6PM in New York by Drake Lyrics Meaning – Decoding Aubrey’s Dusk
Lyrics
Oh you got, oh you gotta love it
I heard what circulated, let’s get to the bottom of it
I told 1da send me something and I got it covered
Somehow always rise above it
Why you think I got my head in the clouds on my last album cover?
The game is all mine and I’m mighty possessive
Lil’ Wayne could not have found him a better successor
Every shot you see them take at me? They all contested
Allen Iverson shoe deal, these niggas all in question
Last night I went to sleep, wanted more
Tried to decide what direction I should go towards
Some nights I wish I could go back in life
Not to change shit, just to feel a couple things twice
28 at midnight, wonder what’s next for me
Longevity, wonder how long they’ll check for me
Prolly forever if I stay in my zone
I speak on this generation but can’t change it alone
I heard the lil’, lil’ homie talking reckless in Vibe
That’s quite a platform you chose, you shoulda kept it inside
Oh you tried, it’s so childish calling my name on the world stage
You need to act your age and not your girl’s age
It gets worse by the annual my career’s like a how to manual
So I guess it’s understandable man
Oh you gotta love it, you gotta love it cheer
I know rappers that call Paparazzi to come and get ’em
To show they outfits off, guess they need the attention
I remember when it used to be music that did it
But then again times have changed man, who are we kiddin’?
I’m managed by my friends that I grew up with
I’d rather give that 15% to people I fuck with
If me and Future hadn’t made it with this rappin’
We prolly be out in Silicon tryna get our billions on
But here we are, yeah
Lately I feel the haters eatin’ away at my confidence
They scream out my failures and whisper my accomplishments
Bitches alter my message like we have words
And stories bout my life hit the net like a bad serve
Bitter women I’m overtextin’ are PMS’ing crazy this year
Fuckin’ with my image
I was tryna reach the youth so I could save ’em this year
Fuck it I guess I gotta wait til’ next year
And I heard someone say something that stuck with me a lot
Bout how we need protection from those protectin’ the block
Nobody lookin’ out for nobody
Maybe we should try and help somebody or be somebody
Instead of bein’ somebody that makes the news
So everybody can tweet about it
And then they start to RIP about it
And four weeks later nobody even speaks about it
Damn, I just had to say my piece about it
Oh you gotta love it
But they scared of the truth so back to me showin’ out in public
That’s a hotter subject
I’ve been whippin’ Mercedes a nigga try to budget
I gotta make it back to Memphis to check on my cousins
Shout out to Ashley, Taja, Bianca, Julia, Ericka, Southern America
Part of my heritage, pardon my arrogance, part in my hair again
That’s that comeback flow, comeback flow
Once I start it’s apparent
I’m with a girl who ass is so big that’s partly embarrassin’
But fuck all the blushin’ and fuck your discussions
And fuck all the judgement
Your content so aggressive lately, what’s irkin’ you?
Shit is gettin’ so personal in your verses too
I wanna prove that I’m number one over all these niggas
Bein’ number two is just being the first to lose
My city dictatin’ music, nobody seein’ us
Winter here already but somehow I’m heatin’ up
Been observin’ the game and feel like I’ve seen enough
Let’s drop a tape on these niggas then we’ll see what’s up
Yeah, boy you rappin’ like you seen it all
You rappin’ like the throne should be the three of ya’ll
“Best I Ever Had” seems like a decade ago
Decadent flow and I still got a decade to go
Oh please, take it ease, where’s the love and the peace
Why you rappin’ like you come from the streets?
I got a backyard where money seems to come from the trees
And I’m never ever scared to get some blood on my leaves
Phantom slidin’ like the shit just hit a puddle of grease
I cook the beef well done on the double with cheese
Special order for anybody that’s comin’ for me
Shit you probably flinch if somebody sneeze
You see they got me back-talking like it’s just 40, Oli, and me
Cuttin’ all loose ends, I be the barber for free
I’m almost at four minutes going off on the beat
Feel like I’m in the Malibu that had the cloth on the seats
Man, oh you gotta love it
And on top of that it’s getting harder to eat
Rappers downgrading houses
Putting cars on the lease
To think labels said they have a problem marketing me
And now it’s everybody else that’s getting hard to believe but man
Oh you gotta love it, yeah
And head to toe I’m Prada covered
I know your girl well, just not in public
Blame the city, I’m a product of it
Young nigga from the city
You gotta love it, yeah gotta love it, yeah
Aubrey Drake Graham doesn’t just capture moments; he encapsulates eras. With ‘6PM in New York,’ he gives us an audio snapshot of the triumphs and turbulence found in success’s shadow. The track is not merely a song but a ponderous journal entry, covered in the ink of introspection, critique, and a bold assertion of his place in the hierarchy of modern hip-hop.
This anthem of braggadocio and vulnerability blends candid confession with chastising bars aimed at his peers and the industry at large. The title, a time stamp, suggesting an end to a day’s hustle and the introspective hour of an artist in his prime, reveals deeper layers upon each listen.
In the Hour of Reflection: Drake’s Lyrical Exposé
Drake uses ‘6PM in New York’ as a canvas to articulate his thoughts on the current state of the rap game and his personal journey. It’s an exercise in self-awareness, with each bar peeling back layers of the artist’s psyche. He addresses the weight of being a successor to Lil’ Wayne—a mantle he carries with pride yet with an understanding of the gravity that comes with it.
The anxieties of moving forward, the yearning to re-experience the simplicity of the past, and the determination to remain relevant underscore a fundamental human struggle—not just the artist’s—of maneuvering through a life that moves at breakneck speed.
The Price of Fame: Musings of the Privileged Poet
There is a double-edged sword that comes with fame, a theme Drake doesn’t shy away from discussing. His mention of rappers calling the paparazzi is a scathing commentary on the artifice that can pervade the music industry. Drake steps away from these theatrics, preferring the real bonds of friendship managing his career, sharing his profits with his circle—his ‘crew love’ ethos.
Moreover, he touches on the loneliness atop the success ladder—the screams of failure, the whispers of triumph. In an age where social media amplifies criticism and ego, he illustrates the diminishing volume of praise versus the crescendo of scrutiny. This dichotomy paints the grim reality of a celebrated life.
Charting the Generational Divide with a Pen
The Toronto titan doesn’t only aim his words at peers but speaks on broader societal issues, reflecting on the role of entertainers as voices of change. Drake signals his dismay over the fleeting nature of social justice in the digital age, where tragedies convert into hashtags then quickly dissolve into oblivion.
He suggests that his ambitions to inspire and elevate the youth get thwarted by the very same people he’s trying to help—a complicated dynamic about the artist’s quest for societal impact versus the audience’s transient attention.
Decoding Drake’s Subliminals and Call-Outs
‘6PM in New York’ serves as a lyrical boxing ring where Drake spars with unnamed contenders, likely addressing Tyga’s criticism at the time. His response to said ‘lil’ homie’ is a calculated, cold dismissal—the equivalent of a chess grandmaster nonchalantly checkmating an overconfident rookie.
The hidden meaning is Drake’s distaste for those who use public controversies rather than skill to elevate their status. His defense: legitimacy through artistry, as he derides those who act ‘childish’ and those who would rather embezzle fame than earn it through creation.
Iconic Lines Foreshadowing Hip-Hop’s Evolution
Sentences like ‘Tried to decide what direction I should go towards’ and ‘Best I Ever Had seems like a decade ago’ are more than just reflections; they’re foreshadowing the internal and external pressures of an artist in mutation. It alludes to the struggle between the comforts of past success and the labyrinth of future endeavors.
‘Bein’ number two is just being the first to lose’ is more than bravado—it’s a challenge to himself and a statement to the hip-hop world. It’s these memorable lines that stamp ‘6PM in New York’ as not only a track but also a testament to the hunger that remains, even when one is at the zenith of their craft.
