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    Not Like Us: Kendrick’s 4th Diss to Drake – A Deep Dive into Lyrics & Hidden Meanings

    “Not Like Us” is Kendrick Lamar’s fourth and last diss track to Drake, despite being published on the night of May 4th, 2024, only 20 hours following the previous “meet the grahams,” his 3rd designated diss. Kendrick Lamar’s “Not Like Us” rages and screams, dripping with place scouts, expressions robbery incriminations, and brave personals. Let’s dive into the Not Like Us lyrics analysis and see how many surprises waiting for us.

    Now it’s the time to dig deeper into “Not Like Us” lyrics analysis:

    [Verse 1]

    “What’s up with these jabroni-ass niggas tryna see Compton? The industry can hate me, fuck ‘em all and they mama.” : Kendrick is saying that Drake and others like him are not real and are fundamentally dishonest about their urban roots or street credibility in the rap business. This is a reaction to Drake’s perceived insincerity and opportunistic nature.
    "How many opps you really got? I mean, it's too many options": This line implies that Kendrick sees through Drake's bravado, suggesting that Drake might be creating enemies or exaggerating conflicts for image or credibility purposes.
    "I'm finna pass on this body, I'm John Stockton": Kendrick cleverly suggests that he doesn't need to resort to aggressive tactics like "taking bodies" or engaging in beefs like Drake might, opting instead to navigate his career with skill and strategy, akin to Stockton's playmaking ability.

    [Verse 2]

    “Beat your ass and hide the Bible if God watchin’ – Kendrick is prepared to be cruel and is unafraid of God.
    “Sometimes you gotta pop out and show niggas.” – This line also reflects the strength of Kendrick’s attitude and his necessity to stand out and resist the other person aggressively.
    “Certified boogeyman, I’m the one that up the score with ’em” – with these lyrics, Kendrick expresses his readiness to act in any situation, create a response and win.
    “Walk him down, whole time I know he got some ho in him” – this line suggests that the artist is ready to ridicule or somehow resort to his opponent’s weaknesses or vulnerability.
    “Pole on him, extort shit, bully, Death Row on him” – this statement suggests his readiness to threaten and pressure the rival and impose his will on him or make any extortion, comparing himself with the Death Row recording company.
    “Say, Drake, I heard you like ‘em young / You better not ever go to cell block one” – Kendrick is likely referring to rumors or accusations surrounding Drake’s preference towards minors, cautioning him against the potential consequences in jail.
    “To any bitch that talk to him and they in love / Just make sure you hide your lil’ sister from him” – this theme continues the prior lines, Kendrick urging people to keep away from Drake in terms of romantic relationships, especially including the youth.
    “They told me Chubbs the only one that get your hand-me-downs / And PARTY at the party, playin’ with his nose now” – Kendrick is naming Drake’s associates, implying they may be treated unfavorably or receive any leftover opportunities.
    “Certified Lover Boy? Certified pedophiles” : calls out Drake, believing that he is the “lover boy” and indirectly publicizes both Drake’s squad and the rapper himself to soon announce that they are misbehaving.
    "Why you trollin' like a bitch? Ain't you tired? Tryna strike a chord and it's probably A-Minor" - He also appears to address Drake’s social media trolling behavior in the last verse. He claims Drake can’t actually “strike a chord” and claims the chord is just “A-Minor,” employing musical jargon to make the expression clever.

    [Verse 3]

    "You think the Bay gon' let you disrespect Pac, nigga?" : Kendrick suggests that disrespecting Tupac Shakur, a revered figure from the Bay Area, will have consequences, implying a threat to Drake's safety.
    "Did Cole fouI, I don't know why you still pretendin'" : Kendrick questions Drake's loyalty to J. Cole, hinting at a potential betrayal or deceitful behavior towards Cole.
    "What is the owl? Bird niggas and bird bitches, go" : Kendrick mocks Drake's OVO owl logo, implying that it represents disloyal and untrustworthy individuals, both male and female.
    "Since 2009, I had this bitch jumpin'" : Kendrick boasts about his longevity and success in the music industry, suggesting that he has been influential since 2009.
    "What OVO for? The 'Other Vaginal Option'? Pu**y" : Kendrick ridicules Drake's OVO label acronym, suggesting derogatory interpretations and questioning its significance.
    "Might write this for the doctorate, tell the pop star, 'Quit hidin'" : Kendrick implies that his diss track could be scholarly material and challenges Drake to confront the criticism instead of avoiding it.
    "Fuck a caption, want action, no accident, and I'm hands-on" : Kendrick prioritizes action over words, expressing his readiness to confront Drake directly and assertively.
    "Fucked on Wayne girl while he was in jail, that's connivin'" : Kendrick accuses Drake of being deceitful by engaging in a relationship with Lil Wayne's girlfriend while Wayne was incarcerated, suggesting manipulative behavior.
    "And your homeboy need subpoena, that predator move in flocks" : Kendrick suggests that Drake's associates exhibit predatory behavior and should be legally investigated, indicating serious accusations against Drake's entourage.
    "How many stocks do I really have in stock?" : Kendrick questions the authenticity of Drake's investments and influence, challenging the perception of Drake's success in the business world.

    [Verse 4]

    "Once upon a time, all of us was in chains": Kendrick uses this line to evoke the historical context of slavery, suggesting that despite progress, certain societal chains still persist, metaphorically referring to the systemic oppression faced by Black people. It's a critique of Drake's perceived lack of awareness or acknowledgment of racial issues.
    "Homie still doubled down callin' us some slaves": Here, Kendrick accuses Drake of perpetuating derogatory stereotypes about Black people, possibly referencing instances where Drake has been criticized for insensitive remarks or cultural appropriation. Kendrick challenges Drake's authenticity and commitment to Black culture.
    "Atlanta was the Mecca, buildin' railroads and trains": Kendrick highlights Atlanta's historical significance in Black culture, portraying it as a hub of creativity and resilience. By referencing the city's role in building railroads with slave labor, he draws parallels to Drake's exploitation of Atlanta's hip-hop scene for personal gain, criticizing him for using the city's culture without fully respecting its origins.
    "Let me break it down for you, this the real nigga challenge": Kendrick challenges Drake's authenticity and street credibility, suggesting that associating with certain Atlanta-based artists doesn't make him genuine or "real." He implies that Drake's connections to these artists are superficial and driven by a desire for credibility rather than genuine respect for the culture.
    "You run to Atlanta when you need a few dollars": Kendrick accuses Drake of exploiting Atlanta's hip-hop scene for financial gain, implying that Drake only seeks out collaborations with Atlanta-based artists when it benefits him financially. This line critiques Drake's opportunistic approach to the music industry, suggesting that his motivations are primarily monetary rather than artistic or cultural.
    "No, you not a colleague, you a fuckin' colonizer": Kendrick's use of the term "colonizer" is a powerful indictment of Drake's alleged cultural appropriation and exploitation of Black culture. By comparing Drake to a colonizer, Kendrick suggests that Drake's actions resemble those of historical oppressors who exploited and marginalized Black communities for their own benefit. This line encapsulates Kendrick's broader critique of Drake's relationship with Black culture.

    Kendrick goes beyond the surface-level beef, framing the clash as a West Coast vs. East Coast battle. He avenges the misuse of 2Pac and Snoop Dogg’s vocals by Drake, a move seen as disrespectful by many West Coast rappers. This reignites the historical tension between the two coasts, adding a layer of cultural significance to the feud.

    The “certified pedophile” line isn’t just a personal jab; it’s a scathing critique of Drake’s cultural appropriation tendencies. By cleverly twisting the title of Drake’s album, Kendrick questions his authenticity and implies a predatory nature towards entire cultures.

    The YouTube thumbnail, resembling a sex offender registry screenshot pointed at Drake’s mansion, sends a chilling message. It visually reinforces the pedophilia accusations and paints a disturbing picture of “The Embassy” as a potential hub for illegal activity.

    Kendrick’s wordplay is masterful. The E-40 reference and the “A-Minor” line are more than just shoutouts. E-40 represents the Bay Area sound, further emphasizing the regional aspect of the diss. The “A-Minor” line, possibly referencing Drake’s tendency to dwell on negativity, adds another layer of lyrical depth.

    The Bay Area-inspired beat isn’t just a stylistic choice; it’s a weapon. The bouncy, hyphy-infused production, coupled with Kendrick’s E-40-esque flow, reinforces the West Coast identity of the diss and fuels the regional fire.

    As we’ve done with our Not Like Us lyrics analysis, we can say that “Not Like Us” is more than just a diss track; it’s a cultural event. It reignites the West Coast vs. East Coast narrative, throws serious accusations at Drake, and potentially redefines the feud’s trajectory. This escalation could have a significant impact on the hip-hop landscape, leaving a lasting mark on the rivalry between these two rap titans.

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