Developed by an Instagram account called Drake Calendar, the new flippable wall calendar sees each month containing a lyric from the verse of the rapper’s song with SZA.
Called ‘For All The Planners’, the new item is available now for £12, and is described by the developer as a “limited collector’s edition”, that offers fans both “12 months of Drake Magic” and “exclusive Drake vibes every day”.
Each of the lyrics refer to the verse of the track, and the year in the calendar kicks off with the line “January, you pretend to see life clearly, yearly,” while February is “the time that you put the evil eye and the pride aside for the fantasy of gettin’ married”.
It also features the album artwork done by Drake’s son, Adonis, and is available to buy here. Check out the finished product in the video below.
This isn’t the first time that Drake has made news with his latest album ‘For All The Dogs’. Back in September, actor Halle Berry called out the rapper for not asking permission to use an image of her for the single artwork of ‘Slime You Out’.
It came as Drake shared an image of Berry getting slimed at the Nickelodeon Kids’ Choice Awards in 2012 online, tagging SZA ahead of the single.
“[He] didn’t get my permission,” Berry wrote in response. “That’s not cool I thought better of him! … Hence my post today. When people you admire disappoint you you have to be the bigger person and move on!”
Last month, SZA revealed that she initially thought Drake was trying to “sabotage” her on the collaboration.
In a two-star review of ‘For All The Dogs’ last month, NME described the finished result as “banger-less, bitter and deeply mid”.
“‘For All The Dogs’ – sadly, frustratingly and perhaps predictably – sees Drake succumb to many of the same worst habits that have marred his most recent records,” it read.
“Rather than vintage Drake on display, ‘For All The Dogs’ is instead, for lack of a better term, painfully mid, an uneven affair that rarely sees the artist reach the heights that we know he’s capable of.
“Sure, there are moments where it sparks, but all too often the songs on ‘For All The Dogs’ feel like derivative, energy-less or not fully formed: from the forgettable ‘Bahamas Promises’, which feels like a mopey off-cast from ‘Views’, to the one-note ‘Drew A Picasso’, which never quite comes to life.”
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