Rick Ross Talks "Color Money" Drake Reference, Lil Wayne, Birdman, Ghostwriting
Rick Ross recently dropped a new track, “Color Money”, on which he alludes to the feud between Meek Mill and Drake. Today, during an interview on Power 105.1 FM’s “The Breakfast Club”, he talked about the track, as HotNewHipHop points out.
When asked, “Are you taking shots at Drake on ‘Color Money’?” Ross responded, “I just released ‘Color Money’ and that record is what it is. It’s a lot of people that’s gonna interpret it a lot of different ways.” He also talked about Lil Wayne’s beef with Birdman, and shared his thoughts about ghostwriting.
Watch the whole interview and read some excerpts below.
Rick Ross released the Black Dollar mixtape earlier this year. His album Black Market is out December 4.
On “Color Money”:
I just released “Color Money” and that record is what it is. Ya dig? It’s a lot of people that’s gonna interpret it a lot of different ways. It is what it is.
Everybody who know Rozay know how I get down. When I come I come. Let’s see how it unfold. We most definitely know how I come and what I do. I don’t play no games.
On Lil Wayne:
Weezy my homie. I was just with Weezy the other night in the club. He was just on a remix with me.
On Birdman:
I don’t have [a relationship] with Birdman. If you read The Source magazine you would see that. Really, me just seeing what Wayne going through as an artist, him being a boss. Me, idolizing Birdman at a time. Me, looking up to Lil Wayne. Wayne being the first artist to make so many feats, not just an artist but as an artist coming from the South, that’s something that I took personal. To see the way that things are transpiring, I can’t respect that and I don’t respect that.
Ain’t nobody stepped up and said that about the game. I know once I do — That ain’t the way this game built to be on. I ain’t wit’ it. I ain’t nobody you can play with. Ya dig?
When asked, “Have you had that convo with Birdman, boss to boss, about you just need to treat your people better?”, Ross responded:
No, not at all. I set examples. That’s what I do with my team. Whenever you see Rozay coming and he speak highly of his team, if you a G or you a boss, you respect that ’cause that’s what you want your G or your big homie to do. And that’s what I do. We don’t allow dudes to come into camps and take shit. You know, just what transpired. It’s a lot that’s transpired that I don’t respect.
Responding to a question about whether he and Wayne would ever team up on a business deal, he said:
Man, I was actually in Club Liv and me and Mack Maine was actually huddled up speaking and for one second it ran across my mind, but we didn’t discuss that. We was talking on a whole ‘nother level. And like I told Mack, I said you’re playing your position right. You’re real wise. You’re not letting your emotions get involved in this and you’re doing what’s best for your homie, which is the artist, and you’re keeping the artist first. I respect you. But I said you’re gonna hear some things and I’ve said some things, and I’m gonna stand on that and I mean that. You gon’ see that, and let’s make it clear.
Ross also re-iterated his assertion that he’s ghostwritten for other people (there’s a track on Black Market called “Ghostwriter”), and offered some more thoughts about ghostwriting:
I think that making dope music is what’s fine to do. I think chasing line-for-line, that ain’t cool at all because somebody might walk in the studio. We’ve done that so many times, you walk in, you might think something is said, but, at the same time, if somebody putting together a body of work for you, that is important. It’s very important…
I really think that’s on the artist themself. I’ve never discussed the people I’ve written raps for. Like I said, I’ve been in the studio with some of the biggest artists and everybody who know Rozay know I could do 10 songs in a day worth of work, so if you don’t think I have any input sitting in the studio, you’re a donkey, ya dig? But at the end of the day, what’s important is making dope music, and if you got a relationship with that artist, that’s more important than any credit for a little record that’s gonna come and go.
Watch him on an episode of Pitchfork.tv’s “Over/Under”:
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