How did Drake become the star we know today?

We know Drake as a rapper, entrepreneur, and celebrity personality, but it didn’t happen overnight 

By Jillian Gonzales

Drake performing with a microphone in hand on stage.

Drake performing on stage in July 2016 for The Come Up Show. (Image from: The Come Up Show via Openverse / Licensed under CC BY 2.5. Graphic by Caelan Monkman)

It’s no secret that Drake is among the biggest stars in the world today. From his extensive music career — which continues to excel — to his entrepreneurial ventures, he is a mastermind celebrity who knows how to keep his audience entertained. He has also been a pipeline for many other successful artists and celebrities to help them advance to where they are now, thanks to his own work and accumulated fame. With his new album, For All the Dogs, which was released last month alongside his sold-out It’s All A Blur Tour, Drake has come a long way. Being in the spotlight for over a decade, we can’t help but wonder: How has he managed to stay relevant for so long? 

Started From The Bottom

Drake’s career most notably began when he starred in the television series Degrassi: The Next Generation from 2001 to 2009. His character, Jimmy Brooks, became a prominent figure on the show, allowing Drake to build an image. During this time, he started making music. His music ventures are what ultimately led to his exit from the hit Canadian series in 2009. This is due to producers finding out he was making music, and as he gained traction from this “side” venture, Drake was given the choice between continuing the show or music. Clearly, he made the right decision. 

In 2006, he released his first mixtape, Room for Improvement, which fit right into the trending era of mixtapes where many of the rap and hip-hop artists we now know started their careers. Room for Improvement led Drake to work with R&B artist Trey Songz on “Replacement Girl,” the leading single on his sophomore mixtape, Comeback Season, which caught the attention of Lil Wayne. Who knew Lil Wayne’s shout-out to Drake when he said, "Drizzy Drake, I love you boy!" would have such an impact on Drake’s career – which we see evident in the success of his next mixtape, So Far Gone, which, to date, has accumulated 1.1 billion Spotify streams. 

A New Era 

So Far Gone was the start of a new era for Drake. Alongside Thank Me Later, these two releases helped establish his presence as an artist. The two sound like extensions of his mixtape era but prominently showcase his vocal ability and improved production. This era sounds very retro and hip-hop-focused, with Drake exclusively rapping. He utilizes an orchestral sound to open many of his tracks with rhythmic percussive beats to help his rap flow evolve. 

Between the release of these albums, Drake officially founded OVO Sound, his independent record label established in 2012, which has signed artists including PARTYNEXTDOOR, Majid Jordan, Smiley and many more. Drake’s previous albums are under this label, but it was not until 2012 that it was finally established and founded. This comes after Drake established himself, not just in the music industry but also as a celebrity personality. OVO Clothing was created a year prior, marking the dawn of the production of his clothing line (not to be confused with merch) and OVO as a whole. 

2011 also marked the release of Drake’s Take Care, showcasing his R&B range. This album set him apart from other rappers at the time as he incorporated not only rapping but his melodic vocals as well. Hits like “Marvin’s Room” and the album’s title track, “Take Care” featuring Rihanna, both gained over 555 million Spotify streams. This was a turning point in Drake’s music career when he was able to explore a new sound and showcase his versatility. We hear this new sound in his following albums If You’re Reading This It’s Too Late (IYRTITL) and What A Time To Be Alive, where he returned to his rap roots with fast-paced beats contrasted with slower, relaxed percussion, evoking different emotions through lyrics and backtracks. 

During this era, Drake collaborated with many notable artists, including Future, PARTYNEXTDOOR, Majid Jordan and Lil Wayne, intermingling audiences and bringing one another to even higher levels of fame. As well, Drake became closely associated with the Toronto Raptors; so much so that he was named “Global Ambassador” for the NBA team in 2013. 

Superstar Status

By 2016, Drake’s sound was established and showcased his versatility through his lyricism, vocals, and production, as well as his overall storytelling ability. Views is a notable album that broke records. Songs like “One Dance” (his most streamed song), “Controlla,” and “Hotline Bling” allowed him to rise to superstar status. The album as a whole feels like a story where Drake takes listeners to Toronto to experience the four distinct seasons felt here. The Ringer debates different views of the album and points out the theme to the tracklist, where T.C. Kane says, “It’s supposed to start in winter and then go through summer and back to winter, which is meant to showcase the ‘two extreme moods’ the seasons cause in Toronto.”

“Keep the Family Close,” “Weston Road Flows,” “Controlla,” and “Fire and Desire” mark the beginning of each season of the year, making the album an all-year-round listen. Arguably, this is among his best albums, thanks to his attention to detail and authenticity, creating an album that feels like a love letter to Toronto. 

In More Life, Scorpion, Dark Lane Tape Demos and Certified Lover Boy, Drake’s sound changes while still infusing rap and R&B seamlessly, paying homage to the groovy old-school Drake but moving away from the percussion that was so heavily present in his earlier work. Speaking of old-school, Care Package, an archive album, compiles Drake songs from 2010 to 2016, debuting as a hit. In this era, Drake took his talents to the television and film industry as a producer on a number of projects starting in 2017. Euphoria and Top Boy are his biggest projects, with more to come. 

Drake is not only a superstar artist but also a personality on social media. If you have seen his presence online, he plays along with the jokes –  he seems like a fun guy who doesn’t take life too seriously. He shows love to his fans and stays active on his social media, keeping people coming back to see what he’s up to. Memes of Drake consistently find ways to blow up, like the “Drake the type of guy” trend or even his song with Central Cee, “On the Radar Freestyle,” in which his intro went viral on TikTok. 

The Drake We Know Today

By 2021, Drake was the definition of a household name with the hit release of Certified Lover Boy. The release of Honestly, Nevermind in 2022, however, marks another major shift in Drake’s musical style as he explores the dance and house genres. Sadly, the album was not well received. The piece is consistently upbeat, with his voice melting into the changing tempos. The bright synths and stabbing drums are prominent and definitely unique to his discography but not appreciated in the way Drake had likely hoped. 

Later that year Drake released the collaborative album Her Loss, which allowed Drake to redeem himself. His partnership with 21 Savage brought back the Drake people missed. Heavily rap dominated with some great features such as Travis Scott and production from Earl on that Beat and Metro Boomin, so many elements did the trick to bring him his credit.

Now, in 2023, we have the latest Drake album, For All The Dogs, which has received mixed reviews. The record includes notable features from SZA, J Cole, Yeat, even his son Adonis, and many more. This album acts as a great summary of his music career thanks to the lyrics and authenticity of this piece of work. The authenticity is demonstrated in the album art, created by Adonis, and Drake’s vulnerability in songs like “Slime You Out” and “What Would Pluto Do.” 

The new album opens with “Virginia Beach” which includes a Frank Ocean sample and transitions into a soft kickdrum and melody combo with the sample continuing to play in the background. The song encapsulates a full circle moment for Drake, as he once performed in Virginia Beach with Lil Wayne in 2014. In the song, Drake reminisces on his career. This opens the album perfectly, paying homage to his humble beginnings. For All The Dogs's release aligned with the last weekend of his It’s All A Blur Tour, adding an increased sentiment to the release while cementing Drake’s career. 

Throughout Drake’s professional life, he has grown exponentially. From making mixtapes in his friends’ basement to owning a record label, clothing brand, and much more, Drake has certainly established himself as an all-time great. He continues to stay relevant through his content and interactions on social media and makes big efforts to give back to his community. He also never fails to pay tribute to his roots in the city of Toronto. All in all, he is an inspiration and his story is truly one that could not have been possible without the immense hard work and dedication he puts into his craft.

From class to concerts: Grounders Music Festival spotlights on local talent

From class to concerts: How two students turned their project into a performance festival

By: Anastasia Blosser

Attendees can purchase full-day tickets or choose only to attend the day or night portions. (Courtesy of groundersmusicfestival/ Instagram)

Sofia Shahbazzadeh and Helen Chen aren’t submitting the average practicum project. The two Toronto Metropolitan University (TMU) students transformed their in-class pitch into a live music festival that will showcase the talent of local artists. Complete with vendors, an intimate venue and a high-tech video production, the Grounders Music Festival will occur on Nov. 4 and will be streamable afterwards. 

Grounders began as a final project during Shahbazzadeh and Chen's third year. The pair had known each other since high school and decided to combine their shared passion for audio, music and multi-camera production to pitch the music festival. They not only wanted to create a unique live experience for the community, but a fully produced concert video as well. 

Shahbazzadeh and Chen said that the support they received from their professors and peers helped move the festival forward. “It is a student-run project and there's a lot of love and energy that goes into it,” said Shahbazzadeh. “There's always people out there that want to help you and that believe in your project and your passion.” 

The festival is being put on by a group of women and non-binary creatives who wanted the lineup to reflect their diverse identities. They said they want to foster a sense of community among attendees and artists alike through the event. 

“It became a community building initiative and a place where the [Greater Toronto Area’s] community of arts can come together,” Shahbazzadeh said. 

Chen said that while casting performers, she considered obvious factors like the quality of the music and how the artists would contribute to the vibe of the festival, but also wanted to spotlight marginalized communities. “We were focused on finding musicians of colour, female and non-binary musicians, musicians that belong to the 2SLGBTQ+ community.”

Grounders embraces the concept of time as a driving force behind its curation. Separated into daytime and nighttime portions, the festival will feature nine artists and bands ranging from acoustic folk to experimental pop. The genres of music are intended to change throughout the day, mirroring the passage of time from afternoon to evening. Chen said the festival is a careful blend of acoustic folk, pop and rock, creating a dynamic atmosphere that will resonate with the audience.

The festival will be held in the Junction at OBJX Studios, which features floor-to-ceiling windows. Chen said that the team wanted a venue with a lot of natural lighting, so that the sky could be the festival’s backdrop and the music could match its atmosphere. 

Though not live-streamed, the show will be meticulously recorded so that the artists can have it as a portfolio piece or music fans can stream it. According to Shahbazzadeh, the polished videos will be posted on YouTube. She said she drew inspiration from NPR’s Tiny Desk concerts and wanted to mimic the series’ small and cozy ambience in the festival. 

Grace Turner and Theo White started the band City Builders just before they began dating. They will be performing at Grounders as part of the nighttime set. 

Turner explained that musical collaboration came naturally to the pair. They said they both use music as a love language, whether they’re writing together or on their own. 

“The love that we put into this music comes from a very genuine place,” White said. “I think that translates in the music.”

White said that bands come together for pre-show rituals to ensure everyone is on the same page, but that coordination already exists when the only two members are dating. To him, performances are like a long and rather public date. “We spend the whole day together, we do an activity—which is practice—and then we have a date night—which is a performance.”

Turner said that even though she gets a bit nervous before performing, they always have fun once they’re up on stage together. No matter how large or unfamiliar the crowd may be, White said it's about sharing a moment and creating a connection with the people who come to listen to their music.

“Even if it's a room full of people we don't know, it feels like we're all connected in some sort of way and we're all here for a reason,” she said. “That's what kind of eases the intimidation of getting up on a stage.”

White promises that any audience that watches them perform will have a fresh and exciting experience. Their sets are filled with new songs, demos, and unreleased tracks, making every concert a unique experience for their audience. “Everyone who comes to our shows gets something that they've never heard before and maybe won't ever hear again.” 

Turner said that she’s excited to perform at Grounders but is ultimately looking forward to connecting with different creatives in one space. “One of my favourite parts about playing is talking to people after seeing what kind of art they make,” she said. 

The networking aspect of the festival ties back to the community-oriented approach that Chen and Shahbazzadeh are striving for. Chen said they want the concert to double as an artistic hub and a space for creatives to connect. “We want there to be vendors, food options and different industry professionals that maybe people can network with,” she said. 

Shahbazzadeh said that at its core, the festival is just a place where artists and music fans can congregate and talk to each other about their interests. 

This approach is aiming to create a sense of community and a vibrant atmosphere that fosters organic interactions between artists and attendees. Both have the opportunity to meet and collaborate with each other, fostering creativity and organic relationships that Shahbazzadeh and Chen hope can lead to future collaborations. 

Sofia Aëdon will be performing at the festival as part of the daytime set. With a high school background in theatre, she said she feels more comfortable performing in front of audiences because of her experience on stage. To her, putting on a character is an integral part of each show. Putting effort into her outfit and makeup not only enhances her confidence but also adds a unique dimension to her artistic expression.

Aëdon explained that she naturally slips into acting whenever she performs a set. “I think that it just makes me more confident,” she said. “It's me, but it's in a way that’s like playing a character on stage.”

Her performances are a blend of her authentic self and the character she portrays. This fusion of reality and artistry creates a captivating experience for her audience, leaving a lasting impression. 

Aëdon said that she wishes there were more festivals like Grounders, that aimed to showcase local talent.

Chen joked that if Grounders goes well, there may be more similar events planned in the future. 

Shahbazzadeh said there have been many sleepless nights as the team worked to bring the festival together. So when the event finally arrives, she just wants to soak in the experience. “I really want to enjoy the day and take it as it comes,” she said. “If I see smiles at the event, that would make my day.”

Check out this playlist to help you get ready for the Grounders Music Festival!

The freaks of Queen Street West: Toronto’s goth music history

In the heart of Toronto, the freaks and ghouls roam the streets… and the nightclubs!

By: Klea Pinari

The first chilling strum of gothic guitar is your opening to a world of darkness – a world cloaked in black, but one that still feels unequivocally bright. 

When many people hear the word ‘goth,’ they conjure the same image: skin pale as a ghost, eyelids painted jet black. All that comes to mind is a jarring set of traits, a bold and enthusiastic stand against mainstream culture.

This image is, more or less, an accurate depiction of many goths in the scene. However, the core of goth culture is not their heavy eyeliner or their billowy Victorian sleeves, even though style is an important aspect of being goth. The core of the culture itself is the music. 

The goth scene is a revolutionary subculture that started its journey back in the ‘70s before bursting into the ‘80s with flair. Goth music originated in the U.K. as a result of the post-punk movement, blooming into a large scope of closely related genres that all held the same musical heart.

Some of the most iconic musicians making up the goth scene include Bauhaus, Siouxsie and the Banshees, the Cure and Joy Division. Genres including post-punk and dark wave, along with glam rock and hard rock, are key components of goth’s musical sound and some of the driving forces behind the creation of goth rock. These genres are saturated with moody and experimental resonance. Goth music is unique in the way that it does not bend to the will of any conventional sound – it simply hands itself to the listener.

This music does it all and explores the dark crevices of musical sounds and themes that popular music is too afraid to peer into. The harsh melody of the distorted guitar and the lilted tune of the singer’s voice come together to create an experience that can only be explained in simple words: haunting and beautiful. 

Goth first emerged in Toronto in the ‘80s, but it wasn’t always known as goth. Toronto goths go by a handful of names, including “Batcavers,” as stated by the Encyclopedia Gothica. Batcavers is an ode to The Batcave, a London club that kickstarted the goth movement.

Goth music brought forth a culture of goth clubbing, followed by goth dancing and accentuated by goth fashion. The defining feature of each is goth’s incessant need to be completely authentic.

Clubbing is not only an integral part of the goth scene, it’s the home for all things goth. In the ‘80s, there was an influx of after-hours alternative clubs, as discussed by journalist and DJ Denise Benson in her article Then & Now; Voodoo, which highlighted the history of one of the early Toronto clubs named Voodoo. Many other clubs could be found along Queen Street West and other parts of downtown Toronto, playing underground goth rock, post-punk and more.   

Some of the most iconic clubs included Sanctuary: Vampire Sex Bar and Nocturne, which could be heard booming into the early hours of the morning with the beat of stripped drums. These clubs unified the lonely Toronto batcavers under the safety of the music and a shared understanding of their darker side. For the first time, a goth community was formed with like-minded people who simply wanted to enjoy the noise.

Goth dancing was all the rage in the clubs. The style was very distinct and bizarre, as is everything that has to do with goths. It was an erratic flailing of arms, movements that flow followed immediately by stuttering movements that jerk, a haunting amalgamation of feelings in the form of dance. These dances could range from anything between stomping your feet and banging your head aggressively, to languidly letting your hands move in any direction they want. Goth dancing is all about feeling the music and moving exactly in the way your heart tells you to.

Very soon, Queen Street West was crawling with Batcavers. In 1988, they officially adopted the term “goths.” But even before identifying as goths, they had a third, more intimate name for themselves: freaks. This label was not derogatory; in fact, it was a badge of honour for all those who wore it, and it remained as such through the ensuing decades. The term freak was an embrace of the authentic and off-putting nature of their existence.

Goth music sang of the strange, the sickly, and the sexy. It was a medium for liberation in a new unusual light. Being a freak was a rejection of the societal norms of the ‘80s and ‘90s and an acceptance of the values of goth music: an all-inclusive, queer, sexually liberated form of art. The label was a representation of the darkness and strangeness of the genre, which was exactly what made — and continues to make — the music so beautiful. 

Artists such as Masochistic Religion and Vampire Beach Babes were some of the goth bands that emerged in Canada during the height of the movement. They made numerous references to monsters and vampires in their art. The existence of creatures of the night is a frequent goth symbol and helps to characterize the idea of the “other.” These monsters are given the spotlight in goth music, acting as guiding lights for the freaks to express themselves for who they really are, no matter how the rest of the world reacts to them.

Though the goth scene has died down since the ‘80s and ‘90s, there are still pockets of belonging peeking through the dark crevices. Sanctuary and Nocturne have both closed down, but there are new clubs in their place, teeming with the life of the undead. See-Scape is one of the clubs that remain to preserve goth culture, but there are also goth events at venues such as The Garrison and Bovine Sex Club.

Canadian artists like Dermabrasion and ACTORS are still active and create music that captures the essence of goth rock and all the other genres that make up the goth music scene. The decline in goths wandering down Queen Street West is exactly why it’s important for there to be new artists continuing to pave these pockets of belonging. Lol Tolhurst, drummer and co-founder of The Cure, said that goth was still alive and well through new artists, despite it not looking the same as when he was at the forefront of the movement. 

“I see all these people live in small places — their way out was us (The Cure),” he said in an interview with CNN. “I’m very honored and proud of that. That’s what keeps (goth) going.”

Goth music uses its doom and gloom as a means to explore the uncanny, to welcome the freakish and the bizarre. It’s not consumed by the darkness – it’s uplifted and inspired. It’s haunted. It’s beautiful.