Drake’s Lawsuits Prove He Has Lost The Plot In Kendrick Lamar Battle

According to Drake, "cease and desist is for h**s." However, the Canadian rapper seemed not to heed his own advice. Kendrick and Drake's battle of the blog era kings seemingly ended after Kendrick's video for "Not Like Us" was released on the Fourth of July. The battle over bars has turned into potential legal battles for Drake and Universal Music Group. Drake is alleging UMG inflated the success of Kendrick's diss track with bots and more. To understand how we got from "Not Like Us" to "Bot Like Us," it's important to know the timeline of how we got here and what both have done in the public eye since what has been perceived to be Drake's nail in the coffin. To me, Drake has completely lost sight of what the goal is for his own interests. 

A cultural giant who has defined mainstream rap over the last decade, Drake has become so entangled in the machinery of the industry (streaming algorithms, corporate ties, and the endless quest for dominance) that he's lost hold of the culture's essence. That's not to say that he's wrong for challenging a manipulative system that record companies have functioned as for years, but Drake's actions feel more like the moves of a CEO guarding his bottom line than those of an artist whose genuine interest is restructuring the same system he's benefited from — whether knowingly or not.

In contrast, Kendrick has managed to remain true to the core of hip-hop, even as he's faced criticism. Through projects like GNX and videos like "squabble up," Kendrick continues to build on the tradition of storytelling, social commentary, and innovation, much like his predecessors. While Drake's focus seems fixated on preserving his place in the system, Kendrick's work reflects a commitment to the spirit that gave hip-hop its power in the first place. 

The first half of Kendrick and Drake's battle runs off like a to-do list. After years of speculated shots back and forth at each other in interviews or on the record, Drake released "First Person Shooter" featuring J. Cole. In the song, Drake states it's just him and Cole in a league of their own, while Cole reiterates it's himself, Drake, and Kendrick as the "Big Three." Kendrick responded with a clear aim at the two (mainly Drake) on Future and Metro Boomin's "Like That" off their collaboration album We Don't Trust You, prompting a response from both Cole and Drake.

Cole's response with "7 Minute Drill" had fans anticipating that Dreamville Fest, J. Cole's music festival in his home state of North Carolina, would showcase unity between himself and Drake. Instead, there was a collective disbelief as he apologised and exited the fight just as quickly as he entered the ring. As a longtime fan who has championed J. Cole's underdog status and celebrated his recent features run, I'll admit I was initially disappointed when he stepped away from the rap beef. It seemingly felt like a missed opportunity for Cole to assert his place in the theory of the "Big Three."

However, ultimately, I respect his decision to walk away, recognizing the wisdom in knowing when to remove oneself from a feud destined to spiral. In doing so, Cole quietly secured a win for himself. The release of his podcast Inevitable, detailing his musical journey, and the re-release of his blog-era defining mixtapes on streaming platforms has begun reaffirming his place on his terms.

With the battle officially set between the two biggest rap stars to emerge in the last 15 years, Drake settled for more humorous and slanderous songs such as "Push Ups," "Taylor Made Freestyle," and "Family Matters," while Kendrick went into assassin mode with "Euphoria," "6:16 in LA," "Meet The Grahams," and the juggernaut "Not Like Us." With an apparent defeat, Drake responded with "The Heart Part 6," a play on The Heart series by Kendrick, but failed to capture a win in this massive cultural loss. While Kendrick led a victory lap from LA to the world with a number one record, an iconic history lesson on West Coast rap at The Pop Out, and a viral video attached, Drake seemed to be in denial about his undeniable defeat. 

In retrospect, Drake could have given a much better fight lyrically. His past beef with Meek Mill and Pusha T showcased his ability to maintain his status with sharp bars and calculated strategy (which helped greatly after the damaging reveal from Pusha T of Drake's child). But unlike those conflicts, Drake now finds himself battling the weight of his unravelling persona.

His personal life and public image have become woven in contradictions and a detachment from an audience that once championed him — Black women and millennial supporters. His recent misogynistic attitude has alienated the very demographic that helped elevate him to the throne, turning his relatable vulnerability into a parody. It's hard to deliver a compelling lyrical battle when the foundation of your credibility is crumbling in the public eye.

Following the "Not Like Us" video, many suspected Kendrick would release an album soon. Yet, no one expected Kendrick to be named Super Bowl halftime performer. The September 7, 2024, announcement came as a surprise but wasn't shocking. After the creative run, Kendrick Lamar and his pgLang team completed this year, led by Dave Free, it was only fitting that K-Dot would receive the honour. However, not everyone shared in the excitement. Lil Wayne has repeatedly expressed frustration over being overlooked for a Super Bowl halftime show in his hometown of New Orleans.

Through social media venting and addressing it during his Lil Weezyana Festival, Wayne has questioned why the NFL hasn't recognized his decades-long influence and impact. Although the Super Bowl halftime performer has never been based on an artist's hometown, his comments have sparked debates about regional representation and respect for legacy artists in mainstream spaces such as the Super Bowl. Kendrick's announcement was celebrated widely by the public. Yet, Wayne's outspokenness, as well as Kendrick's later acknowledgement of the lack of celebration from his musical peers on "Wacced Out Murals" has added tension to the conversation surrounding Kendrick and Drake—who himself was formerly signed to Lil Wayne's Young Money venture.

Kendrick Lamar undeniably deserves the Super Bowl halftime spotlight. Not just for the work he's done this year, from standing his ground in the biggest rap beef since Jay-Z vs. Nas, to delivering The Pop Out concert, and now GNX, but because his entire career has been a meticulous build-up to this moment. From being anointed as the new voice of the West to consistently celebrating Black art through his music and visuals, Kendrick has carved out a legacy rooted in authenticity and cultural depth. Even his brief but commanding appearance during Dr. Dre's Super Bowl halftime performance showcased his ability to dominate a stage of that magnitude. 

Yes, Lil Wayne deserves his due, although few would argue otherwise. But the Super Bowl halftime show isn't a measure of legacy; it's a corporate stage that requires cultural relevance and star power (there's also the rumours that Drake is trying to tie "Not Like Us" up in legal issues to bar Kendrick from performing it at the Super Bowl). From the start of the battle, criticism came to Drake for his alliance and intentional stance with certain problematic members of the streaming community. From Akademics to Adin Ross and XQC, Drake has leaned into these partnerships disguised as friendships despite their controversies. This strategy has amplified his visibility but has also drawn criticism for aligning with internet personalities accused of toxic and, for some, abusive behaviours. 

The transactional relationship between Drake and the streaming community has led many to question his true stance in hip-hop culture. Compared to the more curated image Kendrick and his pgLang ventures have displayed through the media, it forced the general public to further inquire about how the two artists have chosen to navigate the culture vs the internet. For Drake, the connection to streamers aligns with his natural (or lack of) ability to adapt and remain relevant. Yet it's those qualities that Kendrick and the general public have analysed as opposite to the culture he claims to dominate. 

Witnessing how Drake's superpower has become his kryptonite is frustrating. The chameleon-like ability that once allowed him to adapt to different sounds and cultures making him a global star, has become a running gag. But the issue isn't his adaptability. It's how he's used it. Drake has often manipulated this adaptability as a form of cultural currency, hopping from trend to trend without a true sense of his identity. The identity that for many of us started to fall flat after Scorpion. What once felt innovative now feels like discovering The Great Gatsby of Rap, a man who isn't who he says he is. 

With minor social media fodder about the beef continuing, our afternoon was disrupted last Friday when Kendrick released GNX. Teasing the project with a brief video and snippet (the song from the snippet isn't featured on the album), Elliott Wilson and others quickly discovered that Kendrick was teasing new music and quietly dropping a full album. GNX, named after the Buick Grand National GNX—a high-performance luxury car from the late 1980s—felt like a fitting metaphor for Kendrick's artistry. The album occupied the top ten spots on Apple Music and Spotify. That momentum continued on Monday with the release of the music video for "squabble up," a visual homage to West Coast aesthetics. 

However, the buzz surrounding Kendrick's release was soon rivalled by another headline. Just hours after the "squabble up" video had social media in a chokehold, it was announced that Drake filed a pre-action petition against UMG and Spotify in a New York City court that same day. The petition, linked to disputes over "Not Like Us," seemed like divine timing. Drake's pre-filling added yet another layer to this complex rap battle. 

The first filing, completed by Drake's LLC Frozen Moments, accuses Universal Music Group of engaging in payola practices by manipulating streaming algorithms on Spotify to favour Kendrick Lamar's "Not Like Us." Specifically, the first pre-action filing in New York claims these actions amount to a violation of RICO (Racketeer Influenced and Corrupt Organizations Act), suggesting that UMG orchestrated a scheme by charging Spotify licensing rates 30% lower than usual in exchange for the promotion of Kendrick's single. The document also alleges that UMG artificially inflated streams for Kendrick by paying unknown parties to use bots and conspired with Apple to direct users to "Not Like Us" when requesting "Certified Lover Boy." However, the petition doesn't include the voice recognition feature added to Apple and Spotify, allowing people to find a song by lyrics. "Not Like Us" features the line "Certified Lover Boy? Certified paedophile." 

In the second pre-action filing in Texas, this time filed by Drake directly, it expands its claims, targeting iHeartRadio with further RICO violations. The defamation claim centres on Drake and his team believing that UMG heard the record, was aware of the "false" damaging allegations of paedophilia, and allowed the song to be released.

"UMG could have refused to release or distribute the song or required the offending material to be edited and/or removed," says Drake's lawyers in the petition. "But UMG chose to do the opposite. UMG designed, financed, and then executed a plan to turn 'Not Like Us' into a viral mega-hit with the intent of using the spectacle of harm to Drake and his businesses," the claim continues.

That is an interesting theory from Drake's lawyers, seeing as Kendrick and Drake have business ties to UMG — Kendrick through Interscope Records and Drake through Republic Records. It's important to note that these filings aren't lawsuits yet. It's to allow Drake's team to conduct depositions and collect the necessary evidence that could turn these filings into lawsuits. Of course, this could always be settled out of court or, due to lack of evidence, not even make it to a judge.

In a statement from UMG to Billboard, the media conglomerate states, "The suggestion that UMG would do anything to undermine any of its artists is offensive and untrue. We employ the highest ethical practices in our marketing and promotional campaigns. No amount of contrived and absurd legal arguments in this pre-action submission can mask the fact that the fans choose the music they want to hear." 

And the fans have chosen the narrative they want to believe. Even as of November 27, the song "Not Like Us" has re-entered the top 5 on US iTunes for what many insiders are calling the Streisand Effect. The Streisand Effect is when trying to hide information, actually makes it more well-known. Some view Drake's legal move as an attempt to challenge long-standing industry practices and hold majors such as UMG accountable in ways that could be groundbreaking for newer and rising artists. However, most have agreed that his attempt to "dismantle" the system is only because this is the first time the system hasn't worked in his favour — a man who owns his masters, according to the petition.

While this isn't the first time UMG and Drake have had issues, with tweets dating back to 2018 of their conflict and the 100 Gig release this summer, UMG is also the same label that reportedly paid Drake nearly $400 million. This leaves us with one burning question: what's next? While no one is quite sure how this will play out, as Rolling Stone reported in their conversation with Audiomack co-founder Brian "Z" Zisook and entertainment lawyer Kevin Casini, these filings are messy.

Casini stated in the conversation with Rolling Stone writer Andre Gee," [This] would essentially be saying that Universal would be obligated not to market Kendrick's song because Drake finds the content of the song undermining. And if the shoe was on the other foot, I don't think Drake would stand for that." With two petitions filed and potentially two lawsuits, the truth is that we have to wait to see how this plays out in a court of law or not. 

However, in the court of public opinion, I never thought I'd see the day when I would say Aubrey Drake Graham is the first rapper in hip-hop history to attempt to sue his label over a rap battle he actively participated in and lost. What a cultural bond to break and what an L to take.