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OPENMIC
[인터뷰 번역] RAP RADAR: DRAKE
 
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  2472
2020-07-07 16:00:08

 

 

*대본 작성을 목적으로 진행되어 위 인터뷰 영상과 100% 일치하지 않습니다.

*The interview has been simplified for documentation purposes.

 

저희는 지금 드레이크라는 래퍼와 함께 있는데요. 안녕하세요, 오늘 기분은 어떠세요?

This guy goes by the name of Drake. What’s up sir, how are you?

 

좋습니다, 여기까지 나와주셔서 감사해요. 저희는 지금 토론토, 캐나다에 위치한 저의 집에 있죠. 이 집을 몇 년에 걸쳐 드디어 완성하게 되어 2주 전에 이사 왔어요. 아직 적응 중이지만 매우 만족스러워요. 제 친구들이 요즘 한창 음악 작업을 열심히 하고 있는데, 지난 2주간 혼자만의 시간을 보낸 것 같아 이 기회를 통해 미안하다고 하고 싶네요. 그래도 제가 음악을 시작하고 나서 지금보다 더 제 인생이 저만의 것이라는 기분을 느낀 적이 없는 것 같아요. 너무 일에 치어 살면서 가끔 사생활이 있다는 걸 까먹었죠.

I’m good, thank you guys for coming out here. I appreciate it. Well we are in Toronto, Canada at my house, which is a nice thing to say because it’s been in a few years in the making. I just moved in about like 2 weeks ago maybe, so still getting settled, getting adjusted, but yea, it’s great. I’ve just had a conversation with the guys the other day because we are kind of in the strive for music, and I took like the last two weeks to myself pretty much and I feel guilty when I don’t work so I just sent this apology letter out to everybody. But you know, I say that to say the reason why is that I feel like I haven’t felt like my life belonged to me this much probably in the whole span of my career. I mean, you know, you just get so caught up in work that you forget that you have a personal life.

 

일과 개인적인 생활 사이에 균형을 이 집이 잡아주고 있는 거네요?

So this place is kind of like building a balance?

 

네, 이 집에선 저 혼자 생활하고 있으니까 균형과 안정감을 많이 받는 것 같아요. 생각할 시간도 많고요. 아침에 일어나서 에스프레소를 마시기 시작했어요, 좋은 음악을 틀어놓고서. 여러분들이 아직 화장실을 볼 기회가 있었는지 모르겠는데 거기서도 노래가 나와요. 너무 만족스러워요. 특히 다른 세대로 넘어가는 이 시점에서 저 스스로 새로운 길을 열어준 것 같은 기분이에요. 거의 완벽한 타이밍에 말이에요.

Yea, I mean I live here pretty much by myself, so it is just bringing me a lot of balance and a lot of peace, a lot of time to reflect. I wake up in the morning started drinking espressos, wake up and have a nice balanced meal, put on some great music. I don’t know if you guys went to the toilet yet, but you know the toilet plays [music]. It’s been great, it’s been setting me on a new path especially at the turn of the decade, it’s almost the perfect timing.

 

지금은 이곳에서 살고 있지만, 지난 10년간 당신은 차트 속에 살았어요. 제일 중요한 건 많은 이들에게 당신은 이번 세대 최고의 가수이죠. 2010년대는 정말 당신의 세대였다는 말을 꼭 하고 싶었어요. 심지어 400주를 넘게 탑 10 차트에 당신의 노래가 머물렀다는 소식도 전해지고 있어요, SICKO MODE가 그 기록에 포함이 되지 않았는데도 말이죠. 정말 놀라운 일이에요.

You live here, but you’ve been living on the charts for like the last ten years. That’s what we want to say, the main thing is to everybody, you’re the artist of the tens; this is your decade, it’s a decade of dominance. I just feel like that needs to be said, like some statistics came out about 400 weeks or something that you were in the top 10, and then they didn’t count SICKO MODE and you weren’t credited. That’s insane.

 

아, 그 노래가 왜 기록에 포함이 되지 않았는지는 저도 아직 모르겠어요.

By the way, I don’t know why I wasn’t credit.

 

이런 숫자들이 발표가 되면 감회가 새로우시겠어요, 지난 10년간 당신이 이뤄낸 업적들을 한눈에 보면 말이에요.

Obviously, you know what you’re doing, but to see those type of statistics written down, that’s got to even impress yourself, if you see that what you’ve accomplished in the last 10 years.

 

특히 한 세대가 바뀌는 지금 이 시점에서 많은 사람이 제 눈앞에 결과들을 보여주니까 그만큼 더 보이고 느껴지는 것 같아요. 하지만 절대 기록에 집착하지 않는 편이에요, 그래야 오직 음악에만 집중할 수 있으니까요. 그래도 너무 놀라운 일이죠. 얼마 전에 제 친구가 영상을 하나 보내줬어요. 많은 아티스트들이 움직이며 지난 10년간 순위가 바뀌는 형상을 보여주는 그런 영상이었는데, 마지막 2분에는 제가 맨 위에 가만히 앉아있더라고요. 아, 싸이의 강남스타일이 나왔을 때 잠깐 내려온 것 빼고요. 되게 놀라웠어요, 제가 평생 원했던 것이기도 하고요. 제가 포기하지 않고 끊임없이, 그리고 꾸준히 새로운 것을 창조해 내려고 노력하는 이유이기도 하죠. 적당히 쉬어가는 방법도 배우면서. 그래도 이제 끝난 거잖아요, 이제 처음부터 다시 위로 올라가야죠.

When people start to put it in your face, when it’s one of these moments at the turn of a decade, it’s when you really start to see it more and realize it. I never let myself get too invested in the lows or the highs; that’s kind of how I stayed focus. But yea, it’s incredible. One of my friends sent me a video the other day and it was just like all the top numbers from the last 10 years, and I don’t know if you saw the video fo all the artists moving and taking over different spots, but that was pretty crazy. Because for the last two minutes of that video, I was just sitting up there with the exception of getting flipped out with PSY and Gangnam Style. It’s great, it’s everything that I ever wanted. It’s what I work tirelessly for and [why I] relentlessly, constantly try to create and stay refreshing, stay consisted, learning the right amount of time to take off. But it’s over, so it’s just time to go again.

 

10년 전에는 이런 기록들을 세울 것이라고 상상해봤나요?

But 10 years ago, did you ever anticipate having a run like this?

 

제 머릿속에 이루고 싶은 일들이 있긴 했어요. 제 자신의 대한 믿음도 높았고 해낼 수 있을 거라는 자신감도 있었죠. 그래도 여기까지 올 거라는 상상은 못 했던 것 같아요. 시간이 지나면서 돈을 벌고 많은 것들을 얻으면서 동시에 욕심도 많아지는 것 같아요. 제가 만약 내일 당신에게 천만 달러를 건넨다면, 당신은 그게 어떤 기분인지 깨닫고 주변에는 천만, 아니 1억 달러를 갖고 있는 사람들로 가득 차겠죠. 그리고 그다음에는 바로 천만 달러로 할 수 없는 일들을 생각하기 시작할 거예요. 그렇게 욕심이 생기기 시작하는 거죠. 그러니까 비슷한 이유로 제가 처음 갖고 있던 야망들은 이미 오래전에 이룬 것들이에요.

I think I had things in my mind that I wanted to accomplish. I think I had the upmost faith in myself and a lot of confidence in myself. I don’t necessarily know if I ever saw it going this far, but also, you know, as you receive things in life like money and blessings, your appetite begins to grow. So if I give you a million dollars tomorrow, you’re going to learn what it’s like to have a million dollars. And then you’re going to start being around people who have 10 million dollars or 100 million dollars, then learn all the things that you can’t get with a million dollars. So your appetite grows and I think the initial visions that I had for myself is just manifested.

 

그럼 한 때 갖고 있던 목표들은 어떤 것들이 있었나요?

What are those goals, then, at that time?

 

처음 음악을 시작했을 때는 그저 릴 웨인만큼 중요한 인물이 되고 싶었어요, 왜냐면 살면서 그분만큼 영향력이 큰 사람은 또 없을 것 같았거든요. Lollipop이나 The Carter III 활동을 했을 때, 그때 랩이 이렇게나 크고 반짝이는 존재인지 처음 깨달았거든요. 릴 웨인과 투어를 함께 하면서, 그의 공연과 무대를 직접 지켜보면서 절대 음악 시장 안에서 그를 뛰어넘을 인물은 없을 거라 생각했어요. 지금까지도 없었고, 앞으로도 그만큼 진심을 다해 음악을 할 사람은 없을 거예요. 그가 음악을 대하는 태도와 그의 진실성을 제일 중요하게 생각했어요. 가끔 퓨쳐나 영떡한테서 보이는 모습이기도 한데, 그들은 정말 음악 안에 존재하고 그것을 위해 끊임없이 노력해요. 그래도 릴 웨인 같은 사람은 또 없어요. 지금도 기억이 뚜렷한데 그는 하룻밤 사이에 놀라운 곡들 5개를 끝낸 적도 많아요. 벌스들을 하나, 둘씩 채우고 나서 두 달 후면 그 곡들은 완성돼서 발매가 되었었죠. 믿을 수가 없었어요. 어쨌든, 제가 음악을 시작했을 때 갖고 있던 목표는 뒤처지지 않는 멘티가 되고 싶었어요. 제 멘토만큼 중요한 사람이 되고 싶었어요. 그걸로 시작해서 웨인이 감옥에 갔을 때 더 많은 것들을 깨달았죠. 그가 갖고 있던 책임감, 영향력, 그 모든 것들을 저희에게 떠넘기고 간 거였으니까요. 그 무계가 제 어깨 위로 전달됐으니, 그가 집으로 돌아올 때 우리의 업적들이 그대로 남아있을 수 있게 노력했어요. 그가 집에 돌아오는 날 좋은 차를 끓고 마중 나가고 싶었고, 그가 돌아왔을 때는 저희 존재가 더 커져있을 수 있게 만드는 건 오로지 제 책임이었죠.

I think when I first started out, I just wanted to be as important as Lil Wayne because I thought nobody was every going to be big as Lil Wayne. Like during Lollipop times or The Carter III times, I’ve just never seen rap like this bright flashbulb. I’ve never seen it so massive and so big, and remember, I was on tour with this guy, so I’m watching his shows and everything. By the way, I don’t think that anyone, in music, from now and before and the future, I don’t know if there will ever be anybody that will work harder than that guy. So that was a big thing that I paid attention to as well, he has the most insane worth ethic. I see a lot of glimpses of that in guys like Future and Young Thug, guys that really stays in there and live relentlessly. But there was nothing like Wayne. I used to watch Wayne cut four or five classics in a night, joints that would go on to be mind-blowing. He would get four verses off, and then two months later, those songs would come out and I can’t believe it. But anyway, I think initially my goal was just to be a protege that didn’t flop. I just wanted to be somebody that was remotely as important as my mentor. From there, I think a lot of things changed when Wayne went to jail, because it was a moment of realization. This guy put pretty much all his power and trust behind us, and now it’s on our shoulders to make sure that when he comes home, it’s the same thing. You want to make sure that when he comes out you come pick him up in a nice car, so it was that type of responsibility. When my guy comes home, I just want to make sure that this thing is bigger than where it was when we left off.

 

 

그럼 그 힘든 시기를 어떻게 버티셨나요?

So how do you think you held it down in that period?

 

그가 가르쳐주고 그에게서 배운 것들을 모두 활용했어요. 물론 옆에 니키도 있었지만, 저는 항상 웨인의 친동생 같은 존재라고 생각했어요. 그래서 그의 이름을 끝까지 끓고 가는 건 제 책임이라고 생각했어요. 웨인뿐만 아니라 맥, 니키, 테즈까지 모두 제가 끓고 가야 한다고 생각했어요, 위로 올라갈 수 있는 만큼 최대한의 위치까지. 그 시기에는 웨인의 방법들을 기억하며 제 음악을 다양한 방면으로 실험해봤던 것 같아요. 새로운 것에 도전하는 게 두렵지 않았고, 작업하는 게 즐거웠죠. 이것도 웨인이 저에게 항상 선택권을 줬기 때문이에요. 그는 절대로 “나처럼 해야 해, 밤을 새우면서 작업해야 해, 이런 마약을 해야 해”라는 말들을 하지 않았어요, 어떤 면에서든 절대 부담을 주지 않았죠. 예를 들자면, 저기 앉아있는 제 친구이자 파트너와 몇십 년을 함께 하는 중이에요. 제가 처음 회사랑 계약했을 때 “나는 40 없이 작업 안 해, 여기로 데려와야 해. 내 엔지니어이고, 내 목소리를 어떻게 만져야 하는지 알아”라고 했어요. 그리고 대표님의 반응이 아직도 생생해요, “이 남자 애 친구 비행기 표까지 사줘야 해? 그냥 여기 있는 엔지니어들이랑 작업하라고 해.” 지금 생각해보면 저라도 어이없었을 것 같아요. 그때는 드레이크도 아니었고, 지금 막 계약한 어린 남자애가 그런 얘기를 했던 거니까요. 대표님 입장에서는 돈을 생각해도 비즈니스를 생각해도 말이 안 되는 얘기였죠. 근데 그때 웨인이 나서 줬어요, 제가 원하는 거 모두 해달라면서요. 그런 것들이 모든 걸 가능하게 했던 것 같아요. 그가 없는 동안 우리의 플랫폼이 없어지지 않게, 아니 더 크게 만들어놓을 수 있었던 이유예요.

Just from all the teachings, all the things that I learned, I think I clicked into different zones naturally. I was out here by myself, obvious it was me and Nicki, but I always felt like I’m Wayne’s little brother and he’s dependent on me to carry this name. And at that time, Young Money was a lot more connected, so I felt the obligation to everybody—to Mack, Nicki, Tez—to take things to whatever level I could take them to. I think I just did it by observing him. I knew what it was to try new things on records, I wasn’t afraid, I loved to work, and Wayne always embraced me working in my own space, he never told me “You have to work like me, you have to stay up these hours, you have to do these drugs.” He never was like that, he never pressured me to do nothing. He always wanted me to work the way I felt. My assistant right now, who I’ve been with for years, I’ll never forget the first time I was like “Well ok, the way I work is I need 40 here. That’s my engineer and he knows what to do with my vocals.” And I remember CJ, we formed a 10 year bond if not more now, but I remember CJ being like “We’re not gonna book this guy’s boy a flight to come to Atlantis, tell him to get in a booth with who we got here.” Obviously CJ, doing his job and trying to watch over the money, was like why are we flying in Drake’s—well, I wasn’t even Drake—boy? But Wayne stood up for me and said get him whatever he needs. I think with those tools was how I was able to maintain for that stretch. Just to have it primed for him to touch road again and know that it didn’t take some deep plummet to the bottom. I think it was even bigger by the time he came out.

 

음악적으로도 많은 변화들이 있었던 것 같아요. 왜냐면 예전 음원들을 들어보면, 다른 사람이 드레이크를 성대모사하고 있는 기분이거든요, 발음도 다르고. 그런 변화들도 웨인의 상황에 의해서 생긴 것들인가요?

Even musically, it sounded like you changed as well. Because if you listen to your older records, it sounds like someone’s doing a bad impersonation of you. It sounds like night and day. You used to stretch out the vowels, but moving forward, you changed. Moving forward with that change, was that stemming from that situation with Wayne?

 

그건 그냥 시간이 지나서인 것 같아요. 그냥 저를 찾는 과정이었죠. 어느 래퍼 누구라도 5년, 10년이 지나면 바뀌는 것들이 분명 있을 거예요. 예전에는 버든을 따라 하려고 했었어요, 그런 플로우를 좋아했었죠. 근데 웨인을 만나고 나서 벌스를 채우는 것 만이 목적이 아니라는 걸 깨달았어요, 가사를 내뱉는 거와 동시에 듣기 좋은 발음, 중독성 있고 사람들이 기억할 수 있는 것들을 만들어야 했죠. 그리고 퍼포먼스의 중요성을 이해하면서 제 음악이 바뀐 면들도 있는 것 같아요. 웨인과 투어를 하면서 지켜보니 “아, 이런 R&B 장르, 잔잔하고 멜로디컬 한 노래도 좋지만 이런 큰 게 하나 있으면 좋겠다”라는 생각을 했어요, 사람들이 소리를 지르고, 모여들고, 다 같이 미칠 수 있는 곡 말이에요. 이렇게 또 제 욕심은 늘어갔죠. Best I Ever Had 같은 R&B 장르도 좋지만, 만족스럽진 않았어요. 무언갈 더 원하고, 너무나도 다른 장르에 도전하면서 이젠 어떠한 장르도 시도 안 해본 것이 없는 것 같아요. 시간이 갈수록 새로운 걸 도전해보고 싶다는 생각이 더 많아지는 것 같아요. 왜냐면 첫 번째로 같은 스타일만 반복하게 되면 듣는 여러분들도 익숙해지면서 더 이상 절 찾지 않을 거예요. 그리고 두 번째로 저는 도전이 좋아요. 아직 완전히 망쳐놓은 판은 없으니 잘된 일이죠.

I think that was just the times. It was like finding myself. You can always hear a rapper finding themselves if you give him more than 5 or 10 years. I used to rap like Budden back in the day, I used to try to get certain flows off. And when I met Wayne, I realized the goal was to get bars off but also to have these catchy nuances that people can grasp on to. I think a big thing that changed my music, too, was understanding the performance element. To watch what records work on tour for Wayne, or to start doing my own shows and see “Okay, I do love to make R&B music, slow music, melodic music, but man, it feels good to have one of those slappers.” It’s good to have those people screaming those words back and they start moshing and start going crazy. Again, your appetite starts to grow and R&B music and songs like Best I Ever Had, aren’t enough to satisfy the palette. You want more, you want to tap into two different things, and I think I’m the biggest case of that where I’ve almost left no genre untouched ta this point. That’s also just because it’s been quite a while and I like to also enjoy what I’m doing. I still love making music and part of loving it is a challenge. I need it, I need new challenges. So people often question “All of a sudden you’re switching your accent or making this type of music.” It’s not that, at the end of the day I can’t just keep doing the same thing over and over again. Because for one, you’ll get used to it and you’ll be over it. And two, for me, I want to try my hand at something. I don’t think I’ve fucked it up yet, so that’s good.

 

Best I Ever Had 얘기를 잠시 했었는데요 곡이 아마  히트송이었던  같아요 곡을 통해서 인생이 바뀌었나요그렇게 히트가 되었던 노래가  이상 콘서트 세트리스트에 없다는 것도 놀라워요그래도  곡을 시작으로 모든  변한  맞나요?

You mentioned Best I Ever Had. I guess that was your first legitimate hit, how did that change your life? It’s interesting that the song that breaks a hip-hop artist through may not even be in the setlist anymore. But that’s the record that changed everything for you, right?

 

그냥 0에서 100이 된 거죠. 더 알맞은 표현방법이 없는 것 같아요, 그냥 말도 안 되는 일이 벌어진 거죠. 아직 핫 97, 그리고 라디오가 한창 인기가 많았을 때였는데, 그때 처음 저를 알아봐 주고 인정해주는 유명인과 연예인들이 생겼던 것 같아요. 그 시절 영상을 보면 아주 경직돼있는 제 모습을 보실 수 있을 거예요, 카메라를 쳐다보면서 랩을 하지도 못했었죠. 그때 처음 “아, 나 진짜 래퍼구나. 진짜 이런 일이 생기는구나”라고 생각했던 것 같아요.

It was just, for a lack of a better term, it was a zero to a 100; that shit went crazy. At a time when Hot 97 was thriving, and radio was thriving, that brought in my first celebrity admirers like other artists or famous artists showing me that they were listening. If you watch the video, I’m so scared I can’t even rap into the camera, I’m looking anywhere else but the lens. That was probably the first time I was like ‘Oh shit, I’m a rapper in the rap game now. This is happening.’

 

[Best I Ever Had]:

 

히트가   프로젝트를 준비할  느낌이 왔었나요 번째 작업물이었던  같은데, ‘  거는  다르다라는 느낌을 받았다거나 아티스트로서 성장하고 있다는 기분이 들었나요?

Did you click with the whole project that was going to be your first breakthrough? That was your third tape, but did you feel like you were getting better as an artist and this was different?

 

네, 그 테이프를 마무리 지으면서 깨달았어요. 마지막 녹음을 베벌리힐스에 있는 호텔에서 했었어요, 왜냐면 웨인이 그때 왕자처럼 생활을 했었거든요. 베벌리힐스 호텔에 방 30개, 40개를 열어놓고 모두 룸서비스를 시켜 먹곤 했죠. 아, 베벌리 윌셔 호텔이었어요. 영상도 찾아보면 있을 텐데, 호텔 룸에서 다 같이 마무리 작업을 기념하고 있었는데, 밖에 있는 차로 나가서 40이랑 함께 처음부터 끝까지 다시 들어봤던 게 기억이 나요. 그걸 들으면서 “와, 이거다. 드디어 우리 시간이 왔다”라는 말들을 했었어요. 많은 사라들이 들을 수밖에 없고 무시할 수 없는 앨범이 어떤 건지 그때 처음 깨달았어요. Lust for Life의 도입부부터 시작해서 이런 건 세상에 하나밖에 없을 거라고 확신했죠.

Yea, I knew when we were finishing up the tape. We finished recording the tape in the Beverly Hills Hotel, because Wayne used to live like a prince. He used to have like 30 or 40 rooms at the Beverly Hills Hotel. At Beverly Wilshire, he had like 30 or 40 rooms with room service. I think there’s a clip of it, but we were in a hotel room and we were all toasting to this tape. I remember I went out to a car, I think it was like a BMW 645 or whatever, and me and 40 played the tape fully front to back. And we just looked at each other saying “Yo, I think this is it. This is really about to happen for us.” That really showed me what it is like to have an album that I know people have to be invested in, there is no way to just ignore this. Starting with Lust for Life, I knew from that intro that it didn’t sound like anybody else or anything else.

 

Say You Will 프리스타일이 공연들을 통해 매번 화제가 되고 있어요그건 어떻게 시작된 거죠?

The Say You Will freestyle became its own movement at the show. How did that develop?

 

그 시절에는 정말 입소문으로 유명해지는 방법밖에 없었어요. 아직 차 안에서 CD를 돌리고 친구들끼리 테이프를 공유하던 때였죠. 누가 친구로부터 어떤 음악을 알게 되고, 그걸 다시 자신의 친구들 그리고 학교와 동네에 소문내면서 그렇게 곡이 알려졌었죠, 다신 못 볼 아름다운 형상이에요. 지금처럼 쉽게 음악을 접하고 매일매일 새로운 게 발매되는 시대가 아니었으니까 가능했던 일이죠. 그래도 리스너들은 아직도 많은 플랫폼을 뒤지면서 좋은 음악을 찾으려고 노력하고 있는 것 같아요, 저도 친구들에게 음악 추천을 받는 걸 즐겨하고요. 그리고 아티스트로서 제일 기쁜 순간은 누군가가 제 노래를 듣고 “이건 누구야?”라고 물어봐주는 거예요. 그 순간을 즐겨야 해요, 왜냐면 커리어가 끝나는 날까지 그 순간을 뒤쫓아야 하고 평생 그리워하게 될 거예요. “이 아티스트는 나만 아는 가수야”라고 생각했던 때만큼 계속해서 사람들이 관심을 가질 수 있게 노력해야 하죠. 그러니까 신인 아티스트들에게 말해주고 싶어요, 제발 그 순간을 즐기라고.

Once people started sharing the tape, at the time, back in those days, it really had to spread from word to mouth. It was still people playing the CD in their cars, and it was that whole who-is-this moment, which is the best moment for any artist in music. Just be present in your who-is-this moment because you’re going to be chasing that for the rest of your career, trying to keep people as interested as they were, when they felt like they were the only ones listening to you. So if they were gifted the music from their friends by being in the same car, and now they took it back to their school or neighborhood, that was the beauty back in the day when it wasn’t so readily accessible with new stuff dropping every day. Still, I think there are people who scower all platforms to find that next wave and that next sound, and I still get joy in getting new music out of friends. But who-is-this moment is a big moment, so for all new artists, please be present in that moment because it does escape you and you’ll be trying to get it back forever.

 

사람들이 프리스타일 순서만을 기다리면서 그게 시작되면 다들 정신을 잃더라고요.

I’ve seen like “we’ve waited to see you do the Freestyle” and the crowd would just go crazy.

 

그리고 그걸 예상치 못한 방식과 타이밍에 해서 더 그러는 것 같아요. 가끔은 첫 몇 마디만 그대로 하고 아예 다시 프리스타일로 해버리는 경우도 있죠. 그래서 사람들이 더 “오늘은 어떤 것을 할까?”하고 기대해주시는 것 같아요. 이 프리스타일을 통해서 공간과 이어지는 저의 관계도 더 뚜렷하게 형성시킬 수 있었던 거 같아요, 예를 들면 휴스턴, 텍사스를 향한 제 존경과 사랑을 전달하는 방법이 되기도 했죠. 휴스턴에 있는 호텔 데렉은 웨인과 처음 만났던 장소예요, 제가 처음 캐나다에서 비행기를 타고 나와서 갔던 곳이기도 하죠. 아직도 기억나는 장면은 웨인이 허리에 정말 큰 문신을 받고 왔었어요, 잉크를 막 흘리면서요. 정말 미쳤다고 생각했었죠. 심지어 버스를 탔는데 코비 브라이언트가 아이팟을 들고 타더라고요, Carter III를 발매 전에 미리 듣고 싶다면서요. 그래서 여러모로 휴스턴은 제 이야기 속에 중요한 부분을 차지하기도 하고 제가 더 큰 세상을 처음 마주했던 공간이에요. 그래서 이 프리스타일은 이러한 공간과의 관계를 더 뚜렷하게 해 주기도 하고, 사람들한테 제가 관심을 가질만한 아티스트라는 걸 알리는 데에도 도움이 많이 됐어요.

I think it’s also because I made that a part of the show that was unpredictable, so at the time I would do the first few bars and switch it or just genuinely freestyle with autotune. So I think people started being like “What’s going to be said tonight?” Just a lot of those things picked up and even just solidifying my relations with places. Expressing my admiration and love for [Houston, Texas] because it has such a big piece of all my realization that this was happening. Me and Wayne met at the Hotel Derek, and that was the first place I’d ever really flown out of Canada. I went on the bus and Wayne was  getting the biggest tattoo, and I was like ‘this is crazy.’ I remember sitting there and Kobe Bryant walks on the bus to get his Carter III ipod, because he wanted to get the album early. So Houston was a big part of my story and the first time my eyes got really wide. So I think that tape was also important in solidifying relationships like that, solidifying the fact that I can do more than one thing was a big deal too. Just showing people that this is going to be an exciting artist to pay attention to.

 

존 카라마니카가 작성했던 한 기사가 생각나네요, 드레이크가 어린 세대들을 위해 블루프린트를 남겨준다는 내용이었는데요. 트위터에서도 반응이 아주 뜨거웠죠. 다른 래퍼들도 당신과 비슷한 얘기들을 아예 안 했던 건 아닌데, 당신으로 인해 많은 음악과 장르들이 주목을 받았어요. 이거에 대해 어떻게 생각하세요?  

I remember Jon Caramanica wrote an article about you setting a set of blueprint for the new generation to come, and everyone on Twitter went crazy. It wasn’t saying that rappers haven’t been saying before you, but people admit all the heat you caught in the beginning. What was your take on that?

 

당연히 저 말고도 많은 사람들이 함께 이뤄낸 일들이에요. 저에게 영감을 준 사람들도 아주 많아요, 예를 들어 50 센트의 21 Questions에는 노래를 하면 안 된다고 생각됐던 사람이 목소리를 내면서 여자들이 미치도록 좋아하게 되었죠. 그리고 당연히 티페인과 웨인도 자신의 스타일을 세계에 보여주며 큰 변화들을 만들어냈어요. 또 항상 남들이 주저하고 있을 때 나서는 808이 생각나네요, 재미있는 랩으로 유명하고 다양한 장르와 음악을 할 수 있는, 음악을 모르는 사람도 편하게 들을 수 있는 걸 만들죠. 저는 항상 출처가 필요한 곳에는 크레디트를 남겨요, 이런 영향력을 다 같이 만들어낸 사람들 모두를 인정해요. 제가 아마 R&B 장르를 더 깊게 파고든 면에서 인정을 받는 것 같네요. 그리고 저는 그저 여자를 위해 노래를 만드는 건 별로라고 생각했기 때문에 사람들이 “아, 이건 너무 약해. 이건 너무 감성적이야”라고 하는 비판들을 피할 수 있었던 거 같아요. 뭐, 저는 남자들을 위해 음악 하는 사람이 됐다고도 할 수 있죠, 그들의 래퍼가 된 건 신나는 일이고 다음 세대를 맞이하면서 더 기대하고 있는 일이에요. 사실 제가 완전히 다른 음악을 둘 다 할 수 있다는 게 제일 뿌듯해하고 있는 면이에요. 다양한 장르 사이에서 균형을 잡으려고 노력하고, 시간을 똑같이 분배할 수 있도록 노력하고 있어요. 특히 요즘 애들이 즐겨 듣는 노래에는 정말 깊고 감성적인 상처들이 가사를 채워내요. YNW 멜리처럼 미친 멜로디와 목소리를 통해 전달되는 아픔은 놀라워요, “난 이런 사람이야, 근데 내 음악을 통해서는 이런 얘기를 하고 싶어”라고 얘기할 수 있다는 게 말이에요. 정말 많은 신인 아티스트들이 음악이 무엇인지 다시 생각하게 만들면서 음악을 둘러싸고 있는 많은 벽들을 깨 부수고 있는 중인 것 같아요. 더 이상 둘 중에 하나가 아닌 게 됐으니까 그 변화가 너무 좋고 행복해요.

Obviously, I guess there’s a lot of people that contributed to that. There were people who inspired me, like 50 Cent, 21 Questions will probably be my most inspiring example of a guy who’s not supposed to be singing, singing, and girls going crazy and loving it. Obviously, you had T-Pain and Wayne doing their style of things which was huge. And another major example was someone who always makes the massive commitment when everyone else is wavering, he’s going to go in and fully commit, which is 808, a guy who’s known for his bars and his comical rapping inspired by genres and music that people in rap didn’t even know about. I always give credit where credit is due, so I credit all those people with that movement. I think I was probably the one who took it the further to go and make full-blown R&B songs. To me, making music for girls is just the waviest thing you could do, so I was never affected by the whole “this is softer, this is emotional.” I guess I just make music for like dusty guys and shit but that’s just not really what inspires me. I was always just super hyped to be that guy, and I think over the years and leading into this next decade, I’ve grown to embrace more. It’s actually a piece of my musical character that I love the most. I do both those things and almost able to split the time evenly. I never lean too heavily towards one, and I try to find that balance. Especially now, a lot of the music that’s coming out now, these kids are singing deep emotional pain. A lot of the guys like YNW Melly who just has the craziest melodies and pain in his voice, but not afraid to just be like “I might be this way on road, but in my music, this is what I enjoy doing.” A lot of these kids right now are just breaking boundaries of what music is. It’s just no longer black and white. I love it, and I’m really happy about it.

 

 모든   당신이 음악시장에 남긴 유산 같은 거잖아요그리고 다른 인터뷰에서도 “내가 최고야라고 말했던 부분이 생각나요당신은 항상 지금의 드레이크가   알았나요항상  미래까지 생각하면 자신이 있었나요?

That’s part of your legacy, like I’ve seen in your interviews with Complex where you talked about how “I’m the greatest.” You said it before that you knew who you were, so did you always have that confidence thinking about the long game?

 

저는 계속 말로 내뱉고 끊임없이 상상하면 뭐든지 이룰 수 있다고 생각해요. 예를 들면 이 집도 마찬가지예요. 어렸을 때 제 삼촌의 아우디를 몰래 몰고 나와서 여자 친구랑 데이트를 한 적이 많아요. 데이트를 할 때면 영화를 보고, 제가 부담할 수 있었던 싼 치킨과 감자튀김을 먹고, “내가 미래에 살 집을 보러 갈래?”라고 물어보며 지금 이 거리에서 드라이브를 했었어요. 그 시절에는 프린스가 여기 살았었는데, 이 중 어느 집이 프린스의 집인지 아는 척을 하곤 했죠, 항상 다른 집을 가리키면서. 제가 그때 했던 말들이 당시에는 사실이 아니었지만, 항상 가능성이 있다고, 곧 현실이 될 것이라고 믿었어요.

I also feel often that the things that I repetitively think about or say, I’m able to manifest. This house, for example, I manifested this because I obsessively used to take my uncle’s Audi and take a girl to the movies and then to dinner with chicken fingers and fries. And I used to tell her “Do you want to go see where I’m going to live one day,” and drive these same three streets right here. And Prince used to live around here, so I used to pretend that I knew which one Prince’s house was. A lot of those things I said, they may not have been the case at the time, but I did believe that they were possible.

 

지금 이뤄낸 것들과 비교해서 데뷔 앨범은 그다지 인기를  끓었던  같아요지금은 많은 아티스트들이  앨범부터 크게 성공하는 경우들이 많은데 말이에요그래서 저한테는 Thank Me Later 완벽한 성공은 아니었다고 생각하는데당신이 의도했던 것보다 반응이 없었던  맞나요?

With all the success though, I don’t necessarily think you had the hip-hop debut success. We’ve seen a lot of artists had that with their debut album, as mixtapes are albums now. To me, Thank Me Later, the debut studio album wasn’t the complete victory that maybe you intended it to be.

 

Thank Me Later 제가 회사에서  영향력을 받은 처음이자 마지막인 프로젝트였던  같아요그냥 계약이 돼있던 것을 넘어서서회사가 유명한 피처링을 구해준다던지그런 면에서 회사의 결정과 의도가 많이 반영된 유일한 앨범이에요그때는 그저 유명한 사람들을 많이 안다는 것을 증명하는  목표였던  같아요토론토 사람들에게  앨범에 누가 참여했는지 보여주고 그걸 통해서 저를 증명하고 싶었나 봐요그리고  앨범의 대부분을 투어를 도는 과정에서 만들었는데그저 빨리 발매해서 제가 얼마나 크게 보일  있을지얼마나   있을지 보여주고 싶었던  같아요아직도  이야기의  부분으로 간직하는  좋아하지만분명  개인적인 색갈이 제일  들어가 있는 프로젝트예요 당시에는  스타들슈퍼스타들의 존재 만으로도 충분했어요, “ 우리 엄마 창고에서부터 시작해서 유명해졌어” 이런 사례들은 없었거든요저는 로또에 당첨된 거나 마찬가지였어요번개에 맞고 하늘을   있다거나 사람들 눈에  보이게 됐다거나 그런 말도  되는 이야기를 듣는 거랑 비슷했죠그래서 제가 느낀 부담이 “ 제이지랑 앨리샤 키스랑 대단한  만들 거야라는 생각으로 이어진  같아요그런 사람들이 저와 작업을 한다는 것도 기적 같은 일이었으니까요 앨범은 한마디로  당시 모든 상황들의 피해자피해자라고 하기보다는 그런 상황과 사람들의 영향을 받은 결과물이라고   있겠네요.

I think Thank Me Later was the one and only project that I was in that big label where artists just got signed, and records are going to get you features. That was probably the only one of my albums that was remotely influenced by where I was at in my career at the time. I think I felt a lot of pressure to prove that I knew big famous people. Just being from where I was from, I just wanted to show Toronto who I got on my album. I think I made majority of that album on a tour as well, I think we were eager to get it out and I still love it as a part of my story but it was definitely probably the one project that had the least personal touches. It was just really about how big can we look and how big can we be. It was in a different era where you felt dwarfed by pop stars and superstars, and there was no “I can get famous from my mom’s basement.” I was the lottery ticket, but not even the number one draft. I was like the guy who got hit by lightning and I could now fly or invisible and shit. I was a rare, rare case. I think I just felt a lot of pressure like ‘I’m gonna kill with something like Jay-Z and Alicia Keys’ and I was enamored by the the whole space. It was just pretty crazy that any of these people would even make music with me. I think the best way to describe that albums would be as a victim of my surroundings at the time, not victim but like a product of my surroundings at the time trying to execute for the people around me.

 

그리고 캐나다에서 왔다는 사실 만으로도 많은 부담이 됐을  같아요지난 2009년도에 했던 인터뷰에서 봤는데토론토는 증오의 도시 같다고 하셨어요 도시의 아이콘이나 히어로가 지금까지 없었지만 이제 당신이 그런 인물이 되었다고그런 사람이  기분이 어떠세요?

Also, I’m pretty sure being from Canada was some pressure, coming out from Toronto. I’ve seen in your previous interview with Complex like in 2009, you said the city is known for hate, and never really had an icon or a hometown hero but now, you’re the guy. How does that feel, being looked on as that person?

 

지금까지 이뤄낸 것들 중에 가장 중요한 일이라고 할 수 있겠죠. 많은 면들이 있는데, 일단 사람들이 미국 발음을 따라 하고, 버펄로에 몇 주 놀러 온 것 갖고 “난 뉴욕에서 왔어”라고 말하던 시대에, 심지어 아무도 저를 인정해주지 않을 때, 저는 이 도시만의 정체성을 찾아준 거예요. 토론토 음악시장에서는 다들 “때가 언제 올까?”라고 하며 비슷비슷한 실력을 갖은 사람들끼리 같은 무대를 향해 경쟁하고 같은 라디오 출연을 위해 싸웠죠. 하지만 제가 불러온 이 변화 속에서 가장 중요한 건 사람들이 모두 불가능은 없다는 걸 눈으로 직접 봤다는 거예요. 다들 끼도 있었고 절실함도 있었지만, 이 깨달음이 중요한 역할을 했던 것 같아요. 그리고 저는 그 깨달음을 가져다주는 거 외에는 아무것도 한 게 없어요. 모든 사람들이 각자만의 다음 이야기를 이어나갈 수 있게, “저 사람도 했으면 나도 충분히 해”라는 생각을 심어준 거죠. 제 몫은 오로지 거기서 끝난 거고, 제가 스스로 인정하는 부분도 그런 터닝 포인트를 만들어 주었다는 거에서 끝나요. 모든 사람들이 지금 여기까지 올 자격이 있었고, 지금이 아니더라도 언젠간 각자의 길을 찾아서 성공했을 사람들이에요.

I think that it’s probably the most important achievement of mine. There’s a few layers to it, so giving the city an identity at a time where people used to speak with fake American accents, and if they spent a summer in Buffalo, they would say like “I’m from New York,” when nobody was really proud to be from here. Within the music scene, everyone was just waiting thinking “will it ever happen?” You get a bunch of people competing at the same level for the same shows and the same radio spots, and it breathes a lot of head-butting. I think as we started to rise, the biggest thing and the most important thing was that everyone else got to see that it was possible. All these people had drives and all these people had talent, I think the realization that it was possible was extremely important. I don’t credit myself for anything other than that. Opening that next chapter in everyone’s minds where it’s like “If this person can do this, I can do this too.” That’s the only thing I ever want to take credit for and when it comes to whatever impact I had on other artists from the city. I truly believe that all these people deserve to be where they’re at, and probably would’ve found their way, but I think that moment was a turning point for everybody.

 

Take Care 통해서 당신만의 것을 다시   있게   맞을까요? 40 함께 음악을 만드는 것도 다시 시작하고 말이에요.

Through Take Care, do you feel like you took control back in your career in a sense and you and 40 building your sound?

 

네, 웨인과 셀 수 없이 많은 투어와 작업을 끝내고 다시 집으로 돌아온 기분이었죠. 집으로 돌아와서 친구들과도 다시 만나고, 40이랑 음악적으로 다시 연결도 되고, 드디어 저만의 것이 뭔지 찾아갈 수 있겠다는 생각을 했어요. 그래서 저만의 음악을 만들기 시작했을 때 제 도시와 많이 닮은 소리 같다고 생각했어요, 어둡고, 감정적이고, 밖에 날씨가 얼마나 추운지 간음할 수 있게 해 주는. 결정적으로 그때 올리버라는 친구가 “잠깐 내려와서 이 아이의 음악 좀 들어봐 봐. 이름은 더 위켄드야”라고 했어요. 그 소개받은 친구를 통해 “아, 어두운 작업실 안에서 이렇게나 어두운 음악을 만드는 친구들도 있구나”라는 걸 깨달았죠. 그러고 나서 정말 다양한 것들을 통해서 영감을 받기 시작했어요. 무례하다면 죄송하지만, 그때 그 시절에는 그저 앨리샤 키스가 훅에 나오면 바로 히트 송이 됐거든요. 저는 더 이상 그런 걸 하기 싫었어요. 크고 반짝이는 거 대신, 제가 나중에 뒤 돌아봤을 때 저 음악은 나, 내 친구들, 내 도시, 그리고 내 사람들을 대표한다고 말하고 싶었어요. 거기서부터, 그 마음다짐을 시작으로 여기까지 오게 된 거죠.

Yea, I think I really came back home after running around with Wayne on god knows how many tours and studio nights. I just kind of came back home and reconnected with my friends, reconnected with 40, and just realized that we have a true opportunity to establish ourselves separately from everybody else. So that was when we were truly hell-bent on having our own sounds, that sounds like our city, and it’s going to be dark, and it’s going to be moody, and it’s going to sound like how cold it feels outside. And with Oliver being the genius that he is, goes “Well, I got this kid. Come downstairs in the rain, and listen to this kid. His name’s The Weekend.” So that was a huge thing, realizing that there was just other kids cooped up in this dark ass studio cooking up dark music. And I remember during those times being inspired by different things. No disrespect when I say this, but you know the days of trying to get a pop smash with Alicia Keys on the hook was over. I didn’t want that anymore. I didn’t need a shiny big, I just needed something I could look back on and say that it’s me and my friends and my city and my people. From there, I’ve never strayed.

 

[Take Care]:

 

그런 면에서 당신은 히트 송의 의미를 바꿔놨어요. 항상 차트 순위권에 있지만, 막상 들어보면 대중들이 생각하는 것과 다를 때가 많아요. 대중적인 것들도 있지만, 대부분 “라디오 싱글”이라고 불리는 노래들과는 다르죠. 히트 송의 다른 의미를 두고 있는 것이 맞나요?

You kind of redefine what a hit is, in a sense. You’re this chart-topper but you listen to these songs and they’re not like what we were taught. Some of them are, but most of them aren’t what you would think the “radio single” is. Do you think you sort of redefine what a hit is?

 

네, Marvins Room을 리드 싱글로 발매했을 때 도대체 무슨 생각이었는지 모르겠어요. 그런 면에서 대중적인 틀에서 많이 벗어난 건 맞죠. 그 이후로도 계속 그런 식이 었는데, 예를 들면 God’s Plan은 제가 콘도에 놀러 가서 별생각 없이 만든 곡이에요. 1절이랑 훅만 완성해서 트리피에게 보냈는데, 자기 일로 바빴는지 답장이 없더라고요. 그래도 그걸로 미워하면 안돼요, 정말 어쩔 수 없이 문자를 못 보게 되는 경우도 많거든요. 저도 얼마 전에 핸드폰을 보고 있었는데, 옛날에 영떡이 저한테 보낸 트랙들을 발견했어요. 그중에 릴 베이비가 들어가 있는 노래도 있더라고요. 너무 아쉬웠어요, 왜 그 문자를 못 봤을까요. 어쨌든, 제 얘기로 돌아와서 트리피에게 보낸 곡이 얼마 후에 유출이 됐었어요, 근데 사람들의 반응이 뜨겁더라고요. 그래서 어쩔 수 없이 서둘러서 마무리하고 공개했던 곡이에요, 그 시절에는 유출된 곡을 갖고 가사만 바꿔서 빼앗아가는 아티스트들이 많았거든요. 아마 새해 전 날이었던 것 같은데, 이틀 안에 내려고 엄청 서둘렀어요, 누가 빼앗아갈까 봐. 아직도 2절을 어떻게 할지 고민하던 게 생각나는데, 지금 유명한 “나는 오로지 내 침대와 내 어머니만을 사랑해”라는 가사가 그때 나왔죠. 어쨌든 제가 하고 싶은 말은, God’s Plan이 싱글로 나오기 일주일 전에도 저는 그런 일이 있을 거라곤 상상도 못 했어요. 항상 최선을 다하고 제 심장과 영혼을 담아서 곡을 쓰지만, 뭔지 모를 힘이 저를 이끌고 있는 건 맞는 것 같아요. 그 힘이 무엇인지 모르겠는데, 어딘가에 있는 누군가가 저를 좋아하는 건 분명해요. 그래서 제 음악의 대부분은 순수한 거예요, 계산된 것 없이. 그러니까 자연스럽게 다른 싱글들과는 다른 결과물이 나오는 거죠. 저는 항상 음원을 내기 전에 제가 믿는 8명에서 10명의 친구들에게 들려줘요. 그 사람들이 모두 인정을 해주면 그때서야 “그래, 그냥 해보자”라는 생각과 함께 자신감이 생겨요.

Yea, I don’t know what we were thinking at the time when we decided to drop Marvins Room as a lead single, so I definitely think that we always broke the mold in that regard. It just continues. Even all the way up until God’s Plan, that was a song that I recorded on a whim in my condo and thought nothing of it. I only had the first verse and the hook and sent it to Trippy, but he was obviously caught up, busy doing his thing. I know people punish him for that, though you shouldn’t. You know, I was looking through my phone the other day, and Young Thug sent me that Lil Baby song to get on and I was so mad, how did I not get a verse off on there. Anyway, I sent it to him and didn’t really work out and then it leaked. People forced my hand because they were like “that shit sounds hard,” and we had to rush. I was worried another artist was going get another version and just start playing like random verses on it, which was back in the day a huge hustle for people getting one verse leaks. I remember that night when the clips came out, around New Year’s Eve, we were rushing to turn it around in the next 2 days. I remember saying I have to do a second verse, and I did the line of the song “I only loved my bed and my mama.” My point is, I never could have told you a week before that God’s Plan was my single and that it was going to be the biggest song of my career. I never would’ve known that, my hands just got forced. I can put in the maximum amount of effort, I can use all my heart and my soul in my writing, but at the end of the day, I am being guided by some other power. I don’t know what it is, but somebody likes me somewhere. A lot of this is organic, it’s not that calculated. So when we talk about singles not being traditional, it just works out that way. I think we all have a good ear, and there’s a core 8 to 10 people that I look to for opinion. And once those people give me their nod of approval, then I’m usual comfortable with saying “Fuck it, let’s try.”

 

당신처럼 성공한 아티스트들은 대부분 다른 사람들의 의견은 안 들어요, 8명이라도요. 지금 이 시점에서 당신의 팀, 당신의 사람들로부터 꾸준히 피드백을 받는다는 게 대단하네요.

A lot of artists, at the point where they are successful, they don’t even listen to even 8 other people’s voices. At this point of your career, you’re still willing to listen to feedback from your core, from your team.

 

다른 사람들의 의견을 무시하기에는 제가 자의식이 너무 강한 사람이에요. 음악에 있어서는 되게 불안정하고 자존감이 낮은 편이에요, 특히 무언가 새로운 걸 시작할 때는 더더욱. 왜냐면 보여주기 전까지는 세상이 어떻게 반응할지 아무도 모르는 거잖아요. 이제는 심지어 발매를 하고 나서 첫 반응은 그저 웃기고 싶은 사람들로 가득 차있어요. 앨범이 12시 땡 하고 나오면 12:01부터 “쓰레기, 쓰레기, 쓰레기”라는 댓글이 달리기 시작하죠. 그 사람들한테는 노래를 듣는 것보다 인기 댓글이 되는 게 더 중요한 것 같아요. 근데 인생에 있어서 음악은 피할 수 없는 존재라 2주, 3주 후에는 진실된 반응이 나오기 시작하죠.

I think I’m way too self-conscious to not require approval from people who I respect. I’m a very insecure person when it comes to my music, especially when we’re talking about starting a whole new chapter. That’s only because until you’ve surrendered it to the world, you never know how people are going to feel about it. Even when you surrender to the world, now we’re in the times where the first reactions are people who want to say the funniest shit. The album would drop at 12:01, then “trash, trash, trash bins, whatever.” For any artist, I think people are more excited about being top comment than really listening. But inevitably, you need music in your life, so 2 to 3 weeks is when you get something honest.

 

제가 기억하기로는 모르는 사람들의 의견도 당신의 선택에 영향을 미친 다고 했었는데지금  시점에서도 그런 것들이 방해가 되나요?

I remember you said opinions from total strangers take you out of your ways. Does that still bother you at this point in your career?

 

어떤 면에서 얘기하는지에 따라 다르겠지만, 물론 영향을 주는 부분들도 있어요. 이 시대에는 이제 코미디언들이 신문이 되었고, 새로운 코미디언들은 필터 없이 소셜 미디어를 사용하는 사람들이 되어버렸어요. 아무도 그들을 이기지 못하고 아주 웃기지만, 상처가 되는 말, 신경 쓰이는 말, 하루를 망치고 기분을 안 좋게 만드는 말들도 많이 하곤 하죠. 드레이크의 추락을 바라고 있는 사람들이 모여하는 말들이니 상처가 되는 건 당연하다고 생각해요. 완전히 거짓일 때, 그 거짓이 안 좋은 방향으로 몰고 갈 때, 내가 진실을 말하고 있지 않다고 할 때 제일 아픈 것 같아요.

Depends on what narrative we’re talking about, but there’s definitely things. We’re currently in a time where the stand-up comedian is almost like a newspaper and the new comedian is the people with no filter on social media platforms. While they are undefeated and extremely funny, of course people can start saying things that hurt you, that bother you, that fuck your day up, take you out of character. They’re curated by a group of people that are ready for the downfall of Drake, in this case. It can be some hurtful stuff when it’s completely false, and when it rubs you the wrong way. Whoever tells you they’re not is not being honest.

 

그래도 인스타그램을 꾸준히 사용하시고소통도 많이 하잖아요 균형을  잡고 소셜 미디어를 아예 피하시는 분들도 있는데어떻게 그런 선택을 하게 되셨나요?

So how do you decide to stay engaged? You’re on Instagram, you’re active, you fill your presence on Instagram. Some can’t find that balance and they don’t want to be on social media.

 

저는 그냥 소셜 미디어를 즐겨해요. 많은 용도로 쓰일 수 있고, 그것을 통해 좋은 사람들도 만나면서 심지어 DM을 확인하고 꾸준히 사용하면서 좋은 곡들도 많이 나왔죠. 근데 그걸 피하게 되면 제가 지는 것 같잖아요. 소셜 미디어를 통해서 좋은 우정을 쌓기도 하고, 여자도 많이 만났죠. 그리고 무엇보다 절 강인하게 만들어주는 것 같아요. 최악 중에서도 최악인 것, 다른 면에서는 최고인 것, 그냥 다 보고 들으면서 많은 감정들을 배웠어요. 그리고 저는 그걸 무기로 활용해요, 그 감정들을 모두 다른 곳으로 이끌면서요.

I just feel like the they beat me, because I enjoy social media. It’s good for so many things. I met so many great people, and so many great songs came from me being active and checking my DM. Great friendships form over social media, I met great women over social media. And it definitely builds strength. As tough as it may be, it definitely strengthens your character. I’ve heard it all, I’ve seen it all, I’ve felt the worst of the worst and I felt the best of the best, so it’s nice to be aware of all those emotions. I definitely keep them in my arsenal and in my mind to use them to channel into other things.

 

음악에 대한 비판 중에 가끔 드레이크는 경제적 이득을 위해 음악적 문화를 착취한다는 말들이 나오는데, 이거에 대해 어떻게 생각하세요?

Musically, when it comes to criticism, you mentioned earlier how some people might say Drake’s appropriating this culture of music for your own personal gain. How do you feel about those kind of critiques?

 

아까 한 얘기와 비슷하게 이것 또한 그저 저를 끌어내리고 싶어 하는 사람들이 하는 말 같아요. 문화를 착취한다는 뜻 자체가 그 문화를 존중하지 않는다는 것인데, 그 문화와 깊이 연결돼있는 사람들과 작업을 하고 그들에게 기회를 주는 건 착취가 아니죠. 착취는 본인의 이득만을 위해서 그 문화의 유래를 부정하며 사용하는 것이에요. 저는 댄스홀 장르를 접하든, 아프로비트를 사용하든 항상 말로 존경을 표시하고 그 사람들을 위해 기회까지 만들어줘요.

I think that it’s kind of a similar thing. It’s curated by a bunch of people who just weren’t on this boat to begin with. Even the definite of appropriating a culture is not supporting that culture. Doing songs with people who are deeply rooted in that culture, giving opportunity to people in that culture, is not appropriating. Appropriating is taking it for your own personal gain and denying that it was ever inspired from this. That’s the true disservice that somebody could do to dancehall or afro beats. Any time I embark on any of those journeys, I ensure that I’m not only paying all due respects verbally, but I make a point to give opportunity to people that I respect.

 

그런 것들이 꾸준히 당신 앨범의 주제가 되었던 것 같아요, 항상 새로운 아티스트의 모습들이 있었죠.

That’s been a constant theme throughout all of your albums. You have a lot of new artist looks.

 

100%에요. 저는 영감을 얻은 사람들에게 그저 “고마워, 잘 쓸게” 한마디 남기고 그걸 두 팔에 안고 도망갈 수 있는 사람이 아니에요. 터치다운을 위해 풋볼을 들고뛰기 시작하기 전에 그 공을 저에게 건네준 사람에게 최소한의 존경은 표시해야죠. 같은 일을 해도 제가 하면 더 큰일이 되고 조명을 받으니까 사람들이 불편해할 수는 있을 것 같아요. 그래도 음악을 하는 사람들은 제가 어떤 사람인지 다 알아요, 분야 상관없이 이 일에 진심을 담아서 임하고 있는 사람 아무에게나 물어봐도 돼요. 인정하지 않는 사람들은 지금 관심을 못 받고 있거나 더 이상 이 음악시장에 상관없는 사람들일 거예요, 제가 이런저런 사람들과 작업하면서 그들과는 안 한다고 화를 내면서. 항상 개인적인 감정에서부터, 질투심과 이기심으로부터 시작되는 발언들은 티가 나요.

A 100%. I mean, I’m not one of those people that can be inspired by some things and say “Well that was inspiring, thanks,” and just move on with it under my arm running down the field. I got to at least honor the person that handed me off the football before I run for the touchdown. I definitely feel like because when I do things, they do get magnified and amplified, people can sometimes feel uncomfortable. The chatter is one thing but in the community, amongst the ones who are really doing a shit, I’m solidified for sure. You can ask anybody with real respect in any of these communities, in any of the genres. It’s going to be the guys that didn’t get the look or guys that are no longer even relevant in that space but have a radio interview. They’re mad that I link with this person and that person, but not them. You can always tell when it’s personal, when it’s fueled by personal gain that was never granted to them.

 

이렇게나 성공적인 사람이역사를 만들어낸 사람이 아직까지 어떠한 차별을 받을  있다는  신기해요. Diplomatic Immunity라는 곡에서 흑인 우수성에 대한 얘기를 했던  기억나는데요 아직도 그런 먹구름이 당신 머리 위를 떠다닌다고 생각하세요?

It’s interesting because listening to your music, you’re super successful, you’re one of the best to ever do it, yet you still have this chip on your shoulder. I remember listening to Diplomatic Immunity where you talk about your black excellence. Why do you think that dark cloud is still over your head?

 

지금까지 이런 대화들이 오가는 상황이 많았던 것 같아요, 오히려 그 반대편에서 나오는 편견들도 많았고요. 인종에 대한 발언들, 어두운 피부색이 아니라고 하거나 캐나다에서 왔다는 사실 때문에 제가 존경하는 사람들이 저에게 지금 일어나고 있는 일들에 낄 수 없다고 말해요. 정치적인 면에서도 제가 많은 발언들을 하는 편은 아니죠, 저는 제 사람들과 대화를 하거나 직접 가서 변화를 만들어내는 걸 좋아해요. 저희가 사회에 되돌려주고 있는 것들은 실제로 변화를 만드는 것들이지 당신들의 좋아요를 받기 위해서 하는 일이 아니에요. 이제는 연예인들이 제일 첫 번째로 하는 건 소셜미디어에 게시물을 올리는 게 돼버렸어요. 그런 걸 올려야 한다는 의무감, 그리고 깨어있는 사람처럼 보이기 위해서 말이에요. 그런 목적으로 올리고 나면 그냥 까먹게 되죠. 그들은 돈을 기부하는 것도 아니고, 어린아이들에게 기회를 주는 것도 아니고, 농구장을 짓거나 학교를 짓는 것도 아니죠. 저는 그런 일들을 직접 하는 게 좋아요, 옛날부터 해왔던 일이고요. 오래전에 자메이카에 가서 영상을 촬영한 적이 있어요. 그때 제가 필요한 것 만 얻어서 돌아오지 않고, 거기 사람들이 필요한 시설을 짓고 제 돈을 남기고 왔죠. 그러니까 질문으로 돌아가서 얘기하자면 저는 당연하게도 지금 사회에 일어나고 있는 일들을 이해하고 있고, 얼마나 심각한 일이지, 전 세계적으로 우리가 얼마나 멀어져 있는지 느껴요. 특히 지금 맨 위에 앉아있는 사람의 부정적 에너지가 밑으로 더 퍼지면서 말이에요. 저는 그저 그 반대편의 이야기들도 함께 느끼고 있다는 거예요, 제 흑인 친구가 저를 소외시킬 때도, 제가 이뤄낸 업적들이 남들처럼 환호를 받지 못할 때 특히. 제가 이 시대의 아티스트가 됐을 때 아무도 “와, 흑인 아티스트가 이 세대를 대표하네”라고 하지 않았잖아요. 그냥 인정해줬으면 좋겠는 부분이지만 저는 그저 앞으로 나아갈 뿐이에요.

I think I’ve been in a lot of rooms and in a lot of conversations and felt the other side of judgment. Racial judgments, sometimes, like being light-skinned, being Canadian, having people that I look up to and respect tell me that I can’t identify with what’s going on. I’m also not the most outspoken person when it comes to political issues, I prefer to talk about it amongst my people, and I prefer to go and make the change or actually do something and not post about it. The work we put in the communities and the way we give back is legit, it’s on the ground, it’s not so you guys can double tap. Now I feel like the first reaction is to post about something then people often just forget to do anything that they posted about. I think there’s definitely a sad thing that goes on amongst celebrity culture where people post things because they feel like they’re obligated to, and because they know it makes them look like they’re actively invest in something. But they’re really not. They’re not giving their money, or building any opportunities for kids, building basketball courts, building schools, helping kids get through school. I’m just one of those people who really like to do it. We really just do it from way back in the days. We’ve always left our footprint in the community in a real way, even back in Jamaica when I did shoot a video there. We didn’t just shoot a video and dip, we built a place for people to come and we left our money there. Going back to your question, I just felt the other side of it so that’s where the line came from. I obviously understand the times that we’re living in and how serious it is, and how divided we all are across the world with the person that’s currently in that position and having that energy trickle on down. But that line is just me speaking to the other side of things. Even my blackest friend can make me feel excluded, and sometimes I don’t feel celebrated when I know maybe somebody else would be celebrated for those accomplishments. I don’t feel like people say when Drake is the artist of the decade, I don’t think anybody says “wow, a black artist is the artist of the decade.” I don’t think anybody says that. I associate myself as a black man, so for me, it’s just something that I acknowledge and keep moving.

 

[Diplomatic Immunity]:

 

어떤 곡이 클래식인지어떤 앨범들이 힙합의 기준에 적합한지 말이 많은데요그런 편견들이 당신에게 영향을 주나요아님 항상 객관적인 시선으로 작업하시나요?

People talk about what records are classics, so what albums [fit] those kind of hip-hop standards. Do you catalogue that way and do you get caught up in that in any way or do you try to stay objective about it?

 

대중들이 원하고 좋아하는 이야기들이 분명 있어요, 예를 들면 드레이크가 클래식이 없다는 얘기들처럼. 근데 그건 사실이 아니에요. 그래도 이제 더 이상 클래식이 뭔지에 대한 정의를 내리는 것 자체가 어려워진 것 같아요, 아직도 변하고 있고 아직 그 과정 안에 있으니까. 하지만 개인적으로는 클래식은 그 해를 만들어내고 많은 해가 지나도 계속해서 음악시장에 큰 영향을 주는 작업물들인 것 같아요. 그런 면에서 보면 저도 클래식 앨범들이 있는 거죠.

I know that there’s a narrative that is appealing to certain people to latch on to, which is like Drake doesn’t even have a classic. That’s not true. It’s just not. But it’s also tough to be in the moment talking about classics, like we’re still in the moment. I have trouble defining what a classic is anymore. To me, a classic would be a body of work that shaped that year and the years afterwards and had a massive impact on the music being made, and on the culture. In that regards, I think I have classic albums.

 

어떤 것들을 말씀하시는 건가요? So Far Gone? Take Care?

Which ones? So Far Gone? Take Care?

 

So Far Gone 제가 처음으로 주목받은 결과물이라고도   있는데당연히 중요한 순간이었다고 생각해요 스스로를 이렇게 칭찬하는  좋아하지 않아서 힘드네요다른 분이 말씀해주셔야 해요.

I think So Far Gone, technically being my first recognized offering, I definitely think that was a big moment. I don’t like to give myself compliment, so it’s tough for me to say. I need someone else to say it.

 

 세대에 이런 결과물들을 꾸준히 만들어내고 있는데당신의 앨범들을 돌아볼  그때  시절 드레이크의 모습이고모두 당신의 이야기이기 때문에 서로 비교할  없다고 생각하시나요?

To have this output in this decade, do you view your albums as like “these were where I was at that time and this is my story, but I don’t want to judge them amongst each other?”

 

각자만의 역할이 있고 한 해의 끝에서 모든 앨범들을 돌이켜보면 중요하지 않았다고 할 수 있는 작업물은 없는 것 같아요. 예를 들면 More Life같이 조금 더 즉석적으로 발매한 곡들도 있지만, 그것마저도 저한텐 중요한 순간이었어요. 시간이 더 지나면서 Views랑 Scorpion같이 수록곡이 많았던 앨범들도 모두 그 순간, 그 공간에서의 중요성이 있었던 것 같아요.

I think they all just stand alone for what they are, and I think when you look at the year review, there’s not too many of those albums that you can say that I had one that wasn’t important. Maybe with the exception of More Life being a bit more of like impromptu, but even for me this was a huge moment. I think as the years progress, Views and Scorpion will also be the albums that you can’t ignore based on the amount of songs on those albums that were important in that space in that year.

 

제가 제일 좋아하는 드레이크의 앨범은 Nothing Was the Same이에요당신이 제일 좋아하는  뭔가요이유는요그때 당시의 켄드릭이 조명을 받았던  이유일 수도 있는데 생각만큼 사람들이  앨범을 오래 간직하지 않았어요.

My favorite Drake album was Nothing Was the Same. Is that your favorite? Why is it still your favorite? I feel like maybe Kendrick’s ascension at the time was a part of it, but I feel like it wasn’t as fully embraced as I thought it should have been. 

 

시간이 지날수록 되게 많은 사람들이 저에게 “지금 생각해보니까 Nothing Was the Same이 Take Care보다 좋아”라고 얘기해요. 저는 시간이 갈수록 그 특별함이 나타나는 음악을 잘 만드는 것 같아요, 그래서 사람들이 그걸 즐기려면 시간이 좀 지나야 하고 되돌아가서 다시 한번 들어봐야 하죠. 제가 제일 좋아하는 앨범도 Nothing Was the Same인데, 간결함 사이에 정말 좋은 음악들이 많이 들어가 있는 앨범이기 때문이에요. 15개의 곡들이 있었던 것 같은데, 아주 좋은 숫자인 것 같아요, 균형도 좋고요. 그 곡들 중에 “이건 좀 바꾸고 싶다”라고 생각이 드는 작업물은 없는 것 같아요, 아주 만족스러운 앨범이에요.

As time progresses, I have a lot of people come to me and say “You know what, I like Nothing Was the Same better than Take Care.” It’s just time has to pass for people to like them. I make music that ages well, so sometimes you have to revisit some of the projects and realize how well they were [created]. The reason why Nothing Was the Same is my favorite album is because of the fact that it was probably my most concise album. And within that concise offering was a lot of great shit, so I didn’t need to go make, for example, 25 songs. I think it’s like 15 songs on there, so it’s a great number. I just like where it sits, and I like the ratio. There’s not too many songs on that album that I can look back on and say “I would have done something different there.” I really do like that body of work.

 

당신도 예전에 발매했던 노래들을 가끔 듣나요?

Do you listen to some of your old stuff?

 

새로운 앨범을 만들기 전에 항상 참고하죠. 제가 항상 하는 게 있는데, 모든 트랙들을 리스트 해놓고 숫자를 하나 정해요. 그다음 그 숫자에 맞게 곡들을 선택하고 순서를 바꿔가면서 새로운 앨범으로 다시 만들어보죠. 저 스스로 챌린지를 해보는 거예요, 이 새로운 앨범을 예전 것들과 합쳐야 한다면 어떤 조합이 나올까. 어느 곡을 어디다 두고, 인트로는 뭐가 좋고 헤드라인을 만들 수 있는 곡은 어떤 것일까, 이런 고민들을 하면서 제 스스로와 싸우는 거죠. 제 모든 앨범들이 로드맵 역할을 해줘요.

When I’m making a new album, yea. I reference it. I actually do this thing where I chart out each track list, and I’ll pick a number. I take all the songs I have and start plugging them in places and see how it stack up to an album. I often challenge myself in that a way and if I had to clash that album with this new album, what would I put where, what would be the intro that could compete with over my dead body, and what’s going be my headlines. I use it as a road map almost.

 

아까 If You’re Reading This 얘기도 나왔었고 인트로와 레거시 얘기들도 했었는데요. “내가 죽으면 나는 전설이 되는 거야라는 것을 깨달은 순간이 언제였나요?

You mentioned If You’re Reading This, and the intros, the legend, where you talk about the legacy. What point did you realize that “Yo, if I die, I’m a motherfucking legend.”

 

그냥 자신감에 차있는 상태로 했던 많은 발언들 중 하나인 것 같아요, 앨범을 시작하기 좋은 출발점이기도 했고요. 지난 5년간 제가 죽고 나면 음악 역사에 있어서 중요한 인물이 돼있을 거란 것을 많이 깨달은 것 같아요. 그리고 그건 저 스스로에게 역사적인 일이죠, 정말 대단한 아티스트들이 많았으니까. 그 사람들을 다 돌이켜보면 저는 제일 말도 안 되는 꿈들까지 다 이뤄낸 기분이에요, 5살 때 그들과 사진을 찍었던 어린 아이의 이름이 그들과 같은 문장에 사용된다는 것 자체만으로도.

I think it was just one of those overly confident statements that felt like a great note to start a album on. I definitely think in the last 5 years, I’ve really realized that far after I’m gone from here, that I will be a part of music history. And to me, that is a legendary thing because there are so many incredible artists over all these years. When I think back at people, I used to look at pictures of when I was 5 years old, and just to think that people even mentioned my name in the same sentences, any of those individuals that lets me know that I’ve accomplished far beyond probably my wildest dreams.

 

퀜틴 밀러와 함께 진행했던 프로젝트가 많은 논란이 됐었어요어떤 사람들은 그가 대필을 해주었다는 얘기까지 하고 있는데그런 루머들이 당신과  앨범그리고 당신의 레거시에까지 주는 영향이 있나요지금 와서 돌이켜보면 어떤가요?

That project is obviously riddled in controversies because Quentin Miller. A lot of people feel like he helped you with some songs, and even to this credit, I feel like you’re still battling these ghost riding rumors. In some sense, does trying to tarnish your legacy, whether it’s effective or not, does that still take anything from that album for you? How do you view it now when you look at it?

 

그 앨범에 있어서 저는 부끄러운 것이 하나도 없어요. 그 앨범에 수록돼있는 곡 5개 정도를 다른 사람과 함께 작업했고, 그들의 아이디어가 필요했던 것이 아니라 말 그대로 같이 일을 한 거예요. 아직도 많은 아티스트들은 다른 사람과 함께 작업해서 당신들이 좋아하는 노래를 만들어요. 음악은 공동 작업이고 그게 부끄러워할 일이 아니에요. 저를 아는 사람들은 제 최고의 장점은 글 쓰기라는 것을 알 거예요. 저는 노래를 잘 부르지도 못하고, 좋은 퍼포먼스를 보여줄 수 있게 되었지만 제 강점은 글 쓰기예요. 그래서 많은 사람들이 저에게 작곡 작사 의뢰를 하고 저와 함께 작업하는 걸 원하는 거예요. 모든 아티스트들에게 말하고 싶은 건데, 절대 누군가와 같이 작업하면 안 된다는 말은 듣지 마세요. 같이하려고 음악 하는 거예요. 좋은 트랙을 만들기 위해서 누군가가 작곡 작사를 대신해주고 당신은 그저 녹음만 해야 한다면 그렇게 해요, 아직 그런 아티스트들 많아요, 그리고 대중들은 그런 래퍼들을 사랑하고 그들은 크게 성공해요.

I have no embarrassment when it comes to what I did on that album. I worked with somebody on 4 or 5 songs on that record, I pulled my weight when it came to my pen. It wasn’t like I needed somebody to facilitate entire ideas, we work together. There’s a lot of people that link up with other people and make records that you guys love. Music is a collaborative thing. Anybody that knows me knows that my strongest talent is writing. I’m not a great singer, I’m a good performer and I’ve grown into a great performer, but my greatest talent is writing. That’s why people ask me to write songs for me, that’s why people like to get in the room and write with me. I want to encourage anybody, if it makes a great song and you’re the one that’s voicing it but it’s you and this other person that’s cooking it up, you’re not doing anything wrong. From me speaking to any new artist, don’t let anybody tell you that you’re not supposed to collaborate. That’s what this is for. Whatever gets you to that destination where you have a great body of work. If you need somebody to write the whole thing and all you do is going in and track it, there’s still artists that exist like that to this day that people love and revere and sell out stadiums.

 

그래도 당신은 그렇지 않는다는 거죠?

That’s not you, though, you’re saying?

 

제 히트송들 그리고 저를 대표할만한 곡들, 단어 하나 빼지 않고 제가 썼어요. 저는 레전드를 만들 프로젝트에 다른 사람과 같이하지 않고, Marvin’s Room이라든지 R&B 곡들에는 다른 사람과 함께 하지 않아요. 하지만 다른 사람과 작업을 할 때, 제가 항상 먼저 아이디어를 보내고, 비트를 고르고, 작업을 해요. 사람들은 그런 저를 알고 제 실력과 노력도 모두 알아요, 그래서 그런 루머들에 크게 신경 쓰지 않는 편이죠. 밈을 만들고 그냥 웃으려고 하는 멍청한 얘기들이니까요.

No, all my biggest songs and any song that really did damage for me, I’ve wrote every single lyrics. I’m not going to collaborate with anybody on any timestamp records, I’m not collaborating with anybody on Marvin’s Room, or the R&B records. I’ve done studio sessions with people. When I collaborate with people, I always send the idea first. I’m the one that picks the beat and I put work in. People know me and that I’m good, that’s why I’m never really stressed about that narrative. It’s cool for memes and people that want to laugh and all that dumb shit.

 

믹이 세상에 공개한 내용도 크게 논란이 됐었는데요친구라고 부르던 사람이 그런 상황을 만든 이후에 관계가 많이 이상해 졌겠네요?

How do you feel in that moment of Meek sort of putting that out there, and everything goes crazy. A guy that was your friend, things got a little hectic with you guys at that point, right?

 

네, 그는 정신적으로 불안정한 상태에서 그런 말도 안 되는 결정을 내린 것 같아요. 제가 맞게 기억하고 있다면 제가 어떤 콘서트에 나타나지 않아서 시작된 일인데, 그건 정말 큰 장면의 일부분일 뿐이에요. 뭔가 오해가 생겨서 제가 그 콘서트장에 가겠다고 약속을 한 걸로 생각하고 있었나 봐요, 아마 필라델피아에서 있던 공연이었는데, 제 회사 측에서 먼저 제가 안 간다고 연락을 줬죠. 그 사건과 그의 개인적인 일들이 합쳐져서 그런 일까지 이어진 것 같은데, 그에게 직접 물어봐도 그때 정신상태가 매우 안 좋았다고 대답할 거예요. 그냥 다 무시하고 자기 멋대로 하기로 결정한 후 제 갑옷에 상처를 낼 목적으로 달려간 거죠. 다시 한번 말하지만 저는 그런 부정적인 일들과 부담을 모두 제 스스로를 발전시키는 에너지로 사용해요, 그것들을 이용해서 계산적인 반응을 한 것이고요.

Yea, I think he was in a bad mental spot, and he just made a decision to go crazy. If I remember correctly, it was based on a show that I didn’t show up for which was really like the tip of the iceberg. We had a little miscommunication and he was under the impression that I confirmed that I was pulling up to one of his shows, one maybe at Philly, and I didn’t show up and my management reached out to somebody to say I wasn’t coming. I think that being coupled with whatever conversations were happening amongst him and his lady, and getting this idea and whatever. He’ll tell you himself he wasn’t in the best mental spot at that time. I think he just took a hard left and decided to just go for it, and felt like he had enough ammunition to maybe put a major dent in my armor or decapitate me. Again, I’m really good at channeling those negativity and those pressures into pushing me to a next level where I just go into a calculative-reactive space.

 

 

당하는 입장에서 거의 괴롭히는 사람 입장으로 변했었는데, 지금 둘의 관계는 어떤가요?

You almost took a bully position, like, where are you all at?

 

그 순간에는 그저 우리가 음악에 대한 얘기를 하고 있다면 트위터에 글을 남기거나 문자를 하는 대신 음악으로 내가 뭔지 보여주고 싶었어요. 아무도 제가 발 벗고 나서서 먼저 방어를 할 것이라고 생각 못했던 것 같아요. 그래도 상대방의 공격이 얼마나 계산적인 것인지 모르잖아요, 6개월간 작업을 하면서 그동안 저를 계속 미워하고 있었을 수도 있고요. 그래서 Charged Up은 제 나름대로 “이거 진짜야? 아님 그냥 순간적인 선택이야?”를 물어보는 방식이었어요, 이게 패키지인지 아님 실수인지.

I just felt like, in that moment, if we’re talking about music, let me just show you better than I could tweet you or text you. I’m just going to show you what I’m about. I don’t think anybody expected me to just jump out there and defend myself and go first. You never know how calculated someone’s plan is, maybe they’ve been sitting on the record for 6 months and hated you all this time. So Charged Up was my way of being like “Is this real? Or is this just like a sporadic outburst?” I just wanted to know if it was a package, or a mistake on his part.

 

그 배틀 이후에도 많은 일들이 있었죠?

A lot has happened after that battle, right?

 

한 가지 말씀드릴 수 있는 건 믹은 누굴 따라 하는 사람은 아니에요, 음악으로 장난치는 사람도 아니고. 그니까 다른 래퍼들과 말도 안 되는 얘기들과 오로지 거짓만을 갖고 싸우는 거와는 달랐죠. 믹도 분명 바뀐 면들이 있었지만, 그런 애들과는 달라요. 그 이후에 다시 돌아와서 화해를 한건 아주 큰 일이었어요, 그래도 많은 어린아이들을 포함해서 모두 지켜보고 있었으니 되돌릴 수 없는 선을 넘기 전에 돌아올 수 있었죠.

One thing I could tell you firsthand, Meek is not a pretender, he’s not a joker. He’s not like beefing with some of these other rap guys where their stories are all made up. And I can tell you straight up. Obviously Meek went through some changes but I wasn’t beefing with no punk. For us to be able to turn that around was a big thing. I think we both felt our obligation to everybody that had eyes on us, all these young kids, we had to turn that around because how far it could, and almost went.

 

화해에 대한 얘기가 나와서 말인데요. 크리스, 믹, 퍼프 등등 많은 일들이 있었잖아요. 이 시점에서 다 해결하고 화해할 수 있을까요?

We talked about reconciliation. Obviously we have Chris, Meek, Puff, and things have been as aspirated. At this point in your career in your life, do you think you could ever squash things and make things with them?

 

저는 지금 현재 좋은 위치에서 치유 중이에요, 그래서 방금 말씀하신 이름들을 다시 생각해보면, 그 문제점들을 하나하나 살펴보고 대결을 떠나서, 망상과 폭력을 떨어트려놓고 다시 보면 정말 별거 아닌 것들이 많아요. 뭐 때문에 그렇게 싸운 걸까요? 2009년에 있었던 작은 다툼을 시작으로, 아님 같은 도시에서 시작해서? 많은 일들을 해결하기 시작했는데, 특히 제 주변 사람들에게 말해주고 싶은 건 오로지 저를 위해서라는 거예요. 저한테 의미 있는 일이에요, 왜냐면 많은 사람을 미워하면서 즐거운 인생을 사는 건 불가능하거든요. 저도 많이 변했어요, 무서운 일들까지 할 준비가 돼있던 예전의 저와 달리 이제는 다른 에너지를 뿜어내면서 앞으로 나아가고 있죠. 항상 등을 조심해야 하면서 사는 건 전혀 즐겁지 않잖아요. 그렇게 살기 싫었어요. 근데 해결하고 싶지 않은 특별한 일이 있긴 하죠. 그 사람과는 돌이킬 수 없는 선을 넘었고, 다른 상황들과는 조금 달라요.

I’m at a great healing place in my life, which is why all those people that you mentioned, when I really break down the issues and stop thinking from such a confrontational, paranoid, violent standpoint, I started to break down what our issue is. What is this over, again? It’s over a fight we had in like 2009, or it’s over the fact that we are from the same city? I was able to mend a lot of those situations. A lot of people ask me why, and I want mostly my closest friends to know that it’s for me. It’s got to do a lot for me. It’s not a fun life when you’re in a lot of beefs with people. You got to check who’s gonna be at an event, you start moving different. I was changing as a person, becoming a guy that was definitely willing to do some terrible things, definitely moving with a different energy. It’s just not a fun life when you have to look over your shoulder all the time or wonder which one of my friend is gonna go sit for two, three, or ten years. It’s not a good way to live. In that particular situation you’re talking about, I don’t know. I have no desire to ever mend anything with that person and that situation just went where it went, and there is no turning back. It’s not like those other situations.

 

푸샤가 당신의 아이를 세상에 공개하면서 그 선을 넘은 건가요?

Did Pusha go too far by revealing the child and presenting that to the world?

 

그 사람 입장에서는 아주 똑똑한 공격이었다고 인정해요, 체스라는 게임에서 박수 쳐줄 만한 선택이었죠. 그리고 랩이라는 운동 안에서 제 첫 패배라고 볼 수도 있으니까요. 하지만 선택적인 패배였죠, 왜냐면 그 사람이 터트린 폭탄은 제가 갖고 있던 것들과는 비교할 수 없을 만큼 큰 힘을 갖고 있었으니까요. 그래도 음악으로 맞이한 패배가 아니라는 사실에 밤에 잠은 잘 자요. 그는 그 시절 최고의 아티스트가 숨겨놓은 아이가 있다는 사실을 공개했고, 그 순간 바로 음악과는 별개인 일이 된 거예요. 그 정보 자체만으로도 너무 놀라워서, 아까 말했듯이 정말 똑똑한 선택이었어요. 물론 제 입장에서 그는 존경도 예의도 없어요, 그 일 말고도 제 부모님에 대한 말도 안 되는 루머를 만들어내고, 제일 충격적이었던 건 병을 앓고 있던 제 친구가 죽었으면 좋겠다고도 했었죠. 그런 쓰레기 같은 짓에 그냥 반응하고 싶지 않았어요. 음악을 떠나서 그냥 랩을 멈추고 싶다는 생각이 올 때가 있어요, 당신의 아내에 대해, 아이의 대해, 아님 가족에 대해 의논하기 시작하면 랩이 무슨 의미가 있겠어요. 저도 반격을 하려고 녹음을 한적은 있는데, 그냥 제 스스로도 몇 년 후에 듣고 싶지 않을 것 같은 얘기들로 가득 차있었죠. 제가 아니었고, 그저 화에 차있는 상태로 굳이 아무도 신경 쓰지 않는 그 사람을 위해 반응하기 싫었어요. 그리고 “드레이크는 숨겨놓은 아이가 있어”라는 발언을 이길 수 있는 건 어차피 없었으니까요. 그 폭탄을 이용해서 그가 이겼다고 해도 좋아요.

I tip my hat to the chess move, it was a genius play in the game of chess and definitely warranted my first “loss” in the competitive sport of rapping. By choice, obviously, because I bowed out after realizing the gap between us allowed him to drop a bomb on the world, which really became all that anyone cared about. I sleep well at night knowing I didn’t get out barred, and I didn’t get done by some crazy song. He told the world that the biggest artist at the time has a kid that he hasn’t told you about. I knew it was over at that point, it wasn’t about battle rap or any of that. The information was too shocking, so as I said it was on his part a genius chess move. He obviously has no morals or respect when it comes to me, so the other elements of the record whether it be the shit he’s making up about my mom and my dad, and obviously the part that hit me the most was wishing my friend that has an illness dies. That shit to me is just not wavy, I’m just not really with that. When I did say there were rules to this, in battle rap, there’s a point where you’re gonna want to stop rapping. I’m sure I could say something about your lovely lady, or your child, or a family member and you’re just gonna want to not really rap anymore. That’s just kind of where I got to. When I was making a record in response, I just found myself saying things that one, seemed really out of character because I was deeply invested in the situation and getting very angry and saying things that I don’t know in two years I’d want to hear myself say. I just realized that nobody cares about this guy, so it’s not really much I can say better than “Drake has a baby.” He won off that bomb.

 

아이를 아디다스 캠페인을 통해 처음 공개할 계획이었다는 루머도 있었는데, 사실인가요?

Was that true that you wanted to reveal the child with Adidas campaign and things like that?

 

그때 아디다스와 함께 일을 하고 있었던 건 사실이고 제 아이의 이름으로 몇 가지 아이디어를 주고받은 건 사실이지만, 첫 공개를 캠페인을 통해 할 계획은 전혀 아니었어요. 사실대로 말씀드리자면 유전자 검사를 몇 번 해봤었어요. 첫 번째 검사가 이동을 하던 도중 망가져서 미완성 상태로 돌아왔고, 그래서 발표가 늦어졌던 거예요. 제 아들을 보시면 알 거예요, 세상에서 제일 밝은 파란색 눈을 갖고 있고 너무나도 이쁜 아이예요. 그러고 나서 검사를 2번이나 더 진행하면서 제 앨범이 나오기 일주일 전에 제 아들이 맞다는 결과를 받을 수 있었어요. 이게 사실이고 인터넷에 돌아다니는 정보들은 다 조작된 거예요. 제가 아들이 있다는 게 중요한 포인트였고, 제가 아이를 숨기고 있다거나 나머지 디테일은 그냥 이야기를 더 흥미롭게 하려고 만들어낸 거겠죠. 전 아직도 제 아들의 사진은 올리지 않아요. 아이의 엄마와 함께 부모의 역할을 같이 채워나가고 있어서 제가 항상 옆에 있어주지는 못하거든요. 그래서 제가 지켜줄 수도 없으니 사람들이 저에게 하는 것처럼 따라다니거나 누드 사진을 들고 집 앞에 나타난다거나 그런 미친 짓들을 당하게 할 수는 없어요.

At the time, I was working with Adidas and we were toying with the idea of a name being the play-off of my son’s name. I wasn’t revealing my son with Adidas, I wasn’t going to have my son, like, you know. To be honest with you, I actually did a DNA test for my son and came back to us saying that the DNA test got ruined in transit. And that they couldn’t be a 100% sure if that was my son or not. So I was in a really weird pending situation where I didn’t want to go tell the world that he was my son, and it wasn’t, and if you see my son you’d understand. I mean he’s just a stunning child with the brightest blue eyes, and it actually wasn’t until a week before the album came out that I got confirmation that he was my son. It took two more solid tests with two different companies. All the details of his record are all just fabricated so he could make the story look more interesting, the biggest part of it was that I have a son, but it wasn’t like I’m hiding it. I still won’t post my son because the world’s fucking crazy, man. I’m in a co-parenting situation, and anybody in this situation understand that you have to split time between two locations, so I can’t also be there to make sure that he’s good. The last thing I want to do is have people running around, going crazy trying to get my son and do all the crazy shit that they do to me, showing up outside with naked pictures.

 

그럼 반대로 Duppy Freestyle 통해서 푸샤와 그의 여자에 대해 얘기할 때도 선을 넘었다고 생각하시나요?

Do you feel like you crossed the line when you’re talking about Pusha and his woman in the Duppy Freestyle?

 

그분 입장에서는 “네가  여자의 이름을 꺼냈으니까 이건 선을 넘은 거야라고 생각할  있겠죠저와 믹의 상황에서는예전에 녹음했던 것들을 들어보면 그렇게 선을 넘은 가사들은 없었어요같이 얘기를 해본 적도 있는데저희는  얘기도 하지 않았고가족도 건드리지 않았죠그냥 눈에 보이지 않는 이런 룰들이 존재하는데 사람한테는 이것 조차 없는  같네요그래도  발언을 시작으로 커리어를 만들어냈고그의 음악을 좋아하는 사람도 있고요저는 개인적으로 그의 작업물과 커리어 아무것도 좋아하지 않아요왜냐면 저는 제가 믿는 사람들의 음악을 즐겨 듣거든요.

He can say “You brought up my lady’s name, all bets off the table.” That’s fine, we all think differently. Even in me and Meek’s situation, if you listen back to those records, we also talked about it too, but we didn’t really go that crazy on each other. And we left Nick out of it, and we left family out of it for the most part. Whether there was information I didn’t get revealed or not, there’s just some unwritten rules in the sport for some people. Obviously not for him, and that’s fine. He’s just made an entire career off of it, and some people like his music. I personally don’t because I don’t believe any of it, and I like to listen to guys that I believe.

 

[Duppy Freestyle]:

 

 

그래도 제일 관심을 많이 받았던 건 칸예 웨스트와의 사건들일 텐데요. 하루의 끝에 다시 돌아보면 그것에 대해 어떻게 생각하세요?

The biggest conflict is probably the ups and downs of your relationship with Kanye West, what do you think at the end of the day?

 

이 모든 게 거기서부터 시작된 것 같기도 해요. 그리고 그가 인터뷰를 통해서 뭐라 하든, 아무리 “드레이크를 사랑해”라고 해도 저의 무언가가 많이 마음에 안 드는 게 분명하잖아요. 그걸 제가 고쳐줄 수도 없는 것이기 때문에 그냥 그런 거죠. 제가 그에 대해 했던 발언들을 절대, 절대로 좋게 해석할 수 없고 그럴 마음도 없어요. 하지만 제 생각, 실력, 그리고 그 모든 면에서 제가 제일 좋아하는 아티스트는 칸예 웨스트라고 할 수 있어요. 그건 그냥 팩트이고 그걸 인정하는 데에 있어서 아무 문제없어요. 저는 항상 사랑도, 인정도 줄 의향이 있지만, 그저 상황이 많이 바뀐 것이죠. 저는 더 이상 팬의 입장이 아닌 개인적인 관계에서부터 형성된 문제들이 생긴 거고 그것들은 제가 대신 해결해줄 수 없는 거죠.

I think that’s where all of this kind of stems from. It’s all kind of rooted in that situation, and he definitely recruited a guy with a similar dislike for me, no matter what he says in interviews. I know that he can tell whoever “I got love for him” and whatever, but it’s not love, there’s something there that bothers him deeply. I can’t fix it for him, so it just is what it is. I can never, ever, ever turn back on the things I’ve said about him in a positive light and I still feel all those same things. If I look at home as like the guy who probably shaped majority of my thinking, skill set, all those things, I would say Kanye West would be my favorite artist all around. That’s just facts, I have no problem saying that. I’m always willing to give the love and the credit, but things changed. I’m not just a kid that’s a fan anymore, now we have personal situations and a lot of his issues with me, I can’t fix them for him.

 

그래도 대화를 해보실 의향은 있으세요?

But would you be open to communication?

 

아니요, 별로요, 왜냐면 제 선택이 아니니까. 저는 개인적으로 이 사람들과 아무 문제가 없어요, 그런 문제가 생길 만큼 친했던 것도 아니고요.

No, not really, because it’s not on my end. I have no problem with any of these guys, I don’t even know these guys like that.

 

그가 12월에 SICKO MODE 가사가 자신을 향한 가사 같다고 트위터에 올린 적이 있는데요.

In SICKO MODE, it seemed like in December, he went on a Twitter rant and felt like those lines were directed to him.

 

당연하죠, 거짓말할 수는 없는 거고 그건 당연히 그에게 향한 가사이 죠. 하루의 끝에서 보면 이건 그냥 스포츠예요, 그리고 저는 방어를 한 거예요. 만약 뒤에서 제 얘기를 하고 다닌다면 저는 앞에서 음악으로 싸울 거예요, 푸샤와의 상황에서도 그렇게 했고요. 그게 싸움이란 스포츠이고 언젠가는 다들 한 번씩 지게 돼있어요, 플로이드가 아니고서야. 그러니까 그 경험들을 통해서 배우고, 그 감정들을 음악적인 영향으로 전환시키고 있어요. 근데 그들이랑 싸우는 건 예를 들자면 제가 크리스와 싸울 때와 많이 달라요. 보안이 따라다니는 큰 이벤트를 제외하고는 그들은 이제 아무도 모르는 곳에 숨어있잖아요. 그래서 저는 그저 좋은 인생을 살고 있어요, 평화롭게 에스프레소와 와인을 마시면서, 앨범 작업을 하고 아버지의 역할을 즐기면서, 이 집에서 행복하게요.

Of course, though. I can’t lie to you, of course they were. This is a sport at the end of the day, and you know, from a very early point, I’ve never shied away from defending myself. I’m also sometimes eager to engage if I feel that you want to be slick or be offensive behind the scenes, I might choose to address it in music, and that was how I ended myself up in the Pusha situation. That’s just the sport of fighting, somebody is gonna catch you at some point, unless you’re Floyd, but for the rest of us, you’re gonna get robbed one time by something you didn’t expect. Again, learn from it, channel it into something else, and right now, I don’t see those guys anywhere so it’s not the same as when I was beefing with Chris. Those guys hide in God knows where unless it’s like an event with security and shit. For me, I’m at a great place in my life where my life is about peace, my life is about drinking espressos and wine, I’m trying to make this album, I’m enjoying being a father, I’m enjoying my house.

 

[SICKO MODE]:

 

그럼 SICKO MODE  마지막 발언이라고   있겠네요그의 대해서나 전체적인 싸움에 대해서요?

Do you think that SICKO MODE was your final thing on it, in a sense? Your final statement about him or everybody in general?

 

그가 또 공격을 한다면 저도 다시 싸울 거예요. 전 항상 준비가 돼있어요. 기대하면서 매일 생각하고 있는 일은 아니지만, 저를 공격하는걸 가만히 앉아서 지켜보고만 있지는 않을 거예요. 언젠간 이런 일들이 반복되겠지만, 이 평화가 오래갈 수 있길 바라요. 왜냐면 지난 몇 년에 비해서 지금 너무 행복하고 먹구름과 부정적인 생각들 없이 즐기고 있거든요.

If he turns up on me again, I’ll turn up on him again. I guess that’s just what it is. I’m always down, and it just is what it is. It’s not something I’m really looking forward to or thinking about too much, but I’m not just gonna sit by while somebody is just talking loose about me. It never fails. Something will come one day, but I pray that I stay in this place of peace, because I’m enjoying it more than a lot of the past years that have been plagued by confrontation. It’s dark clouds and negativity.

 

제이지와도 가끔 다툼을 주고받고 하는데  관계는 항상 좋은 상태로 유지되나요어떻게  좋은 방향으로  빠지고 유지할  있었죠?

You say you take shots with the Goat, you talked about the shots that you send with Jay-Z, why has that relation remained intact, why has it never gone left?

 

제이는 저를 향한 존경이 많고 반대로도 제가 얼마나 존경하는지 잘 알고 있는 것 같아요. 저희가 주고받고 하는 그 과정은 그저 즐겁고, 그의 입장에서는 어린아이가 잘하고 있는지 확인하고 제 입장에서는 “저 아직 여기 있어요”라는 말을 하는 것과 같아요. 같이 만나서 이런 것들에 대해 얘기도 해봤어요, 왜 그런 얘기들을 하게 되었는지. 그 이후로는 아무 문제없었던 것 같아요, 그리고 더 이상 원하지도 않고요. 너무 많은 일들이 일어나고 있고, 너무 많은 사람들을 잃고 있어요. 이런 상황 속에서 오직 대결만을 위해 달려가기보다는 다른 사람들을 존경하는 마음, 저에게 줬던 영향력을 인정하는 마음을 보여주는 게 우선인 것 같아요. 저도 시간이 가면서 깨달은 건데, 제가 이 세상에 있고 다른 사람들이 지켜보는 동안에는 최소한 제 존경을 표시하고 싶었어요.

I think that Jay has a lot of respect for me, and he’s aware of the massive respect that I have for him at the end of the day. I think we both enjoyed our moments of him checking the young boy, and me being like “I’m here.” We met up and really spoke about all our jabs and fallouts and what prompted some of those things. It was a really important moment for us, and from that point on, we haven’t really engaged in anything and I don’t think I want to at this point. With everything that’s going on, we’re losing so many people, and I think it’s really important that we, as wrapped up as you can get in the competitive side of things, I do think that when you have that much respect of somebody or somebody has that much of a fingerprint on who you are as a person, it’s just important to start showing it. I also had to man up and realize that while I’m here, while he’s here, while all these other people are watching, I gotta at least pay my respects.

 

 

Western Road Flow 가사에 35살에 은퇴를 하겠다는 내용이 담겨있어요. 아직도 그럴 계획이신가요? 35살에 은퇴?

I know on Western Road Flow you said that you’re going to retire at 35. Is that your reality? Retirement at 35?

 

아니요, 이제는 아니에요. 그때 20대 중후반이었던 것 같은데, 그때는 그 말이 더 멋있게 들렸었나 봐요. 이제 33살이 되었는데, 이제는 40살에 랩 하고 있는 모습이 상상되지 않아요. 근데 26살 때 상상했던 저의 35살과 같은 방식이겠죠, 그냥 너무 먼 이야기 같이 느껴지니까요. 근데 아직 음악을 사랑하고 이제야 제 집안에 스튜디오를 마무리했어요. 여기서 아직 첫 곡도 녹음을 못했는걸요.

No, not anymore. I think I was 20-something, it sounded better. I just turned 33, I do have trouble thinking of myself rapping at 40, but it’s the same way I had trouble of thinking of myself rapping at 35 when I was like 26. I guess you just always set these distant things, but I love making music. I just finished my studio in the house, I haven’t even recorded the first song in there.

 

아직  얘기가 많은데 벌써 새로운 앨범 얘기가 나오고 있군요아직 크리스 브라운 얘기도 못했고여기 조금  오래 있을  같네요릭 로스와 좋은 음악을 많이 만드시는데 사이의 케미스트리가 어떻게 그렇게 좋나요?

I’m trying to go through everything, this guy wants to talk about the new album. We still haven’t talked about Chris Brown, there’s so much we have to talk about. We’re going to be here for a while. You make good music with Rick Ross, what is it with the chemistry with Ross?

 

로스는 항상 제가 제일 좋아하는 래퍼들 중 한 명이었어요. 서로 새로운 곡을 하자고 연락을 할 때마다 기분이 너무 좋아요, 그가 “나 하나 필요해”라는 문자를 보낸다던지 제가 “너 줄 곡이 생겼어”라는 문자 둘 다 너무 기다려지는 연락이죠. 그가 좋은 벌스를 만들어올걸 알아요, 제가 본 사람들 중에 제일 일관된 사람이거든요. 가끔 관계가 틀어질 걱정 때문에 공동 작업을 하는 게 힘들 때도 있어요, 왜냐면 결과물이 별 로거나 마음에 안 들 때 그걸 상대방에게 말해주는 게 어렵잖아요. 하지만 로스와 작업할 때는 그가 무엇을 가져올까라는 걱정이 든 적이 없어요, 그는 가장 일관되고 철저한 사람이거든요.

I think Ross has always been one of my favorite rappers, ever. I think when we hit each other up to do a song, it’s just always an enjoyable text to get. It’s always enjoyable when he hits me and says “I need one,” or I hit him and say “Yo, I got one for you.” We just know what time it is. I know he’s gonna bar up, I know what he’s going to bring. He’s just one of the most consistent people. Sometimes, it’s tough to collaborate with people because if they don’t deliver exactly what you were thinking off, how do you tell them [it’s not what you wanted]? It can really sever relationships, but Ross is just one of those people I’ve never had to worry. I’ve never had to question what he’s going to bring. He’s consistent and one of the best and one of the most thorough that does this.

 

믹과 화해를 했을  많은 사람들이 “그럼 드레이크랑 로스랑 다시 작업할  있겠네라는 반응을 보였어요.

So many people, when you crossed it with Meek, they were like “That means Drake and Ross can make records again.”

 

믹과의 상황이 니키와 저의 관계에 가져온 변화들 외에 그게 제일 힘들었던 부분이기도 해요. 로스는 저의 멘토이자 이 음악시장에서 제가 제일 좋아하는 사람들 중 한 명인데, 그가 편을 정해야 해서 저와 더 이상 작업을 못한다는 것이 너무 힘들었어요. 어느 싸움에서든 편 가르기가 제일 가슴 아팠던 것 같아요, 함께 추억이 있는 사람들끼리 편을 가른다는 게 말이에요.

That was one of the most painful parts for me, aside from the rift that the situation put between the family and obviously changed me and Nicki a lot, probably forever. One of the most painful parts was Ross being one of my OG’s, one of my mentors, and one of my favorite people in the game, and I might not be able to make a record with him again because he has to pick a side. That was kind of the case with a lot of that. It really came down to more people picking sides, and that’s really tough. People that you just have history with feel like they have to choose a side.

 

크리스 브라운과 다시 작업을 하기 시작하고 어떻게 바로 그런 히트를 만드셨나요? No Guidance 어떻게 만들어진 건가요?

How do you and Chris Brown get back together and make a damn smash? Talk about No Guidance, how did that all come down together?

 

항상 같이 작업해보고 싶었고 음악을 만들고 싶었는데 원한 때문에 계속 서로를 밀어내고 있었던 것 같아요. 그래도 하루의 끝에서 돌아보면, 한 걸음 물러나서 생각해보면 다 미성숙한 일이었다고 생각해요, 다 여자 때문이었으니까요. 근데 그 별거 아닌 일이 쌓이고 쌓이면서 큰일이 됐던 거죠.

I think we’ve come together before and tried to link and make music, I think we were always forcing it with resentment on both sides. At the end of the day, when you step away from it and break it down, you start to feel silly because it’s over girl stuff, but that can obviously snowball into real shit.

 

둘이 뉴욕 클럽 거리를 문 닫게 만들었어요.

You shut down New York club life, forever.

 

저는 기억이 잘 안 나네요.

I have no recollection.

 

그럼 그런 상황 속에서 No Guidance 뭐가 달랐나요?

What made No Guidance different?

 

저희 둘 다 성숙해지기도 했고, 저희 둘 사이에 문제가 되었던 사람이 더 이상 현재 저희에 인생에 없었기 때문에 가능했던 것 같아요. 그 여자분은 아직도 사랑하고 존경해요, 가족처럼 생각하고요. 하지만 그분도 좋은 사람이기 때문에 크리스와 제가 계속 아이들처럼 유치하게 싸우는 걸 원하지는 않았을 거예요. 그래서 주변 사람들을 통해 그가 화해할 마음이 있다고 들었을 때, 저는 항상 그의 재능을 존경했기 때문에 같이 노래를 만들 수 있었죠. 크리스도 똑같이 저에게 존경을 돌려주면서 제가 리드를 할 수 있게 해 줬어요. 그리고 그 작업물이 너무 좋게 나왔어요, 비디오를 통해서도 저희 둘 다 이기심은 옆에 두고 서로 믿으면서 진행했으니까요. 제가 마지막 날 크리스에게 SNL처럼 웃긴 부분을 추가하고 싶다고 얘기했는데, 다행히 동의를 해주었고 추가 촬영까지 함께 해주었죠. 너무 재밌고 만족스러운 작업이었어요. 이번 앨범에도 참여해줬어요.

I think we’ve just both grew up to the point that the person in the middle of us is no longer a part of either of our lives, currently. I have the utmost love and respect for her, I think of her as family more than anything. She knows that me and him have both been consumed by this issue and I think she’s a good person with a good heart that would rather see us put that issue to bed than continue childish shit that could end up in a serious situation. I was hearing from people that he was in really good space to link up, and I just always really had a lot of admiration for his talent. I think finally he gave me the mutual respect and admiration by allowing me to take the lead on the song. It’s not some shit that’s gonna disappear. Again, at the video, I really do thank him a lot because just both of us being able to put ego aside and him just trusting me. That video initially didn’t have that scene at the end. I met up with Chris the day before, and said we have to address the issue at hand, we can’t just act cool, it has to have that SNL element to it. It involved shooting an extra day and he stayed the extra day, he was hilarious, and I think we both really felt satisfied after that. He’s also on the album as well.

 

[No Guidance]: 

 

네, 그럼 이제 앨범에 대한 얘기를 해보죠. 이 앨범은 어떤 방면으로 다가갔나요?

Okay, lets talk about the album. How are you approaching this album?

 

지금까지 제가 말씀드렸던 이야기들의 에너지를 다 음악을 통해 보여드리고 싶었어요. 제 인생에 있었던 좋은 일과 나쁜 일들 모두 담으려고 많은 시간을 두면서 작업했어요. 곡 하나를 완성하면 3주 동안 일상으로 돌아가서 사람들을 만나면서 그들과의 관계를 더 단단하게 만든다던지, 그냥 사적인 인생을 많이 즐기면서 했어요. 매일 밤을 스튜디오에서만 보낸다면 불가능할 일들을 하고 있는 거죠.

We’re just really taking all the energy that I’ve talked to you about and trying to project it into music. The good and the bad that’s going on in my life, definitely taking my time a lot more with this album. I’ll go 3 weeks in-between making songs because I’m just kind of enjoying life, enjoying going out with people, investing in personal connections, and it’s just making my music better. I’m touching on things that [you can’t] when you’re in the studio every night.

 

OVO에 대해서 많은 사람들이 비판을 해요, 드레이크만 조명을 받고 다른 아티스트들은 기회가 없다는 식으로요. 당신만큼 성공적인 슈퍼스타를 만들어 내야겠다는 부담이 있나요?

There’s a lot of criticism that when it comes to OVO, Drake is the priority of the label with a lot of other artists on there. Do you feel pressure to continue to build another superstar on the same level as you?

 

저는 레이블에 있어서 항상 웨인의 가르침을 따라요. 하고 싶은 것 하게 해 주고, 그 방식이 무엇이든 존중해주면서 안된다고 하는 일은 거의 없어요. 그 아티스트들을 건드리지 않으려고 노력하고 있고, 필요한 곳에서 서포트만 주고 있죠. 같이 하고 싶은 사람과 음악을 만들고 발매를 하고 싶을 때 하면 돼요, 어떤 음악이든. 그리고 제 피처링이 필요하다면 40에게 연락해서 말하면 제가 도움을 줄 수도 있겠죠. 우리 레이블은 놀랄만한 곳이고 신인들이 자신만의 것을 활용해서 커가기에 아주 좋은 환경을 갖고 있어요. 슈퍼스타를 만들어야 된다는 부담이 있냐고요? 저희는 숨겨져 있는 슈퍼스타들이 많다고 생각해요. 근데 저처럼 만들어야 한다는 부담이 있냐고 물으신다면, 아니요.

When it comes to our label, we’ve always taken the same approach that Wayne took with us. You do what you want, how you want, they’ll never be a time where the answer is no. I really try and stay out of the way of the other artists and give them support whenever they need it. Everybody’s allowed to do whatever they want, you can make music with whoever you want, you can drop whenever you want, you can make whatever kind of music you want. And if you need the boy on something, then you’ll ask 40 and have him call me, and the chances are I’ll do it. Our label is actually an incredible place and a great breeding ground for artists that want to do their own thing. Do I feel a pressure to create a superstar? I feel like we definitely have some incredible superstars that are cemented in the music scene. All these guys have had great contributions. Do I feel pressure to make like another me? Not really.

 

 이상 세트리스트에도 없는 히트송들이 많아요그리고 신나는 분위기가 아니더라도 크게 성공한 곡들도 많고요.

You have hit records that are not even on the set list anymore, and you have records that are not performance records but could still be a big one.

 

제 목표는 투어의 마지막 4곡을 항상 바꾸는 것이에요. 아직까지도 그 공연을 God’s Plan으로 마무리해야 한다면, 그 전 투어와 마지막 곡들이 똑같다면 무언가 잘못하고 있는 거겠죠. 이 마지막 4곡은 제일 최근에 만든 프로젝트들로 채우고 싶어요. 계속해서 무대의 마지막을 장식할만한 노래를 만들 수 있다면, 그래서 God’s Plan이 제 세트리스트 중간쯤으로 올라올 수 있다면 저에게는 큰 의미일 것 같아요.

My goal, always, if my last four songs of my previous tour don’t change, then I did something wrong. If I still have to end the night with God’s Plan on this next tour, then I did something wrong. Those last four slots, to me, are your work since the last project. That would be a big thing for me, if I have a record that is big enough that people want to hear, and God’s Plan move up to the middle of the setlist.

 

이제 세트리스트에는 없지만 제일 좋아하는 드레이크의 곡 5개. 무엇이 있을까요?

5 great Drake songs that aren’t setlist or singles that you still appreciate? It’s a good debate, there are so many records.

 

Trust Issues, 4PM In Calabasas, Fire & Desire, Tuscan Leather. 너무 많아서 못 고르겠네요.

Trust Issues, 4PM In Calabasas, Fire & Desire, Tuscan Leather. I just have a lot of records.

 

벌써 10년이나  일을 해왔지만 아직도 최고의 벌스는  나왔다고 하셨잖아요그래도 지금까지 제일 만족스러운 곡은 어떤 건가요당신을 차별화시키고 눈에 띌  있게 만들어준 .

You say that you’re 10 years in, we still haven’t heard some of your most impressive verses. But which ones are you most proud of? Something that made you stand out.

 

제가 스스로 칭찬해주고 있는 것들은 안정되고, 자연스럽고, 대화같이 진행되는 벌스들인 것 같아요, 때때로 일어나는 생각들을 마구 내뱉고 있으면서도 그 모든 게 어느 한 중심으로 연결될 때. 전통적인 랩, 멜로디 없는 랩이 많이 없어지고 있잖아요. 특히 메인스트림 음악 시장에서는 이제 전통적인 랩과 긴 벌스들이 단절되고 있는 것 같아요. 이런 시점에서 아직 랩을 하고 있다는 거 자체가, 그리고 사람들이 아직 들어준다는 것 자체가 증명해주는 것 같아요, 왜냐면 어린아이들의 귀를 사로잡기에는 훅 없이, 멜로디 없이, 터지는 비트 없이 랩 하는 것 만으로는 힘들거든요. 이런 어려운 상황 속에서, 다른 사람들은 때려치우고 트렌드를 따라갈 때 계속 자리를 지키고 있을 수 있다는 게 감사해요. 지금 저를 만족시킬 수 있는 음악은 없는 것 같아요, 왜냐면 저는 틀에 박히지 않은 채 이어가고 있으니까요. 그래도 콜과 켄드릭은 존경스러워요, 시작한 것을 지키는 것과 동시에 새로운 방식들을 찾아가고 있는 사람들 같아요. 그래서 이 세대가 바뀌면서 누가 살아남을 수 있을지, 특히 저희 셋에게는 누가 웨인과 제이처럼 버틸 수 있을지 시험해볼 차례이니까요.

Majority of the ones that a I pat myself on the back for, are the ones where there’s a constant, fluid, conversational style. Sporadic thoughts going everywhere but somehow all connecting. Traditional rap, rap without melody, is going instinct of it. In a mainstream space, I feel like the art of bars and just the traditional rap and long verses is kind of going, it’s extinct. That is kind of where it’s going, so I’m just grateful to be able to rap and the fact that people even still want to listen lets me know that I have a lot of good shit to say about life because I think it’s really hard to captivate the younger audience by just rapping without a hook, without a melody, without a beat that slaps. I’m just grateful that I still even have the desire to do that because a lot of people in my position would have abandoned it and say fuck that. Nothing’s ever good enough, not for me because I’m the unconventional one, but I have a lot of respect for guys like Cole and Kendrick because they also continue to stay true to what we started with, and finding new ways to do it. I’m excited that the decade is about to turn and we’re gonna see who can go that extra stretch, because it is really, for all three of us, it is the time to see who can transcend the generations much like Jay did or much like Wayne did.

 

그들은 계속  일을 하고 싶을지 모르겠어요힙합 아티스트들은 항상 위에 있고 싶어 하니까요콜이나 켄드릭이 “ 이제 그마할래라고 하는 것은 상상이 가는데당신이 “ 곡을 마지막으로    거야라고 하는  상상이  가요.

I don’t know if they really want to keep going, hip-hop artists want to go out on top. I can see Cole and Kendrick saying “this is it for me” but your spirit is more. I don’t see you saying “this is my last one, I’m gonna take a few years off.”

 

경쟁심이기도 하지만 저는 정말 랩 안에 살고 있는 몇 없는 사람들 중 한 명이에요. 밖에서 파티를 즐겨하고, 제 집을 보세요, 밖에 돌아다니면서 정말 인생을 즐기고 있어요. 지난 6개월간 인상 깊게 봤던 건 음악을 해야 할 때는 나와서 멋있게 끝내고 바로 다시 가족한테 돌아가서 자신만의 인생을 사는 래퍼들이에요. 저도 가족과 함께 시간을 더 보내려고 노력 중이지만, 저는 대부분 여기서 정말 랩을 위해 살고 있어요.

It’s the competitive thing but also I’m just one of the few people that really live this rap life. I’m really out here partying, you see the house, I’m out, I’m in the streets, I’m really out here. Some of the inspiration I’ve taken from them for the last 6 months is they come, they do what they need to do, and they go back to their real life. They have beautiful families, so that’s something that I’ve invested my time in lately, but for the most part, I’m really out here living rap life.

 

오직 음악으로 유명해진 유일한 아티스트라는 점을 뿌듯하게 생각하신다고 했는데, 아직도 같은 생각이신가요?

I remember you say you pride yourself being the only one known for the music. Do you still feel like that?

 

네, 당연하죠. 물론 다른 루머들과 농담들이 있지만, 제가 이번 생에 남긴 업적들은 아무도 무시할 수 없는 것 같아요. 저는 제가 입는 옷 때문에 관심을 받은 것도 아니고, 논란을 통해서 유명해진 것도, 범죄를 저지르는 걸로도 알려지지 않았어요. 다들 제가 한순간에 망할 일은 없다는 걸 알잖아요. 항상 음악 들고 돌아올걸 알고 있고, 그건 제가 스스로 뿌듯해하는 부분이에요. 드레이크 앨범이 나온다고 하면 그걸 의심하는 사람은 없잖아요, 그거만으로도 많은 것들이 증명되죠.

Yea, of course. Despite all the different narratives and the jokes, I don’t think anybody could really discredit my offering in this lifetime. I really do feel like I am known for not how I dress, not for all the controversy, not for all the shenanigans, not for how “thugged” out I am, you know I’m not gonna flop. You know I’m coming with some shit, always. That’s something I pride in myself on. I think people can’t question if there’s a Drake album dropping, there’s something on there.

 

Marvin’s Room 가사를 통해 전해지는 라이프스타일은 현실적이지 않은  같은데지금은 어떤 상황에 계신가요?

We listen to songs like Marvin’s Room, and things like that, that’s not a lifestyle you can get into. Where are you at right now?

 

가끔 커튼을 열어서 사람들의 관계 속을 들여다보면 겉으로 보이는 것만큼 아름답지 않아요. 저는 제 공간을 사랑하고, 제 일, 제 일상을 아껴요, 그래서 다른 사람을 위해 그걸 모두 깨버릴 수 없어요. 이 퍼즐에 완벽하게 맞는 아주 특별한 사람 이어야 해요. 제 일을 지지해줘야 하고, 음악을 잘 아는 사람이어야겠죠. 떨어져 있으면 일상생활을 하지 못할 정도로 저와 잘 맞아야 해요. 살면서 몇 번 경험해본 감정이긴 한데, 그래도 제가 몰고 있는 배에 선장은 제 자신이니까요. 제 옆에 서서 핸들을 같이 돌려주고 제 여정을 묵묵히 함께 해줄 사람이 필요해요, 멀미가 나서 제 배를 멈추게 하는 사람 말고요.

Sometimes, you look behind the curtain of a lot of people’s relationships and it’s not as peachy as it seems. I love my space, I love my work, and I love my routine, and for me to break that for somebody, it would just have to be a really special person that fits into that puzzle, and that is supportive of the things I’m doing. It has to be somebody that has taste in music, it has to be somebody that I get along with so much to the point that when we’re separate, I’m feeling like I can’t function properly without their presence. I have come across it a few times, I’ve got to be able to hold on to it for whatever reason, but I’m the captain of my ship with a lot of people on board. Hopefully I can just stand beside me at the wheel and help me steer while we keep the journey going, as opposed to me having to stop because that person is getting seasick.

 

[Marvin's Room]:

 

제니퍼 로페즈와의 관계도 그랬나요?

Was that a situation or relationship with Jennifer Lopez?

 

그녀와 좋은 시간들을 많이 보냈어요, 지금도 충분히 사랑한다고 할 수 있죠. 그냥 함께 지내던 시절이 있었고, 같이 할 수 있어서 영광이었어요. 그녀는 정말 대단한 아티스트이자 한 아이의 어머니예요. 좋은 얘기밖에 할 게 없네요.

I have plenty of love for her, we had great times together. We were just hanging out at one point, it was an honor to be around her as she’s a great artist and a great mother. Only positive things to say about her.

 

충분히 많은 얘기를 나눈 것 같네요, 너무 감사합니다.

I think we’re good, thank you for real.

 

감사합니다, 저도 즐거웠습니다.

I appreciate that, it was great.

 

상업적으로 어떤 계획들을 하고 계시나요? 많은 사람들이 당신의 콘텐츠를 그리워하고 있어요.

Business-wise, what are some moves you guys are making? Some people miss your content to the world.

 

2020년은 좋은 일들이 많을 거예요, 제 회사 Dream Crew가 기획하고 있는 일들이 많아요, Top Boy라든지 Euphoria의 다음 시즌이라든지. 많은 제작자들, 감독들, 그리고 작가들이 다 기회를 얻을 수 있는 자리니까 뜻깊은 것 같아요, 특히 옛날 영화를 리메이크하고 슈퍼히어로 영화만 무한 생산하는 지금 이 세대에서요. 저희는 알려야 할 이야기들을 전달해요. 앞으로 나올 작품들이 정말 기대돼요.

2020 is gonna be a great time, Dream Crew, our company have other things in the works, Top Boy, Euphoria season 2. It’s a space that we both really love, and there’s so many amazing filmmakers, directors, writers that deserve a shot in an era where people are just remaking old movies and making superhero movies over and over again. We stand for stories that need to be told. Definitely excited about that moving forward.

 

그리고 음악은요? 앞으로 10년간 드레이크에게서 무엇을 기대하면 될까요?

And the music? What can we expect the next 10 years from Drake?

 

여기 앉아서 몇 시간 동안 제가 누구였는지, 제 꿈은 무엇이었는지 얘기를 나눴던 것처럼 계속해서 제 자신을 찾아 나설 거예요. 그냥 리셋 버튼을 누르는 거와 비슷하죠. 그저 숫자가 19에서 20으로 바뀌는 것뿐인데, 그것보다 더 큰 의미로 다가오는 것 같아요. 다들 각자의 여행을 계속해나가겠지만, 자신을 더 찾고 위로 더 올라갈 수 있었으면 좋겠네요. 이런 집도 몇 개 더 짓고요. 이루고 싶은 것들을 정리해서 방에 붙여놓는 스타일은 아니라, 그저 하루하루 나아가고 있어요.

Continuing to find myself the same way we can sit here and talk all these hours about who I used to be or who I once was or what I once thought were my dreams. It’s just like a reset button for all of us. It’s weird because it’s really just the number changing from 19 to 20, but in your mind, it’s probably going to do something to all of us. We’re embarking on a different journey, so we’re just gonna have to do more self-discovery, hopefully going up not down, and building a few more of these different places. I never really, I’m not one of those people that has like a list up in my room of things that need to happen. I just take it as it comes.

 

지난 10년을 돌이켜본다면 당신의 가장 큰 음악적인 업적은 무엇이라고 생각하세요?

What is one of your biggest [musical] accomplishments, looking back in the last 10 years?

 

조금 뻔한 답변일 수도 있는데, 제 커리어는 정말 진실된 것 인 것 같아요. 그리고 지금까지 그 진실성을 버릴 수도 있는 상황들이 많았는데, 제 가장 큰 업적은 그걸 지켜낸 것이에요. 저는 아직도 마약을 하지 않고, 이렇게 와인을 마시긴 하지만 기억을 잃거나 가족에게 피해를 끼칠 만큼, 그리고 제 슬픔을 삼키기 위해 술을 마시지도 않아요. 그게 제 가장 큰 업적이에요. 돈도 많이 벌었고, 많은 경험을 했고, 많은 곳을 가봤고, 그래서 이걸 다 망쳐버릴 기회들이 많았는데도 그러지 않았죠. 아직도 제 어머니와 저녁을 먹을 때면 제 눈을 보시면서 “난 네가 너무 자랑스러워, 아직 네가 너라서. 넌 아직 여기 있어. 내가 너를 보고 있는데 아직 너의 원래 모습 그대로 너야”라고 하세요. 제 껍데기가 아닌 제가 있어요. 사람들은 이 일이 자신을 잃을 만큼 힘든 직업이란 걸 이해 못해요. 그리고 스스로 겪어보지 않는 한 절대 이해 못하겠죠. 많은 사람들을 등에 업고 나아가야 한다는 게, 그런 기대와 부담을 혼자 떠안는다는 게 얼마나 미친 짓인지 모를 거예요. 그래서 제 가장 큰 업적은 아직도 여기 앉아있다는 거예요. 그리고 모두 하루하루 버텨내면서, 좋은 사람들을 옆에 두고 무슨 일이 있든 그게 끝이 아니라는 걸 알았으면 좋겠다고 매일 기도해요. 저는 그저 사람들이 오래 남아있었으면 해요. 그게 제일 큰 것 같아요, 저를 망쳐놓는 건 사람을 잃을 때에요. 이 세상에 무엇을 전달하고 싶은지, 그들의 목소리를 다 듣고 싶어요.

I guess it’s kind of a generic answer, but I think that my career has a lot of integrity and I think I’m very excited about that because I think I could have let that drop a bunch of times. And I also think one of my biggest accomplishments is the fact that I didn’t let this massive change in my life destroy me. I still don’t do drugs, I drink but even if I drink every day I don’t drink to blackout, I don’t drink to escape my sadness, I don’t drink to the point that affects my family or my career. I’m just happy that I’m still intact. That’s my biggest accomplishment. I made a lot of money, I did a lot of things, been a lot of places, had a lot of opportunities to fuck this up but didn’t. I could be at dinner with my mom and still hear her say “I’m proud of you, you’re still you. You’re in there, I’m looking at you and it’s you.” It’s not a shell of who I used to be or some shit like that. People don’t understand how overwhelming this is for these young kids, and I was young like that too, once upon a time. And some people say I can never understand, but you can’t understand until you get here. How insane this shit can be when you’re carrying a bunch of people on your back, and expect to do so much. So I would say my biggest accomplishment is still being here. And I pray that all these guys moving forward take it one day at a time, keep the right people around you, and just know that even when it is overwhelming, just know that ti is not the end. I just want people to stay around. That’s really my biggest thing, that’s what fucks with me, when we lose people and stuff. I want to hear what all these kids have to offer. 

 

 

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[Interview by]: Elliott Wilson and Brian B.Dot Miller

[Source]: Rap Radar

[Translation by]: HIPHOPPLAYA 이승연 (lsy@hiphopplaya.com)

1
Comment
2020-07-15 16:05:58

부정하는 이들은 많아도, 시대의 아이콘이죠
다음 앨범은 정말 잘 뽑아왔으면 좋겠어요!
Dark Lane Demo Tape는 유출 모음집이라지만 실망..

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