A Diss Track that Changed the Game

By Dana Saleh '26

Kendrick Lamar’s “Not Like Us” has cemented its place in music history as the first diss track to win a Grammy. At the 67th Annual Grammy Awards on February 2, 2025, the track secured five awards: Record of the Year, Song of the Year, Best Rap Performance, Best Rap Song, and Best Music Video. Beyond its accolades, “Not Like Us” has become an anthem, sparking widespread conversations about authenticity, exploitation, and power within the rap industry. Lamar’s performance at the 2025 Super Bowl Halftime Show only amplified the song’s cultural impact, where he captivated millions with his delivery, emphasizing his artistic prowess. “Not Like Us” explores the rhetoric elucidated and the deeper messages that fueled its prominence in the music scene and the cultural landscape.

Cultural Craving Further down the rabbit hole, authenticity should reflect one’s true identity, leaving no room for a cultural divide between who they are and the image they project. In “Not Like Us,” Lamar antithetically contrasts Drake’s commercialized image with his true identity, analyzing Drake’s downright disconnection from and disregard for Black culture. In the third verse of his track, Lamar vocalizes, “Homie still doubled down callin’ us some slaves / Atlanta was the Mecca building railroads and trains” (Lamar, 2:56). Lamar uses this wordplay to exemplify further how Drake’s disconnect from Black culture makes it nonviable for him to open-mindedly perceive Atlanta, Georgia, as a “Black Mecca,” considering the historical significance of both places. Lamar’s use of antithesis reveals how Drake’s profit-driven exploitation of Black artists contrasts with the genuine contribution of those same artists. In a further critique of the façade that Drake maintains, his interest in working with a plethora of Black artists from Atlanta is highlighted as an exploitative element in the construction of his public persona, contrasting to the exploitation executed by “settlers” under slavery. This is asserted when Lamar states, “The settlers was usin’ townfolk to make ‘em richer” (Lamar, 3:03). Lamar establishes a contrast between Drake’s opportunistic behavior and the historical exploitation of Black labor, stressing how Drake profits from the cultural contributions of artists such as Lil Baby and 21 Savage, “Lil Baby helped you get your lingo up / 21 gave you false street cred” (Lamar, 3:15), without genuinely supporting the community. This portrayal aligns with Lamar’s Super Bowl Halftime Show, where he used his platform to reinforce authenticity and cultural exploitation. The line, “It’s a cultural divide, I’ma get it on the floor” highlights the gap between those who truly embody Black culture and those who profit from it. By weaving these themes into his music and performances, Lamar reinforces his critique of artists like Drake, whose personas are built on appropriation rather than authenticity, positioning them as ‘culture vultures’ within rap culture.

Beneath the Wings of OVO In retrospect, it’s clear that Drake’s façade is deeply intertwined with his label's identity, OVO Sound. Lamar satirically ridicules how Drake surrounds himself with people who mirror his own predatory tendencies, rapping, “They tell me Chubbs the only one that get your hand-me-downs / And PARTY at the party, playin' with his nose now / And Baka got a weird case, why is he around? / Certified Lover Boy? Certified pedophiles” (Lamar, 0:49). By sarcastically twisting the name of Drake’s album into a statement of fact, Lamar uses satire to highlight the disturbing reality behind Drake’s public persona–branding himself as a “lover boy” while associating with men convicted of violent and exploitative crimes. The irony is unmistakable: Drake, who profits from a romanticized, tactful image, is surrounded by figures whose reputations contradict everything he claims to embody. Lamar further mocks OVO’s identity through rhetorical questioning, asking, “What is the owl? Bird _____ and bird b******” (Lamar, 1:31), deriding OVO and positioning it as emblematic of Drake’s superficiality. This derision reinforces that OVO thrives on opportunism rather than genuine cultural depth. In contrast, Lamar’s former label, Top Dawg Entertainment (TDE), has earned a reputation for artists who focus on authenticity. TDE’s roster, which includes artists like ScHoolboy Q, Jay Rock, and SZA, reflects a dedication to creating music connected to real experiences and the culture they represent. This distinction strengthens Lamar’s satirical critique, as he frames OVO as an exploitative machine in direct opposition to TDE’s approach. In his diss track, “Euphoria,” Lamar raps, “Top Dawg, who the f*** they think they playin’ with?’ (Lamar, 3:53). Lamar’s satire underscores that Drake’s image, label, and crew are all built on deception and exploitation, appealing to listeners who value authentic artistry, echoing Lamar’s broader argument that Drake is ‘not like them.’

The Man, The Myth, The Fallacy Who is Drake? This question lies at the heart of “Not Like Us,” which stresses the ethical shortcomings inherent in his commercialized persona. The track compels us to question not only Drake’s authenticity but also the implications of embracing such a façade. In his application of rhetorical devices–allusion, antithesis, and satire–Lamar illuminates the contradictions in Drake’s image illustrating how the allure of fame can mask deeper moral failings. By contrasting Drake’s carefully curated persona with the blunt realities of exploitation and manipulation, Lamar urges the audience to reconsider who they admire in the music industry. The impact of “Not Like Us” extends beyond music–it has become a cultural shift, amplifying conversations about accountability and integrity in the industry. This critique emphasizes that while numerous artists may prioritize image over integrity, they often lose sight of the values that their art should revolve around. In this light, it becomes evident that Drake is not like them.