"40 Mama always say don’t ask permission
Just ask forgiveness you know so uh, forgive me, yeah, yeah"

Let me start off by saying this: the peak of Drake’s musical career was without a doubt 2011's “Take Care.” If you disagree, I wouldn’t recommend reading further.

Drizzy has propelled himself as a heavy hitter in the hip-hop industry after that point and showed tremendous growth and the last shred of his soul as an artist in the industry post 2010s, “Thank Me Later.”

That was five years ago.

Drake’s persistent goal has always been to reach a pinnacle of success he deemed fit for himself as he insists in the 2009 Trey Songz collaboration “Successful,” with “Diss me, you’ll never hear a reply for it,” but the peak of his general career was after bodying Meek Mill in such a way that it’s more likely for him to be known as the laughing stock of “The 6” than a reputable artist ever again.

It seems that Drake has reached the level of success he’s always dreamed of, and rightfully so. He’s created radio hit after radio hit, made himself a household name, and changed the styles of rap and hip-hop forever.

To the point where he’s now being mimicked by up-and-coming artists that are going platinum mirroring his revolutionary softer side, and he even boasts his pool is bigger than 'Ye's. (see Bryson Tiller and Summer Sixteen, respectively.)

Though now what we're experiencing is something Drake has always taunted us (and Kendrick Lamar) with, “I would have all of your fans if I didn’t go pop, and I stayed on some conscious shit,” as featured on The Game’s “100,” in 2015.

"Views" is the epitome of pop rap, and all it’s giving us is woes.

In this world, where a new wave of feminism and civil rights is affecting us all, Drake delivers shallow radio hits focused on past relationships that still aren’t going right.

Newsflash, Jimmy: maybe the problem isn’t them, but you. If you’re still having issues finding “a good girl,” you may need to revaluate your idea of said woman and the narcissism that has exploded from your personality after reaching the success you seem so lost in, boo boo.

We’re constantly begging for real, which is why the world lost their minds after Beyoncé’s “Lemonade,” and consistently do so whenever Kendrick Lamar delivers a project.

It’s why J. Cole told Angie Martinez of New York’s Hot 105.1, after the December 2014 release of his platinum album “2014 Forest Hills Drive,” that it is a culmination of songs that speaks upon society placing their importance on the wrong things.

Saying, “If it’s cars, you can never have enough, if it’s women — you’ll never have enough — you’ll be chasing them forever, if it’s success you can never get enough of that… it keeps calling you, it’s like a drug.”

It’s why Rihanna dismissed what the public dreams of drawing of her. She fulfilled her fruition as an artist and finally showed us herself on “Anti.”

RIRI refused to be puppeteered into another pop album saying she wants to make music she can perform 10 years from now, she tells MTV.

We're never one to preach following the crowd as "the world worships the original" as told by Ingrid Bergman, but in this case it seems like they're not only getting it right on the mark, but they're also doing it a lot better than you.

These are the peers your caliber as an artist has built you to compete against and some you even call your "brothers."

Aubrey Graham, you’ve blatantly lost yourself, and your latest body of work is a hideous reflection of that. You have your flowing sound and lyrics that rival Taylor Swift before she met Calvin Harris, but with more ambiguity. You have your one liners perfected for tweets and statuses; you have your forceful hooks that everyone feels the need to scream at the top of their lungs at any given moment in every given place, but what we want is you.

The real you.

(see “Take Care’s” “The Real Her”.)

P.S. It's becoming super satanic to constantly chant six in all of your songs. Just saying.