(Hey! here’s all of the songs i referenced that i cns actually add here! Plewse note i literally forgot to cover *meet the grahams*, but, fuck it, whatever.)
With the recent ongoing war between Kendrick Lamar and Drake, i feel like as someone with way too much time on their hands and nothing else going on for the day, what better than to write a cohesive timeline of literally *everything* that’s happened? And i don’t mean from **First Person Shooter**, i mean from **good kid, m.A.A.d city** type everything. Yeah, the Drake stuff isn’t exactly as recent as it may appear. Saying as theres no more ‘intro’ for me to give, here i go.
***Buried Alive Interlude (ft. Kendrick Lamar) - Take Care (2011)***
This was the beginning of the relationship between Drake and Kendrick, both of them considering eachother peers in the industry, despite being in such different lanes. (Lamar conceptual, and Drake more mainstream.), In an interview Lamar describes Drake as “A good guy.” (paraphased), regardless, things seemed alright for the two, the only real “beef” being their opposing views on how they views on their wealth and fame, Lamar keeping personal details quiet, while Drake frequently posts his lavish life to his thousands of followers.
***Poetic Justice (ft. Drake) - good kid, m.A.A.d city (2012)***
To say the two artists were always in some sort of feud would be wrong. On Kendrick’s debut album later rap classic, ***’good kid, m.A.A.d city’***, we see a feature from Drake on the track Poetic Justice. A few things of note though, is that this time period shows us a good natured relationship between Drake and Kendrick, even Drake going as far to say that *“GKMC was the last great concept album.”,* though there was definitely tensions between the two, as Drake’s refusal to work with Kendrick again began after the lyric **”I’m usually homeboys with the same n——s i’m rhymin’ with, but this is hip-hop and them n——s should know what time it is. And that goes for J.Cole, Big KRIT, Wale, Pusha T, Meek Mills A$AP Rocky, Drake, Big Sean, Jay Electron, Tyler and Mac Miller, I got love for you all, but i’m tryna slaughter you n——s.”**
Drake took an offence to this, and spited a refusal to work with Kendrick over it, seeing it as a diss, though nowadays most view this as friendly competition from Lamar. After the fact of Drake’s refusal though, Lamar did go back on another song to say **”Yeah, and nothings been the same since they dropped Control. Tucked a sensitive rapper back into his pyjama clothes.”**, this line being aimed at Drake, and actually being considered the starting point between the two’s feud, having Drake in interviews act nonchalantly and saying he isn’t “taking the bait”, he was the only rapper to have taken offence to Lamar’s initial lyric. Some also found Drake’s initial compliments to *GKMC* offensive, as the term “concept album” usually gives the idea that everything on the album is a story, or ‘made up’, implying that Drake believes Kendrick’s story in Compton was fiction, though i find that to be a bit of a stretch personally. Some people also found it as a fairly backhanded compliment because of this.
***Control (ft. Kendrick Lamar) - Big Sean***
I mentioned earlier about how this song sparked the real aggression between the two artists, and that statement still stands. Coming off of tour alongside Drake and A$AP Rocky, we saw Lamar feature on this song alongside Big Sean, in which he aims not just for Drake, but the rap industry as a whole. To repeat the lyric from earlier, **”**I’m usually homeboys with the same n——s i’m rhymin’ with, but this is hip-hop and them n——s should know what time it is. And that goes for J.Cole, Big KRIT, Wale, Pusha T, Meek Mills A$AP Rocky, Drake, Big Sean, Jay Electron, Tyler and Mac Miller, I got love for you all, but i’m tryna slaughter you n——s.”** This lead the press to obviously inquire Drake on his thoughts on this, to which he responded: *”I didn’t really have anything to say about it. It just sounded like an ambitious thought to me. That’s all it was. I know good and well that [Lamar] ‘s not murdering me, at all, in any platform. So when that day presents itself, I guess we can revisit the topic.”* This quote came with the claims that Lamar’s ‘dream’ of murdering him (metaphorically) was simply a fantasy, and that he simply couldn’t live up to what Drake had established. In other words, Drake believes his star power keeps him away from the threats Lamar proceeds.
***King Kunta - To Pimp a Butterfly/100 - The Game***
In these tracks, Drake begins to show a response to Lamar’s claims. In *King Kunta*, from Kendrick’s sequel album **To Pimp a Butterfly**, now widely considered one of the most influential albums in rap, Lamar pens **“I can dig rapping! But a rapper with a ghostwriter? What the fuck happened?”** this lyric is aimed at allegations that some of Drake’s music is written by a team, rather than himself—— more commonly referred to as ‘ghostwriting’, I haven’t heard much about this, but i do believe the lyric **”I got a bone to pick! I don’t want these monkey-mouthed motherfuckers sitting in my throne again!”** could be a potential dig at not just Drake, but the industry as a whole— something Lamar has done a few times as we’ve covered. Either in coincidence or response, Drake released a jab at Lamar around the same time, penning **”I would have all your fans if i didn’t go pop and stayed down on some conscious shit.”** these two lyrics are really the last time in the 2010’s we hear of the beef between Drake and Kendrick up until the recent events, with both of them seemingly simmering, nothing is really said as far as i’m aware between this point and the next.
***First Person Shooter (ft. J.Cole) - FOR ALL THE DOGS (2023)***
Oh J.Cole. you poor, poor man.
*First Person Shooter*, one of the lead singles for Drake’s album ***FOR ALL THE DOGS***, is with no doubt a victory lap for Drake and his colleague Jermaine Cole (more frequently, J.Cole). On the track, Cole pens **”People argue who’s the hardest MC, is it K.Dot, is it Aubrey or me? We the big three like we started a league, but right now i feel like Mohammed Ali.”** Now to most, this would come off as a compliment, with Cole stating that the big three of rap is him, Kendrick Lamar and Drake, though a few people saw this as fairly backhanded, seeing the following Mohammed Ali comment along with the fact that Drake was also on the song to be placing Lamar in third, implying that Cole believes those two usurp Kendrick, putting him in the top 3 out of pity in a sense. This is what set the current ball in motion, and more importantly, set off Metro Boomin and Future. (Well, not really, but the next instalment happens to come from their album ***We Don’t Trust You*,** so…)
***Like That (ft. Kendrick Lamar) - We Don’t Trust You (Metro Boomin and Future) (2024)***
This is where the games begin. Lamar is featured as a surprise feature on Future and Metro Boomin’s collaboration album, **We Don’t Trust You**. In this surprise however, Lamar comes in full force. Penning **”They think i won’t drop the location, i still got PTSD, motherfuck the big three, n——a it’s just big ME! (n——a bum!)”**, being the most iconic of the shots thrown from Lamar, as for after Kendrick continues to call Drake and Cole ‘bums’. It’s obvious that this is aimed at the two, as Kendrick starts his verse with **”Fuck sneak dissing, First Person Shooter? i hope they came with three switches, i crash out like ‘FUCK RAP!’ diss Melly Mells if i have to, got 2 tees with me, i’m snatching chains and burning tattoos.”** This is, of course, the beginning of what i like to call “the war” between Drake and Kendrick (and J.Cole, who immediately backs out, respect to him though, shit gets crazy.), for the first few weeks, neither artists really respond to these lyrics, up until J.Cole.
***7 Minute Drill - MIGHT DELETE LATER (J.Cole) 2024***
This is where the responses come in. J.Cole fires back at Lamar after a few weeks of seemingly nothing from the two aimed at in FPS, on this track, Cole aims singularly for Lamar, using a multitude of lyrics and phrases to insult him. This isn’t actually the first time Lamar and Cole have been in a sort of “battle”, though with the brotherly bond between the two, it’s been seemingly in good hearted nature. On the track, Cole raps **”He’s averaging one hard verse like, every 30 months or somethin’.”** in reference to the large release windows between Kendrick’s albums, GKMC, TPAB, DAMN. and Mr Morale. Following this, he states that **”If he wasn’t dissing, then we wouldn’t be discussing him.”** Implying that if he hadn’t been aiming for the two, nobody would be discussing Kendrick Lamar at all. This most likely comes from the radio silence from Kendrick since Mr. Morale outside of surprise features like **America has a Problem.** Cole also claims that he’s **”Front of the line, with a comfortable lead, how ironic, soon as i got it, now he wants something with me.**” Telling us that Cole’s belief is Lamar’s aiming is out of jealousy or envy, rather than the usual friendly competition between the two. In a more extended line proceeding this, he pens **”Your first shit? A classic. Your last shit was tragic. Your second shit put n——s to sleep but the gassed it. Your third shit was massive, and THAT was your prime, i was trailing right behind, and i just now hit mine.”** Each line in this lyric is directed to a different Kendrick Lamar album. His first shit (***good kid, m.A.A.d city***) is considered a classic in the rap genre, and is considered by some to be Lamar’s best album. His last shit (**Mr. Morale and the Big Steppers**) is taken in a completely different direction than most of Lamar’s previous work, this leads it to be more negatively reviewed among the rest of his works. His second shit (**To Pimp a Butterfly***)* Is the follow-up album to GKMC, showing us the first instance of Lamar’s social commentary (though, present in GKMC), this making Cole claim it as putting people to sleep, as it was too introspective and political (This line is heavily disagreed with, as most people perceive TPAB as the best rap album of all time.) His third shit (***DAMN.***) is considered by most to be Kendrick’s prime, and also the peak of his fame. Featuring artists like Rhianna and with hit classics like DNA. and HUMBLE., the album is considered some of Lamar’s most iconic work to date. After the release of ***7 Minute Drill***, J.Cole immediately backed out and apologised, stating “Do y’all love Kendrick Lamar? Cause so do i.” And basically apologising to him. To this day it’s unknown wether or not this was out of either respect or fear for Lamar, though we do know that ScHoolboy Q, a colleague of Cole’s, told him to simply not get involved, as he knew it was more of a thing between Kendrick and Drake.
***Push Ups (Drop and Give Me 50) - Drake (2024)***
This transitions is smoothly into where we really are today, the consistent stream of tracks between Drake and Kendrick that seemingly antagonise eachother to no end. We begin with **Push Ups**, a track where Drake goes not just for Kendrick, but for everyone involved with ***We Don’t Trust You***. Drake starts the track with **”Drop, drop, drop, drop…”**, a seeming triple entendre to a multitude of things relating to Kendrick. First off, some interpret this as Drake telling Lamar to “drop” something, either being a response to him, or just solo music in general. Another interpretation follows the idea that he is telling Kendrick to “drop and give him 50%”, as it’s suspected that Lamar’s label takes a 50% cut of whatever he releases. A third (and less interesting) interpretation is that it’s in reference to Lamar’s frequenting of the parks to do his exercise routines, namely doing 50 pushups. following this we hear **”I could never be nobodies number one fan, your first number one, i had to put that in your hands.”**, Implying Drake believes Kendrick’s fame comes from his features on Drake’s album ***Take Care***, and Drake’s features on ***Poetic Justice*** (both covered earlier.), following this, we get **”How the fuck you big-stepping with a size seven men’s on?”**, this is both a reference to Lamar’s album ***Mr. Morale and the Big Steppers***, and also Lamar’s height, being 5’5. Later on, we get **”Maroon 5 need a verse, you better make it witty. Then we need a verse for the Swifties, Top says drop, you better drop and give em 50!”**, this is in reference to how Kendrick has previously featured on songs for both Maroon 5 (***Don’t Wanna Know**)* and Taylor Swift (***Bad Blood***), Drake uses this almost in mocking. The “drop and give me 50” line is repeated through the song. Following this is **”Its like your label, boy, you’re in the scope right now. And you’re gonna feel the aftermath of what i write down.”**, this references both of the labels Lamar has been signed to, Interscope Records and Aftermath Records. To cap off what i’m gonna cover for this song (lest i be here for hours), Drake pens **”Pipsqueak, pipe down. You ain’t in no big three, SZA got you wiped down, Savage got you wiped down, Travis got you wiped down—“**, this line tells us seemingly whay Drake *a*ctually believes to be the big three, unlike what Cole claimed on First Person Shooter, this also seemingly a jab at Cole aswell, as Drake seems to ‘remove’ him from the big three. He later also says **”I don’t care what Cole think, that Dot shit was weak as fuck.”** seemingly solidifying this line of thought. Drake is now out for both Kendrick and Cole.
***Taylor Made Freestyle - Drake (2023)***
This song seemingly stems from Drake’s impatience for Lamar to respond. (something he’d largely backtrack on later), To give some context to the title, the real beef between the two began during the release of Taylor Swift’s album ***The Tortured Poets Department***, because of this, Drake accuses Lamar of being “scared” to drop within this timeframe, in fear of being overshadowed. Unfortunately, in this song Drake begins by targeting one of Kendrick’s idols, Tupac, through the use of his AI Generated voice, a move that would wildly lose Drake the public vote. I’m not going to cover the stuff that’s used from the AI Snoop Dogg or Tupac primarily because (and trying to remain as completely unbiased as possible), Drake is a massive bitch for using them. Anyway, onto the first line of note: **”But now we gotta wait a fuckin’ week cause Taylor Swift is your new Top, And if you boutta drop then she has to approve.”**, this comes again from Drake’s belief that Kendrick is scared of dropping out of fear of being overshadowed, stating it as if Taylor ‘owns’ Kendrick. If i’m being completely honest, that’s literally all i can say about this track, pretty much every line aimed at Kendrick can be summed up to that exact definition, so i’ll move on the the next track.
***euphoria - Kendrick Lamar (2024)***
This is where Kendrick begins his involvement, by not just dropping his response, but by dropping two in one day, **euphoria** and **6:16 in LA** (the latter of which i’ll cover next). The track begins with a reversed sample from a remake of ***The Wizard of Oz***, in which a character proclaims **”Everything they say about me is true!”**, this could be interpreted to Kendrick owning up to the title of *”The Boogeyman”* some have given him in previous beefs. Following up this, Lamar begins the track with a slow, melodic beat, as he softly rhymes over the top of it. He pens **”You’re moving just like a degenerate, every antic is feeling distasteful.”** in reference to Drake’s use of AI voices on ***Taylor Made Freestyle***. After this, we receive a beat switch in which Lamar begins to ‘battle-rap’. We begin with **”Have you ever paid five hundered thou’ like, to an open case?”** This line is allegedly written in reference to Drake’s sexual assault allegations from Instagram model *Laquana Morris*, in which he paid $350k in settlement. Though this could also be in reference to Lamar’s 2017 lawsuit in which LOYALTY. was accused of plagiarism by *Terrance Hayes*, a case that was later dismissed and dropped with little to no explanation. Later, Lamar pens **”Id rather do that than let a Canadian n——a make Pac roll in his grave.”**, Another reference to Drake’s previous usage of Tupac’s AI voice, and more notably, Kendrick’s desire to defend Tupac’s legacy from that sort of usage. **”What is it, the braids? Oh you dont wanna work with me no more? Okay.”** Is in reference to how Drake’s haircut (twisted braids) has him thinking wrong to go against him. The following comment about not working with him is in reference to Kendrick’s comments on **Control**, aimed at Drake, and his reaction to no longer wanting to work with Lamar. **”Its three GOATs left, and i see two of em hugging and kissing on stage.”** Is in reference to ***It’s All A Blur Tour***, in which J. Cole and Drake headlined together, a photo commonly shared of the two of them hugging on stage. **”Yeah, fuck all that pushing P, let me see you Pusha T!”** Is in reference to Drake’s previous beef with Pusha T, in which he revealed that Drake had a son, Adonis. This later removed all responses from Drake, making people consider Pusha T the winner. There’s a LOT more lyrics in this song, but i’m gonna cut it primarily for actually making space for the rest of this stuff.
***6:16 in LA - Kendrick Lamar (2024)***
In a surprising move from Kendrick, he released two songs in a row, this one more personally aimed at not just Drake and everyone he’s associated with, but Drake himself. With this track there aren’t many lyrics i actually want to select and really explain like i have in previous sections so i’d be better off more or less explaining how tensions were in the release of this track. People were no short of surprised to see Lamar drop such a substantial amount of tracks in one day, making most people seemingly ‘switch sides’ from Drake, while most others applied the argument that “most had decided their winner before their battle even started.”, however this song is the prelude before we really get Kendrick to delve into Drake’s allegations, and more impressively, straight up call him a p*dophile.
***Family Matters - Drake (2024)***
After a day or two of waiting with bated breath, Drake finally responded to Lamar’s tracks with a return to burn Kendrick. The song begins with a reused sample of **Push-Ups**, almost making the song seem to be a sequel to that, Drake begins by proclaiming that **”Cole losing sleep over this, that ain’t me.”**, in reference to Cole’s exiting from the battle. However a lyric following this further landed Drake into a negative public opinion, as he raps **”Always rappin’ like you’re tryna get the slaves freed.”**, seemingly dissmissing to the work Kendrick’s done for knowledge on Black History, as well as mocking Lamar’s general influence and introspective style of rap. Later, Drake finally fires back with allegations that Kendrick is abusive toward his wife, with the line **”Ay, let that shawty breathe.”**, allowing the listener to interpret that Lamar may be involved in abusing his wife, Whitney. (Though, this was later seemingly disproved by a tweet from Whitney’s brother showing support toward Kendrick.) Drake then raps **”Shake that ass for Drake, and shake that ass for free.”**, implying both that Whitney is disloyal to Kendrick, and that Drake supposedly wants this to be a song people dance to in clubs via twerking or something, this later backfired as Lamar’s next track, ***Not Like Us***, actually ended up being played in a multitude of clubs and raves upon release. Drake later raps **”good kid, m.A.A.d city van, we’ll pop the latch and let the door slide.”**, seemingly in reference to a drive-by in Kendrick’s Compton days, as in the album the Van is used as a symbol of protection from the violence in the world outside. Drake is proclaiming he will destroy Kendrick’s only sense of protection. In Part III of the song, Drake begins by rapping **”Kendrick just opened his mouth, someone go hand him a Grammy right now.”**, seemingly believing that all of Lamar’s Grammys are given based off of popularity over talent, though Drake follows this with **”Where is your uncle at? Cause i wanna talk to the man of the house.”,** this is in reference to the **Mr Morale and the Big Steppers** track **Auntie Diaries**, in which Kendrick tells the story of his Auntie transitioning into his Uncle. The bar basically mocks Kendrick for being less masculine than a trans person, sort of transphobic to me but, yknow. From here it’s just more lyrics about the allegations of Kendrick’s abuse of his wife, bringing us onto **Not Like Us**.
***Not Like Us - Kendrick Lamar (2024)***
This track is the pinpoint for when we go from ***To Pimp a Butterfly*** to ***To Catch a Predator***. In this track, Kendrick fully goes in on Drake’s sexual abuse and pedophilia allegations, exposing a major amount of Drake’s argument. The first influential lyric on this track is **”Say, Drake, I hear you like em’ young.”**, again in reference to these allegations, now, to get this out of the way now, i’m gonna say the same for **”Certified Lover Boy? Certified Pedophile!”** and **”Tryna stroke a chord, and it’s probably A-Minor!”**, the first of which being a reference to Drake’s album **Certified Lover Boy**, and the second referencing the guitar chord A-Minor, entendres with “a minor” (Holy shit, man.) **”Certified Boogeyman, i’m the one who upped the score with em’.”** Is in reference to the **Halloween** character *Micheal Myers*, and more importantly his intimidating presence, that of which Kendrick implies he also brings in his opponents, the usage of ‘certified’ could also be another reference to **Certified Lover Boy**., and with all that covered, that’s pretty much all that comes from this track and, honestly, the beef in general.
***THE HEART PART 6 - Drake (2024)***
To remain as unbiased as possible, this is where things get downright embarrassing, and honestly, what solidifies Kendrick Lamar’s win. For starters, the track title itself is in reference to Lamar’s **The Heart** series, which is typically used to debut a new album, like **DAMN.** and **Mr Morale and the Big Steppers.** This is actually a joke that was frequently used on Twitter beforehand, as well see with the rest of this track, most of Drake’s research comes less from his peers and more from Twitter, the track itself actually is an attempt to mock Kendrick Lamar’s sexual assault, something of which we learn, actually never happened. Drake raps **”Mother i— Mother i— That’s the one record where you say you got molested.”**, despite him saying this, **Mother I** is Kendrick talking about how his cousin didn’t molest him, but none of his family believed him, in other words, Drake completely misses the point. Before this Drake raps **”This Epstein angle is the shit i expected.”** When, in prior songs, nobody has mentioned Jeffrey Epstien. He also raps **”I only fuck with Whitneys, not no Millie Bobbie Browns.”** in reference to his allegations in messaging *Stranger Things* star Millie Bobbie Brown, despite being 17 years older than her. Yet again, Kendrick had never mentioned this beforehand.
***MR. MORALE VS THE 6IX GOD.***
In the end, it comes down to personal opinion on who you really think ‘won’ this sort of thing, it’s a very arguable and personal thing, wether you believe that Kendrick beats his wife, or that Drake is a pedophile, just know either way, when i release this Kendrick Lamar would have released 4 more tracks.
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