In “Not Like Us,” Kendrick Lamar embarks on a bold journey through the realms of history, authenticity, and rivalry, using pointed lyrics to challenge the status quo within the hip-hop industry. This exploration may or may not align with Kendrick’s intended message, but the depth and complexity of his verses offer rich layers of meaning that deserve close examination.
The Haunting Intro
The song kicks off with the line, “Psst, I see dead people.” Right away, Kendrick establishes a sense of foreboding. The phrase echoes the iconic line from The Sixth Sense, which hints at perceiving truths hidden from the average observer. This line sets the stage for Kendrick’s vision of the rap game. He sees through the façade of other artists, revealing the ghosts of their past and the skeletons in their closets. It’s as if he’s saying he can see the vulnerabilities and failures that lie beneath their bravado.
As Mustard’s beat kicks in, you can feel the energy shift. “Mustard on the beat, ho” is more than a mere acknowledgment; it’s a proclamation of confidence. Kendrick is here to assert his dominance. His tone is playful yet aggressive, blending humor with a clear message: he’s ready to confront his rivals.
The Aggressive Opening Verse
In the first verse, Kendrick makes bold claims, starting with “Deebo any rap nigga, he a free throw.” Here, he likens his lyrical prowess to Deebo, the character from Friday, who is an intimidating force. This establishes Kendrick as someone who dominates in the rap arena, effortlessly knocking down his competition. The imagery of a “free throw” emphasizes how easy it is for him to take down these opponents.
Then, he calls for “amberlamps,” which is slang for an ambulance, suggesting that his lyrical assaults are severe. The urgency of “Man down, call an amberlamps” adds a layer of gravity. He’s not just battling for accolades; he’s declaring war. Kendrick paints a vivid picture of violence and struggle, mirroring the harsh realities of life in Compton.
Critique of the Industry
Kendrick takes a hard stance against the industry with “The industry can hate me, fuck ’em all and they mama.” This line signifies his refusal to be muzzled by criticism. He stands proud, declaring his authenticity despite the pushback. He’s unafraid to speak his mind, reinforcing his role as a voice of the marginalized.
“How many opps you really got? I mean, it’s too many options.” Here, Kendrick addresses the complexities of rivalry. In the world of hip-hop, “opps” represent enemies, and he calls into question the authenticity of those who claim to have many foes. This line suggests that the landscape is crowded with pretenders, and he’s keenly aware of who is genuine and who isn’t.
The Basketball Metaphor
Kendrick continues with, “I’m finna pass on this body, I’m John Stockton.” The mention of John Stockton, a legendary basketball player known for his assists, cleverly juxtaposes the idea of passing with his refusal to engage in senseless conflict. He’s strategic, choosing when to attack and when to step back. This metaphor also emphasizes his skill in navigating the complexities of the rap game.
“Beat your ass and hide the Bible if God watchin’” showcases Kendrick’s boldness. He questions the morality of his actions, suggesting that even divine oversight cannot deter his ambition. This line serves as a reflection of the struggles between faith and the harsh realities he faces. He’s caught in a moral quandary, wrestling with the duality of his existence as both an artist and a man shaped by his environment.
The Boogeyman Persona
As Kendrick claims, “Certified boogeyman, I’m the one that up the score with ’em,” he embraces his role as a formidable figure in hip-hop. The “boogeyman” metaphor signifies fear and respect. He’s not just a player; he’s the one orchestrating the game. This line further solidifies his reputation, hinting at his ability to disrupt and dominate.
“Walk him down, whole time, I know he got some ho in him” exposes the vulnerabilities of his rivals. Kendrick is aware of their weaknesses, portraying them as fearful and lacking. This bravado adds to the intensity of the diss, reinforcing his position at the top of the hierarchy.
A Personal Connection to Drake
Kendrick’s mention of Drake, “Say, Drake, I hear you like ’em young,” is a direct jab at his rival. He calls attention to the controversies surrounding Drake, implying deeper issues regarding his character. By connecting this line to “certified pedophiles,” Kendrick challenges not only Drake’s public persona but also his credibility. This tactic is sharp and provocative, intending to shake the foundation of Drake’s appeal.
“Why you trollin’ like a bitch? Ain’t you tired?” Here, Kendrick questions the sincerity of Drake’s public persona. This line highlights the pettiness he sees in rivalries, urging authenticity over theatrics. It’s a reminder that in the rap game, credibility is everything, and those who hide behind distractions will eventually be exposed.
The Powerful Chorus
Moving into the chorus, “They not like us,” serves as a powerful mantra. This repetitive line emphasizes a distinct separation between Kendrick and his peers. It’s not merely a statement; it’s a declaration of identity. He solidifies his stance as a leader, unafraid to distance himself from those he perceives as lesser.
By repeating “they not like us,” Kendrick creates a sense of community among his followers. It becomes an anthem for anyone who feels marginalized or misunderstood. He champions those who share his experiences, reinforcing a collective identity rooted in authenticity and resilience.
Kendrick Lamar’s second verse in “Not Like Us” takes us deeper into his critique of the hip-hop landscape, especially targeting Drake and the implications of authenticity in the industry. This verse pulsates with energy and urgency, offering a biting commentary on respect, legacy, and the dynamics of fame.
The Bay’s Defiance
Kendrick starts with a fierce statement: “You think the Bay gon’ let you disrespect Pac, nigga?” This line is a powerful declaration of regional pride. It highlights the deep respect the Bay Area holds for Tupac, a cultural icon. Kendrick positions himself as a protector of that legacy, implying that any disrespect toward Pac is an affront to the entire community. This fierce loyalty sets the tone for the rest of the verse.
Following this, he asserts, “I think that Oakland show gon’ be your last stop, nigga.” This line serves as a stark warning to Drake, suggesting that crossing the West Coast could have serious repercussions. It’s as if Kendrick is saying that the audience in Oakland won’t tolerate any disrespect, turning the performance into a potential battleground. This line injects a sense of danger and seriousness into the narrative.
Questioning Authenticity
Kendrick continues, “Did Cole foul, I don’t know why you still pretendin’.” Here, he references J. Cole, questioning why Drake continues to act as if he’s part of the same circle. This commentary on authenticity emphasizes the competitive nature of the industry, with Kendrick suggesting that many artists wear masks, hiding their true selves. The phrase “the audience not dumb” underscores this sentiment, reminding listeners that they can see through the façades.
He follows up with “Shape the stories how you want, hey, Drake, they’re not slow.” This line implies that Drake crafts narratives to manipulate public perception, but Kendrick is calling out this tactic. He positions himself as a voice of reason, asserting that the listeners can discern the truth from the artifice. This creates a sense of transparency in Kendrick’s critique, reinforcing his role as an honest storyteller.
The Depth of the Rabbit Hole
“Ain’t that somethin’? B-Rad stands for bitch and you Malibu most wanted.” This clever wordplay connects Drake to B-Rad, a character from Malibu’s Most Wanted. Kendrick’s comparison underscores the notion that Drake’s persona may be a manufactured façade, likening him to a character trying too hard to fit into a culture that doesn’t authentically belong to him. This jab at Drake’s credibility invites listeners to question the artist’s genuine connection to hip-hop culture.
Kendrick further emphasizes his point: “Ain’t no law, boy, you ball boy, fetch Gatorade or somethin’.” This line diminishes Drake’s stature in the rap game, reducing him to a mere waterboy—a supporting role. It’s a reminder that Kendrick sees himself as a dominant force, while he perceives Drake as someone playing catch-up. This disparity in status highlights Kendrick’s confidence in his own artistry.
Physical Confrontation and Consequences
Kendrick’s lines take a more aggressive turn with “Since 2009, I had this bitch jumpin’.” This declaration asserts his longstanding presence and influence in the game. The imagery evokes a sense of power, as Kendrick claims he has been driving the energy of hip-hop since the inception of his career.
“You niggas’ll get a wedgie, be flipped over your boxers” is another bold assertion. The visual of a wedgie serves to humiliate Kendrick’s rivals. It’s a playful yet aggressive metaphor, showing how easily he could upend them. This line adds a layer of bravado to his verse, presenting him as someone who isn’t afraid to get physical in his confrontations.
Provocative Wordplay
Kendrick continues with clever wordplay: “What OVO for? The ‘Other Vaginal Option’? Pussy.” This line is particularly sharp, as he derides Drake’s brand, OVO, by suggesting it represents something demeaning. This choice of words enhances the feeling that Kendrick is not only challenging Drake but also dismantling his brand’s credibility.
“Nigga better straighten they posture, got famous all up in Compton” signals a shift toward Drake’s background. Kendrick emphasizes that his fame is rooted in genuine experience and struggle. He uses this line to assert his authenticity and call into question the authenticity of others. This critique reinforces the theme of credibility and the importance of staying true to one’s roots.
Personal Revelations
As Kendrick raps, “Might write this for the doctorate, tell the pop star quit hidin’.” This line introduces a cerebral aspect to the diss. Kendrick is positioning his lyrics as a form of higher learning, while also challenging Drake to be more transparent about his actions and intentions. It’s an invitation for Drake to confront the truths of his persona rather than continue hiding behind a crafted image.
“Fucked on Wayne girl while he was in jail, that’s connivin’” is a bold revelation that adds personal stakes to the rivalry. This accusation paints Drake as a backstabber, further tarnishing his image. Kendrick emphasizes the depths of betrayal in the industry, illustrating the cutthroat nature of fame and relationships. This line enhances the narrative’s tension and showcases the personal vendettas that often drive lyrical battles.
A Call to Action
Kendrick shifts to an introspective tone with “City is back up, it’s a must, we outside.” This declaration serves as a rallying cry for his community. It suggests that the West Coast is ready to reclaim its place in hip-hop. This line emphasizes unity, inviting listeners to join in on the resurgence of authenticity and realness in the industry.
In the third verse of “Not Like Us,” Kendrick Lamar delves into the complex themes of history, exploitation, and authenticity within the hip-hop community. He juxtaposes the past and present, shedding light on systemic issues while challenging his competitors in the industry.
A Historical Context
Kendrick opens with a striking line: “Once upon a time, all of us was in chains.” This opening sets a somber tone, invoking the painful history of slavery. He immediately engages the audience, reminding them of the collective struggle that shapes the African American experience. It’s a powerful reminder that the roots of the present issues in society stretch deep into the past.
The next line, “Homie still doubled down callin’ us some slaves,” reinforces this message, emphasizing the ongoing struggle against systemic racism. Here, Kendrick confronts those who perpetuate this narrative, calling out a specific individual (likely Drake) for disrespecting the legacy of his people. It’s a direct challenge that insists on recognition and respect.
Atlanta as the New Mecca
“Atlanta was the Mecca, buildin’ railroads and trains” is a poignant reference to Atlanta’s historical significance in Black culture and the civil rights movement. Kendrick positions Atlanta as a hub of progress, hinting that it has evolved into a center for creativity and success in hip-hop. The metaphor of railroads and trains signifies movement and opportunity, suggesting that the journey continues.
“Bear with me for a second, let me put y’all on game” serves as a segue into a deeper discussion. Kendrick invites listeners to open their minds, promising valuable insights. This line builds rapport and sets the stage for a more detailed exploration of the dynamics in the industry.
The Modern Exploitation
Kendrick continues with a critical observation: “The settlers was usin’ townfolk to make ’em richer.” This metaphor captures the exploitation of Black artists by those who profit from their talents without giving back to the community. He draws a parallel to contemporary music industry practices, suggesting that the same agenda persists today.
“Fast-forward, 2024, you got the same agenda” emphasizes that, despite progress, many artists still face similar challenges. It highlights the cyclical nature of exploitation and serves as a wake-up call for listeners and artists alike.
The Challenge of Authenticity
“You run to Atlanta when you need a check balance” challenges Drake’s authenticity and dependence on the Southern hip-hop scene. Kendrick suggests that Drake only seeks support when it’s convenient, undermining his credibility. This line emphasizes a sense of inauthenticity, positioning Kendrick as a genuine representative of the culture.
“Let me break it down for you, this the real nigga challenge” is a bold proclamation that sets the stage for a deeper exploration of the expectations placed on artists. Kendrick’s use of “real” indicates a desire for authenticity and a return to the roots of hip-hop, demanding that artists prove their worth beyond commercial success.
Critique of Collaborations
Kendrick lists influential artists, stating, “You called Future when you didn’t see the club.” Here, he critiques Drake’s reliance on established artists to validate his status. By mentioning Future, Lil Baby, and 21 Savage, Kendrick implies that Drake leans on these figures for credibility, portraying him as someone who lacks genuine street cred.
“Thug made you feel like you a slime in your head” refers to Young Thug, further illustrating how Drake appropriates the personas of other artists to construct his own image. This line exposes the collaborative nature of the industry while questioning the sincerity behind those collaborations.
A Blunt Rejection
Kendrick’s assertion, “No, you not a colleague, you a fuckin’ colonizer,” is a powerful indictment. He uses “colonizer” to accuse Drake of appropriating Black culture without fully understanding or respecting its roots. This term evokes strong imagery, positioning Drake as an outsider who benefits from a culture he doesn’t genuinely represent.
“The family matter and the truth of the matter” signals a shift to more personal reflections. Kendrick emphasizes the importance of community and authenticity, suggesting that the industry must confront uncomfortable truths about cultural appropriation and exploitation.
The Divine Intervention
“It was God’s plan to show y’all the liar” is a bold assertion that speaks to the belief in higher powers guiding the narrative. Kendrick suggests that fate has revealed deception within the industry, positioning himself as a messenger of truth. This line emphasizes his commitment to uncovering hypocrisy, suggesting that his mission extends beyond personal rivalry.
The Bridge: A Rhythmic Refrain
The bridge introduces a repetitive chant: “He a fan, he a fan, he a fan.” This repetition serves to diminish Drake’s stature, reducing him to a mere spectator rather than a leader. The rhythmic structure creates an engaging chant that invites listeners to participate, drawing them deeper into the narrative.
“Freaky-ass nigga, he a 69 God” adds a provocative layer to the diss. The term “69 God” alludes to both Drake’s playful persona and controversial rumors about his private life. This line incorporates humor while delivering a biting critique, underscoring the blend of light and serious tones in Kendrick’s verse.
A Call to Action in the Outro
As the outro unfolds with “Are you my friend? Are we locked in?” Kendrick prompts self-reflection. This rhetorical question invites listeners to consider their own authenticity and loyalty within the industry. The follow-up line, “Then step this way, step that way,” serves as a playful yet firm challenge, urging listeners to choose their paths wisely.
The repetition of this phrase creates a rhythmic closure to the song, emphasizing the ongoing journey toward truth and authenticity. It serves as a reminder that the hip-hop community must navigate the complexities of fame, legacy, and identity together.