{"id":210948,"date":"2025-02-18T06:27:55","date_gmt":"2025-02-18T06:27:55","guid":{"rendered":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-drake-responds-to-super-bowl-mauling-with-ome-exy-ongs-4-u-album-review\/"},"modified":"2025-02-18T06:27:56","modified_gmt":"2025-02-18T06:27:56","slug":"rewrite-this-title-in-arabic-drake-responds-to-super-bowl-mauling-with-ome-exy-ongs-4-u-album-review","status":"publish","type":"post","link":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-drake-responds-to-super-bowl-mauling-with-ome-exy-ongs-4-u-album-review\/","title":{"rendered":"rewrite this title in Arabic Drake responds to Super Bowl mauling with $ome $exy $ongs 4 U \u2014 album review"},"content":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Kendrick Lamar\u2019s brutal takedown of Drake in his Super Bowl show had an inadvertently Maga-friendly subtext. During the centrepiece event of the US\u2019s most insular sport, and at a time when a nationalist president is musing about turning Canada into the 51st state, the Californian ritually humiliated rap\u2019s Toronto interloper, the first superstar in hip-hop from outside the US.It has not taken long for a response. Released on Valentine\u2019s Day, less than a week after Drake\u2019s Super Bowl mauling, the daftly named $ome $exy $ongs 4 U is a joint album with his compatriot, the singer PartyNextDoor. It returns Drake to the lovers rap that he popularised in the 2010s. This is his equivalent of lovers rock, the romantic genre created by British reggae acts in the 1970s. They were scorned by chauvinistic followers of roots-reggae, especially in its Jamaican homeland. Drake has faced the same disdain from the macho wing of US rap.Here he raps and sings in his wheedling way, supported by PartyNextDoor\u2019s crooning. Opening track \u201cCN Tower\u201d is named after the Toronto landmark, emblematic of the album\u2019s Canadianness. Pointedly, the women serenaded in the songs are from the US. The scenarios are not meant to be taken seriously. \u201cI want your phone n\u00famero, por favor,\u201d he raps in a ridiculous Spanglish accent in \u201cMeet Your Padre\u201d. Playfulness and humour are central to the charm offensive, with a Canadian slant. \u201cThese American guys are something different, they just talk looser than us,\u201d he raps while wooing a Texan in \u201cRaining in Houston\u201d.Lamar sees rap battles as sporting contests. In that sense, the Super Bowl was an apt setting. But Drake\u2019s ladies-man schtick shifts the battleground. The aim is to twist his opponent\u2019s barbs into a display of US big-man bluster. The plan is ingenious, but the execution is underwhelming. The 21 tracks go on for way too long, an over-literal illustration of not rushing things. Billowing melodies, smoothly pattering beats and low basslines murmur decoratively in the background like sweet nothings. Compared to Lamar\u2019s memorable show, this is forgettable fare.\u2605\u2605\u2606\u2606\u2606\u2018$ome $exy $ongs 4 U\u2019 is released by Ovo Sound\/Republic\/Santa Anna<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Kendrick Lamar\u2019s brutal takedown of Drake in his Super Bowl show had an inadvertently Maga-friendly subtext. During the centrepiece event of the US\u2019s most insular sport,<\/p>\n","protected":false},"author":1,"featured_media":210949,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-210948","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/210948","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=210948"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/210948\/revisions"}],"predecessor-version":[{"id":210950,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/210948\/revisions\/210950"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/210949"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=210948"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=210948"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=210948"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}