Kendrick Lamar’s ‘Not Like Us’ Video: A Masterclass in Subliminal Disses and Cultural Commentary

Kendrick Lamar has once again pushed the boundaries of creativity and lyrical depth with his latest music video for “Not Like Us.”

This track, which has quickly ascended to the top of the charts, is not just a musical triumph; it is a calculated response to his long-standing rivalry with Drake.

The video is laden with subliminal disses, cultural references, and powerful imagery that not only solidifies Kendrick’s position in the hip-hop hierarchy but also calls out Drake in a way that leaves no room for misinterpretation.

The video, directed by Kendrick’s longtime collaborator Dave Free, immediately broke records upon its release, garnering 1.3 million views in under an hour.

This unprecedented viewership has led to speculation about whether Kendrick is paying for views, but the overwhelming excitement surrounding the release speaks for itself.

The visuals and lyrics are intricately woven together, sending a clear message: Kendrick is in a league of his own, and he is not afraid to remind everyone of that fact.

The opening of the video features a snippet of a new song, setting the stage for what’s to come.

Kendrick raps, “reincarnated, I’m a stargazer,” hinting at his evolution as an artist.

The line “IP the ownership, the blueprint is by me” directly addresses Drake’s past claims that Kendrick does not own his music.

By asserting his independence and control over his work, Kendrick is making it clear that he is a free agent with his own label, PG Lang.

As the video progresses, Kendrick cleverly flips Drake’s past insults back at him.

In one scene, Kendrick references Drake’s jab about his foot size from a previous diss track, saying, “I get off at my feet,” a clever retort that signifies Kendrick’s dominance in the rap game.

He also released the video on July 4th, a date synonymous with independence, further emphasizing his break from Drake’s shadow.

The visual storytelling is meticulously crafted.

Kendrick opens the video surrounded by dancers in red, blue, and white, symbolizing unity and pride within his community.

This scene serves as a stark contrast to Drake, who Kendrick accuses of being a “colonizer” of Black culture.

The use of American flag colors ties into Kendrick’s larger narrative about identity and cultural ownership, reinforcing the idea that he represents the true essence of hip-hop.

Throughout the video, Kendrick includes several references to Drake’s past work, including a recreation of a scene from Drake’s “Family Matters” music video.

The dark room and dim lighting echo the aesthetics of Drake’s visuals, but Kendrick takes it a step further by depicting a character in a mask that resembles Drake’s look from the “Dark Lane Demo Tapes” cover.

This clever nod not only showcases Kendrick’s awareness of Drake’s artistic choices but also positions him as the superior artist.

As the video unfolds, Kendrick takes aim at various rumors surrounding his personal life, particularly those propagated by Drake.

One significant scene features Kendrick doing push-ups in a prison-like setting, a direct response to Drake’s “push-ups” diss.

By flipping the narrative, Kendrick asserts his strength and resilience, showing that he is unbothered by the allegations thrown his way.

The imagery continues to pack a punch as Kendrick beats up an owl piñata, a clear reference to Drake’s OVO logo.

This moment is layered with meaning, as it not only symbolizes Kendrick’s disdain for Drake but also alludes to the accusations of Drake being a predator.

The owl, often associated with wisdom, takes on a darker connotation when placed in this context, emphasizing Kendrick’s critique of Drake’s alleged behavior.

Kendrick’s playful yet pointed approach extends to scenes of him engaging in childlike activities, such as hopscotch.

The numbers on the hopscotch grid—1 through 10—serve a dual purpose: they represent Kendrick’s potential future diss tracks against Drake while simultaneously mocking him for being involved in activities associated with children.

This juxtaposition is a powerful statement against Drake’s alleged predatory behavior.

The video also features cameos from notable figures, including DeMar DeRozan, who symbolizes Kendrick’s connection to his roots and the importance of community.

Kendrick’s inclusion of his entire record label in the video serves to dispel any rumors of discord within his camp, showcasing the unity and loyalty that exists among his collaborators.

One of the most poignant moments occurs when Kendrick stands next to his fiancée and children, directly addressing Drake’s claims about marital issues and infidelity.

This scene not only reaffirms Kendrick’s commitment to his family but also dismantles the rumors that have circulated in the media.

The visual evidence of their bond serves as a powerful rebuttal to Drake’s allegations.

As the video concludes, Kendrick gazes at a caged animal, which is ultimately revealed to be an owl.

This final image encapsulates the overarching theme of the video: Kendrick’s triumph over Drake’s attempts to undermine him.

The owl, a symbol of wisdom and predation, reinforces Kendrick’s narrative that he is the true king of hip-hop.

In summary, Kendrick Lamar’s “Not Like Us” video is a multifaceted work of art that brilliantly combines lyrical depth with visual storytelling.

It serves as a powerful statement against Drake while celebrating Kendrick’s identity, community, and artistic integrity.

As fans eagerly anticipate a possible remix and more new music, it is clear that Kendrick is not done making waves in the industry.

Kendrick’s strategic moves have left many wondering how Drake will respond.

Will he choose to ignore this latest jab, or will he re-engage in the ongoing rivalry? Whatever the case may be, Kendrick has set the bar high, and the hip-hop community is watching closely.

The layers of meaning within “Not Like Us” ensure that it will be discussed for years to come, solidifying Kendrick’s legacy as one of the greatest artists of our time.