#meek mill album

[seventhdiscipleworldwide]

[kaknewsdotcom]

Release Date For Rick Ross & Meek Mill’s Joint Album Surfaced Online - Read More

Considered as one of the best duo in the rape game Rick Ross and Meek Mill are set to take over the music space with their collaborative album. The globe has been eagerly awaiting this collaborative production for a very long time, but guess what? The time has come for the world to hear the biggest musical record ever. The joint album was first spoken about by the duo last month but this time, in…

[stupidspidey]

DRAKE VS KENDRICK LAMAR

(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.

Wish me luck.

[thepopcultureramble]

K.Dot Reigns Supreme

Alright, so let’s talk about the boogeyman.

Kendrick Lamar's responses were paramount to the 2024 rap feud that practically had the entire internet hitting replay on his Like That verse. This wasn’t just a typical rap beef; it became a statement on artistry, authenticity, and the distinct paths these two rap giants have taken in their careers. Here’s a breakdown of how this beef escalated into a full-blown saga and why Kendrick ended up with the final victory lap, Grammy nominations included.

Round 1: The “Like That” Shockwave

This all started when Kendrick appeared on Like That, a track on Future and Metro Boomin’s album We Don’t Trust You. Kendrick’s verse was classic, chest-out Kendrick, calling out the “pop” sensibilities of Drake and even taking a jab at J. Cole. He didn’t mince words, throwing lines that questioned Drake’s authenticity and his pursuit of superstardom over artistry. This set the internet on fire, with fans picking apart every line, speculating about Kendrick’s intentions, and unanimously agreeing he delivered one of the year’s hardest-hitting verses​

Drake’s First Response: “Push Ups”

Drake, never one to let a diss slide, fired back with Push Ups, which leaked online. The track was loud, catchy, and aimed directly at Kendrick’s commitment to “keeping it real.” But where Kendrick’s verse felt raw, Drake’s response, filled with energy but short on substance, felt like it was leaning too heavily on production. He even brought out AI-generated vocals of Tupac in a follow-up track, Taylor Made Freestyle, which drew backlash and left some questioning Drake’s creativity. AI Tupac was a bold, if somewhat desperate, move​

Kendrick Strikes Back: “6:16 in LA” and “Euphoria”

Kendrick returned fire with 6:16 in LA and Euphoria, each song dropping a fresh layer of introspection mixed with his signature critiques of modern hip-hop. On 6:16 in LA, Kendrick dug into the LA scene and his struggles, contrasting his life journey with Drake’s commercial path. In Euphoria, he softened the tone, showcasing his artistic side and reaffirming that for him, this was more than just a back-and-forth; it was a reminder that hip-hop at its core was art, not just business.

Drake’s response? Not as strong. While Taylor Made Freestyle created waves, it didn’t make the kind of impact Kendrick’s tracks did. By this point, fans were calling it: Kendrick wasn’t just competing—he was setting a new standard.

“Meet The Grahams” and “Not Like Us” – Kendrick’s Grand Finale

Kendrick released Meet The Grahams, directly addressing Drake’s family ties and hinting at the disconnect between public persona and personal reality. It was a move that hit hard, showing Kendrick wasn’t afraid to get personal but did so with finesse. Then, in Not Like Us, he laid down his final argument, emphasizing the differences in their artistry, where Kendrick’s work was meant to be dissected and remembered, and Drake’s, he argued, was made to be consumed and forgotten.

By the time Kendrick’s songs started getting Grammy buzz (and eventual nominations), while Drake’s responses got snubbed, it was clear: Kendrick had won. This wasn’t just about who had the best verse; it was about who captured the soul of hip-hop​

The Character Difference: Why Kendrick Came Out on Top

Let’s face it, Drake’s no stranger to beef—he’s clashed with Meek Mill, Pusha T, and others. But this feud with Kendrick brought something new: a contrast between two artists with radically different goals. Kendrick has always been about the craft, pushing boundaries lyrically and stylistically. Drake, while talented, has often pursued mainstream appeal and pop success.

Kendrick’s approach is what makes him “the people’s champ.” He doesn’t do interviews about his every move, doesn’t drop a new product every week—he lets his music speak. Drake, on the other hand, came across as more concerned with maintaining his status and putting out hits. Kendrick’s ability to stay above the noise and focus on his message ended up resonating more deeply.

Grammy Nominations: The Icing on the Cake

Today’s Grammy nominations solidified Kendrick’s win. Like That and Not Like Us both received nods, showcasing that even the industry recognized Kendrick’s mastery. Meanwhile, Drake’s tracks were nowhere to be seen, a signal that his AI-assisted attempts and rapid-fire releases didn’t connect as intended. Kendrick’s Grammy nods aren’t just about one-upping Drake—they’re a testament to his artistic approach that values longevity, impact, and a sense of purpose that outshines the temporary appeal of chart-topping hits​

Final Thoughts?

This beef, in all its layers, wasn’t just about who could out-rap whom. It was about what each artist stands for. Kendrick reminded us of the essence of hip-hop, the kind of artistry that transcends trends and accolades. While Drake’s contributions to music are undeniable, Kendrick’s journey through this beef proved why he’s the GOAT or at the very least, top three, not just as a rapper but as a true artist who doesn’t need validation to solidify his place.

This has been a ramble by,

The Pop Culture Ramble

[dankusner]

Kinda makes me feel small and insignificant. Like I was the subject of a Kendrick Lamar diss track.

Drake and Kendrick Lamar’s feud — the biggest beef in recent rap history — explained

In one of the biggest beefs in recent hip-hop history, Drake and Kendrick Lamar are feuding — to the point that police were asked about their feud after a security guard was shot outside Drake’s Toronto mansion on Tuesday.

But it wasn’t always this way.

Over a decade ago, the pair collaborated on a few songs:

On Drake’s 2011 track “Buried Alive Interlude,” on Lamar’s 2012 release “Poetic Justice,” and on A$AP Rocky’s “(Expletive) ’ Problems” that same year.

That didn’t last very long.

In 2013, Pulitzer Prize winner Lamar was featured on Big Sean’s “Control,” in which he called out a slew of contemporary rappers including Drake, J. Cole, Meek Mill, Pusha T, A$AP Rocky, Big K.R.I.T., Wale, Pusha T and even Big Sean among them.

“I got love for you all, but I’m trying to murder you,” he rapped. “Trying to make sure your core fans never heard of you.”

Drake responded in a Billboard cover story, saying “I know good and well that Kendrick’s not murdering me, at all, in any platform.”

Shortly afterward, at the 2013 BET Hip-Hop Awards, Lamar took another jab at Drake.

Over the next few years, the rappers launched disses at each other with less frequency.

Drake had other beefs with other performers, like Meek Mill in 2015, and most infamously Pusha T in 2018, where the latter rapper dropped “The Story of Adidon,” revealing Drake is a father.

In October 2023, J. Cole perhaps accidentally reignited the beef on “First Person Shooter” with Drake.

He rapped “Love when they argue the hardest MC / Is it K-Dot? Is it Aubrey? Or me?” referencing Lamar and Drake’s birth name, Aubrey Graham.

“We the big three like we started a league / but right now, I feel like Muhammad Ali.”

Which brings us to the current moment.

Here’s a timeline of the developments in recent weeks — it should be noted that diss tracks between rappers often include exaggerated truths and unsubstantiated rumors for dramatic effect, and that police have not said the feud led to Tuesday’s shooting.

March 22: Lamar disses Drake on Future and Metro Boomin’s “Like That”

“The big three,” Lamar raps, referencing J. Cole’s boast. “It’s just big me.”

He references Drake’s 2023 album “For All the Dogs,” and also compares himself to Prince and Drake to Michael Jackson: “Prince outlived Mike Jack.”

J. Cole soon releases a response, “7 Minute Drill,” but quickly apologizes for it onstage at his Dreamville Festival in Raleigh, N.C.

April 13: Drake’s “Push Ups” leaks

Drake’s response is leaked and later premiered by DJ Akademiks.

“You ain’t in no Big Three, SZA got you wiped down, Travis got you wiped down, Savage got you wiped down,” he raps about Lamar.

It also assumed Drake takes aim at Future, Metro Boomin, Rick Ross and The Weeknd — Ross releases a response track shortly afterward.

April 24: Drake responds with a second, AI-assisted diss track, “Taylor Made Freestyle”

Drake’s second diss track used artificial intelligence technology to include verses from Tupac and Snoop Dogg, two of Lamar’s influences.

In his own verse, Drake accuses Lamar of delaying his response track because of the imminent release of Taylor Swift ‘s “The Tortured Poets Department.” (Lamar collaborated with Swift on “Bad Blood.”)

Tupac’s estate threatened to sue Drake in response, so he removed the song from his social channels.

Snoop Dogg responded to the news in a video on Instagram.

“They did what? When? How? Are you sure?” he said. “I’m going back to bed. Good night.”

April 30: Lamar hits back with a nearly six-and-a-half-minute track, “Euphoria”

This is where it gets more complicated.

Lamar’s “Euphoria” hits like an opus, unleashing a slew of allegations against Drake.

He comes after Drake’s skills as a rapper, use of AI, appearance, racial identity, and parenting.

“I got a son to raise, but I can see you know nothin’ ’bout that,” Lamar raps.

The title is a reference to the HBO series “Euphoria,” of which Drake is an executive producer.

Lamar teases that he’ll go “back-to-back” with his tracks.

May 3: Lamar drops a follow-up, “6:16 in LA”

In Lamar’s next diss, titled after a time and location like Drake is wont to do, Lamar targets the company Drizzy keeps.

“Have you ever thought that OVO was working for me? / Fake bully, I hate bullies,” he raps, referencing Drake’s record label. “You must be a terrible person / Everyone inside your team is whispering that you deserve it.”

According to Billboard, the song was produced by Sounwave and Jack Antonoff — the latter notably Swift’s longtime producer.

It also samples Al Green’s “What a Wonderful Thing Love Is,” on which one of Drake’s relatives played guitar.

May 3: Drake launches “Family Matters”

Drake hits back with a music video and a nearly eight-minute response, in which he alleges abuse and infidelity in Lamar’s relationship with his fiancee.

May 4: Lamar responds with “Meet the Grahams”

Almost immediately afterward, Lamar releases “Meet the Grahams,” which begins with the rapper addressing Drake’s son: “I’m sorry that man is your father.”

Lamar also addresses Drake’s parents, and “a baby girl,” alleging that Drake has a secret daughter.

He also labels Drake a “predator,” without elaborating.

May 4: Less than 24 hours later, Lamar drops “Not Like Us”

Hours later, Lamar doubles down, releasing “Not Like Us,” produced by DJ Mustard.

“Say, Drake, I hear you like ’em young / You better not ever go to cell block one,” Lamar raps.

May 5: Drake softens his blows on “The Heart Part 6”

Referencing Lamar’s “The Heart” series, Drake drops “The Heart Part 6” in response.

In the song, which samples Aretha Franklin’s “Prove It,” Drake challenges Lamar’s allegations, doubles down on his own against him, and says that he does not have a secret daughter.

He sounds notably lethargic on the song — potentially taking a final bow with verses like, “You know, at least your fans are gettin’ some raps out of you / I’m happy I could motivate you.”

[dijidweeeb]

Motivational Music in the Morning ... Meek Mill featuring Drake, Going Bad (Lyric Video) ... from the Album: Championships (2018) #MMitM1

[otherspeoplespictures]

Nina Chanel Abney - Untitled (2022) [Album-Cover: Meek Mill - Expensive Pain] Source: amazon.de

[thesinglesjukebox]

FUTURE & METRO BOOMIN FT. KENDRICK LAMAR - "LIKE THAT"

A Drake diss track provides our highest controversy of the day; it truly is April 1...

[5.40]

Andrew Karpan: “Like That” is probably the best of the varied anti-Drizzy discography that I’ve encountered so far; the flipped, forgotten Rodney-O record emerging out of the dust of a minor E-40 posse cut into a throbbing, pulsing menace that owns its own side of the street, untouched. Kendrick, like Pusha-T and then Meek Mill before him, finds inside Drake’s bloated success and notorious mediocrity a melancholy yearning to belong, which frankly confuses him. But this is, of course, why the devout listen to Drake in the first place.   [6]

Taylor Alatorre: Not the second coming of Big Sean's "Control" that I thought it was upon first listen; the Michael Jackson line is doing most of the heavy lifting as far as pure shock and awe goes. The Verse is more of an announcement of hostilities than a full engagement on the battlefield, sounding like an intended sneak diss that turned less sneaky after a few hard drinks. The time and place of its delivery matter almost as much as the content: "Wait, Kendrick's on this thing? Can he say that about Drake on a Future album? How did Melle Mel get dragged into this?!" By design, it'll never again hit as hard as it did the first time, but the jolt of that initial impact stays imprinted in your brain like memory foam. Credit to Future for humbly recognizing his limited role on this stage (despite being as influential as any rapper mentioned here) and to Metro for being good at sample clearance, both much unlike Big Sean on “Control.” [8]

Alfred Soto: "I still got PTSD," Kendrick rasps. Could've fooled me. He responds to the competition with zeal -- from Future to Eazy-E. The first half sticks to Future's tried-and-true.  [7]

TA Inskeep: I can't, and won't, with Future's gun-glorifying, misogynist lyrics. And Metro's Barry White-sampling track is just lazy. [0]

Isabel Cole: Shrooms are really having their moment in the zeitgeist, huh? I kind of like the inclusion of a whistle done by someone who can only whistle poorly, if only because you don't hear that every day. The dull, droning rest of it, though, feels like something I've heard before, and I didn't care for it the first several times, either. [2]

Katherine St. Asaph: Doomy, like background music for surveying the world from a high perch. Kendrick just overkills Drake and everything else. [7]

Jacob Sujin Kuppermann: The thrills of the Kendrick verse dimish with every listen – perhaps I've grown cynical (or just counterintuitive), but his performance last year on “The Hillbillies” (loose, fun, hanging out with his cousin) was a better demonstration of the appeal of latter-day Kendrick than this ceremonial airing of grievances, at once impressive and a little tedious the same way watching someone solve a cryptic crossword is. Future and Metro are exquisite hosts, though. The lifted synths and chants from the class of '87-'88 lend the whole affair a charming old revivalist sensibility, while Future, a man of infinite regress into his own worst impulses, sounds gleeful. He whistles! Why isn’t that the story rather than warmed-over beef? [7]

Ian Mathers: Imagine if the fierceness of the Kendrick verse (the only reason we're here, right?) had inspired Future to match it even remotely. I don't mind his sleepy affect most of the time, but it doesn't really match here; the bit at the fade where he perks up is actually promising in comparison. Good production (so much so it basically gets a verse!), good ft., but Future drags it down. [6]

Oliver Maier: A heap of irritating choices, bafflingly put together even before you get to the part where it fades out as Future is still rapping. [3]

Nortey Dowuona: The discovery of Kendrick Lamar’s incredible ability is as unsurprising as it is predictable -- there hasn’t been another figure blessed with either the talent or critical armor to take his place in the eyes of the larger public who don’t read good music writing and let YouTubers tell them what music to like -- but the verse is at least good. It picks up the jengabuilt flows of Detroit/Bay Area rap and his long time record of disrespecting his peers for kicks and clout and actually has the bar “my temperament bipolar, I choose violence” comfortably lodged somewhere towards the beginning. It’s telling that Future has another verse on the song yet chooses to let Metro place it after a shrieking riff under some heavy kicks, then fade it out, almost as if the point had been made. [8]

[Read, comment and vote on The Singles Jukebox]

[kcyars99]

What’s the greatest diss track you ever heard?

PHOTOS

15 Most Shocking Diss Songs: From Taylor Swift's 'thanK you aIMee' to Gwen Stefani's 'Hollaback Girl'

Drake's 'Back to Back'

Drake pushed Meek Mill down with his diss track "Back to Back" after the latter artist called his "Charged Up" diss track "baby lotion soft."

"When I look back, I might be mad that I gave this attention / But it's weighing heavy on my conscience / And fuck, you left me with no options," Drake rapped. "I'm not sure what it was that made y'all mad / But I guess this is what I gotta do to make y'all rap."

Meek Mill also fired back by releasing his track "Wanna Know."

Drake's 'Push Ups'

In April, Drake fired at Kendrick Lamar while also targeting artists like Rick Ross, The Weeknd, J.Cole and Metro Boomin. The 37-year-old Canadian rapper responded to Lamar and mocked his features and size.

Eminem's 'Killshot'

Eminem dropped scathing bars and targeted Machine Gun Kelly in his 2018 diss track "Killshot" by highlighting his "irrelevance."

"But I'm 45 and I'm still outselling you / By 29 I had three albums that had blew / Now let's talk about somethin' I don't really do / Go in someone's daughter's mouth stealin' food," Eminem rapped.

He also made fun of MGK's man bun by delivering the line, "Here's that autograph for your daughter, I wrote it on a Starter cap / Stan, Stan, son, listen, man, Dad isn't mad / But how you gonna name yourself after a d--- gun / And have a man bun?"

Gwen Stefani's 'Hollaback Girl'

Gwen Stefani did not hold back when she dropped her single "Hollaback Girl" after receiving unfriendly comments from Courtney Love.

"I was being bullied by someone and was being called a cheerleader, which was a bad thing!" she told Billboard. "Growing up, that was not cool. I thought I was the opposite of that. I told Pharrell we should write a song about that."

The No Doubt co-founder did not mention Love's name directly, but the Hole lead vocalist called Stefani a cheerleader in her 2004 interview with Seventeen.

Ice Cube's 'No Vaseline'

Called the "best diss ever" by Ice Cube, the 1991 track "No Vaseline" directly lambasted his former N.W.A. members. He said the song "knocked 'em down like bowling pins."

Jay-Z's 'Takeover'

In 2001, Jay-Z targeted Prodigy and Nas in his classic diss "Takeover." He dropped brutal lines to bring down the pair and nearly finished their careers.

Jay-Z rapped about Prodigy's small record sales and his small stature while also making fun of the ballerina picture he showed at Summer Jam 2001. Meanwhile, Nas got hit right in his core when Jay-Z laughed at his catalog and mentioned his baby mama, Carmen Bryan.

Kendrick Lamar's 'Not Like Us'

Lamar continued his seething rap battle with Drake with his chart-topping diss track "Not Like Us." He claimed in the song that Drake and his "OV H--" team were pedophiles.

"Say, Drake, I hear you like 'em young/ You better not ever go to cell block one/ To any b—- that talk to him and they in love/ Just make sure you hide your lil' sister from him," Lamar rapped some of the scathing lyrics.

Megan Thee Stallion's 'Hiss'

For her first 2024 track, Megan Thee Stallion immediately sparked rumors she dissed Nicki Minaj, Kenneth Petty, Tory Lanez and Pardison Fontaine.

"These h--s don't be mad at Megan, these h--s mad at Megan's Law/ I don't really know what the problem is, but I guarantee y'all don't want me to start/ B---h, you a p---y, never finna check me/ Every chance you get, bet your weak a-- won't address me," Stallion's lyrics for Minaj read.

Nicki Minaj's 'No Frauds'

Minaj released her harsh diss track "No Frauds" for Remy Ma in 2017 following the release of "ShETHER." The song, which featured Drake and Lil Wayne, contained lyrics about Ma's jail time for assault.

Olivia Rodrigo's 'Drivers License'

Olivia Rodrigo's heartbreaking anthem "Drivers License" sparked rumors that it was a secret diss track for Sabrina Carpenter, who was linked to her rumored ex Joshua Bassett. Fans pointed out that Rodrigo changed the lyrics from brunette to blonde, fueling the rumors more.

"And you're probably with that blonde girl / Who always made me doubt / She's so much older than me / She's everything I'm insecure about," the Bizaardvark alum sang in her track, seemingly hinting at Carpenter's hair color and their three-year age gap.

However, Rodrigo soon shut down the buzz in her interview with Variety.

"I put it out not knowing that it would get that reaction, so it was really strange when it did," she said of the song. "I just remember everyone being so weird and speculative about stuff they had no idea about. I don't really subscribe to hating other women because of boys. I think that's so stupid, and I really resent that narrative that was being tossed around."

Rick Ross' 'Champagne Moments'

Ross also dissed Drake in his track "Champagne Moments." He rapped about his former friend being a "white boy" and accused him of undergoing rhinoplasty.

Taylor Swift's 'The Smallest Man Who Ever Lived'

Known for making songs about her exes and lovers, Taylor Swift targeted several men in her The Tortured Poets Department album — including Matty Healy in her track "The Smallest Man Who Ever Lived."

The pair dated before Swift's romance with Travis Kelce started.

"Was any of it true? / Gazing at me starry-eyed / In your Jehovah's Witness suit," the song started, referencing her exes' outfit.

Swifties also assumed that the track's choreography confirmed that it was about The 1975 frontman as Swift danced to moves similar to Healy's routine in "Love It If We Made It."

Taylor Swift's 'thanK you aIMee'

Even Kim Kardashian was not spared on Swift's TTPD diss.

"thanK you aIMee" immediately confirmed it was a diss track for the Keeping Up With the Kardashians star amid the "So Long, London" singer's feud with the KKW Beauty mogul.

Swifties said the lyrics referenced Kardashian's tan skin, her infamous phone call with Kanye West and the snake emoji the TV personality tweeted in the past.

In December 2023, Swift spoke about her feud with Kardashian and West.

"You have a fully manufactured frame job, in an illegally recorded phone call, which Kim [Kardashian] edited and then put out to say to everyone that I was a liar," Swift said during the interview with TIME after becoming the 2023 Person of the Year. "That took me down psychologically to a place I've never been before. I moved to a foreign country. I didn't leave a rental house for a year. I was afraid to get on phone calls. I pushed away most people in my life because I didn't trust anyone anymore. I went down really, really hard."

The Notorious B.I.G's 'Who Shot Ya?'

The Notorious B.I.G. dropped "Who Shot Ya?" months after Tupac Shakur was shot five times during a robbery in 1994. The "Unchained" rapper believed the individuals were affiliated with Biggie's Bad Boy Records crew.

The provocative track then mocked Shakur and the shooting incident.

"Who shot ya? / Separate the weak from the obsolete… I can hear sweat trickling down your cheek," a line from the track read.

Tupac Shakur's 'Hit 'Em Up'

A few months before his death, Shakur rapped about several artists, including The Notorious B.I.G., Lil' Kim, Chino XL, Sean "Diddy" Combs and Mobb Deep.

He rapped the lyrics, "Biggie, remember when I used to let you sleep on the couch / 5 shots couldn't drop me : I took it and smiled. / Now I'm back to set the record straight. / With my AK, I'm still the thug that you love to hate and we bust on Bad Boys, n----- f---- for life."

[draingangmerch00]

Thaiboy's production on some tracks is just okay

Despite Thaiboy's presence in the Drain Gang holy trinity, his production on some of the songs is just okay. This isn't his best work yet. But it isn't the worst either.

Tiger is Thaiboy Digital's first mixtape. It features Thaiboy's autotuned voice, and synthy production by Whitearmor. The song "I'm Fresh" is a great self-affirmation. The title is hypnotically repeated, and it has a drill-inspired rhythm.

The album's title, Back 2 Life, is a reference to the fact that Thaiboy has lived through many changes in his life. This is an opportunity for Thaiboy to share the lessons he's learned with his fans.

Yung Gud's solo work Yung Gud is a producer with a distinct style. His sound has evolved from euro-trance synths to a more analog palette. His production is very detailed, with prominent guitar parts on several tracks. The instrumentals are often catchy and ethereal, but are also very real. His music is a combination of EDM-flavored trap. He has also remixed songs for other artists. His work with Meek Mill's "Monster" and Tinashe's "2 On" both garnered positive critical reviews.

As a producer, Gud has worked with many different artists, including Travis Scott and Halsey. His newest album, Foreign Exchange, is a collaborative effort with Rx Papi. Gud is executive producer of the album. He was so impressed with Papi's work that he reached out to him directly.

Exile and Sunset in Silver City Unlikely candidates include Swedish rapper Bladee and his ilk. The sexiest male in the house is not your typical rapper. Nevertheless, Bladee is the man for a reason and the rest of his crew has no problem in getting their respective t-shirts signed. The only problem is that they want to be pampered in a swanky club. Luckily, Bladee has a sexy wife to take care of the ladies. The man is a sucker for a good ole' fashion ladies night. Not to mention the obligatory man-on-the-land shenanigans and the twosome. The best part is, he's not a picky eater. If you're looking for a date worthy evening, head over to Bladee's posh abode and the aforementioned patty will be yours for the princely sum of $10.

Stardust Yung Lean has returned with a new mixtape titled Stardust. A 35-minute masterpiece, the album features the usual suspects and some notable names. The album's big winner is "Bliss", which features the incomparable FKA twigs. Originally conceived as a collaboration with Playboi Carti, it didn't make it. Despite this, the track is still an ear-splitting blast of twitchy drums and ear-wormed vocals.

Stardust also features a pair of successful mode-switching collabs. Yung Lean, who has been at the helm of the Drain Gang for the better part of a decade, has managed to remain at the helm of his own ship despite some hiccups along the way.

Ecco2K's debut album Using Ecco2K as a guinea pig may have been akin to a first person test subject, but the sandbox has not slowed down the Swedish duo, nor the mercenaries en masse. In fact, the likes of the aforementioned duo have racked up some serious cash in the biz. As a matter of fact, a couple of the lucky boffos have been awarded with a check to the tune of tens of thousands of euros. Despite the fact that the duo are still in the process of reshaping their respective businesses, a brief chat with the lads in question revealed that they have a solid grasp on the business and an amenable appetite for finer brews.

Bladee's drain gang music videos Yung Lean and Bladee are members of Drain Gang, a group of artists and musicians that has become a cult of internet fans. The band is made up of musicians, producers, and singers. They are known for their unique style. They have gained a lot of traction online and have become a source of inspiration for people looking for an alternative to mainstream music.

Bladee is a Swedish rapper and record producer who has become known in collaboration with Yung Lean and the Sad Boys. He has released several albums that have been very important to the group. His fourth studio album was released last year, and it was produced by frequent collaborator Lusi.

[cyarsk52-20]

Sometimes people are responsible for the destruction of their own careers. This is one examples.

The Only Person To Blame For Tory Lanez's 10 Year Jail Sentence Is Tory Lanez

We may earn a commission from links on this page.

As The Root reported, Tory Lanez was sentenced Tuesday (August 8) to 10 years in prison for shooting Megan Thee Stallion. The final outcome regarding this violent incident, which happened in 2020, has some folks on social media  saying that a decade is an extreme sentence for the assault. Whether if you agree with that assessment or not, one thing is certain: Lanez brought this  entirely on himself.

When the shooting first happened, Megan denied being shot at all and told authorities she’d stepped on glass even though she would need surgery on her feet to remove bullet fragments. She explained that she did this to protect everyone with her inside the vehicle that night, as the police are known to disproportionately have fatal encounters with Black folks.

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The rapper legitimately feared that this would happen if police knew Lanez was in possession of a weapon. However, in an Instagram Live video, Meg explained Lanez’s publicist was spreading false information about the shooting which led to her to name Lanez as the perpetrator. Even though he was arrested in October 2020 on a charge of carrying a concealed weapon in a vehicle, he was not arrested for shooting Megan (Lanez would later be released on $35,000 bail).

Not only did Lanez avoid any sort of accountability, he repeatedly professed his innocence by insisting that Megan was a liar. Lanez released the album DAYSTAR just two months after the violent incident in which he accused her of trying to frame him. On  “Money Over Fallouts,” he stated, “Megan people tryna frame me for a shootin’....Gotta see a couple questions: how the f**k you get shot in your foot, don’t hit no bones or tendons?” 

According to Billboard, a source close to the situation accused Lanez’s team of fabricating emails from Meg’s label, 300 Entertainment, to “campaign press” on his behalf. The magazine also said the source claimed the star’s team made up text messages between Lanez and Megan and sent them to several outlets. The magazine also said that Lanez also leveraged his following on social media to bully Meg. 

The Traumazine rapper was tormented for years following the shooting, and Lanez played a heavy hand in it. From memes ridiculing the incident, posts mocking Meg’s gender and claims that she deserved to be shot, Megan was bullied when she should have been healing. To add insult to injury, celebrities from Drake to 50 Cent to Lebron James to Meek Mill boosted Lanez when they should have been showing support to Meg. 

In 2021, prosecutors said they had engaged in “meaningful discussions” with Lanez about a possible plea deal but nothing materialized and the case went to trial last year (charges were brought against Lanez by the state, not Meg). Once it did, things quickly unraveled for him. From Megan taking the stand to an audio recording of Lanez seemingly confessing to the shooting, a guilty verdict felt inevitable.

Lanez’s request for a new trial was denied in May as well as his request  to remove the judge from the case. During his sentencing, Lanez pleaded for leniency and presented 76 character reference letters as proof of his inherently good nature. He also spoke for several minutes and called Megan “someone I still care for dearly to this day.” 

However, in a witness impact statement from Megan read during sentencing, she explained how Lanez tried to destroy her and that mercy is for people who show remorse. For the last three years, Lanez has made this ordeal much worse for himself by refusing to take responsibility for what he did to Meg and still won’t own up to his behavior. During the sentencing, he stated that if he was guilty of assaulting Meg alcoholism and childhood trauma was to blame.

Ultimately, Lanez’s prison sentence was the result of him being worried more about his ego more than consequences of his actions—and  he’ll be paying for both for the next decade.

Blackness in your inbox daily. Subscribe to The Root.

[seeabout-afterdark09]

Mine

Mine

Beyoncé (ft. Drake) (December 13, 2013)

This is a love song in which Beyoncé and Drake declare that the person they love is theirs. Beyoncé is in the middle of a relationship but has doubts about its strength, contemplating separation but ultimately deciding not to because her man is "hers". She sings before the refrain, "With me bein' wherever I'm at/Worried 'bout wherever you are/We're takin' this a little too far." This relates greatly to Drake's verse because they're both stuck on this one person. In the chorus they sing: "I just wanna say, you're mine, you're mine/Fuck what you heard, you're mine, you're mine." In Drake's refrain he mentions the phrase "good girl" multiple times. Not meaning a literal super safe, super nice "good girl." But a girl that is loyal and is willing to hold her man down. He continues: "From eight until late, I think 'bout you/You own my nights, I don't know what to do." This mirrors Beyonce's previous mention of having anxiety and worry about her own relationship. Leading up to 2014 from late 2013, something really explosive happened as things between Nicki and her boyfriend were becoming increasingly worse. Nicki Minaj not only revealed to the world that she'd been in a long-term relationship with her hype man, Safaree Samuels, but that their relationship was also at its end. At this same time, Nicki and Drake were just beginning to repair their relationship as she was simultaneously creating The PinkPrint, as well as getting closer to gangster rapper Meek Mill (who was also on her album). 

This is important because for the first time in a long time — Nicki didn't have a boyfriend and was "shopping around" for her next leading man. She was vulnerable, and available. At the beginning of Drake's last verse, he starts: "You gon' make me have to pull up on you/Don't go ghost on me, I'ma go "Thriller" on you." In this final verse Drake is speaking directly to Nicki. He's begging her not to hide from him and to open up more about what she's doing. "I miss everything that's real about you/And that's everything about you, that's just how I feel about you (Pull up on you)/Been about you and I'm still about you." Drake has always had a lot of love for Nicki. Them being apart honestly only made him want to be around her more. He loved her then and still loves her. Then he raps: "You the one they hate, this come with that/I know you think it's funny that your ex is not a runnin' back/But that nigga came runnin' back." Nicki at this point is dealing with public ghostwriting accusations from haters and getting bashed by Safaree. Through all of this, Drake wants her to stay strong and remember who she is. Drake's final words are: "And you tell me you done with that/And I believe it's true/Long as you know who you belong to." This is about Nicki and Safaree's relationship; that "thing" she's done with. Though he's a bit anxious, he believes her because he also believes very strongly that she's meant to be with him.

[kwakurichblogger]

American rapper Meek Mill says sorry @meekmill #meekmill #entertainment #music #love #fun #kwakurichworld #fashion #hiphop #dance #trending #party #news #artist #media #Ghana #nigeria #viral #events #photography #explorepage #music #sport #explore #actor #kwakurich #kwakurichblogger #album https://www.instagram.com/p/CnOxfJJoM66/?igshid=NGJjMDIxMWI=