Aug. 16, 2025
Drake vs. Lamar - "They Not Like Us: The Diss Track That Ended Drake's Reign"
"Motherfuck the big three, it's just big me." With those words in March 2024, Kendrick Lamar ignited the most explosive rap battle in a generation. What followed was eighteen months of warfare that redefined hip-hop: leaked family photos, pedophile accusations, AI-generated Tupac verses, secret children exposed, a club anthem that became a victory lap, and a Super Bowl halftime show that served as a coronation.
From their early collaboration on Drake's Club Paradise tour to the nuclear exchange that forced an entire industry to choose sides, this episode chronicles how Drake and Kendrick Lamar transformed from mutual admirers into permanent enemies. Marcus Reid breaks down the thirteen-year cold war that exploded into hip-hop's most significant ongoing battle since Biggie and Pac—but fought with streaming platforms, social media warfare, and corporate power plays. Through exclusive insights and cultural analysis, we explore how two fundamentally different visions of hip-hop—Drake's global commercialism versus Kendrick's artistic purity—created a rivalry that has become a permanent fixture in the culture. From "Control" to "Push Ups," from "Euphoria" to "Not Like Us," from the May 2024 explosion to the February 2025 Super Bowl triumph, this is the definitive account of a war without end.
Featuring deep dives into every diss track, the strategic chess moves that built tension for over a decade, the 48-hour period that saw rap's biggest stars unleash everything, and how the beef evolved from trading bars to competing for hip-hop's soul on the world's biggest stages. The 6 God meets the Good Kid. Commerce clashes with culture. And hip-hop finds itself permanently divided between two kings who refuse to share the throne.
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Calaruga Shark Media, May third, twenty twenty four, six forty
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seven pm Pacific time. A notification lights up millions of
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phones simultaneously. Kendrick Lamar has just dropped Meet the Grams,
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a surgical dissection of Drake's entire existence, delivered directly to
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his family members. The cover art a collection of personal
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items allegedly from Drake's own home, including prescription bottles and jewelry.
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Just thirty minutes earlier, Drake had released Family Matters, his
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own nuclear strike in what had become hip hop's most
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anticipated battle in a generation. He thought he had the
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final word. He was wrong. Within hours, before Drake could
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even celebrate his perceived victory, Kendrick dropped another bomb, Not
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Like Us, a club ready destruction of Drake's credibility that
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would become the song of the summer. The track's opening line,
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wop wop wop wop wop dot fuck him Up, would
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echo through every barber shop, every car stereo, every Instagram
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story for months. In less than forty eight hours, two
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of hip hop's biggest superstars had unloaded decades of resentment,
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accusations of pedophilia, and domestic abuse, challenges to authenticity, and
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personal attacks so vicious they made previous rap battles look
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like friendly sparring matches. But this wasn't just about two
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rappers trading bars. This was about two fundamentally different visions
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of what hip hop should be. This was about the
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kid from Compton who saw himself as hip hop's conscience,
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versus the child actor from Toronto who became rap's most
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successful hit maker. This was about art versus commerce, authenticity
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versus accessibility, the culture versus the industry. This is episode
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twenty four, The Good Kid versus the six God. I'm
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Marcus Reid. Some feud simmer for years before exploding. The
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Drake Kendrick Lamar rivalry simmered for thirteen years, hidden beneath collaborations,
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subliminal shots, and forced smiles at award shows. When it
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finally detonated in twenty twenty four, it didn't just shake
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hip hop. It forced an entire culture to choose sides.
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This is the story of how two kings of hip
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hop went from mutual admiration to mutual destruction. It's about
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how competition turned to contempt, how subliminals became direct shots,
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and how the most successful rapper of his generation found
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himself in a war he couldn't win with money, streams
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or ghostwriters, Act one when kings were allies. To understand
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how Drake and Kendrick Lamar became mortal enemies, you first
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need to understand what they represented to hip hop. In
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the early two thousands and tens, Aubrey Drake Graham had
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conquered rap from the outside in the former de Grassy
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Star transformed himself from singing softboy to hip hop's most
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commercially successful artist through a combination of melodic genius, strategic collaborations,
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and an uncanny ability to create hits. By twenty eleven,
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he wasn't just a rapper, he was a brand, a sound,
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a mood. Kendrick Lamar Duckworth was Drake's philosophical opposite. Where
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Drake came from middle class comfort in Toronto, Kendrick emerged
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from the harsh realities of Compton. Where Drake made music
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for the clubs and the charts, Kendrick crafted dense, literary
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albums that demanded repeated listens. Where Drake wanted to be loved,
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Kendrick wanted to be respected. Their first interaction was one
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of mutual recognition. In twenty eleven, Drake, already established as
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a superstar, invited the rising Kendrick to open for him
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on his Club Paradise tour. It was a generous gesture
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from a star who didn't need to share his spotlight,
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but recognized real talent when he saw it. A lot
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featuring Drake appeared on Kendrick's twenty eleven album Section eighty,
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with Drake providing a smooth hook that complimented Kendrick's intricate wordplay.
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They performed together, conducted interviews together, and by all appearances,
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represent a new generation of hip hop stars who could
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coexist without the violent rivalries of the past. Drake even
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went on record calling Kendrick the realist, new artist out
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of the West Coast. The respect seemed genuine, the collaboration natural.
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In a genre defined by competition, they had found a
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way to both win, but beneath the surface, fundamental differences
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were already creating friction. Drake's creative process involved teams of
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writers and producers, crafting hits in marathon studio sessions. Kendrick
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locked himself away, emerging with fully formed artistic statements. Drake
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courted mainstream appeal Kendrick challenged listeners. Drake wanted to be
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Michael Jackson. Kendrick wanted to be Tupac. The first crack
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in their alliance came with a single verse that would
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change hip hop forever. August twelfth, twenty thirteen, Big Sean's
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Control leaked online, featuring a verse from Kendrick Lamar that
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sent shockwaves through hip hop. Over seven minutes of ruthless bars,
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Kendrick did something that violated the genre's new peaceful order.
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He named names. I got love for you all, but
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I'm trying to murder you all, using the N word
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for all. Kendrick rapped before listing Drake among the rappers
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he was coming for. It wasn't personal, he insisted. It
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was about competition, about pushing hip hop forward, about refusing
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to let comfort breed complacency. The verse was a throwback
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to hip hop's more competitive era, when calling out peers
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wasn't considered disrespectful but necessary. Kendrick name dropped eleven rappers total,
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from j Cole to Mac Miller, but it was the
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Drake mentioned that stung most. Drake's response was telling. In interviews,
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he dismissed the verse as ambitious, but noted that Kendrick
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had gone at people he had relationships with. It's just
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somebody going at me, and I'm ready for whatever, Drake
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told Billboard, but his tone suggested hurt more than anger.
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The chess match had begun, Drake removed Kendrick from his
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would You Like a Tour lineup, replacing him with Future.
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Kendrick responded obliquely in his twenty thirteen be Et Hip
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Hop Awards cipher, nothing's been the same since they dropped
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control and tucked a sensitive wrapper back in his pajama clothes.
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But both artists were too strategic to let their conflict
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explode immediately. They continued to orbit each other, taking shots
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disguised as general observations. Drake's the language seemed to address Kendrick.
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I don't know why they've been lying, but your shit
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is not that inspiring. Kendrick's King Kunta took aim at ghostwriting.
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I can dig rapping, but a rapper with a ghostwriter?
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What the fuck? Happened? For years? This was their war,
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fought in sub tweets and subliminals, an award show acceptances, speeches,
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and magazine interviews, hip hop fans dissected every line, every
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Instagram post, every gesture for signs of the brewing conflict.
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The Cold War might have continued indefinitely if not for
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a series of events that forced both artists to finally
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address what everyone already knew. They genuinely disliked each other.
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Act three, The War Goes Nuclear. The path from subliminal
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shots to total war was paved by a series of
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escalating conflicts. J Cole's twenty twenty three track First Person
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Shooter featured Drake and included the line love when they
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argue the hardest MC is it k Dot? Is it
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Aubrey or me? We the Big Three? Like we started
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a league. Kendrick's response on metro Boomin's Like That in
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March twenty twenty four was unequivocal, motherfuck the Big Three,
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It's just big me. The gloves were finally off. Drake's
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response came in April with Push Ups, Drop and Give
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Me fifty, a track that mocked Kendrick's height and suggested
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he was controlled by his label. The title itself was
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a shot at Kendrick having to drop and give fifty
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percent of his earnings to Top Dog Entertainment. Drake followed
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this with tailor made freestyle controversially using AI to recreate
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Tupac and Snoop Dogg's voices, a move that backfired when
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Tupac's estate threatened legal action. Kendrick's silence was strategic when
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he finally responded in early May with Euphoria, it was
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worth the weight. The six minute track was a psychological
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dissection that questioned Drake's blackness, his parenting, and his entire persona.
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The title itself was a reference to Drake's HBO production
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turning his own creative projects against him. But Kendrick wasn't done.
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Six sixteen in La, released on the same date and
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time format Drake had used for his own tracks, suggested
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Drake had moles in his camp feeding information to Kendrick.
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The paranoia was intentional. Kendrick wanted Drake looking over his
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shoulder at his own team. Drake's family matters on May
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third went nuclear, accusing Kendrick of domestic violence and hypocrisy.
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The accompanying video featured him crushing A gk m's van,
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symbolically destroying Kendrick's legacy. Within thirty minutes, Kendrick dropped Meet
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the Grams, addressing Drake's family members directly with a cover
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featuring items allegedly from Drake's home. Before anyone could process this,
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Not Like Us arrived, a DJ Mustard produced anthem that
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turned serious allegations into a song that would dominate summer
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twenty twenty four. Drake's final response, The Hard Part six,
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felt exhausted. He claimed to have planted fake information and
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denied allegations, but the energy was defensive rather than offensive.
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Act four the crown the super Bowl and continued warfare.
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The immediate aftermath saw Not Like Us become more than
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a dis track, It became a cultural phenomenon. The song
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dominated charts, clubs and social media. Kendrick performed it five
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times in a row at his pop out concert in
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Los Angeles, with the Forum crowd wrapping every word. But
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the war wasn't over. It was just beginning a new phase.
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September twenty twenty four brought another blow to Drake. Kendrick
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Lamar was announced as the Super Bowl fifty nine halftime
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show performer for February twenty twenty five in New Orleans.
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The selection stung not just because of their rivalry, but
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because many expected hometown hero Lil Wayne to get the nod. Drake,
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a close friend and collaborator of Wayne's, saw this as
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another victory lap for Kendrick. Drake posted support for Wayne,
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writing this man defied the odds and opened doors for
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all of us that walked through. The subtext was clear
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Kendrick was benefiting from paths Wayne had carved while disrespecting
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those who came before. The Super Bowl announcement reignited tensions.
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Industry insiders reported that Drake was actively working to counter
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programme the Super Bowl, planning releases and events to overshadow
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Kendrick's moment. The Cold War had evolved into corporate warfare,
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with both camps using every tool at their disposal. As
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we entered twenty twenty five, the feud took new forms.
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Drake began subtly questioning the Super Bowl selection process in interviews,
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suggesting politics over merit. Kendrick remained largely silent, letting his
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upcoming performance speak for itself. The stakes for Super Bowl
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fifty nine became about more than just a halftime show.
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It represented Kendrick's full coronation as hip hop's king, performing
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on the NFL's biggest stage while Drake watched from the sidelines.
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The symbolism wasn't lost on anyone. Social media became a
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battlefield of proxies. Drake's Ovio camp and Kendrick's tde s
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pg Lang collective traded shots through Instagram, stories and tweets.
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Fans dissected every post, every caption, every emoji for hidden meanings.
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What made this phase particularly intense was how it revealed
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the infrastructure of modern hip hop beef. This wasn't just
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two artists trading bars, with two corporations, with marketing teams,
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social media strategies, and business interests at stake. The personal
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had become institutional. As we record this episode in August
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twenty twenty five, six months after Kendrick's triumphant Super Bowl performance,
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that Drake Kendrick feud shows no signs of ending. If anything,
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it has evolved into a permanent state of competition that
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defines both artists. Drake has pivoted focusing on international markets
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and pop collaborations, areas where Kendrick's influence is limited. His
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strategy seems to be expanding the battlefield beyond traditional hip
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hop boundaries. Recent reports suggests he's planning a massive world
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tour to coincide with Kendrick's next album release. Kendrick, emboldened
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by his victories, has become more openly dismissive of Drake
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in interviews. The super Bowl performance, watched by over one
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hundred million people, featured subtle visual references to their battle,
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including stage designs that resembled a crown and dancers in
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O vo style owl masks. Being defeated, the feud has
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fundamentally altered hip hop's landscape. Young artists now must navigate
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a divided industry, choosing between Drake's commercial machine and Kendrick's
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cultural credibility. Collaborating with one effectively means excluding yourself from
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the other's orbit. What started as competitive tension in two
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thousand al has become hip hop's defining rivalry of the
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twenty twenties. Unlike previous beefs that burned hot and ended
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in tragedy or reconciliation, Drake versus Kendrick has become a
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sustainable cold war, profitable for both sides, but exhausting for
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a culture that once preached unity. The irony is that
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both artists have proven their points. Drake remains massively successful commercially,
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his streaming numbers unmatched Kendrick has cemented his position as
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hip hop's artistic conscience, the standard bearer for the culture.
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They've carved out separate kingdoms in what was once a
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shared empire, but the cost has been significant. Hip hop's
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two most talented artists of their generation, who once toured
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together and shared mutual respect, now exist in permanent opposition.
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Their feud has become bigger than music. It's about competing
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visions for what hip hop' shad should be in the
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twenty first century. As we await the next chapter in
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this ongoing saga, one thing is clear. The Drake Kendrick
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feud has replaced collaboration with competition as hip hop's driving force.
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Whether that's healthy for the culture remains to be seen.
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Some feuds end with handshakes, others end with funerals. The
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Drake Kendrick feud seems destined to end only when one
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of them stops making music, and even then, their legacies
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will likely remain in opposition forever compared forever, contrast it
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forever at war. The Six God and the Good Kit
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have become hip hop's eternal rivals their battle of permanent
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fixture in the culture. They both claim to represent
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