Rap version battle between Drake and Kendrick Lamar is more than just a personal issue these two men have with each other. Like many Have recordIt was a pivotal moment in hip-hop history, and not just because of Mr. Lamar “Not like us,” released last week, became the hip-hop song with the most plays on US Spotify in a single day — surpassing the previous highest record set by Drake and Lil Baby.
What sets this rap war apart from previous famous hip-hop feuds is its importance and significance to popular music. Hip-hop, born as an underground movement, has long become a global phenomenon, leading some artists to blur the lines between authenticity and commercialization. Global pop music audiences have always been more attracted to the straightforward hip-hop sound, without the complex lyrics and politicized messages that characterize the “conscious” rap genre.
Mr. Lamar’s victory signals a revival of lyrical rap music — and a return to hip-hop culture’s roots — while also setting a new template for relevance in an era where content can go viral instantly on social media and streaming platforms. If Drake, who has become the face of mainstream pop, has lost this battle, the defeat is not his alone.
Mr. Lamar’s ability to write complex and layered lyrics has long been praised. But this battle brought new attention and enthusiasm to that particular element of art in which he excelled. Fans have scrambled to decipher his complex verses with each new release. (Webpage Geniuswhere users annotate song lyrics, crashed from the number of visitors investigating this feud.) Mr. Lamar’s apparent decision to remove copyright protections for “Not Like Us” has also allowed the music to be widely available, allows content creators Make money from articles Introducing the song.
The removal of these limitations on song distribution signals a new and savvy approach to marketing and sales in the music industry. That was another aspect of Mr. Lamar’s victory – recruiting countless hidden collaborators to spread his message and join his crusade.
Drake tried his best to resist and innovate. His second volley of the battle, “Taylor Made Freestyle,” incorporated AI to draw on two iconic figures of West Coast hip-hop: Tupac Shakur and Snoop Dogg. (Drake removed the song from social media after protests from Mr. Shakur’s estate). Drake also took direct aim at Mr. Lamar’s supposed lyrical ability, mocking him for responding with a “five-parter.”
Underestimating Mr. Lamar – person win Pulitzer Prize for his album “DAMN.” – is a questionable move. Mr. Lamar’s response, “Happiness,” comes with the accuracy and effectiveness of a heat-seeking missile. The title “Euphoria” not only conveys the feeling but is also a reference to the HBO series on which Drake is an executive producer – a show known for its controversial depiction of teenage sexuality, a parallel highlighted Mr. Lamar’s allegations that Drake harbored inappropriate infatuations.
In the arena of rap battles, participants are used precisely because they imbue words with many layers of meaning. Nowhere is this more evident than in the stark contrast between love and hate, the poles around which rap fluctuates. In a key moment in Euphoria, Mr. Lamar transformed into the late rapper DMX, who in 2012. expressed his discontent about Drake on “The Breakfast Club,” a radio show that is a cornerstone of hip-hop media. On the track, Mr. Lamar echoed DMX as he growled at Drake, “I hate the way you walk, the way you talk, I hate the way you dress.”
Drake countered by questioning Mr. Lamar’s authenticity, describing his portrayal of black empowerment as superficial and insincere. But Mr. Lamar quickly retaliated, targeting Drake’s accusations of cultural appropriation. Authenticity in hip-hop is often tied to a rapper’s ability to embody the distinctive sound of their homeland – something that Drake, a Canadian with an ambiguous racial identity, deftly transcends , transcends geographical and musical boundaries and incorporates regional sounds from across America, especially the South.
In the closing lines of “Not Like Us,” Mr. Lamar focuses on what he sees as Drake’s weaknesses. Mr. Lamar’s artistry shines as he seamlessly blends social commentary and catchy beats. He begins by recalling the painful legacy of black Americans in chains, then highlights Atlanta’s historical significance as a center of the slave trade in the South – before drawing parallels. coincides with Drake’s exploitation of Southern rap culture for personal gain. His indictment culminated with the damning accusation: “You run to Atlanta when you need a few dollars,” he said. Drake is not a “colleague”, he is a “colonizer”.
Through his sharp lyrics, Mr. Lamar reveals the complexities of cultural identity and power dynamics in the rap industry – all under the lyrical rap banner. His verbal attack demonstrates the depth and staying power of hip-hop history and culture, with its legacy of lyrical complexity and ingenuity.
Armed with these tools and talents, Mr. Lamar overthrew Drake and in the process showed himself, by appealing to the traditions of hip-hop, to be more relevant to the current moment. At least until the bell rings signaling the next round.
Laurence Ralph is a professor of anthropology at Princeton and the author of “Sito: An American Teenager and the City That Failed Him.”
Photo credit to Arturo Holmes/MG23 and Prince Williams, via Getty Images.
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