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Tyler, The Creator’s Best Verses On “CHROMAKOPIA”

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As with every new Tyler The Creator album, CHROMAKOPIA is a lot to take in. That’s not just due to the manic, genre-fusing, and intricately layered production, but also because of how much his lyrics reveal about his current perspective and his impactful journey as an artist. While the Hawthorne native keeps things exciting with his performances, the thematic density of most tracks leaves a lot of open room for analysis and deep topical explorations. In other words, this new album can feel overwhelming at times, especially when we’ve only had it for a few hours. Furthermore, it’s impossible to define all of its themes succinctly in such a short time span.

But there are many verses on here that immediately stand out as some of Tyler, The Creator’s best writing, his most complete narratives, and his most compelling examples of keenly crafted nuance. Whether it’s about fatherhood (or his own father), Black hair, religion, or identity, the former Odd Future frontman’s pen reached some of its highest all-time peaks. As such, we’ve compiled the five best verses from CHROMAKOPIA that caught our ears in our first couple of listens. We’ll stick to the rapping performances on here for the sake of consistency, and to Tyler himself. Even though these are just early impressions, the statements and reflections on this LP certainly leave their mark the moment they hit your ears. We can only imagine what other treasures they hold, and these excellent verses could point the way.

“Darling I” Verse 2

Relationships, commitment, and fatherhood are big themes on CHROMAKOPIA, so it’s only fitting that Tyler The Creator would outline his feelings on romance on one of the album’s first tracks. With steady flows, he delivers one of his most blunt and direct verses on the album that explains why he’s not a fan of monogamy. First off, the “WHAT A DAY” creative compares partners to all the different cars that he loves for different reasons, which also calls to lingering themes of success and excess from CALL ME IF YOU GET LOST. This isn’t just a playboy anthem, though, as Tyler also points to his own flaws that prompt this perspective.

“Too many grooves, I’m too curious to try to be / Hiding things, feeling shame built inside of me / ’Cause honestly, T is not perfect / So how can I get everything from one person?” Tyler, The Creator raps on the cut. At the end of the day, he really appreciates his love-lorn bonds, but concludes that what will really provide him with long-lasting company is the art he creates. That feeling of love is what he chases and cherishes, even if it’s temporary.

Read More: Playboi Carti Has A Feature On Tyler, The Creator’s “CHROMAKOPIA,” But There’s A Twist

“Hey Jane” Verse 1

Both verses on “Hey Jane” (named after an abortion-related healthcare company) speak about Tyler The Creator’s relationship with a woman and their unexpected pregnancy, divulging their personal insecurities about it and affirming their commitment to support each other no matter the woman’s decision. They’re both stellar narratives with cutting lines and tender details, but since the second one is from the woman’s perspective, we’d rather let potential mothers speak on that for themselves. Regardless, the Camp Flog Gnaw leader provides a balanced and mature assessment from both sides, and his story shines through beautifully.

Through lines like “We ain’t make it to love yet / Took a shortcut to forever, I’m upset” and “You got to deal with all the mental and physical change / All the heaviest emotions, and the physical pain / Just to give the kid the man last name? F**k that,” Tyler, The Creator swings on the pendulum of fear and fearless support with grace. He knows it’s not the perfect situation, but he’s ready to take accountability for his and his partner’s choices, prioritizing her wants and needs. From a narrative perspective, the letter-like framing of each verse makes this one of CHROMAKOPIA‘s most striking lyrical moments.

“I Killed You” Verse 1

Tyler The Creator is a rapper, not a poet, but the first verse on “I Killed You” blurs that line through a common literary device in both art forms: personification. Building off of themes of heritage and identity, he speaks about his hair and remarks on its importance in Black culture. Much like the rest of CHROMAKOPIA, there’s a masterful push-and-pull on display. On one hand, Tyler explains all the things that Black culture and he himself has done to adapt their hair to a society of white supremacy that looks down on them. “No finding out, a couple knots was a map / We escaping them routes” is a particularly cutting line that feels ashamed of trying to erase that history with chemicals, cuts, straightening, etc.

However, by the end of the song, Tyler, The Creator concludes that he could “never kill” his hair, flipping the first line from “If they see you on top of me, I got to leave” to “If they see you on top of me, then I’m at peace.” What was once a passing mention on CMIYGL turned into one of Tyler’s most skilled, proud, and culturally powerful statements as of late.

Read More: Tyler, The Creator Has Fans Labeling His New Album A “Masterpiece”

“Thought I Was Dead” Verse 2

When Tyler The Creator gets rowdy on CHROMAKOPIA, it’s an exciting and perfectly matched pairing with his rambunctious bangers. “Thought I Was Dead” embodies this explosively, particularly the verse that begins with a double-down on his stance against white rappers (and probably fans) mocking hip-hop. The 33-year-old is unapologetic about his past, flaunting what people see as hypocrisy as personal growth and success. Lines like “I’ma crash s**t out ’til my hair white / I got too much drive, I’m a terabyte” indicate that his brashness isn’t gone from the early Goblin days. It’s just much more well-executed this time around.

In addition, we’d be remiss not to mention the seamless flow switches and dynamic deliveries on this verse. It’s the best and most hard-hitting example of Tyler, The Creator’s bravado on CHROMAKOPIA, one that takes just as much aim at an insufficient and uninspired rap game as it does at critics of his often unfiltered perspective. Obviously, the flips and one-liners help these shots land: “T-T changed like the fit got dirty / I was young man, then a n***a hit thirty / I was one mill’, then a n***a hit thirty / B***h, you ain’t Coco Gauff, you can’t serve me.”

“Take Your Mask Off” Verse 4

Through multiple verses here, Tyler The Creator calls out the pain that “masks” result in. He discusses fake street rappers, greedy and hypocritically bigoted preachers, and rich, unfulfilled partners. But the most interesting verse is the fourth one, on which Tyler seems to address himself, his insecurities, his negative energy, and what other people might criticize about him. Maybe it’s a reach, but there are specific references to hair falling out, home wrecking, fear of fatherhood, being rich at 19, and other details that he owns up to on other CHROMAKOPIA cuts.

Nevertheless, it’s still filled with gut-wrenching bars like “Your respect won’t get given ’til we posting your death / It’s clear you wish you got your flowers sent / You eating fertilizer to balance s**t.” Perhaps this is all about another rapper, but maybe Tyler, The Creator is taking off his own mask of high self-esteem, confidence, and consistency. There is always the looming fear of losing oneself and “falling off,” plus the fact that a boisterous and self-worthy soar to the Sun can lead to a crashing spiral down to Earth every once in a while. Tyler Okonma has incredible reasons to believe in himself. But we’re glad he feels comfortable enough to take the mask off without fear.

Read More: Tyler, The Creator Announces “CHROMAKOPIA” Tour: Here’s Everything You Need To Know

The post Tyler, The Creator’s Best Verses On “CHROMAKOPIA” appeared first on HotNewHipHop.

“The Death Of Slim Shady”: The 7 Best Bars From Eminem

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If you forgot to dress in all black for the occasion today (Friday, July 12), don’t fret: The Death Of Slim Shady (Coup De Grâce) is less of a fatal blow and more like a Frankenstein-esque creator-versus-creation resuscitation. Eminem’s new album sees him tackle his alter ego in very similar ways as he’s done in the past, but more overtly and satirically than ever before. There are a whole lot of “offensive” bars to gasp at, some really funny flips to indulge in, and compelling reflections on his life and career.

While some of it is a mixed bag, we’re happy to say that the Detroit legend feels right at home, no matter which personality is taking the mic… or the gun, in this case. The new material on The Death Of Slim Shady (following “Houdini” and the BabyTron and Big Sean-assisted “Tobey“) is quite sharp. Through clever, nearly nauseating, but still nasty wordplay, Eminem expresses himself unabashedly and hangs all the best and worst corners of his mind outside of his butcher shop. We’re sure we missed plenty of highlights, so let us know what your favorite bar from this album was down in the comments section below.

Read More: Eminem References Viral Gen Z Cancellation Meme On “The Death Of Slim Shady”

“Renaissance”: F**k The Critics

Bar(s): Everything is either too tame or there’s too much anger / I didn’t like the beat, so I hated ‘Might Delete Later’ / You nerdy pricks would find something wrong with ’36 Chambers’

The Death Of Slim Shady kicks off, unsurprisingly, with a middle finger to what Eminem sees as fake rap fans bringing the genre’s icons down. The first line points to the culture’s hyper-obsession with both narratives of staleness or the “doing too much” argument, emphasizing that fans are more concerned with what they want to hear than with artists pursuing their vision. Em brings up J. Cole’s Might Delete Later mixtape as a recent example, possibly alluding to the hated-on Kendrick diss “7 Minute Drill” and how many didn’t like the first beat on that track. Finally, by alluding to the Wu-Tang Clan classic, he makes the case that legendary albums will live on far longer than the hate surrounding them. Maybe all it takes is time for the culture to understand these artistic drives and not jumping down MCs’ throats so eagerly and maliciously.

“Habits”: His Love Of South Park

Bar(s): Would this rhyme be okay if ‘South Park’ had did it? / Would it make you less angry if Cartman spit it?

Onto one of the more cheeky bars on The Death Of Slim Shady, which reiterates Eminem’s love of (and close parallels with) the classic animated TV show South Park. With this bar, he calls out the hypocrisy of people tolerating offensive content when it comes from an expected place, but condemning it when it appears in other, more “serious” areas. Perhaps, Marshall Mathers feels like people view him more critically because of his skill. Since he does have very sobering moments, maybe, they fail to realize that this skill is what gives his music his titanic quality and not the content within. While he’s definitely made this point in a lot of his past material, it sounds a bit fresher this time around as society opens and closes more and more spaces for irreverence, a practice that he’s all too comfortable with disrupting.

Read More: Eminem Prompts All Sorts Of Fan Reactions To New Album “The Death Of Slim Shady”

“Lucifer”: Eminem’s… Struggles?

Bar(s): Yeah, they listen to me like when Manson spoke / They say I don’t know struggle no more, that’s a joke / B***h, the f***ing elevator in my mansion’s broke / I have to walk like half a block to get a can of Coke

However, this is hands-down one of the funniest bars on the whole album, as Eminem is well-aware of his privilege, wealth, and most importantly, his attitude. Having to walk across a massive luxury property just to get a soda from the fridge is exactly the sort of rich, arrogant, ignorant, First World problem that someone like him would be so angry and frustrated over. But it’s still a flex, of course, or else there would be no “joke” to talk about. Also, this bar is among the only hilarious moments on The Death Of Slim Shady that doesn’t have to clown a celebrity, belittle a marginalized group, or rant about PC culture to do so. As such, it stands out as a vivid image on the project and, even though this catalog’s full of flaunting, rarely do we get glimpses into little annoyances that become big tantrums for superstars.

“Lucifer”: Slim Shady X K.Dot?

Bar(s): As far as smoke with me, I don’t think it’d be smart, so / Might as well go looking for smoke with Lamar, bro

It’s 2024; of course Eminem was going to throw in a reference or two to the biggest rap battle since Nas and Jay-Z. However, what makes this bar a bit more than just a shoutout is actually how it lyrically calls back to Kendrick Lamar’s “Euphoria,” which itself topically called back to Pusha T’s previous beef with Drake. “Yeah, f**k all that pushing P, let me see you push a T / You better off spinning again on him if you think about pushing me,” K.Dot raps there. So not only is Slim Shady also praising a fellow lyrical killer, but he’s also invoking their shared lineage in the Dr. Dre family tree. Also, we know that Em might’ve shaded Hov on “Tobey,” so to see more combative lines against the rap game on The Death Of Slim Shady was a given.

Read More: Could Kendrick Lamar Beat Eminem In A Rap Battle? Fans Debate After Drake Beef

“Fuel”: Diddy’s Alleged Deeds

Bar(s): I’m like a R-A-P-E-R  / Got so many essays, S-As / Wait, he didn’t just spell the word ‘rapper’ and leave out a ‘P,’ did he? / R.I.P., rest in peace, Biggie / And ‘Pac, both of y’all should be living / But I ain’t tryna beef with him / ‘Cause he might put a hit on me like Keefe D did him

Along with Caitlyn Jenner and little people, Diddy was one of Eminem’s most consistent and eviscerated targets on The Death Of Slim Shady. While there are many bars on this topic to talk about, this line from “Fuel” (which has a stunning JID feature) is a very comprehensive one as far as the angles it tackles. The first part has some clever wordplay (“‘P,’ did he?” = P. Diddy, rapper = essays & r**er = SAs [sexual assaults]) about Sean Combs’ various lawsuits and accusations concerning sexual assault, abuse, and sex trafficking, all of which he’s denied. The second questions Puffy’s alleged involvement in Big and ‘Pac’s murders and Keefe D’s current court case for the death of the latter. You’ve also probably heard the “Antichrist” bar that mutes Cassie’s name, which stung more on impact. But this one adds the extreme lyrical reaches that fans love.

“Head Honcho”: Slim Shady Sons The Rap Game

Bar(s): These rappers, I’m above them, but punching down ain’t beneath me / Cold as the wind chill factor, but the fact is I don’t know when to chill / But every time I come out, they expect me to f***ing reinvent the wheel / Rappers get praised for spitting bars with less than the tenth of skill

Out of the many bars against lesser rappers on The Death Of Slim Shady, this one is perhaps Eminem’s most layered commentary on the matter. We all know he loves punching down, and we all know that he’s exactly the type of person to flip “wind chill” and “when to chill” in borderline corny fashion. But as fans and as artists, folks continually expect Marshall to bring something completely new to the table when he’s made his intentions and artistic drives clear and largely unchanged throughout his career. In addition, this alludes to the contrast between artistry and novelty, perhaps suggesting that just because things are new, we give them a pass on actually being good. Em toes this line very dangerously thanks to his aesthetic clashes whenever he does try something new, but his skill as a lyricist has never been in question.

“Temporary”: Marshall Mathers’ Family

Bar(s): But don’t you dare shed a tear, what I tell you? / “Straighten up, little soldier,” them times when I held you

Finally, we have to mention the emotional core of The Death Of Slim Shady: the 51-year-old’s tribute tracks to his daughter Hailie (“Temporary“) and his family (“Somebody Save Me”). This is after Eminem “kills” Slim Shady on “Guilty Conscience 2,” and after he talks about his addiction to controversy and the rough experiences that birthed it. So to hear him speak about Hailie saving him from this struggle through a quote that ties back to “Like Toy Soldiers” is a sweet and touching moment. These songs are his final messages for his family after he dies, saying what he couldn’t say on this earthly plane. Much like the rest of this album, it stands up against adversity, but this time, the obstacles aren’t Gen Z’s “wokeness.” Instead, we understand that if Slim Shady and his provocative nature died, then it’s Eminem’s family that brought Marshall Mathers back to life.

Read More: Eminem Targets Diddy, Kanye West & Ja Rule On “The Death Of Slim Shady”

The post “The Death Of Slim Shady”: The 7 Best Bars From Eminem appeared first on HotNewHipHop.

The Game “Freeway’s Revenge”: How He Brutally Dissected Rick Ross’ Persona

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The Game and Rick Ross never had a lot of direct issues with one another, but what little tension existed definitely escalated with the explosive back-and-forth between Drake and Kendrick Lamar. They made their sides quite clear, but it looks like the Los Angeles rapper in particular wasn’t content with solely supporting the 6ix God against Rozay’s favorite. Moreover, following some Instagram subs, he dropped “Freeway’s Revenge,” a lyrical takedown of Ross’ character that joined in on the beef-flinging.

The main thesis behind this diss track is to expose Rick Ross as a fake gangster and an inauthentic presence in the culture, on top of some really disrespectful moments, all filtered through The Game’s soulful beat selection, intricate rhyme schemes, vivid imagery, and creative wordplay and diction. Whether the Biggest Boss will respond on wax is another matter, but this is a pretty steamy way to kick things off. Maybe they’ll go for a couple of rounds like Drake and Kendrick Lamar, although ironically, Game brings up some authenticity arguments against Ross that aren’t too far off from what shots Kendrick had for Drizzy.

Read More: The Game Addresses Rick Ross’ Lukewarm Reaction To New Diss Track

The Game Sets Kendrick Lamar & Drake’s Beef As A Backdrop

Perhaps that’s where we should begin, as The Game’s numerous references to Kendrick Lamar and Drake’s current beef give credence to the idea that this conflict is what inspired his diss towards Rick Ross. Most of these inclusions are firearm wordplay, such as “This ain’t the Kendrick beef, my Drac’ sing songs” and “My K.Dot s**t, I don’t have to turn the beam on.” There’s one flip on K.Dot’s classic 2012 album and its track “The Art Of Peer Pressure”: “Bad kid, good city, I study the art of war.” Finally, the most relevant beef reference in “Freeway’s Revenge” is the line “You ain’t sold no birds, you trolled the owl,” pointing to Ross’ obsession with Drizzy online. While Game doesn’t outright diss Kendrick here, he does openly stand up for Aubrey against Rick Ross, and takes advantage of both artists’ work.

That’s all to set the stage for the stakes in this new feud, making it not just a historical timestamp but the act of war that inspired these two troops to take to the battlefield. The Game also throws in plenty of other references that not only build up his street and hip-hop credentials as opposed to Rick Ross’, but also aim to entice other streamers like DJ Akademiks and Kai Cenat to dissect and witness this drama and gossip as closely as they did Drake and Kendrick Lamar’s. These references include Pac’s ring (which also caught mention in that showdown) and his exit from the hospital, an old Gravediggaz song (“1-800 Suicide”), Ross’ Wingstop franchises, Haitian gangs in Miami, Harry-O’s role in Death Row’s origins, and even Rozay’s tone of voice and manner of speaking with a comical imitation.

Read More: The Game Disses Rick Ross: Fans React To The Good, The Bad & The Ugly

Rick Ross’ Fake Mastermind Persona

As we previously mentioned, these references and small lyrical details give more color to the main argument of the song: Rick Ross is a fraud in the rap game. Through lines like “You a C.O., that’s the last time you had keys on,” “No car shows, no pinky rings, no umbrellas in the car doors / Introduce me and my connect to that Columbian you chop that raw for,” and “All that money you rap about gon’ get you a mean plot,” The Game suggests that Ross’ history as a correctional officer and his obsession with only money and luxury make his “gangster” image fall flat on its face. He doesn’t care about the $20 million mansion renovations or the way that the MMG mogul has referred to himself on albums like 2014’s Mastermind or songs like “All Birds.”

In addition, The Game calls Rick Ross out for allegedly biting Biggie’s style and stealing his entire persona from criminal “Freeway” Rick Ross (which, of course, also inspires the title). To match, there are also plenty of vivid descriptions of violence throughout, hinting at the real depths that this beef could go to which Ross is allegedly faking but not really prepared for, such as, “I’m watching Scarface and cleaning TECs / Shots gon’ be direct, have you been through Cedar yet?” To the Drillmatic MC, his opponent is just “making up s**t just to pass the time.” What’s more, is that he hints that there is still more ammo in the clip through this bar: “And he know some s**t that ain’t cool for him to speak on / My P.O. said, ‘This ain’t the record that we agreed on!’”

Read More: Rick Ross Performs In Front Of Tiny Crowd In Now-Viral Video Amid Drake Beef

Things Got Personal On “Freeway’s Revenge”

Finally, plenty of harsher ammunition here made things quite personal between The Game and Rick Ross. For one, “Freeway’s Revenge” takes aim at Ross’ weight on occasion, claims that he’s a fan of golden showers, and clowns the “fish tanks and marble floors” and other luxurious lifestyle choices that he often flaunts throughout his career. But the real cutting jabs have to do with the Mississippi native’s health confessions and his loyalties to his circle. Game mentions his “sick as hell” struggle with insomnia and seizures due to his lifestyle and lean usage, despite Ross’ attempts to “tell us he just bought another crib, he livin’ well.” He adds, “He popping pills, they starting to f**k with his brain / Seizures off the lean, Balenciagas shorts got the s**t stains.”

Not only that, but The Game also references the lyrical controversy behind Rozay’s verse on the song “U.O.E.N.O.,” in which he brags about sleeping with a girl after slipping molly in her champagne, thus rendering her unable to give consent or even remember the incident. “This n***a drug women, that’s how your team rock?” the 44-year-old rapped against Rick Ross, although Game’s got his own sexual assault allegations to deal with right now. Regardless, he also blasts Ross’ failure to support his artist Gunplay through personal and financial struggles of the moment. With these final points, The Game claims that the Biggest Boss is a small fry that uses money and image to not just obfuscate his actual hip-hop and street connections but to present a more lively and lauded narrative of what he’s really going through and what he really stands for. Is it enough? We will see.

Read More: The Game Criticizes J Cole For “Watering Down” Rap Battles

The post The Game “Freeway’s Revenge”: How He Brutally Dissected Rick Ross’ Persona appeared first on HotNewHipHop.

Kendrick Lamar “6:16 In LA”: The Best Bars

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By now, so many shots have been fired in the brutal rap beef between Kendrick Lamar and Drake that some of the disses have been completely buried. Kendrick’s “6:16 In LA” has been largely overlooked due to the track not being available on streaming platforms, though the song does have some incredibly scathing lyrics. The track premiered exclusively through Kendrick Lamar’s official Instagram account in the early morning hours of Friday, May 3, and ultimately served as the calm before the storm, with the harshest diss tracks of the entire feud releasing back to back later that very evening.

Now that the Kendrick Lamar and Drake beef seems to have at least slowed down, it’s worth revisiting “6:16 In LA” and discussing some of the best bars on the song. Without any further preamble, here are a few of the strongest lyrical showings on the diss.

Kendrick Prays & Comes From Love

Unlike some of the other tracks to come out of this feud, Kendrick Lamar opens up “6:16 In LA” with a few bars that aren’t direct insults or ad hominem attacks. Instead, “6:16 In LA” begins with the Compton rapper offering something of an explanation to both Drake and his fans as to why he’s engaging in this beef to begin with. He states, “Three angels watchin’ me all the time/ Put my children to sleep with a prayer, then close my eyes/ Definition of peace Tell me who gon’ stop me? I come from love/ Estelle cover my heart, then open me up.” Through these bars, Kendrick asserts that he has found peace within his life and enjoys quiet luxury and family values.

Familial and spiritual relationships rapidly became a focal point of the feud between Kendrick and Drake, as the PGLang founder has accused Drake of being a deadbeat father with no spiritual connection to god. Kendrick centers this lack of godliness with Drake’s many flaws and alleged lifestyle missteps and later commands the Toronto artist to seek therapy and look within.

Drake Is Using Media Drones To Do His Dirty Work

@akademiks

Akademiks reacts to being dissed in new Kendrick Lamar “6:16 in LA” (Drake diss)💀😭

♬ original sound – Akademiks

Kendrick responds to some foul play within the music media industry in this track, arguing that Drake has streamers and podcasters on his payroll, including DJ Akademiks. He raps, “Yeah, somebody’s lyin’, I can see the vibes on Ak/ Even he lookin’ compromised, let’s peel the layers back/ Ain’t no brownie points for beating your chest, harassin’ Ant/ F*ckin’ with good people make good people go to bat.” Kendrick also takes this opportunity to defend his manager Anthony Saleh, whom Drake shaded multiple times on social media following his release of the track “Push Ups.” This lyric seems to be the last warning shot to Drake that things are about to escalate far beyond a simple showing of rap skill, as Kendrick takes issue with his opponent making the beef personal by calling out the people in his corner.

Kendrick first alluded to his willingness to take things further with lyrics such as “you a master manipulator and habitual liar too. But don’t tell no lie about me and I won’t tell truths ’bout you” on “Euphoria.” Kendrick later reiterated this position in the explosive song “Meet The Grahams,” where he raps, “This supposed to be a good exhibition within the game. But you f***ed up the moment you called out my family’s name. Why you had to stoop so low to discredit some decent people? Guess integrity is lost when the metaphors doesn’t reach you.”

Kendrick Claims To Have A Mole In The OVO Camp

Kendrick continues on the scathing record, “Are you finally ready to play have-you-ever? Let’s see/ Have you ever thought that OVO is workin’ for me?/ Fake bully, I hate bullies, you must be a terrible person/ Everyone inside your team is whispering that you deserve it.” This is one of the most fascinating bars in the entire beef, as Kendrick claims to have multiple moles within Drake’s camp who are only pretending to like Drake for his money and popularity.

At first, fans assumed this lyric was in place just to stoke Drake’s paranoia. Of course, the release of “Meet The Grahams” later that very evening seemed to confirm what Kendrick had to say in “6:16 In LA.” Kendrick seems to have had insider information regarding Drake’s next moves, as he was able to drop a diss record responding to Drake’s “Family Matters” in less than an hour’s time, with direct rebuttals to lyrics from the brand new song.

Kendrick caps this bar off with a flat and absolutely scathing “you must be a terrible person” which cuts directly to the core. Here, the former TDE signee confirms once again that this beef goes much deeper than rap and stems from his unabashed purported hatred for Drake as a man, an artist, and everything Drake represents.

Kendrick Is Too Boring In His Personal Life To Get Cancelled

By now, both sides have accused the other of scrounging around in the streets to dig up dirt. Kendrick and Drake have both levied some incredibly serious accusations at one another, though neither of them have provided receipts to fully back up the claims that they have made. Regarding this, Kendrick preemptively raps, “It was fun until you started to put money in the streets/ Then lost money ’cause they came back with no receipts/ I’m sorry that I live a boring life, I love peace/ But war-ready if the world is ready to see you bleed.” On these bars in “6:16 In LA,” Kendrick seems to confirm that Drake offered money to people who know him in his personal life in return for salacious gossip. Kendrick claims that Drake came up short on this front, as no such dirt exists.

Fans can assume that this is at least partially true, as Drake famously executed this strategy back in 2018 while trying to get back at Pusha T for the groundbreaking release of the diss record “The Story of Adidon.” Ultimately, Drake never managed to find any scathing dirt on Pusha T and never crafted a response to the record, essentially conceding the win to Push. Kendrick lives an incredibly private life and often refuses to make any of his personal business public, meaning it would likely be even more difficult to get any inside info on him.

Drake’s Opps Might Be Closer Than He Thinks

In perhaps the most scathing bars of the entire track, Kendrick nears the conclusion of “6:16 In LA” with the lyrics, “Your entourage is only to hustle you/ A hundred n****s that you got on salary, and twenty of ’em want you as a casualty/ And one of them is actually next to you/ And two of them is practically tired of your lifestyle, just don’t got the audacity to tell you.” Here, he suggests that Drake’s camp is full of disloyal opportunists, secretly rooting for his downfall. Kendrick takes things a step further, arguing that a large percentage of Drake’s so-called friends actually want him to outright die. The cover art of “Meet The Grahams” also confirms the suggestion that some of Kendrick’s moles are in extremely close proximity to Drake, featuring some of Drake’s personal belongings and even a few of his prescription medications.

While no hip hop fan wants to see this battle escalate into physical violence, Kendrick seems to be offering a stern warning to Drake throughout all of his diss records. The warning asks that Drake change his lifestyle and find god before something unfortunate happens to him, whether that means a possible assault from a rival rapper or even a loss of life.

[Via]

The post Kendrick Lamar “6:16 In LA”: The Best Bars appeared first on HotNewHipHop.

Drake “The Heart Part 6”: What Is Kendrick Lamar’s “Mother I Sober” Actually About?

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There’s a difference between mixing up a person’s name and mixing up a story. Some might consider it a minor difference but it does not excuse one slip-up in the face of another, especially when there are much more serious allegations that neither Drake nor Kendrick Lamar have addressed. On the former’s explosive new diss track “The Heart Part 6,” he claims that he planted false information about a daughter that K. Dot ran with on “Meet The Grahams,” doubled down on domestic violence claims and the idea that his manager Dave Free impregnated his high school sweetheart, Whitney Alford, whom Kendrick shares two children with, and alleged a clout-chasing album rollout. Finally, the Toronto MC theorized that the reason why Kendrick made predator claims is because the pgLang creative experienced sexual abuse as a child, and deflected that pain onto his enemy.

To make something clear, mocking victims is an especially nasty and diminishing tactic in rap beef, as are allegations of predatory behavior without concrete evidence. But Drake attempted to back up this angle by referencing “Mother I Sober,” the penultimate song from Mr. Morale & The Big Steppers, which is where the real problem lies. What actually “happens” on this track, what did Drizzy fail to understand, and if this mistake was on purpose, what’s he really addressing?

Read More: Kendrick Lamar Changes “Meet The Grahams” Cover Art For Streaming Release, Fans Debate Why

“Mother I Sober”

2022’s “Mother I Sober” is one of the more cutting songs on that Kendrick Lamar album, as it narrates the depths of generational trauma. In the song, Kendrick specifically details how his mother didn’t believe him when he denied that his cousin molested him before revealing that she was a victim of abuse herself. “Family ties, they accused my cousin, ‘Did he touch you, Kendrick?‘ / Never lied, but no one believed me when I said ‘He didn’t’” and “I asked my momma why she didn’t believe me when I told her ‘No’ / I never knew she was violated in Chicago, I’m sympathetic / Told me that she feared it happened to me, for my protection / Though it never happened, she wouldn’t agree” are the specific lines that detail this.

As such, Drake either didn’t really listen to the song or suggests that Kendrick Lamar lied and experienced sexual assault. “My mom came over today and I was like, ‘Mother, I… Mother, I… Mother / Ah, wait a second, that’s that one record where you say you got molested.” In the latter’s case, he’d be questioning Kendrick’s mother’s testimony, as well. This gives the following “Euphoria” bar even more weight since there’s a literal misunderstanding here: “Fabricating stories on the family front ’cause you heard ‘Mr. Morale.’” It’s important to understand that this is all a narrative game now. Still, one’s vulnerable confessions carry a much more different and earnest tone than one’s failed reading comprehension skills.

Read More: 4batz Asks Kendrick Lamar For A Break In The Drake Feud

Did Kendrick Lamar & Drake Ruin Each Other?

This comes with at least a few caveats, as does everything else involved in this beef. Both of these artists are making unverified claims against the other, and misunderstanding a song does not equate to failing to address domestic violence allegations. The difference is that when Drake claims there are no famous pedophiles and that all of these accusations against him are false, he really shot himself in the foot again by minimizing victims’ experiences as petty retribution when he should be combating that narrative on all fronts. He’s having a worst-person-off with Kendrick Lamar, especially when he specifically addresses some things and then leaves other significant points, like accusations against the OVO camp and colonizer claims, unspoken.

All in all, this is rap beef: things get disrespectful, and the only fair comparison point is judging the art and the strategy. Regardless of what’s true and what isn’t, Dot’s narrative-building by dropping versatile and relentless disses, plus his catalog and Mr. Morale‘s particular focus on accountability, have effectively diffused many character attacks against him. Drake, almost equally relentless, has been dealing with groomer accusations for years without ever addressing them significantly, and misrepresenting “Mother I Sober” on his “facts” crusade is not notable for its disrespect, but for failing to dissect and learn who his opponent is, which Kendrick succeeded in doing. They both must address the horrible allegations against them with proof. But if all the proof that the 6ix God can offer is a faulty Genius read and Twitter talking points, Kendrick Lamar keeps his hold on the narrative.

Read More: DJ Vlad Receives Backlash For Threatening Black Professor’s Job Over Drake Vs. Kendrick Lamar Comments

The post Drake “The Heart Part 6”: What Is Kendrick Lamar’s “Mother I Sober” Actually About? appeared first on HotNewHipHop.

Kendrick Lamar “6:16 In LA”: Breaking Down His Lyrical Slaughter Of Drake’s Character

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Kendrick Lamar became one of the few rappers in history whose diss track’s title and production credits are just as integral to his message as the lyrics themselves. Moreover, you’ve likely seen dozens of interpretations of what “6:16 In LA” means and what Jack Antonoff’s (Taylor Swift’s producer’s) inclusion behind the board signifies regarding Drake’s “Taylor Made Freestyle.” But at the end of the day, what matters most is what K.Dot had to say about the 6ix God in this surprise verse, dropped just days after he unleashed his response track “euphoria.” Whereas that song covered multiple angles and talking points, this effort is a much more specific, strategic, and surgical attempt at a takedown.

Furthermore, Kendrick Lamar hones in on Drake’s character: the futile nature of his tactics, the disloyal evolution of his OVO camp, and the crucial difference that sets them apart as titanic artists championing the Black culture and community of hip-hop. Fully embracing the tactics behind “Taylor Made Freestyle” has allowed the former TDE MC to place his rival in a unique position where he must push the nuclear button, sharpen his pen to its highest proven level… or lose. No one doubts that the Toronto superstar is capable of this. But with “6:16 In LA,” Mr. Morale suggests that even if he secures a victory, it will not help him sleep better at night between so many vultures.

Read More: How Has Hip-Hop Responded To Kendrick Lamar’s “Euphoria”?

Kendrick Lamar Sets Himself Apart

 
 
 
 
 
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Before “picking the carcass apart,” Kendrick Lamar first argues what makes him a more compelling artist. References to yachts and Phantoms not only indicate similar economic levels despite Drake’s flaunting, but also paint his lifestyle as unperturbed, more pure, and more important to him than acclaim. This first part’s narrative is a double-down on the “I got a son to raise” bar on “euphoria,” prioritizing personal peace and privacy over the grandeur of public lauding. The Compton lyricist’s art is merely the expression of his self that he lets loose when necessary. “Remember when picked up a pen, lyrics that I can trust / Timid soul, stare in the mirror, asking where I was from / Often, I know this type of power is gon’ cost / But I live in circadian rhythms of a shooting star.”

With that last line, Kendrick Lamar references the rhythm of a human body, determining when it’s awake or dormant. As a notorious absentee in recent years, he could be proposing that, whenever he is awake, he is as special as a shooting star. Also, it calls to the moral “love and hate” conflict that this Drake beef creates within Kung Fu Kenny. “God, my confession is yours / But who am I if I don’t go to war? / There’s opportunity when living with loss / I discover myself when I fall short,” he raps, slyly dismissing “size 7” disses that Drizzy had for him. It’s all meant to represent a win that rap beef can’t fill the void of, tying in later to the exploration of this alleged void in Aubrey Graham’s circle.

Read More: Jack Dorsey Likes Kendrick Lamar’s Old Tweet About His First Toronto Show Amid Drake Beef

The “Wires” In OVO

Through specific name-drops, Kendrick Lamar scrutinizes Drake’s relationships and their seemingly at-risk loyalties. DJ Akademiks is “compromised” with his fav’s lies, Kendrick defends his manager Ant, he says Cash XO isn’t the real rat, Kash Doll’s jewelry burglary reference calls back to her ex breaking up with her due to being too friendly with Drizzy, and even L.A. nightlife staple Zack Bia catches a stray as someone that Drake allegedly tries to use to get information on Kendrick. The “N95” creative sums it all up with this line: “Have you ever thought that OVO is workin’ for me?” Whereas The Boy has plenty of dirt out and is trying to find some on K.Dot, Kendrick thinks he’s bluffing. Let the records show that Pusha T claims he got the info on Adonis from OVO, and that Drake tried to pay for dirt on him, so this isn’t a new take.

Regardless of whether there’s something out there that could hurt Kendrick Lamar, he’s confidently in his tight circle and his movement. But he thinks that Drake’s in dangerous waters. In fact, Kendrick claims that the core parts of his opponent’s inner circle are questionable, not just his peripherals. “A hundred n***as that you got on salary / And twenty of them want you as a casualty / And one of them is actually next to you,” Mr. Morale spits, which could link back to Aubrey’s bodyguard Chubbs, who also caught mention on “euphoria.” However, he frames none of this as unfortunate backstabbing to merely get a slice of Drizzy’s magnanimous pie, but rather as the idea that he’s a “terrible person” who brought this on himself.

Read More: Kendrick Lamar Vs. Drake Inspires Hilarious Memes Following The Release Of “6:16 In LA”

Drake’s Methods

Specifically, Kendrick Lamar alleges that Drake contributed to this lack of loyalty by pursuing money, power, and respect the wrong way, for the wrong reasons, and with the wrong people. Many on social media have probably seen the “Twitter bots” that Kendrick is referring to, although the discourse has become so deafening that neither fanbase will ever beat the meat-riding allegations. Nevertheless, this is a game that K.Dot thinks the 6ix God is an active participant in, playing the “propaganda” game until it “blows up on him.” By referencing Drake’s recent social media obsessions in order to further the beef, plus his use of antics like the Snoop Dogg and Tupac Shakur A.I. voices, Kendrick thinks that he’s exposing his own misguided ways on repeat without actually addressing any issues significantly.

“Your lil’ memes is losing steam, they figured you out / The forced opinions is not convincing, y’all need a new route,” Kendrick Lamar spits on “6:16 In LA.” In addition, there are a few moments of pulled punches here, just like on “euphoria,” that keep the focus on hip-hop and call Drake out for trying too hard to move the goalpost. “It was fun until you started to put money in the streets / Then lost money ’cause they came back with no receipts / I’m sorry that I live a boring life, I love peace.” Perhaps most importantly, Kendrick suggests that Drizzy is still an actor in the rap game, continuing this narrative that all of Drake’s shots are just obfuscating the lack of actual ammunition he has in store. To put it simply: Kendrick thinks Drake needs to self-reflect, think about his priorities, and reevaluate his behavior.

Read More: Al Green Reacts To Kendrick Lamar Sampling His Song On New Drake Diss “6:16 In LA”

What Will Drizzy Do Next?

So after that recollection, Drake has a few different avenues to play this through. The first is to call Kendrick Lamar’s nuclear bluff with a bomb of his own. Telling your opponent to grow up is a pretty boring diss at face value; surely a takedown of K.Dot’s character and his own mistakes will excite the hip-hop community more, right? At the moment, Kendrick wants everyone to think that The Boy has nothing to offer, but a whole lot could change overnight. But that also carries a risk. The pgLang artist’s moral vulnerability is far more of a shield against missteps than his mysterious movement, something we saw in action when OVO fans tried to call him out for self-admitted cheating years before his child was born. If there’s a bomb, it has to be a big one, because Drake has much to explain.

Conversely, Drake could show his pen’s prowess, challenging the multi-layered song titles, endlessly interpretable lines, and impeccable flow switches Kendrick Lamar has prioritized so far. That would be the best outcome here: let a winner take the crown for their skills (assuming there are no ghostwriters) and for their ability to engage, energize, and electrify. Alas, the OVO fanbase wants blood, not bars, and K.Dot has much more to lose from public embarrassment than the man who was “Ethered” on a diss track with him in blackface as the cover art. But “6:16 In LA” makes this much more than just rap beef. It’s about how artists carry themselves in the public eye, their industry relationships, and their personal allegiances. For that, we fear, Drake has no answer, regardless of whether he lifts a trophy by the end of this.

Read More: DJHed Claims Drake Didn’t Drop A Response Track Because He’s Scared

The post Kendrick Lamar “6:16 In LA”: Breaking Down His Lyrical Slaughter Of Drake’s Character appeared first on HotNewHipHop.

Kendrick Lamar “Euphoria”: 6 Bars Drake Needs To Respond To

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Folks, welcome to Round Two of hip-hop’s coup d’état against Drake… or was it the true king asserting his dominance all along against the Toronto challenger? In this corner, we have Drizzy, who launched two diss tracks, took down one of them, is still on top of the game commercially, and has been eagerly waiting for Kendrick Lamar to clap back with a “quintuple entendre or something.” And in this corner, we have K. Dot, who kicked this current fight off in the first place and reaped what he sowed today with his “Euphoria” response.

As expected, Kendrick Lamar’s song was explosive on impact, leading to many wild reactions, interpretations, theories, and predictions. Not everyone’s a fan, of course, but one thing is definitely clear: Drake got the smoke he wanted, and the ball is back in his court. Across this new diss track’s six-and-a-half-minute runtime, we believe there are six specific sets of bars that the 6ix God must address.

Read More: Drake Seemingly Responds To Kendrick Lamar’s “Euphoria” Diss

I Pray They My Real Friends, If Not, I’m YNW Melly

First, let’s start off with Kendrick Lamar addressing “First Person Shooter,” the Drake and J. Cole collab that seems to have provoked the “Like That” diss. There’s a “feature request” line that suggests that K.Dot actually turned down a guest spot with Drake. Kendrick then insinuates that Drizzy didn’t want to work with him after his “Control” verse because his feelings were hurt, and he clarifies that he doesn’t have a problem with Drake and Cole working together… in theory. While he “loves them to death,” the former TDE lyricist suggests that if Aubrey, Cole, or both aimed to belittle Kendrick or take him down with their collab, this changes the dynamic.

This culminates with the line: “There’s no accent you can sell me / Yeah, Cole and Aubrey know I’m a selfish n***a / The crown is heavy, huh / I pray they my real friends, if not, I’m YNW Melly.” Not only does he question Drake trying to make music representing a lot of different cultures and communities, which many have called appropriation, but Kendrick Lamar also compares himself to Melly, who will eventually face a retrial for accusations of murdering his two friends. So “First Person Shooter” requires an explanation, because even though J. Cole’s made his stance clear, it’s still up in the air whether The Boy intended to legitimately pay tribute or disrespect him instead.

Read More: YNW Melly Name Drop On Kendrick Lamar’s Drake Diss Gets Fans Out Of Their Seats

Let Your Core Audience Stomach That / Then Tell Them Where You Get Your Abs From

 
 
 
 
 
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Another set of bars goes over a few different topics, starting with a reference to the alleged 2014 incident at DJ Khaled’s birthday party at the LIV Miami club in which Diddy reportedly struck Drake in the face. This line also ropes in the “Evil Ways” rapper’s longtime personal bodyguard Chubbs: “You gon’ make a n***a bring back Puff, let me see if Chubbs really crash something.” This continues Kendrick Lamar and Drizzy’s references to security guards and physical confrontation, such as Kendrick’s security guard 2TEEZ and Drake making fun of Kendrick trying to get physical “with a size 7 men’s on.”

However, right after this bar, we get another instance of Kendrick Lamar questioning whether the rap game at large really accepts Drake, as well as a few jabs at his alleged liposuction. “Yeah, my first one like my last one, it’s a classic, you don’t have one / Let your core audience stomach that, then tell them where you get your abs from.” J. Cole’s “7 Minute Drill” diss proved that going at Mr. Morale’s catalog is a huge risk, so maybe Drake will instead offer up his acclaimed projects like Nothing Was The Same, Take Care, or If You’re Reading This It’s Too Late. But the picture painted here presents the former Degrassi star as someone who, at many turns and via some non-commercial metrics, has found it difficult to find acceptance or respect, for right or wrong reasons.

Read More: Kendrick Lamar Drake Diss: Gunna Responds To Being Name-Checked

When I See You Stand Next To Sexyy Red, I Believe You See Two Bad B*tches

Drake definitely found his due flowers from the new generation, something that Kendrick Lamar also questioned in “Euphoria.” There’s a Lil Yachty mention here, but the bombshell relating to this is a commentary on his artistic friendship with Sexyy Red, and how K.Dot seemingly accuses Drizzy of faking this support while putting other women down because he sees them as competition. “When I see you stand by Sexyy Red, I believe you see two bad b***hes / I believe you don’t like women, that’s real competition, you might pop a** with them.” Not only does this continue the lipo allegations and poke at Drake’s femininity and strength (another controversial and frankly, tired move), but it insinuates that he needs the St. Louis MC more than she needs Drake.

Also, the specific line about not liking women is very relevant given Drake’s complicated relationship with women in his personal life, as explored through topics in his music, and with industry peers. On Her Loss‘ “Circo Loco” (2022), he seemed to take shots at Megan Thee Stallion, and on For All The Dogs‘ “Away From Home” (2023), he disses jazz musician Esperanza Spalding. Kendrick Lamar even shouted Megan out on “family ties” in 2021. With all this in mind, Drake will have to respond to folks questioning his authenticity, his ego, and his true intentions when it comes to his relationships with women… and the pgLang creative didn’t even have to “talk about [Drake] liking young girls” as Drizzy predicted on his “Taylor Made Freestyle” A.I. diss from Tupac Shakur’s “perspective” to do that. Yikes.

Read More: Kendrick Lamar Disses Drake’s Relationship With Sexyy Red On “Euphoria” Diss Track

I Got A Son To Raise But I Can See You Know Nothing ‘Bout That

One of the most incendiary moments on “Euphoria” relates to another scathing Drake diss: Pusha T’s “The Story Of Adidon.” Earlier in Kendrick Lamar’s three-part diss, he calls his rival out for never responding to Pusha T’s cut and for going at Pharrell, but the real call-back appears later on. First, K. Dot accuses the Canadian superstar of trying to look for dirt on him. Interestingly enough, Pusha made similar claims in 2018 when they were at the height of their beef. “Why would I call around tryna get dirt on n***as, y’all think all of my life is rap?” Kendrick raps, which also responds to people pressuring him to respond to Drake quickly, as this track took over two weeks to arrive.

But the plot thickens on the very next bar, which continues to call out Drake for being a troll, constantly goading Kendrick Lamar to respond, and posting and talking about this constantly on social media. “That’s h*e s**t, I got a son to raise, but I can see you know nothing about that.” Kendrick calls back to “The Story Of Adidon” by mentioning that Drake never announced his son to the public until Pusha T exposed that he was a father.

Pusha T’s diss was eventually mulled over, and the Scorpion artist now has a public and very wholesome bond with his son. But the “Silent Hill” spitter flips this once more by making fun of Aubrey Graham’s social media obsession and concerning himself with pettiness rather than family. Once more, Drake will have to back up his online persona through bars, not just more IG stories, likes, comments, or DMs.

Read More: Gillie Da Kid Labels Kendrick Lamar’s “Euphoria” Corny,” Says Drake & Chris Brown Are Up

Ain’t 20v1, It’s 1v20 If I Gotta Smack N***as That Write With You

One of the simplest but sharpest lines on “Euphoria” directly responds to this “Push Ups” line: “What the f**k is this, a 20v1?” On that line, Drake calls out many rap industry players (Future, Metro Boomin, Rick Ross, etc.) for teaming up on him at the same time, something that Kendrick Lamar turns right back against him. “Ain’t 20v1, it’s 1v20 if I gotta smack n***as that write with you,” he spits, once again bringing up ghostwriting claims that Drizzy has been dogged by ever since 2015.

While Drake’s said a lot about it since his Meek Mill beef, it does carry a different context now. Alleged reference tracks recently leaked, in which he supposedly took them one-for-one from his peers. While these are just rumors (particularly Cash Cobain’s track), it truly questions whether Drake could confidently place himself as the GOAT. The 6ix God might have to respond to Kendrick Lamar’s accusations by claiming more artistic responsibility for his own work than what the credits (or a lack of credits, rather) would have you believe. More importantly, he needs to explain why he can still be the GOAT in hip-hop today, which isn’t an impossible task: just a difficult one.

Read More: Kendrick Lamar’s Name Mix-Up In New Diss Track “Euphoria” Goes Viral

Toronto’s “Crodies” Can’t Touch K.Dot

Finally, Kendrick Lamar pettily and mercilessly clowns the 6ix’s accent, slang, and street ties. While closing “Euphoria,” he insinuates that Drake can’t fake the street funk, even if he found success in the U.S. rap scene. Kendrick uses the term “crodie” to taunt him, a Crip flip of “brodie” popularized by Toronto rapper Pressa. He’s allegedly affiliated with the Wass Gang, a Crip set in the city that Drake has rapped about often through direct reference and through using “crodie.” After this mocking use of the Toronto accent to warn Drake to refrain from mentioning family business, Kendrick Lamar says he’s never in trouble in Toronto when he goes, contrary to what his nemesis would have you believe.

“I be at New Ho King eating fried rice with a dip sauce and blamy, crodie / Tell me you’re cheesing, fam/ We can do this right now on the camera, crodie.” New Ho King is a popular late-night Chinese food spot in Toronto, and “cheesing” is Toronto and Jamaican patois slang for being angry. The last line proposes that these two hip-hop titans duke it out for real in the public eye, which was the challenge K.Dot offered on “Like That.”

Read More: Kendrick Lamar Claims Drake Sent A Cease & Desist Over “Like That” In New “Euphoria” Diss Track

The post Kendrick Lamar “Euphoria”: 6 Bars Drake Needs To Respond To appeared first on HotNewHipHop.

7 Slim Shady Bars That Will Still Shock You In 2024

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Later this summer, the world will mourn the death of one of music’s most influential and successful provocateurs: that one guy working at Burger King, spitting on your onion rings. As magnanimous and lauded as Eminem’s work is, and as much as people have started to hate on it over time, nothing represents the highs and lows of the Detroit rapper’s career quite like his Slim Shady persona. Moreover, the announcement of his new album, The Death Of Slim Shady, calls into question what the future really holds for Marshall Mathers. Will his art continue without Shady, is this his final album as an artist, or will another persona rise like a phoenix to bring his career out of the ashes for a (third? fourth?) revamp?

Regardless of what goes down with this new LP this summer, we’re taking a look at just a handful of Slim Shady bars that would still turn many caring souls into Karens on impact. Eminem’s alter ego has used every taboo, trigger word, or buzz term under the sun as a punching bag or punchline: murder, homophobia, racism, sexism, sodomy, sex, drugs, the youth, war, the military, politics, mental health, the rap game, celebrities, pop culture, divorce, religion… even gerbils, to most sane people’s disgust. Whether to subvert, challenge, offend, or simply reflect poor taste, he’s got one heck of a lyrical legacy that paved the way for so much good (and bad) in not just hip-hop, but pop culture at large. So before Slim’s “death” this summer, and in chronological order, let’s debate over which of his many quotables across his discography should be on his tombstone.

Read More: Metro Boomin Wants To Collab With Eminem Amidst Drake Feud

“My Name Is” (1999, The Slim Shady LP)

What better place to start than our introduction to Slim Shady? While there are plenty of wild bars here, we picked one that is already quite disturbing as is, but was reportedly originally meant to be much more harrowing. “Extraterrestrial, running over pedestrians / In a spaceship, while they’re screaming at me, ‘Let’s just be friends!’” Eminem raps on the cut. Sounds simple enough, right? Well, according to Em’s autobiography The Way I Am from 2009 (plus various other reports), the original version was this: “Extraterrestrial, killing pedestrians / R**ing lesbians while they’re screaming, ‘Let’s just be friends!‘” He changed it because Labi Siffre, a gay rights activist, found this and other lines on this song to be homophobic, and would not clear the sample of his song “I Got The…” for “My Name Is.” As provocative as Shady could be, he could’ve been way worse…

“The Real Slim Shady” (2000, The Marshall Mathers LP)

Of course, this classic couldn’t go without a mention either, and one particular line kept its controversial luster over the years for interestingly different reasons. “But if we can hump dead animals and antelopes / Then there’s no reason that a man and another man can’t elope,” Eminem spits towards the end of this first verse. Its first part refers to MTV star Tom Green’s moose-humping antics, and it overall argues that folks shouldn’t treat homosexuality as disgusting if they find Green’s comedy funny. Yes, it points out double standards in what is permitted and what is “taboo” in media and culture, but it’s also a backhanded way to denounce homophobia, which was much more common back then. Especially today, we can’t help but wonder if there was a less derogatory way to stand for gay rights. Then again, Slim Shady doesn’t discriminate: he hates and mocks everyone equally.

“I’m Back” (2000, The Marshall Mathers LP)

And when he returned, the world was never really the same. The reason why? Particularly abhorrent but still intricate lines like “If this chick was my own mother, I’d still f**k her with no rubber / And cum inside her and have a son and a new brother / At the same time and just say that it ain’t mine,” directed towards Jennifer Lopez and, by association, to taunt Diddy. To say that this is probably the most sickening line on this Slim Shady cult gem, which also includes a censored reference to the Columbine shootings, should really illustrate just how sick Eminem was back then, and not in a good way. Alas, even incest is something that these alter egos rarely tackle, and to tack this on before the last chorus of “I’m Back” is one heck of a mic drop.

“Without Me” (2002, The Eminem Show)

We promise this is the last classic on the list, but sometimes democracy is right. Speaking of democracy, one of the most cutting lines on here isn’t explicitly profane; just a cold jab at a politician’s health and a quick but merciless dismissal of criticism. “I know that you got a job, Ms. Cheney / But your husband’s heart problem’s complicating,” Eminem raps, responding to her denouncement of his lyrical content.

So, what does he do to Vice President Dick Cheney and his wife? Does Shady critique their politics and war-mongering, cut them up in a billion little pieces, put his bum on their lips, or spike their drinks at a cocktail party? In other words, does he prove them right? No. He just remembers the VP’s four heart attacks before this song’s release (which rose to five afterward), recalls his three heart procedures at the time, and tells Lynne: “Your husband’s going to die soon.” Yikes…

“A** Like That” (2004, Encore)

Now we get to the slightly deeper cuts from Slim Shady that don’t have the benefit of the doubt or the undisputed quality of his best work. Over an Indian-inspired beat, and with a pretty offensive Asian and Southeast Asian accent, Eminem’s lust takes aim at Hilary Duff… who was 17 years old when this song came out. “Hilary Duff is not quite old enough, so I ain’t never seen a butt like that / Maybe next year, I’ll say ‘a**’ and she’ll make my pee-pee go d-doing, doing, doing.” From 2004’s Encore onwards, and especially on 2009’s Relapse, Slim Shady starts to use more accents to find way more ethnicities and cultures to make fun of. Add to that his obsession with celebrities and crossing any sort of line, you have one of the most cringe-worthy moments in his entire catalog.

“Same Song & Dance” (2009, Relapse)

Speaking of the 2009 album Relapse, this song doesn’t lean into the accents as much, or into cultural appropriation, but it’s among the most explicit, descriptive, and disturbing accounts of targeting various celebrity women and engaging in murder, sexual assault, and the like. “I’m ’bout to make a new outfit out of you / New outfit? S**t, I’ll make a suit out of you, shoot / Now, show me how you move, baby, do how a-you do,” Slim Shady threatens towards the end of the song. It’s one of many horrible moments of describing torture, with this one specifically referencing the skin-wearing villain from the film The Silence Of The Lambs, Buffalo Bill. Eminem doesn’t usually break out the skin-carving in his murderous or sexually depraved narratives, so we at least need to give him points for creativity… or is it the other way around?

“Fall” (2017, Kamikaze)

This is easily the least shocking or controversial bar on this list, but we included it because we think it’s not only one of, if not the most controversial, Eminem lyric to appear in his late-career arc. It’s also possibly indicative of what his creativity looks like today and what The Death Of Slim Shady could really mean. On this song, Marshall Mathers targets Tyler, The Creator, his then-recently revealed sexual orientation, and his criticism of Em’s later work despite being a lifelong fan. “Tyler create nothin’, I see why you called yourself a f***ot, b***h,” he raps, and it’s important to note that in no version of the song does he actually or fully pronounce or spell out the homophobic slur. An improvement from his early stuff, at least, but with even more backlash than in the past.

For one, this isn’t really Slim Shady anymore: this is Em, Slim, and Marshall all rolled into one throughout this LP. It doesn’t have the same shock value or relevance as back in the 2000s. This song came out during a more progressive time in hip-hop (although some fanbases sadly haven’t caught up), and represents the then-45-year-old MC’s anger at the negative reception to his post-2000s work. Furthermore, the personalities became harder to distinguish, and any attempt to shock or subvert in the same way he did for decades was more corny than controversial. Nevertheless, it does pose an interesting question as to how Eminem will deal with Shady’s loss after this summer, whether that rebellious and brash part of him can ever really die in his music, and what are the sides of him that this persona has, for better or worse, obscured from our view.

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Kanye West Disses Drake On “Like That Remix”: A Break Down Of Lyrics

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If you thought Drake and Kanye West had forgotten their long-standing beef, think again. Ye recently came out guns a-blazing with the release of the “Like That Remix,” proving that he and Drizzy have a long way to go before they settle. From the first line of the diss track, it’s evident that Ye has a bone to pick. Alongside Future, Metro Boomin’, and Ty Dolla $ign, this remix borrows many elements from the original track and takes things up a notch. Altogether, 2024 has quickly become the year of the diss track, and the Drake-Kanye West beef is the latest entry in the long lineup. 

Drake Vs. The World

 
 
 
 
 
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Kanye West and Drake’s beef stretches back years, and the remix is the most recent milestone. However, while Ye is pretty used to commandeering multiple spats simultaneously, this is seemingly new territory for Drizzy. In what can only be considered a humongous feat, Drake has had words for several heavyweights in the game this year alone. Between Kendrick Lamar, Rick Ross, and now Ye, it’s a miracle he’s still standing. 

As Drake continues to prove he’s no pushover, the industry is foaming at the mouth in anticipation of what’s to come. But what’s most remarkable is that two of his diss tracks, “Push Ups” and the controversial, AI-assisted “Taylor Made Freestyle,” are targeted at Kendrick. This is why Ye’s involvement caught us all by surprise. Kanye West debuted the “Like That Remix” during his appearance on The Download with Justin Laboy, and this has effectively added a new layer to his ongoing beef with Drake. 

Ye Felt “Energized” To Eliminate Drake

Much to the disappointment of fans, Kendrick Lamar has yet to respond to Drake for the aforementioned diss tracks. Nonetheless, Ye seems to have taken on the task, claiming the baton off K-Dot. It’s no wonder the track begins the way he does. In an aggressive manner, Ye hollers: “You know we had to get The Hooligans up here / We gon’ take this p*ssy n*gga out / Yo, Dot, I got you.”

Right out the gate, Kanye’s made his intentions clear… he’s out for blood. While on The Download, he shared that he was “energized” to take down Drake. “[Future] called me and I went to the studio and laid that,” he began. “We went through the creative process of adding the chords and called the Hooligans out in London to get on the joint… Everybody was very, very energized about the elimination of Drake.”

Multiple Stray Bullets

NEW YORK, NY – JUNE 14: The Weeknd and Howie Richmond Hitmaker Award Honoree. Sir Lucian Grainge pose backstage during the Songwriters Hall of Fame 49th Annual Induction and Awards Dinner at. New York Marriott Marquis Hotel on June 14, 2018, also in New York City. (Photo by Larry Busacca/Getty Images for Songwriters Hall Of Fame)

In true Ye fashion, shots were fired at not just Drake but those within his proximity. Drake famously resigned with Universal Music Group in 2022, reportedly featuring some serious money being thrown around. UMG’s CEO, Lucian Grainge, was one of the names dropped on the “Like That Remix.” Specifically, Ye referred to him as Drake’s “master.”

“Where’s Lucian? Serve your master, n*gga / You caught a little bag for your masters, didn’t ya / Lifetime deal, I feel bad for n*ggas / Y’all so outta sight, outta mind/ I can’t even think of a Drake line.“

However, the most memorable stray bullet fell on J. Cole, who famously bowed out of the rap feud by apologizing to Kendrick Lamar. Nonetheless, Ye had some words for him. In what has become one of the most viral lines on the track, Kanye says, “Play J. Cole, get the pu**y dry.” The reason for the animosity remains unclear, but fans have long since had their theories about why Kanye West and J. Cole do not see eye to eye. 

For one, Ye might not have enjoyed Cole’s “big three” claim. However, Kendrick’s response about “big me” didn’t seem to rub Kanye the wrong way. In 2016, Cole’s “False Prophets” had a few lines that may have subtly pointed to Ye’s mental health issues. Whatever the case may be, Ye told Justin Laboy that it was too late for Cole to back out of the feud. Evidently, the damage is already done. “It’s like, n**ga, you can’t run now,” Ye said. 

Conclusion

Kanye West and Drake’s beef has now hit a new peak. It’s anyone’s guess if Ye will double down with another verse soon. Or maybe Drizzy has some words of his own in store. However, at the core of it all is Kendrick Lamar. Above all, the fans are still eager for his return.

[via]

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Drake “Taylor Made” Freestyle: Did He Cross A Line With AI Tupac & Snoop Dogg?

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It’s been a hell of a time for fans of Hip Hop. The number of diss tracks that have emerged in 2024 has been quite a lot. Not that we’re complaining, though. The shake-up has led to some of the most exciting disses in a while, and we’ve had to grasp every single detail about a ton of rapper feuds. The crazy thing, however, is that they all seem to have broken out all at once within the industry.  However, while most of these feuds have been met with praise, Drake’s latest effort, “Taylor Made Freestyle,” hasn’t been warmly received. And this boils down to his use of AI on the track. 

In The Beginning…

The spark that ignited the rap beef was J. Cole’s mention of Kendrick Lamar in “The Big Three” on the track “First Person Shooter.” Kendrick subsequently dropped a surprise verse as a response on Future and Metro Boomin’s “Like That.” J. Cole continued the diss by discrediting Lamar’s discography on “7 Minute Drill.” However, in a surprising feat, he eventually retracted the track from streaming platforms, but what stood out the most was that J. Cole subsequently issued an apology to Lamar.

Not one to let things go, however, Drake released “Push Ups” as his own response. Although “Push Ups” was widely successful, public opinion still remains that Drake lyrically hit the ball out of the park. However, a follow-up diss track was released on April 19th—Drake’s “Taylor Made Freestyle.” But unlike “Push Ups,” this was way more controversial. Why? Because Drake addresses Kendrick Lamar using AI vocals of Hip Hop legends Tupac Shakur and Snoop Dogg.

Snoop Dogg’s Reaction

Unlike Pac, who died in 1996, Snoop Dogg is very much alive to witness Drake’s shenanigans. Snoop seems to have been as shocked by the stunt as everyone else. In a hilarious Instagram post, he expressed his surprise: “They did what? When? How? Are you sure? [Sigh] Y’all have a good night. Why is everybody calling my phone, blowing me up? What the f— what happened? What’s going on? I’m going back to bed. Good night.” It’s safe to say that Snoop wasn’t all about that mess. 

Is “Taylor Made” A Calculated Move From Drake?

“Taylor Made” is certifiably a stellar track, as far as diss tracks go. For one, it is most likely a show-off to the public allegations that “Push Ups” was an AI track. Secondly, and perhaps most interestingly, is how Drake attempts to undermine Kendrick Lamar. Overall, this is a calculated strategy to belittle status as a heavyweight in the game. His use of AI seems to be a conscious effort to draw out a response from K-Dot.

Drake (as Tupac) addresses Kendrick Lamar on “Taylor Made,” saying: “Kendrick we need ya, the West Coast savior / Engraving your name in some hip-hop history… Call him a b*tch for me / Talk about him liking young girls as a gift for me.” While urging him to respond and engrave his name in “some Hip Hop history,” Drake also attempts to poke holes in perhaps all of Kendrick’s likely talking points for a diss track. These include the fact that he is Canadian and light-skinned. 

As most are aware, Kendrick Lamar has often been compared to Tupac Shakur. In fact, Kendrick himself has admitted to carrying on Tupac’s legacy. With these (and the following lines), Drake’s Tupac starts to question just how capable Kendrick is of taking on Tupac’s identity, if he can’t even stand the heat of facing him like Tupac did Biggie with “Hit ‘em Up,” one of the greatest diss tracks to ever exist. It’s important to note that Kendrick’s silence hasn’t sat well with fans. Many have clamored for him to issue a response to Drake, not just for “Taylor Made,” but also for “Push Ups.”

Drake Is Ready To Go To Rap War

Following his Tupac stint, Drake switches to Snoop Dogg’s vocals to speak to Lamar. He references Snoop “passing on the torch” to Kendrick Lamar at the House of Blues in 2011. Just like AI Tupac, AI Snoop also seems to also be disappointed in Kendrick’s silence. The elephant in the room is why Kendrick remains quiet after being challenged by someone like Drake. “World is watching this chess game, but oh you out of moves Dot / You know that the OG never f*cking doubted you / But right now it seem like you posted up without a clue / Or what the f*ck you ’bout to do.”

Eventually,  Drake finally switches to his own voice. However, he also makes it known that both “Taylor Made” and “Push Ups” were light work for him. He also claims he’s more than capable of going a few more rounds against Kendrick. Finally, he ascribes Kendrick’s silence to Taylor Swift’s new album The Tortured Poets Department, which is sure to top the charts.

“But now we gotta wait a f*cking week ’cause Taylor Swift is your new top  (referencing Lamar’s former record label Top Dawg Entertainment) / And if you ’bout to drop, she gotta approve / This girl really ’bout to make you act like you not in a feud.”

Is This A Misguided Effort?

Snoop Dogg and Tupac Shakur (Photo by Kevin Mazur Archive/WireImage)

For all its bravado and swagger, Drake’s “Taylor Made” is not without its pitfalls. By invoking Tupac’s name and legacy, Drake risks inviting comparisons that may ultimately work to Lamar’s advantage. There’s also the fact that AI use is still considered a major taboo in music. Drake lavishly utilizing it can easily be seen as a heavily misguided idea. After all, he is using it without the consent of the people in question. Particularly, one of the artists is dead and cannot speak for themselves. Therefore, it’s quite easy to see why many consider this as Drake crossing a line. Nonetheless, on the flip side, many could argue that there are no rules regarding diss tracks. Take Chris Brown, who recently referenced the passing of Takeoff in his diss track for Quavo.

Also, while it is obviously impressive to use up all the ammo that Kendrick Lamar could use on him, it still is pretty weird to describe himself as “liking younger women.” This attempted 8 Mile move, unfortunately, doesn’t hit quite as hard. While it’s commendable to poke fun at oneself, there’s obviously some things to consider. It’s pretty evident that Drake isn’t interested in that, though. 

Conclusion

Altogether, there is no one way to look at Drake’s “Taylor Made” diss track. It is both a divisive and creative moment in the ongoing saga of his rivalry with Kendrick Lamar. Another thing to note is that Drake seeks to be in a hurry to assert his dominance over Lamar. While this works in his favor, as he continues to earn public recognition, many have begun to sense it as a desperate move. Evidently, his campaign to reaffirm his status as king of “the big three” of Hip Hop is still very much alive. Regardless, whether or not he succeeds in this endeavor remains to be seen. One thing is certain: the feud between Drake and Kendrick Lamar shows no signs of abating, and Hip Hop is all the richer for it.

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