Initially, “Like That” seemed poised to give rap fans the battle they have wanted for nearly a decade. Kendrick Lamar verse Drake, the defining artists of their generation battling for supremacy. Six weeks later it’s difficult to process just how badly things have spiraled, and what it means going forward.
J. Cole was the first to respond to Kendrick with “7 Minute Drill”, an uninspiring track that finds the North Carolina rapper out of place. His tone feels dejected as he runs through a delicate critique of Kendrick’s discography. Shortly after, J. Cole apologized for “7 Minute Drill” and would go on to delete it from streaming platforms. Intentionally or not, J. Cole conceded the battle and avoided being caught up in an all-out war.
The following week, Drake released “Push Ups” and “Taylor Made Freestyle” — which aimed at Kendrick Lamar, Metro Boom, A$AP Rocky, and Rick Ross. The Toronto rapper goes on the offensive utilizing catchy one-liners to lessen his opponents. Drake’s use of artificial intelligence on the latter track is a predictable error that feels representative of his recent run.
With the release of “Euphoria”, Kendrick Lamar raises the conflict’s temperature through a meticulous dismantling of Drake. It features an attention to detail that is usually absent in rap beef but is the perfect rebuttal. For Drake, cultural relevance and staying power are of the utmost importance — and Kendrick Lamar makes the worthy case he has no authentic ownership of Black culture.
Rap battles are designed to hurt, with emcees throwing every verbal punch at their disposal with the sole purpose of beating their enemy. Rap beefs are deeply embedded within the fabric of the genre. Diss tracks have created the most influential moments and iconic tracks in rap history. Originally, diss tracks like “Roxanne’s Revenge” and “The Bridge is Over ‘’ attacked their opponents’ lyrical skills, style, and personality. Since then, rappers have deployed more aggressive tactics to best their opponents.
“Meet the Grahams” was the moment everything changed. Rap’s biggest stars were no longer sparing for their place in history, but using their music as a vehicle to destroy the other’s life. Six tracks in three days resulted in listeners grappling with the serious allegations that Drake is a pedophile, juxtaposed with Kendrick Lamar physically abusing his wife. In a genre where physical and sexual abuse runs rampant, it’s beyond disheartening to see artists of the level of Kendrick and Drake wield these allegations as tools. As Kendrick Lamar’s latest track “Not Like Us” climbs the charts, it’s worth asking if he cares about the girls who are suffering from the abuses he accuses Drake of committing.
Rap has an affinity for exaggeration, so there is a strong possibility everyone is lying. Listeners demand authenticity in voice/aesthetic and place less of an emphasis on ensuring the details align (see Westside Gunn). But what happens when the lyrics raise a concern so serious there is zero room for fabrication? So far, neither Drake nor Kendrick seem capable or interested in doing that — and this makes awarding a winner feel irrelevant.
No one ended up better from this beef. J. Cole avoided an ugly conflict with Kendrick Lamar but conceded an essential part of his artistry and identity in the process. For over a decade, J. Cole has unabashedly proclaimed his superiority within the rap game. Fair or not, battling Kendrick Lamar was his best opportunity to directly defend his claims and silence his critics — like me. Losing to Kendrick would hurt, but opting against the fight will be a uniquely difficult thing to recover from. History isn’t friendly to nuance, and given J. Cole’s apology was so quick, I presume everyone outside his core fans will remember his decision negatively.
Meanwhile, Drake has suffered potentially a career-altering defeat. The current number-one song in the country is a diss track that accuses him of pedophilia. Drake doesn’t help his case in “The Heart Part VI” saying, “If I was fucking young girls, I promise I’d been arrested.” This unhinged bar showcases how in the most consequential moment, Drake miraculously works against himself. Given his increasing reliance on regional and international trends, Kendrick Lamar’s attack on Drake as a culture vulture is disastrous. What happens to Drake from here is uncertain, but if “Not Like Us” remains atop the charts it could get really bad, with no guarantee it will get better.
Kendrick Lamar will be widely considered the winner of this conflict — further elevating his status within rap’s pantheon. He quickly recognized the fragility of Drake’s cultural standing and his cringe/borderline improper interactions with women were effective points of attack. Kendrick also played to his strength as rap’s honesty broker, with the keen awareness his words carry more weight than Drake’s. Yet, looking outside the well-crafted/outlandish bars it’s difficult to find pleasure with the path Kendrick has taken.
Kendrick Lamar’s storytelling and command of narratives won him a Pulitzer Prize. On albums like To Pimp a Butterfly and DAMN his thinking of complex subjects isn’t linear. His creative use of conflict, character, and tone only amplifies the texture of each track. Each of his projects features a level of depth and consideration that pales in comparison to his peers.
But in his feud with Drake, Kendrick selectively ignores the controls that make the two so different. Should it mean anything if Kendrick was willing to say anything to guarantee Drake’s demise, even if he cannot prove it? Given his masterful use of words, calling Drake a pedophile is a reckless choice. Kendrick Lamar has the lyrical and cultural edge, delivering the final blow with unproven allegations feels beneath him.
As a Kendrick Lamar fan, this is tough to accept. On Mr. Morale and the Big Steppers, he begs me to stop viewing him as a cultural savior, but should I accept him when he uses his genius to become a villain?
I’m concerned that Kendrick and Drake’s reliance on unverified information could set a troubling precedent. As rappers continually push boundaries, it’s inevitable someone less polarizing/maligned as Drake becomes harmed by rumors about their sexuality or children. The popularity of “Not Like Us” will only encourage artists to seek fame through salacious hearsay.
Deep down, I know my worries are useless. Rap frowns upon moral righteousness. In a year, the only thing we’ll remember is Kendrick Lamar emerging as the undisputed victor of this battle, casting aside the messy details of how it came to be.
