In a bombshell 107-page amended complaint filed on April 16, 2025, Aubrey “Drake” Graham escalates his legal war with Universal Music Group (UMG), accusing the label of malicious defamation and betrayal amid the viral success of Kendrick Lamar’s diss track “Not Like Us.”
Here are the key points:
- Violent Fallout: Just days after “Not Like Us” dropped, Drake claims his Toronto home was targeted in a drive-by shooting, followed by multiple break-in attempts. He connects the attacks directly to UMG’s role in promoting the diss.
- False Allegations: The lawsuit states the track falsely portrays Drake as a pedophile, citing lyrics, music video symbolism, and the song’s cover art—showing his home marked with sex offender icons.
- UMG’s Alleged Motives: Drake alleges UMG supported Kendrick’s diss for profit and leverage. With his contract nearing expiration and Kendrick newly signed, the lawsuit suggests UMG sought to devalue Drake while boosting Kendrick.
- Super Bowl Performance: The complaint blasts UMG for promoting the track to a global audience during the 2025 Super Bowl halftime show, calling it “the first halftime show orchestrated to assassinate the character of another artist.”
- Online Campaigns & “Whitelisting”: UMG allegedly removed copyright restrictions to allow widespread reposting on YouTube, TikTok, and Twitch, fueling the track’s virality. The label is also accused of covertly paying influencers and platforms to promote the diss.
- No Help from UMG: Despite the threats and backlash, Drake claims UMG dismissed his concerns and warned that suing them would backfire.
Hakeem Prime enters the chat with “Meet The Duckworths” Diss Track
As Kendrick Lamar’s “Not Like Us” continues to ripple across the culture and legal headlines with Drake’s explosive UMG lawsuit, rising rapper Hakeem Prime has entered the chat dropped a second scathing diss titled “Meet The Duckworths” — a deeply personal open letter turned lyrical takedown aimed at Kendrick, his upbringing, and his image.
Hakeem Prime has stepped into the battlefield with not one but two surgical diss tracks aimed at Lamar: “CTRL+C” and the newly released “Meet The Duckworths.”
Where CTRL+C serves as a tech-toned teardown of Kendrick’s image and artistry, Meet The Duckworths hits deeper, positioning itself as a letter — or a warning — addressed to Kendrick, his mother Paula, and even Drake’s son Adonis.
Key Themes from “Meet The Duckworths”:
- A Message to Kendrick: Prime paints a picture of a young Kendrick groomed by the industry to commodify pain, warning him about exploitation, fake praise, and the traps of fame. “They’ll call you conscious, but they’ll market your grief,” Prime raps, critiquing both the industry and Kendrick’s own choices.
- Paula’s Chapter: The second verse directly addresses Kendrick’s mother, Paula, suggesting her tough love and silence shaped Kendrick’s pain and artistry. Prime questions whether she ever returned the healing Kendrick offered in his music — especially after his public acknowledgments of trauma and faith.
- A Word for Adonis: In a surprise turn, Prime shifts to speak to Drake’s son, Adonis, advising him to avoid the traps set by broken men pretending to be leaders — subtly aligning himself as someone who’s grown beyond past mistakes and now sees the bigger picture.
- Bars from Boise: With a lyrical backdrop from Idaho, Prime flexes his own growth — from his credit score to a yacht party — giving the diss a personal, grounded tone amid the chaos of the high-stakes rap feud.
“Meet The Duckworths”: A Letter, A Lesson, A Lashing
In his second offering, Prime trades punches for poetry. “Meet The Duckworths” unfolds like an open letter — first to Kendrick, then his mother, and finally to Drake’s son. It’s introspective, ruthless, and thick with generational commentary.
To Kendrick
:
He positions himself as both a former admirer and a prophet warning of exploitation:
“Don’t let ‘em use your pain just to show they love it.”
“They’ll call you conscious, but they’ll market your grief / Turn your trauma to a stream, while they dine like a thief.”
Prime challenges Kendrick’s identity and evolution:
“You gon’ hear ‘King Kendrick’ a lot, they’ll flood you with praise / But remember—pedestals flip when the trends start to fade.”
To Paula (Kendrick’s Mother)
The second verse cuts deeper, holding Kendrick’s upbringing up to a mirror of accountability:
“You gave him melody, but never taught him peace in the chorus / No guidance, just force… and the silence with the belt.”
“He healed you in Morale, laid it all on the track / But I wonder, Paula—have you ever gave that love back?”
It’s raw and reflective, even referencing alleged family trauma:
“You a Black mom, no doubt, and the world been cold / But I’ma tell you ‘bout this boy I know—his name is Carmelo Anthony.”
To Adonis (Drake’s Son)
:The final verse is less an attack, more a generational memo:
“Dear Adonis, don’t trust these broken nas, they real dishonest. I promise.”*
“They do it to their own kin, just to win, but it’s a sin / And they don’t know it.”
Prime shifts into life-lesson mode, using his own growth to inspire:
Listen here:
“CTRL+C”: Aimed at the Brand, Not the Man
The first track, CTRL+C: A Kendrick Lamar Diss, is sharp, direct, and critiques what Prime views as cultural mimicry, industry shielding, and clout choreography. He raps:
“CTRL+C, boy, you copied the Bay / They thought it was yours, but you borrower.”
Prime accuses Kendrick of repackaging regional styles and hiding behind industry machinery:
“Bot farm got you safe / While the industry in a sting.”
And with surgical coldness, he questions Lamar’s Pulitzer win:
“Gassed off the Pulitzer Prize with googly eyes / That was for pity, they gave you your turn because of Pac & Biggie.”
The track closes with a mic-drop aimed at Kendrick’s Super Bowl performance:
“CTRL+Alt+DEL from the Super Bowl / Now it’s time to erase.”
Listen here:
The Bigger Picture
Together, these tracks make up a personal and political statement. While CTRL+C calls Kendrick out for artistic fronting, Meet The Duckworths speaks to the cost of commodifying pain, the weight of legacy, and the fragility of fame when tethered to systemic narratives.
And with Drake taking UMG to court for allegedly exploiting “Not Like Us” for profit and cultural spectacle, Prime’s records feel less like side beef and more like commentary on the cost of being Black, brilliant, and branded.
As Prime puts it:
“This a mirror, held still / A letter from the real to the dream you gonna build.”
⚠️ Disclaimer:
This article discusses the music and public commentary of Hakeem Prime. All lyrical interpretations and views expressed are for editorial and informational purposes only. The lyrics, legal claims, and public references belong to their respective artists and sources. The content does not reflect the views of AllHipHop.com or its affiliates. All individuals mentioned are presumed innocent until proven otherwise. Listener and reader discretion is advised.
