7 (un)popular opinions about the Drake versus Kendrick Lamar beef
From 'Poetic Justice' to 'Not Like Us': I'm on no one's side
From my Message from Montie writing days on Chicago Now (Tribune Newspapers’ now-defunct blog series) in 2010 and up until the day he disrespected Halle Berry in 2023, I have been unapologetically Team Drake. I can still rap the words to “Going In for Life” (and bob my head to the beat of Eddie Kendricks' 1977 hit “Intimate Friends”). Any Spotify playlist I make is bound to have some Drake songs on it, including songs that didn’t make it onto Billboard. But the Halle Berry post was a stunt too far. I started looking at him extra sideways — especially as someone who claims to be a “certified lover boy.” Still a fan though.
And then there was Kendrick Lamar. When I heard “Backseat Freestyle,” I was sold on him. “Money Trees” was always good for car dancing. Coincidentally, Halle Berry got a song mention in here too.
Recommended Read: “Was Drake Right About New York Being Kendrick's New Home?”
Still, when “Poetic Justice” released, I was a little confused by Kendrick Lamar and Drake collaborating. They’re totally different artists who seem to cater to totally different fanbases. Even the “write poems in these songs” lyrics made that apparent.
“If I told you that a flower bloomed in a dark room, would you trust it?
I mean I write poems in these songs
Dedicated to you
When you're in the mood for empathy
There's blood in my pen
Better yet where your friends and them?” -Kendrick Lamar
“I write poems in these songs
Dedicated to the fun sex
Your natural hair and your soft skin
And your big ass in that sundress (Woo!)
Good God, what you doing that walk for?” -Drake
It’s not the first time I’ve seen two polar opposite artists come together though. But by the time “Control” came out, I raised an eyebrow at Kendrick Lamar’s energy. Although it was actually about a year difference, it seemed like the Compton artist had an attitude with the Canadian two seconds after “Poetic Justice” released. It gave me the same cringy feeling as Katt Williams complaining about Kevin Hart.
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Without knowing any of the four, it just seems like one is pissed off because he isn’t as famous as the other one. After the zillionth complaint from Katt and Kendrick, it reminded me too much of Mean Girls. I started purposely dodging any snide jabs from the comedian’s standup (or long-winded interviews) and the West Coast lyricist’s songs. Unpopular as it may be, grown men complaining about other grown men’s success is lame to me.
The difference? I’m indifferent to Katt Williams so it was easy enough to just ignore him. Not a fan, but not a non-fan. Just neutral. On the other hand, I really like Kendrick Lamar’s music so Drake having “condos in that [man’s] head” has been annoying — for years. Now fast forward to the past 45 days, and you already know what happened next. First, the pile-on with a bunch of “rappers” I have never ever been fans of (minus Kanye West before the Trump era).
After a collaboration song featuring Kendrick, then came the response from Drake (with 50 Cent instigating along the way). After that, absolute chaos — accusations of alleged domestic violence, absentee dads, pedophilia, death wishes, and messages to minors and parents.
“Are you not entertained?”
NOPE!
These are my seven (un)popular takeaways from the rap battle between Kendrick Lamar and Drake.
FAMILY MATTERS —> Sometimes silence is the answer. Whitney has a right to enjoy her birthday in three days without getting roped into Kendrick vs. Drake beef. However, her lack of a response (and “We Cry Together”) damn sure sounds like she was going through it in that relationship. Sadly, too many social media comment sections are shrugging off domestic violence with phrases like “Everybody has problems in their relationship.” True. But putting your hands on people should never be normalized.
NOT LIKE US —> Joe Budden is on point about this song ringing off in HBCUs and with marching bands. Because people are graduating from college now, I’m guessing Kendrick missed a solid window for marching bands. Doesn’t mean it might not be heard at my alma mater’s homecoming in October though. As a former alto saxophone player (in high school), this is exactly the kind of song I’d expect during a “Battle of the Bands” at Chicago’s Jackie Robinson Parade or the Bud Billiken Day Parade too. But is it not weird to be stepping, marching, strolling or body rolling to “freaky a** n**ga” when the insinuation is being a pedophile? Am I supposed to dance to the Bill Cosby “hey hey hey” and R. Kelly “step this way”? Yikes!