So, there’s a guy in Houston whose name is Texas Hammer and he’s like a lawyer. "OB, he’s a dope rapper and like a comedian. "I had the art department make the menus and have the kind of Cheesecake Factory type of print, but if you look closely it has the 6 hands or the prayer hands in the middle," Spiff explained. Unfortunately for purists, the scene was not actually filmed inside a real Cheesecake Factory. But I saw that once we had it, we had it, you know?" he said. We were prepared with the extra wardrobe and everything if we had to do it again. "I wanted to try to do it two times, but we ended up doing it in one take.
According to him, the Cheesecake scene only required one take. Pitchfork interviewed Spiff TV, who co-directed the video alongside Drake, about the process of filming it. Everyone knew that "Why you gotta fight with me at Cheesecake/You know I love to go there" was one of the oddest lines of VIEWS, but seeing it play out in real time was quite an experience. For all intents and purposes, the Drake of Views is the same one we got on If You’re Reading This and What a Time, but if his previous proper album ( Nothing Was the Same) foretold anything, it’s that the man peering down from CN Tower sees things differently than the rest of us.Drake unleashed his 12-minute video for "Childs Play" this weekend, and a lot of attention was placed on his dramatic fight with Tyra Banks at the Cheesecake Factory. He isn’t too much for the world, though, ruminating on his position as one of music’s biggest names-and those who’d rather he wasn’t-on songs like “Still Here,” “Hype,” and “Grammys.” Maybe the the most affecting acknowledgment to this end is the fact that “Hotline Bling,” a strong contender for 2015 song of the summer, was such an afterthought by the time Views was released that it appears here as a bonus track. There are references here to specific people (“Redemption”), places (“Weston Road Flows”), and experiences (“Views”), along with nods to the influence of the city’s Caribbean population on “With You,” “Controlla,” and “Too Good” (which just happens to feature Rihanna). “I made a decision last night that I would die for it,” Drake raps on “9.” “Just to show the city what it takes to be alive for it.” Drake’s presence eclipsed Toronto just about as soon as So Far Gone dropped, but the city-and what it thinks of him-was never far from his mind. Views, which followed two wildly successful projects in 2015 that he’d branded as mixtapes- If You’re Reading This It’s Too Late and the Future collab What a Time to Be Alive-would confirm him as both, his penchant for immaculate songwriting still fully intact and the pressures of existing as the most popular voice in rap, as well as his hometown’s most successful export, weighing heavy on his mind. He looks less like the superhero he’d made himself into over the course of a roughly six-year rise as singer-songwriter extraordinaire and more like a troubled monarch. On the cover of his fourth studio album Views, Drake looks down from atop Toronto’s CN Tower, paying homage to the city’s notoriously frigid winter temperatures in a heavyweight shearling coat and high-cut boots.
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