Rick Ross verbally punched Drake in the face, calling him a white boy

OPINION: “Champagne Moments” is a diss album intended to query Drake’s identity in hip-hop

“Champagne Moments” by Rick Ross” gives us Ross spitting like a devil. This album has the nastiness that a diss album must have. Ross sounds slow, smooth and evil. And he obsessively calls Drake “white boy.” This song is wild. What a time to be alive.

We know Drake is biracial. He’s never hid it, but lots of us consider him as black, or no less than a part of the culture. (versus e.g. Logic.) On this album Ross wants to alter that. In a black space, calling a biracial person white is a strong diss statement. It’s also hyper-problematic. We shouldn’t exclude biracial people from the Black community, but in an all-is-fair rap environment, as a way of attacking someone and undermining their credibility and identity, it’s a powerful message.

Ross says you are not one in all us. You are an outsider. We shouldn’t even take you seriously.

In the sickest a part of the song, Ross tells Drake, “Another white boy in the park wants to hang out with the crew.” We all know that white guy who desires to be down because he fetishizes a culture. We do not like him in general. I feel like he’s making the most of us. Matching him with Drake is… wow.

We also know a biracial guy who suits a little awkwardly into black spaces. (I’m not saying that every one biracial people don’t fit in. I’m talking about a specific group of biracial individuals who don’t fit in.) Ross wants us to think about Drake as such. This is a bad move since it goals to alter Drake’s entire relationship with the hip-hop audience. It’s something someone could pull out of Ross’s files and tell Drake to harm him.

As I discussed in my “Push Ups” breakdown, the two most vital elements of a diss record are:

1. Say true things that embarrass your opponent.

2. Say things that may change the audience’s mind about who your opponent is as an artist or person.

Ross says something true about Drake – he’s biracial – and uses it to alter the way viewers view Drake.

Seriously, Drake should hire Ross as a author because this is precisely the sort of record he ought to be making. Ross sees Drake’s financial boasts and offers his own – I even have a lot of cash too. What’s up? But he also has all the street-tough braggadocio that Drake could never drop.

Ross mentions Drake’s ghostwriters, which for a lot of is the most disqualifying thing that may be said about Drake. Many people wonder in the event that they have writers; he can’t be considered one in all the best. There is a separate level for rappers who don’t write their very own rhymes – they’ll never reach the top – identical to a foreigner can never change into POTUS.

The “white boy” jab is the most devastating to my ear, but the line that basically stands out is, “Like his moves, but he never had to fight in school / He was always running away, the other n… had to write his beats.” ” Ross takes us back to Drake’s childhood, portraying him as a scared kid, as if to say he was always lacking heart. He always persuaded others to do their dirty laundry for him. I imagine a young Drake running away from beef. Now he’s not running away from it, but he’s still asking others for help, while Ross, like Kendrick, A$AP Rocky and everyone else currently fighting against Drake, writes for themselves.

“Push Ups” is a deeply memorable album. “Champagne Moments” is an album that I want to come back to many times. Ross loves to troll, and hip-hop’s current favorite sport is trolling Drake.

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