumored behavior: "This is yo... let me tell you this... I said I'm a fan of Drake, the musician... but he might be a slimeball a little bit, yo." This statement reflects a shift in Akademiks' perspective, moving from admiration to criticism.
Akademiks discusses the intricacies of relationships between rappers and groupies. He describes a situation in which a girlfriend appeared to boast about receiving a message from Drake, potentially causing insecurity in her partner. "I don't know if it's because of what you said about like you want to make sure she's not texting champagne Papi." This scenario illustrates the tension and possessiveness within these dynamics.
The conversation concludes with a sense of resignation. Akademiks jokes about starting a podcast dedicated to discussing male anatomy, acknowledging the often repetitive and sensational nature of rap beefs. "this was good though that actually smack that's funny." This lighthearted ending provides a final humorous touch to the discussion.
