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6ix Gods: Drake, OVO and the rebranding of Toronto

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6IX GODS: DRAKE, OVO AND THE REBRANDING OF TORONTO

by

Sandra Stanisavljev

A thesis Presented to the
FACULTY OF THE USC ANNENBERG SCHOOL
FOR COMMUNICATION AND JOURNALISM
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(STRATEGIC PUBLIC RELATIONS)

August 2022

Copyright 2022 Sandra Stanisavljev

ii
ACKNOWLEDGEMENTS
It takes a village to raise a Trojan – or at least it did in my case.
I want to thank my parents, Zdenka and Mladen, for always supporting my goals and for making
countless sacrifices throughout my life so that I could chase after my dreams.
I want to thank Jennifer Floto, Burghardt Tenderich and Gordon Stables, for changing the
trajectory of my life by accepting me to the Strategic Public Relations master’s program and
awarding my scholarship. Their support extended well beyond the role of a professor and for this
I am eternally grateful.
To Fred Cook, Ron Antonette and the USC Center for Public Relations, I want to thank them for
their mentorship which continues to this day. Working at the Center was the highlight of my
graduate career and brought me tremendous joy.
I would like to thank Matthew LeVeque and Jennie O’Hagan for being a part of my thesis
committee and for helping me expand my network within the entertainment industry.
To the USC Annenberg support staff, especially Mike Ploszek, Fabian Ledesma and the Office
of International Services, I want to thank them for helping me navigate all the challenges I faced
as an international student.
Finally, I want to thank my significant other, Cesar Magana, for being a source of strength
throughout my journey in Los Angeles.

iii
TABLE OF CONTENTS

Acknowledgements ii

List of Tables iv

List of Figures v

Abstract vi

Preface viii

Introduction 1

Chapter 1: Regional Hip Hop Sounds and Their Pioneers 6
Canadian Hip Hop Identity 14
Best I Ever Had 16

Chapter 2: D r ak e ’s Dual Identity Means Relatability 17
A Rapper Like No Other 18
The Importance of Identity 21

Chapter 3: The Degrassi Years 24

Chapter 4: O c tob e r ’s Very Own – The Team that Built an Empire 30
Oliver El-Khatib – World Class Curator 31
Noah ‘40’ Shebib – Creator of Toronto Sound 34
OVO Sound – A Canadian Roster 36
OVO Clothing – The World’s Most Recognizable Owl 38
Hoop Dreams – How Drake Became the Raptors’ Ambassador 44
OVO Fest – The Party of the Year 51
OVO Sound Radio – Tap In 52
Featuring Drake – Hip Hop’s Most Valuable Co-Sign 53
Behind the Scenes Projects and Guest Appearances 55
The Importance of Good Branding 59

Chapter 5: Memes and Going Viral 64

Chapter 6: Managing a Crisis 67

Conclusion 70

Bibliography 73

iv
LIST OF TABLES

Table 1 8
Table 1.1 9
Table 1.2 11
Table 1.3 12
Table 1.4 13

v
LIST OF FIGURES

Figure 1 2

Figure 1.1 2

Figure 2 33

Figure 3 38

Figure 3.1 39

Figure 3.2 40

Figure 3.3 41

Figure 4 46

Figure 4.1 46

Figure 4.2 50

Figure 5 55

Figure 6 56

Figure 7 57

Figure 8 59

Figure 9 64

Figure 9.1 65

Figure 9.2 65

Figure 9.3 66

vi
ABSTRACT

Art has the power to shape and influence entire communities, crossing borders of towns,
cities, states and countries. Music is perhaps the most popular form of art because it can be
carried along with someone, on a smartphone, blasted on a boombox or even just by humming a
tune to oneself. Music can define a generation, stir up memories and give momentum to major
cultural events.
Few musical artists achieve world-renowned cult status and often, where they are from is
significantly tied to their identity. The Beatles were peace-loving Englishmen who wanted
people to make love, not war. In their earnest sincerity, they wrote their own songs, played their
own instruments and were at the forefront of the British Invasion cultural phenomenon.
Starting in the mid-1980s and going well into the ‘90s, Latin crossover acts like Gloria
Estefan, Selena, Enrique Iglesias, Ricky Martin and Jennifer Lopez pioneered the Latin Invasion
which shone on a light on Puerto Rico, Miami and heavily populated Spanish-speaking
neighborhoods of New York like the Bronx and East Harlem. With their chart-topping
dominance came an arts and cultural lesson for audiences who were unaware of how nuanced
Hispanic culture is.
In more recently times,. The K-pop, short for Korean pop phenomenon has taken the
world by storm with artists like BTS, Blackpink, V, JungKook, Jeon SoMi, EXO, IU and more.
And while K-pop traces its roots to the 1990s, it has seen phenomenal success in the past five
years with its easy listening ballads and catchy tunes, proving that music transcends language.
North of the border in Canada, there were international superstars like Celine Dion and
Justin Bieber but realistically, no one really cared about them being from Charlemagne, Quebec
or Stratford, Ontario. It was not until Drake started to win audiences over in the early days of his

vii
career playing Jimmy Brooks on Degrassi – a TV show watched by American teens – and
eventually pivoting into a music career that Toronto became known for more than just its sports
teams and International Film Festival.
Through his music, brand partnerships and merchandise, he was able to catapult the
careers of various other Toronto-based artists, put local landmarks on the world map and shine a
light on people who were making moves and transforming Toronto into a hot spot destination.
Suddenly, people who once regarded Toronto as a cold, fly-over city were flocking in the
sweltering heat of August to see Drake along with some of the biggest acts in hip hop perform
for his namesake, multiday festival. The city was bursting with culture and eager to show its
weekend visitors from south of the border what Toronto was all about.
If the bottom line is the strongest indicator of Drake’s influence, then something must be
said for the hundreds of millions of dollars he and his brand bring into the city.
In 2018, reports stated that Drake was responsible for 5% of Toronto’s tourism revenue.
That translates to $440 million ($333 million USD adjusted at the time for inflation). He was 31
when he hit that benchmark and while his wealth and overarching influence in the music industry
could have taken him to more lucrative markets like New York or Los Angeles, he chose to keep
his base in his hometown.
At the intersection of art, persona and branding, Drake and OVO, his one-stop shop
conglomerate formally known as October’s Very Own, were about to utilize a new, subtle form
of public relations. It was both experiential and aspirational – and although it appeared organic
and effortless, it was certainly intentional. It is important to examine and understand such
phenomenon because this is the future of public relations.

viii
PREFACE
Growing up in Toronto, my first job out of college was as a music journalist for a
defunct, all-woman staffed hip hop blog. It was during this time that I saw Drake’s career go
from local celebrity newcomer to a global superstar. Instagram had just been launched and
Twitter had not yet become a place for serious discourse.
I watched OVO Fest morph into a multiday extravaganza, The Weeknd’s career take off
because of Drake’s co-sign and the openings of multiple OVO boutiques. I saw the reclusive
Oliver El-Khatib give his first keynote address and watched the budding partnership between
OVO and the Toronto Raptors materialize into the OVO Athletic Centre, eventually leading to
an NBA Championship – a first ever for Canada’s only NBA basketball team.
But most importantly, I saw Toronto gain a whole new identity and undergo a complete
transformation when Drake christened it “the 6ix.” A new name; a fresh new brand. Suddenly,
Toronto was on every Millennial’s and Gen Z’s radar.
It was during that time that I began to understand the power of public relations and the
intersection between public figures, regional branding and how that translated into major
revenue.
Methodology
This thesis took into consideration various literature sources both from academic texts,
journals and contemporary music publications. Interviews were conducted with industry
professionals who gave insight into the cause-and-effect relationship between public figures and
regional branding and how brand recognition translates to revenue.

1
INTRODUCTION
Everything in our world is branded.
One of the multiple definitions of “brand” in the Merriam-Webster Dictionary states that
a brand is a characteristic or distinction; a public image; reputation; or identity conceived of as
something to be marketed or promoted. There are types of branding – corporate, product,
personal – and multiple brand archetypes; the Innocent, the Everyman, the Hero, the Rebel, the
Explorer, the Creator, the Ruler, the Magician, the Lover, the Caregiver, the Jester and the Sage
(brandsbyovo.com).
A brand can pivot and undergo a transformation, referred to as a “rebranding,” or it can
employ a series strategies and tactics to raise its profile, resulting in global recognition and an
increase in revenue. While the initial ideas behind a brand might be driven by marketers and
advertisers, getting the word out, keeping the brand at the forefront of people’s consciousness
and shaping public perception falls into the hands of public relations practitioners. Some job
titles may not have the words “public relations” in the name, but whenever you hear of a “brand
strategist,” a “social media manager,” or a “director of community engagement,” it is important
to recognize that these are people who work within the world of PR, strategizing, creating and
directing a brand to reach its full potential.
One of the easiest ways for a brand to raise its profile and generate revenue is
to partner with another. In the case of Michael Jordan inking an historic deal with Nike in the
1980s; the man who would become the world’s most recognizable basketball player cemented
his image on the world’s most coveted sneaker. This spawned the Jumpman logo that can be
found on certain styles of Nike shoes, invoking images of athletic greatness and coveted
streetwear style.

2

Figure 1 Figure 1.1
The image still of Michael Jordan that The official Jumpman logo that is owned by
inspired the Jumpman logo. Nike and used to promote the Air Jordan brand
Source: ballislife.com of shoes and apparel.
Source: Google Images

Pairing two highly recognizable names is not enough to establish and maintain a brand’s
relevance. In today’s highly digitized world, a brand also must establish an online presence. The
democratizing of the internet, which connects audiences from across the globe, has the power to
catapult everyday people into superstardom overnight. Social media marketing is much more
economical than traditional marketing when it comes to connecting with audiences, online or in
print. Additionally, social media accounts cost nothing to set up, making them an attractive
option for advertising (Hossain).
The union of a well-established brand with a lesser known one can produce impressive
results if done correctly. In 2015, Starbucks announced a partnership with Spotify that left people
wondering what the two had in common. The premise was that Starbucks employees were
offered Spotify premium subscriptions, which they could use to curate playlists inspired by the
coffee chain’s music choices from the past 20 years. In turn, Spotify users were able to receive
“Stars as Currency” points which could be collected for free coffee. It was the first time
Starbucks had made its loyalty program available to a third party.
Previously, Starbucks had a longstanding history with promoting music, championing
both established and emerging artists. The collaboration gave insight into the future of co-

3
branding digital entertainment and led to further collaborations when Uber partnered with
Spotify under the slogan “Your Ride. Your Music.” (Prins).
When it came to pairing Aubrey Drake Graham, a teen sitcom star with a modest
following who was trying to launch a rap career with Toronto (Canada’s most populous city), no
one could have anticipated that he would end up being one of the most lucrative tourism vehicles
the city had ever seen.
In 2018, Vice published an article calling Drake a “walking stimulus package” that made
local Toronto politicians very happy. To put an exact figure to these claims, Gordon Hendren,
president of Charlton Insights, a Toronto-based marketing and insights company, conducted
research which determined that of Toronto’s $8.8 billion tourism revenue stream, 5% came from
“the Drake effect.” That translated to roughly $440 million CAD of income directly influenced
by Drake. (Thomas).
Two weeks after the Vice article was published, Drake released Scorpion, his fifth studio
album, which was streamed 435 million times in its first week and achieved a rare present-day
feat after its first two weeks: one million in sales. (Svachula). Among the people quick to
capitalize on his ongoing success were councilor Michael Thompson of Ward 37, Scarborough
Centre. Responsible for attracting foreign investment, part of Thompson’s strategy involved
capitalizing off of Drake’s image. Councilor Thompson travelled to New Orleans where he was
able to create a deal that would bring a United States technology conference to Toronto over the
span of three years, generating $147 million worth of revenue for the city. His most convincing
argument for the investors was the fact that Toronto was home to Drake, which according to him,
made the investors “go crazy.” (Thomas).

4
In addition to impressive monetary sums, there has also been a Drake-style rebranding of
Toronto, a city that was previously known for its international film festival (TIFF, Toronto
International Film Festival), CN Tower (once the world’s tallest freestanding structure,
dethroned by the Burj Khalifa in 2007) and the thing that most comes to mind when people think
about Canada: snow.
The beginning of Toronto’s rebranding can be traced back four years before Hendren
made his calculations. In 2014, Drake had announced the upcoming release of his fourth album
titled Views From The 6 (Hampp). It began to trend on Twitter and caused confusion as to what
it actually meant. While locals have always known Toronto by a series of monikers – T.Dot,
T.O., The Big Smoke, Hogtown – none gained international recognition or sounded as sexy as
when Drake proclaimed that Toronto was “the Six” (stylized as the 6ix). It is speculated that the
name is an amalgamation of the city’s most prominent area codes 416 and 647 better visualized
as 41(6)47 and its six different boroughs, Etobicoke, North York, East York, Scarborough, York,
Toronto. Although the etymology has never officially been revealed, it became a name that
locals were proud to call the city by (McConnell). It is important to note that “the 6ix” was not
something Drake himself came up with but rather is the brainchild of Toronto rappers Jimmy
Prime and Oliver North. “ Oliver and Jimmy were brainstorming about something and they had
come up with the title together, Views from the 6, and I had asked Oliver if I could use the title
because I really liked the title. Oliver had come up with it but yeah, I give all the credit to
Jimmy. He was definitely part of that process, finding the right title for the album, and obviously,
that title birthed a whole movement for the city,” said Drake (Toronto Blogs).
From then on, it was official. There were two Toronto’s that would live in our collective
memories: pre-and-post Drake.

5
However, it was not just simply bestowing a new name to his hometown that resulted in
Toronto being so closely associated with its most famous resident. Drake has produced chart-
topping hits, collaborated with some of the biggest names in music, revived the Toronto Raptors
through strategic partnerships, launched a clothing line with boutiques on multiple continents,
produced award-winning television series, opened restaurants and lounges, launched a music
festival, a record label and the careers of other Toronto artists all through his influence.
By thinking outside of the parameters of music, he has been able to parlay his career into
industries well outside the average rapper’s scope of reach. Through his astute understanding of
his audience, he has remained relevant and even won some unlikely fans (like septuagenarian
Canadian politician Norm Kelly) along the way. By embracing the various dualities of his
identity – Black and white, Jewish and Christian, Canadian and American, rich and poor, humble
and self-important – he has become relatable to countless people.
A case study of the Drake Effect is one on how a creative individual, backed by a dream
team of loyal, media-savvy partners, was able to rebrand and revitalize the most populated city in
Canada in a way that no other public figure has been able to do.

6
CHAPTER 1
REGIONAL HIP HOP SOUNDS AND THEIR PIONEERS

Contemporary popular music has always had its hometown heroes that added a layer of
identity and representation to any given place.
1
Some of the United States’ most famous artists
were so closely associated with their hometowns that when you mention one, you think of the
other. Elvis Presley, widely regarded as the “King of Rock ‘n’ Roll” is so synonymous with his
adopted home of Memphis, that Graceland, his former mansion located in the city has attracted
tens of millions of visitors from over 140 countries since opening its doors to tourists in 1982
(Graceland.com). Undoubtedly, both Presley and his music have become an integral part of
Memphis history. Similarly, Motown Records, founded by Berry Gordy in 1959 was
headquartered in Detroit, Michigan and played a monumental role in the racial integration of
popular music, as a Black-owned label that achieved crossover success (Encyclopædia
Brittanica). The concentration of musical artists, both well-established and up-and-coming has
earned cities in the United States the title of “music cities,” primarily referencing New Orleans,
Austin, Detroit, New York City, Chicago, Memphis and Nashville (Howe).
When examining the evolution of the hip hop – arguably one of the most popular genres
amongst American youth – there is a distinct migration from its origins in the Bronx, New York
to the West Coast. We see the evolution of styles of rapping, slang and beats emerging from the
Midwest and the Southern United States. When referencing some of the most popular rappers,
the 1990s is often the decade most cited for cementing regional music identity in hip hop.

1
The author understands “contemporary popular music” to include jazz, blues, pop, rock, folk, hip hop, metal, dance
and country music – all genres which developed during and after the 1940s in North America (Ekuwribe).

7
East Coast rap, as understood to be almost exclusively originating from the five boroughs
of New York City, is often referred to as the “golden age of hip hop” where collectives
2
such as
Eric B. and Rakim, Public Enemy and Boogie Down Productions cemented New York’s status as
the Mecca of hip hop. From 1994-1997, arguably the most famous collective sprung out of New
York in the form of Sean Combs’ record label, Bad Boy Records. The label hosted a roster of
artists including The Notorious B.I.G, Ma$e and Faith Evans. Bad Boy’s popularity was
amplified with its ongoing beef
3
with Suge Knight’s West Coast label, Death Row Records,
whose roster most notably featured artists Tupac Shakur, Snoop Dogg and Dr. Dre.
In the early aughts, Jay Z’s Roc-A-Fella and its partner label Diplomat Records became
synonymous with east coast hip hop while the “hyphy” scene in the Bay Area, championed by
Too $hort, breathed new life into west coast hip hop. While this was happening, Atlanta
simultaneously became the capital for hip hop in the south with OutKast gaining mainstream
attention alongside Jermaine Dupri’s label So So Def. In the Midwest, cities like Detroit were
put on the hip hop map by artists like J Dilla and Eminem, while Missy Elliot, Timabland,
Pharrell Williams and artists on his Star Trak label turned the unlikely state of Virginia into a hip
hop epicenter. The Midwest, especially Chicago and St. Louis, were represented by Kanye West
and Nelly respectively, despite both artists having been born in other states.
The anthology of hip hop in the United States is loaded with noteworthy moments that
helped shape the genre and collaborations that brought together artists from opposite sides of the
country who used their brands to spread the message of their regional sound to new audiences.
This is arguably one of the first forms of brand partnership, pre-dating the widespread use of

2
The author understands “collectives” to mean a group of artists closely associated with one another who create
music both independently and collaboratively, often exclusively within their collective but sometimes with artists
from other collectives.
3
“Beef” is a colloquial term used to define a conflict or grudge (Urbandictionary.com).

8
social media platforms. Each region has developed its own unique sound under the umbrella of
hip hop that divides the genre into subgenres and hip hop fans with an adept ear can easily
identify the source of new music, even when an artist is relatively unknown, by the nuances
found within regional sound.
The charts below identify hip hop artists who have brought regional recognition to their
cities throughout the history of hip hop, along with the name of their regional sound, illustrating
the power of hip hop as an identity branding tool (Chang).
4

Table 1
1973 – 1983
REGION ARTIST SUBGENRE
New York City DJ Cool Herc, credited as the founding
father of hip hop sound. During his
“Back to School Jam,” hosted in his
Bronx home on August 11, 1973, he
developed the style that would become
the blueprint for hip hop.
Disco influence; use of drum
machines, turntables,
improvisational toasting
Grandmaster Flash and the Furious
Five, Sugarhill Gang
Colloquially referred to as
“ di s c o r ap” before being
called hip hop; conscious rap
Afrika Bambaataa, Electro-hip hop

4
The charts are what the author considers to be the most influential artists of the last 30 years and are not a
comprehensive summary of every hip hop artist to have ever influenced the genre.

9
Table 1.1
1983 – 1998
REGION ARTIST SUBGENRE
New York City and
its surrounding
boroughs
Public Enemy Political hip hop
Eric B. and Rakim, De La Soul, Run
D.M.C, LL Cool J, A Tribe Called
Quest, Big Daddy Kane, Salt-N-Pepa
Golden age of hip hop
Boogie Down Productions Regarded as the start of
gangsta rap
Beastie Boys Alternative hip hop,
experimental hip hop
Wu-Tang Clan, Mobb Deep, Pete
Rock, Notorious B.I.G., Puff Daddy,
Nas, Gang Starr, Jay-Z, Big Pun, Busta
Rhymes
Hardcore hip hop, East coast
hip hop, gangsta rap
New Jersey Fugees Hip hop infused with soul and
reggae music
Detroit J Dilla, Slum Village Underground hip hop,
Instrumental hip hop
Los Angeles Cypress Hill Latin hip hop
N.W.A., Ice-T, Snoop Dogg, Tupac
Shakur, Dr. 4Dre
Gangsta rap, West coast hip
hop, G Funk
Houston Geto Boys, UGK Southern rap

10
Atlanta OutKast, Dungeon Family Southern hip hop, alternative
hip hop
Memphis Three 6 Mafia Crunk
Miami 2 Live Crew Miami bass

11
Table 1.2
1999 – 2006
REGION ARTIST SUBGENRE
New York City and its
surrounding boroughs
Bad Boy Records (post The
Notorious B.I.G.’s passing),
Ja Rule, 50 Cent, G-Unit,
Cam’ron, Juelz Santana, Jim
Jones, The Diplomats
Gangsta rap, East coast hip
hop, Bling-era hip hop
DMX Hardcore hip hop
Detroit Eminem, D12 Hardcore hip hop, horrorcore
Philadelphia The Roots Alternative hip hop, neo soul,
jazz rap
Chicago Kanye West Experimental hip hop
Virginia Timbaland, Missy Elliot,
Pharrell Williams, The Clipse
Hip hop combined with
contemporary R&B
New Orleans Lil Wayne, Birdman, Juvenile,
Master P, DJ Khaled
Southern rap
Atlanta Lil Jon and The Eastside
Boyz, Ying Yang Twins, Lil
Scrappy, Trillville
Crunk
T.I., Young Jeezy, Gucci
Mane, Future
Trap
Mississippi David Banner, Soulja Boy Southern hip hop, Crunk

12
Table 1.3
2007 – 2014
REGION ARTIST SUBGENRE
Los Angeles Kendrick Lamar and Black
Hippy
West coast hip hop, jazz rap
New York A$AP Rocky and the A$AP
Mob, Pro Era
Trap, cloud rap, East coast
hip hop
North Carolina J. Cole, B.o.B. Rapping infused with singing,
rock rap
Florida T-Pain Auto-tune, hip-house, pop rap
Atlanta Future, Migos Trap
Young Thug Mumble rap, trap
Chicago Chief Keef Trap, Chicago drill, mumble
rap
Houston Travis Scott Trap, alternative hip hop
Arizona Lil Peep Emo trap, lo-fi

13
Table 1.4
2015 – Present
5

REGION ARTIST SUBGENRE
Broward County XXXTentacion Lo-fi rap, emo rap, alternative
rap, trap
Chicago Juice WRLD Emo rap, SoundCloud rap
Philadelphia Lil Uzi Vert Emo rap, pop punk rap
Mississippi Rae Sremmurd Trap
Atlanta 21 Savage Trap R&B
New York Cardi B, Post Malone East coast hip hop, trap, cloud
rap
Kentucky Bryson Tiller, Jack Harlow Rap singing
California Saweetie Rap singing
Georgia Lil Nas X Pop rap

5
The final table is dynamic. Artists listed in this chart are still in the infancy of their careers and developing their
sound; therefore, this final table should be considered up to date by the day of publishing but not definitive
proceeding the year 2022.

14
In 2017, Forbes published an online report stating that for the first time since Nielsen
started measuring music consumption in the United States, rock was no longer the top genre in
terms of overall popularity. R&B and hip hop (with the latter slightly ahead of the former) had
become the nation’s most listened-to genres, with a reported 25.1% popularity among listeners
beating out rock at 23%. It was responsible for 29% of all on-demand streaming in the country at
the time, while music streaming platforms were growing exponentially in popularity (McIntyre).
According to Rolling Stone, the trend continued, attributing hip hop’s ever-growing popularity to
its accessibility – 92% of the genre’s total consumption came from on-demand streaming
services.
Canadian Hip Hop Identity
Hip hop was created, nurtured and refined in the United States and while it has become a
worldwide sensation, American artists continue to dominate the genre in terms of influence and
revenue.
Hip hop began to gain traction in Canada in the 1980s and remained under the radar until
the early 2000s (The Canadian Encyclopedia). The trajectory of the rise, fall and re-emergence of
hip hop in Canada is filled with frustrating starts and stops that left both artists and fans initially
hopeful and then jaded about whether critical and commercial success was even feasible. In a
1994 quote from Billboard, award-winning Toronto producer Derek Brin said, “Americans like
something that sounds American. From here, it seems if you don’t have that sound, you ain’t it.”
His quote was reflective of numerous issues that Canadian hip hop artists faced when
trying to jumpstart their careers, primarily that success is measured by how receptive American
audiences are.

15
Canadian hip hop is in many ways different from American hip hop and the sound was
reflective of this. With a sizable Caribbean population, Canadian hip hop incorporates dialect
from Caribbean nations as well as dancehall and reggae sounds that did not seem to translate
well in U.S. markets. Furthermore, a lack of infrastructure is also partially to blame for Canadian
hip hop’s lack of crossover success, which relies heavily on whether an artist can chart “across
the border.”
In the ‘90s and early 2000s, in order to listen to hip hop on the radio, Canadians would
have to tune into Buffalo, New York’s WBLK station, which was not bound to Canadian content
responsibilities. To hear Canadian hip hop music, listeners had to tune in to campus radio
stations or MuchMusic’s RapCity. It was not until Rascalz, a group from Vancouver, won a Juno
award in 1998 for Best Rap record that a shift started to happen.
Up until then, the thought of dedicating airplay or even a station to Canadian hip hop
music was not really on anyone’s radar, That same year, Rascalz collaborated with Checkmate,
Kardinal Offishall, Thrust and Choclair for the single “Northern Touch” and it became the first
Canadian hip hop song to chart the Billboard Hot 100. This led to widespread radio airplay in
both Canada and abroad and became a sort of anthem for the country. Then in 2001, CFJX
(which became known as Flow 93.5) debuted and Canadian hip hop and R&B finally had its
very own radio station.
The 2000s saw the rise of Canadian hip hop artists like Kardinal Offishall, Classified, k-
os, K’nann, Swollen Members and Belly. However, the upwards trajectory of Canadian hip hop
was quickly diminished by a downturn in hip hop radio stations as they began to shift formats
from pure urban to rhythmic hip hop contemporary (EDM, R&B, pop). Ultimately, this proved to
be detrimental to emerging hip hop artists. There are countless theories as to why Canadian hip

16
hop had such a stagnant growth punctuated by small bursts of success, but the consensus is that
real or imagined stereotypes of Canada simply prevented artists from being taken seriously
across the border.

Best I Ever Had
If you fast forward to 2009, the tail end of the decade proved to be the final push that
Canadian hip hop needed to break the genre’s glass ceiling. Drake had released “Best I Ever
Had,” which reached number two on the Billboard Hot 100 and his career began to take off. In
2016, he broke another record when the dancehall and afrobeat inspired “One Dance” became
the most successful hip hop song of all time, charting at number one on singles charts in 15
different countries. It was also the first Canadian hip hop single to peak at number one the
Billboard Hot 100.
From then on, Drake has helped launch the careers of other Toronto artists like the
Weeknd and created a significant buzz around the city that ensures that artists have a foundation
to build their careers on.

17
CHAPTER 2
D R A K E’S DUAL IDENTITY MEANS RELATABILITY

To understand the substantial impact that Drake has had in rebranding Toronto, it is
important to look back at his unique upbringing and hybridized identity, which gave him with an
advantage by making him very relatable to audiences.
Aubrey Drake Graham was born on October 24, 1986, in Toronto, Ontario, Canada to
parents Sandra “Sandi” and Dennis Graham. Sandi, an Ashkenazi Jewish Canadian was married
to his father, an African-American Catholic musician until Drake turned five, at which point
Dennis to return to his native Memphis, Tennessee. Dennis ended up getting incarcerated for
several years for drug related charges while Drake continued to live with Sandi in Toronto.
Dennis’ financial limitations and legal restrictions prevented him from returning to Canada,
leaving Sandi to raise Drake on her own. He enrolled in Jewish day school and celebrated his bar
mitzvah at 13 years old.
Drake’s formative years were spent in two neighborhoods: Weston Road, a working-class
suburb of Toronto and Forest Hill, one of the city’s most affluent areas. When asked to speak on
this transition, Drake explained that “[We had] a half of a house we could live in. The other
people had the top half, we had the bottom half. I lived in the basement; my mom lived on the
first floor. It was not big; it was not luxurious. It was what we could afford."
Drake attended both Forest Hill Collegiate Institute and Vaughan Road Academy, the
former known for its wealthy student population and the latter for its notable alumni of Canadian
entertainers. While Drake described the institution as “not by any means the easiest school to go
to” due to being bullied for his racial and religious background, it was there that he developed his
love for acting. At age 15, Drake’s landed his first role in the teenage drama Degrassi: The Next

18
Generation. When the show began to interfere with his school schedule, he dropped out, going
on to earn his high school diploma in 2012 at age 26.
It is this series of dualities – being Black and White, Jewish and Catholic, Canadian and
American, afflicted by financial hardship and having influence and access to rare opportunities –
that has set the precedent for Drake’s image. In the entertainment world, when a new celebrity is
gaining traction in the public eye, their team will set their sights on branding. What kind of brand
will this celebrity have? What will their image be? Their trademark? How will they tell their
origin story? If you examine past marketing practices, most artists are marketed as being
homogenous or archetypical.
In the early 2000s, celebrities like Britney Spears, Christina Aguilera and Justin
Timberlake were packaged as wholesome popstars who went on to shed their squeaky-clean
image for something more risqué as they approached adulthood. In the mid-2000s, celebrities
like Jay-Z, Beyoncé, and Kanye West went from being hip-hop/R&B to global superstars who
were mainstays at fashion shows, appearing on covers of magazines like Vogue and Vanity Fair.
Drake would go on to be a new type of celebrity that did not fit neatly in any specific category
but rather created one all his own.

A Rapper Like No Other
In Amara Pope’s 2016 thesis, Musical Artists Capitalizing on Hybrid Identities: A Case
Study of Drake the “ A ut he n t i c ” “ B l a c k ” “ Canadi an ” “ R appe r ,” she states that with the rise of
social media and the online consumption of information (of which she singles out music videos
in particular), artists gain popularity through a form of ethno-marketing in which their hybrid
identities become a production of heritage and human capital. She positions her paper to argue

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that it is through this deliberate construction, drawing upon his cultural experiences and racial
class struggles that Drake aligns himself with marginalized groups and becomes relatable to
these groups. Signifying is a form of empowerment through the artist; through a process of self-
branding, Pope’s thesis examines how the creation of a hybridized star image is an exercise of
the artist’s privilege in claiming different identities.
By facing similar struggles and various forms of subjectivity, Drake legitimizes his place
within different marginalized groups and this appropriation allows for the potential increase in
creative cultural revival to counter the universalization of culture; however, through assimilation
there is a risk of losing the distinct and personal nature of culture in the new forms. Pope cites
Mimi Sheller’s Consuming Caribbean: From Arawaks to Zombies (2003), amongst other sources
when acknowledging the need for communities to assimilate to certain aspects of a dominant
group, to avoid losing entire cultural histories (Pope, 2016).
While Drake has acknowledged the struggles he faced growing up while trying to fit into
social groups that were based on race and religion, it is important to acknowledge the advantage
it posed in his professional career. The fact that he struggled in and of itself provides a gateway
to individuals who are marginalized for belonging to ethnic or socio-economic groups. Having to
live through challenges, especially in hip hop music, lends artists a sense of legitimacy when it
comes to building resilient character.
In Megan Morris’s essay Authentic Ideals of Masculinity in Hip Hop Culture: A
Contemporary Extension of the Masculine Rhetoric of the Civil Rights and Black Power
Movement, she states that hip hop culture has been long praised by both critics and fans for its
graphic expression of the Black lived experience and its embodiment of the motivations and
struggles of Black youth in particular. As a result, hip hop artists participate in a deliberate

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struggle to maintain an identity that reflects this struggle to maintain authenticity and establish
clear boundaries of the culture they belong to. An issue arises when artists who were previously
members of marginalized communities achieve a level of success that, paired with the
mainstream acceptance of hip hop, now puts them in a socio-economic class considered more
advantageous than the one they previously came from (Morris, 2015).
When it comes to Drake, however, he does not lay claim to coming from extreme poverty
or violence. He simply cannot, as the communities in Toronto that he spent his formative years in
were relatively safe and affluent in comparison to other surrounding communities. Instead, Drake
draws on emotional hardships that he faced – watching his mother struggle as a single parent,
being bullied at school for his biracial, Jewish identity, heartbreaks from lovers and not being
taken seriously by his peers – all issues which are universally relatable, especially with young
adults, his primary audience.
Historically, there have been hip hop artists that have explored topics of emotional
turmoil as well as used a combination of rapping and singing in their music; however, Drake
used this combination extensively. At the start of his career, most hardcore hip hop fans did not
know where to place him, while R&B and pop fans did not see him as an artist wholly fitting
their music tastes. He was often ridiculed and while his lyrics were undoubtedly raw and
authentic, revealing both names and detailed accounts of incidents that happened throughout his
life, his authenticity was questioned.
In the years since he first launched his music career, Drake has been able to masterfully
incorporate his hybridized, contrarian identity to win over fans from all walks of life who quote
his lyrics verbatim – in social media captions, as genuine answers to questions and as tongue-in -

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cheek replies. He has left no money on the table, so to speak, when it comes to maximizing his
revenue by appealing to such a massive audience.

The Importance of Identity
During my interview with her, Joy Fehily, Founder of Joy Fehily Management + Consulting,
examines the importance of having a strong, relatable identity that audiences can resonate with
and how Drake was is to capitalize on his unique dualities.

Q: Drake is one of the most successful hip hop music stars, with major crossover appeal. How
do you think his identity – being biracial, Jewish, Canadian with ties to America and having
experienced both hardship and privilege – has contributed to his fan base?
Joy Fehily: I think a lot of his appeal has to do with the fact that he’s very open and
vulnerable about who he is and what he’s feeling. One thing young people are looking for
nowadays from the celebrities whose music and movies they consume is relatability, so
it’s important for an artist to embrace who they are. Drake doesn’t hide his family, his
upbringing, or the times in his life where he may have not always been on top. In fact, he
embraces it in his music and I think that speaks to a wide reaching audience from various
demographics. Authenticity is something artists sometimes struggle with because the
public can sometimes turn on you for being your true self, which is why we see artists
who avoid speaking to the media and public. In the past, media coaches trained
celebrities on what to say and how to say it when asked difficult questions and while it’s
still important to maintain a certain level of composure when conducting interviews,

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because it is part of the job, celebrities are more encouraged now to be themselves and let
their authentic voice speak through.

Q: Drake certainly i s n’t the first artist to express his feelings and struggles in his songs, so why
do you think they are so universally embraced? His albums receive critical acclaim and singles
usually peak in the top 10 on Billboard charts, receive significant radio airtime and even reach
streams in the millions on platforms like Spotify.
JF: I think his music has a lot of sex appeal, so even though it may explore difficult
subjects or unpleasant emotions, it’s slickly produced and is something that you can very
much dance to. Music that uplifts tends to do very well because it stirs up positive
feelings in the listener and I think that it’s actually quite difficult to create music that
deals with things like heartbreak and loss and still make it so people want to dance to it.
Drake’s production team does a very good job of that and as I mentioned, there’s a sex
appeal there that’s catchy and resonates with a lot of people. I also think that he has a
very distinct sound, so even though the songs may sound different – some have more
rapping, some have more singing – his sound is this distinct brand that fans have clearly
come to enjoy and expect from him.

Q: Drake went from actor, to rapper, to businessman in his various ventures and while he is not
the first celebrity to do this, how do you think his image has contributed to the tremendous
success of his various ventures?
JF: I think that the reason he has been so successful in all these areas of his career is
because he puts out projects and takes on projects that align with his celebrity brand,

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which as previously mentioned is very diverse and rooted in this very sort of raw
authenticity. He got his start on television and he was able to successfully transition that
into a musical career because I don’t think he ever ventured far from who he was. He
hasn’t rebranded himself or undergone a complete image makeover like some celebrities.
What he has done is maintain this very consistent authenticity and if anything, any
changes we see in him from previous years are more so from getting older and gaining
perspective, maturity and insight on certain things. Because his image is so steady and so
recognizable, his fans don’t lose touch with him, they feel like they know who he is and
it’s this transparency that I think inspires people to stay loyal and keep buying into his
brand.

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CHAPTER 3
THE DEGRASSI YEARS

When examining Drake’s career trajectory, it is important to understand that his first
introduction into the world of entertainment was not through music, but through television. In
2001 at the age of 14, Drake landed a role on the Canadian television series Degrassi: The Next
Generation (DTNG). The show was an established Canadian institution amongst both middle
school and high school teens, as well as in the small, tight-knit Canadian entertainment industry.
Produced in Toronto by Epitome Pictures, The Degrassi series contains four installments
that span over the course of 25 years, with its original episode airing in 1989. It is the longest-
running Canadian series of all time and is an exceptionally well-received comedy-drama that has
developed a cult following because of its unique Canadian perspective. Of the four installments
that make up the saga, DTNG was the final installment, airing from 2001 to 2015 for 14 seasons.
During the show’s 26-year career, each installment took an unflinching look at topics often
considered too taboo for teen audiences including body image, sex, teen pregnancy, abortion,
drug use, gang violence, date rape, LGBTQ rights, bullying, eating disorders, suicide and death –
each examined within the context of its time period from the late 80s to the mid-2000s.
The characters featured in each installment reflected the racial, ethnic, religious and
sexual diversity that is representative Toronto’s youth population. What differentiated Degrassi
from most American series of a similar nature was the balance in which the show acknowledged
the differences in its characters while not fixating on them. It reinforced Toronto’s official motto,
“Diversity Our Strength.”
In Elana Levine’s essay “ Nat i onal television, global market: Canada’s Degrassi: The
Next Gener at i on,” she asserts that the threat of a universal – usually Americanized – cultural
colonization continues to affect the landscape of Canadian media. As one of only two nations to

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share a border with the United States, Canada and its domestic television industry seem
particularly vulnerable to the cultural power of their southern neighbor (Levine).
The challenge with DTNG was creating a Canadian-based sitcom that was not overly
influenced by American-style programming, while remaining universally relatable to teens –
most notably those residing in the United States – a substantial market that enabled the show to
become a household name. As Levine states, Canada’s unique position centered between its own
brand of cultural identity and the need to universalize within a smaller and smaller national
broadcasting market that is dominated by American imports. This meant that its success relied
upon being both nationally specific and universal, balancing its proud Canadian roots while
appealing to an international audience (Levin). When Vancouver-based television producers
Sierra Tinic were interviewed by Levine, they spoke about a ‘perceived need to universalize the
culturally particular’ as a strategy for survival (Tinic).
Challenges are compounded when we consider the imports from the American market
into what is already a shrinking broadcasting industry in Canada. As Tinic summarizes it, there
appear to be few alternatives to diluting domestic content and participating within the global
cultural economy instead of the national or regional arena (Tinic). The need to protect the
integrity of Canadian individuality in the broadcast industry is so pertinent that Canadian cultural
policy has sought to protect the status of broadcasting as a ‘public service essential to the
maintenance of national identity and cultural sovereignty’ (Canada Department of Justice). The
program’s funding also plays a key role in how the series balances its national identity while
remaining relatable to its international market. Both its domestic broadcast license from the
private commercial network CTV and Canada’s public-private funds comprises a portion of the
show’s budget. In addition, American channels such as The N for MTV Networks, Filles TV in

26
France, MTV’s Latin American channel and Australia’s national public broadcaster, ABC have
all paid to have DTNG air in their countries (Levin).
The international relatability of the show stems from the fact that Canadian culture is
often regarded as being ambiguous, particularly in the case of Toronto, which is recognized as
one of the most diverse cities in the world, with over 200 varying ethnic groups that speak over
140 different languages. Because of a lack of a cultural majority, Toronto’s identity is hard to
summarize. One identity that Canada has strived to maintain, though, is the notion that despite
sharing a border and one official language, it is not in fact like the United States. Canada’s
multicultural and tolerant principles means that cultural groups are both distinctively recognized
and celebrated, in contrast to the United States which is often referred to as a ‘cultural melting
pot,’ which values assimilation and homogeneity, requiring that its ethic and immigrant
populations dissolve their differences with the cultural majority to preserve harmony (Levine).
As Seymore Martin Lipset writes in Continental Divide: The Values and Institutions of the
United States and Canada, “Canadians have tended to define themselves not in terms of their
own national history and traditions, but by reference to what they are not: Americans. Canadians
are the world’s oldest and most continuing un-Americans” (Lipset).
Tolerance and inclusivity of all cultures was firmly established in the Degrassi
franchise’s brand by the time they cast Drake as the role of Jimmy Brooks in 2001. The fourth
and final installment of the Degrassi universe is the series that is best known with American
audiences. In the show, Drake was portrayed as the son of two Black parents while the nod to his
real life cultural and racial identity was not worked into the script. When comparing the role of
Jimmy Brooks to other shows popular with teen audiences during the early aughts, there is an

27
obvious contrast as most other series featured primarily all-white casts, with no Black male
leads.
The Jimmy Brooks character also defied stereotypical notions of the Black basketball star
often seen in American television shows and films. In popular basketball films pre-dating
DTNG, including Above the Rim (1994), He Got Game (1998), and Finding Forrester (2000),
where the main character is a young Black male, all are afflicted with cliché circumstances such
as coming from broken homes, living in violent neighborhoods or being poverty-stricken. Jimmy
Brooks on the other hand came from a stable, two-parent household whose wealth is
demonstrated by the many expensive gifts he receives from his parents.
His on-again-off-again relationship with Ashley Kerwin (played by Melissa McIntyre) a
white actress, is never the focal point of the series and their difference in racial background is not
a source of contention. This is once again sharply contrasted He Got Game, where Jesus
Shuttlesworth (played by Ray Allen), a Black college athlete dates Lala Bonilla (played by
Rosario Dawson), a Latina and in Finding Forrester where Jamal Wallace (played by Ron
Brown) a Black student, seeks mentorship from William Forrester (played by Sean Connery), a
white author. Both are films in which interracial relationships are fraught with problems and seen
as unacceptable by society.
The climax in Jimmy’s storyline and one of the most dramatic moments in DTNG’s
history happens when he is shot by classmate Rick Murray (played by Ephraim Ellis). He is left
paralyzed from the waist down, putting an end to his promising basketball career. The two-part
episode was written by Aaron Martin (executive producer) and Brendon Yorke (producer) in
effort to take on the topic of school shootings, an issue that has become a prevalent threat to
students in the last 20 years. In an interview with ConventionalRelations.net, York stated “It was

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a topic we knew we would need to address at some point since, unfortunately, preparing for and
dealing with school shootings are things a whole lot of students in the United States are forced to
confront at some point. School shootings are vastly less routine in Canada, but your news travels
north. The fundamental issues of bullying and violence are commonplace in Canada as well.”
Arguably giving Drake one of the most compelling storylines ever featured in DTNG,
Yorke went on to say, “We saw how life-changing this would be for Jimmy, and how it would be
a gold mine for future storylines involving the character. We also knew that Aubrey/Drake
would be able to shine as an actor playing a character who had to go through a whole lot of ups
and downs in the aftermath.”
Consequently, through Jimmy, Drake was given a platform to establish himself in a role
that eluded the typical American roles of the young Black high school athlete. Jimmy was a
character that was relatable to a wide demographic of teen audiences because his experiences
were carefully crafted to be universalized rather than tokenized. The character is seen as a
positive role model for teens struggling to overcome difficult challenges as we watch him
rehabilitate beyond his physical limitations by coaching a younger basketball team (Death of a
Disco Dancer), diversifying his skills by taking up drawing (I Still Haven’t Found What I’m
Looking For), getting accepted into law school (Broken Wings), and eventually walking with the
assistance of crutches and graduating high school (We Built This City).
Drake was able to avoid the pitfalls associated with emerging Canadian hip hop artists as
discussed in Chapter 1, by landing a role in a series that was both massively popular and
broadcast across the border. Degrassi’s efforts to preserve its Canadian identity was a major
factor in contributing to the show’s success, while that same identity found in Canadian hip hop
music served as a detriment to an artist’s success. Just like how Drake was able to capitalize

29
from his hybrid identity as discussed in Chapter 2, he was able to use Degrassi as a starting point
and pivot his popularity in the United States.

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CHAPTER 4
OCTOBER ’S VERY OWN – THE TEAM THAT BUILT AN EMPIRE

October’s Very Own (OVO) was founded in 2012 by Drake, producer Noah “40” Shebib
and Oliver El-Khatib. It is a record label that also functions as a radio station and clothing line,
serving as a one-stop shop for all things Drake. In the United States and internationally, music is
distributed under Warner Music Group’s Warner Records except for Drake’s releases which are
distributed by Republic Records, a division of Universal Music Group.
The OVO namesake was first used in 2006 when Room for Improvement, Drake’s first
official mixtape was released, before launching as a blog in 2008. The blog was used to premiere
new music, even while Drake was signed to Lil’ Wayne’s Young Money/Cash Money label
(Universal) in 2009. OVO was then used to name OVO Fest, a two-day annual music festival
that premiered in 2010 and featured a star-studded line-up of artists during Canada’s August
civic holiday. In 2011, OVO clothing was launched as a collaboration with Roots Canada. The
eponymous label synonymous with Canada outdoorsmanship, featured a series of parkas and
jackets. In 2012, Warner Bros. Records solidified OVO’s official status as a record label by
signing a deal with the collective. In the last eight years, OVO has gone on to collaborate with
renowned Toronto-based institutions that this chapter will explore.
Despite its American distributor, the brand continues to strengthen its Canadian roots by
hosting events in Toronto and taking a Toronto-first stance with its partnerships. This strategic
approach continuously draws both U.S. and international attention to the city, creating a
recognizable identity to the Millennial and Gen Z crowd, creating a significant profit and
instilling a sense of hometown pride. But before delving into OVO’s marketing strategy, it is

31
important to get acquainted with the founding fathers of the label; the behind-the-scenes creators
who were instrumental in the success of both Drake and OVO.

Oliver El-Khatib – World Class Curator
Without Oliver El-Khatib, OVO, would never have existed.
Officially credited as Drake’s manager, Oliver has played a crucial role in Drake’s meteoric rise.
Much like how Scooter Braun, talent manager, record executive and entrepreneur plucked a
young Justin Bieber, who at the time was earnestly posting his music to YouTube and helped
catapult him to stardom, or how musical producer and talent manager René Angélil took a
young, aspiring Québécois singer named Céline Dion and helped mentor and guide her to
international fame, Oliver’s careful direction paved the way for Drake to achieve global
recognition.
As one-third of the OVO trifecta, Oliver befriended Drake’s producer, Noah “40” Shebib
in ninth grade homeroom, going on to form the DJ collective Lebanon Dons and eventually
becoming roommates. According to a FADER interview published in 2015, 40 had heard
Drake’s song “Do What U Do” on the radio and expressed a desire to work with him. At the
same time, Drake was looking to work with a new producer and had his sights set on 40. When
the two found themselves in the same room reluctant to talk to each another, Oliver encouraged
40 to pass his contact information to Drake and the rest is history. According to 40, “It was
Oliver who gave me the kick in the ass I needed” (Kameir). When looking at Oliver’s career
achievements from a public relations perspective, Oliver is the consummate communicator.
Fostering a connection between Drake and 40 created a turning point in Toronto history.

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Oliver’s vision has always had a Toronto-first perspective. During one Toronto
Caribbean Carnival (formerly known as Caribana), he discussed how “I remember guys walking
around Caribana, talking like they’re from New York, to impress girls.” This motivated him to
take hometown signifiers – Toronto’s unique slang, West Indian influences and uniform of
parkas and winter boots – and turn it into something to be proud of, not evaded (Green). Oliver
understood the lack of opportunity and crabs-in-the-bucket mentality that permeated the Toronto
arts scene. “The conversation when I was a kid was ‘Will anyone ever do it?’” (Kameir).
Undeterred, he was determined to change that.
The launch of OVO’s Blogspot page, a site that remains active to this day, was the first
step in the strategy Oliver devised in creating a one-stop-shop that used centralization to expose
fans to every project the brand was involved with. In the early days of the blog, the first post
went live in 2008, featuring Oliver wearing a ‘Canadian tuxedo’ (a denim jacket and jeans),
along with a brief mission statement that said “Thank you, Thank you. This note will be
consisting of things that I personally co-sign and or find of interest. Please enjoy and feel free to
comment. Peace, O.” The site featured photos of fashion, promoted stores and music that was
seen as cool and noteworthy by the collective. (Kameir, 2015).

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Figure 2 The first post on the OVO blog.
Source: octobersveryown.blogspot.com

As the blog evolved into a record label, radio show, music festival, athletic partner and
educational summit, the OVO branch that keeps Oliver most occupied is the clothing line. As the
label has gone on to build brick-and-mortar stores in some of the world’s most fashion-forward
neighborhoods, OVO clothing has quietly gone on to become the label’s most profitable source
of revenue. While the brand has declined to discuss Drake’s financial interest in the clothing line,
a 2018 Business of Fashion article estimated that it likely cleared sales of $50 million that year
(Morency).
Despite the huge success Oliver has achieved over a relatively short amount of time, he
humbly concedes he’s “a worker, not an artist.” He goes on to say, “The joy of my life is making
music with these two guys…I don’t physically play an instrument or produce records. The charm
of what I bring to the table is that sometimes it’s just ideas.”
Instilling Toronto pride through art and music continues to be his focus saying, “If there’s
anything that we want to put forth, it’s just to have some patriotism for what we’re doing here
and to look within for talent and inspiration.”

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Again, 40 is also aware of the importance of keeping the face and star of the whole
operation, Drake, at the forefront of pop culture. In his words, the fate of Toronto’s visibility in
the international art bubble depends on growing and evolving OVO. “Drake has to stay touring
and keep the machine running so that we can help the city. I want to start setting up more
speaking engagements, community programs with music programming…If he just stops
everything he’s doing, what’s going to happen next? (Kamier).

Noah ‘40’ Shebib – Creator of Toronto Sound
In the other corner of the OVO trifecta sits producer extraordinaire Noah ‘40’ Shebib. His
presence is so unassuming, that according to him, people would not have even known about him
if Drake had not shouted out his name in his songs. Equally as low-key as Oliver, 40 rarely gives
interviews and a Google search will not bring up much information, save for a few interviews
like the 2011 one with GQ and more recently, a June 2020 Rolling Stone interview where 40
opened up about his struggles with multiple sclerosis, which he was diagnosed with at 22.
Much like Drake, 40’s career began with acting. The son of Canadian actress Tedde
Moore (A Christmas Story) and director Donald Shebib (Goin ’ Down the Road, Between
Friends), 40 acted in television series like Wind at My Back and Goosebumps. Arguably, his
most notable role was as Parkie Denton in the Sofia Coppola-directed The Virgin Suicides. But
he saw how unforgiving Hollywood could be and how easy it was for a an actor to be celebrated
one day and forgotten about the next. Heavily influenced by his sister’s 90’s R&B collection, 40
decided to enroll at Trebas Institute, a Toronto and Montreal-based art school that offered an
audio engineering program.

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Then, 40 studied under Noel ‘Gadget’ Campbell, a Grammy-award winning mixing
engineer who is referred to as “the Godfather of Canadian hip hop.” His unparalleled work ethic
earned him his moniker after other artists working with Gadget noticed how he, seemingly never
took a break – it was as if he had stayed awake for 40 days and 40 nights completing projects.
After becoming formerly acquainted with Drake, 40 reportedly only charged him for the first
four recording sessions before he committed to creating a long-lasting working relationship with
him.
The same way that Oliver assumed creative responsibility for crafting a recognizable
image for OVO, 40’s early R&B influences coupled with his willingness to experiment, created a
sound that has been branded as uniquely Torontonian. If east coast hip hop was hard and gritty
and west coast hip hop was retro and funkadelic, then Toronto’s signature sound was lo-fi,
melancholic and infused with singing. Legendary hip hop producer Mike Dean credits 40 with
changing the sound of modern hip hop and making singing – once considered too soft for the
traditionally braggadocios genre – the perfect accompaniment.
While 40 does not use a shoutout tag at the beginning of his tracks like Metro Boomin’
and Mike Will Made-It, his “muted songs and rippling bass” are immediately recognizable. In
creating a bespoke sound for Toronto, he has branded the city in a way that evolves far beyond
visual signifiers. A distinct sound extends well into cultural identity and when describing his
creative process, it is evident that this was very much intentional. With the release of Drake’s
first studio album, Thank Me Later, critics had a difficult time describing the majority-produced
sound that 40 crafted.
“What they’re talking about is a plug-in that I use called lo-fi, low-fidelity…It’s reducing
the sampling rate, therefore the quality of the recording. Equivalent to rolling off the top end or

36
making muddier or sound like you’re listening to the speakers of a club from behind the wall. [I
wanted] a sound around Drake so that his vocal could cut, so you could understand every fucking
word perfectly, because I thought his words were so important and this was a space now that he
could exist completely in the front and everything else would be in the back supporting it”
(Holmes).
40 maintains a self-deprecating stance on his music, saying he is not particularly fond of
what he has created. He compares his career to winning the lottery, completely side-stepping all
the marathon hours he has poured into perfecting his craft. He is also fully committed to
amplifying Drake’s profile even at the cost of his own recognition. “The greater goal was to turn
Drake into a superstar and make music. If that meant being his assistant that day and helping him
and getting him food and cleaning up, I did everything, but gladly. Not because he asked me to
do it, because that’s what I wanted to do. I was proud to do it” (Holmes).

OVO Sound – A Canadian Roster
While OVO the brand made its online debut in 2008, it officially became a record label in
2012, distributed by Warner Music Group (except for Drake’s solo releases which are released
under the Universal Music imprint). Current acts signed to label are Drake, PartyNextDoor
(PND), Majid Jordan, Roy Woods, dvsn, Smiley, Baka Not Nice, Popcaan, 40, Boi-1da, T-
Minus, Mike Zombie, Nineteen85, Future the Prince and DJ Prince. Except for Popcaan, Mike
Zombie and DJ Prince, all artists on OVO’s roster are of Canadian origin.
While Toronto has produced hip hop artists that received moderate success as American
crossovers (as discussed in Chapter 1), none went on to consistently produce a discography with
the same breadth or success that OVO-affiliated artists have. By creating a Toronto-based record

37
label, OVO has ensured a steady stream of content that may not necessarily garner the same
acclaim as tracks featuring Drake, but nonetheless offer a complimentary catalogue to Drake’s
projects. Ultimately, OVO Sound provides a pathway to fame and cross-border recognition for
Toronto-based artists while simultaneously drawing attention from American audiences to acts
may not have discovered organically. The deliberate choice to sign primarily Canadian acts is a
strategy in branding Toronto’s official sound. The best example of Drake shining a light on a
Canadian artist who went on to garner critical acclaim – without ever actually signing to OVO
Records – is Abel Tesfaye, professionally known as the Weeknd.
In 2010, Drake posted The Weeknd’s music to his OVO blog featuring the caption
“Introducing the Weeknd” (Il). This created an overnight hysteria, as a slew of instant-fans
scoured the internet for more information on the then-reclusive artist. That winter, everyone in
Toronto was listening to The Weeknd’s haunting, sexually charged music while espousing his
creative genius. While it is highly plausible that The Weeknd could have achieved success on his
own, the co-sign from Drake along with a working relationship that began in 2011 gave him the
push to overnight stardom. The Weeknd went on to sign with Republic Records and created his
own imprint, XO, causing controversy. The move was perceived as a lack of respect towards
Drake, but Drake went on to tell MTV’s Sway Calloway, “What counts to me is the fact that the
affiliation is so known, and that’s all I really care about” (Il).
The breakaway boded well for the Toronto music scene because it created two separate
channels for up-and-coming artists to find opportunities to sign with major record labels and
jumpstart their career. The move shattered the notions that the city was too small and too
inopportune to launch more than one successful crossover artist. The distinction between The
Weeknd and OVO Sound gave him the creative license to move away from the dark, lo-fi

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Toronto style (reminiscent of 40’s production) and he was able to take on a more mainstream,
pop sound that won him a new legion of fans. Furthermore, it is important to note that XO has
gone on to sign its own roster of artists – Belly, Nav and Black Atlass – all of whom are of
Canadian origin and who continue to draw attention to the Toronto music scene.

OVO Clothing – The Wor l d ’s Most Recognizable Owl
The genius behind the OVO owl is that it is an animal that looks like its abbreviation,
with the two O’s serving as eyes, and the V as a beak while the wing provides a blank canvas to
feature flags, prints and other designs signifying partnerships. The colors themselves vary on the
season and design concept but most often feature a combination of black and gold, Drake’s
favorite colorway.

Figure 3.0 a black and white outline of the OVO owl. Its eyes and nose represent the OVO
letters.
Source: us.octobersveryown.com

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Figure 3.1 Takashi Murakami modelling a hoodie from the first OVO and Murakami
collaboration in 2018.
Source: Complex

40

Figure 3.2 Captioned “+4416IX, ” a combination of +44, the international dial code for
the United Kingdom and 416, T or ont o’s area code, OVO pays homage to its U.K.
fanbase.
Source: @welcomeovo on Instagram

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Figure 3.3 Canadian Olympic gold medalist Ross
Rebagliati modelling a hoodie from the OVO and
ROOTS FW2020 collaboration.
Source: @welcomeovo on Instagram

Created by Oliver and Drake, the OVO clothing line has grown considerably since its
first collaboration with Canada Goose on the Chilliwack parka in 2010. Meant to serve “as the
first substantial piece to come out of the label,” it set the stage for many future Canada Goose
collaborations. By choosing to partner with a Canadian company that sold luxury outwear for
outdoorsmen/women and explorers on expeditions, it appealed to streetwear aficionados who did
not want to sacrifice style for warmth during harsh Canadian winters. OVO married the
exclusivity of luxury with the hype of limited-release streetwear and while the price point was
high, Drake was determined not to compromise material quality.
“I want people to be a part of our movement, I just want it to be right. And everybody
else wants me to make it with cheaper fabric and put it in Macy’s and ‘Oh don’t worry we will

42
make 100 million in the first year.’ Nah, fuck you, because that’s not what we are about. I’m not
ready for OVO to be that. Because OVO is still something I represent,” he said in a 2011
interview with Complex. He goes on to say, “I want people to be a part of our movement, I just
want it be right” (Johnson).
While Oliver referred to the brand as a “mom-and-pop operation,” it is bigger than that,
at least in terms of revenue. Business of Fashion predicted that the brand cleared $50 million in
2018 (Morency). While the web shop went live on Drake’s 26
th
birthday in 2012, two years later,
the first brick-and-mortar store opened in Toronto. Oliver’s vision and meticulous attention to
detail went into the small, minimalist boutique. Located in the Dundas West neighborhood, the
location was neither upscale nor as famously known as Queen West which was crowned one of
the coolest neighborhoods in the world by Vogue in 2014 (Remsen). But everything from the
unassuming location to the sterile aesthetic of the store served a purpose. “We’re a destination,
so it wasn’t going to matter if we were in a central or upscale area,” Oliver said.
“There’s a few of us putting our blood, sweat, and tears into this 24/7. It’s a lifestyle, it’s
not a job that we go home from. It’s something that we’ve put our own time and money and
equity into, and we’re building it with hammers and nails,” Oliver said (Kameir).
Since the first store opened, its expanded worldwide with multiple locations in Toronto’s
greater surrounding area (GTA), Ottawa, Calgary, Los Angeles, Chicago, New York, Las Vegas,
London and Tokyo. The stores are a blend of earthy Zen and futuristic hyperrealism, all designed
with a black, white and gold color palette, using expensive and exotic materials like Calacatta
Volakas, columns imported from Portugal alongside industrial staples like iron, stone, glass and
concrete. The store’s pared back, nature-centric design, the clothes and the catalogue are the
common thread that weaves it all together.

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While you will often see celebrities dressed in the brand’s clothes on the @welcomeovo
Instagram account, most of the lesser-known faces, particularly in the OVO look book are local
Toronto youth, either employees of the stores or a friend of a friend who just happens to
photograph well. “It’s unique from what’s going on in American streetwear, which really
resonates in a fashion moment where standing out is way more important than fitting in,” says
Will Welch, editor-in-charge of American GQ (Kameir).
The Toronto and GTA stores serve as a meeting place for local, young creatives to
gather, exchanges ideas and connect within an atmosphere that was created with the intent of
instilling hometown pride. “Our shops are the most authentic way to experience the brand and
our products…Many of our staff are friends and have become crew members, which all makes
for a unique, family-like atmosphere which customers pick up on,” said Oliver (Morency).
The fact that the OVO stores have a competitive advantage through their direct-to-
consumer model, something Oliver calls a “tangible access point,” is a strategy that has proven
that Toronto creatives can disrupt and recalibrate the fashion industry.
There have been partnerships between Roots, Timberland, DSQUARED, Colette,
Browns, Takashi Murakami, Bape, Woolrich, Clarks, Major League Baseball (MLB), Mitchell &
Ness, and the sought-after Nike Jordan brand. Annual OVO Fests often mean the release of
limited-edition gear commemorating the event, but it was OVO’s partnership with the Toronto
Raptors that yielded one of the most impressive sales. After Drake was photographed sitting
courtside at a Raptors game, gingerly lint-rolling debris from his shirt, he became a meme on
social media. Never one to miss the opportunity to get in on the joke – even if it was at his own
expense– OVO released its own branded lint rollers. One ended up selling on eBay for $55,000
(Babcock).

44
Hoop Dreams – How Drake Became the R ap tor s ’ Ambassador
At the intersection of sports and music are die-hard fans who just want to see their
favorite athletes and artists win and have fun. So, when Drake was announced as the Raptor’s
official ambassador in 2013, this marked a major pivot in the way the Raptors were seen in the
NBA.
Founded in 1995, the Toronto Raptor’s belong to the NBA’s Eastern Conference Atlantic
Division and play their home games in the Scotiabank Arena, located in downtown Toronto.
Originally only one of two Canadian, basketball teams, after the Vancouver Grizzlies relocated
to Memphis, Tennessee in the 2001-2002 season, the Raptors became Canada’s sole NBA team.
The team’s mascot, a red velociraptor with a menacing, sharp-toothed smile was inspired by the
film Jurassic Park. Their official colors are red, purple, black, white and gold. Often overlooked
in the NBA because of their quirky color combination, mascot and lack of historic prestige, the
Raptors had several periods of struggle, punctuated by good seasons which were led by Vince
Carter, Chris Bosh, Kyle Lowry, DeMar DeRozan and Kawhi Leonard. Presently, Masai Ujiri is
the president of basketball operations.
The ambassadorship was a strategic PR move that came innocently enough from Drake’s
unwavering devotion to his home team. Often seen courtside cheering players, offering
encouraging shoulder rubs, having breakdowns when the Raptors lost and displaying unbridled
joy when they won, the joining of two major Toronto signifiers was a match made in branding
heaven. The partnership gave Drake’s fandom a business-driven purpose that expanded his
visibility to basketball fans who may not have necessarily listened to his music. The Brooklyn
Nets had Jay Z, the Chicago Bulls had Barack Obama, the New York Knicks had Spike Lee and
now the Toronto Raptors had their own celebrity patron saint.

45
While not everyone was a fan of Drake’s enthusiasm or courtside antics, he set out with a
mission to help propel the Raptors to the heights of NBA glory. “I want to bring the excitement
into this building, I want a team that people are dying to come see, I want the tickets to be
extremely hard to get, I want to bring that aggression, I want to bring that energy,” Drake said.
“And obviously I want it to be a top team in the NBA, if not the top team” (CityNews).
In January of 2014, the first inaugural Drake Night was held at the Scotiabank Arena
(still named the Air Canada Centre at the time), where the Raptors faced off against the Brooklyn
Nets – supported by their own superstar fan, Jay Z. OVO branding was front and center during
the game as fans were treated to a limited edition OVO Drake Night x Toronto Raptors shirt. The
OVO owl was projected onto the courts’ floor using lights that made it look like it was etched in
gold while Drake sat on the sidelines proudly cheering on his team. As he continued to be a
sideline fixture, fans focused their attention equally on Drake as well as the players, with one of
his most iconic moments being the simple act of using a lint roller to remove debris from his
pants during Game 2 of the series.
As previously mentioned, never one to lose out the opportunity to be in on the joke, as
memes of Drake de-linting went viral, an OVO lint roller was released and given to fans sitting
in the ‘Drake Zone’ of the Scotiabank Arena.

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Figure 4 A graphic using “ We the Nor t h” typeface,
poking fun at the lint-roller fiasco.
Source: @champagnepapi on Instagram

Figure 4.1 A visual of the lint roller created for Raptors fans to use
at games.
Source: Sport Management Hub

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In April of 2014, the immensely successful “#WeTheNorth” campaign launched, which
included a stirring YouTube video and “We the North” branded apparel. The one-minute video is
a series of supercuts juxtaposing footage of Raptors players with everyday athletes playing in the
snow and rain, hallmarks of Toronto’s long and inhospitable winter season. The regular
basketball players in the video are both men and women, teens and adults of various racial and
ethnic backgrounds, a testament to the city’s diversity. A monologue is delivered but an unseen
narrator who says:
We, The North.
In many ways, we ’r e in a league of our own. One step removed, just beyond the
boundaries. Some would say we ’r e on the outside looking in. But from our perspective,
we ’r e on the outside looking within. ‘Cuz t hat ’s where the effort resides. Toughness is
found, the aggression is tapped. On the inside. And far from the east side, miles from the
west side, nowhere near the south side. We are the north side. The territory all our own.
If that makes us outsiders, we ’re in.
The video then fades to fans shouting, “Let’s go Raptors!” repeatedly.
The video was a call to action and the brilliant monologue, full of self-awareness and
self-assuredness told the world that Toronto knew they were the underdog. But what set Toronto
apart was its strength and it was carving a place for itself despite being underestimated. Produced
by the international creative agency Sid Lee in 2014, six years later, fans are still shouting “We
the North!” from the Scotiabank Arena rafters. While a catchy slogan could not guarantee a
successful season for the Raptors, it marked a moment of growth in the franchise’s often painful
history and it sent the message, “America—and by extension its sports leagues—is a nation that

48
tends to favor assimilation, but with “We the North,” the Raptors and their fans were unequivocal:
We stand apart” (Powell).
The #WeTheNorth campaign received $1.1 million in earned media and generated a
378% return on investment. When it comes to earned media, the Raptors’ social channels grew
almost 300% and received 157 million impressions on Facebook and Twitter. Facebook likes
increased by 170%, Twitter followers increased by 130% and YouTube views increased by
350%. The #WeTheNorth video became the most viewed video on the Raptors’ YouTube
account, shifting its following from being mainly Ontario residents to 60% non-Ontario residing
followers (Strategy). Throughout the entire campaign, Drake can be seen wearing #WeTheNorth
apparel.
Occasionally, the Drake/Raptors partnership has been called into question, with some
observers wondering whether the association with Drake has started to do the brand more harm
than good. Things like rubbing the shoulders of coach Nick Nurse raised some eyebrows and
when Drake had a few choice words directed at Milwaukee Bucks’ Giannis Antetokounmpo, he
not only upset that city, but also had his music banned from Milwaukee radio for a period
(Rush). In 2018, Complex released a listicle proclaiming Drake as the number one most
annoying celebrity fan out of ten other celebrities (Olojede). Then, in 2018, Drake was in hot
water with the NBA when it claimed that he had violated the Fan Code of Conduct which aims to
create a “safe, comfortable, and enjoyable sports & entertainment experience,” telling him to
tone it down after he an unpleasant verbal exchange with Kendrick Perkins of the Cleveland
Cavaliers (Rush).
Telling the Raptors’ most recognizable fan and one of their biggest draws to calm down
when it was this very passion that kept fans’ eyes glued to the Raptors was kind of a catch

49
twenty-two. According to sports marketing expert Blake Lawrence, “Having Drake as an
ambassador for the Raptors is one of the most valuable assets that any sports team has right now.
The difference between Drake and Jack Nicholson and Spike Lee is that Drake has had his rise to
stardom in the social media era. Where you just saw Spike or Jack on the sidelines, you see
Drake in your social media feed. You see his stories, you see his videos. He's got 57 million
followers on Instagram and almost 40 million followers on Twitter. He's got nearly a 100 million
people tuned in to his every move” (Rush).
In 2019, the Raptors won their first and only NBA playoffs championship against the
Golden State Warriors, 114-110. A victory parade was held in June and Drake was there with the
team, up on the top of the double-decker bus that drove in front of Toronto’s City Hall as a
crowd of 1.5 million fans gathered to cheer the team and revel in a sense of hometown pride.
Drake’s plane, aptly named Air Drake, made a victory lap over the city as Mayor John Tory
declared June 17 to be “We the North Day,” in honor of the team’s victory (Kimble).
Much like a presidential campaign whose goal it is to ensure that the candidate becomes
the chosen leader, the brilliant, synergetic and often aggressive campaign that Drake led with the
Raptors for years, culminated into this one moment that created both Toronto and NBA history.
While Drake’s partnership had no bearing on the team’s athletic performance or the coach’s
leadership style, it certainly instilled a sense of determination that was kept afloat relentlessly for
five years. This undeniably resulted in the Raptors championship win and has rewritten the
blueprint for celebrity-athletic endorsements that not only yielded financial dividends, but also
raised social and cultural capital.
In 2019, the Raptor’s training facility was officially renamed the OVO Athletic Centre.
This was followed by a $1 million donation from the Raptors to refurbish local basketball courts

50
and a $2 million donation to Canada Basketball. Masai Ujiri commented on the partnership
saying, “Drake and OVO are an important part of our city’s landscape, our team’s identity, and
our plans to bring a championship to Toronto. With each step of our partnership over the last five
and a half years, we have worked together to build a winning basketball program in Toronto and
deliver for our fans and our community. This new naming rights deal for our training facility is a
perfect example of the strength of this partnership and the innovative opportunities it can
generate” (Cruz).

Figure 4.2 The exterior of the OVO Athletic Center.
Source: Twitter

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OVO Fest – The Party of the Year
The first OVO Fest was held in August 2010, during the same three-day civic holiday
weekend that The Toronto Caribbean Carnival (locally referred to as “Caribana”) was held. The
first Caribana happened in 1967 and was modeled after the Trinidad and Tobago Carnival. Held
during Canada’s centennial year, it was the West Indian community’s contribution to the
celebration. Since its inception, it has grown into a massive, week-long celebration of Caribbean
culture that culminates in the Parade of Bands where costumed dancers and musicians ride 18-
wheeler flatbed trucks with massive speaker systems and dance on the long stretch of road
between downtown Toronto’s Lakeshore Boulevard and Exhibition Place. This display of music,
culture and pageantry is referred to as “playing mass.”
Barricades are put up everywhere, but they do not do much to prevent revelers in the
audience from joining mass players “on di road.”
Approximately 1.3 million people attend annually, with around 170,000 of them being
tourists from the U.S. and 130,000 international tourists (The Star). The festival contributes $400
million annually to Ontario’s economy and has contributed to Toronto’s reputation of being a
diverse mecca, welcoming and celebratory of West Indian culture.
When the first OVO Fest was held on August 1, 2010, it marked the end of Drake’s Very
Own Tour and featured a star-studded lineup that included the likes of Jay-Z, Eminem, Rick
Ross, Young Jeezy, Fabolous, Bun B and Kardinal Offishall. It also occurred on the same day as
Caribana’s parade finale and left many Torontonians and tourists debating which event was
worth attending more.
Since its inauguration, OVO Fest has been held in Toronto annually, except for 2018,
2020 and 2021(because of the COVID-19 pandemic) and has evolved into a multi-day music

52
festival. Guest performers have included Rihanna, The Weeknd, Stevie Wonder, YG, OutKast,
Lauryn Hill, Kanye West, Pharrell Williams, Big Sean, Future, Snoop Dogg, Wiz Khalifa, Jhené
Aiko, Beenie Man, Machel Montano, Cardi B, PARTYNEXTDOOR, Travis Scott and J. Cole
amongst many more. The festival has gone on to include a celebrity basketball tournament, OVO
Bounce; a comedy show from Kevin Hart in 2017 and plans for an upcoming OVO Summit
which Oliver describes as “Our chance to curate a relevant educational experience for all the
like-minded, driven young Canadians who are passionate about careers in music, sports, arts, and
entertainment” (Thiessen).
OVO Fest is arguably one of Toronto’s greatest draws, ranking in popularity with the
likes of the Toronto Film Festival having been conceptualized as gift from Drake to the city.
Those who attend sometimes have no other opportunities to see such a diverse lineup of
performers and for visitors around the world, it is a testament to the kind of party Toronto natives
can put on to celebrate their hometown.

OVO Sound Radio – Tap In
On July 15, 2015, the first episode of OVO Sound Radio aired and was hosted by Drake
and Oliver. It debuted on Apple Music 1 (then known as Beats 1) and included tracks from Black
Coffee, Popcaan, Ramriddlz and Wizkid. The show gave listeners a glimpse into the creative
relationship the two shared as they engaged in a “soundclash” and played music that the OVO
crew found cool and relevant.
The show has been used to premiere new music from Drake as well as other OVO artists
and has featured music that OVO sees as artistically and culturally relevant. Presently, there are
over 60 episodes on Apple Music and Spotify, with episodes found on SoundCloud as well.

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Featuring Drake – Hip Hop ’s Most Valuable Co-sign
Since the birth of hip hop, collaborations have been a way to not only mix regional
sounds and introduce artists to different markets, but have also served as mentorships,
particularly when an older, more established artist does a track with a rising star. Historically, the
biggest rap stars during hip hop’s inception came in the form of groups like The Sugar Hill
Gang, Wu-Tang Clan, N.W.A and Public Enemy, with members often going on to create solo
projects and collaborations with other artists. Nowadays, labels often do not have the budget for
artist development and therefore, a breakout star is expected to introduce friends and labelmates
to the world in the form of collaborations – a type of free publicity (NPR). When Drake
collaborates with an artist, whether it is a track that features him prominently or simply a guest
appearance, it is guaranteed to be a hit.
Since his first official mixtape, Room for Improvement, Drake has continuously
collaborated with other artists like Jay-Z, Rihanna, Nicki Minaj, 2 Chainz, PARTYNEXTDOOR,
The Weeknd, Future, Rick Ross and Lil’ Wayne, just to name a few. During the early days of his
career, while signed to Young Money Entertainment, Drake frequently collaborated on songs
with artists from the roster including Lil Wayne, Nicki Minaj and Tyga, which exposed him to
Lil Wayne’s fans from the south as well as the R&B/pop fanbase that Nicki was building. Slickly
produced with fun concepts, the videos drew views by the millions on YouTube and created
iconic imagery for Drake.
More recently, a commercial mixtape with Future titled What a Time to Be Alive
celebrated the pair’s friendship and working relationship. Although the project received mixed
reviews, the duo continues to work together, going on to create the song Life Is Good. The track

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was accompanied by an iconic music video that included artists 21 Savage, Mike WiLL Made-It,
Lil Yatchy and Big Bank.
The video shows Drake and Future working a series of everyday jobs, including IT
specialists, sanitation workers, chefs and mechanics. In one scene, the two are at an auspicious
looking off-brand Apple store where the iconic apple logo is replaced by the peach emoji and
fingers caressing it. The peach emoji is often used to symbolize a person’s buttocks in text
messages, demonstrating tongue-in-cheek humor through digital language Millennials and Gen Z
understand.
At a fast casual restaurant that resembles McDonald’s, the ‘M’ is replaced with an “H,”
rechristened Hotlanta’s, a portmanteau of the words “hot” and “Atlanta.” Director X, legendary
Canadian video music director, is featured in the video as Drake and Future play the roles of
featured artists, co-directors and camera men. While that particular reference may be foreign to
non-Torontonians, Director X has directed a number of Drake’s iconic music videos (Hotline
Bling, Worst Behavior, Started from the Bottom, HYFR) bringing the relationship full circle. Life
is Good is Future’s highest charting song, having sold 6 million units as of August 2020 and the
video reached 1.3 billion views on YouTube. The video’s creative and down-to-earth concept
has brought invaluable organic views and publicity to both Drake and Future. It demonstrates his
genius as an artist while also allowing him to play a role that shows off his more humorous and
humble side.

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Figure 5 From left to right; Big Bank, 21 Savage, Mike WiLL Made-It, Future and Drake pose
on the set of Life is Good.
Source: Google Images

Behind-the-Scenes Projects and Guest Appearances
Since Drake’s departure from Degrassi in 2008, he has made sporadic television
appearances mainly in hosting or bit roles. This includes playing the voice of Ethan in Ice Age:
Continental Drift, 2012, a small role in Anchorman 2: The Legend Continues in 2013 and
multiple Saturday Night Live appearances as guest performer, host and comedian in a skit. More
recently, his behind-the-scenes roles have started to gain as much recognition as his on-screen
appearances.
In 2017, Drake inked a deal with Netflix to executive produce Top Boy. Originally airing
on British television between 2011 and 2013, the crime drama is about street-level drug trade and
violence in the east London borough of Hackney. The series stars rappers-turned-actors Asher D
and Kano. Drake became a fan of the series after discovering it on YouTube and after learning

56
that the series had ended after two seasons, he decided to give it new life on the streaming
service (Ahmed, 2019).

Figure 6 A Twitter exchange between @AshleyWalters82 and Drake.
Source: Twitter

By advocating for the show’s revival and attaching his name to the project, not only did
he satisfy a legion of the series’ fans who were equally disappointed when it ended, but he also
established a relationship with the world’s largest subscription streaming service. Drake is also a
fan of U.K. grime – a London-based music genre that mixes electronic music with dubstep,
dancehall and hip hop – and the Top Boy project bridged U.K and American hip hop, shining a
light on artists like Stormzy. While critics have accused Drake of culturally appropriating British
slang and grimes’ sound, Stormzy came to his defense saying “I think it helps because, bruv,
Drake is undeniably a fucking massive, gargantuan artist, and an incredible artist as well, so
having a big, incredible artist pay homage or pay recognition to a style or genre is undeniably a
good thing, a positive” (Mahadevan, 2020).

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To earn support from artists in major international hip hop markets like the U.K. raises
Drake’s global reputation, ensuring that there is a steady stream of fresh new sounds to
experiment with and import to the U.S. In 2018, Drake once again partnered with a U.K.
company, film distributor Altitude, to executive produce Monsters and Men, a film about the
police killing of a Black man as told from the perspective of the officers, bystanders and the
surrounding community. The film went on to win the Sundance Special Jury Award for
Outstanding Feature (Wang, 2018).
In 2016, Drake was criticized for remaining mostly silent about police brutality against
Black people, after the killing of Alton Sterling by Baton Rouge officers (Kornhaber, 2016).
Similarly, in 2017, he was once again criticized for remaining silent after friend Anthony Soares
was gunned down in Toronto’s east end neighborhood of Scarborough. Toronto police and the
city went as far as putting out a press release pleading with him to call out the shooters in an
effort to get them to come forward, especially after in 2015, a shooting occurred at a nightclub
where he was hosting an afterparty for OVO Fest.

Figure 7 A Twitter from @18000222TIPS, Toronto Crime Stoppers.
Source: Twitter

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While Drake eventually released statements on his Instagram account regarding police
brutality and Alton Sterling’s death, a statement on the OVO blog after the 2015 shooting
explained his silence by saying he was following the guidance of “My trusted advisors and
counsel who worry that anything I might say could be misinterpreted,” adding, “Today I am
choosing to follow my heart. I am plagued and pained by the violence that continues to escalate in
our city, I stare into the eyes of so many young people and I wish to see them all shine as bright as
they possibly can in this lifetime. I encourage my generation to show as much value and gratitude
as you can for the lives we have been gifted” (Morales, 2015).
Fans went on to criticize Toronto police and journalists for calling out Drake, saying
there was a general lack of discourse regarding police brutality and gun violence, a growing
problem in Toronto. They also pointed out that there were legal and ethical implications of an
entertainer discussing such topics and that these issues were ultimately the responsibility of law
enforcement and government to solve. By executive producing Monsters and Men, Drake was
able to silence his critics by addressing these important topics through art.
Most recently, Drake executive produced the mega-successful HBO series Euphoria
starring Zendaya Coleman. Praised for its stunning cinematography and riveting exploration of
themes such as drug addiction, sexuality and the challenges of growing up in the digital age, the
show has drawn comparisons to Sex and the City and Skins, quickly amassing a cult following.
While his role is more inconspicuous than his other producing credits (cast members reported
only seeing him on set once), they are nonetheless grateful to have had such a big name attached
to the show (Romano, 2019).
While Euphoria is a far cry from Degrassi in terms of cinematography and the way in
which themes are addressed, both are geared towards young people. On social media, fans often

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compare the character of Maddy Perez (Euphoria) with Manny Santos (Degrassi) echoing the
phrase “Manny walked so Maddy could run” when examining the two women’s styles and
attitudes. The two projects bring Drake full circle and cement his status in the teen audience
psyche.

Figure 8 Manny Santos as played by Cassie Steele in Degrassi: The Next
Generation next to Maddy Perez as played by Alexa Demie in Euphoria.
Source: Twitter

The Importance of Good Branding

Stacey Derkatch Chappter, Vice President of Brand Strategy at Innovation Protocol, discussed
the importance of branding and rebranding, from creating content to merchandise and how OVO
was able to turn their organization into a household name with the focus always going back to
Toronto. Here are excerpts from that interview:
Q: While artists have owned their own labels before – labels that often mixed music, fashion and
other services – such as Jay-Z and Damon Dash with Rocawear, Sean Combs with Sean Jean

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and Tyler the Creator with Golf Wang, what do you believe makes OVO a step above these
labels in terms of popularity, longevity and worldwide presence?
Stacey Derkatch Chapper: If you consider one definition (and my preferred definition)
of brand to be "an exclusive and desirable idea embodied in products, places, services,
people, and experiences," you can start to understand where Drake and OVO have
surpassed other music/fashion crossovers. Drake has been meticulously building the
OVO brand alongside his own evolution for nearly 15 years. As Drake has gained
popularity and transformed from Jimmy on Degrassi to Drake the international icon, he
has slowly and methodically brought OVO with him. Through music, sports, hospitality,
art, business and more, Drake developed his personal brand and OVO to stand for much
more than streetwear from a rap star. This cross-functional awareness allowed OVO to
appeal to much wider audiences while remaining exclusive. The varied places, products,
people and experiences where the consumer can engage with OVO allowed the brand to
evolve far beyond its functional value (i.e., clothing inspired by music) to truly stand for
an idea that can take on many shapes.

Q: The OVO label has partnered with iconic Canadian brands such as Roots, the Toronto
Raptors and (American brand) Air Jordan to release limited edition apparel. How does
branching away from music and venturing into fashion help raise Drake's profile? Does the
exclusivity of these collaborations add to OVO's prestige?
SDC: Drake started his career as an actor before gaining worldwide recognition as a
musician. This versatility has been a cornerstone of his brand and has allowed many of
his fans to grow with him. By crossing into fashion (and beyond), Drake is solidifying

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that it is his personal brand people want to associate with, not any one execution of that
brand. He has stayed true to his personal brand by creating highly targeted, relevant
partnerships that highlight his passions (e.g., Canada and basketball in the examples
above), and further cement what he is known for. The limited nature of the collaborations
creates a certain amount of intrigue, FOMO (fear of missing out) and urgency which all
ultimately drive exclusivity. The urgency piece is critical as it not only drives demand,
but also drives conversation and a certain amount of buzz that is necessary to elevate
brands' overall awareness and affinity. These collaborations do ultimately contribute to
OVO's prestige as they are curated, limited and strategic. By remaining selective in who
they partner with, OVO avoids diluting the brand.

Q: The OVO brand encompasses a multitude of projects including music, fashion, festivals,
sports and television. How can the brand stay true to its vision, garnering global attention while
keeping the focus on Toronto and Canada?
SDC: The purpose of a strong brand strategy is to ensure the brand clearly defines who it
is and why it matters. By owning a brand position that is associated with Toronto and
Canada, OVO can use this core essence as a through-line for all executions. It will be
critical that as OVO expands into additional executions, the position, personality, tone of
voice and values of the brand remain consistent and clear. This can be done through
articulate messaging, selective word choice, ownable visuals/aesthetics and continued
strategic partnerships that reinforce the brand position.

62
Q: Drake has dabbled in owning restaurants and sports bars, but his brick-and-mortar OVO
stores are his most successful property ventures. They are often regarded as not just retail
spaces, but spaces where creatives can get together to network. What is the importance
(especially in today's socially distanced climate) of having a branded physical location that
draws local talent to meet in person?
SDC: The brick-and-mortar OVO stores are a prime representation of what the OVO
brand stands for – that it is an idea above all else. An early article on the making of the
OVO brand in 2008 describes the idea in this way, "OVO is founded, using Myspace and
various blogging websites as their port of call for the hottest music, fashion and art trends
going, curating a unique aesthetic and vibe." The "port of call" idea is carried from 2008
to present day with the OVO stores acting as a hub for creatives to meet, network and
connect. It is highly strategic that the OVO brand has positioned the stores as this "port of
call" because it ensures that OVO is the backdrop for these important meetings,
conversations and connections. When a deal is negotiated or an idea is developed at an
OVO store, it ensures that the parties involved will always associate OVO with the deal
or idea. They'll talk about it, reference it and respect it because it powered their success.
This type of trust-building commands maximum loyalty for a brand because you become
part of the consumer's life story.

Q: When you look at the design of the OVO owl, the more traditional colorways (black, white
and gold) and the overall design of the brand, why do you think it is so successful? What makes
wearing OVO desirable in terms of a fashion statement (beyond just letting the world know you
are a Drake fan)?

63
SDC: The OVO brand is strategic in the way it uses its logo, visual system and overall
aesthetic to tell a story. Great visual systems should act as storytelling devices,
reinforcing the brand position every step of the way. Throughout history, owls have been
associated with wisdom, stealth, surprise and poise. The traditional colorways of black,
white, and gold are colors that connote a premium, understated and sophisticated
aesthetic. The consistent usage of black, white and gold also ensure ownability and
recognition which can only be attained through thoughtful and prescriptive execution.

64
CHAPTER 5
MEMES AND GOING VIRAL

According to Merriam-Webster, a meme is a “an amusing or interesting item (such as a
captioned picture or video) or genre of items that is spread widely online especially through
social media.” These user-generated visual items live on the internet, are exclusively shared
through digital mediums (social media, text messages, emails) and go viral, therefore becoming
part of a digital collective conscious. Often humorous in nature, as a form of communication
they are like an online inside joke that can sometimes target a specific community, like sports
fans, pet owners or listeners of a genre of music. Some examples of the most viral memes of all
time include Grumpy Cat, Condescending Wonka, Evil Kermit and Success Kid, all used to
communicate different jokes or slice-of-life observations (BroadbandSearch.net).

Figure 9.0 A meme of Grumpy Cat juxtaposed with a nihilistic joke.
Source: BroadbandSearch.net

Memes are also an example of organic engagement and are often created by someone
using someone else’s image. Drake is no stranger to having his likeness used, whether it be

65
screenshots from music videos or photos from his Instagram account. He is arguably one of the
most memed celebrities.
Why the internet finds a specific image ‘meme-worthy’ or funny is not always clear, it
can be said that Drake’s acting background, willingness to express emotion and vulnerability as
well as his light-hearted nature makes him a natural target for being turned into a meme. But that
is not necessarily a bad thing as the organic, viral nature of memes has the potential to act as free
publicity for the subject of the meme. It can often reach audiences that may not necessarily be
familiar with the subject, directing attention in an efficient way. In fact, the practice of posting
memes of Drake has resulted in its own verb, “Drakeposting” (Know Your Meme).
Drakeposting became a trend when the video for Hotline Bling was released in 2015. The
simplistic imagery – Drake and a few dancers against monotone backgrounds – provided the
perfect canvas for a meme because screenshots for the video were easily edited due to the lack of
digital artifacts. In some of the Hotline Blind memes, the face of George Costanza, played by
actor Jason Alexander in the sitcom Seinfeld was superimposed to Drake’s body, parodying The
Dinner Party episode where George dons a Gore-Tex winter jacket that looks comically large on
him.

Figure 9.1 A screenshot from the Hotline Bling Figure 9.2 George Costanza wearing a
music video. Gore-Tex jacket.
Source: Google Images Source: Google Images

66

Figure 9.3 The face of George Costanza superimposed onto the body of Drake (still from the
Hotline Bling music video).
Source: Know Your Meme

The Hotling Bling stills are just one example of how Drake’s image is used in meme
creation and hundreds more – some better known than others – exist online. A quick Google
search shows that most of these memes are positive and in jest, which reflects his likability.
He has also been known to retweet and repost these memes which shows audiences he is in on
the joke – and with a music catalogue that carries an assortment of songs dealing with
heartbreak and loss, showing that he does not take himself too seriously.

67
CHAPTER 6
MANAGING A CRISIS

Drake’s scandals have managed to remain relatively tame and unproblematic. There are
only two incidences during his career that drew significant scrutiny – both completely opposite
in nature.
The first one dates back to 2015 at the end of OVO Fest, where two people were shot and
killed with others sustained injuries at the festival’s official after party. The incident took place
on the grounds of the Canadian National Exhibition at the now defunct Muzik Nightclub. The
victims were male and female, in their 20s and their murders echoed a previous incident that
took place in the summer of 2014 at the very same club, also following OVO Fest (Bliss). After
interviewing hundreds of people and reviewing footage that was taken at the scene, a year later,
Toronto police were still asking the for the public’s assistance in identifying the killers (Benitah).
In response to the incident, Drake issued a heartfelt apology stating:
“ T he last few days I have been in a moral bind.

I am used to the fact that my life and the things I say to my fans are closely watched. It's
tough in situations like this where there's a tragedy and I consider the advice of my
trusted advisors and counsel who worry that anything I might say could be
misinterpreted.

However, today I am choosing to follow my heart.

I am plagued and pained by the violence that continues to escalate in our city. I stare into
the eyes of so many young people and I wish to see them all shine as bright as they
possibly can in this lifetime. I encourage my generation to show as much value and
gratitude as you can for the lives we have been gifted.

My deepest condolences go out to the Navarro-Fenoy and Hibbert families for their loss
of Ariela and Duvel. Along with them I send my condolences to all of the families that
have lost loved ones to the senseless violence that has and continues to occur in our city.

Although Toronto is globally viewed as a major city, at the core we are still a small
close-knit community, and it is our public responsibility to ensure the safety and

68
wellbeing of one another. We need each other to further our communities for generations
to come.

I pray for better times and better un der s t an ding. ”

The statement was issued on August 14, 2015, ten days after the shooting, and continues
to stay live on the OVO Blogspot account. The extent of Drake’s cooperation with law
enforcement or whether he was in contact with the families of the victims remains unknown.
However, the fact that the apology is still accessible on the website demonstrates a level of
empathy and responsibility, showing his fans that he had no desire to let the tragedy of that night
fade from memory.
Shifting to a more internal crisis, in 2018, rapper Pusha T released a diss track aimed at
Drake called “The Story of Adidon.” In the song, Pusha alleged that Drake had a son he was
keeping secret from the public. While fans at the time remained skeptical, it was later revealed
that Drake believed he had been betrayed by former friend and fellow rapper Kanye West, who
was labelmates with Pusha. The song also took aim at 40 and his multiple sclerosis diagnosis.
While the details of why exactly Drake chose to keep is son, Adonis Mahbed Graham’s
2017 birth a secret remains unknown, he certainly is not the first celebrity parent who has tried to
keep to their child out of the public eye for safety and privacy reasons. While Pusha’s allegations
ultimately proved to be true, Drake was faced with the difficult decision of how he would
announce to the public that he did indeed have a son after keeping him secret for quite some
time. He chose to break the news through the same PR vehicle he has used throughout his career
– music.
When Drake released his album Scorpion in 2018, his song “Emotionless” contained the
lyrics “I wasn’t hiding my kid from the world, I was hiding the world from my kid,” confirming
that he was indeed a father. The powerful message behind the lyrics let the listener known that he

69
was not ashamed of his son, but rather, trying to shield him from the perils and pitfalls that being
the offspring of a public figure brings. The song also addressed the strife that Drake and his son’s
mother, Sophie Brussaux went through as a result of the unexpected pregnancy and he was able
to foster a dialogue amongst listeners about parenthood – the feelings of excitement and the fear
that the unknown brings (Klinkenberg).
“Emotionless” was certified Gold and Silver in Canada and the U.K. respectively and
surpassed 100 million streams on Spotify (Data Chart). The song lives in the minds of fans as a
pivotal moment in his career, meanwhile Pusha T’s The Story of Adidon faded into obscurity.
Becoming a father did not hurt his image but rather, it raised his profile and added a new
dimension to his public persona. But turning to music as he always had to express his emotional
insight, he was able to mitigate this crisis in a way that stayed true to his brand.

70
CONCLUSION

Kim Kardasian once tweeted “they can steal your recipe but the sauce won’t taste the
same.” While certain formulas can never yield the same results regardless of how they are
replicated, there are steps that creatives, brands and organizations can take to try to mimic the
formula Drake and OVO used on the path to success. It is imperative to keep in mind that Drake
and OVO arose from a unique set of circumstances. They had a foundation built by Degrassi and
their rise to stardom was in part because there was a void in the Toronto arts and culture scene.
Replicating this is exact set of circumstances is impossible, but there are steps a brand can take to
reach OVO levels of success and the first thing it needs to do is examine its roots.
A Master Plan
Having a mission statement that precisely outlines the goals and objectives of a brand is
crucial. While the mission statement can be altered as time goes on, it is important for a
brand to establish a concrete purpose for existing. In a world where every industry and
market is oversaturated with competitors, critically examining what your purpose is and
how it will differ from what is already out there is paramount. Conducting significant
amounts of research on your market, competitors and what direction your industry is
moving in will provide key insights for shaping your brand.
Environmental Surveillance
It is important to understand industries from a geographical perspective. Industries tend
to congregate for convenience, kind of like how Silicon Valley is synonymous with tech,
or how Hollywood is the entertainment capital of the world. While relocating to an area
where your chosen industry is thriving seems like the obvious choice, it is worthwhile
simply remaining where you are if you can identify a gap in the local market. The way

71
OVO remained based in Toronto despite the U.S. being the biggest producer of hip hop
music shows that establishing yourself as a big fish in a little pond before moving to the
big pond can be advantageous to your bottom line and help grow your reputation at a
more exponential rate. Think globally, act locally.
Create a Dream Team
“Good help is hard to find.” “No man is an island entire of itself.” “There’s no ‘i’ in
‘team.’”
You’ve heard all the cliches before and while the early days of a brand may just be one to
two people, eventually others will have to join the team. Finding people who work well
together can be a challenge, so it is important to take consideration a variety of factors
when building a team. While hiring and retaining a team is a human resources and
recruiting function, it is important that the momentum that is built around a brand is
equally as strong both internally and externally. Consumers are more likely to buy into a
product when those bringing it into fruition demonstrate a natural enthusiasm. Therefore,
internal initiatives like diversity and inclusion and corporate social responsibility are
important in team building and morale boosting.
The Importance of Image
Having a cohesive brand that is both recognizable and visually appealing is important.
While brands occasionally get a facelift, like the Apple logo of the ‘90s that transitioned
from rainbow stripes to a soft white glow shining against matte metal, the concept should
largely remain the same. When creating a logo and selecting a colorway, putting the
necessary spend behind a design team will save you much more in the long run when it
comes to brand recognition. Customers do not always embrace change, so by selecting a

72
timeless, easily recognizable logo, a company can create a legacy as opposed a flash in
the pan. To quote Steve Jobs (quoting Leonardo Di Vinci), “Simplicity is the ultimate
sophistication.”
Public Relations Will Always Matter
Historically, public relations as a function has always been a bit of an underdog.
Antiquated thinking conjures up images of celebrities desperately ringing down their publicists
while facing a real (or superficial) scandal. But public relations has evolved and become so broad
that even the simple act of posting a carefully curated photo to social media serves as a form of
publicity. It says, ‘look at me, look at this beauty I have captured and experienced.’ That’s why
social media platforms are saturated with positive, aesthetically pleasing images.
In the case of OVO, the intersection of music, art, sports and merchandise served as the
ultimate PR machine. But while the modes of operation were unorthodox, the primary functions
of PR – pitching, shaping the message and maintaining a positive relationship with the public –
has always been there. While looking back at the history of Drake and OVO may deceptively
give off the impression that this was just a young group of creatives looking to make music, upon
a more in-depth inspection, the strategic branding partnerships and ever-present loyalty to
Toronto tells a different story.
For anyone who is looking to look to launch a brand from the ground up, you are bound
only by the limitations of your creativity. By coming up with a strategy that is pushes the
boundaries of traditional PR and really taps into what resonates with audiences, this creates the
necessary foundation for a legacy brand that is both profitable and engaging.

73
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Asset Metadata

Creator Stanisavljev, Sandra (author)

Core Title 6ix Gods: Drake, OVO and the rebranding of Toronto

School Annenberg School for Communication

Degree Master of Arts

Degree Program Strategic Public Relations

Degree Conferral Date 2022-08

Publication Date 08/01/2022

Defense Date 07/29/2022

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag 6ix,branding,Degrassi,Drake,hip hop,Music,Noah 40 Shebib,OAI-PMH Harvest,October's very own,Oliver El-Khatib,OVO,rap music,Toronto

Format application/pdf (imt)

Language English

Contributor Electronically uploaded by the author (provenance)

Advisor Floto, Jennifer Dayle (committee chair), LeVeque, Matthew K. (committee member), O'Hagan, Jennie (committee member)

Creator Email sandra.stanisa@gmail.com,stanisav@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-oUC111375860

Unique identifier UC111375860

Legacy Identifier etd-Stanisavlj-11046

Document Type Thesis

Format application/pdf (imt)

Rights Stanisavljev, Sandra

Type texts

Source 20220801-usctheses-batch-964 (batch), University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

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Repository Name University of Southern California Digital Library

Repository Location USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA

Repository Email cisadmin@lib.usc.edu