Breaking Down All of the Ways Kendrick Lamar Attacked Drake on “Not Like Us"

Kendrick Lamar has just released his fourth diss track aimed at Drake within the last six days, titled “Not Like Us.”

Produced by DJ Mustard and Sounwave, Kendrick embraces the West Coast vibe in a diss track that's already popular in clubs. He revisits familiar accusations against Drake and his OVO crew, including claims of pedophilia and substance abuse issues, while also introducing fresh criticisms about Drake's collaborations with Atlanta artists to gain credibility. Kendrick also references Drake’s diss track “Family Matters,” suggesting it was created or completed over the weekend.

This week has been incredibly chaotic in the rap world. With another diss track to analyze, let's delve into the various ways Kendrick attacks Drake on “Not Like Us.”

Drake’s relationship with women

Accusations about Drake's history with underage women are a recurring theme in Kendrick’s diss tracks. He continues to find new ways to hurl these heavy claims at the Toronto rapper, including:

“What's up with these jabroni-ass niggas tryna see Compton? The industry can hate me, fuck 'em all and they momma/ How many opps you really got? I mean it's too many options/ I'm finna pass on this body, I'm John Stockton”

The opening bar could be Kendrick refuting Drake’s lyrics on “Push Ups” where Drake claimed he “gets more love in the city that [Kendrick] from.” Then Kendrick jabs at Drake’s rumored preference for younger women, using a double entendre about NBA legend John Stockton, known for his all-time assists record (Stockton also played with Karl Malone, who reportedly impregnated a 13-year-old girl when he was 20 years old).

“Say, Drake, I hear you like 'em young/ You better not ever go to cell block one/ To any bitch that talk to him and they in love/ Just make sure you hide your lil' sister from him”

Kendrick revisits themes from “Meet the Grahams,” warning that younger siblings should also steer clear of Drake. Referring to “cell block one” could imply how sex offenders are targeted in prison, linking back to his line on “Meet the Grahams” about Drake and Harvey Weinstein deserving to “get fucked up in a cell for the rest of they life.”

“Why you trollin' like a bitch? Ain't you tired? Tryna strike a chord and it's probably A-Minor”

Kendrick calls out Drake for trolling him with memes last month. Kendrick has responded relentlessly. He uses music terminology to insinuate that the chord Drake tries to strike is “a minor,” emphasizing his point about Drake’s rumored preferences for underage women.

“Fucked on Wayne girl while he was in jail, that's connivin'/ Then get his face tatted like a bitch apologizin'”

Kendrick implies Drake was intimate with Lil Wayne’s girlfriend while Wayne was in prison and later got a tattoo of Wayne’s face as an apology. Wayne confirmed this rumor in his memoir “Gone Til November” and in subsequent interviews.

“And your home, boy need subpoena, that predator move in flocks/ That name gotta be registered and placed on neighborhood watch”

This line connects to the cover art for “Not Like Us,” featuring a satellite image of Drake’s Toronto estate with 13 pins, indicating where registered sex offenders live. Kendrick implies Drake’s home should be on the sex offenders watchlist due to his accusations against Drake and the OVO crew. This follows Kendrick's line on “Meet the Grahams” about The Embassy getting raided soon.

“He a fan, he a fan, he a—/ Freaky-ass nigga, he a 69 God/ Freaky-ass nigga, he a 69 God”

Kendrick uses “Freaky-ass nigga” as an acronym for “fan” and flips Drake’s “6 God” nickname by associating it with the sex position. This bar could also reference Tekashi 6ix9ine, who pleaded guilty to using a child in a sexual performance, linking it to Drake’s song “9” where Drake says, “Turn the 6 upside, it’s a 9 now,” with Kendrick implying he's flipping Drake and his city on their heads.

Drake’s OVO crew

Kendrick has taken subtle shots at Drake’s OVO crew on previous tracks but takes direct aim here, calling out Drake’s right-hand man Chubbs and artist/former bodyguard Baka Not Nice. He humorously changes OVO to “OV-Hoe” at the end of the track.

“Did Cole foul, I don't know why you still pretendin'/ What is the owl? Bird niggas and burnt bitches, go”

Kendrick seems to suggest Drake wronged J. Cole (possibly referencing rumors about their collaboration on “First Person Shooter”) and associates the OVO owl with “bird niggas and burnt bitches,” using “foul” to also mean “fowl,” adding another layer to the bird jokes.

“They tell me Chubbs the only one that get your hand-me-downs/ And Party at the party, playin' with his nose now/ And Baka got a weird case, why is he around? Certified Lover Boy? Certified pedophiles”

Kendrick plays on words to call out Chubbs, accuses PartyNextDoor of drug use, and addresses Baka Not Nice’s past legal issues, calling the OVO crew “certified pedophiles” using Drake’s album title against him.

Drake’s relationship with Atlanta

Kendrick dedicates the final verse to dissecting Drake’s relationship with Atlanta and its major rappers, suggesting Drake uses these collaborations for street credibility or acceptance in hip-hop culture, portraying him as an outsider.

“Once upon a time, all of us was in chains/ Homie still doubled down callin' us some slaves”

These lines respond to Drake’s “Family Matters” where he accuses Kendrick of fake activism. Kendrick flips these sarcastic bars, emphasizing his point on “Euphoria” about Drake being an outsider who embraces his Blackness only when convenient.

“Atlanta was the Mecca, buildin' railroads and trains/ Bear with me for a second, let me put y'all on game/ The settlers was usin' town folk to make 'em richer/ Fast-forward, 2024, you got the same agenda”

Kendrick compares white settlers exploiting slave labor to Drake using Atlanta rappers to build his career.

“You run to Atlanta when you need a check balance/ Let me break it down for you, this the real nigga challenge/ You called Future when you didn't see the club/ Lil Baby helped you get your lingo up/ 21 gave you false street cred/ Thug made you feel like you a slime in your head/ Quavo said you can be from Northside/ 2 Chainz say you good, but he lied”

Kendrick accuses Drake of using frequent Atlanta collaborators—Future, Lil Baby, 21 Savage, Young Thug, Quavo, and 2 Chainz—to advance his career, suggesting they helped him gain club appeal, slang, street cred, and false co-signs.

“No, you not a colleague, you a fuckin' colonizer/ The family matter, and the truth of the matter, it was God's plan to show y'all the liar”

Kendrick closes by accusing Drake of being a colonizer, akin to those who settled in Atlanta, and flips Drake’s “Family Matters” and “God’s Plan” titles against him.